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ISSUE 1267

W E D N E S D AY 2 7 M A R C H 2 0 1 3

Until April 7 - LoopHole Current Exhibiting Artist Bridget Kearney Until April 21 - MICF presents.... 5 In A Bed, Social Needia: The Epidemic, Twice Shy, The History of LOL's & The LijRetta Show - check guide for details Thu 28. 9pm - Arthouse Jamie Stevens, Sekkt, Timmus, Mortisville, Jen Tutty...techno, electro swing, jazzy tech



Visuals by Franzoa (norway) Sat 30. 10pm - Unstable Sounds


So-Fire [sweden] & Compressor [UK], Azrin, Ish, Kenzo, A Charged Particle & Ben Evans All accompanied by a story board on the big screens by the INTELLIGENCE OF INSANITY. Sun 31. 9pm - Alt Future Artic, Sailax, Mirrorstate, Mexicali, Alias & Tony Black bring the best in bass, garage, juke

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& grime with spacey visuals by Chronic Sans

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Foreword Line brings you all the latest tour announcements Moves and shakes with Industry News Tracy Morgan is NOT Tracy Jordan Being awesome with Bonnie Raitt Kitty, Daisy & Lewis in the slow lane; and Strange Talk talk sense Sonic Animation on re-birthing inspiration Flying solo with Simone Felice; and Endless Boogie’s Jesper Eklow takes our Taste Test Second chances with Mama Kin; Ironing Board Sam talks Music Maker Blues Revue; Hairdresser no more with Birdy; and keeping fresh with The Blind Boys Of Alabama Agelessness with Roger Hodgson; and son of a preacher man, Allen Stone Vance Joy on the long road; Shawn Colvin had a helluva 2012; the state of things with Ten Cent Pistols; and The Resignators versus the haters On The Record rates new releases from Atoms For Peace and Dick Diver

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Check out what’s happening This Week In Arts and we interview Adam Hills and Eddie Ifft

We review Monster Body and Conversation Piece as well as launch new comedy column Good Timing There’s Cultural Cringe and we chat with comedian Jeff Green and A Clockwork Orange star Martin McCreadie


Gig Of The Week gets loose with The Stooges LIVE:Reviews gets mind-fucked at Santana Sarah Petchell will Wake The Dead with her punk and hardcore talk Dan Condon blues and roots in Roots Down Heavy shit with Adamantium Wolf The freshest in urban news with OG Flavas Pop culture therapy with The Breakdown Hip hop with Intelligible Flow New currents with Dance Moves Fragmented Frequencies with Bob Baker Fish The best Live gigs of the week, Sorted For EPs and get on the Music Victoria bandwagon If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Jeff Jenkins gets down and local in Howzat! Our Gig Guide fills your diary for the weekend Find your new band and just about everything else in our classy Classifieds Gear and tech talk in Muso




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This week it’s a Comedy Festival Giveaway Bonanza with tickets to give away most nights including Barry Morgan, Pajama Men, Joel Creasey, Jimeoin, Choir Girl, Tom Ballard, Laura Hughes, John Robertson, DeAnne Smith and heaps more; plus five eskys full of DVDs. Hit up the Inpress Facebook for all the details.

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GIVE A HOOT To celebrate the release of her highly anticipated debut album Nightswim (out Friday 19 April), Owl Eyes will be heading out on tour around the country in May and June. Nightswim not only showcases her signature pop sensibilities and sublime taste, it firmly establishes her as one of music’s brightest and most innovative songwriters. She’ll be supported by Sydney/Adelaide buzz band Collarbones and Sydney’s burgeoning Mammals. See them at the Corner on Saturday 1 June.







SLAVING AWAY After spending over two decades amassing a striking collection of releases, Norwegian progressive black metal band Enslaved will be hitting Australian shores in June for the first time in their illustrious career. The Australian Winter Rite Tour 2013 will see the band tour throughout the nation in support of their extremely well received 2012 release, RIITIIR. They perform at the Hi-Fi on Friday 14 June with special guests Rise Of Avernus.


ENTRY $10, 8.30PM $2.50 POTS, $5 VODKAS!





LIVE LIKE HILLBILLIES Featuring Bill Chambers, Tim Rogers and Catherine Britt plus friends, The Hillbilly Killers have been two years in the making. Their first instalment of tunes, They Call Us The Hillbilly Killers, was serviced online in early January and was met with immediate praise and anticipation. The band will also have available at all shows a limited edition three-track sampler, which will be their first official release. They play at Caravan Music Club this Saturday, Boogie Festival this Sunday, Sleep At The G (MCG) Thursday 18 April, Meeniyan Town Hall Friday 19 and Northcote Social Club on Sunday 21.













Following critical praise for his album Big Inner, Matthew E White is bringing his comfortingly familiar yet unique brand of soul to Australian shores for the first time this June. A meticulously crafted blend of reggae-infused folk-gospel, swirling indie pop and R&B, Big Inner is an album of firsts for White. He trades his guitar in for piano, the horn arrangements are his own and they speak volumes beyond the limitation of his earthbound vocabulary. He plays a Vivid LIVE sideshow at the Northcote Social Club on Monday 3 June.

KEEP CALM AND CARRY ON Following his winning performance at last year’s Gentlemen of The Road show in Dungog, US singersongwriter Willy Mason returns to Australia this April to support UK folk singer Ben Howard at his sold-out shows. Mason also plays a headline show on Sunday 7 April at the Toff. Willy Mason’s upcoming tour follows the release of his third album, Carry On, in late 2012. The album fuses lyrical sentiments of hope, disillusionment, love and lost connections.


Three of Australia’s mighty new talents – Bored Nothing, Gung Ho and Step-Panther – are joining forces for the third instalment of the Triple Treat Tour, a co-headlining jaunt around the country taking place this May. Mixing and matching sounds from shoegaze and sludge-metal to loner folk, Melbourne outfit Bored Nothing (aka Fergus Miller with a full band on stage), will headline at Northcote Social Club on Saturday 11 May.

HAPPY HOOK Ahead of the May 2013 Australian tour by the original line-up of Manchester’s Happy Mondays, the band have announced that they will be joined by Joy Division/New Order founding member and Manchester legend in his own right Peter Hook playing a special DJ set at each Australian show. As a special treat for Melbourne fans the Mondays and Peter Hook will also be joined by Australian beloved indie stalwarts Underground Lovers, who have recently re-formed after an almost decade-long hiatus. See all three bands at the Palace on Sunday 5 May.



To coincide with the release of his debut album Maybe Somewhere North, Melbourne folk troubadour Charles J Tan plays a launch show at the Workers Club on Wednesday 10 April, supported by Emmy Bryce and Dru Chen. Maybe Somewhere North represents a departure from the sound of the last EP with these 12 new songs spanning a spectrum of emotions and stories that delve into an intimate world of heartbreak and love, questions and resolutions.

Sydney metal band Northlane are proud to announce the incredible line-up for their Singularity Tour this June. The tour is in support of their just released new album of the same name. Running in relatively small venues, and with support from Structures (Canada), Stray From The Path (USA) and locals Statues, the tour is expected to sell out in a short period of time. See Northlane at the Corner on Sunday 9 (18+) and Monday 10 (under-18) June.

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With the release of her debut EP, Reckless, a high profile television sync and signing to ABC Music, 2013 will be the year Kathryn Rollins solidifies her place on the Australian music landscape. Reckless is a mix of old and new, with songs spanning over four years of emotional growth for the Melbourne-based songstress. She plays at Grace Darling on Thursday 9 May.

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CALLING THE SHOTS Brisbane punk-rockers Call The Shots release their second EP, When Everything Goes Wrong, on Friday 5 April. The new EP features guest vocals from Tony Lovato of US punk rockers Mest, and will be the first extended play by the five-piece since debut EP Crank Up The Happy. The band will preview the new EP for fans when they support Melbourne band Masketta Fall on their national tour this April. Catch them at Fitzroy Town Hall on Sunday 26 May.

APRA PDA winners Morgan Evans and Georgi Kay

APRA PDA WINNERS NAMED The winners of the massive APRA Professional Development Awards [PDA] were announced in Sydney this week, with eight songwriters picking up $30,000 worth of prizes each in six different categories. Three artists took out the much coveted prizes in the Popular Contemporary category; first was the frontman and namesake of Melbourne indie folk band Husky, Husky Gawenda, this win adding to an enormous year and a bit that included releasing debut album Forever So and signing to Sub Pop. Perth singer-songwriter Georgi Kay was another of the recipients of the award – she shot to fame recently after co-writing and singing on the ARIA Award winning hit In My Mind alongside Ivan Gough and Feenixpawl. The final winner was Brisbane’s Thomas Calder, leader of indie group The Trouble With Templeton, a nice cherry in the lead up to the release of their debut LP in June of this year. Gawenda told theMusic.com.au, “It’s not small thing to receive the cash and the prizes and all those things are going to go towards developing the writing, developing the songs and ultimately furthering what I’m doing. I definitely feel some pressure to use it wisely and use it well – and I’ll try to do that.” Leah Flanagan beat out some stiff competition to take out this year’s PDA in the Aboriginal & Torres Strait Islander category, she has gone from strength to strength since the release of 2010’s Nirvana Nights and more and more people are beginning to cotton on to her immense talent. The UTAS Stephen Schwartz Songwriting Award was won by Amali Ward, the singer and songwriter having come a hell of a long way since her stint on Australian Idol a number of years back. He has played massive festival shows in Nashville, supported the likes of Taylor Swift, Brooks & Dunn and Glenn Frey and won the 2007 Telstra Road to Tamworth Grand Final. Newcastle’s Morgan Evans notches up yet another career milestone by taking out the APRA PDA in the Country category. Evans – who will use the award to record his debut album – said, “To be recognised for songwriting is probably the deepest and most important recognition that a songwriter can get… It’s so awesome, but I also feel the expectation that comes after this.” The Classical award was won by multi-disciplinary sound artist Alexander Garsden, New York based, but Adelaide bred, Matthew Sheens picked up the prize in the jazz category and Joe Twist picked up the nod for the Film & Television category after a couple of well received scores to his name and plenty more on the burner.

TOUR MANAGER AARON CHUGG DIES Prominent and well respected tour manager Aaron Chugg passed away last week. A former manager of The Screaming Jets, Chugg was the tour manager/ live sound engineer for Pseudo Echo, Hoodoo Gurus, Alex Lloyd, Evermore and The Whitlams, amongst others. He was also a proficient Front Of House, was the Production Manager for the Sydney Olympic Torch Relay, a regular speaker on the music industry seminar circuit, and most recently the Tour Manager for Shannon Noll, a post he had held for a number of years. Phoebe Pinnock, frontwoman for Heaven The Axe, told theMusic that she met Chugg while he was tour managing Rose Tattoo. “He was a funny, quick witted guy who always had a lot of time for me and he was a shit hot mixer,” she said. Hoodoo Gurus’ Dave Faulkner added, “His passion for his job was still very apparent, which is a rare gift after going through the grind of touring rock‘n’roll for so many years. He remained dedicated heart and soul to music and got satisfaction out of being the man on the spot who could make things happen. Aaron, we need more people like you, not less, and we’ll all miss you.” It is believed he suffered a stroke while mixing at a festival a week prior to his passing.



ESPTACULAR In a one-off show that offers salvation for all Melbourne disciples of rock, Buckcherry, Richie Ramone and The Art team up for a triple bill on Thursday 18 April that will collectively blow the roof of the Espy. Coming together from the streets of Los Angeles, California in 1995, Buckcherry distilled their love for the riffs of heavy hitters like AC/DC with the glam and sleaze of Hollywood Boulevard. Having filled the drum chair for one of the most influential punk bands of all time, The Ramones, Richie Ramone is a living, breathing rock‘n’roll legend. Since forming in Sydney in the mid 2000s The Art have become of Australia’s most travelled hard rock exports.

ALL IS CALM Perth’s Silent Knight draw their influences from classic heavy metal of old and a solid helping of European power metal. This April they return to the East Coast for two special shows to launch their debut album Masterplan, including one at DV8 on Saturday 13 April. The supporting cast of steel features melodic metal acts Bane Of Winterstorm and Damnation’s Day.


The Chemist’s debut album Ballet In The Badlands has been released to the masses and now the band announce a national tour. The Chemist will return to live venues across the country towards the end of May to embark on their biggest headline tour to date. They stop off at the Workers Club on Friday 7 June.

MR ANDERSON One of the most recognisable and influential voices in progressive rock, as the lead vocalist and creative force behind the band Yes, Jon Anderson was central to that band’s phenomenal success. This is a chance to see this truly unique musician perform up close and personal, with his first ever solo Bluesfest and sideshow appearances. Catch him at the Corner on Wednesday 10 and Thursday 11 April.

TIKI TOCK After a standout recent collaboration with an 18-piece string section filmed live at Wellington’s Old St Paul’s church, Tiki Taane has been successfully pursuing a solo career since leaving the frontman position with Salmonella Dub in 2007. Taane is making his way back to the Corner on Saturday 8 June after a sold out performance in 2011.

One of the most exciting names to proliferate in the world of house music over the last five years or so is English DJ and producer Jozif. His take on house and downtempo 4/4 grooves as a producer is somewhat belied by his prowess as a dancefloordriven DJ, but it’s exactly this combination that makes him such an exciting proposition. Catch him at New Guernica on Friday 19 April.

It’s been 12 years since the rise of The Beautiful Girls and for Mat McHugh – the man at its heart – he’s seen and tried it all. He’s recorded with the band live. He’s recorded with bits of instrumentation from band members. He’s recorded an album by himself and then taught the band how to play it. Now, catch Mat McHugh & The Seperatista Soundsystem plus guests on Wednesday 24 April in the Espy Front Bar.

LIKE A PIL Local supports have been announced for Public Image Ltd’s first Australian tour in 20 years. Melbourne’s fascinating and ethereal quad-vocalist ensemble Harmony will bring haunting campfire rock to the show at the Palace on Thursday 11 April.


Blues is the teacher. Punk is the preacher. It’s all about emotion and energy, experience and raw talent, spirit and intellect. The Bellrays hail from California and have been putting on the show of their lives since 1991. Punk, rock and soul have been used to try and categorise what they do but somehow it isn’t enough. See them at the Corner on Wednesday 12 June.



In a special event to celebrate the 30th anniversary of the release of Beating The Boards – a live double album recorded with the Foster Brothers – Jon English is hitting the road for a series of concerts with the original line-up of the band. In 1981 English recruited the band for a tour of Germany and Scandinavia and Beating The Boards was released in 1983. The band play two sets at the Corner on Thursday 20 June.

WAKE UP Byron Bay hardcore act In Hearts Wake have just announced the Survival Tour, which boasts nine dates across Australia throughout June. Joining them for the ride are Canadian hardcore frontrunners Counterparts, along with locals The Storm Picturesque and Stories. Having played more than 100 shows in the last seven months, the five-piece have built themselves a very loyal following. See what they’re about at Workers Club on Saturday 22 June and Phoenix Youth Centre (all ages) on Sunday 23.

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Canada’s Silverstein have become as close to a household name as you can get in the post-hardcore scene. They’re coming back to Australia this April for a run of shows in support of their seventh studio album, This Is How The Wind Shifts. With the tour just a few short weeks away, the supports have been announced for each show. Belle Haven and Who Invited The Wolf will get the night underway at the Corner on Thursday 18 April.

D WANTS TO MOVE As the world of electronic music continues to move away from the dry, minimal sound, Move D’s warm, deep past looks prescient. But while deep house and ambient music may once again fall out of favor, David Moufang, the man behind the Move D name, will most likely keep plugging away until the whole thing comes around again. Move D comes to Brown Alley on Friday 12 April.


Before embarking on a UK tour in May as part of England’s Great Escape Festival, Melbourne lads Neighbourhood Youth are cutting their teeth on Australia’s East Coast this April in support of their latest single My Friends. The single will be officially launched with a video at the Toff on Saturday 13 April, and the band also play Barwon Club (Geelong) on Friday 26, Workers Club on Saturday 27 (supporting Sons Of Rico) and Mynt Lounge (Werribee) on Friday 3 May.



In 1992 the Alan Parker film The Commitments, based on the short novel by Roddy Doyle, was released. After recently selling out six arena shows in the UK and Ireland, Andrew Strong will be touring The Commitments show down under to celebrate the film’s 21st anniversary. The eightpiece band will be performing all the hits that were not only made famous from the film but received incredible chart success in Australia. They perform at the Corner on Thursday 5 September.

PEACE OUT Taking to the stage at the Espy on Friday 12 April are New Zealand hip hop outfit @PEACE. Coming together early in 2011, they soon had a ten-track EP ready for release, which has taken them to the finalist round at the 2013 Taite Music Award. Their second release is a conceptual ten-track EP about a failed relationship, titled Girl Songs. Catch them launching it at the Espy with guests Remi, Eloquor, Amin Payne and more.

Mojo Juju

TURN THE HEAT UP Ahead of the May 2013 Australian tour by Texan psychobilly legends The Reverend Horton Heat, The Reverend himself has upped the ante and announced that rockin’ local gal Mojo Juju will be joining the tour for select shows, including at the Caravan Music Club on Thursday 23 May (newly added show), Billboard on Friday 31 and Ferntree Gully Hotel on Sunday 2 June. Smooth, shiny and loaded with sin, Mojo Juju warms up the stage for The Reverend and his white hot band and their high-octane rock‘n’roll.

MAKING MESSRS Last year ended in a huge way for Adelaide indie quintet Messrs. Their debut EP Welcome To Nowhere launched them into the greater national arena, peaking in the Top 40 of the Australian iTunes Album Chart, and they followed up the release with a sold out national tour in November. Messrs have now announced the release of their brand new single Running Wild (out Friday 12 April) and their biggest tour to date. Catch them at the Grace Darling on Friday 10 May and at the Saloon Bar Traralgon on Saturday 11.

SHINING BRIGHT Worldwide superstar Rihanna ignited a frenzy following the announcement that her 2013 Diamonds World Tour was confirmed for a limited tour of Australasia this spring. Second shows in several cities have already been announced, including one at Rod Laver Arena on Tuesday 1 October. A few tickets to the Rod Laver show on Monday 30 September are still available.

AN UPRISING Julian Marley, son of the legendary Bob Marley, will hit Australian shores in May for his first headline tour in the region. Marley is one of today’s great roots-reggae performers; the musician, producer and humanitarian brings his 12-piece Uprising group for select Australian shows, performing selections from all releases including his Grammy-nominated third release, Awake, featuring Damian and Stephen Marley. See them perform at the Corner on Thursday 9 May, with support from Chant Down Sound.





On Friday 5 April, Laura Imbruglia presents brand new single Awoooh!, from her forthcoming third album. Channelling Cheap Trick, T-Rex and Warren Zevon, Imbruglia continues her decade-long trend of sounding unlike any other female artist around. Imbruglia and her band launch the single at the Bridge Hotel (Castlemaine) on Thursday 9 May and the Old Bar on Saturday 11.

Round Three of Dig It Up is here. Added to the Melbourne line-up on Thursday 25 April at the Palace and surroundings are: Kim Salmon with drumming cohort Leanne Cowie for a two-piece take on the early Scientists stuff, middle-agers The Crusaders, The New Christs with their almost 30-year catalogue spanning almost 30 years. Yikes! Melbourne only, former Crime & The City Solution and These Immortal Souls member Harry Howard, and comedians Dave O’Neil and Bob Franklin. More still to come!

DASH FOR IT Dash Berlin returns as part of the #Musicislife world tour. Fresh from impressive performances at Ultra Music Festival and EDC in Chicago, Dash will be performing six massive shows across the Queen’s Birthday long weekends. Dash Berlin fans have eagerly been anticipating the announcement of the #Musicislife concert and stadium show since his standout performance at Stereosonic 2012. He performs at Shed 14 Central Pier Exhibition Halls on Saturday 8 June with special guest MaRLo.

HOW LOVERLY Celebrating the release of their first new album in 14 years, seminal dream pop outfit Underground Lovers will debut their seventh full length album, Weekend, at the Corner on Saturday 20 April with special guests The Morning After Girls. The album, whose title is a nod to Jean Luc Godard’s agitprop ‘60s masterpiece of the same name, combines distinctive guitar, dance loops, ethereal vocals and introspective lyrics to produce unusual pop/rock songs and atmospheric dance music.

THREE FOR THREE Three different generations of house music, one venue, one show only. The philosopher, Derrick May, returns to us this Anzac Day to impart on us again his celebration of creative existence. With over 35 years musical experience tingling on his fingertips, Mr May is an invaluable icon to cities all over the world. He’s joined by Ben Klock, who’s famous for his fierce sets and two-step, and Eats Everything, aka Daniel Pearce. It all goes down Thursday 25 April at Brown Alley.


MACK THAT This May, soul music and R&B legend Bobby Womack and his 13-piece band play their first-ever Australian live headline concerts. Starting his career in the ‘60s with The Valentinos and as guitarist for Sam Cooke, Womack has written and recorded some of the world’s biggest hits. See him live at Hamer Hall on Tuesday 21 May. He also appears at Vivid LIVE.

YAY OR NEIGH Super Wild Horses formed in 2009 and the pair have carved a name for themselves locally and internationally as leaders among the lo-fi garage/DIY scene. The pair stitch together a patchwork of guitar, drums and keys over dual harmonies and sparse arrangements. They’re now set to launch their new album Crossroads. See them live at the Tote on Friday 31 May.


As a teenager in the late 1970s, Lita Ford was a founding member and lead guitarist of the pioneering rock group, The Runaways. Ford, along with band members Joan Jett, Sandy West, Jackie Fox, and Cherie Currie, not only proved that girls could rock, but they could do it with the best of them. From the band’s beginning to their eventual breakup in 1979, Ford’s guitar playing provided much of the force behind the band’s groundbreaking sound. Lita Ford performs at the Prince Bandroom on Thursday 23 May.

WHOOPEE FOR WOOLY Geelong’s music scene is set to be thrust out of its recent doldrums with the announcement the Wool Exchange’s intensions to reboot live music in its impressive concert style bandroom. Once the jewel in the crown of Geelong’s golden age of live music, the Wooly has been off the tour posters of the country’s biggest names for years, but this is all set to change. With Ash Grunwald, Pete Murray and Drapht already under the belt and 28 Days (Saturday 20 April) and British India (Saturday 18 May) to follow, the Wool Exchange plans to put Geelong back on the music map.

Representing the folk-punk genre on the epic Bluesfest line-up, Dropkick Murphys and Frank Turner & The Sleeping Souls will team up and take to the road, bringing with them Cali-punks Swingin’ Utters. Melbourne locals Marching Orders will open up their show at Festival Hall on Tuesday 2 April.

PLEASE AND THANK EWES After two huge years of relentless writing, recording and performing, Brisbane quintet Ball Park Music announce their final headline national tour for 2013. They stop off at the the Forum on Friday 5 July, and will be joined by special guests Eagle & The Worm and Jeremy Neale. The Thank Ewes Tour is a special series of performances dedicated to the fans of Ball Park Music, thanking them for their commitment over the years. After the tour the band will head into the studio to work on their third album.

KRISTA CLEAR LOCAL GODS Following on from the announcement of the band’s return to our shores this May, it’s been confirmed that LA indie outfit Local Natives will be joined by Melbourne boys New Gods for their East Coast tour. Touted as one of Australia’s newest indie supergroups, New Gods feature members from Little Red, Eagle & The Worm and Ground Components. See them opening for Local Natives at the Forum on Saturday 18 May.

SONGL LAUNCHES, ATTACKED BY INDIES Australian-based music streaming service Songl officially launched last Thursday. A joint venture between Southern Cross Austereo [SCA], Universal Music and Sony Music, Songl CEO Mark Shaw introduced the subscription-based service in Sydney. The service, which will push ‘celebrity playlists’ hard in their launch months, aims to harness the existing audience of SCA’s radio programs and informing them about music streaming services. Shaw told theMusic, “There was a report that came out of ARIA that said 0.5% of all music revenue was attributable to streaming; that’s $2 million. That’s not a very large number. So we are coming to the market with a desire to educate the market about streaming and we can do that because we’ve got media support with SCA and their various assets that we can utilise.” The service came under attack from leading independent music rights agency Merlin, who accused it of not interacting with independent artists and labels. Claiming a seven-million strong database of songs, Merlin CEO Charles Caldas told Billboard that without artists like Adele and Nick Cave, whose rights are managed independently, the service was “inferior” to its competitors. “Merlin tried to have a discussion with the major label proprietors of Songl to license our music, but they simply haven’t bothered to do so,” he said. “Why anyone would pay good money to subscribe to a service that doesn’t include some of the leading artists in the world… which are available on the existing digital services, is beyond me… Spending anything on this service is a simple waste of money.” Songl’s Mark Shaw responded to theMusic.com.au saying, “We’re excited to have launched Songl with all the major labels and a number of independents, and we’re looking forward to developing even more relationships as time goes on. We have a number of label content deals and initiatives that we will reveal over the coming weeks as the service gets up and running. We look forward to announcing these soon.”

US SINGER JASON MOLINA DIES American singer-songwriter Jason Molina has passed away at age 39. The Songs: Ohia and Magnolia Electric Co singer died on Saturday 16 March, it was announced in a statement by his longtime record label Secretly Canadian. According to Pitchfork, Molina passed from organ failure due to alcohol consumption – the musician had a history of alcohol issues throughout his short life. Molina was first heard of with the release of his debut single Soul in 1996 under the Songs: Ohia name, a band of revolving musicians, Molina the core of the group. He started releasing material with Magnolia Electric Co in 2005 and went on to record many solo albums as well.


JINJA BREAD Celebrating the recent announcement of their selftitled debut album, Jinja Safari are set to embark on a run of intimate shows around Australia. Jinja Safari will bring the new songs and stories from their debut album to life with an explosion of sweat and hyperactive display. Get among it at the Toff on Wednesday 15 and Thursday 16 May.

INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au

Krista Polvere penned 12 new songs for her album Reservoir Drive including Jack And Me, the next single to be released from the record. A tale of love and treachery, Jack And Me mines rich alt.country territory, combining both the femme fatale archetype pioneered by Bobbie Gentry and the gritty female troubadour of Lucinda Williams. For the uninitiated, her debut record Here Be Dragons garnered her new fans in Australia and beyond, including Ryan Adams, who makes a guest appearance on Reservoir Drive. See her at Ding Dong on Saturday 4 May.

Gotye is teaming up with a few of our favourite local comedians for a special SLAM related project, Wally De Backer collaborating with the Perfect Tripod – made up of the multi-faceted Eddie Perfect and singing comedy trio Tripod – to reinterpret the classic Aussie track Quasimodo’s Dream by The Reels. The song, which was voted in the top ten Australian songs of all time by APRA, will be released by SLAM as the second in their series of limited edition 7” vinyl and digital releases. Acclaimed visual artist Patricia Piccinini will work her magic on the cover and all proceeds made from the sale of the release will go towards the SLAM fund, as supported by Pledge Music.

SXSW WINNERS ANNOUNCED The inaugural Grulke Prize has been awarded in Austin in the wake of the SxSW conference and showcase series. San Fernando Valley sisterly group Haim picked up the Developing US Act award, Scottish electro-synthpop masters CHVRCHES picked up the Developing Non-US Act Prize and the incomparable The Flaming Lips picked up the Career Act prize.

PRESENTED BY For more news/announcements go to themusic.com.au/news • 15

Anthony Carew learns (too late) that Tracy Morgan hates being asked whether people have trouble differentiating between the man and his 30 Rock character that shared his given name: “You’d go to jail if you went around acting like Tracy Jordan!” It turns out Morgan’s not a particularly funny interview subject.

REPPIN THE OLD SCHOOL Tracy Morgan still uses pencils, a “regular phone” and doesn’t know how to use a computer. Anthony Carew goes back in time. Tracy Morgan mentions during our interview, several times, that he’s 44 years old. In a world obsessed with remaining youthful at all times, the proud “family man” is running in the opposite direction: reminding people that he’s old. Tracy Jordan may have been mortal enemies with Bill Cosby – that auntimpregnating, lightass-kids-havin’ titan of the Blackmerican illuminati, the Black Crusaders – but this is just another reason why Tracy Jordan is a character, not the man himself. Instead, Morgan – who cites his grandfather (“a janitor for 38 years”) as his role model – feels like a man out of time, an almost Cosby-esque figure occupying the position of old-man puzzled by times changed. Hearing him repeat back the question, “Do I feel disconnected from the social media era?” feels like hearing that disconnect manifest; Morgan puzzled by the kids these days with their tweetin’ and their twittin’ and their Tumblrin’. “I come from a different era,” says Morgan. “I never got into the social media era at all. I don’t really know that much about it to even talk about it at all. It’s just not my thing. I’m an old-fashioned person. I still use pencils. I use a regular phone. I don’t know how to use a computer. I don’t know how to do any of that new-fashioned kind of stuff. I’m an oldschool kinda guy. And if people can’t appreciate that, that’s too bad. I’m Tracy. I am who I am.”

racy Morgan is not Tracy Jordan. If there’s one thing the 44-year-old comedian wants you to know, it’s that the character he played for 138 episodes of the dearly departed sitcom 30 Rock is just that: a character. And that all the denial of the moon’s existence, taking it behind the middle school to get it pregnant, being boobyslapped by a coked-out Russian stripper, and sleeping on a dog bed stuffed with wigs are not the vices and habits he indulges in.

Jordan borrowed from Morgan’s own personal travails – alcoholism, struggles with diabetes, a kidney transplant – you can forgive those who wondered how close this ‘caricature’ cut to the real man. In his time on Saturday Night Live – on which he lasted six seasons, from 1996 to 2003 – Morgan earned a reputation as a harddrinkin’, hard-partyin’, hard-livin’ bad boy; a ‘toast of the town’ figure who’d risen up from a hard-scrabble background and was now squeezing every drop out of life. When SNL kingpin Lorne Michaels and creator/ writer/star Fey were conceiving of 30 Rock as a behind-the-scenes show based on their experiences working on the late-night TV institution, Morgan was brought on board for the express purpose of playing a variation of himself.


In fact, in conversation, this is when Morgan comes most alive; when asked if people had trouble differentiating between Tracy Morgan and Tracy Jordan. “Those are the people who are idiots,” he spits, “The ones that can’t separate fantasy from reality, fact from fiction. Tracy Morgan and Tracy Jordan – the only thing they have in common is the name ‘Tracy’. I’m nothing like that character on TV. That character is a figment of someone else’s imagination. That is not who I am. I am who I am. I’m not trying to be Tracy Jordan. I know how to come out of character. I’m a grown man. I don’t run around talking nonsense every day. I don’t get around in my tighty whiteys with a light sabre. Do people really think I’d do that? I don’t do that. I’m somebody’s father, I’m somebody’s husband. Come on, man. I’m a grown-ass man! “I don’t even see how people can ask me that question. Like they don’t know the difference between what’s TV and what’s real. Or, what’s worse, they do, but they think I don’t, y’know? I mean, do people ask Alec Baldwin that? Do they ask Tina Fey that? It’s a booby-trap question, and it’s insulting. I get asked that question, and most of the time it shocks me. Do people really not know the difference between Tracy Morgan and Tracy Jordan? You don’t have to think outside the box to know that one of them is me; the other is a character on TV. People don’t ask Brad Pitt what’s the difference between him and Benjamin Button. I ain’t mad about it, but, c’mon, people. You really think I go around my house acting like Tracy Jordan? You’d go to jail if you went around acting like Tracy Jordan!” Yet, given how heavily the character of Tracy

And yet, years later, things have changed. Morgan wants, no more, to be thought of as the wild and crazy guy, always

on, always funny. He sees playing that role as playing up to what the media covering him, and his life, want. “People need a story,” Morgan says. “People want drama. Some people are just waiting for scandal, for gossip. But I don’t care about that. Because I’m a focused man. I’m a grown man. I’m 44 years old. I’m not a little kid anymore. I’m not a teenager. If I was going to go off the deep end, I would’ve gone off the deep end long ago.” Morgan is, in both life and conversation, seemingly on the straight and narrow. Whereas he once boasted, “I can never not be funny,” an interview with Morgan circa 2013 is, well, not particularly funny. Instead, he’s all business. To the point where the string of no-nonsense, one-line answers make him sound like a sportsman; a response like, “we stayed focused, we stayed together, the chemistry was always good,” making his recently departed TV show sound like a basketball team. 30 Rock came to an end on 31 January, after 138 episodes and ceaseless acclaim; its passing met with countless obituaries. “It wasn’t like an aunt died, or an uncle died,” Morgan says, of the end. “It’s not like there’s been a death in the family. A TV show just came to an end. Like all good things come to an end. It’s sad to no longer see the people you’ve worked with for seven seasons, but I feel great. You get sad if you think too much about all those people that you’ve worked with, this family that you have that you’re missing, but for the most part you just feel proud. We did seven years of great TV, and I’m really proud of that. I’m not focusing on the end; I’m focusing on the journey, the journey that we took.” Morgan claims to have never had an inkling that such success was in store for the show – “our main goal was just to have fun, first of all; we didn’t have a crystal ball, we couldn’t see beyond the next episode” – and that it only dawned on him once he was routinely walking the red carpet. “First of all you say, ‘Wow, the show is critically acclaimed and people


are watching it,’ but when you start getting those nominations, those Golden Globes and everything, it begins something else. When you can say, ‘Wow, we got 97 Emmy nominations!’ that’s when you know you’re doing something special.”

With the end of 30 Rock, Morgan has thrown himself back into his stand-up work. Though he’s at pains to point out that he was never one of those comedians who stopped taking to the stage due to his television work – “that’s the foundation on which my whole career was built on” – Morgan says, “there was never a point when I stopped doing stand-up”. He’s now able to be in his “natural environment” far more often; currently touring around the American Midwest, and set for his first-ever trip to Australia, where he’ll be performing a national tour. “It’s my experiences, my authenticity,” he says, of the shows. “It’s me. It don’t have nothing to do with TV or movies, this is my voice. That’s what people are going to be hearing. This is my world, my stories, my experience. The experiences that I have are the same that any other father has, any other brother has, any other husband has, any other dad has. It’s about me as a person. This is not 30 Rock, this is not Cop Out, this is not none of that. This is the world according to Tracy. ”



PHOTOGRAPHER: Andrew Boyle STYLED BY: Justin Min GROOMING: Allie Smith Photographed by Street Press Australia at Pier 59 Studios, New York City

COVER: Bespoken shirt Acne tie Dockers pants

FEATURE: Bespoken shirt Acne tie Bespoken knit cap Dockers pants

Referring to himself in the third person? Tracy being Tracy? The inner athlete in Morgan has returned. Morgan the wild is unseen. Instead, he’s the straight man and turns intensely sincere, with almost a kind of childlike wonder, when he starts talking about coming to Australia – and crossing the equator – for the first time. “It’s surreal to me the fact that I’m that funny it can take me around the world. My funny has taken me around the world? Oh man, I gotta thank God for that. I’m getting to go to Australia and make those people in the down under laugh at my world? C’mon! That’s the best feeling in the world. I’m coming to Australia!” WHO: Tracy Morgan WHAT: Tracy Morgan: Excuse My French WHEN & WHERE: Saturday 13 April (8pm and 10pm), MICF, Hamer Hall

STREAMS OF PASSION Fresh from winning her tenth Grammy and selling out a great number of shows worldwide, Bonnie Raitt finally returns to Australia. She talks Dan Condon through her career, from Howlin’ Wolf in coffeehouses to being on top of the charts. he incredibly affable and stimulating Bonnie Raitt has a palpable passion for music; it can be heard across her 16 studio albums and in her voice as she talks about what has been her life for the past four decades. Yet she can’t tell us exactly where that passion came from.


“It’s hard to say,” she ruminates. “I think that black music has captured the world’s heart and soul and every other part of us – especially below the waist. I just got the cusp of it as a young six- or seven-year-old when I heard Little Richard and Chuck Berry – it was all over. When I was a young pre-pubescent teen I fell in love with Motown like everybody else in my generation and then The Beatles and the Stones kinda reintroduced us to our own blues heritage; there were a lot of covers of R’n’B records that were more obscure that I actually found out about through The Beatles and the Stones. “I don’t know how to describe what I liked about it, but I could tell early on that Ray Charles was doing something to me that Pat Boone wasn’t doing.” She received a great injection of blues into her musical makeup when she went to college in the late-1960s, performing with and befriending true legends of the game.

“The only frustration is that you want to be on all four stages at the same time, you wanna see all the acts who are oftentimes at the same time as you’re playing! For years I heard about what it was like to play there; I’ve played a bunch of festivals around Europe and the Jazzfest in New Orleans many times, but Byron Bay’s got its own particular patina and reputation and it lived up to it absolutely. In terms of how you get treated and how rowdy it is – it was one of the highlights of all my tours.” WHO: Bonnie Raitt WHEN & WHERE: Wednesday 27 March, State Theatre; Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

“In my early college years I met someone who managed Mississippi John Hurt and Buddy Guy and Junior Wells and Skip James and Mississippi Fred McDowell and a whole slew of incredible bluesmen and became friends with them. I got to know personally a lot of these heroes of mine. When I was first playing clubs, my parents came to one of my gigs and I was singing Built For Comfort, Not For Speed – the Howlin’ Wolf tune – on my acoustic guitar. At nineteen I don’t think they were expecting me to be singing songs about what I’m gonna do to some guy.” Raitt comes from a musical family, her father a Broadway star and her mother a pianist, a far cry from the heady rock’n’roll and blues scene of the late-1960s.

There’s more to this story on the iPad “In my early-twenties I was drinking and partying and staying up with Little Feat and my friends; the rock’n’roll lifestyle was pretty different to the Broadway lifestyle, my folks were pretty healthy so I think they were a little concerned about the night-time life,” Raitt laughs. “But they didn’t say anything; they just rolled their eyes when I tried to sleep through Christmas a couple of times. But I’ve been sober for twenty-five years so they were really happy that I got my health together and had a whole other life being awake in the day.” Bonnie Raitt does roughly two years of road time after the release of a new album, but after touring in support of her 2005 LP, Souls Alike, she took a break. “My brother had brain cancer and developed a complication and a second tumour so I wanted to spend as much time with him as I could. Sadly he passed away, so I took a little hiatus after that because I’d lost my parents before that and I just needed to spend some time at home and not think about the music business or touring or another record. So I gave it a good long rest and waited until I actually missed it – so it was thrilling to get back in the studio.” Raitt is here on the back of Slipstream, which earned the artist her tenth Grammy (picking up Best Americana Album at this year’s awards). It’s another fine piece of work from an almost faultless musician, one which saw her team up with renowned producer Joe Henry for the first time. “I pick a producer partly because of the engineer they work with and partly because of the records they have been doing recently and in each case of the people I chose [in the past], I wanted to go and play in their sandbox,” she explains. “The engineering sound that Tchad Blake gets with Mitchell Froom (who worked with Raitt from 1998 to 2005)…I love that (1992) Kiko record by Los Lobos and I love what they did with Richard Thompson and Elvis Costello. After working on four albums with Don Was and Ed Cherney (from 1989 to 1995) I thought it was a really nice change. Even Don suggested it; he said he thought it would be a real simpatico direction to go. You don’t want to just stay with the same people all the time because it gets kinda stale.” It took a couple of decades for Bonnie Raitt to finally achieve mainstream success, but when it happened, it happened with great gusto. At the 1990 Grammy Awards she came away with three trophies and her Nick Of Time album shot to number one on the charts. “Absolutely in no way was I doing anything other than being grateful to be off a label that wasn’t interested in me,” she admits, referring to her departure from Warner Bros. and signing to Capitol Records. “I had a residual kind of affection from radio and the press, I always got good reviews and people would say, ‘Gee I wish Bonnie would get more attention.’ I didn’t have the looks or the big management push or the drive to be a big star and I didn’t really care, I just wanted to build my following and play ‘til I’m in my eighties. I wasn’t in it for the big number one record. “I don’t think anybody expected me to win all those Grammys in one night; I bet Tom Petty and Don Henley kinda cancelled each other out and I kind of eked in by about fifty votes. Then, within a couple of weeks, my album went to number one on the charts, so it was about an amazing a Cinderella story, especially for a forty-year-old, as you can get.” Raitt’s return to Australia is also a return to Bluesfest; her last performance brought down the house in 2007 and she’s more than ready for the next round.

For more interviews go to themusic.com.au/interviews • 17

MATERIAL WORLD Kitty, Daisy & Lewis prefer banjos, mandolins, tape machines and the timeless energy of the ‘50s to digital technologies and audio sheen. Chris Hayden speaks to Kitty Durham, the youngest of the trio, and tapes it on an iPad mini. bout ten hours before this interview was set to take place, a helicopter spectacularly crashed into a crane in the business district of Vauxhall, London. The chopper, apparently hampered by a particularly thick morning fog, flew straight into the high rising building site and spiralled to the ground, collecting in its path several buildings and an unbelievably unlucky commuter who just happened to be walking to work at the time. Two lives were lost, 12 people were injured by falling debris and the Big Smoke was brought to a screeching halt in the middle of one of the busiest daily peak hours on the planet. This is relevant for a few reasons. Firstly, it’s of note because our subject, Kitty Durham – drummer, singer and spare parts girl for family rock’n’soul troupe Kitty, Daisy & Lewis – is a lifelong Londoner. Secondly, it’s a bit odd because, despite living not 15 minutes from the crash site in Kentish Town, Durham seems to have absolutely no idea that anything has actually happened. “Helicopter what?” she asks in a heavy accent that goes Notting Hill by way of Eastenders. “I’m not sure about that sorry.” It shouldn’t really come as any surprise though, that Durham and her family aren’t sitting around glued to BBC News or fiddling around on their MacBook Pros, especially when you consider the fact that they’ve forged their musical reputation by paying homage to the sounds and styles of the ‘40s, ‘50s and ‘60s.


Backing up slightly, the story goes like this: Graeme Durham, founding member and mastering engineer at famous London recording studio The Exchange marries Ingris Weiss, herself the former drummer of seminal British post-punk band The Raincoats. The couple’s love of R&B, swing, blues, country and basically anything and everything retro rubs off big time on their three kids; Kitty, Daisy & Lewis, who form their own band and invite mum and dad into the fray as touring musicians. They release several albums, pick up all sorts of celebrity (see: David Lynch, Chris Martin, Dustin Hoffman and the late Amy Winehouse, among many more) and non-celebrity (see: sell-out shows all over Europe, Australia and America) fans and eventually land here with us today, totally oblivious to the digital news cycle but with a brand new song appearing on the soundtrack for the latest Ryan Gosling vehicle

Gangster Squad. It’s this contradiction, this push and pull with the present and the past, that makes Kitty, Daisy & Lewis feel immune to any shifting trends. “We don’t really see what we do as a genre thing or as a retro thing or anything like that,” Durham explains. “We just see it as a reproduction of the kind of music we like with our own twist in there as well. It’s just the kind of music we grew up listening to. Mum and dad always had records on and were always giving us things to listen to so I suppose over time it just kind of started to influence us and we started recreating it.” As effortless a process as that sounds, it’s worth remembering that Kitty, Daisy & Lewis released their first record – A-Z Of Kitty, Daisy & Lewis: The Roots Of Rock ‘N’ Roll – in 2007 when Kitty (the youngest of the siblings) was 14 years old. Most adolescents have a hard enough time growing up and forming adult relationships with their folks as it is, let alone having to go through the process while simultaneously touring the world in a successful band, Partridge style. “It has been a bit of a challenge,” Durham admits, when quizzed on her relationship with her parents. “We’re like any family really, we fight sometimes and we might get in a strop or whatever, but mostly it works itself out in the end. Daisy and Lewis had the same thing, the same problems or whatever, not really problems, just things that we’ve had to deal with. It’s not that hard to put up with my parents, really. They’re good parents.” One thing that does seem to faze the Durhams, however, is the prevalence of digital technology in the music world today. As a band very attached and in debt to lo-fi, analogue sounds, it’s not surprising to hear that they try to eschew anything too associated with the audio sheen so prevalent in modern music. “It is frustrating sometimes yeah, how that kind of stuff is everywhere, because it’s not really us,” Durham says. “Lewis especially, is into the analogue stuff. He and Dad spend hours down in his studio – which we’re actually moving at the moment, down the road – putting together his tape machines and mics and all that stuff. It’s just about trying to get the most faithful sound as possible. We’ve tried recording in real studios before and it’s

just come out sounding really… Really bad. On stage it’s a little bit easier because we have our own sound guy to fiddle around with the banjo sound and stuff.” As a family band modelled on retro sounds that started in their early teens, there has never been any shortage of ‘gimmick act’ accusations levelled at Kitty, Daisy & Lewis. This is especially the case at home in the UK, where very few reviews remark on their unique musicianship and choose to focus more on their sartorial choices and age. In fact, it’s in the more open-minded climes of Germany, Scandinavia and here in Australia (where they’ll be returning in March for their fifth visit) that the siblings have really taken off and found a devoted audience. Durham isn’t sure why. “It’s funny; things have been a bit slower to get going here at home,” she says, with a slight sigh. “We do pretty well in America, really well in Europe and we love coming back to Australia because everyone is so nice and the weather is so great but yeah, it’s just taken a bit longer over here in England. That’s probably why we don’t play here as often.” The reluctance to fully embrace Kitty, Daisy & Lewis, while being England’s loss and Australia’s gain, is a little strange but not completely unexpected from

a notoriously fast moving and sometimes fickle scene. Many bands have had similar experiences and crumbled as a result, but with family ties this strong and a genuinely clear perception of themselves as they become adults, Kitty and her siblings aren’t too fussed about what the future might hold. “We don’t really worry too much about that kind of thing,” Durham explains. “Early on it was hard to get people to actually pay attention to the songs themselves; they’d often get a bit lost in the story of the whole thing, you know, our ages and stuff. Now though, since we’ve been around for a while, played lots of festivals and now that we’re a bit older, people are taking us more seriously, which is good. I was never too bothered about it all, though – we just keep doing what we do and don’t think too much about anything else.” WHO: Kitty, Daisy & Lewis WHEN & WHERE: Wednesday 27 March, Billboard; Friday 29, Boogie, Bruzzy’s Farm, Tallarook; Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

GOBBLEDYGOOK Rising Melbourne electro four-piece Strange Talk have just dropped their debut album. Founding members, bassist Gerard Sidhu and vocalist Stephen Docker, talk to Ben Preece about throwing things into a big blender and seeing what comes out. mongst the plethora of faceless electro-pop outfits in 2013, only occasionally does one emerge from the heap in the minds of Aussie music consumers. For better or worse, triple j Unearthed has offered numerous groups an opportunity to vie for repeated radio play or a coveted slot at any number of the umpteen festivals this country has. The inception of Melbourne’s Strange Talk is no different, really, to that of any number of Australian acts – the difference for them is what they chose to do with each and every opportunity slung their way, all while providing a string of clever pop singles destined for high rotation.


Their rise to the top of the electro-pop mountain might seem to have bounced out of nowhere, but like any hard-working and well-oiled machine, the four-piece have endured quite the journey so far. There was, of course, the triple j Unearthed win back in 2010, but unlike many, their astronomic rise was lauded thanks to a distinctly camp but undoubtedly infectious crisp and danceable sound; one that landed their single Climbing Walls atop the US Billboard Uncharted Chart and licensed to everything from 90210 to Need For Speed computer games and much more. Now with a debut album – Cast Away – under their belts, vocalist Stephen Docker and bassist Gerard Sidhu are determined to be just another faceless band on the radio. “The recognition seems to be really starting to sink in,” explains Docker thoughtfully. “I think that’s how it happens for a lot of acts, especially when you build from the organic process. A lot of people don’t necessarily know the name of your band but they’ve probably heard a number of songs thousands of times. Hopefully now we’ve got a body of work out, I’m sure it will give a few more legs to the project and we’ll get more recognised as a band, rather than by a song by song basis. But it feels good to have something out finally because, as artists, you see it form from the ground up. For us, at least, it feels like a lifetime ago from when we finished the demos to when it got mixed and mastered and now, a few months later, it’s finally out.” Formed in early 2010 by Sidhu and Docker, Strange Talk are an oddball assembly of characters from various

18 • For more interviews go to themusic.com.au/interviews

backgrounds – there’s a classically trained violinist, a dance producer with a DJ background and two musicians from the funk/soul world. “For Gerard and I, we met when we were 18 or 19 in clubs around Melbourne,” Docker reveals. “He was a DJ around the place and I was the annoying punter who would request the same track every week and we ended up chatting one night and Gerard needed a violinist so I came into the studio and [we] wrote some stuff together. We got over the whole dance thing and wanted to write songs so we taught ourselves to do that and after a couple of years we started up Strange Talk and wrote the first handful of songs. We started to get a lot of attention from management companies and labels all asking for showcases, but we didn’t even know what a showcase was. “Eventually we were referred to Gillan [Gregory, guitar] and Trav [Constable, drums], two guys from that funk/soul background that really shows on stage. They’ve really changed what we do from a live aspect, we try and change what we do on stage – muck around and change up structures and have little jam sessions up there, just to try and differentiate between the recordings and live. No one wants to go to a show and hear the CD… It creates a lot more motivation for us and helps us not get too bored.” There is some serious songwriting on Cast Away. Sure, the singles have all landed on rotation due to each one being cram-packed full of hooks, but spin the record and you’ll hear varying moods and meaningful lyrics that transcend disposability immediately – something not always conducive to dance music. “You basically write a lot of bad songs and then slowly they start to get okay and then eventually good,” Sidhu laughs. “We look back on the stuff we wrote two years ago and it’s horrible but we learnt a lot of what not to do. Also, we listen to a lot of music and dissect it – arrangements, melodies and so on.” “We take a lot of care in melody,” Docker interjects. “At the end of the day, a melody is something someone is going to remember and want to sing. We’re all about hooks and if you have a really great song that is

interesting on its own and you can add some interesting instrumental, it’s just going to heighten it. We try to write real songs, yes; but in one instance, Morning Sun, we did try to take it down the loop-based, dance path. When we were clubbing, it was all about the Daft Punk loop-based songs. But we really wanted the album to reflect every piece of music or everything that we’ve grown up with, whether it be Michael Jackson or Queen or all those loopy-based dance tunes. We tried to throw it into a big blender and see what comes out.” By now, it’s pretty clear that Strange Talk don’t want to be crammed into any one box and have aimed to defeat expectations on their debut album. Their lyrics flip between character-based (Wanted (Dead Or Alive)) and the autobiographical (Falling In Love, Take Me As I Am) while their influences, rooted in the dance world, are often challenged by the occasional inclusion of something odd that strangely works – like an ‘80s hair metal guitar solo in a ballad called Come Back Home, for example. “We really try and push our personal envelope as much as possible,” Docker explains. “I think, for us, doing a ballad will be something no one will expect but

we like to show another side to what we can achieve. That song was a time I was going through a pretty rough break up and we actually kept the original demo vocals as I had so much backed up emotion to spill.” Now that the album is out, Strange Talk are playing shows all over the country and are about to relaunch their assault over international waters. “I think there will be definitely a lot of hype and a lot of attraction [to] our stuff over in the US and come mid-this year, we’ll be getting over there and doing a hell of a lot of touring,” Docker contemplates. “Being a debut record, we don’t know how to feel about it, we’ve lived with it for so long – all the reviews have been really encouraging so far. You certainly can’t please everyone, I am sure there will be some negativity. The best advice we’ve had is don’t read your reviews and just remember what you already know.” WHO: Strange Talk WHAT: Cast Away (Sony Music) WHEN & WHERE: Thursday 28 March, Corner Hotel

NEW PALETTES Sonic Animation are back with a new album, Once More From The Bottom, and a new lease on life. Rupert Keiller, one half of the duo, talks Cyclone through the process of rekindling inspiration and eventual rebirth. elbourne electronica outfit Sonic Animation – Rupert Keiller and Adrian Cartwright – have reformed, unleashing the comeback album, Once More From The Bottom, led by the neoacid I Will Be Twisted. They’ve even brought back their furry mascots – or “Technotubbies”. “We’ve tried to get rid of them forever,” Keiller, Sonic Animation’s frontman, laughs. “But people like to see them at the show – and I just give in to that kind of pressure!”


Keiller and Cartwright were originally in the rock band Scarlet Garden, with Keiller on vocals and Cartwright on drums. Cartwright had an epiphany while raving at the Palace in St Kilda to Belgian DJ Frank de Wulf. Soon he and Keiller were experimenting with dance music, forming Sonic Animation with DJ Steve Bertschik in 1994. Their first appearance was at the Lounge’s techno night, Filter. They’d release the 12-inch Time Is An Illusion themselves, attracting interest in Europe, then the album Silence Is Deafening on Richie McNeill’s Azwan Transmissions. Bertschik quit prior to 1999’s Gold-selling Orchid For The Afterworld, which encompassed the crossover hits Love Lies Bleeding and Theophilus Thistler. Over the course of Sonic Animation’s career, they’d traverse everything from trance to techno to breaks to ‘rocktronica’. And they were irreverent, taking the piss out of superstar DJs with I’m A DJ. Sonic Animation split in 2006 after four albums, a ‘best of’, Eleven, and one final Big Day Out run. Keiller went travelling – but didn’t return. “I was supposed to come back here, but I didn’t really have anything to come back to in the end – like I didn’t have a girlfriend here,” he laughs wryly. “I had some personal stuff going on. I wasn’t married, I didn’t have any partner, a girl, to come back here for; I didn’t have a house, I didn’t have a job, Sonic wasn’t doing anything – you know, we’d finished.” He decided to settle in Canada, his country of birth, and write music. However, for four years Keiller was unable to create, again due to that “personal stuff”. Then someone made an appealing suggestion. “Our old lighting guy said something – ‘You guys might be able to get back on one of the Australian festivals, do some kind of reunion thing’. I thought, ‘Oh,

that’s a good idea’... It was still just a dream, really, but it inspired me to start writing something.” Keiller chatted to Cartwright, who’d remained in Melbourne raising a family and committing to a day job. He was up. And so the pair cut 2011’s self-titled EP. Meanwhile, Keiller had forged a new career DJing in Canada’s ski resorts. “I live in this little town called Rossland in British Columbia – it’s like a little bubble,” he says. The old gold rush hub in the Monashee Mountains is a popular destination for those into skiing and snowboarding – and, in summer, mountain biking. However, there are few job opportunities – and Keiller wasn’t qualified to work at the nearby smelter. As a DJ, he could, in theory, trade off Sonic Animation since many Australians visit the ski fields. “[But] what I noticed was, as the years went past, the kids who were coming out to these ski hills didn’t really know who Sonic Animation was anymore – once they got below a certain age, that was it. It was like, ‘Who’s this guy? We’ve never heard of him. We just came from Australia and we don’t know who this guy is!’” A profile boost was in order. Along the way, Keiller connected with vocalist Sexton Blake (aka Nadine Tremblay), “a total music theatre nerd” – albeit one into the avant garde (her repertoire includes an Andrews Sisters tribute, Ski Bum: The Musical and Mennonite Mafia: The Untold Story Of Abraham Harms). Keiller worked on Tremblay’s productions as a sound technician and tour manager. The pals eventually developed the conceptual project, Electro Social Club (ESC), combining Tremblay’s music theatre with Keiller’s electronica. “[Tremblay is] a really hard worker, so she really motivated me to finish stuff, get things done.” By now Keiller felt more optimistic about life in general. “A lot of my personal stuff had disappeared and I was a lot happier – and motivated.” He and Tremblay became a couple. Keiller was ready to revive Sonic Animation. “I wanted to do it more for myself than anything else, ‘cause I’d just spent so much time not doing anything.” Sonic Animation played Homebake in December. Keiller has stayed on in Australia, preparing

for their current East Coast tour and promoting Once More..., but he’ll shortly fly back to Canada. The music industry has changed profoundly since Sonic Animation’s last album proper, 2004’s Defective Perspective. “It’s a new learning experience, really – it’s like coming back into the industry and starting from scratch, with the exception [that] people recognise the name,” Keiller says. Sonic Animation, who now manage themselves, largely financed Once More... by harnessing the crowd-funding site PledgeMusic. Keiller deems it “a pretty good experience”, with “super diehard fans” helping to put the word out via Facebook. The duo have actually raised money by having fans pay to don the iconic costumes. While the kids may not necessarily remember Sonic Animation, others do. Keiller admits to being “blown away” by the nostalgia they’ve engendered. “There was one couple who met at a Sonic Animation show and then they got engaged at a Sonic Animation show and then [they] sent me a link the other day to their wedding ceremony and, when the bride walked down to meet the groom, they were playing one of our songs... Hopefully they won’t get divorced and play another one of our songs, like one of the darker songs – I Will Be Twisted or something!” Yet Once More... is a contemporary-sounding record, influenced by Keiller’s DJing. “I’m always looking for new stuff – I’m always looking online and following different DJs and artists. I spend a lot of time on

Beatport and some more obscure blog sites looking for mash-ups.” (He likewise tunes into triple j, the station that did much to break Sonic Animation in the ‘90s.) I Will Be Twisted has a dubstep wobble. “Where we live, they’re really into bass-heavy music like glitch hop and dubstep – every party you go to has that music on,” Keiller says. He digs, too, the post-dubstep genre complextro, but considers the name (courtesy of US DJ Porter Robinson) “stupid”. At the same time, Once More... has songs – always Sonic Animation’s strength. “I would sit down with just my acoustic guitar – no beats, no music – and try to figure out, ‘Could I play this song just with a chord progression on the guitar by myself and what would it sound like?’” Nor have Sonic Animation lost their quirkiness, Keiller throwing in a rock-cum-ska cover of Grandmaster Flash & The Furious Five’s The Message and co-opting several ESC cabaret songs featuring Tremblay – among them the possible second single Punk On The Dancefloor. Indeed, in their third decade, Sonic Animation are on a roll. Born again... WHO: Sonic Animation WHAT: Once More From The Bottom (MGM) WHEN & WHERE: Thursday 28 March, Karova Lounge, Ballarat; Friday 29, Yarra Hotel, Geelong; Saturday 30, Toff In Town

For more interviews go to themusic.com.au/interviews • 19

THE BIG SPIRIT OF SONG Having finally stepped out under his own name, Americana songwriter Simone Felice is deep in the middle of writing and recording album number two. He gives Chris Familton an insight into where it might be heading and how he has adapted to life as a solo artist. imone Felice has experienced a lot in his 36 years on this planet. From a childhood brain aneurysm to open-heart surgery and the loss of a unborn child it would seem from the outside as if life has dealt him a bad hand, yet speaking to him, you get a surprisingly strong sense of contentment and calm from the songwriter. Music, perhaps, has been the one constant in his life – from teenage bands with friends to the Americana sibling group The Felice Brothers, the cosmic vibe of The Duke & The King and now his solo career that is heading towards album number two. That second album has in fact been underway since the middle of last year, not long after his debut was released, and is a project Felice is letting evolve in a natural and organic fashion.


“I’ve been writing and recording over the past ten months, taking my time over my second album. Like Leonard Cohen said, ‘You don’t know a song has the magic until God walks into the room.’ It’s all about the big spirit of poetry and song so I’m not rushing things. We’re writing and recording and listening as we go and I’ve got a great writing partner, my friend and producer David Baron, who I’ve been working with on it since about May last year. We are going to keep working on it through the summer and hopefully it will come out early in 2014. We started working on it quite soon after the last album came out, because for me songwriting is an endless endeavour. It feels like we’ve been writing songs our whole lives, myself and my brothers; we’ve got the plague, the bug, and you can’t stop for better or for worse.”

and being able to say ‘I love you’, which isn’t an easy thing to say without it being sappy. It isn’t an easy line to walk between honesty and being too sappy. I’m just listening to the whisper that comes and it is going to be a dynamic record and a shift in a way that I’m looking forward to sharing. I’ll have some guest artists come and work with me. My brother James is going to come and sing some harmonies – I just love his voice when we sing together, and his accordion work. I’ve got some great female singers that are going to feature on the record as well so I definitely don’t like to be too lonely in the studio.” For many artists the transition from being part of a group to becoming a solo writer and performer can be a challenging one. Felice seems to have made the shift with relative ease, and though he has minor regrets, he has found a number of advantages to being the master of his own creative domain.

Writing and recording as songs emerge creates the interesting question of how or if the album will come together as a coherent group of songs and whether there will be ideas and musical concepts that will tie them together. Felice does have some goals for the record but as he explains he is happy and confident enough to be led by his muse and bring others into the studio when the songs call for additional players and voices.

“Sometimes I miss being part of a band, that ‘in the trenches’ thing that happens when you are a platoon. I miss a bit of that but the trade-off is that I can do whatever my heart tells me to do. There isn’t a parliament or committee that you have to deal with to get agreement on things. I can just let the wind blow me artistically and when it comes to touring I can go wherever I want to go and not have to just get on the bus when it shows up outside my house. I can chart my own course when it comes to where I want to go and I don’t have to be at the beck and call of the tour bus. One thing that has made touring easier is forging some special relationships with some of the musicians that come out on the road with me. On this Australian tour I’ll have my friend Matt Green, who plays the lap steel, mandolin and dobro, so we’ll be performing as a duo and he’s actually from Melbourne and he’s travelled with me all round Europe and in the States so I do form great bonds with the different players I take out with me. It helps to have the camaraderie; I’d be a bit lonely if I was just out by myself all the time.”

“The album is still a collection of songs but it is starting to shape itself into a theme or a loose feeling, for sure. I’m really trying to attain this feeling of openheartedness

Newer bands like The Lumineers have cited The Felice Brothers as a major influence, which Felice finds gratifying and feels blessed that his art is inspiring others

to create music. The flip-side to that is the music that shaped his life, and growing up in the Woodstock area where so many great musicians like Dylan and The Band lived, made an unavoidable impression on the young man. “That music of the ‘60s and early ‘70s was omnipresent in my world as a child. The music of The Band, Hendrix, Dylan, The Beatles and the great CSN, that was all the music I listened to growing up along with classic rock. I couldn’t escape that for better or for worse. If I can be just one of the people to carry that torch onto the future I feel very lucky. I think a lot of people deny their true influences because they don’t want to be compared to some people but I think it is important to be honest because folk music, any form of music, it all bleeds into one and inspires everyone and keeps this grand thing called music rolling along. The global nature of the world now means you can’t help being influenced by different music, shapes and colours.” Travelling and touring is something that Felice also draws a lot of inspiration from, and it feeds back into

the songwriting process when he gets home to Woodstock and is able to kick back in front of the fire in his writing room and work on new songs. “Always travelling and getting on airplanes and losing your bearings is an important thing for artists and human beings. Getting out of your comfort zone and having your feet swept out from under you happens a lot when you are touring and I think it is really great to feel afraid, vulnerable, uncertain, and it helps me to recalibrate my vision and my understanding of poetry and song. I’ve just been touring a lot for the last year and if I can just write a song or two and hang with my family when I’m home then I’m doing good.” WHO: Simone Felice WHEN & WHERE: Saturday 30 March, Meeniyan Town Hall; Sunday 31, Boogie, Bruzzy’s Farm, Tallarook; Wednesday 3 April, Workers Club

TASTE TEST: JESPER EKLOW FIRST ALBUM I BOUGHT WITH MY OWN MONEY WAS… Revolver by The Beatles. I’d brought some kind of psychedelic garage rock singles before that, but that was the first album. This was pretty quickly followed by stuff like the first Doors album, the second Jefferson Airplane album, things like that, but that was the first album. This was just the kind of stuff we were exposed to back then. I guess it kind of set me off on the right track right away. I was kind of a science nerd as a kid, but then I heard a fuzz guitar on the radio and then that was it. It just changed my life.

ALBUM I’M LOVING RIGHT NOW IS… Hmm. Right now? Let’s see. Because I’m coming over there, I’ve been playing Ball Power a lot. I’ve also been getting into a guy called Whiskey David, who’s this Scottish guy who made this album in Spain in the mid-’70s. It’s extremely raunchy rock‘n’roll. That’s the one that’s in rotation right now. Every couple of years it just sits on the turntable for two days and I can’t listen to anything else.

MY FAVOURITE PARTY ALBUM IS… I’d say Kick Out The Jams by MC5 or possibly Fun House by The Stooges. Probably the best time I’ve ever had at a party was with Kick Out The Jams. It was the first time I’d ever drunk too much that I was on the floor, spinning. I thought ‘they’ve got 40 singers in that band’. It just sounded like a massive invasion in my mind.

MY FAVOURITE COMEDOWN ALBUM IS… Wow. That’s a tough one. I’d say it’s probably not a specific album, but my favourite comedown music is country blues. Charlie Patton and people like that. To me, when I hear that music, I feel like there’s some kind of voice coming out after some kind of storm you don’t quite understand. There’s this calm, resigned vibe to the world. It’s like these guys understand deep sorrow and the heaviness of life. You know, I’m hanging around in my apartment in New York and just the mood that comes out of these records is like I’m down in the woods smelling the trees; there’s these strange figures lurking around and I don’t really understand their lives.

FIRST GIG I EVER ATTENDED WAS… That would be when I was a kid at my high school. I was really isolated back in Kentucky. But then when psychedelic music came out there were cover bands and my high school had one play. They were called The

20 • For more interviews go to themusic.com.au/interviews

Vanguards. They were just playing covers of Hendrix songs and stuff like that. The first famous band I saw was probably Grand Funk Railroad around the time of the I’m Your Captain album, but they were playing stuff off that second album. It was astonishing.

WEIRDEST GIG EXPERIENCE I’VE EVER HAD… Probably the weirdest ones I’ve had are the ones I heard about the next day that I don’t remember myself. That’s happened a couple of times. But there’s been other weird, disorienting things. Like when we were playing in Spain recently, we did a great sound check and then when we took the [stage] they reversed the guitars so I couldn’t hear what I was playing. So I’d have to run over to the mic and sing and then run back over to my guitar amp just to hear what the fuck I was playing. That was a weird experience.

THE BIGGEST NON-MUSICAL INFLUENCES ON ME HAVE BEEN… I would say some of it would be writers and stuff. You know, Edgar Allen Poe and HP Lovecraft are sort of influences on my sense of imagery and things like that. I like Gothic, small-town weirdness. That kind of feeling you get when there’s a stranger in town and you don’t quite know what’s up with them, but you know it’s something creepy.

THE COOLEST PERSON I EVER MET… That is a tricky one. I’ve been fortunate enough over the years, being into obscure psychedelic garage punk and strange music, but one of the coolest people I’ve ever met would have to be this guy named Peter Grudzien. God, I’ve got a hundred stories about him, all right out of The Twilight Zone. He was from Queens in New York and in the late-’50s his family took a trip down south. He was this gay kid from Queens who heard country music for the first time in the south and he came back to New York and started a rockabilly trio, kind of modelled on Johnny Cash’s sound. He’d be doing songs with lines like “Don’t come feeling up my doorknob anymore”. Later on he heard Bob Dylan’s lyrics and his songs got even stranger: lyrics like “You walk into a room and meet all your childhood toys”, stuff like that. It’s just amazing music. He had this thing of not wanting to record his music because he thought the government was intercepting it and ruining his career. He’d ring me at like three or four in the morning and tell me he knew

that I wasn’t really a musician and that I was working for the FBI and things like that. Like I said, right out of The Twilight Zone, but he’s just such a lovely guy and definitely the coolest person I’ve ever met.

THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD IS... Okay, I don’t know what the cool factor would be nowadays, but when I was a little kid I saw Linda Ronstadt on TV and she was wearing this mini dress and bare feet. I got just a massive crush on Linda Ronstadt right then. It was, like, ‘Wow! This is the most beautiful woman I’ve ever seen. I think I’m having a sexual awakening. Now I know what everyone is talking about.’ And you know what, now that I think about it, those records she made, they’re eternally cool. I don’t care what anyone else says.

IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY IT’D BE… When I was 12 years old I would have said I wanted to be in San Francisco, Haight-Ashbury. I was so fascinated with LSD and all these kids in crash pads listening to rock and all that. Now I would say I probably wouldn’t go too far back in history. I’d say

probably New York circa 1965, when The Velvet Underground were getting going and that kind of thing. They were one of the other bands I first got into in Kentucky that all my friends couldn’t understand. All my friends were saying ‘this isn’t music’ and I was kind of saying ‘yes it is, are you kidding?’ While it did sound like a whole lot of noise being made by a bunch of degenerates, there was still some kind of blend of the creativity that was going on in the art world at the time there with the music those guys were making that somehow encapsulated the spirit of rock‘n’roll.

IF I WASN’T MAKING MUSIC I’D BE… Listening to it. Interview by Tony McMahon WHO: Endless Boogie WHAT: Long Island (No Quarter) WHEN & WHERE: Friday 29 March, Tote; Friday 29 to Sunday 31, Boogie, Bruzzy’s Farm, Tallarook; Wednesday 3 April, Northcote Social Club; Thursday 4, Barwon Club, Geelong


SECOND CHAPTER First time around, Mama Kin finally got the chance to Beat And Holler. Now with second album, The Magician’s Daughter, the songwriter as storyteller is emerging, as she tells Michael Smith. aving overcome her initial shyness to record and release her debut album, Beat And Holler, back in 2010, Danielle Caruana, who travels as Mama Kin, has become quite the seasoned trooper, performing on concert stages around the world. Not that she hadn’t, by default, done a few before stepping out as an artist in her own right, since she is Mrs John Butler, opening for him as well as for The Waifs and so on. So contemplating her second album, The Magician’s Daughter, Caruana was always going to approach it a little differently.

About to hit Australia with The Music Maker Blues Revue, Ironing Board Sam gives Nic Toupee the skinny on the handle and the DIY attitude that earned it. had made my own keyboard but had nothing to put it on, and my daddy said ‘you can’t put it on the table, we gotta eat on there.’ So one day, I was travelling downtown and saw an ironing board on the side of the road and I thought it would be a great thing to put my keyboard on and get it out of daddy’s way.”



“I did some songwriting study in between the two albums,” Caruana explains, “and a lot of the ideas for those songs came through that period, which I felt really liberated by because I felt like I was kind of running out of experiences to write about, and through this other channel I learnt how to write, um, fiction I suppose – while it still being deeply personal. It opened up a whole rainbow of possibilities for me in my writing, which was really exciting and musically felt really liberating as well.” Holding the stories of The Magician’s Daughter together are themes of connecting or disconnecting, of mother/father and mother/daughter relationships. “In some way, all the stories are connected to a place of fear for me, or a place of longing, or a place that I’m grappling with anyway. But I felt that rather than speak about the direct fear or the direct longing, I could paint a much more vivid picture by writing a story around it, and I’ve realised through this the great liberation of being a writer, like this amazing thing we get to play with, this exploration we get to make, while mining our own experience, painting it with the full spectrum of experience.” Caruana called in Jan Skubiszewski, one half of Jackson Jackson and whose father is a film score composer, to produce the album, and there’s certainly a cinematic quality to it. “I think one of the major

things about working with other musicians and working with producers is that you kind of bring them this song, which already has this kind of pathos, and you ask them to give that pathos a colour or a shade or a sense. So you’re saying embellish what you hear here, and then you hope that they interpret it in a way that somewhere in your body you already know that it is. So this is the thing where, as a songwriter, I’m waiting for moments of recognition.” As for the characters that populate the songs on the album: “They arrive almost fully formed it seems. At what stage of the writing I think is the interesting thing. So a song like Cherokee Boy, that’s one of those rare songs that arrives fairly intact – all the parts, they just come. When I started writing that song… It gave me the heebie jeebies because I knew straight away it was this massive loss, this abrupt ending to the idea of life, of what life was going to be for this person, this abrupt ending to this assumed continuity. As people we invest so deeply into the idea of our future, I knew that song… It was almost like I didn’t want to write it, and even still when I play it, or when I was playing it for the guys in the studio, I could rarely get through a complete delivery of it without breaking down and just going, ‘I don’t even know if I want to sing this song – it just feels too sad’.” WHO: Mama Kin WHAT: The Magician’s Daughter (MGM) WHEN & WHERE: Thursday 11 April, Northcote Social Club; Friday 12, the Loft, Warrnambool

ENTERTAINMENT IN-FLIGHT At just 16, English pop star Birdy has given up on hairdressing and taken to churning out chart topping covers. Yet even with an Oz tour and second album on the slate, she doesn’t sound like a high flyer, as Paul Ransom discovers. here is something reassuringly shy and awkward about the school girl on the other end of the phone. Even though she has lived in considerable limelight since she won Open Mic UK as a twelve year old back in 2008, Jasmine van den Bogaerde (aka Birdy) still fumbles to answer questions in anything but the simplest terms. Beneath the well-honed ingénue image and assured singing voice, Birdy is clearly not a cynical media savvy starlet milking the universal obsession for pretty girl precocity (unless, of course, she’s playing yours truly for fool).


artistic lineage, (Dirk Bogarde was her great uncle, her mother is an accomplished pianist, her brother’s band has just been signed), might well be said to help, she also admits to being incredibly self-critical. “I definitely am,” she says with ironic certainty. “And I get really nervous before every show as well; but once I’m playing I really love it and everything, all the nerves kinda just go.”

From her home in New Forest, Hampshire, the now sixteen-year-old chart topping singer/songwriter reflects nervously on the oddness of her post-talent show life. “It’s very strange, but I’ve kinda got used to it,” she giggles. “Well, I’m getting used to it. I’m kinda at school a lot, so everything’s kept quite normal there. But I’m really enjoying everything. I love it.” Halfway through sixth form, she balances her pop star and student lives with what appears to be relative ease; although she does confess that the juxtaposition of the two is occasionally difficult. “Sometimes it can be, especially when I’ve just gone away and come back; but I get back into the routine quite quickly,” she explains. “Y’know, I hang out with my friends and I learn the subjects.”

As an artist known for covers, it’s that last part that’s most interesting. “Next album’s all originals,” she declares. “I’m going to experiment a bit actually. The songs are quite bare at the moment so I’m not really sure how they’ll finally come out.” However, unlike most girls her age, she has a wider range of topics to write truthfully about. “The new songs are all about the last year and all about change really … and love and other things.”

As she contemplates her somewhat crammed 2013 schedule, her Australian tour in April looms as the first big international commitment of the year. With a five-piece band already in rehearsal, the aim is clearly to reproduce her cover driven debut album note for note. “But we are experimenting a bit,” she adds, almost as an afterthought.

Either way, the course is set for the foreseeable. Bolstered by a supportive family, Jasmine van den Bogaerde looks forward with charmingly youthful simplicity. “I’d love to be doing this for as long as I can. I can’t imagine myself doing anything different really, although I wanted to be a hairdresser when I was younger.”

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Thus Carolina bluesman and maverick inventor Ironing Board Sam explains the source of his unique nickname, which he earned very early in his music career. A poor child with all the passion for music but none of the means, Sam Moore decided to improvise his way into a stage career, and his makeshift accoutrements gave him a memorable handle. “I was trying to get gigs so I could support my Daddy. I finally got a job as an entertainer with a fair, and then at a club in Memphis Tennessee, playing with a group called The Five Men Of Rhythm. I brought my synthesiser on the ironing board, and draped a ribbon around it because I was ashamed of the ironing board. People would come up to me and pull up my curtain and laugh – that was how I got the nickname Ironing Board Sam. I was really ashamed of it, but it didn’t hurt the band any; we were still packing out the house,” he laughs. What began as a painful reminder of his lack of means began to work in his favour, as the ironing board became a drawcard in itself. “The ironing board idea got so popular people began to hear about me around Tennessee. From there I began to get more work, and soon people started to accept the ironing board pretty well.” Whilst the Ironing Board forms the backbone of his moniker-led mythology, what is less well known about Moore is his penchant for invention; his knack for assembly would put MacGyver to shame. “I was asked by a club owner in Miami to play some dates; this was really early on in my career,” he recalls. “I said yes, but at that time I didn’t have a decent instrument. He offered to buy me one, so I picked a white Hammond trimmed with gold… But unfortunately

the club burned down, and my organ burned with it. I rented another for a while but it was too expensive, so I headed home and stopped playing clubs for a while. “One day, coming home from college, I found some telephone wires along the side of the road, and some tubes. I picked them up, and when I got home hooked up the tubes to the wires, and it made a hum. Then I got some thumb tacks and placed them on a two-by-four piece of wood and attached them to the wires. I put the end of the wire up on the ring on my finger, so when my ring touched the thumb tacks it made a note and I could play that way – I’d made myself a keyboard.” With his homemade synthesiser and ironing board, coupled with obvious musical talent, Sam began to get a name for himself, and the bookings began to flood in. Soon he was offered his own late night TV show, The Night Train. “So a school teacher came and offered me a spot on TV – Channel 5 in Nashville. My show came on at 12-midnight, and it was just me and all the guests I wanted to feature. It was on for two years and from there I really got my start, and I’ve been pretty much touring ever since. I’ve never been to Australia yet, but I can’t wait to go. Australian people are always so friendly – they’ve got a real Southern-type attitude, and I like that mentality.’ WHO: The Music Maker Blues Revue WHEN & WHERE: Wednesday 27 March, Northcote Social Club; Friday 29 to Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

RUN ON FOR A LONG TIME After almost 75 years in existence, The Blind Boys Of Alabama remain as fresh as ever. Drummer Ricky McKinnie tells Dan Condon what makes them so.

For all the hype and cynicism that surrounds her, it’s hard to disentangle the talent (genuine, overblown or otherwise) from the fact she is just sixteen. Parents of teenagers and those who recall their own adolescent folly could well be forgiven for wondering how it will all turn out for her. Unsurprisingly, the girl herself is not so fretful. Recalling the moment when she knew she had found her calling, she says, “I think it was probably doing that competition [Open Mic UK]. It was the first big performance I’d ever done and after winning that and releasing Skinny Love I just realised how much I loved performing and writing.”

Birdy’s numerous fans will surely be confident that their star will deliver. Whatever else you can say about talent show winners, Birdy is an obviously gifted performer. To imbue songs like Skinny Love and The xx’s Shelter with as much ache as she has signifies an instinct and assurity not evident in her interview answers. While her


WHO: Birdy WHAT: Birdy (Atlantic/Warner) WHEN & WHERE: Monday 8 April, Palais Theatre

heirs is perhaps the richest tradition in Western contemporary music and The Blind Boys Of Alabama have no intention of putting an end to it soon. Why would they? Much of their year is spent spreading joy through their uplifting gospel music and inspiring live performances and, despite the overtly religious nature of much of their music, their audience is largely secular.


“People are just people and we realise that if you sing from the heart, what’s from the heart reaches the heart – we try to sing from the soul,” the band’s drummer and sometimes vocalist Ricky McKinnie says. “We go in with the idea of knowing that music is universal, we just take the music to the people and we don’t usually have a problem.” The mindset has stood the group in good stead for no less than 74 years now. Back in 1939, six boys attending the Alabama Institute For The Negro Blind in Talladega, Alabama, all around the age of nine, began singing together. Five years later the boys had left school and begun to tour as a professional gospel singing group. The ensuing decades saw peaks and troughs in their popularity as musical trends wavered, but they remained strong and have, for many years now, become a well-known touring act the world over. Australia has been a hotspot for the group since they started coming here. “The food is good, the people are nice and we just like going places where people don’t mind having a good time,” McKinnie says. “The Blind Boys don’t like to sing to a conservative crowd, we like a noisy crowd and when we come to Australia they don’t mind getting up and getting into it.” It has been 23 years since McKinnie joined Blind Boys and Australia will always hold special memories for him. “I was playing for a church here in Atlanta, they came to me and said ‘Ricky, we need a drummer to go with us to Australia’. So my first gig with The Blind Boys when I became a member was in Australia, so it brings back a lot of memories to me.”

McKinnie lost his sight to glaucoma in 1975, just after scoring a gold record with his group The Gospel Keynotes, but giving up the drums was never on his agenda. “I never thought about the fact that I couldn’t see; it wasn’t my disability that made me who I am, it was my ability – everyone has their limitations,” he says. “I’ll be performing until I can’t perform anymore, I guess. I’m asking the Lord to continue to give me strength to do it and as long as people can enjoy [it] then I’ll be doing it.” In recent years the group have collaborated with scores of high profile artists from across many different genres of music. Everyone from Solomon Burke to Willie Nelson to Tom Waits to George Clinton to Ben Harper (with whom they recorded an entire album, 2004’s There Will Be A Light) have appeared on record with The Blind Boys in recent years. “As long as somebody wants to work with The Blind Boys Of Alabama and they have a clean song with a good message, then we don’t mind working with them,” McKinnie says. “We keep all our avenues open; it’s not about the person, it’s about the music.” Don’t come to see The Blind Boys expecting a reverent, solemn or reserved gospel performance – these are energetic shows at which you are to let your inhibitions loose. “At our concerts if you feel like dancing you can dance, if you feel like singing along you can, when we come off stage you can touch Jimmy Carter, he’ll come down and shake your hand,” McKinnie says. “We’ve got a hands-on program going on. “Australia won’t be the same when The Blind Boys are back in town.” WHO: The Blind Boys Of Alabama WHEN & WHERE: Saturday 30 March, Bluesfest, Tyagarah Tea Tree Farm; Wednesday 3 April, Hamer Hall

SCHOOL DAY SONGS Songs he wrote in the ‘60s served Roger Hodgson well in the ‘70s, and as Michael Smith learns, they’re still giving him a career into the early teens of a new millennium. t took them til their third album, 1974’s Crime Of The Century, to crack the charts, and their sixth, 1979’s Breakfast In America, to send UK prog-pop six-piece Supertramp into the stratosphere – the album going on to sell more than 20 million copies – but there were a stack of hit singles along the way, officially written by the core members: singer, guitarist and pianist Roger Hodgson and keyboards player Rick Davies, including Dreamer, Give A Little Bit, The Logical Song and Take The Long Way Home. Like Lennon and McCartney before them, inevitably Supertramp’s songs were written by one or the other. Since he quit the band in 1983, Hodgson has “reclaimed” those songs he wrote and built on the catalogue with four solo albums, his most recent, 2010’s Classics Live, revisiting his classic Supertramp songs.

In 1968 a young Dusty Springfield sung of a preacher man’s son. In 2013 there’s another son of a preacher man taking the genre by storm – his name, Allen Stone. Discussing his meteoric rise, he hits all the right notes with Brendan Hitchens.


Hodgson has long been a resident of California, but his biggest hit, the title track of Breakfast In America, was written long before he’d set foot in the country. “I was thinking about that the other day,” Hodgson admits. “The impressions you have of America change over the years. Now, it’s like we know everything there is, with the whole communications and the internet, but back then it was like the images… I mean The Beatles going to America was like a huge big deal, and I think that had just happened. So the 17 or 18-year-old, however old I was when I wrote that, thought, ‘Wow, I want to do that – I want to see all those pretty girls in California’,” he chuckles. The remarkable fact is that so many of the songs that became Supertramp classics were written before the band had even started. Davies had been in a band called The Joint that had been bankrolled by this Dutch millionaire, but when it proved a dead end, Davies was invited to pull together his own band. Hodgson proved the perfect songwriting foil and the new line-up recorded their largely forgotten eponymous debut in 1970. “It was a very lucrative period,” he says. “I mean, I haven’t really stopped writing but that was what I loved to do. Most of my life was simple then – it


llen Stone, the 25-year-old Washington musician known for his trademark dress of a Sonic’s guernsey, thick-rimmed glasses and scruffy shoulder-length hair, defies any stereotypes. He is softly spoken and his sentences concise. He describes himself as part hippy part hipster and plays raw acoustic guitar over ‘60s enthused soul and R&B. He is fiercely independent and his approach to music unique, owning an introductory story to music as good as any.


was music and school! School I had to do and music I wanted to do. I was 12 when I got my first guitar in my hands and that was when my life changed. I’d watched my dad play music to me for a few years growing up but he never let me touch his guitar, but then, at age 12, my parents divorced and I don’t know why but he left his guitar behind when he left home. “So I inherited it and that was it. I took this guitar to English boarding school and it became my lifeline to something that made any sense to me. Every spare moment I would go and just play and learn… A teacher showed me three chords and I’d just go and practice and practice, and very quickly I started writing songs. I don’t remember consciously thinking I’m going to write a song, it just happened. Within a year, I gave a concert at the school of 12 original songs, and I just continued writing from that point on.” Soon after, Hodgson cut a single for Island backed by a pop band called Argosy, which just happened to include the future Elton John. The single, Mr Boyd, did nothing, so Hodgson answered an ad put in Melody Maker by Davies, and the rest is history, “Even though,” as he points out, “it took four years to find the combination of musicians that would be the golden one.” WHO: Roger Hodgson WHEN & WHERE: Thursday 28 March, Palais Theatre; Sunday 31, Bluesfest, Tyagarah Tea Tree Farm

Beginning his artistic calling at age three as a singer in his father’s church, by 14 he was leading the congregation. “It spawned who I am today,” he admits, using his music as a platform for social commentary. “You realise that when you’re singing a soul song in a church and you look out into the crowd, that it’s not the melody that’s captivating people, it’s the lyrics. You’ve got to mean what you say and I think starting at an early age I had to prove myself. I started to think that, not only could I do this in a church, but maybe I could do this in any style of music, in any bar, in any city in the country or in the world and maybe I could reach people in the same kind of way.” Described by USA Today as a “pitch perfect powerhouse”, Stone acknowledges that with minimal formal training his schooling came through the church. “Singing in the church was my musical training. I’ve had singing teachers but I guess it was in the church where I learnt to sing in key and powerfully and not hold anything back. Pitch perfect?” he laughs, “I wouldn’t say that, but I won’t stop anyone from saying that.” The hyperbole extends beyond newspapers and has been constant, repeatedly earning the musician comparisons to Stevie Wonder, Marvin Gaye and Prince. It has come from radio stations, record labels, and much to Stone’s pleasure, talk-show hosts. “Ellen digs independent artists. She’s not listening to top 40 radio,

which is great for me,” he gushes, of being handpicked to perform on DeGeneres’ top-rating talk show by the host herself. “She had heard us on satellite radio and asked me and the boys to come on and play. That was so surreal; you can’t describe how I felt when I heard we were going on that show for the first time.” Having already performed for David Letterman, Jimmy Kimmel, Jay Leno and Carson Daly, Stone is no stranger to live television performances, but admits each is still unique and nerve wracking. “The first one was Conan and it built from there. Regardless of what you think, or what you’ve prepared for, they’re all different and surreal when they land on your plate. You just have to embrace every second of it, because who knows if you’ll be invited back.” Appearing on global television sets has seen the young man, over the space of two years, go from performing in small town local clubs to headlining his own shows and appearing on international festivals. “Since my first Conan performance in December 2011, the shows have gotten bigger and the opportunities I’ve been given have become extraordinary,” he says, with particular reference to his impending Australian tour as part of Bluesfest. Keeping with the rich talent on the line-up, which boasts Wanda Jackson, Paul Simon, Mavis Staples and Tony Joe White, Stone says he will be holding nothing back. “I’m playing with the full band. I’m not leaving anything out for Australia, you’re getting the full Allen Stone show!” he jokes. WHO: Allen Stone WHAT: Allen Stone (Decca/Universal) WHEN & WHERE: Thursday 28 March, Northcote Social Club; Sunday 31 and Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

For more interviews go to themusic.com.au/interviews • 23



Vance Joy’s first single, From Afar, from new album, God Loves You When You’re Dancing, has been over two years in the making. He tells Tony McMahon about the “skeleton there with each song that [he] can always go back to”.

Turns out 2012 was quite a year for Shawn Colvin – she released an album, an autobiography and performed in honour of Chuck Berry’s lyric skills. Michael Smith investigates.

“I got these filmmakers to do it and they were really talented guys,” he says. “I thought a lot about what kind of clip I should make for this song and it really stood out that it needed a strong storyline. The one we chose was stripped back, too, kind of like the song: people being on the outside of love or whatever. I just felt like it was a universal experience and that people would be able to relate to it because of that. I guess that informed the depth and the dimensions of what the characters in the clip were going through. When I watched it I was really blown away.” On the subject of why Joy chose From Afar as the first single, it appears as if usual considerations such as representation and catchiness have been eschewed in favour of one far more noble. In short, he believed in it. “That song I wrote a while ago,” he continues. “The second part of 2010, I think it was. But I just kept persisting with it and felt like I wanted it to get a shot and be the first single. I think it’s a good introduction to my music, but more than that, friends who listen to it have become really attached to it and so have I. I don’t know if it’s a sentimental thing or not, but I really wanted it to get a run. I don’t know what other kinds of considerations there are when you go about choosing a first single, but I just really wanted to back it in.” So, how does Joy feel about playing the songs live? He indicates that they work really well on stage for

one very specific reason. “It’s nice that these songs can exist in a few different forms,” he says. “The parts that we’ve put onto them are very considered and they kind of balance themselves out against other parts, and I guess [that’s] what a producer does when you’re in a studio. But if I want to I can play them alone on my guitar. It’s a bit like there’s a skeleton there with each song that I can always go back to.” Joy has recently signed with Liberation, a subsidiary of major label Mushroom. In this age of digital piracy, large record companies – depending which side of the debate one sits – are often represented as evil corporations making capitalist arses of themselves. On the other hand, though, there is the notion of major’s as places that nurture and develop artists throughout long careers. “There is that sense of being nurtured at Liberation,” Joy says. “Time will tell, I guess, but I think at the end of the day they seem like the kind of people that have great faith and are prepared to put their financial support behind you. It’s a weird thing. For me, it’s hard to even tell how people make money from music anymore, but that’s what big labels do. I guess somehow they make it work. So in that sense, it seems to me like it’s almost a necessary thing to do.” WHO: Vance Joy WHAT: God Loves You When You’re Dancing EP (Liberation) WHEN & WHERE: Saturday 27 and Sunday 28 April, Northcote Social Club

“We started out being quite minimal,” Palmer explains, “but I suppose when we went into the studio, we were, like, ‘Fuck it!’ We layered tracks a bit more and just made it more kind of a full sound, and as we evolved we just needed people to play the stuff we were recording. So we just expanded the band. I mean, shit! I always wanted to be like The Stones and have a piano player and everything,” he chuckles. “It’s definitely a good moment. “It’s great having a full band with a bass player [Nick Masman] and stuff – awesome. They’re all friends of mine. Sam, our guitarist, is just an all-‘round legend, he’s been a friend of ours for years, so I suppose when we were talking about getting new members it was really obvious who to get. It works well, I suppose, because me and Owen are such a tight little unit that you need friends to fit into that. Basically we had to find someone to play drums because Owen always hated being the drummer, even though he’s really good, so he could move on to be the organ-slash-electronic-noisemaker dude.” Though the band did a couple of gigs, Hall’s absence prompted them to cut the new EP, scamming some free studio time, the money saved directed to printing the EP in vinyl, which, as Palmer reckons, “is much cooler”. “We listen to heaps of shit on vinyl – we’ve got a really good collection. You know, it’s one of those things – chuck on Exile On Main

24 • For more interviews go to themusic.com.au/interviews

These days more people would know Miller for his association with Robert Plant and his 2010 Band Of Joy album, but he’s of course primarily a country artist, singer and guitarist, and has toured with Emmylou Harris, Steve Earle and Linda Ronstadt as well as Colvin and many others. In fact, he’s in an occasional band with Harris, Colvin and Patty Griffin called Three Girls & Their Buddy. Writing a book is, of course, a far more solitary exercise, and Colvin admits it was challenging, but “during the last year of working on the book I was also working on songs,” she says. “So I would take a week or two here and work on the book and then I would take a week or two there and work on the songs – it was a back and forth kind of process. I asked Buddy, after he told me who the band was gonna be – he picked out the band – if any of them had any

The band included the guitarist Bill Frisell and drummer Brian Blade, along with bass player Victor Krauss. Colvin ended up co-writing with Frisell, Krauss and Jakob Dylan, who added a few lines to Seven Times The Charm, which she co-wrote with John Leventhal. “There were some older songs on the record that I was put back in touch with because I was writing the book,” she says. “One of them is one I learned when I first knew Buddy Miller, and he reminded me of it, a song called On My Own. One is called Knowing What I Know Now, which I wrote with John Leventhal a long, long time ago in New York City, and American Jerusalem is another one – that’s a cover song by Rod MacDonald that I learned in 1981 or ’82. So especially writing about those days in New York reminded me of songs that I knew.” In February last year, Colvin was invited to perform Leonard Cohen’s Come Healing at the inaugural PEN Awards For Songwriting Excellence, at which Cohen and Chuck Berry were recipients. “It was great,” she remembers. “Paul Simon, being this great lyricist, somebody asked him once what were his favourite lyrics and he said Be-Bop-ALula!” Simon inducted Berry on the night. WHO: Shawn Colvin WHAT: All Fall Down (Nonesuch/Warner) WHEN & WHERE: Thursday 28 and Friday 29 March, Bluesfest, Tyagarah Tea Tree Farm; Monday 1 April, Corner Hotel

When Kate Kingsmill suggests to The Resignators frontman Francis Harrison that people seem to either love or hate ska, he’s baffled: “I don’t know how you can hate ska.”

“No one fucking sings about” the state of the world, according to Ten Cent Pistols frontman Alex Palmer. Michael Smith discovers this band aim to fill that void through their music.


“It was very relaxed,” Colvin says of the recording. “He’s a sweet man, he knows exactly what he’s doing, so great combination there. We recorded at his home, very relaxed: clock isn’t running, instruments everywhere, you know, cats, people dropping by. And Nashville is a wonderful place to make a record; speaking of people dropping by, we had Emmylou Harris come by, Alison Krauss came by; I mean it was a drop-in kind of revolving door policy going there and it was a joy.”

music to give me, ‘cause I do like writing lyrics when somebody else has done all the work,” she giggles.



ormed in 2008 by twin brothers singer/guitarist Alex Palmer and drummer Owen Hughes (and, no! The question of different surnames wasn’t asked), Ten Cent Pistols began as a two-piece blues project. By 2010 they were a four-piece band and last year expanded to five, though the departure to Berlin of guitarist Sam Hall for a year meant that when the band went into the studio to record their second 12” vinyl EP, Vultures, it was as a three-piece, with guitarist Johnny Hird guesting on the last track.

hat’s an output I guess,” chuckles Colvin as she ponders the ‘twin peaks’ of her creative output in 2012, her eighth album, All Fall Down, and her memoir, Diamond In The Rough, on the line from Detroit, Michigan. The processes involved in the making of the two couldn’t have been further apart as it turns out though, making one feed into the other. The “happier” experience was making the album with an old friend, musician and producer Buddy Miller, whom she first met back in 1975 when the South Dakotan was trying to get a break working in Austin, Texas. Miller convinced her to try her luck in New York and sing in his band.



rom Afar is the first single from Melbourne singer-songwriter Vance Joy’s upcoming EP, God Loves You When You’re Dancing. While the song is gorgeous in and of itself, boasting both mindfulness and a lack of contrivance, this writer can rarely recall an accompanying video that so eloquently and stylishly sums up a song’s thematic complexity as the one for this track does. Joy himself is more than happy with the results, and has no trouble discoursing at length on the reasons why.

Street and let’s get fuckin’ wasted! But the thing is, vinyl just becomes this really lovely experience. It’s really warm and does sound better, you know?” With the expansion of the band, Ten Cent Pistols have also expanded their musical boundaries, moving away from the essentially blues core of their beginnings to a more late-‘60s sound that, to these ears, moves them closer to another band that evolved out of the blues – The Doors – though not to Palmer’s ears. “It’s becoming a lot more psychedelic and I suppose more like the music we’ve been listening to. We’re all pretty heavily into Black Rebel Motorcycle Club, so I suppose we just wanted to create something that was more… I don’t know, it’s like if I died tomorrow, would I be happy with the record? And I’m like, ‘Yes’,” he laughs. “It’s all good! “I suppose we were just trying to get a bit of a different perspective than what most music is about. Shit, we’re living in this period of time, probably the most interesting, exciting and dangerous periods of human history, ever, you know? And, like, no one fucking sings about it. So I suppose that was a big part of it for me: writing songs that talked about how I’m kind of feeling about the state of the world. “We just went through this huge shift last year, with 2012 and everything, and everyone thought it was about doom and gloom, but I think it’s actually a giant spiritual awakening for people. So that’s definitely part of it for me, talking about that shit because no one else does.” WHO: Ten Cent Pistols WHAT: Vultures EP (Independent) WHEN & WHERE: Saturday 30 March, Cherry Bar

here’s a 40-year age gap between the oldest and youngest members of Melbourne/Daylesford ska band The Resignators. “But in our brains we’re all 16 or 17,” says Francis Harrison, the band’s vocalist and main mouthpiece who, age-wise, is somewhere in the middle. “We’ve got big generation gaps!”


This spread acts as an advantage for The Resignators who, after seven years on the scene, are broadening their musical horizons. The members of the band all come from hugely different backgrounds, from hardcore punk to first wave Jamaican ska. “Steve [Douglas, guitar], who is American, started Gwar, they’re a very famous metal band,” Harrison informs. “He came to Australia to play in a bluegrass band. I know – it’s the freakiest thing on earth.” Stacey (Kilpatrick), the band’s keyboardist, has a Celtic musical background, and Jeremy Meaden, their trumpet player, was in an indie band in Ireland called The Vals. “You’ve probably never heard of them, but in that scene they’re really quite big: NME did a big write up on them,” says Harrison, whose background is in rock and punk. “Then you’ve got John [Howell], who’s only 19 and he’s an amazing bass player. His interests are so wide: lots of bass bands, Primus and stuff like that.” The Resignators will be touring Europe, the States and Canada later this year. “Canada is probably our biggest market, we’ve been there five times. They seem to be a lot more open to what we do. I love Australia to death and that’s why we’re still here, but Australia is still very four-to-the-floor rock’n’roll when it comes to live music and it’s very hard for bands of any other genre to get a foothold here.“ Which is part of the reason why The Resignators are broadening their musical horizons. “We love ska to death, all of us, and that’s the thing that binds us, because we’re all very, very different people. The thing that binds us together is our love of this Jamaican form of music, but we’re really trying to not play so many ska gigs. We’re really trying to mix it

up and play more mainstream sort of gigs with bands that people may know, more so than just doing ska.” It would appear that ska is one of those specific genres that people either love or hate. “Apparently!” Harrison pipes up. “I don’t know how you can hate ska. It’s such an easy listening kind of music, maybe that’s just me because I’ve got an ear for it. I just don’t understand when someone says, ‘I hate ska’ or, ‘I hate trumpets’ – I don’t understand that!” Even so, he admits he doesn’t like saxophone very much. “But we toured with The Toasters last year and there’s this famous sax player who plays with The Toasters called Tommy Tornado, he was amazing. His sax sound was just out of this world. He was so good. So you can always be swayed if someone uses it in the way that you like or you can hear it.” You can also be swayed by passion, which The Resignators have swathes of. “If nothing else, we give a good performance. We just give it everything we’ve got. It may not always be in tune, it may not sound perfect, but that’s kind of the beauty of what we do as well, because it’s all about the energy and the experience that we create.” There’s also a growing maturity to the sound of The Resignators on the new EP. “It’s just got more serious themes. Sometimes ska gets a bit silly and that’s cool. We have, on some of our past recordings. But this time we made a conscious effort to have some themes in there to make people think.” WHO: The Resignators WHAT: Down In Flames EP (Care Factor Records/MGM) WHEN & WHERE: Thursday 28 March, Workers Club; Friday 29, Mynt Lounge, Werribee








VAMPIRE WEEKEND Diane Young XL Recordings

It’s In My Veins Fever Pitch, aka The Strokes-lite. Fair enough wearing your influences on your sleeve but you don’t want to sound like an imitation or a poorman’s version. The CD art isn’t even promising; a photo of a girl from the shoulders down, her long t-shirt obscuring her bits as she slips her knickers down her thighs. Risqué for high school, maybe. Fever Pitch’s take on indie rock needs fleshing out, shaping into something they know how to own.

PARAMORE Still Into You Fueled By Ramen We were probably due for an ode to the longterm relationship, and one that’s not starry-eyed or unduly nauseating. There are full-bodied guitar riffs with nimble ones stepping around them and a sing-along chorus that Hayley Williams belts with all her breath like she really wants to convey just how still into the song’s recipient she is “after all this time”. Her holler in the bridge, the way she just reaches that high note – it holds the height of young adult feeling, it hits the peak of her conviction. Clever, warm pop rock with bite.



Cast Away

RCA/Sony Music

XL/Remote Control

Sony Music

Go ahead; just have a read of the back sleeve of this record. Tell me you can get to the end of this album without feeling a tingle in your pants. This is babymaking stuff, folks. Rock’n’roll baby-making stuff.

A clatter of beats and funky rhythm opens this album, reflecting the Afrobeat influences that Thom Yorke reportedly claims to have been an inspiration across this album. It’s surprising that this album doesn’t ever explode with the wild vibrant energy associated with Afrobeat. Instead Atoms For Peace craft a groove that wiggles gently under Yorke’s ghostly hymnal vocals. As Amok proceeds it does not yield chaos and destruction but rather feels like a survey of a postapocalyptic wasteland that simply unfolds Before Your Very Eyes. The vibe is disconnected, indifferent and, as most would expect of Yorke, deeply introspective.

Touring the country this month to celebrate the release of their debut album, Cast Away, there is nothing particularly strange about Strange Talk. The pretty boy quartet from Melbourne sound as though they have travelled through time from the ‘80s to give us their take on feel-good party starting synth pop. The album’s opener and title track primes us for adventure with irresistible hooks and solid beats that whirl us about the electro-pop dance floor. It’s not long before the lads get all teenage lovesick on us with Falling In Love – pure ‘80s neon on pastels trapped in a high school romance that’s bound to end in tears. No surprises that moments later they should be Picking Up All The Pieces. Strange Talk may follow in the steps of Bag Raiders, Van She and Cut Copy but there is something so nostalgic about their music that it will take older listeners back to the days of Pseudo Echo, Wa Wa Nee and to some extent even Kajagoogoo. The obligatory ballad, Come Back Home, spins a more melancholy vibe that kind of echoes the Uncanny X-Men in one of their more mellow moments. They might not have big hair but it’s easy to see Strange Talk posing on a cover of Smash Hits. Unlike a lot of their indie dance contemporaries, Strange Talk are joyously upbeat at all times, unashamed to toss a little cheese into the mix and pummel us with beats that irresistibly lead to the dancefloor. Glossy production just makes everything sound bigger, brighter and bolder. “If we make it through the night, watch the morning sun”; you will probably leave this one with a smile on your face.


The names that span this album’s 11 songs are the cream of the crop. Stevie Nicks, Corey Taylor, Josh Homme, Trent Reznor, Paul McCartney and Rick Springfield all appear, and with Butch Vig in the producer’s seat, aurally Sound City: Real To Reel could never fail. But this is a Dave Grohl project, a Dave Grohl passion, a Dave Grohl record, and as such the delivery, structure and scope of it are delivered with predictable Dave Grohl brilliance.




Sound City: Real To Reel





More like Elvis Koenig, right? Terrible jokes aside, Diane Young makes you want to run as fast and as far as you can; such is the rush it brings. Maybe it’s the rapid flurry of drums, the bouncy pitch-shifted vocals, the horns, the barrel-waverip of guitars or the bom-ch-babom-ch beat finale. Somehow Vampire Weekend crammed it all into a two-minute-43-second-long buzz.

To focus on the background of the album – the accompaniment of a Grohl-directed film about Sound City Studios in Los Angeles, which closed its doors in 2011 after recording everyone from Fleetwood Mac to Slipknot – would be doing a massive injustice to the quality of the songs on the album. Kicking off with a bang, with Black Rebel Motorcycle Club’s Robert Levon Been and Peter Hayes teaming up with Grohl for Heaven And All, the thumping scene is set for the rest of the record. Taylor is subdued (compared to his usual Slipknot guise) but lets his singing voice shine on From Can To Can’t, and epic closer Mantra – featuring the all-star triple threat of Grohl, Homme and Reznor, is one of the best things you’ll hear all year. If there was a prize for ‘Best Rock Album That Accompanies A Movie and Features Amazing Famous Musicians’, then Dave Grohl and his Sound City Players would have no competition. Fucking great. Dylan Stewart


Despite contributions from Flea, session drummer extraordinaire Joey Waronker and percussionist Mauro Refosco, much of this album sounds heavily edited and sunk deep into sensuous melancholy techno pop. There is an accent on repetition but these songs get by on fairly traditional verse and chorus. Dropped sounds like a techno rave anthem turned inside out, and introduced into a post-everything environment it evolves into something else. Knowing how to walk the line between accessibility and abstraction, layers of texture are reconciled with liquid grooves and dreamy melodies. Flea’s minimal pulsating bass gives plenty of rubbery bump to the mix. Lush evocative synthetic tones add moody atmosphere. Smothered across this album, Yorke’s distinctive vocals shift in and out of focus, at times adding an extra layer of texture to the mix but coming into sharp focus with lines like “I could care less” or “It doesn’t mean anything”, which are delivered with the sweetest hooks. It is mellifluous stuff that comes together beautifully on Reverse Running and the title track. Smooth listening that ought to tide you over until the next Radiohead album.

Guido Farnell

Guido Farnell

Delilah Lightning Gaga Digital Can we just cool it with the fuzzy, tropical-vibe riffs now? There are other ways to sound chill. The omnipresence of this sort of guitar interplay and wistful, sighing vocals may have something to do with the fact Delilah Lightning seems like it doesn’t go anywhere. When something different does happen, it’s a slow, psychedelic extended outro/ part II that’s much grander, though in a soft way, than the first half was able to pave the way for. There’s a rise of slacker-pop bands at the moment, which is not to devalue the genre, but it’s easy to see who’s doing it better and who’s falling behind.

GEORGIA POTTER Reckless Independent Dark pop, alt.R&B, glitch electronica: Brisbane’s Georgia Potter tackles all of them. At the same time. And it’s a triumph. She has the seductive air of Lana Del Rey, chops to rival any of the reigning R&B scene queens and the confident mystique of Grimes, but Potter also has an allure that’s hers alone. Keep tabs on this one; excitement and expectations are now stirred.

LEEGIT Trippin With My Shades On SmashBox Records If this is some kind of a joke, it’s not bad. And if it’s not, well, where do we start? Firstly, why would anyone in the post-Hotmail/chatroom era give themselves such a lazy/dad-joke-level pun name? And the song title sounds like The Lonely Island came up with it. One can appreciate the song’s meaning is Leegit coming to realise he needs to kick the bottle but the Gregorian chants and low pitch-shifts as he groan-raps, “Where the fuckin’ days gone?” are all a bit much. And how’s this for poetry: “Eyes become the clouds and tears become the rain.”




When It Was Now

Calendar Days

Ghost On The Waterfront


Chapter Music

Audio Actions

Atlas who? A month ago, it was an acceptable question to ask around these parts. Despite hailing from our backyard (Adelaide, to be precise), Atlas Genius have already blown up overseas. Tens of thousands of downloads, taste-making American blogs and radio stations going apeshit for their music, and some epic SXSW buzz, however, mean that as of April 2013, ‘Atlas who’ just ain’t gonna cut it.

What’s that? You’d like to hear what one of the best albums of the year sounds like? You’d like to hear what a local Melbourne band sounds like? You’d like to feel good, whether wrapped up in a blanket on a wintry Saturday afternoon or driving down to the beach on a summer’s day? But you only want to listen to one record? Problem solved.

Who needs vocalists? All they do is make the whole thing about them. And keys? Well, keyboardists are all closet Rick Wakemans, aren’t they?

The band’s sound across the 11 tracks on When It Was Now is incredibly diverse, yet it’s unsurprising that the indie folks of Hype Machine, We Are Hunted and SiriusXM Alt Nation started going bananas over the band a year ago. Lead single Trojans encapsulates everything that the band do well, ebbing and flowing from verse to chorus to bridge, maintaining a bouncy tempo and setting up lead singer Keith Jeffery’s restrained yet upbeat vocals to sit front and centre. From there, When It Was Now goes from acoustic moments (the beginning of Through The Glass) to the Ou Est Le Swimming Pool-inspired flavours of If So. There are moments like On A Day where tribal drums will have feet tapping and heads bopping, and plenty of tunes that will find themselves on beer commercials next summer as the soundtrack to pretty young hipsters on rooftops having a ‘Good Time’. It’s catchy, it’s poppy, and the band are backed up by one of the biggest record labels in the world. You might not have heard them on your local (or national) radio station, but since SXSW put the band on the Australian music press’ radar, you can expect to hear a lot more of them. The name is Atlas Genius – remember it. Dylan Stewart

26 • For more reviews go to themusic.com.au/reviews

If you’ve been anywhere near a radio broadcasting community frequency over the past couple of years, you’d have no doubt already heard of Dick Diver. Their 2011 album New Start Again was a jangly, loose adventure through Melbourne’s inner suburbs. Despite a preceding EP, New Start Again appeared out of the blue to much low-key applause, and there was a sense that Dick Diver would have a lot more where that came from. Lush, layered and continuing the band’s healthy similarities to The Go-Betweens, Calendar Days sees a change in direction from their earlier work and the band leaning towards a more structured, purposeful release. Singles Alice and Water Damage are perfect indications of this new direction, and the resultant airplay on national radio (not to mention a beautiful Sunday morning set at Golden Plains) suggest Dick Diver have taken the next step in their rise. To find Dick Diver on the iconic Chapter Music label is no surprise at all. Distinctively Australian, and distinctively Melburnian, the band wear their hearts on their sleeves, and with song titles like The Two Year Lease and Gap Life, this new album continues the band’s love of everyday suburban life. Dick Diver are ready for the real world. If only we could keep them for ourselves a while longer. Dylan Stewart

If you don’t want your message diluted by an over the top egomaniac, then it’s much better to keep it simple. Or at least that seems to be the idea behind Melbourne three-piece Faspeedelay. They’ve stripped away all the fat, until we’re left with the bare essentials: bass, guitar and drums. Among a little bit of soundscape meandering, in the main they create charging instrumental rock jams. There’s energy here, and a little bit of a post-punk attitude. You can hear links to everything from the first Desert Sessions EP to The Wipers, to Yawning Man, and at a stretch even Can. It’s the trio’s debut album after an EP on Dreamland Recordings and a bunch of on-and-off live shows since 2000, while participants performed in other local groups like The Paul Kidney Experience and The Infinite Decimals. There’s not a lot of tricks or flourishes here. What you see is what you get; a good honest rock-out with no apologies. Yet they do enjoy stretching things out occasionally, such as on the appropriately titled 11-minute-plus In The Zone, in which the guitar takes on some real atmospheric soundscape duties before the tempo increases dramatically and it goes from riffing to shredding, which is then followed by an extended soundscape. It’s on this track that you get the sense that the reason it’s taken over a decade for a debut LP to appear is because Faspeedelay’s real forte is live, where they can extend things outwards on any given night and just go where the music takes them. Bob Baker Fish






Familiar Stranger

Tooth & Nail


V2 Music


Cooking Vinyl/Universal

Thrill Jockey/Fuse

The rather dull title for The Courteeners’ third album could only possibly be exciting for two groups of people: those called Anna, or those in love with someone called Anna. It doesn’t help matters that some of the tracks (see Are You In Love With A Notion? and Save Rosemary In Time), are almost on par in terms of lameness with Kirk Van Houten’s Can I Borrow A Feeling. Thankfully, though, these English boys are far better at writing and playing songs than they are at naming them.

The very title of Bob Evans’ fourth album, Familiar Stranger, is probably a fair indication Kevin Mitchell is heading in a brand new direction with his solo material. As it says, the tracks here seem a little familiar as they’re chock full of Mitchell’s trademark pop melodies, while the lyrics still invoke that warm sense of nostalgia that made the first three Bob Evans releases so memorable. But where this album differs from the Suburban trilogy is that Mitchell’s really beefed up the production value. Wrapping these tunes in lush textures and adding layers of melody throughout, there is hardly a simple acoustic track to be found. And, while taking such a big jump out of your comfort zone can sometimes be a step too far, Mitchell does it with ease, delivering what may be one of the great Australian pop records.

For the last 30 or so years, UK singer-songwriter Billy Bragg has been known (and loved) for his powerful political polemic – and for good reason – but this acclaim has tended to overlook the indubitable quality of the love songs which have liberally scattered his albums. Now Bragg is seeking to redress this imbalance, and his new album Tooth & Nail is primarily tackling the personal rather than the political, although in true Bragg fashion these boundaries are quickly (and often) blurred.

By its nature, ambient music is designed to alter the mood of the room in an imperceptible way, and in doing so change the experience of those who choose to inhabit said space. Brooklyn duo Koen Holtkamp and Brendon Anderegg flirt with notions of such music, with long peaceful drawn-out drones and meditative washes of sound. However, you’d hesitate to call what they do ambient, because too much is happening and it’s too perceptible. This is not a bad thing. On the contrary, it simultaneously manages to slow down and pacify the listener – creating all those highly soughtafter effects, while also building their ingredients, and playing with volume, tempo and texture. The dreamy quality comes from loops and repetition, and in this sense there’s links to komische music, creating a haunting hypnotic bed of sound. It’s not unconscious music, but the unconscious does play a role.

There are a couple of things that hit you when listening to this album, the first being that they appear to have finally stopped trying to capture their youth. There are no annoying anthemic tunes that are trying their best to let us all know how strong their camaraderie with ‘the kids’ is. This album should be the one to win back those who wrote off the band’s previous work. The second and far more favourable thing is just how fullbodied the sound is throughout the record. From the heavy, driving guitars on Money to the pounding piano on The Sharks Are Circling, and then onto the string section-soaked oh-so-serious Marquee, your ears are treated to song after song of lush tones. A minimalistic sound is clearly not something they strive for. Of course, all this doesn’t add up to much if the songs themselves aren’t much good. Thankfully, there’s only one slightly dodgy (and scarily reminiscent, at certain times throughout the song, of an Air Supply ballad) tune: Marquee. Still, The Courteeners have already proven they can do ballad-esque well, with the beautiful Van Der Graaff, so it’s no big deal. Dominique Wall

It’s a big call, sure, but much of the music here is really that good, especially the fantastic Sitting In The Waiting Room. Intricate and poignant, Mitchell moves into Elliott Smith territory with a track that knows exactly when to pause and when to flow. Having been back with Jebediah in 2011, Mitchell also unleashes some rockier moments like Don’t Wanna Grow Up Anymore and Go, while Get It Together even contains traces of Tame Impala-style psychedelia. Harmonies are put to good effect as Bruises delivers a nice little chorus while closer Wonderful You is the album’s one acoustic moment, but it’s a handpicked gem. Some of the later tracks, like the almost six-minute From Ourselves, seem to plod a little, but this is a minor gripe for what’s otherwise a great leap forward. Paul Barbieri

Unlike when crafting his last album which primarily involved affairs of the heart – 1988’s Worker’s Playtime – Bragg is these days a settled family man, so instead of paeans to unrequited love, songs such as Handyman Blues and Swallow My Pride are written amidst the construct of an existing relationship. But of course there’s still plenty of societal (rather than overt party) politics which seep into proceedings, tracks such as January Song, Tomorrow’s Going To Be A Better Day, Do Unto Others and the Springsteenevoking There Will Be A Reckoning all arriving complete with a typically thought-provoking message. On the musical front Bragg acquiesced to the charms of producer (and long-time friend) Joe Henry and allowed him to use his accomplished folk band throughout, and the results are more sonically akin to the Mermaid Avenue sessions conducted with Wilco than anything else from Bragg’s long career. Furthermore, he’s also started to sing more as his voice has aged and gained in timbre, far removed from his early ragged bark. All in all, Tooth & Nail is one of Billy’s best, a collection as cerebral and confronting as it is soothing and comforting. Steve Bell

It’s the duo’s seventh album, and they tend to alter their approach with each successive album. Centralia is about the interplay between digital electronic sounds and acoustic or traditional instrumentation, most notably the guitar, though you can also hear cello at times. This isn’t simply formless washes of sound; rather, a lot of care has gone into not just the composition, but in the development of melodies and accompaniment via the various instruments. With elements of folk music and lush ambient electronica, Centralia brings to mind the peace of labelmates Windy & Carl, though also the grace and warmth of Eluvium and Stars Of The Lid. But there’s a mischievous experimental energy here, making Mountains feel at times like the quietest, most subtle noise band you’ve ever heard. Bob Baker Fish


ARE SET TO RELEA SE THEIR DEBUT ALBUM ON APRIL 5 “ The Next Wave of up-and-coming Alter native Bands” - BILLBOARD

www.war ner music.com.au For more reviews go to themusic.com.au/reviews • 27

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April 15 7.30pm

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It’s been a few years since Adam Hills did a ‘proper’ show. Since he and his wife welcomed daughter Beatrice Pearl in mid-2010, the Aussie comedy icon has eased back on stand-up touring in favour of spending more time at home. His triumphant return to festival comedy with Happyism has been a long time coming.

WEDNESDAY 27 2013 When We Were Idiots – hosted by Xavier Toby with special guests this is a roving comedy walking tour that was first seen at the Adelaide Fringe earlier this year. Part of MICF, meet at the Burke & Wills statue in the city, 6pm, to Tuesday 9 April. The Paperboy – a new film directed by Lee Daniels (Precious) and the writer of Paris Trout this thriller is set in 1960s Florida. With Zac Efron, Matthew McConaughey, Nicole Kidman (in her wild Golden Globe nominated role) and John Cusack. The Nova, 7pm and 9.10pm.

THURSDAY 28 Laura Hughes: Welcome To Planet Earth – stand-up comedian Laura Hughes is the captain of an alien spaceship hurtling toward Earth, and you are her alien crew, team ZPE100. The show also features the voices of Ronny Chieng (MICF Best Newcomer, 2012) and Ray Badran and is directed by Bryan Moses. Part of MICF, Portland Hotel: Pool Room, 8.15pm, to Sunday 21 April. Little Dances – written and performed by Nicky Marr, this one-woman show looks at dance and why do we move our body around for no other reason than to move our body around? Part of MICF, La Mama: Courthouse, 7.30pm, to Sunday 14 April.

FRIDAY 29 Idiot Of Ants: Model Citizens – Britain’s hottest sketch comedy outfit and YouTube superstars return to Melbourne. Facebook in Real Life and Wii Breakfast are two of YouTube’s most viewed comedy sketches of all time come and see them live. Part of MICF, Victoria Hotel: Banquet Room, 8.15pm, to Sunday 21 April.

SATURDAY 30 Hannah Gadsby: Nakedy Nudes – the new art show from the comedy art lady Hannah Gadsby. It’s about nudes. But don’t worry, there will be plenty of well-placed cloth and fig action for the prudish at heart. Part of MICF, NGV 4.30pm, to Saturday 20 April (four shows only).

Ms Marzipan Geraldine Quinn: Stranger – part Ziggy zeitgeist, part Icarus and part Sasha Fierce, this time Quinn gets her guitar-stringstained sticky fingers into her own version of the rock-myth of the ‘other’ creature. Part of MICF, Trades Hall: The Annexe, 8.15pm, to Sunday 21 April.

SUNDAY 31 Top Of The Lake – director of the Academy Award winning film The Piano, Jane Campion is back in New Zealand with a six part drama series of television called Top Of The Lake. The series begins with a mysterious disappearance of a pregnant 12-year-old girl who won’t speak about who the father is and is the daughter of the local drug lord. It stars David Wenham, Peter Mullen and Holly Hunter. UKTV, 8.30pm.

appearing at


Adam Hills is back on the stage with his new, positivemessage show Happyism. He chats to Baz McAlister about it as well as his television chat show The Last Leg.


Hills says he wanted to steer away from talking too much about having a child in his new material, as many comics do. “It has informed this show though, because it makes me want a better world for my daughter,” he says. “More pointedly, it makes me want better role models for my daughter. I recently ranted at Joan Rivers on [my UK TV show] The Last Leg – oh yeah, I’m pretty tough when I’m taking on a 79-yearold woman who lives on the other side of the world – and it mostly came from the fact that I want my daughter to know that she can grow up to be whoever and whatever she wants to be without fear of judgement.” Instead, the material will be feel good comedy of the kind we’ve come to expect from Hills: “All my shows tend to be based on some sort of basic positive message couldn’t be first, then I was gonna be last. If I couldn’t get good attention, I was gonna get bad attention. And I found it through being funny. Joking and laughing and getting into trouble, all of that was much more rewarding to me than getting an A on a test.”

Ms Marzipan of the Astor Theatre – after battling long illness, at the impressive age of 21, Marzipan the famous Astor Theatre cat has passed away. The cinema is collecting tributes and images of Marzipan. To share your memories email rsvp@astortheatre.net.au. New Arts Minister – the newlyappointed Federal Arts Minister Tony Burke has indicated that he intends to implement Simon Crean’s National Cultural Policy. Following the announcement he tweeted, “Simon Crean produced an inspiring cultural policy in Creative Australia. It’s an honour to implement it as Arts Minister.”



appearing at

Idiot Of Ants: Model Citizens

“About a year ago I started doing club gigs, working up some new bits, but in places like LA and Montreal, where I knew the audiences were discerning,” Hills says. “A few months ago I did a few low-profile shows in Melbourne, and have been doing the same in London. Every comic needs a safe place in which they can fail.”

From a young age, comedian Eddie Ifft decided “If [he] couldn’t get good attention, [he] was gonna get bad attention.” Guy Davis gets some insight into the dark side of positivity.

Back when American stand-up comedian Eddie Ifft was in first grade, d he h noticed i d that h the h gifted if d kids in his class – some of them his close friends – were being taken off to learn lessons that would place them on the academic fast track. “And I’m seven and I’m already being told ‘Nope, it’s not you’,” he laughs, shaking his head. “I remember feeling incredibly frustrated. And I thought that if I

Many a class clown has gone on to crack wise professionally, and Ifft is no exception. How many of them crack wise as caustically as Ifft, well, that’s another story. There’s a venomous bite to his material that kind of belies his (if somewhat pleasant-looking pleasantappearance. slightly devilish) app back,” he smiles. “Yeah, I don’t hold ba sometimes think “Career-wise, I some detrimental. It’s not that could be detrime the most marketable or commercial taken. But I route I could have ta chose this path to go down. In the beginning, I had aagents and thought, ‘Here’s managers who thoug this cute face – he’ll be a sitcom would sit me down star!’ And they woul about taking the and beat me up abou edge off my act. You know, ‘don’t imply that, don’t use that tone’... snapped. I told And one day I just sn them that I wasn’t a puppet, that was not comedy what they wanted w to me. I got into comedy because of who I am and what I think is funny. And I just went with that.” Ifft admits he likes offensive things. “But I like joking about them... That doesn’t mean I like them in real life!” he says. I like to think I’m a good person, a nice person, but I do have a dark sense of humour.”

– Happyism is my religion, trying to be happy, putting out positive energy at all times,” he says. Hills’s chat show The Last Leg has been a huge hit in Australia and the UK, starting up during the Paralympics and being picked up for a second series because, as Hills says, “[The UK’s] Channel 4 saw the potential in three guys with four legs wrapping up the news of the week”. He says the concept of a show that explored disability side-by-side with comedy made some skittish, but he has won viewers over hard and found the perfect balance. “I always knew we weren’t going to be offensive in the show, but I also knew we couldn’t just jump in on the first show and say exactly what we wanted to say,” he says. “When Channel 4 started advertising the show, there were so many complaints on Twitter that The Last Leg was an offensive show about the Paralympics. But once the show went to air, they stopped complaining. The whole reason behind the ‘Is it okay?’ segment was to make people feel comfortable with disability and realise that there was comedy and fun to be had with the Paralympics. The turning point for me was when we started getting positive tweets from the Paralympians. That’s when I knew we were on the right track.” WHAT: Adam Hills: Happyism WHEN & WHERE: Thursday 11 to Sunday 21 April, MICF, Princess Theatre It could be said that an inability to recognise an audience’s capability to balance and evaluate two contradictory notions – that something can be upsetting while also being funny – sells that audience short. Ifft feels that “any normal human being” can see both the light and the darkness. “I once said to my sister, ‘I looked up at this plane today and I thought it’d be cool if it crashed right now, and then I thought how horrible it was to even think about that’,” he recalls. “She said to me, ‘That’s what makes you human, that you’re instantly able to say it would be horrible. Otherwise you’re a sociopath!’ The people with a constant happy-go-lucky approach, who treat the world like everything is perfect, they just strike me as fundamentally dishonest. That upsets me. I look at them and just know there’s a dark place they sometimes go to.” Ifft, however, is a bright-side kind of guy. “A lot of my friends would say I’m a negative person but I am actually really positive with a good outlook. I don’t get dismal; I always think there’s a solution to a problem. But I like to make fun of the negative with my comedy, mainly because negative is way funnier than positive! And in a weird way, taking that negative and making you laugh at it is a positive act.” WHAT: Eddie Ifft: Too Soon? WHEN & WHERE: Tuesday 16 to Sunday 21 April, MICF, Athenaeum

To check out the mags online go to themusic.com.au/mags • 29

as part of




MONSTER BODY DANCE MASSIVE Monster Body by Atlanta Eke is an astringent, muscular challenge to the tired and repressive cliché of feminine mystique. The show opens with Eke hula-hooping and wearing nothing but a dinosaur mask – the first of many alarming images. Sometimes bizarrely hilarious, at other times extensive and demanding, Monster Body creates a set of unforgettable scenes and soundscapes. A silent scream is juxtaposed with formal ballet poses, a creature with a koala’s head is given tumours and natural functions are cleaned up and fumigated by a man in sanitation gear. Monster Body doesn’t allow for comfort, insisting on its audience meeting with something dark indeed, but it is

CONVERSATION PIECE DANCE MASSIVE Dance can be described as a conversation between bodies but in Lucy Guerin’s latest work, Conversation Piece, the conversation is an actual one, between three performers at the beginning of the show. A casually improvised eight-minute long chat becomes the script for the rest of the show where three dancers and three actors use iPhones to enlarge and expand on the utterances and what may lie underneath them. Moments of ridiculousness and comedy ensue as a result of their antics; at one point a performer presents the conversation as a monologue with its own laugh track, at another the conversation becomes one-sided, something imposed on us while catching

Five minutes with

JIMMY MCGHIE Describe yourself in exactly 140 characters (length of a tweet)? I do not tweet. I do not tweet. I do not tweet. I do not tweet. I do not tweet. I do not tweet. I do not tweet. I do not tweet. I do not twe Who is your biggest celebrity crush and why? I’ve recently developed a thing for Katy Perry. She seems like she

Five minutes with

MATT DOWNEY Describe yourself in exactly 140 characters (length of a tweet)? Me, short and not real good at stuff. Our show, attempting to take the piss out of shit. What’s the best joke you’ve heard recently? A dyslexic walks into a bra. The thing I like best about this joke is that

a sophisticated and well developed piece, one that is completely unique. The female performers are naked rather than nude. A grotesquely funny sequence has the dancers as cheerleaders clad only in trainers and black hoods referencing images from prisons or slavery; they dance a routine to the Britney Spears song I’m Not A Girl, Not Yet A Woman. The finale (if it can be called that, since the show doesn’t end, it simply stops) involves a parody of a lap dance, where Eke paints her face and keeps on painting it with neon pink then confronts the audience with her raw response to the moribund sexualisation of the female form. An intelligent and astonishing dance work. Liza Dezfouli Dancehouse (finished)

public transport; further on language becomes a weapon of humiliation. The dancers respond to rhythms of language with movements of staccato eloquence, bringing literalism to the idea of ‘dance vocabulary’. At one point the utterances aren’t even in English so you see how the stuff of real communication is in subtext. A duet has a dancer mirroring the words with movement, in relationship with language as music. The myriad ways we use conversation: to connect, to play one-upmanship, to hide our vulnerability, to bore, dominate, grasp, attack or evade, are here danced out in a performance of genuine originality. Well developed and confidently presented, Lucy Guerin’s Conversation Piece is a delight, engaging audiences with depth, whimsy, revelation and humour. Top stuff. Liza Dezfouli Arts House: Meat Market (finished)

would be quite bossy and a bit terrifying, which I quite like! I have a picture of her on my desktop and when I need advice I talk it through with her. What’s your favourite team sport and why? Cricket. Because you have lunch and tea and nobody smashes into you. What’s a nightmare you’ve had recently? That I had to answer a never ending interview... What are you looking forward to the most at MICF? Stuffing my fat face full of sushi every single day. WHAT: Bulmers Best Of The Edinburgh Fest WHEN & WHERE: Thursdayy all 28 March to Sundayy 21 appearing April, RMIT Capitol Theatre without spell lled check, I’d have spelled dyslexic ‘Dislecsick’. And the worst joke? A man walks into a bar and says “Ouch!” What’s a dream you’ve had recently? Only that one where loads of people attend your show and then you can at least break even but... It’s a dream. What are you looking forward to the most at MICF? I love Melbourne and I love comedy. These are the two components of the acronym that I’m most eager to experience. The International and Festival aspects might be nice but so long as the former are present, I’ll be happy. WHAT: You’re Tearing Me Apartment: The Roomsical WHEN & WHERE: Wednesday 27 March to Sunday 7 April, fortyfivdownstairs

30 • For more reviews go to themusic.com.au/reviews

Five minutes with


Describe yourself in exactly 140 characters (length of a tweet)? I’m sensitive, caring and beautiful. If you can’t handle me at my worst then you don’t deserve me at my best.


What’s the best joke you’ve heard recently? The Situation’s roast of Donald Trump. And the worst joke? The Situation’s roast of Donald Trump. What’s a dream you’ve had recently? That children will one day live in a nation where they will not be judged by the content of their character but by the colour of their skin. What are you looking forward to the most at MICF? Brendon Walsh and Ian Edwards. WHAT: Comedy Zone WHEN & WHERE: Thursday 28 March to Sunday 21 April, Trades Hall, Old Council Chambers


Josh Earl

WITH KIRSTEN LAW Welcome to Good Timing – a column brought to you by me (sometime writer and performer of the comedic arts), in conjunction with all manner of folk from the worlds of live and televised comedy. There’ll be hodgepodge commentary and haphazard musings on aspects of ‘the biz’ from the perspectives of performers, writers, producers and audience members. I’ll try to provide insightful analyses of podcasts, TV shows and stage shows, but I can’t promise that some weeks won’t just be a stream-of-consciousness rant about my misadventures on the 96 tram. In any case, I hope you’ll enjoy this calamitous mess. Right. So, this week I’ve spoken to three MICF performers about the (somewhat unenviable) task of spelunking the Festival Guide for acts to see. Personally, I’ve decided to see every show featuring two female performers. At last count, this was a heartening 14 shows. In addition, I will also be seeing every show by a man with a weak chin (sorry Danny Bhoy). One of the women on my list to see is Rachel Davis, who will present All Of The Things alongside Isabel Angus at the Tuxedo Cat from tonight. Davis suggests a spontaneous approach to the festival. “I always tell people to see someone you’ve never heard of just because their entry in the guide intrigues you or their picture/ video makes you giggle, or just because you’re passing the venue and have a free hour and they’re standing out the front begging you

to come in. Don’t look into it too much. Just go with no expectations and let them take you on a ride into their brain.” Comedy Festival veteran and self-described ‘cake boy’, Josh Earl, emphasises the importance of a personal approach in planning your MICF experience. “The best way is to see what you want to see and not be persuaded by your friends, because that doesn’t work for anyone. They get stressed thinking that you won’t like it and you’re stressed because you can feel this pressure from your friends to like it.” Josh will present a new season of his classic shows, Josh Earl Is A Librarian and Josh Earl Versus The Women’s Weekly Children’s Birthday Cake Book at the State Library from Friday 29 March. (Disclaimer: he’ll also be appearing alongside Damien Lawlor and myself in Lime Champions’ Nightmare Tales from Monday 1 April.) Finally, from Jon Bennett – the man behind the sophisticatedly titled Pretending Things Are A Cock and, now, a bizarre tale simply called Fire In The Meth Lab – come these sage words: “Hold the festival program closed, flat on a table with your hand spread over the cover. Get a sharp knife. Do that thing prisoners do, where you stab at the gaps between your fingers (increasing in speed with every stab). Do this for one minute. Go to the shows with either stab marks through them or blood on them.” Good luck, friends, and I do hope you don’t bleed on more than one sex-organ puppetry show.

All Of The Things

And the worst joke? As above. What’s a dream you’ve had recently? This question makes me nervous to answer, because when someone says to me, ‘Oh ma god! I had the weirdest dream last night...’ Then you have to listen to their dream and it’s painful and I don’t care. Am I right ladies?!

Describe yourself in exactly 140 characters? Talk about pressure! Describing myself in only 140 characters is not an easy task. The word I would use to best describe myself would be a cu

What are you looking to at MICF? Dumplings. Each year after every festival I gain about four kilograms which is mostly dumpling. Myself and a bunch of other comedians finish up our shows then head down to Chinatown WHAT: Nath Valvo: Almost 30

What’s the best joke you’ve heard recently? Ruby Rose’ new single.

WHEN & WHERE: Thursday 28 March to Sunday 21 April, Trades Hall: The Annexe

Five minutes with


Jon Bennett


Five minutes with

BENJAMIN RIGBY What do you dress as at a costume party?

If you could kidnap anyone, who would it be?

Our shows are pretty much parties. You come, you drink, you watch us play dress ups. The last play [Suburbia] I dressed as a rock star, which is funny because in this play I have been kidnapped by a woman who is trying to turn me into a rock god. Is this a sign?

I’d kidnap Joaquin Phoenix and torture him until he told me all of his acting gold. Him or Jennifer Lawrence.

If you weren’t an actor, what would you be doing? I’d probably attempt a career as a casting agent. The casting process is the most interesting part of prerehearsal. We’ve never auditioned people for our shows but cast based on energy and suitability of actors that we know/have seen and would love to work with. Who is your favourite actor? I’m still angry that Joaquin Phoenix hasn’t won an Oscar.


Who is your favourite rock star? I’d have to go with the masses of northside Melburnians and say Patti Smith. No really – not only is her music seminal, but the way she writes anything, including this play [with Sam Shepard] is just out of this planet. The rhythm is dangerously infectious. I hope we make them proud. WHAT: Cowboy Mouth WHEN & WHERE: Wednesday 10 to Sunday 28 April, Goodtime Studios

BENEATH THE SURFACE For the role ole of Alex, the thuggish ‘Droog’ in a new adaptation on of Burgess’ A Clockwork Orange, Orange Martin McCreadie tells Sarah Braybrooke he looks deep for any semblance of goodness in the character.


WITH REBECCA COOK What a great time to inherit the role of Arts Minister for Victoria. The city of Melbourne is on a high after the success of the White Night, the national cultural blueprint has just been released (promising all sorts of funding treasures) and it’s Comedy Festival time, providing endless opportunities to be photographed with rubber chickens. But just who is Heidi Victoria? Her name reads like the address of an art gallery in Bulleen so she’s already off to a cracking start. A photographer by training, she owned her own photography business specialising in portraits and event photography according to her website. She was a natural choice for the role after Ted was dethroned as she’s been ‘Parliamentary Secretary Assisting the Premier on the Arts’ since 2010. Interestingly, she is also now Minister for Consumer Affairs, which could make for some interesting new initiatives such as ‘Bad Performance Compensation’ and the ‘Overly Long Dance Refund Checklist’. Less than two weeks into the job and she’s responded to the national cultural policy, which is probably good to have on the record now that its major champion, Simon Crean, has left the building. Ms Victoria said Creative Australia acknowledged the pre-eminence of Victorian-based major performing arts companies and national training institutions. “The arts are central to a healthy and vibrant society and to a strong economy, they are a great strength here in Victoria and it’s good to see them on the national agenda. I welcome the Commonwealth’s commitment to increasing support for elite arts training institutions including the National Institute of Circus Arts, the Australian Ballet

School and the Flying Fruit Fly Circus. These are extraordinary centres for excellence that nurture and develop our next generation of arts stars.” She also reiterated her support for embedding the arts into education. “While the arts deserve consideration through the Commonwealth’s National Curriculum process, the Victorian Government is keen to ensure that our future arts curriculum retains the longstanding embracement of the arts in Victoria’s schools.” The new Minister had her first official engagement on the weekend, cracking the bottle over the Castlemaine Festival. “It is an event that is owned and loved by the community, a true celebration of arts and culture as well as the unique spirit and character of the Castlemaine region. One of the great strengths of this festival is that it brings together international and national artists with the region’s own rich pool of creative talent. This year’s event features works by more than 350 artists – from local emerging acts to renowned performers from countries including Denmark, Israel, Spain and Austria,” she said, noting that she had been a long-standing supporter of the regional event. Cringe will be keeping an eye out for the new Minister who will likely be popping up a fair bit over the Comedy Fest. In other arts portfolio news, there’s no truth to the rumour that Simon Crean’s old position as Federal Minister is currently being advertised in the window at Readings in Lygon St. Good luck to Jay Morrissey from Ashburton who is representing us all as the Victorian RAW Comedy finalist at the national grand final on Sunday 14 April at the Melbourne Town Hall. Make us proud, Jay!


Urban decay, extreme youth rebellion and casual brutality are par for the course in A Clockwork Orange. But in a new production, presented by UK theatre company Action To The World, it’s not all ultraviolence; there are some surprisingly elegant touches, explains Martin McCreadie, who plays main character Alex. ”There are some moments of ballet, which are juxtaposed with the violence,” he laughs. “[It’s not often you’re] going to see someone get smacked in the head by another fellow while someone’s doing a jeté over his head. It rarely occurs!” As well as the choreography, Artistic Director Alexandra Spencer-Jones has added a creative twist to the show’s soundtrack – Gossip and The Scissor Sisters feature – and adapted some of the parts to the all-male cast, with interesting results. McCreadie remarks on the way that having a male character as the victim of a rape changes how scene in particular change audience. it is perceived by the audi men are In the play, two grown me overpowered – and one of them is sexually assaulted – by a gang of four teenage boys. It’s a sscene that is shocking not only for its violence, but for the way it upends ‘normal’ “Obviously [the power hierarchies. “Obvio doesn’t make fact it’s a male rape] does it more horrific... But it’s a different different understanding and a differ something that dynamic. And it’s someth carefully. does go on,” he says care Anthony It’s over 50 years since A book that Burgess published the boo inspired Kubrick’s famous 1971 film and McCreadie thinks that its “Reading power is undiminished. “R horrifically violent it, you know that horrifica things are occurring... yet it’s very funny to read. That’s the danger of the book, and that’s why it can relationship. So how did one become the other? Leaping Off The Bell Curve, Green’s show in this year Festival, tells the story of how Green embarked on a quest to find his true calling. “I often meet people who say, ‘I can’t do what you do, I can’t change’. I wanted to show people that changing your life is actually really exciting and settling for monotony and unhappiness is pointless.” “I am trying to reflect something back to the audience. It used to be in the old days when I just did observational comedy, I was reflecting back the audience’s awkwardness with various household objects and situations and at the time that’s where my skills were as a stand up comic. Now I’ve got more skills, more confidence, I want to take it to another level. This is what I did, this is where I fucked up, if you can see

scare you. You can get to the end of the page, and think ‘Oh my God, I’m slipping into Alex’s language, and therefore his mindset.’ And that’s lethal.” McCreadie says that his experience acting in Shakespearean English prepared him well for portraying Alex, who often talks in Nadsat, a RussianEnglish slang that Burgess made up for his teenage protagonists. “It’s kind of the same thing: you’re using a language that’s not really your own.” Preparing for the show‘s fight scenes and balletic choreography has been more demanding, however. “We’ve got two outright trained dancers, the rest of us just have to play catch-up,” McCreadie says. Combining cardio training with lots of warm-up exercises, that means that sometimes the cast find themselves preparing to play vicious thugs by spending hours doing pilates together. It makes for a funny image, but Alex and his gang of heavies – or Droogs – aren’t just about violence. McCreadie describes Alex’s intellectual side, including his love of classical music, philosophical outlook and dry sense of humour. “Without saying too much, Alex will sort of communicate the silliness of the world. He’s a social comedian.” Is it possible McCreadie feels almost affectionate towards such a violent and destructive character? He laughs, “In five or ten years time I’ll look back on things I’ve said in interviews and think: ‘God, Martin, really?!’ But right now, yes, I guess I do... I kind of look for whatever I can that’s good in Alex, really. I suppose that helps me handle him, and portray him.” WHAT: A Clockwork Orange WHEN & WHERE: Saturday 6 to Sunday 21 April, Malthouse anything that you think is relevant to your life then even better. And you’ve had a great night. I want two ticks in the box, not just one.” “It’s not just about relationships and the stuff I’m known for, it’s hopefully got more substance, lasts a little bit longer in your mind than, ‘Don’t women use a lot of toilet paper?’. If I pull it off it’s the best show I’ve done.” And if one of his children wanted to be a chemical engineer? “I’d be a little disappointed but my job would be to support him. I would say, ‘Follow your dream, mate’.” WHAT: Jeff Green: Leaping Off The Bell Curve WHEN & WHERE: Thursday 28 March to Sunday 21 April, Swiss Club and Town Hall: Supper Club

Jeff Green’s new show, Leaping Off The Bell Curve, is all about how he got from where he was to where he is now. He chats to Rebecca Cook about cooking on television and changing your life. Jeff Green does a mean sardine escabeche and he’s not afraid to use it. The English comedian who calls Melbourne home these days has done two series of Celebrity Masterchef in the UK, only to be knocked out by eventual winner Nadia Sawalha – the real-life sister of Saffy from Ab Fab – the second time round with a Palestinian dish. “It was totally out of your comfort zone, lots of pressure and totally exhilarating. And it’s made me a much better cook.” Cooking is a relatively recent hobby for Green, who started out making dinner as a way to support his wife when their first child was born seven years ago. “I think it was Alex James (the

bass player from Blur) who said, ‘When I was in 20 I celebrated with alcohol, when I was 30 I celebrated with drugs, when I was 40 I celebrated with food’. This is pretty true for me. It’s the most relaxing thing I do these days.” Green is in a good place right now. A wife, kids, successful stand-up career, best selling author of three books and owner of an impressive repertoire of South East Asian hot pot recipes, but things could have been so different. Cue mental image of Sliding Doors. There’s also the Jeff Green who graduated from college as a chemical engineer, made his parents proud, lived in London and was stuck in a ho-hum

To check out the mags online go to themusic.com.au/mags • 31



IGGY & THE STOOGES WEDNESDAY, FESTIVAL HALL There are three certainties in life: death, taxes and Iggy Pop will be a bad mother fucker until the day he dies. There are at least 742 reasons this show will be the gig of the week – it’s a decent shot for gig of the year. If you’ve seen The Stooges before, you’re already going. If you’ve never seen them, then you can’t comprehend what you may be missing. You wanna talk about rock’n’roll? You wanna talk about punk rock? You wanna talk about showmanship? There’s a good chance Iggy invented at least one of these things so you owe it to yourself, your children and your children’s children to witness it for yourself. Enough said.


Sudden Daft Punk Facebook activity, now their next album Random Access Memory is available for pre-order in Australia = \o/

LET’S HEAR IT FOR THE ‘BOY Remember how you felt leaving the cinema after watching Scorsese’s Cape Fear? The Paperboy is filled with just as many twists and turns and will leave you gobsmacked. First-rate performances and harrowing images you will not be able to exorcise from your retinas for days on end.

HIT MACHINE Santana Pics by Andrew Briscoe exceptional dance moves, his black and white Michael Jackson-esque shoes gliding and moving around the stage. He is introduced later by Miller as Sonny Charles, the former singer of The Checkmates.


Miller’s familiar, pitch-perfect voice with its Californian drawl is pleasing to the ears. When he announces that a song is from album The Joker, the crowd cheers, and people begin dancing and head nodding to Shu Ba Da Du Ma Ma Ma Ma. Miller talks to the crowd about putting out five albums in 18 months between 1968 and 1969, being a hippy and the background to Kow Kow Calculator. They play a beautifully dreamy extended version of Fly Like An Eagle, and while playing Don’t Carry Me Too Far Away, a long haired man in the crowd is grabbed by security guards for dancing too far away from his seat. It feels like a far cry from the freedom of California in the ‘60s, but the music evokes memories and feelings from those times.

The sun sets over the city in the hazy clouds, and people rush to enter the Rod Laver Arena as the show has an early start time of 7pm. The huge curtain reading ‘Space Cowboy’ falls to the ground and Steve Miller Band break into Take The Money And Run. Eyes are drawn to a man with the most

Steve Miller Band are breathtaking, but the show is only half done. “We are here to rearrange your molecular structure,” Carlos Santana tells the crowd, dressed from head to toe in white. From the beginning to the end of Santana’s show, the audience is completely engaged, entertained, and impressed by the skill, diversity and


sheer talent of all 11 people on stage. These are true performers, switching from high-energy Latino songs driven by the hip-shaking sounds of the maracas, to long, jammy tracks, and of course the hits from Black Magic Woman to Maria Maria. Each musician is given their time to shine, with jaw-dropping solos by many of them. The crowd favourite is by the drummer, who casually chews gum and looks relaxed as his hands move much faster than the human eye can see. Throughout the performance, Santana’s hypnotic voice guides the audience with advice and thoughts about spirituality and life. When he invites Steve Miller back onto the stage, he lets him take the spotlight with Otis Rush’s All Your Love (I Miss Loving). Santana launches into another awe-inspiring guitar solo followed by Steve Miller, and as they jam away together, the audience take in a moment to go down in Melbourne musical history. They finish with Smooth, and are just as energetic and captivating as they were in the beginning. As Carlos had so passionately told the crowd earlier, “We’d play all night if we could”. And after such a performance, everyone wishes they would.

Need U 100% featuring vocals from singersongwriter A*M*E. Have you heard it? Everything that’s awesome about dance music. And as for old mate in the music video who’s swallowed a tape deck? We want him at our next partay!


Facebook chain letters that start: “Remember this lady? I didn’t either…” Well why the fuck would we wanna read more about her then?

MAKE SOME NOISE People who pat their chests in lieu of clapping at gigs ‘cause they’re holding a beverage. You can hold it to your side with one elbow and rightfully applaud the talent, you know.

BRIDGES FAIL Michelle Bridges on the ad for The Biggest Loser: “You can either go down Pussy Street or Man-Up Road!” We would’ve told her to “fuck off” too!

Belinda Healy

For more reviews go to themusic.com.au/reviews • 33

WAX WITCHES, STEP-PANTHER, FOAM GASOMETER: 16/03/13 Hell-bent on punishing those who didn’t bring earplugs, tonight’s line-up wrestle punk from history and blast away its more polished proponents in a three-way match of guitar-driven intensity. Perth trio Foam know how to construct a fearsome riff and deliver it with unerring accuracy, particularly when playing tracks off their new EP Run Kon Koma; a coursing, fizzling howl of vitality and rage. Most of the set sounds (and looks) like underground Seattle shows in the late ‘80s, though with a far more static crowd. Between incredibly tight bursts of guttural punk, singer Joel Martin cracks decent jokes that seem to embarrass his bandmates, though their sense of humour rarely seems to (discernibly) break into their songs. The slower So Far So Good highlights Martin’s American twang and closes a set that acts as a road map of sorts to an underground Perth. Super Magic Hats Pic by Aleksandar Kostadinoski

SUPER MAGIC HATS, B KIND 2 ME, SOCCER LEGENDS WORKERS CLUB: 20/03/13 The front bar of the Workers Club is next to empty as the punters are drawn to the sound of Soccer Legends in the bandroom. There is a healthy turnout for the opening act, testament to the loyal local following of the three-piece. Creating dark electronica with their respective synths, they incorporate glitchy 8-bit motifs and switch between smooth but heavily affected vocals and shouts pushed back in the mix. Their set hits the next level when they give Rihanna’s We Found Love a fearsome makeover. It only takes a moment for those in attendance to adjust to the sounds of B Kind 2 Me and soon most in the room are moving without inhibition – especially one particularly inebriated attendee. Formerly known as Rachel Haircut, Hayden Quinn performs a killer live set, moving between his Mac and an analogue mixer, which sit precariously atop a pile of crates. Quinn’s own energy seems to transfer into the music as each transition is accentuated by his movements on stage. The music continually shifts with percussive rave elements flowing into deeper soul sounds. Despite only supporting tonight, B Kind 2 Me performs like a headliner, and his dedication to smashing beers on stage is admirable. Rob Masterton, the man behind Super Magic Hats, carries an unassuming presence with him throughout his headlining set as he launches the debut EP from SMH. His face hidden by his super magic cap, Masterton sets about methodically recreating live the tracks from his outstanding EP. Backed by projected images of carnival and ocean scenes, each track is a faithful expression of the recorded output, the dazzling hooks and rhythmic passages losing none of their subdued power or subtlety. There is visibly less movement in the crowd for the final set but an air of appreciation is present as many nod slowly along to the blissed-out, summery feel of the music. Masterton does break the spell at times by mumbling a thanks or a track name in-between songs but it’s hard not to admire the guy for his humble approach. The announcement of the final two songs seems to come way too early and the crowd swarms closer to the stage eager for more. But it is not to be, and despite pulling out a set highlight for his final song, Masterton brings the night to an abrupt finish. Jan Wisniewski

THE JON SPENCER BLUES EXPLOSION, MOON DUO, BAD ACHES CORNER: 16/03/13 First up, the Bad Aches combine two guitars and drum kit in the classic Aussie rock format that is the mainstay of so many pubs. Thick bass underpins the rough and ready approach and red stage lighting is used to good effect, emphasising the loud, raw sounds and strained vocals. Moon Duo take to the stage, Ripley Johnson with a beard from the ‘70s and Sanae Yamada with long black hair worthy of your favourite J-horror film. Visually and musically they might seem to be the odd ones out on the night’s line-up, however, thematic continuity with the Bad Aches and JSBX is found in the central guitar sounds. The early tracks are evocative of a summer’s haze as traffic lights flash by. Matching the blur of the soundscape, the projections across the duo’s white T-shirts fold them into the meshes and bridge structures of the video. Wide, muffled beats and soft vocals blend into the transformer buzz Yamada is creating, giving a full sound for just two people. Over the top of this Johnson phase switches on an abstract guitar stream,

34 • For more reviews go to themusic.com.au/reviews

foregoing obvious verse-chorus compositions for longer flows of alternating vocal and guitar – soooo good. The Jon Spencer Blues Explosion are greeted by a full house and Spencer – part showman, part preacher – delivers. For those of us who lost track of JSBX during the compilation years, the current tour offers a chance to get re-acquainted, following last year’s album Meat & Bone. For the first few songs it’s a case of hold the blues, bring the rock, and unleash the explosion, as big guitars dominate. Several tracks in, Spencer channels his inner preacher for one of the most successful audience interaction sessions in some time, and follows with slightly stronger blues inspiration. There is an assured balance between Spencer on guitar and vocals, big drums from Russell Simins and Judah Bauer on guitar. Both Simins and Bauer each take over the vocal duty on a song and Bauer also puts the harmonica to good use on a lone track. The only downside is the vocal mix, meaning that except for spoken introductions, Spencer’s words are largely incomprehensible. Despite what the Blues Explosion name and other indie and blues-punk titles may suggest, this is big, bold rock that cuts through generational divides, with a lighter sprinkling of blues to flavour the mix. Blues purists take note and live music fans rejoice. Mikel Roman

TUBA SKINNY SPIEGELTENT: 15/03/13 The surrounds of the Arts Centre buzz with chatter as people queue eagerly for a pre-show tipple. There’s a two-man band playing at the Spiegeltent sign, the singer’s husky voice crooning while she alternates amongst drums, trumpet and a cute pink honky-tonk piano. Tipsy punters dance and laugh to their catchy tunes. Moments later, the crowd is summoned to enter the Spiegeltent, and women with red lipstick, white shirts and navy flared pants say, “Welcome to the Spiegeltent, this show is a sell-out!” Clearly Tuba Skinny has strong following in Australia. Without a moment’s delay, the seven-piece group from New Orleans known as Tuba Skinny appear on stage. They’re a quirky looking bunch with finely groomed moustaches and slick hair. Their outfits fit perfectly with their style – ragtime, jazz and blues straight from an era past. Robin Rapuzzi steals the crowd’s attention first with scratchy sounds and beats from his washboard that get bodies moving on the dancefloor. But the group’s real shining member is vocalist Erika Lewis. Her raspy tone and sultry growls fill the room with spine-chilling delight – hers is a rare sounding voice just perfect for the musical outfit. Their third song, Sweet Lovin’ Ol’ Soul, is a wonderfully bluesy, soulful tune, and Lewis sultrily bangs the bass drum strapped to her chest. It’s accompanied by the many other instruments – banjos, a tuba, trombone, trumpet and clarinet. By now, the crowd is warmed up and couples in the audience take the opportunity to show off their finely tuned dancing skills. A small circle forms and there are jumps, twirls and foot stomping – it’s so good it’s hard to look away. Tuba Skinny chat to the audience – after four weeks here, they’re sad to be leaving Australia. As they reel off the shows they’ve played here, including WOMADelaide and Port Fairy Folk Festival, excited punters cheer loudly from the crowd. They’ve won fans here. Lewis raises her glass to the crowd, calls out “tequila” and they play a fun, upbeat song that has everyone toe-tapping and dancing. They wind up with a song that features one of the band members bleating like a goat, the instruments all melding together joyfully. If you close your eyes and listen, you could be forgiven for thinking you’ve stepped back in time – Tuba Skinny have that nonchalant, effortless and authentic sound that simply takes you back. Belinda Healy

Sydney’s Step-Panther sneak on second despite being the big draw, and though less relentless, they’re no less a ferocious unit. Launching their Dreamcrusher EP they open with Nowhere and Never Again; singer Steve Bourke’s vocals gleaning a tinge of reverb and his Danelectro shooting sparks as spiralling riffs and dexterous lead runs push up against the beat, urging the songs forward. Maybe Later is ridiculously catchy and makes it easy to see why NME picked them as one of 2013’s Bands To Watch (something you can be sure means absolutely nothing to the small but riotous crowd here). Bourke’s songs channel a very bright cataclysmic yet euphoric despondency and feature some truly inspired guitar work. Closing with the brilliant loathing of Zombi and its chant of “I hope this summer never ends”, they’re one of the smartest bands to play dumb. Wax Witches meanwhile don’t play anything but fast, hard and as if nothing’s sacred. “This is my friend Josh; he plays drums,” says singer and guitarist Alex Wall. “We started this band two days ago,” he lies happily. Launching their Celebrity Beatings LP the duo pull Ramones count-ins, Black Flag riffs, Dead Kennedys sneers and a Pixies cover (Wave Of Mutilation) – whatever it takes to make a killer show. Despite having a lot of fun expressing a snotty disregard for everything, the band have an almost Reatardian way with brevity, melody and knowing when the job’s done. Seemingly still in their early days (despite the band being Wall’s side-project from Bleeding Knees Club), they almost seem to be playing to each other at times, which doesn’t stop the small, vocal but self-conscious crowd draw closer to the stage to head-bang. “You might be a small crowd but it doesn’t mean you’re any less of a crowd than any other crowd,” Wall says in mock seriousness. Nightmares sounds like it could be a Germs cover, so masterful is its simplicity. Crashing cymbals, constant riffs and perpetual speed, Wax Witches bring levity to their heaviness, as songs like Gay Batman, Everytime I Try and Fuck Shit Up amply prove. So good, it is almost like the Arthouse in here tonight. Andy Hazel

WILD NOTHING TOTE: 11/03/13 As soon as Wild Nothing (aka Jack Tatum) and his four live members launch into opener Shadow, the first song off latest album Nocturne, everyone in the small, sticky bandroom is enamoured. Kevin Knight provides the foundation with a string-like synth riff that cuts through the hot, damp air. Although a lot of the subtleties that make their records great aren’t able to be replicated, some things are more effective live; the forceful dive back into the main riff after the reserved bridge, for example. Their simple stage presence – nodding heads, tapping feet, a shake of the shoulders – does not make them any less interesting to watch, and their banter is laidback and natural. “I feel like someone dipped my guitar in butter,” says Tatum. Sweat drips down from the guitarists’ wrists onto their instruments. The rest of us can empathise, as we move in close proximity, knocking each other’s slippery elbows. Band and audience’s discomfort is set aside, though, as Wild Nothing deliver songs across their romantic dreampop repertoire. Mostly based off single dominant riffs, their songs shine during moments: the quietly assuring three-part harmony and Jeremiah Johnson’s dance drum beat in Counting Days; Tatum and Nathan Goodman’s duetting guitars in Golden Haze; the swirling intro of Only Heather; Tatum crooning, “Ooh, you can have me, you can have me all”, as the guitar ticks upwards in Nocturne. After two bars of the dancey Paradise, they stop because bassist Jeff Haley hasn’t come in. Tatum explains, “Jeff unplugged his bass; how embarrassing for Jeff,” and Haley looks sheepish. Take two transforms the Tote into a disco: Johnson’s combined deep drum fill and electronic beats thudding along with Haley’s thick bass, Tatum’s magnetic vocals, the hum of the synth and gathering feedback resulting in arguably the highlight of the night.

“This is our last song, then we’re gonna get out of this hellish situation,” says Tatum, before clarifying, “only weather-wise! Spirit-wise it’s been awesome.” As they finish with The Blue Dress, Tatum asks if we want some water and empties a bottle on the crowd. They can’t leave the stage fast enough after their final applause, heading straight outside to the beer garden, but reward those who stick around in the sauna-like room by returning to play The Go-Betweens’ Head Full Of Steam. Stephanie Liew

JAMES BLAKE, JONTI CORNER: 19/03/13 South African expat Jonti warms the crowd up tonight, with the room already quite full as he starts. He plays a varied mix of songs; some are practically hip hop with their thumping beats, others are more focussed on softer synths. To further change things up, he picks up a guitar that appears to have a body made out of an oil tin for a song or two, adding another layer to the mix. After an excellent half hour, he steps out from behind his desk of synths to play a short song accompanied by a ukulele (yet again with bizarre tin body) to finish his set. “Sorry if I look like I’m not into it, I’m just falling asleep,” admits James Blake, only a few songs in. He does indeed look barely there frequently throughout the night, but thankfully he manages to power through jetlag and put on a fantastic show. Blake plays a selection of songs from his EPs, his 2011 debut album and the upcoming Overgrown. One of the new songs goes wrong, although no one the crowd seems to know what the issue is. “Y’know what – fuck it, I’m sorry,” Blake says, visibly annoyed and promising to get the song right when he next tours here. They start the song again and get through it without any issue this time. Retrograde, the first taste of the new album, is played in the encore to finish the show and receives one of the best responses of the night. The crowd provides the only real issue. People repeatedly cheer while Blake loops his voice for a few songs (most noticeably on I Never Learnt To Share), resulting in the cheers looping too and distracting from the rest of the songs. The cheers return again during the quiet parts of Blake’s solo rendition of Joni Mitchell’s A Case Of You, which closes the main set. Minor crowd grumbles aside, the show is a fantastic display of Blake and his band’s excellent musicianship and quality songwriting. Josh Ramselaar

MORIARTY SPIEGELTENT: 14/03/13 Moriarty’s music and history make them the ultimate in-betweeners. With most of the band members born in Paris to American parents, and a rich and diverse array of cultural heritage, their brand of French Americana blues is hard to pigeonhole. Named after Jack Kerouac’s iconic character from On The Road, Moriarty’s music has the same wandering and restless spirit. Sweet and sultry chanteuse Rosemary Standley has a voice like honey and wildfire, transforming from a country croon in the first few saccharine ballads to a rocksteady blaze by the end of the set. Standley singing into a harmonica mic for one song is particularly beautiful and bizarre as the mic adds a fuzzy metallic ring to her voice, suddenly transporting the audience to a prohibition-era basement in America. Harmonica, double bass, a resonator acoustic guitar and even a mouth harp add to the band’s Americana vibe as the ensemble move effortlessly from folk and blues to a rock’n’roll ending. Starting off with a soft and silky murder ballad making the most of Standley’s voice and underpinning it with incredibly haunting and skillful harmonica, the band are pulling heartstrings early. There is a charming and unselfconscious rough edge to the opening few songs, and Standley is clad in a loose floral frock channelling a sweet country lass. Moriarty are master storytellers, and ballads are their medium of choice. There is a distinctly tragic edge to much of their material, and even through dulcet tones and the acoustic sway of strings a sinister undercurrent sweeps through their songs. Private Lily follows a 19-year-old woman joining the army and getting ready to tote an M16, and Whiteman’s Ballad is a cynical look at corporate greed, corruption and human fallibility. Standley’s costume change into a tight red pencil skirt toward the end of the set marks the distinctive move into more gritty and sensual rock and is an order for the audience to dance. After the last notes ring out, an invigorated audience spill out of the Spiegeltent aware of life’s tragic potential but more than ready for it. Isobel Roberts-Orr

The Hunger Games. Showing his versatility, he plays a frenetic cover of Van Morrison’s Astral Weeks, which segues into the plaintive chorus from Pearl Jam’s Smile. Love Don’t Leave Me Waiting, his meditative piece based on John Martyn’s song, Bless The Weather, showcases his powerful voice, unleashed. Hansard returns alone for an encore with a truncated Say It To Me Now, playing acoustically at the front of the stage, looming over the enthralled audience as his throaty menace flings out. As he strums, The Frames appear and stand with him, male voices raised in harmony. He follows this with an impromptu rendition of Irish folk song The Auld Triangle (an audience request) with contributions from fellow Framers and a couple of audience members. It’s spontaneous and atmospheric, raising the mood significantly following a number of slower songs.

Glen Hansard & The Frames Pic by Holly Engelhardt

GLEN HANSARD & THE FRAMES, LISA HANNIGAN RECITAL CENTRE: 20/03/13 Lisa Hannigan, nymph-like, plays lilting, melancholy folk music, her breathy girliness resounding through the audience. She is selfeffacing when she mentions her role as support act, and her performance instils quietness in the audience as she moves deftly between instruments and tonal registers. She shows a lighter side with the insertion of a local reference “Don’t swallow bleach on St Kilda Beach” into her song Safe Travels (Don’t Die). Glen Hansard & The Frames begin their slowburning rollercoaster gig, moving from introspective wanderings to explosive cacophony, accompanied by support musicians – three horns, three strings and keyboardist, Justin Carroll. Hansard, playing his worn guitar complete with strumming holes,

oozes passion and intensity with an authenticity that perhaps comes from his days as a busker. He is a good storyteller and each of his songs comes alive. Everything has a story and every story a song in Hansard’s world – he observes the world through a musical lens. There is entertaining audience interaction too. Flirting with Tara from Dublin, “We like Dublin girls... we like Czech girls too”, provides a cheeky reference for those who have seen the movie Once starring Hansard and Czech singer Markéta Irglová, and tracks from the movie are warmly received, especially Falling Slowly, which sees Hannigan return to sing the female vocal. Hansard is surprising and nonconformist – while playing solo he howls wolf noises into the bowels of his guitar and loops it back hauntingly, then changes pace with a melancholy ukulele song inspired by reading popular fiction series,

To conclude, Leonard Cohen’s Passing Through is an extravaganza, as Hansard leads a musical conga line off stage, playing out through the auditorium past fans waving various mobile devices, out into the foyer and down the stairs. Pied Piper-style, we are led out onto the street, singing along in the chorus, finally coming to a stop outside the stage door where the last chords ring out into the night. The cheeky troubadour, smiling and sweaty, disappears with his bandmates, leaving us with memories of a truly epic and unforgettable experience. Jaye Weatherburn

GRINSPOON, KINGSWOOD, EMPERORS HI-FI: 22/03/13 First up tonight are Emperors, a newer band from Perth. They’ve got an undeniably ‘90s sound – grungy, but not bathing the songs in reverb and distortion. One song sounds incredibly close to Weezer’s Undone (The Sweater Song), further adding to the ‘90s vibe. They might be a little derivative, but the songs are well written and they make it work.

Locals Kingswood are up next and waste no time kicking their set off. Their songs hurtle along, reminiscent of Queens Of The Stone Age at their grooviest or The Hives at their heaviest. Songs such as Medusa and She’s My Baby allow singer Fergus Linacre to show off his impressive vocal range, as he switches with ease from a smooth singing voice to rougher screams. Their cover of First Aid Kit’s Wolf gets a great reception from the crowd and has plenty of people dancing. “How farken great were those guys!” several groups of people can be heard exclaiming after Kingswood. It’s a bit of an older crowd that’s steadily filling the bandroom tonight, as if the night’s headliners and the Triple M posters plastered all over the venue didn’t give that away already. Grinspoon take the stage after a quick changeover and kick things off with Black Friday. Immediately the mosh kicks into gear at the front, restricted only by the steps on either side. Phil Jamieson struts his way around the stage and dances with a goofy grin when he’s not belting out songs from all over their nearly 20 years as a band (only 2007’s Alibis & Other Lies doesn’t get a look in). The band hit their stride almost immediately tonight, but the definite highlight of the show comes from the run of More Than You Are, Chemical Heart and Champion – the latter song sending the crowd wild as soon as Joe Hansen plays that familiar bassline. Later in the set, Jamieson and guitarist Pat Davern don acoustic guitars for She’s Leaving Tuesday and acoustic version of Just Ace, which is dedicated to Jamieson’s daughter (it’s her birthday tomorrow) and “all the dads who have missed their daughter’s birthdays, or will in future”. They play a few more songs, again mixing new and old before leaving the stage. They return for a quick encore and hammer out Lost Control, getting the crowd going crazy one last time. Before we know it the show’s over and everyone begins the slow ascent up and out into the night. Josh Ramselaar

For more reviews go to themusic.com.au/reviews • 35







Gay Paris Northlane Dr Burt Okay, it’s almost here, so you’re going to get a bit of respite from hearing me bleat on about Bluesfest sometime in the next couple of weeks. Stoked? You should be. But honestly, this year’s is close to the best Bluesfest line-up ever (I wouldn’t argue with anyone who said it’s the best, but the 2011 event was really it for me). Artists like Paul Simon, Rodriguez, Steve Miller Band, Iggy & The Stooges and Wilco will have us beside ourselves with joy and excitement, but the most important thing about Bluesfest is the discovery of something new. Here are a few things I’ll be keeping my eye on over the five days. Music Maker Revue These guys are a non-negotiable must-see act every time they make their way to the festival and this year I think they have assembled their best line-up of acts to date. The great Ironing Board Sam will lay down some rockin’ keyboard-driven ‘50s R&B like he’s been doing for the past five decades or so, the very cool Dr Burt will break your heart as he belts out his unique brand of back porch acoustic blues and Pat Wilder will shred with the best of them on the bill. This organisation does great work and, most importantly, they unearth great music, so you can be guaranteed that you’ll have yourself a hell of a time at each of their performances over the weekend. JD McPherson This Oklahoma singer initially released his debut LP, Signs And Signifiers, back in 2010, but it was until its re-release through Rounder Records in the US last year that the 35-yearold started to get any traction. His style is very much rooted in the tradition of 1950s rock’n’roll and he joins the growing list of artists able to authentically replicate not just the sound but also the energy of great music from yesteryear. If you’re into rockabilly, soul, rock’n’roll and rhythm’n’blues you have gotta check him out.

Norwegian black metal group Enslaved will tour Australia in June, with the Sydney based gothic/ doom metal outfit Rise Of Avernus tagging along for the ride. The band released their 12th album RIITIIR last year through Nuclear Blast to resounding critical acclaim. Thanks to the newly established LAVA Entertainment, you can catch the duo at the Hi-Fi, Friday 14 June. Tickets are on sale this Thursday. Kamelot are coming to play shows on Australian soil for the first time ever this June, thanks to the seemingly increasingly busy Metropolis Touring. The American-based symphonic power metal group will finish off their run in Melbourne at the Hi-Fi, Friday 7 June. Thy Art Is Murder just keep on rising in the ranks – the Australian death metal band has now also been nominated alongside a dozen or so other, mostly American, bands for an opening slot on this year’s US Summer Slaughter tour, and while dates are yet to be announced, it features The Dillinger Escape Plan, Periphery, Animals As Leaders, Norma Jean, Cattle Decapitation, The Ocean, Revocation, Aeon and more to be announced. Head to facebook.com/ summerslaughtertour to find the link to vote. Sidenote: does anyone else think it’s really weird that a tour that has made its name on being all about death metal and deathcore has suddenly gone all prog on its audience? Heavy-edged but unconventional hard rockers Gay Paris have unleashed a track off their forthcoming debut album. Ash Wednesday Boudoir Party is now streaming on SoundCloud, with the forthcoming album entitled The Last Good Party. The Sydney band has announced an extensive 25-day tour to support the

Go Jane Go This takes me back to the days of my first Bluesfests where researching some of the acts lower down on the bill was nigh on impossible. As far as I can see Go Jane Go are a very new act, but they feature the talents of Kieran Kane, who never lets us down, as well as his son Lucas and David Francey, a great Canadian singer-songwriter. From the little snippets I’ve seen on YouTube it looks like good old-fashioned American folk and that’s going to be just what the doctor ordered as we crack our first beer Thursday evening. Ben Caplan Look, I’m not 100 per cent sold on Caplan – probably closer to 70 per cent – but I’ve been assured his show is brilliant so it’s with great interest I’ll head along to see him on his first visit to Australia. His appearance and the fact that he’s lumbered with the “folk” label mean that my initial impressions were a little incorrect; I’m pleased to say his songs are a little gritty and genuinely interesting and his voice has a richness that demands attention. No matter what happens, you’re going to have a fantastic time if you make it to the festival. If you don’t, there are a bunch of sideshows happening that you really ought to check out.

36 • For more opinion go to themusic.com.au/blog

Sydney punk grinders Fat Guy Wears Mystic Wolf Shirt will release a new EP on April 15, entitled Dys/ Closure. The band’s label, Art As Catharsis, described the music as “the sound of life’s discord; a scream hurled towards the void; a process of cleansing and rebirth”. A couple of streaming tracks and pre-orders are available over at artascatharsis.bandcamp.com. Former members of the now defunct Adelaide groove metal group Double Dragon have teamed up with dudes from A Red Dawn to bring us Voros. The group plans to release three EPs this year, Sky Burial volumes I, II and III, with part I already available over at voros.bandcamp. com. An initial live show is planned for April. There will be a listening/launch party for Flesh Is Heir, the latest album from The Amenta, this Friday at Madhouse Nightclub in the Melbourne CBD. Get along from 10pm for some heavy tunes and maybe a free copy of the release. Head to The Bendigo Hotel this Friday 29 March for an ‘Unholy Good Friday’ – or just an awesome mixed bill of heavy stuff. Hobbs Angel of Death, Depression, Sydney’s Darkhorse, Maniaxe, Party Vibez and Counter Attack will bring the noise from 6.30pm for $15. US Christian metal groups Demon Hunter and I The Breather will play this Saturday, 30 March at The Evelyn Hotel from 7.30pm. They’ll be joined by national support group For All Eternity, with locals Empire and Left For Wolves.

FRAGMENTED FREQUENCIES WITH BOB BAKER FISH even himself – to the point where he is driven to the brink of madness by his own dark sonic creations.

Shuggie Otis I must admit to being somewhat concerned about how Shuggie is going to go. Reviews of his recent shows in the UK hardly fill me with great confidence about what he and his band will bring to the table. But his songs are brilliant, he’s hopefully still an incredible guitarist and he told me a couple of weeks ago that he’s put together “the best band [he’s] ever played with”, so I’m going out on a limb to say this will be unforgettable for all the right reasons, rather than all the wrong ones.

release, which stops by Melbourne at the Cherry Bar on both Saturday and Sunday 4 and 5 May.

The soundtrack comes from UK outfit Broadcast, one of the last projects before Trish Keenan’s tragic passing. Like the film itself, it’s self aware: a pastiche of the spookier elements of Goblin, dark keys of Fabio Frizzi – a reference here, a reference there. Yet it’s also unmistakably Broadcast, forging their own identity over sleazy and cheeky sonic gestures. Berberian Sound Studio With the beginning of the talkies in the 1930s, cinema changed forever. Suddenly the path to the emotions was more direct, as sound had three levels to contend with: the dialogue, the score and the foley. What we’ve learnt since is it’s often how these layers intersect that can define your cinematic experience. Good directors know this, auteurs like David Lynch and Sergio Leone have transformed it into an artform, a deep sonic experience that can be as playful as it is affecting and that elevates film exponentially. Berberian Sound Studio (Madman) is simultaneously a homage to the sound design of the past and a claustrophobic, somewhat surrealistic psychological thriller. “Come this way, don’t be afraid, a new world of sound awaits you,” offers the mysterious producer Francesco when the cherubic-faced English sound designer Gilderoy arrives in Rome to work on a sadistic horror film. “Strike a light man, what’s he doing to her,” Gilderoy says on his first screening, as the assistants provide the sound effects by smashing watermelons with sledgehammers. If ever a film delighted in sound design, fetishised its construction and used sound for narrative development, it’s Berberian Sound Studio. It’s a love letter to the Italian slasher films and Giallos of the ‘70s, where Dario Argento was the undisputed king. Directed by UK’s Peter Strickland, Gilderoy is ostensibly creating sound for an unseen film, yet the results of his labours and manipulative sonic techniques are still profoundly unsettling to both the audience and

“I listen to film music today and even these composers that are fantastic, every sound is so completely rounded off, and smooth and over-compressed, and has the same kind of reverb that sounds the same,” offers US-based film composer William Ryan Fritch. “They’re recording in million dollar sound stages for a film that’s nasty, where you need real grit and real bite. They could learn so much from seeing what these lo-fi recording studios can do, like, early dub recordings. You just don’t get that at these high-end studios, because they think that a piano should sound like an open grand piano, I get sick of that; I get sick of the perfect sound.” You might know Fritch from his role as bandleader in Anticon stalwart Sole’s Skyrider Band, or for his fourth world excursions under his Vieo Abiungo moniker. Yet his score for the Oscar-nominated The Waiting Room (Lost Tribe Sound) is remarkable. A documentary about one 24-hour period in the waiting room of Oakland’s Highland Hospital, The Waiting Room touches on how the patients (many of whom are uninsured), staff and caregivers deal with the injuries, disease, frustration and bureaucracy. Fritch’s score is sparse, recorded in his home studio, and imbued with an uplifting feeling of hope, despite the dire situation of many of the film’s participants. The music is deceptively minimal, modern classical music pretending to be film music, with some intricate gestures that possess an almost-pop sensibility. Without having seen the film it’s difficult to judge its effectiveness, however as a separate suite of music it’s awe-inspiring, offering a complexity of emotion that is all too rare in contemporary scoring.

The hype surrounding the new Northlane record Singularity is completely founded. It’s a little bit scary how much this band has grown in the two years between releases. Fresh off the road from appearing nationally at the Soundwave Festival, Northlane have announced their launch tour for the new album and it is the biggest headlining tour of Australia they’ve ever done. Running in relatively small venues, support comes from Structures (Canada), Stray From The Path (USA) and locals Statues. The tour will head around Australia this May and June, with the Melbourne leg hitting the Corner Hotel on Sunday 9 June at the Corner Hotel for an 18+ show, and again for an all ages show on Monday 10. Tickets are available this Thursday through the UNFD or Corner Hotel websites. The Smith Street Band are one of the biggest names in Australian punk rock right now. With their second album Sunshine And Technology going into its third (I believe…) re-press, this is definitely a band people really love, myself included. Last week it was announced that the band would be re-pressing their South East Facing Wall 7”. Initially released back in 2011 to celebrate the band’s tour with Defiance Ohio, the first pressing sold out in a matter of months. The A-side is a live favourite, and considering that it came out six months before No One Gets Lost Anymore it was an excellent preview of the brilliance that was to come. The 7” is available for pre-order now through Jackknife Records (jackknife.com. au) with orders expected to ship early in April. This news flew under my radar a little bit, but Melbourne via Byron Bay hardcore outfit 50 Lions are back (after a bit of a hiatus that commenced at Hardcore 2011) with a new 7”. Stepping off precisely where they left off with their last full-length, Where Life Expires, the band’s focusing on a traditional hardcore sound, perfectly demonstrated through the three tracks on the new release. Called Pray For Nothing, the 7” is available for pre-order through Resist Records (nationally) and Six Feet Under Records internationally. The band have announced a Melbourne release show (at The Bendigo Hotel in Collingwood on Friday 26 April with Vigilante, Outsiders Code, Thorns and The Others) the day before they appear on the Break The Ice Festival. As we get closer and closer to Record Store Day (Saturday 20 April) another release got announced that I am very keen to get my hands on: a split-7” from Touché Amoré and Title Fight. Taking the ‘switcheroo’ approach, the release will see Touché Amoré covering Title Fight’s Crescent-Shaped Depression while Title Fight will cover Touché Amoré’s Face Ghost. Pressing will be VERY limited to 1,000 on red vinyl, so if you want it and your local record store says they may be able to get their hands on it, grab it as quickly as you can! Byron Bay-based band The Dead Ends have announced a 7” and a bunch of shows to mark their return, as well as explained why it’s taken them so long to become active again (as it turns out they’ve been busy with other projects like Postblue and Toy Boats). The 7” was recorded in Brisbane with Chris Brownbill at Sun Distortion and draws influence from a wide range of genres from hardcore to punk to alternative rock. The release is due out in the next couple of weeks but you can pre-order now through Telltale Records (telltalerecords.net). Last up for this week, jump onto the New York Times website and search for an article about a band called Moshiach Oi!. These guys are a Brooklyn-based punk band made entirely out of very observant Orthodox Jews. The article is very detailed and super interesting, and explores what it REALLY means to be an outcast. I mean, these guys are on the fringe of what already is a fringe group. The band’s lead singer says in the article of the unusual pairing, “It’s very amusing to me to see the looks on people’s faces. Most religious Jews have never seen anything like this, so they have no idea what’s going on… Punks scream oi, Jews scream oy vey.” The band is at the core of a new documentary coming out called Punk Jews.







James Blake

Mike WiLL Made It I was late to the party on Atlanta rap producer Mike WiLL Made It, first becoming aware of the dude through last year’s astonishing Turn On The Lights by Future. The song is at once beautiful and queasy: Future, addled by drink and drugs and thwarted desire, offers guttural, romantic exhortations over Mike’s concoction of plaintive, sickly-sweet out-oftime clusters of harpsichord arpeggios embracing spectral gothic choirs. Future’s Auto-Tune-degraded, tone-deaf emphysemic mutterings don’t so much pitch to the middle-ground between rap and R&B as fall through the cracks between them. This makes him the perfect foil for Mike, who. like most of the US production greats of the past two decades, works excellently in both arenas, not by splitting the difference between them, but by devising tactics that are compellingly ill-at-ease in either setting. From a distance, Mike occupies the kind of deflated, menacing post-Three 6 Mafia trap-as-grind archetype that Australians have never embraced; his particular mastery is in how he elevates this aesthetic to new plains of denatured, science fiction unreality. Mike WiLL has crashed into commercial and critical awareness with unusual simultaneity (most notably by co-producing Kanye’s Mercy, though that’s a bit of a misnomer stylistically). Some of his methods now verge on production signatures: on 2012 rap hits like Juicy-J’s sparse, throbbing Bands A Make Her Dance, 2 Chainz’s No Lie and Gucci Mane’s Plain Jane, Mike uses low-pass filter sweeps beloved of French house music to create the sensation of listening to the groove through a drugged-out haze. Plain Jane keeps the arrangement locked in this glazed purgatory, but No Lie mimics dance music by revolving from bleary delirium into crashing high-clarity choruses, like a camera locking into focus. Rihanna’s steely, numbed-out Pour It Up teeters between those two courses, constantly slipping back and forth between icy detachment and compulsive insistence. Wooziness is, of course, something of an aesthetic du jour in rap and R&B, with the most ham-fisted and marginal displays (think The Weeknd) typically receiving the most critical acclaim. So it’s important to remember that the mainstream – gangsta rap, chart R&B – arrived here organically, specifically through the sloweddown sizzurp sonics of DJ Screw but more generally via the changing-same accumulation of murderous intensity that has characterised Southern rap production (in particular) ever since crunk exploded a decade ago. Mike WiLL synthesises these impulses so seamlessly that it’s no longer clear precisely where the ideas are coming from; and then, of course, some of his tricks aren’t so easy to pin-down – what to make of those gleaming, glassy arpeggios on Turn On The Lights and No Lie, glittering with imperious perfection yet slightly out of time with the groove, at once seductive and disorienting. Each of these production ticks points to a broader truth, being that Mike stakes out his territory on the terrain of texture and arrangement rather than rhythm and groove. The beats – spindly trap spider webs, or sometimes shuddering Linn drum quiet storms for R&B productions – are hardly slack, but the magic and mystery resides in how he films the songs across these landscapes, the picture’s melodic and textural content constantly morphing (he is truly a producer for the Instagram age). Mike’s 2013 R&B work shows just how much range his approach allows: Ciara’s Wake Up, No Make Up is a restlessly mutating cyborg, by turns muscular and medieval, over which Ciara offers her best thug-mode Nicki Minaj impression interspersed with honeyed choruses; by contrast, Body Party (also by Ciara) is a plush, post-coital slow jam, resonant clouds of synth vapour billowing around spare, echoey beats. Most confusing of all is Kelly Rowland’s Kisses Down Low, which reconciles both of these approaches (and several more) with an arrangement that cannot choose between sweet, sensuous, sordid and silly. Its stylistic perversity is a reminder that the aesthetic battlelines are never so firmly drawn as you think: here is music that doesn’t just get you hot and bothered, it feels hot and bothered, too. dancemoves@drummedia.com.au

Urban music has never been as multiracial. There are still white artists who ignite controversy over various cultural insensitivities, like expat Aussie femcee Iggy Azalea, an Azealia Banks beef target. But, conversely, North London’s discreet James Blake is widely admired for his avant soul – integrating electronic innovation with gospelly organ chords and emotive singing. Justin Timberlake has been on both sides, but won everybody over with FutureSex/LoveSounds. The other week a Coachella-bound Blake returned to Australia for a micro tour, showcasing tunes from his second album, Overgrown, out April 5. Blake’s SXSW-worthy gigs in Melbourne and Sydney sold out fast. Overgrown promises to be just as amazing as 2011’s eponymous debut. Already the lead single, the R&B Retrograde, is a triple j smash. And Overgrown is timely. Since James Blake, other post-dubsteppers like Jessie Ware have emerged, while North America has given us Frank Ocean and TheWeeknd, their illwave sound not dissimilar to post-dubstep with its experimentation and atmospherics. Blake has always been mysterious – even aloof – when it comes to the media. The musician avoids unnecessary controversy. But some was brought up by 2011’s (totally justified!) comments on the US brostep takeover. Regardless, the R Kelly fan has inspired a cult in urban circles. Blake apparently influenced Drake’s Take Care (Philly DJ Bombé and Mr Caribbean made the mash-up mixtape James Drake). Even Kanye West has checked out Blake, with lingering speculation about a collaboration between them and Jay-Z. Blake recorded Fall Creek Boys Choir with West’s post-folk homie Bon Iver, included on a James Blake repackage. Word is, too, that Kendrick Lamar loves Retrograde. But, for a contemporary ‘pop’ artist, Blake is remarkably self-contained. He’s selective about collabs, his few hook-ups to date not about A&R manoeuvres but developing real artistic affinities. The

Guardian once suggested that Blake could be a “future go-to producer of UK urban-pop” but, talking to OG in 2011, he was circumspect. “It depends who it is,” Blake said. “I haven’t been massively spurred on to do anything so far... I’m not really for hire.” Compare all this to that pop stylist Rihanna, among the earliest urban acts to embrace dubstep: she recently explained to Elle how she “commissions” others to write songs that capture her headspace (“they know my story... and it’s always the truth”). No wonder mainstream urban lacks personality – and authenticity. Blake may be a singer/songwriter, if a transgressive one, but he hasn’t betrayed underground dubstep. The UK DJ Untold, now making dubstep techno, mixed in two of Blake’s clubbier affairs (one 2009’s Air & Lack Thereof) on his Hemlock Recordings: Chapter One of late last year. Blake, accompanied by a drummer and guitar (cumsecond keysman), opened his Melbourne show with Air... He performed old favourites like I Never Learnt To Share, demonstrating his innovative looping, and the beguiling The Wilhelm Scream, plus his subversive covers of Feist’s Limit To Your Love, full of sub-bass, and Joni Mitchell’s A Case Of You (momentarily forgetting the lyrics due to jetlag). He also threw in the R&Bsampling CMYK – vintage Blake. But the audience was eager to hear his new material, notably Retrograde. In 2012, Blake spoke of a “more aggressive” and “clubby” second record, yet Overgrown is grounded in neo-soul as much as ‘intelligent’ bass music and garage (think MJ Cole) with its complex melodies and arrangements. Songs such as Our Love Comes Back and the awesome To The Last are warmer, and softer, with a spectral ‘80s quiet storm feel. The experimentation remains. Blake has attributed Overgrown’s directional change to his falling in love. That said, one of the show’s highlights was the spookstep Digital Lion, produced by Brian Eno. Another album track, Take A Fall For Me, which Blake didn’t perform, features RZA – Blake revealed to a curious audience member that it was created over the internet and so he’s yet to meet the Wu-Tang Clan don. The mighty Retrograde was the encore. Ultimately, it’s only perception that is stopping Blake from being hailed as an R&B auteur – this and the fact that, after his gig, many of the hipster crowd rode home on decidedly un-swag bikes.


Iggy Azalea Did you ever play that game as a kid where you figured out your porn name? You took the name of your first pet and the name of the street you grew up on and put them together. It’s supposed to be comical, as all porn names are; the cute name innocently given to your furry beloved turned innuendo, the street name adding an exotic or oldtimey counter. Mine was Sheba Inverdon. (And I don’t know why my dog’s name was Sheba, but the Bible was big in North Queensland back then.) Amethyst Kelly’s porn name, and her rap name, is Iggy Azalea. The 22-year-old from Mullumbimby, a town of 3,000 near Byron Bay, has signed to Mercury Records in the US and UK after a few years of groundwork with T.I.’s Grand Hustle Records, a couple of mixtapes and a series of online singles that have amassed millions of YouTube views. Last week, Azalea’s first big-label-backed single, Work, was also released following the appearance of its white-trash-as-high-fashion video, which clocked up over a million hits in just a few days. The song and its video are classic ‘artist manifesto’ moments. Azalea walks a desert road in Louboutin heels and a skimpy two-piece as she raps, “People got a lot to say but they don’t know shit ‘bout where I was made/Or how many floors that I had to scrub just to make it past where I am from”. Later in the clip she gives a gruff-looking man a lap dance before stealing his car keys and going for a joyride. It’s both a celebration of “the hustle” and of the American dream, and more specifically the MTV version of the American rap dream. As much as Work is a statement of identity – like Biggie’s Juicy or India.Arie’s Video or many musicians for whom identity is the primary message

and the brand – Azalea’s identity, like her name, is fictionalised and skewed. She raps not just with an American accent but uses intonations and language often referred to as ‘ghetto’ or ‘street’ but perhaps better (or less problematically) referred to as colloquial, despite not speaking that way in interviews. In the video for Work, the desert road and the unwashed, tattooed characters that populate it are iconic of the backwaters of America, not coastal New South Wales. In interviews, too, Azalea, who is also a model on the books of New York’s Wilhelmina Models, speaks eloquently (and fairly mind-numbingly) of building her business, of taking up tennis in order to network, of being “heavily involved” in the making of her music. It would be easy to put the accent and image down to cultural cringe, which is hardly a new accusation against rap made by Australians, as well as to a business model targeted to a large American audience hungry for American music, but at this point in pop music those explanations don’t seem to really cut it. We’ve already had Lizzy Grant, a privileged New Yorker, getting her slang on as Lana Del Rey and sparking a culturechanging discussion about authenticity in music. Even Grant hasn’t been sure how much of her artifice to reveal in interviews. It makes sense in many ways that pop music is heading towards complete transparency of its process, particularly when the blow is softened by designer labels and girls in bikinis. Does anyone really care that Azalea raps in a different accent or amalgamates her ‘journey story’ with iconography from poor America, or that she works with others on her music? It only really grates when Azalea uses her race to paint herself as an outsider. In Work, she raps, “White chick on that Pac shit/My passion was ironic and my dreams were uncommon”, presumably referencing Tupac. In previous single, My World, the hook goes, “My world/Rhyme vicious/White girl/ Team of bad bitches”. Everything is up for grabs, but maybe we can draw the line at a white Australian claiming underdog status in a genre with as much political history for black Americans as hip hop.

Known Associates Alright, let’s get the bad stuff out of the way first. This week’s completely crappy news is that one of the best local hip hop radio shows, Triple R’s Top Billin’, has been cancelled by the community radio station’s powers that be. It’s very disappointing that after six years on the air, Rosco and Rawls have been informed that their services are no longer required. I can’t speculate as to exactly why the station has made this call, but I’ll just say this: it’s a little bit messed up that, when an organisation is in the middle of rallying support for their cause, they feel completely comfortable cutting off a community who were fighting for that cause on their behalf. Community radio is in peril, so why on earth would a station decide to alienate a solid fan base now? Aussie hip hop artists and fans have both invested heavily in community radio over the years – after all, rotation on triple j is rare, and commercial airplay even rarer. Community radio provided a platform on which local hip hop has been able to flourish, and the dedicated folks that turn up week after week to spin tunes and chat with artists are absolute heroes. Rosco and Rawls should be thanked for their dedication to local radio, and it’s a damn shame that after such a long run, they’ve been cancelled – right when community radio is begging for support, too. If you’d like to read the farewell note from the Top Billin’ guys, head to topbillinradio.wordpress.com. There’s also a petition going to get the show back on the air at change.org/petitions/keep-thelegendary-top-billin-fridays-10pm-live-on-3rrr, so add your signature and show your support. In better local music news, two of our finest MCs have teamed up as a crew. The incomparable Ciecmate and the everimpressive Maggot Mouf have joined forces as Known Associates. They’re not wasting any time either – they’re already hard at work on an album, and are looking towards a mid-year release in a few months (rest assured, I’ll keep you posted). If you’d like to see what this dynamic duo is about, they’ll be playing a show at the Evelyn this Thursday 28 March – and yes, that’s the night before the Good Friday public holiday, so there’s absolutely no excuse not to get raucous. Don’t miss this one – it’s sure to be the goods. Also happening this Thursday 28 March: The Beatnuts are hitting up Melbourne all the way from the USA. They’re playing a free show at the Espy, and they’ve got a brilliant line-up of local supports helping them out. The ol’ smoothie One Sixth will be in attendance, as will young gun Soliloquy. Rounding out the bill is Remi and DJ Flagrant. And while we’re on the subject of the Espy, don’t forget that Grandmaster Flash will be doling out Easter eggs this Sunday 31 March (and by Easter eggs, we mean awesome turntablism). You can grab your tickets to see the Flash from theespy.oztix.com.au. If you’re feeling like something a little mellower this Easter long weekend, get along to the Laundry Bar on Friday 29 March (yep, that’s Good Friday) and see Jess Harlen take the stage. This soulful songstress has been featured on tracks by the likes of Muph & Plutonic and Pegz, and she dropped her second album Park Yard Slang last year to great acclaim. With her unique voice and strong stage presence, she’s always a great one to see live. She’ll be supported by Candice Monique & The Optics and DJ Ant1. There are no pre-sale tickets being sold for this one and the door charge is only $15, so make sure you get down early.

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TEN CENT PISTOLS Vultures (Still Rocks) The eerie tone of this record is present right from the first moments of opener Line Up Your Troops. The swirling guitar of Owen Hughes and the gravelly voice of Alex Palmer ensure that the band don’t lighten up. Ten Cent Pistols revel in rock’n’roll grandeur and because of this it can be hard to break into Vultures emotionally, despite the ominous warnings present in Palmer’s lyrics. There are a couple of times when you expect the band to really let go, but they hold back and build again. However When The Stars Align proves this band’s potential and is sure to be a killer live track. Ten Cent Pistols launch Vulture at Cherry Bar this Saturday.

KATIE WIGHTON You Are Here (Independent) You Are Here marks the second release from Katie Wighton, inspired by her shift in location to Sydney. It gets off to a strong start with Wighton evoking some Sgt Peppers-era Beatles whimsy on Christopher. After the bubbly opener the remaining tracks are more downcast, but nothing is too depressing in Wighton’s world with her lyrics laced with humorous observations and her music enjoying some quirky insertions from producer Brian Campeau. A pleasant listen without being extraordinary, there is room for Wighton to strengthen her songwriting to match the wonderful sound she has created for herself. Wighton plays at Grace Darling with Tully On Tully on Wednesday 17 April and also the Apollo Bay Music Festival.




Still riding high off the back of their recently released debut album Dead Beat, dirty-fuzz, punk blues, Perth three-piece The Floors are playing Yah Yah’s this Friday with Them Bruins and Peter Bibby.

Sydney pop-rock band Breakaway are set to release At The World’s End, the follow-up single from their debut EP One Minute/One Moment. Breakway play Idgaff this Saturday and Plastic on Sunday.



Christy Gordon-Smith is launching new songs at the Bridge Hotel (Castlemaine) this Thursday. Poetic and soulful, Gordon-Smith shifts between gritty, percussive rhythm and blues to deep, dark bottom-of-the-soul stuff. Peter & The Wolves and Chris Jephcott will support.

Get down to the Retreat Hotel on Easter Sunday and soak up the infectious reggae rhythms and deep dub grooves of nine-piece Echo Drama. Opening will be the psychedelic party jams of folktronica act Lamarama.

This Thursday night at the Retreat comes a rocking lineup of Red Rockets Of Borneo and The Naysayers. Red Rockets Of Borneo bring their short, sharp, bristling rock antics to the Retreat front bar. Then stick around for The Naysayers, back after a short break with new songs.

NOT WAITING FOR BEN To coincide with the release of his new EP Times Not Waiting, Ben Kelly will play a string of shows in around Melbourne. Catch him this Thursday at World Bar from 6pm and Burrinja Cafe (Upway) from 10.30pm, and Veludos on Monday from 7.30pm.

ANGEL OF DEPRESSION After the awesome night that was had by all at last year’s Unholy Good Friday, the Bendigo Hotel and Heavy Mag have joined forces to it again this Friday. An unbelievably good line up including rare performances from ‘80s thrash legends Hobbs Angel Of Death and fellow time travellers punk thrash legends Depression.

EARLY RISERS Hobart six-piece The Mornings have been hard at work over the last few years releasing, recording and touring off their own back. Catch them launch their new EP Ribbons this Friday at Ruby’s Lounge (Belgrave) and Sunday at the Workers Club.

RELEASE THE DREAM Catch Release formed in early 2011 with frontman Tom Lee-Richards envisioning a sound made of jazz, soul, classical, folk and pop elements.They launch their debut EP, Asleep Is A Friend Of Mine, at the Wesley Anne tonight (Wednesday).

LIVE MUSIC MATTERS People such as Music Victoria’s PatrickDonavon, Sophia Brous, Bek Duke and Jon Perring ensure our state remains a rockin’ live music capital. With Music Victoria’s Membership Drive Jump On The Bandwagon 2013 in full swing, we find out more about what makes these gig-addicted individuals tick.

Times Not Waiting (Independent)

THE MORNINGS Ribbons (Independent) Hobart indie-folk outfit The Mornings return with an EP featuring three well-constructed and meaningful tracks. Rambunctious (comparatively) opener Bleeding Knees & Salt is perhaps the weakest track but introduces Samuel Cole’s expressive voice and the gamut of sounds produced by the six-piece band. Telescope sees the greatest lyrical turn from Cole, who eases back on his vocals allowing the various instruments to flesh out the full sound. Smoke & Lasers features a simple build to the hopeful chorus with soft instrumental touches incorporated skilfully. The saxophone and violin prominent in the final moments of the track are a wonderful end to an admirable effort from a rising talent. The Mornings launch Ribbons this Friday at Ruby’s Lounge and Sunday at Workers Club.

WARNING BIRDS Battle Plans (Independent/MGM) This Perth four-piece have produced a thoughtful and endearing debut EP. After a brief piano interlude to open, we are treated to current single Dark Places with Sam Carmody’s voice rising nicely atop percussion crashes and persistent guitar. When the voice of Carmen Pepper interjects you know this band has a special dynamic. The EP manages not to drop in quality and a slightly pained atmosphere is present among the melodies. It’s refreshing to hear hints of darkness in such radio-ready music. Two older tracks close the EP, the horns of Ghost Town bringing the six-song set to an end. An excellent debut from a band unafraid to portray their locality and related worries and dysfunction.

Fireballs have been invited to the inaugural Club Sin 13 party in Tampare, Finland for the Mavericks Rock’n’Roll Association. It is set to be a ball-tearer with a three day party in the brew. In preparation for the trip Fireballs are playing the Bendigo Hotel Friday 3 May with Murder Rats and Royal Cut Throat Co.

STRESS IN THE CITY For three years City Calm Down have honed their sound into an impressive mix of haunting vocal melodies, grimy synth sounds and charging bass lines, all of which combine to create the dark pop songs. Catch City Calm Down in the Espy front bar on Friday 26 April.

FLAMING FAME The Resignators have been a staple in the Australian diet for the past seven years with high-energy ska and punk releases. In their latest offering Down In Flames they present themes that are a little more serious while still poking fun at the world and themselves. They play at the Workers Club this Thursday.

OLD MAN OLNEY David Olney has become well-known for his songwriting and live performances. He is the pioneer of the Americana, influencing many great artists that have followed the tradition. He performs at the Caravan Music Club on Saturday 6 April .

MONDAY NIGHT HYSTERIA Monday Night Mass sees the Northcote Social Club door thrown open for a free band extravaganza from the deepest caverns of Melbourne’s underground. This week Stone Angels (NZ), Looking Glass (ACT), TTTDC and BJ Morriszonkle will all appear.


Live music veteran Ben Kelly returns with a new EP, his first since the solo acoustic Black And White in 2006. This time we are treated to the full band experience with Kelly’s voice and acoustic guitar surrounded by jazzy keyboard, African drums and backing vocals. Many of the tracks are tinged with reggae rhythms, supporting Kelly as he smoothly preaches about the ways of easy living. Keeping it upbeat, these songs would best be heard live, allowing Kelly to improvise with his crystal clear voice and impressive guitar work. Catch Kelly at World Bar on Thursday and Veludo on Monday.


Bek Duke

Jon Perring

What was your first-ever gig, in which venue, how old were you and who accompanied you? Patrick Donovan (CEO): My dad Bazza took my sister Brigid and me to Elton John at Festival Hall when I was about ten. Sophia Brous (Board Director): The first show I remember going to was Paco Peña at Hamer Hall when I was about five. I went with my family; we were all subsequently ejected from the venue because my brother and I were re-enacting lightsabre battles too loudly up the back. Bek Duke (Administration, Communications, Project Coordinator): Some weird festival at Olympic Park when I was 15. I went by myself, got Paul Kelly’s autograph and got grounded by my mum when I got home. Totally worth it. Jon Perring (Music Victoria Board Member): It was The Monkees at the Palais in the late-‘60s. My mum took me. All I can remember is girls screaming. Funny, ah? What would you say it is about the Victorian live music scene that has you hooked? PD: The diversity and depth of styles and talent, huge range of venues to choose from and ability to reach close proximity to the stage. SB: The mellifluous music, musicians, bands, shows and boundless stuff to discover; the year-round festivals, parties, events and nightly musical hangs if you want them, when you want them; all the tutti frutti, the jingle/jangle, the weird/dark/late stuff; and all the people, the community, the radio, the support – it’s one of the strongest musical cities in the world. BD: You can see and hear fantastic local music of almost any genre, almost anywhere and any day of the week. JP: Well, probably the depth and diversity. You get this crossover between jazz players, sound artists and the hardcore world through improvised practice. I find that really interesting. But also you get amazing 18-piece African bands such as The Public Opinion Afro Orchestra, which crosses over with hip hop. The band is also jammed with the cream of Melbourne jazz players. What do you enjoy about being part of the Melbourne music community? PD: Close bonds formed with musicians and fans over many years, the beaming smiles on

38 • For more news/announcements go to themusic.com.au/news

Patrick Donavon

Sophia Brous

our faces after another magic moment, knowing that a large portion of my wage is funnelled to the musicians and venues I dearly love. BD: You’re never alone at a gig in Melbourne! I’ve met some of my best friends through hanging around venues and seeing bands. JP: Going to amazing gigs and playing with different and diverse musicians. What are some of the benefits of being a fully paid up Music Victoria member? PD: Musicians save thousands of dollars on airline excess baggage, CD manufacturing, legal advice, professionally fitted earplugs, parking and professional development workshop discounts, while the broader music community will be investing in a strong, powerful voice to represent their interests. SB: Music Victoria was created to advocate for the needs of our unique and precious music scene. It’s our representative on many fronts: Government lobbying and representation, venue protection and licensing, musician cost-saving and subsidies, education and skills development, research and industry promotion to name but a few. At the same time its own funding and livelihood hangs in the balance. By becoming a member, we’re ensuring our precious music community is represented and protected so it can continue to thrive and survive as one of the world’s most unique music scenes. BD: There is a lot of work to be done with legislation around venues and under-age gigs and the like, so we’re happy to take on the boring stuff so everyone can continue to enjoy music in the state. JP: Well, you buy into making sure that Victoria creates an environment for musicians to continue to practise their art and to help create a situation were they can thrive. Some days I get very cynical and depressed about this, but one thing’s for sure: without an organisation that is representative of the music community and industry – that is by having a broad membership and elected board – things will go backwards. Music Victoria is the only organisation capable of being truly representative and engaging meaningfully with Government. It is also dedicated to preparing musicians for the real world. You need a raincoat in a shit storm. Jump On The Bandwagon 2013 runs until Thursday 28 March at musicvictoria.com.au

UP AND MESSED Every Wednesday in March Messed Up will be keeping the Tote nice and sweaty with their trashy lo-fi surf pop. Joining them tonight are Going Swimming and Sheriff.

THE BEST BEASTS After a bumper 2012 promoting their debut LP Birds And Beasts Grand Prismatic return in 2013 with new material, a fresh attitude, and the same clothes. The band will play every Saturday afternoon during March in the Tote front bar. This week Autoportrait joins them.

WÖLFE PACK This Thursday Wölfe tackles the stage at the Public Bar. It coincides with the release of two split seven-inches. Supports will be Thrall, Hordes Of The Black Cross, Headless Death and Urns.

POSTGRAD VulgarGrad arose out of a collaboration between some of Australia’s best musicians in underground ethnic styles. Catch them at the Flying Saucer Club this Saturday with Katia Pshenichner.

TIRED TOWER Melbourne five-piece, Sleep Parade, are launching the first single, Dancing With The Enemy, from their forthcoming album at the Northcote Social Club this Friday. Perth quartet The Siren Tower will co-headline and LeBelle and Hotel On Mayfair are supporting.

DELICIOUS Once a month queer-friendly party night Potato Cake takes over the Public Bar this Saturday with Ana Nicole launching their single Mainlining. Also appearing will be Home Travel, Gold Tango and of course Fatti Frances.

GHOST STORIES Conway & Zygier explore the breadth of sound that can be extracted from acoustic instruments and vocals. They showcase songs from new album Stories Of Ghosts at the Bridge Hotel (Castlemaine) this Saturday.

APOLOGY ACCEPTED Superpitcher and Rebolledo come together to form Pachanga Boys. They come to the Bottom End this Saturday. Superpitcher will also play solo at the Brown Alley this Sunday.



THE SIREN TOWER PLAY FRIDAY 29 MARCH AT NORTHCOTE SOCIAL CLUB (WITH SLEEP PARADE). How did you get together? Grant McCulloch, vocals/guitar: Three of us were on a bowling team together at uni. After discovering a mutual love for Eastern music, we got jammin’ and the rest is history. Have you recorded anything or do you prefer to tool around in your bedroom? Who doesn’t love toolin’ around in their bedroom but, yes! We’ve recorded an entire album (A History Of Houses). Can you sum up your band’s sound in four words? Listless, moist, violent, fabulous. If you could support any band in the world, who would it be and why? Buckcherry. You shouldn’t have to ask why. It’s Buckcherry, man. If a higher power smites your house and you can only save one record from the fire, what would it be? Even if I died trying, I wouldn’t leave without my Crazy Town records. Do you have a lucky item of clothing you wear for gigs and what is it? If I can get to a gig fully clothed it’s a win, therefore I consider all my clothing lucky.



Perth’s Battletruk are bringing the hardcore thrash punk to Melbourne at the Gasometer this Saturday. Joining them will be Crowned Kings, Deadly Visions, Brazen and Free World.

Max Savage & The False Idols carefully blend vintage rhythm and blues sensibilities with Savage’s intricately crafted songs. They perform two sets at the Spotted Mallard this Saturday.



A powerhouse show at the Gasometer this Easter Sunday. White Walls, fresh off their Dinosaur Jr support and upcoming ATP appearance, are at peak performance. The Stevens are playing with similar form. Internal Rot are awesome thrash. Brain Children DJs will spin in the front bar.

Melbourne’s Dirty Harriet & The Hangmen take a break from the studio to tear up Yah Yah’s this Saturday. Joining them are good buddies Los Amigos along with Rattlin’ Bones Blackwood.


Prodigiously talented and with a swag of songs written from a place well beyond experience, Tash Sultana is playing at the Drunken Poet’s Wine, Whiskey, Women tonight (Wednesday) along with Jenny Briddle.

A band with 17 members doesn’t get out that often, so when there’s a show at Melbourne’s most eccentric venue, the LuWow, with the full afro-beat experience, it’s one not to be missed. The Public Opinion Afro Orchestra are playing this Thursday.

POISON CINEMA When The Mercury Theatre take the stage at Bar Open tonight (Wednesday) it will be a talented fusion of soaring, catchy melodies with innovative guitar and sui generis beats. Cholesterollers and The Pitys join them.

STATE OF THE NATION Take a large pot, fill half-way with reggae, add a dash of East Timorese folk song, a punch of Cuban salsa, a sprinkle of Latin dance, Afrobeat, a sprinkle of Brazilian samba, fill with funk and stir. Spend a rhythmic night with Sol Nation at Bar Open this Thursday.

THAT RASCAL DUB Melbourne’s Dub The Magic Dragon celebrate the beginning of the Chinese Year of the Snake with their special blend of East-meets-West dub, drum’n’bass and reggae grooves. Catch them at Bar Open on Good Friday with pals Liquid Funk Orchestra.

HOT HOT HORNS The Horns Of Leroy create a fresh blend of funk, soul and groove music. Come check them out in their debut Bar Open show this Saturday.

If you invited someone awesome ‘round for dinner what would you cook? Liver, perhaps some fava beans. Probably serve it with a nice Chianti.

NEVERENDING BOOGIE Endless Boogie are heading back to Melbourne to deliver another heavy dose of riffage, kick-arse beat and super cryptic lyrics at the Tote this Friday and Northcote Social Club on Wednesday 3 April.

BOAT SHOES The Yacht Club DJs know how to please a crowd, with their repertoire of songs from the early 1960s, blues, current pop numbers to theme song and everything in between. Catch them this Saturday at Ding Dong.

THE OTHER SIDE This Thursday at the Gasometer, Break The Wall and Oedipus Rex are set to hit the stage. Break The Wall bring their own type of melodic hardcore to the table. Oedipus Rex will melt your face off with their fast, aggressive breed of hardcore.

SILENT SPELLS White Hex curate a post-punk and dark wave showcase at the Gasometer this Friday including White Hex and Standish/Carlyon performing live and a special opening and closing soundtrack supplied by LA artist Silent Servant, who is touring Australia for the first time. The Nihilistic Orb DJs will spin in the front bar until late.

OUTRIGHT DESTRUCTION Perth’s The Others visit Melbourne off the back of their seven-inch Sun And Sea, with Search & Destroy and Outright. They play at the Gasometer this Friday with Right Mind and Torment and the Phoenix Youth Centre on Sunday with Reincarnation and Free World.

YOU HAVE TO WEARNE IT Drawing inspiration from the storytellers of dustbowl Americana, Nigel Wearne offers a unique voice in the world of Australian folk-country. He plays this Sunday at the Drunken Poet.

MONTH OF CHARLES Charles Jenkins will be bringing a batch of new songs and a swag of his old ones to the front bar of the Retreat Hotel, every Tuesday night in April.

BREATHE EASY Between the sweat-soaked profane introductions of songs that effortlessly scream from their instruments, Lung will be heading to Revolver Upstairs this Friday with Thick Line Thin Line, Transience and Shortfall.

FREQUENT FLYERS Melbourne based astral space core sorcerers AlithiA are playing their first Australian show since returning home from their European tour at the end of 2012. Catch them at Revolver this Saturday with support from Dropbunny, Nihl and The Contortionist’s Handbook.

BREATHING DEMONS Over the last decade Demon Hunter (USA) have grown beyond the boundaries of a traditional rock band. They come to the Evelyn this Saturday along with fellow US band I The Breather and locals For All Eternity, Empire and Left For Wolves.

The One Day Project is a committee of devoted music maniacs that want to give back to the community. Their first show is an Autism Benefit this Sunday at the Evelyn. Frankenbok, Dreadnaught, King Parrot, Wolfpack, Heaven The Axe, Bronson, Don Fernando and The Charge will all appear.

GIVE IN TO LIZZY Electronic pop chanteuse Elizabeth Rose is known for producing tracks that are at once captivating and majestic. She heads to Can’t Say this Saturday in support of her Give In Remix EP.



What’s your favourite place to drink in Melbourne? Which ever bar is both open and willing to let us in.

OFF COLOUR Perth’s Blackmilk have recently released their debut album In Lak’ech and are will bring their hypnotic psychedelic and soulful sound to Melbourne. Catch them tonight (Wednesday) at the Public Bar with The Grand Rapids, Thursday at Yah Yah’s supporting The Quivers and headlining the Retreat on Saturday with Flyying Colours.

CRITTERS AND A DINGO Ross Hannaford & The Critters (Daddy Cool) and Broderick Smith (The Dingoes) perform this Good Friday at the Spotted Mallard. The Critters were created as a vehicle for Ross Hannaford’s new music, mainly instrumental, plus good time pop songs played from a jazz approach.

40 • For more news/announcements go to themusic.com.au/news

How long did it take to write/record? It took us one day to write the crux of the song, and then a few more to refine it. This is one of few songs that every single member collaborated on. What was inspiring you during the song’s writing and recording? The sultry soul sounds that have been coming out of Brooklyn NY in the past five to ten years, along with a bit of Melbourne soul. Our producer was a huge influence – he introduced us to the sound and, after doing three tracks with him previously, we were confident in our ability to pull this song off in a recorded format. We’ll like this song if we like… Funk and/or soul. Do you play it differently live? Not at the moment. We are doing our best to keep the song as close to the recorded version as possible as we are currently touring the song. We want crowds to be able to recognise the track, at least for the first few months, and then we might consider altering our live rendition. Will you be launching it? Yes, we will be! We’ll be down in Melbourne at Ruby’s lounge on Good Friday (29 March) and at Workers Club on Easter Sunday (31 March). For more info see: stormband.com.au

After receiving a lot of hype and support from their first EP, GodWolf have spent the last year writing and honing their production skills. They are now ready to launch their follow-up EP at Ding Dong this Friday with support from up-andcomers Euclid, Chasr and Your Ol’ Lady.

CHANGING PATHS Beautiful Change have a banging new single, completely new arrangement, glowing harmonies and a killer line-up. They’ll release the upbeat Pick A Path at the Toff tonight (Wednesday).

It was only 12 months ago that Courtney Barnett released her debut EP I’ve Got A Friend Called Emily Ferris to critical acclaim and widespread praise. Barnett performs an EP launch at the Toff this Thursday along with Money For Rope and Atolls.

Channelling some of the more inspired moments in the annals of folk, country, blues, psychrock and pop, James Teague performs at the Spotted Mallard this Thursday.

Is this track from a forthcoming/ existing release? It is a song from our forthcoming EP, to be released late this year.




What’s the song about? Beau Jorgenson, drums/percussion: It’s a song about a sassy soul mama who is dreaming of another man – one who can provide all the things that she needs, but ain’t getting.

Seven-piece pop band The Beelges will be releasing their first EP at the Evelyn’s famous Monday night residency. This week The Infants, Rogue Waves and Preston Skate Massive join them.

Shake your hot cross buns to The Bullettes at Bar Open this Easter Sunday. Feel the soul vibes as pedigree musicians from Melbourne come together to bring you the oldest gold and latest great soul hits.

Charlie A’Court has made a career of channelling raw emotion and delivering honest music. Combining his inspirations and influences from soul, roots, blues and folk, A’Court performs at the Spotted Mallard tonight (Wednesday).






POSTAL LIAISON Client Liaison and Dan Watt are putting on a party featuring the edgiest acts Melbourne has to offer including the much sought-after Post Percy at the Toff this Sunday. They will be joined by sultry electro songstress Romy along with Namine.


Cold Hiker release a brand new single. Tolchocked combines electronic looped samples with live instruments, adding a new level of depth and rhythm to the overall sound. They launch their EP at Ding Dong this Thursday with Ghost Orkid and Squarehead.

A FEW LADDS After nine years overseas, Liam Gerner is back and has recruited members to form The Alan Ladds. They play an April Tuesday residency at Cherry. This Tuesday’s guests are The Go Devils (Japan).

IN THEIR WAKE Fan of face melting rock’n’roll in the style of Tom Petty & The Heartbreakers, The Stones and The Allman Brothers? Then local rock outfit Wakefield will be right up your alley. They are playing the Vic Hotel (Brunswick) this Saturday from 10pm.

HAVE YOU SEEN LIAM Liam Gerner executes his acoustic folk songs with grit and panache. He injects himself into the classics, modern classics with personal statements in song with a swinging honkytonk sensibility and reckless precision. Gerner plays the Vic Hotel (Brunswick) this Sunday.

EASTER DOOM This Easter weekend will be a cavalcade of sludge, doom and stoner rock. It all begins at the Tote this Saturday, featuring the likes of sludge brutalists Clagg, progressive heavy blues riffers Sotis, Sydney stoner/doom outfit Mother Mars and New Zealand’s black doomers Stone Angels.

WHAT A LARK Perhaps best known as the singing-songwriting frontman of Dallas Crane, Dave Larkin has kept his skills sharp through his involvement with the dynamic rock’n’roll three piece Gun Street Girls and more recently with his new Dave Larkin Band. This Thursday see Larkin play live at the Yarra Hotel in Abbotsford from 9pm.




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HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS She can hold a room on her own; she’s just got so much emotion in her. The beauty about Getting Over You is it’s whimsical, but it’s deeply felt. Abby has this real sense of irony. She’s a very intelligent woman and she can just stand back and the emotion will come out. So much female singing nowadays is just overblown squawking. But Abby doesn’t have to sell it too hard.”

Abby Dobson

ABBY’S ROAD What next for Abby Dobson? “I can’t understand why she’s not the biggest Australian female singer,” Mark Seymour tells Howzat! Sixteen years ago, Abby sang one of the most beautiful Australian songs ever, Leonardo’s Bride’s Even When I’m Sleeping. Abby released her debut solo album, Rise Up, in 2007. Now she sings French songs with Lara Goodridge in the duo Baby et Lulu, and also pops up on Mark Seymour’s covers collection, Seventh Heaven Club (out now on Liberation). Mark and Abby sing the exquisite Getting Over You, which Willie Nelson and Bonnie Raitt recorded for Willie’s 1993 album, Across The Borderline. Mark and Abby sing: “Now other people say, ‘Stop living in the past’, but when there’s nothing left, it’s your memories that last.” “Abby is fantastic,” Mark says. “She’s an amazing singer and an incredible performer.

42 • For more opinion go to themusic.com.au/blog

Leonardo’s Bride are reuniting this week for two Bluesfest shows in Byron Bay. And what’s next for Hunters & Collectors? A tribute album is in the works (we can’t wait to hear The Living End’s take on Say Goodbye) and, all going well, the band plans to re-form for some shows to coincide with the album’s release later this year.

GET ON BOARD Being a musician is not an easy gig. You need all the help you can get. That’s where Music Victoria comes in; a body that can fight the good fight, promoting local music. Ideally, the organisation shouldn’t be government-funded, because there will be times when it will have to lobby and bag the government of the day. Music Victoria’s membership drive concludes this week. It costs an individual just $33 to join ($66 for a band). Head to musicvictoria.com.au for more info.

TV WEAK Music Victoria CEO Patrick Donovan last week revealed one of the reasons he switched from writing about music at The Age to running the new body, saying he was tired of seeing “over-

hyped international musicians coming out here when we had such fantastic local musicians already”. Kudos to Kathy McCabe from The Daily Telegraph for lashing the Logies’ cultural cringe. “The Australian television industry has no shame casting D-list talent on their reality shows, yet refuses to book even one A-list local singer to perform at the Logies on April 7,” she wrote last week. The night’s music acts all come from overseas – Michael Buble, Bruno Mars, Birdy and Olly Murs. “It is insulting for Australian TV’s big night to bet only on international talent to bring star power,” Kathy added, highlighting local acts with strong TV connections, including Clare Bowditch, Johnny Ruffo, Samantha Jade, Timomatic and Reece Mastin. “If they were good enough to attract ratings for their respective shows, surely they are good enough to perform at the Logies.” Hear, hear.

FLAMING GROOVY Ska-punk is not a big genre in Australia, but The Resignators keep the freak flag flying. “We can’t help the way we are”, Francis Harrison sings in the title-track of the band’s new EP, Down In Flames (out now on Care Factor Records), “so we go down in flames”. Produced by Craig Harnath and guitarist Steve Douglas, this is The Resignators’ best release to date, with marvellous manic energy and a wonderfully wailing horn section. You can’t help but dance. And the EP features a sweet pop gem, Summer Girl Smile. The Resignators launch Down In Flames at the Workers Club on Thursday.

SOMEBODY OF INFLUENCE You have a massive worldwide hit and suddenly you’re one of the nation’s most influential people. The Liberal Party newsletter, also

known as The Australian, has been running a meaningless series ranking Australia’s most influential people. Coming in at number 29 on the final list is Gotye, just below ad man Harold Mitchell. No mention of Joe Dolce.

CHART WATCH No Aussie singles in the Top 10. Lanterns BIRDS OF TOKYO (#13) Holdin On FLUME (21) Hello STAFFORD BROTHERS (25) Big Banana HAVANA BROWN (28) Bob Evans’ Familiar Stranger introduces himself at number 34 in the album chart. March Fires BIRDS OF TOKYO (#5) Flume FLUME (12) Zion HILLSONG UNITED (18) Sharkmouth RUSSELL MORRIS (19) Push The Sky Away NICK CAVE & THE BAD SEEDS (26) Armageddon GUY SEBASTIAN (31) Familiar Stranger BOB EVANS (34, debut)



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THE KOOKS: May 3 Palais MATT & KIM: May 3 Northcote Social Club


ELIZABETH ROSE: March 29 Can’t Say

GROOVIN’ THE MOO: May 4 Prince Of Wales Showgrounds (Bendigo)

BONNIE RAITT, MAVIS STAPLES: March 27 State Theatre JIMMY CLIFF: March 27 Corner Hotel


MUSIC MAKER BLUES REVUE: March 27 Northcote Social Club




STRANGE TALK: March 28 Corner Hotel


BLUESFEST: (featuring Ben Harper, Iggy & The Stooges, Wilco): March 28-April 1 Tyagarah Tea Tree Farm (Byron Bay)

EMMA LOUISE: May 9 Yarra Hotel (Geelong);

ROGER HODGSON: March 28 Palais

10 Corner; 11 Karova Lounge (Ballarat)

NORTHLANE: March 28 Plastic; June 9, 10 Corner ALLEN STONE: March 28 Northcote Social Club

THE RUBENS: May 10 Forum; 12 Yarra Hotel (Geelong)



BRUCE SPRINGSTEEN & THE E STREET BAND: March 27 Rod Laver Arena; 30, 31 Hanging Rock CHRIS SMITHER: March 27 Caravan Music Club (Oakleigh) JIMMY CLIFF: March 27 Corner Hotel KITTY, DAISY & LEWIS: March 27 Billboard BONNIE RAITT, MAVIS STAPLES: March 27 State Theatre WILCO: March 27, 28 Hamer Hall IGGY & THE STOOGES: March 27 Festival Hall FALL OUT BOY: March 27 Palace ROGER HODGSON: March 28 Palais ALLEN STONE: March 28 Northcote Social Club PETER HILL: March 28 Australian National Academy of Music PAUL SIMON, RUFUS WAINWRIGHT: March 28 Rod Laver Arena EMILIE AUTUMN: March 29 Espy THE DEMIGODZ: March 29 Prince THE LUMINEERS: March 29 Corner Hotel ENDLESS BOOGIE: March 29 Tote COUNTING CROWS: March 30 Hamer Hall PACHANGO BOYS: March 30 Bottom End TAV FALCO & THE PANTHER BURNS: March 30 Tote CRAIG DAVID: March 30 Plenary DEMON HUNTER, I THE BREATHER: March 30 Evelyn Hotel SIMONE FELICE: March 30 Meeniyan Town Hall MAD CADDIES, THE VOODOO GLOW SKULLS: March 30 Northcote Social Club ROYAL SOUTHERN BROTHERHOOD: March 30 Corner Hotel DRAGON: March 30 Warrnambool Racecourse; 31 Mansfield Showgrounds GOOD RIDDANCE, A WILHELM SCREAM, THE FLATLINERS, BEAVER: March 31 Northcote Social Club SUPERPITCHER: March 31 Brown Alley SHAWN COLVIN: April 1 Corner Hotel DROPKICK MURPHYS: April 2 Festival Hall



SHAWN COLVIN: April 1 Corner Hotel


BEN HOWARD: April 6, 7 Corner Hotel CREO: April 12 Espy BONJAH: April 13 Corner; 19 the Loft (Warrnambool); May 24 Baha Tacos (Rye) VYDAMO: April 20 Toff GLENN HUGHES: April 22 Corner JAGWAR MA: April 25 Ding Dong TEGAN & SARA: May 2 Palais

WED 27 MARCH 2013 Lo-Res, Chris Lewis Band: 303, Northcote Bonnie Raitt, Mavis Staples: Arts Centre, Melbourne The Mercury Theatre, The Pitys, Cholesterollers: Bar Open, Fitzroy

The Skampz: Monash Hotel, Clayton Music Maker Blues Revue: Northcote Social Club, Northcote The Infants, The Citradels, James Teague: Old Bar, Fitzroy Fall Out Boy: Palace Theatre, Melbourne Justin Bernasconi, Cat Canteri: Retreat Hotel (Front Bar), Brunswick

Chris Smither, Daniel Champagne: Caravan Music Club, Oakleigh

Bruce Springsteen & the E-Street Band: Rod Laver Arena, Melbourne


ENDLESS BOOGIE: April 3 Northcote Social Club; 4 Barwon Club (Geelong) SIMONE FELICE: April 3 Workers Club ROBERT PLANT: April 3 Rod Laver Arena BLIND BOYS OF ALABAMA, SWEET

Open Mic Night+Various Artists : Grind ‘n’ Groove Bar, Healesville

Kitty, Daisy And Lewis: Billboard The Venue, Melbourne

Oscar Galt, The Sometimes Edith Lane: Gertrudes Brown Couch, Fitzroy


BORED NOTHING: May 11 Northcote Social Club BOB EVANS: May 16 Yarra Hotel (Geelong); 17 Corner; 18 Meeniyan Town Hall

SOJA: April 6 Prince Bandroom

Drunk Mums, Transistor: Cherry Bar, Melbourne


Live (Frankston); 24 Theatre Royal (Castlemaine); June 14 Forum

JAKE SHIMABUKURO: April 5 Corner Hotel

JAMES TEAGUE: March 27 Old Bar; 28 Spotted Mallard; 29 Grace Darling; 31 Curtin STRANGE TALK: March 28 Corner Hotel COURTNEY BARNETT: March 28 Toff NORTHLANE: March 28 Plastic SASKWATCH: March 28 Cherry Bar THE RESIGNATORS: March 28 Workers Club; 29 Pow (Werribee); 31 Dooley’s (Daylesford) DIAFRIX: March 28 Yarra Hotel (Geelong); 30 Karova Lounge (Ballarat); 31 Corner SONICANIMATION: March 28 Karova Lounge (Ballarat); 29 Yarra Hotel (Geelong); 30 Toff TIMMY TRUMPET: March 28 Blitz Nightclub (Berwick), Daveys Hotel (Frankston); 30 Billboard DEBORAH CONWAY, WILLY ZYGIER: March 28 Lighthouse Theatre (Warrnambool); 30 Bridge Hotel (Castlemaine); 31 Flying Saucer Club HARTS: March 29 Espy STORMCHASERS: March 29 Ruby’s Lounge ELIZABETH ROSE: March 29 Can’t Say YACHT CLUB DJS: March 30, 31 Ding Dong THE HILLBILLY KILLERS: March 30 Caravan Music Club

BLUESFEST: March 28–April 1 Tyagarah Tea Tree Farm HITS & PITS: March 29 Palace BOOGIE: March 29–31 Bruzzy’s Farm Tallarook DENI BLUES & ROOTS FESTIVAL: March 30-31 Deniliquin

SOMETHING FOR KATE: May 10 Ferntree Gully Hotel; 11 Pier

BEN CAPLAN: April 4 Northcote Social Club THE SNOWDROPPERS: April 5 Northcote Social Club

Jimmy Cliff, Larry Maluma : Corner Hotel, Richmond Dizzy’s Big Band: Dizzy’s Jazz Club, Richmond Community Showcase: Empress Hotel, Fitzroy North Animaux, Tully On Tully, Nebraskatak: Evelyn Hotel, Fitzroy Iggy & The Stooges, Beasts Of Bourbon: Festival Hall, West Melbourne

Cabbages & Kings, Trash Fairys, Mightiest Of Guns: Grace Darling Hotel (Band Room), Collingwood Constant Mongrel, Mad Nanna, Crude, Miss Destiny: Grace Darling Hotel (Basement), Collingwood

44 • To check out the mags online go to themusic.com.au/mags

Charlie A’Court: Spotted Mallard, Brunswick Blackpool Road, Feed My Frankenstein, Melody Clare: The Bendigo, Collingwood Mark Steiner & His Problems: The Bridge Hotel, Castlemaine Open Mic: The Brunswick Hotel, Brunswick Tash Sultana, Jenny Biddle: The Drunken Poet, Melbourne Full Ugly, Milk Teddy: The Gasometer Hotel, Collingwood Max Savage: The Prince (Public Bar), St Kilda

The You Yangs, Busy Kingdom, Berlin Sirens, Mustard: The Brunswick Hotel, Brunswick

SAN CISCO: May 23 Karova Lounge (Ballarat); 25 Corner (two shows) THE BEARDS: June 13 Pelly Bar (Frankston); 14 Theatre Royal (Castlemaine); 15 Hi-Fi FOALS: September 27 Palace

Messed Up, Going Swimming, Sherrif: The Tote, Collingwood Tomas Strode & The Tour Guides, Rob Sawyer, Domini Forster: The Workers Club, Fitzroy Catch Release, Matt Kelly, Matt Wicking: Wesley Anne, Northcote

Kumar Shome & The Punkawallahs, Andy V Trio, Aleister Campbell: Empress Hotel, Fitzroy North My Piranha: Gertrudes Brown Couch, Fitzroy Ghost Towns of The Midwest, Morning Fence: Great Britain Hotel, Richmond Sonicanimation: Karova Lounge, Ballarat


Backwoods Creatures: Lomond Hotel, Brunswick East

28 MARCH 2013

Allen Stone, Lachlan Bryan: Northcote Social Club, Northcote

Ollie McGill & The Genie: 303, Northcote Mezzanine & Back Room+DJ Mannequin, DJ Syto: Abode, St Kilda Sol Nation: Bar Open, Fitzroy Kids In The Attic, Alex and The Supertramps, Grim House, Audio Trav: Barwon Club, South Geelong James Reyne, Leticia Maher: Caravan Music Club, Oakleigh Saskwatch: Cherry Bar, Melbourne Chi Beats+Various DJs: Chi Lounge, Melbourne

Broozer, TTTDC, Bricks Are Heavy: Old Bar, Fitzroy Roger Hodgson: Palais Theatre, St Kilda Le Disco Tech+Various DJs: Pretty Please, St Kilda

Apart From This, The Others, Strickland, Fractures: Reverence Hotel (Front Bar ), Footscray

King Of The North, The Feel Goods: Cornish Arms Hotel, Brunswick

James Teague: Spotted Mallard, Brunswick

James Kenyon Band: The Standard Hotel, Fitzroy

Cold Hiker, Ghost Orkid, Squarehead: Ding Dong Lounge, Melbourne

Beautiful Change, The Little Sisters, Little Wise: The Toff In Town, Melbourne

Amy Ganter And The Love & Squalors: Edinburgh Castle Hotel, Brunswick

The Beatnuts, One Sixth, Soliloquy, Remi, DJ Flagrant: The Espy (Lounge Bar), St Kilda The Mere Poets, After Dark, Mary Washington, Ambrosia, Steeplejack, Hiding with Bears, + more: The Espy (Basement), St Kilda Break The Wall, Oediupus Rex: The Gasometer Hotel, Collingwood Aoi, Brite Flight, Magic Hands, Suckafish P Jones: The Gasometer Hotel (Upstairs), Collingwood The Public Opinion Afro Orchestra, DJ Jumpin’ Josh: The Luwow, Fitzroy Dead Kings Quartet: The Prince (Public Bar), St Kilda Thrall, Wolfe, Hordes Of The Black Cross, Urns, Headless Death: The Public Bar, North Melbourne

29 MARCH 2013 Trash Ivory, Liquor Snatch, Cursing Tomorrow: 303, Northcote Dub The Magic Dragon, Liquid Funk Orchestra: Bar Open, Fitzroy Friday Debrief+DJ Obliveus: Big Mouth, St Kilda Boogie #7 +Various Artists: Bruzzy’s Farm, Tallarook Elizabeth Rose, Special Guests: Can’t Say, Melbourne Spencer P Jones: Cherry Bar (Afternoon), Melbourne Maladaptors, Hiding with Bears, DJ Max Crawdaddy: Cherry Bar, Melbourne The Lumineers, The Falls: Corner Hotel, Richmond Left Of The Dial: Dancing Dog Cafe, Footscray Godwolf: Ding Dong Lounge, Melbourne Joe Chindamo: Dizzy’s Jazz Club, Richmond Chinese Handcuffs, Ben Carr Trio: Edinburgh Castle Hotel, Brunswick

Lizanne Richards: The Sporting Club, Brunswick

La Rosa Marchita: Elsternwick Hotel, Elsternwick

Courtney Barnett, Money For Rope, Atolls: The Toff In Town, Melbourne

No Escape For The King, Lanechaser, Charm: Empress Hotel, Fitzroy North


A Sleepless Winter, Just Us League, Big Head Ella: Reverence Hotel, Footscray

Paul Simon, Rufus Wainwright : Rod Laver Arena, Melbourne

Timmy Trumpet: Daveys Hotel, Frankston

Kill ‘Em All (The Australian Metallica Show), Iron Madness (Iron Maiden Tribute), Coverdale (Whitesnake Tribute): The Espy (Gershwin Room), St Kilda


The Naysayers, Red Rockets of Borneo, DJ Fanta Pants: Retreat Hotel, Brunswick

Strange Talk, Phebe Starr, Pigeon: Corner Hotel, Richmond

Black Milk, The Grand Rapids, M. Antonio: The Public Bar, North Melbourne

Floyd Thrusby: The Drunken Poet, Melbourne

Dave Larkin: Yarra Hotel, Abbotsford

Paulie Bignell & The Thornbury Two: TD’s Cafe & Bar Grill, Dandenong The Charlies, Pina Tuteri, Di Watson: The Bendigo, Collingwood Christy GordonSmith, Peter & The Wolves: The Bridge Hotel, Castlemaine

Divorced, Early Woman, + Special Guests: The Tote, Collingwood The Resignators, Jobstopper, The Workinghorse Irons, Admiral Ackbar’s Dishonourable Discharge, DJ Reeb: The Workers Club, Fitzroy Anna’s Go-Go Academy: Victoria Hotel, Brunswick Stephen McEwan & the Yesmen, Strine Singers: Wesley Anne, Northcote The Quivers, Black Milk, Lunaire: Yah Yah’s, Fitzroy Diafrix, Special Guests: Yarra Hotel, Geelong

Spear Brittany, Genghis Can’t Swim, Spitting Swallows, By The Night, Isignia: First Floor, Fitzroy James Teague, Susy Blue: Grace Darling Hotel (Band Room), Collingwood Panorama+Matt Rad, Mr George, + more: Lucky Coq, Windsor Sleep Parade, The Siren Tower, Hotel On Mayfair, LeBelle: Northcote Social Club, Northcote Ten Volt Shock, Clowns, Kids Of Zoo, Battletruk, DJ Kezbot: Old Bar, Fitzroy

Hit and Pits+Mad Caddies, Good Riddance, A Wilhelm Scream, Voodoo Glow Skulls, The Flatliners, Diesel Boy, One Dollar Short, Jamie Hay, Jen Buxton, Totally Unicorn, Paper Arms: Palace Theatre, Melbourne La Danse Macabre+Brunswick Massive: Rainbow Hotel, Fitzroy Lung, Thick Line Thin Line, Transcience: Revolver Upstairs, Prahran Lynchmada, Devour The Martyr: Rod Laver Arena, Melbourne Stormchasers, Samuel Cole & The Mornings, The Nevernudes: Ruby’s Lounge, Belgrave Ross Hannaford & The Critters, Broderick Smith: Spotted Mallard, Brunswick Hobbs Angel Of Death, Depression, Darkhorse, Maniaxe, Party Vibez: The Bendigo, Collingwood Ryks Blue Planet: The Bridge Hotel, Castlemaine Bad Bones, I/O, On Sierra, Art & Craft: The Brunswick Hotel, Brunswick Emilie Autumn, + Special Guests: The Espy (Gershwin Room), St Kilda Harts, Pigeon, 8 Bit Love, Lost Weekends, Jimmy Hawk: The Espy (Front Bar), St Kilda The Smoking Aces, Cabbages & Kings: The Espy (Basement), St Kilda The Others, Search And Destroy, Outright, Right Mind, Torment: The Gasometer Hotel (Upstairs), Collingwood White Hex, Standish/ Carlyon, Silent Servant: The Gasometer Hotel, Collingwood Ukeladies, The Kahuna Daddies, Barbara Blaze: The Luwow, Fitzroy Zoe K & The Shadow Cats: The Post Office Hotel, Coburg The Demigodz feat. Apathy & Celph Titled: The Prince (Bandroom), St Kilda Whodafunkit: The Prince (Public Bar), St Kilda

Good Revolution Friday+Sonicanimation, + Special Guests: Yarra Hotel, Geelong

SAT 30 MARCH 2013

The Stillsons: Lomond Hotel, Brunswick East Simone Felice, Jess Ribeiro, The Idle Hoes: Meeniyan Town Hall, Meeniyan Mad Caddies, Voodoo Glow Skulls: Northcote Social Club, Northcote

The Jail Bird Jokers, Quaye Face, Virtue, Blackwood Jack: 303, Northcote

The Laughing Leaves, Ross De Chene Hurricane, Scotdrakula, Lands: Old Bar, Fitzroy

Jarrah Thompson Band: Baha Tacos, Rye

Blank Tape: Rainbow Hotel, Fitzroy

Horns Of Leroy: Bar Open, Fitzroy

The Vanguards: Retreat Hotel (Front Bar ), Brunswick

Timmy Trumpet: Billboard The Venue, Melbourne

Battletruk, Crowned Kings, Deadly Visions, Brazen, Free World: The Gasometer Hotel, Collingwood

The Hillbilly Killers, Lisa Miller: Caravan Music Club, Oakleigh Ten Cent Pistols, Collard Greens & Gravy, The Groves: Cherry Bar, Melbourne Royal Southern Brotherhood, JD McPherson: Corner Hotel, Richmond The Nest Itself, Bear The Mammoth, Lithium Rose: Cornish Arms Hotel, Brunswick Contangent, Sheriff, Iron Elephant: Dancing Dog Cafe, Footscray Yacht Club DJs, Step Panther, Apes: Ding Dong Lounge, Melbourne Jack Pantazis: Dizzy’s Jazz Club, Richmond The Boys: Edinburgh Castle Hotel (Afternoon), Brunswick Jimi Hocking: Elsternwick Hotel, Elsternwick Demon Hunter, I The Breather, For All Eternity, Empire, Left For Wolves: Evelyn Hotel, Fitzroy Vulgargrad: Flying Saucer Club, Elsternwick The Overtone Ensemble, Todd Anderson-Kunert: Great Britain Hotel (Afternoon), Richmond Major Tom & The Atoms: Great Britain Hotel, Richmond

Flyying Colours, Blackmilk, DJ Xander James: Retreat Hotel, Brunswick Blackwater, Armoured Earth, They, Omnivum: Reverence Hotel (Band Room), Footscray Alithia, Dropbunny, Nihl, The Contortionists Handbook: Revolver Upstairs, Prahran John Bacon Blues: Ruby’s Lounge, Belgrave Max Savage & The False Idols: Spotted Mallard, Brunswick Stranglehold, The Hard Targets, Cabin Fever: The Bendigo, Collingwood Pachanga Boys, Superpitcher: The Bottom End, Melbourne Deborah Conway: The Bridge Hotel, Castlemaine

Letter B: Wesley Anne, Northcote The Floors, Them Bruins, Peter Bibby: Yah Yah’s, Fitzroy

Diafrix, Special Guests: Karova Lounge, Ballarat

Austin Band: The Drunken Poet, Melbourne

Lurch & Chief, Tully On Tully, The Red Lights: The Workers Club, Fitzroy

Waco Social Club, AC/DShe, Rustbucket: The Espy (Basement), St Kilda

Boogie #7 +Various Artists : Bruzzy’s Farm, Tallarook

Bruce Springsteen & the E-Street Band, Jimmy Barnes, The Rubens: Hanging Rock Reserve, Macedon Ranges

Endless Boogie, Buried Feather, X: The Tote, Collingwood

Lounge Bar+Chocolate Starfish, Atomic Bliss, March In Moscow, Sons of Jericho, Phil Para Duo: The Espy, St Kilda

PACHANGA BOYS: March 30 Bottom End

Rotten Eggs Easter Saturday Feast feat.+Muscle Car, Burn In Hell, 3/4 Beast, Dixon Cider, Horse Exploder, Murderballs, Big Face & The Boogie Woogie Boogie Board Boys, Tom Saunders Comedy: The Brunswick Hotel, Brunswick

Alexis Nichole & the Missing Pieces: The Sporting Club, Brunswick

Kisstroyer, Electric, Los Amigos: The Espy (Gershwin Room), St Kilda

Counting Crows, Jackson McLaren: Hamer Hall, Melbourne

Ready Steady Go #22 feat.+Mohair Slim, Pierre Baroni, Buddy Love: The Gasometer Hotel (Upstairs), Collingwood Vice Grip Pussies: The Prince (Public Bar), St Kilda Tim Guy: The Sporting Club, Brunswick Dan Watkins & Paddy Montgomery: The Sporting Club, Brunswick Sonicanimation, Tokyo Denmark Sweden: The Toff In Town, Melbourne Tav Falco & The Panther Burns, The Go-Devils, Richie 1250 & The Brides of Christ: The Tote, Collingwood Grand Prismatic, Autoportraits: The Tote (Front Bar ), Collingwood Clagg, Sotis, Mother Mars, Stone Angels: The Tote (Upstairs), Collingwood Lime Cordiale, Yeo, Tanya Batt, Winter York: The Workers Club, Fitzroy Ol Timey Bluegrass Band: Victoria Hotel (Afternoon), Brunswick Wakefield, + Special Guests: Victoria Hotel, Brunswick James Reyne: Wellers, Kangaroo Ground

TOUR GUIDE HONEY IN THE ROCK: April 3 Hamer Hall BETTYE LAVETTE, JON ANDERSON: April 4 Corner Hotel BEN CAPLAN: April 4 Northcote Social Club PENNYWISE: April 4 Palace THE XX: April 4, 5 Festival Hall JAKE SHIMABUKURO: April 5 Corner Hotel JAMIE XX: April 5 Prince Bandroom PENNYWISE: April 6 Palace THE SCRIPT: April 6 Rod Laver Arena DEAP VALLY: April 6 Northcote Social Club BEN HOWARD: April 6, 7 Corner Hotel SOJA: April 6 Prince DAVE OLNEY, SERGIO WEBB: April 6 Caravan Music Club WILLY MASON: April 7 Toff BIRDY: April 8 Palais; 9 Hamer Hall JON ANDERSON: April 10, 11 Corner PUBLIC IMAGE LTD: April 11 Palace BLACK BREATH: April 11 Reverence NEWTON FAULKNER: April 11 Prince; 14 Caravan Music Club ZUCCHERO: April 12 Palais Theatre MOVE D: April 12 Brown Alley @PEACE: April 12 Espy DAMON & NAOMI: April 14 Toff EUGENE BRIDGES: April 14 Williamstown RSL SILVERSTEIN: April 18 Corner EXTREME: April 19 Palace PHAROAHE MONCH: April 19 Espy JOZIF: April 19 New Guernica MIDGE URE: April 19 Billboard; 24 Shoppingtown Hotel (Doncaster) BRYAN ADAMS: April 20 Rod Laver Arena DYING FETUS, PUTRID PILE: April 20 Evelyn JOSH GROBAN: April 20, 21 Palais COHEED & CAMBRIA: April 21 Palace GLENN HUGHES: April 22 Corner FRANK TURNER & THE SLEEPING SOULS: April 22 Festival Hall DADA LIFE: April 24 Billboard BLUE OYSTER CULT: April 24 Prince Bandroom FIREWIND: April 25 Corner Hotel KING TUFF: April 25 Bermuda Float DERRICK MAY, BEN KLOCK, EATS EVERYTHING: April 25 Brown Alley OTEP: April 26 Hi-Fi THE BLACK SEEDS: April 27 Hi-Fi TOOL: April 27, 28 Rod Laver Arena BANE: April 27 Bang THE BAD SHEPHERDS: April 29 Corner Hotel BLACK SABBATH: April 29, May 1 Rod Laver Arena THE BRONX: April 30, May 1 Corner Hotel TEGAN & SARA: May 2 Palais THEY MIGHT BE GIANTS: May 2, 3 Corner Hotel THE KOOKS: May 1, 3 Palais MATT & KIM: May 3 Northcote Social Club EXAMPLE: May 3 Palace OBITUARY: May 3 Espy SIX60: May 3 Forum YACHT: May 3 Ding Dong DEATHSTARS: May 4 Corner Hotel NORMA JEAN: May 4 Ferntree Gully Hotel; 5 Corner Hotel BAAUER: May 4 Brown Alley AEROSMITH: May 4 Rod Laver Arena SANDI THOM: May 4 Caravan Music Club; 5 Art Gallery of Ballarat; 9 Melbourne Recital Centre THE HAPPY MONDAYS: May 5 Palace FRIGHTENED RABBIT: May 8 Corner Hotel BETH ORTON: May 8 St Michael’s Church JULIAN MARLEY: May 9 Corner CRADLE OF FILTH: May 10 Palace

NATIONAL AMY VEE: April 4 Spotted Mallard THE SNOWDROPPERS: April 5 Northcote Social Club DIAFRIX: April 5 Ferntree Gully Hotel; 6 Pier Live (Frankston) GUY SEBASTIAN: April 5-7 Palais; May 4 Nowingi Place (Mildura); 8 Lighthouse Theatre (Warrnambool); 10 GPAC Costa Hall; 11 Eastbank Centre (Shepparton); 12, 13 Wangaratta Performing Arts Centre; 21, 22 Capital Theatre (Bendigo) BLACKCHORDS: April 6 Toff YACHT CLUB DJS: April 6 Karova Lounge (Ballarat) CHARLES J TAN: April 10 Workers Club FRENCHAM SMITH: April 11 Pizza and Wine Club (Kyneton) THE STARRY FIELD: April 11 The B.East MAMA KIN: April 11 Northcote Social Club; 12 Loft (Warrnambool) ELI WOLFE: April 11 Wesley Anne; 12 Harvester Moon (Bellarine); 13 Carolyn Theatre (Cororooke) SPIT SYNDICATE: April 11 Bar 3909 (Lakes Entrance); 12 Northcote Social Club; 26 Karova Lounge (Ballarat)


DEAD LETTER CIRCUS: April 12 Corner Hotel DIRT FARMER: April 12 Ding Dong CREO: April 12 Espy THE TIGER & ME: April 12, 13 Workers Club THE PEEP TEMPEL: April 12 Workers Club; 13 Bridge Hotel (Castlemaine) THE MCCLYMONTS: April 12 Matthew Flinders Hotel (Chadstone); 13 York On Lilydale (Mount Evelyn); 18 Hallam Hotel; 19 Shoppingtown Hotel (Doncaster); 20 Gateway Hotel (Corio) SONGS: April 13 Workers Club SELF IS A SEED: April 13 Barwon Club (Geelong) SILENT KNIGHT: April 13 DV8 LANEOUS & THE FAMILY YAH: April 13 Evelyn Hotel DZ DEATHRAYS: April 13 Ding Dong ALBARE: April 13 Geelong Performing Arts Centre; 24 Melbourne Recital Centre AINSLIE WILLS: April 13 Golden Vine (Bendigo); 24 Northcote Social Club NEIGHBOURHOOD YOUTH: April 13 Toff; 26 Barwon Club Hotel (Geelong); May 3 Mynt Lounge (Werribee) JORDIE LANE: April 14 Burke & Wills Winery MICHAELA BURGER, KELLY BREUER, MARY WEBB: April 14 Carters Bar; 16 Espy KATIE WIGHTON: April 17 Grace Darling THE TROUBLE WITH TEMPLETON: April 17 Northcote Social Club EVERMORE: April 17 Star Bar (Bendigo); 18 Trak; 19 Mac’s Hotel (Melton); 20 Ferntree Gully Hotel; 21 Thornbury Theatre; 24 Karova Lounge (Ballarat); 25 Yarra Hotel (Geelong); 26 SSA Club (Albury) THE ART, RICHIE RAMONE, BUCKCHERRY: April 18 Espy NANTES: April 19 Northcote Social Club BRITISH INDIA: April 19 Corner Hotel SASKWATCH: April 19 Prince Bandroom; 20 Theatre Royal (Castlemaine) THE HILLBILLY KILLERS: April 19 Meeniyan Town Hall; 21 Northcote Social Club BRUCE MATHISKE: April 19 Lighthouse Theatre (Warrnambool); 20 Geelong Performing Arts Centre; 21 Chapel Off Chapel VYDAMO: April 20 Toff THE GRISWOLDS: April 20 Workers Club THE DELTA RIGGS: April 20 Northcote Social Club UNDERGROUNDLOVERS: April 20 Corner THE GROWL: April 24 Workers Club THE TEMPER TRAP: April 24 Festival Hall FLINCH: April 24 Espy MAT MCHUGH & THE SEPERATISTA SOUNDSYSTEM: April 24 Espy GRINSPOON: April 24 Bended Elbow (Geelong); 25 Pier Live (Frankston); 26 Inferno (Traralgon); 27 Ferntree Gully Hotel HOUSE VS HURRICANE: April 24 Plastic; 25 Courthouse (Geelong); 26 Mooroolbark Community Centre CHANCE WATERS: April 24 Kay Street Saloon Bar (Traralgon); 25 Ferntree Gully Hotel; 26 Northcote Social Club; 27 Karova Lounge (Ballarat) DIG IT UP! FT. HOODOO GURUS: April 25 Palace and surroundings JAGWAR MA: April 25 Ding Dong HUNGRY KIDS OF HUNGARY: April 26 Corner Hotel THE DRONES: April 26 Forum ALLDAY: April 26 Workers Club SONS OF RICO: April 26 Yarra Hotel (Geelong); 27 Workers Club TAME IMPALA: April 26 Festival Hall DARYL BRAITHWAITE, JOE CAMILLERI, JAMES REYNE, ROSS WILSON: April 26 Palais; 27 Geelong Costa Hall; 28 Capital Theatre (Bendigo) KIERAN RYAN: April 27 Toff VANCE JOY: April 27 Northcote Social Club BIG SCARY: April 27 Corner TIMMY TRUMPET: April 27 Billboard; 24 Mynt Lounge (Werribee), Eureka Hotel (Geelong) PEZ: May 2 Yarra Hotel (Geelong); 3 Kay St Entertainment Complex (Traralgon) FLUME: May 2, 3 Festival Hall D AT SEA: May 3 Workers Club; 4 Showground Shed MELBOURNE SKA ORCHESTRA: May 4 Forum PATRICK ROBERTS: May 4 Palms At Crown KRISTA POLVERE: May 4 Ding Dong GAY PARIS: May 4, 5 Cherry Bar; 24 Fitzroy Hotel; 31 Loft (Warnambool) KATHRYN ROLLINS: May 9 Grace Darling

To check out the mags online go to themusic.com.au/mags • 45

Projeto Insperado, Trio Agogo: Wesley Anne, Northcote

Diafrix, Miracle: Corner Hotel, Richmond

Sarah Carnegie: Great Britain Hotel, Richmond

Jules Boult & The Redeemers: Rainbow Hotel, Fitzroy

Los Amigos, Dirty Harriet & the Hangmen, Rattlin’ Bones Blackwood: Yah Yah’s, Fitzroy

Yacht Club DJs, Step Panther, Apes: Ding Dong Lounge, Melbourne

Counting Crows, Jackson McLaren: Hamer Hall, Melbourne

Queen & Convict: Retreat Hotel (Beer Garden Afternoon), Brunswick

Arty Del Rio: Edinburgh Castle Hotel (Afternoon), Brunswick

Bruce Springsteen & the E-Street Band, Jimmy Barnes, The Rubens: Hanging Rock Reserve, Macedon Ranges

Echo Drama, Lamarama, DJ Shamikazi: Retreat Hotel, Brunswick

SUN 31 MARCH 2013 Gemma Tully & The Thornbirds: 303, Northcote The Bullettes: Bar Open, Fitzroy Arty, Mat Zo: Billboard The Venue, Melbourne Ivan Smagghe, Superpitcher, Inxec: Brown Alley, Melbourne Boogie #7 +Various Artists : Bruzzy’s Farm, Tallarook Cherry Blues+DJ Max Crawdaddy: Cherry Bar, Melbourne Endless Boogie, Matt Sonic & The High Times, The Patron Saints: Cherry Bar, Melbourne

Phil Para Band: Elsternwick Hotel, Elsternwick The Gruntled, Map Ends, Gravel Samwidge: Empress Hotel, Fitzroy North One Day - Autism Fundraiser feat.+Frankennbok, Dreadnaught, King Parrot, Wolfpack, Heaven The Axe, Bronson, Don Fernando, The Charge: Evelyn Hotel, Fitzroy Deborah Conway, Willy Zygier: Flying Saucer Club, Elsternwick Vowel Movement, Velcro, Banoffee: Grace Darling Hotel (Basement), Collingwood The Moderns, Smile, Bad Animal: Grace Darling Hotel (Band Room), Collingwood

The Moonee Valley Drifters: Hickinbotham Winery, Dromana

Looking Glass, The Ruiner, Agonhymn, Yanomamo, Broozer, Lomera, Nous: Reverence Hotel (Band Room), Footscray

Tank Dilemma: Lomond Hotel (Afternoon), Brunswick East

Leon Thomas, Alexi Kaye: Reverence Hotel (Front Bar Afternoon), Footscray

Ken Maher & Tony Hargreaves: Lomond Hotel, Brunswick East

Short Order Schefs: Spotted Mallard (Afternoon), Brunswick

Party Squad: Mynt, Werribee Good Riddance, A Wilhelm Scream, The Flatliners, Beaver: Northcote Social Club, Northcote Vulgargrad, + Special Guests: Northcote Social Club (Matinee Show), Northcote Beersoaked Sundays with+Coral Lee & The Silver Scream, Eaten By Dogs, + more: Old Bar, Fitzroy

Laura Loe, Charlie Jarratt, Dave Hoang, Sarah Stone, Lesha, Monique Shelford, Kyle Rodda, Alkali Fly: The Bendigo (Afternoon), Collingwood Dawn of Azazel, Odiusembowel, Seaford Monster: The Bendigo, Collingwood Broderick Smith, + Guests: The Bridge Hotel (Afternoon), Castlemaine

Big Sista, The Dufranes, Very Handsome Men: The Brunswick Hotel, Brunswick

Cherrywood: The Standard Hotel, Fitzroy Client Liaison, Romy, Namine, Post Percy, DJ Dan Watt: The Toff In Town, Melbourne

Mike Rudd, Bill Putt: The Cabana Lounge (Afernoon), Malvern James Teague: The Curtin, Carlton

Carbs, Them Nights, Mangelwurzel, Fresh Kills: The Tote, Collingwood

Nigel Wearne, Steve Hoy: The Drunken Poet, Melbourne

The Mornings, Storm Chasers, Hamish Anderson, Wishful: The Workers Club, Fitzroy

Grandmaster Flash, Ms Butt, Mafia, Manchild: The Espy (Gershwin Room), St Kilda

Liam Gerner: Victoria Hotel, Brunswick

Lounge Bar+Daryl Braithwaite, Dale Ryder Band, Nudist Funk Orchestra, Bad Boys Batucada, Ms Butt: The Espy, St Kilda

Moments Notice: Wesley Anne (Afternoon), Northcote The Ancients, Tim Richmond, Carry Nation: Yah Yah’s, Fitzroy

White Walls, Internal Rot, The Stevens, Brain Children DJs: The Gasometer Hotel, Collingwood


Mountain & Swamp Sessions with+Craig Woodward & Friends: The Gasometer Hotel (Front Bar Afternoon), Collingwood

Cherry Jam: Cherry Bar, Melbourne

The Alan Ladds, The Go Devils: Cherry Bar, Melbourne

Shawn Colvin: Corner Hotel, Richmond

Dropkick Murphys, Frank Turner and The Sleeping Souls, The Swingin Utters, Marching Orders: Festival Hall, West Melbourne

The Beegles, The Infants, Rogue Wavs, Preston Skate Massive: Evelyn Hotel, Fitzroy Monday Night Mass feat.+Stone Angels, Looking Glass, TTTDC, BJ Morriszonkle: Northcote Social Club, Northcote

Kain Borlase Trio: Kojo Brown, Richmond Irish Session: Lomond Hotel, Brunswick East

Secret Mystery Band, Buried Feather: Old Bar, Fitzroy

Michael David: Old Bar, Fitzroy

Sean McMahon: Retreat Hotel (Beer Garden Afternoon), Brunswick Let’s Get Funny At The Brunny+: The Brunswick Hotel, Brunswick Tav Falco & The Panther Burns, The Go-Devils, Harry Howard & The NDE: The Tote, Collingwood

Charles Jenkins: Retreat Hotel (Front Bar ), Brunswick Collage with+Various Artists : The Espy, St Kilda Murdena, Oh Pep!, Loose Tooth: The Toff In Town, Melbourne

Ben Kelly & Band: Veludo, St Kilda

1 APRIL 2013


The Rechords: The Gem, Collingwood

Allan Browne Curates: 303, Northcote

The Large Number 12s: The Prince (Public Bar), St Kilda

Shawn Colvin: Basement Discs (Early Afternoon), Melbourne

2 APRIL 2013 Klub MUK: 303, Northcote

“Live At The Lomond� THU 28TH 8.30PM

140 Sydney Rd


9387 6637

(Swampy blues grooves)
















46 • To check out the mags online go to themusic.com.au/mags


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To check out the mags online go to themusic.com.au/mags â&#x20AC;˘ 47




Experienced original rock band looking to play with other established gigging bands. Will return favour with dates in Sydney venues such as The Wall, Valve Bar, Town & Country. RemmosK@gmail.com

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OTHER Charlie Sheen movie posters for sale. iFlogID: 19268


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Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@ bizwebsites.com.au or see www. bizwebsites.com.au. iFlogID: 15452

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www. youtube.com/user/sydneypollak iFlogID: 19834

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line! iFlogID: 15737


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Backyard Cinema Hire. Enjoy your favourite films with friends or family on the big screen, in your own backyard. Melbourne based. Call Aaron 0451 208 675 http://cardboardemporium.net

Transfer your old master AUDIO DAT or MINI DV tapes to media files. Full quality, no compression. Call Aaron 0451 208 675 http://cardboardemporium.net iFlogID: 20891

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Quality showreels compiled and produced for actors at affordable rates by Melbourne based production company. Call Aaron 0451 208 675 http://cardboardemporium.net

GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price

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SOUND & MUSIC Video sound pro recording, editing, mixing & mastering for film. Video editing full HD. Music arranging / composition & production for film. Voice overs dubbed into video etc. $40 hr. Enquiries ph: 02 98905578

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Video sound quality recording, editing, mixing & mastering for film. Video editing full HD. Music arranging / composition & production for film. Voice overs dubbed into video etc. $40 hr. Enquiries ph: 02 98905578 iFlogID: 21489

Detax Services are the Arts & Entertainment Industry Tax specialists. Maximise your tax refund or minimise your tax with effective tax strategies before June 30. Ph 1300 4 DETAX (toll free) or visit www.detax. com.au iFlogID: 21493

MASTERING Mastering from $120 per track. 1st track free before committing for new customers. Quality gear, analysed & treated room. Not “el cheapo”, hear the difference. Enquiries ph: 02 98905578 iFlogID: 21487

Mastering from $120 per track. 1st track free before committing for new customers. Quality gear, analysed & treated room. Not “el cheapo”, hear the difference. Enquiries ph: 02 98905578 iFlogID: 21475

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Professional mix engineer. $150 for your first mix and package deals for EPs and albums. Discounted mastering also available through professional mastering studio Brisbane. Visit www.omegachildproductions. com for details and testimonials. iFlogID: 21270


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Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits. iFlogID: 21483

Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits. iFlogID: 21471

Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits. iFlogID: 21479



Recording studio in the heart of Sydney (Kent St, CBD) – available for service NOW! $250 / 4hr, $70/hr. Recording session including engineer Mixing & Mastering: 1 to 8 track per song only $100, 9-16 track song $150 Rehearsal space to rent $20/hour – 5m square includes vocal booth 1.5m square Ideal for vocal/guitarist/ keyboard/horns/wood pipe/solo drum kit only Call Now: Sunny 0449 845 640. victor@cybersound.com.au Visit www.cybersound.com.au

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Professional ,creative and unique gig posters and band merchandise. Nreece.design@gmail.com iFlogID: 21385

PRINTING Premium CD packaging & CD replication, Australia wide. 70% recycled card at no extra cost.

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RECORDING STUDIOS Incubator Recording and Mastering. “Where the grooves are hatched”. Record your next demo or release in a relaxed creative enviroment with experienced engineer. Affordable check it out online at www.incubatorstudio.com.au iFlogID: 19532

$35 $60 $50 $50

Music-Production/Mixing/Mastering package only $150 per track. 5 Tracks for $550 (1-month period). 10 Tracks for $1000( 2.-months period). Check link and listen: http://www. youtube.com/user/Studio9Mru/ videos?view=0&flow=grid

Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. www.parallelharmony.com.au iFlogID: 18640

TUITION DRUMMER AND DRUM LESSONS Drum Lessons avaliable in Gladesville Teach all Levels, ages .17 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drumming. Mob:0402663469 Michael iFlogID: 20676

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LEARN GUITAR $99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E: nikolaidis@live.ie iFlogID: 19765

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Ph: 02 98905578

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Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Ph: 02 98905578 iFlogID: 21477

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Ph: 02 98905578

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VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http:// www.vocalhub.com.au iFlogID: 17102

VIDEO / PRODUCTION Independent Melbourne based director/producer can create innovative music videos on very modest budgets. Previous broadcast credits. Call Aaron 0451 208 675. http:// cardboardemporium.net iFlogID: 20881

QUALITY MUSIC VIDEO PRODUCTION Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www.immersionimagery.com immimagery@gmail. com facebook.com/immersion. imagery iFlogID: 18477

You want music video produced? Visit finncut’s channel on youtube Contact Matti finncut@gmail.com

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MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix. com/steelechabau/steelechabau iFlogID: 16159

DJ Dj available Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575





GUITARIST REQUIRED, For Elvis cover band plus variety of songs including originals. Rehearsal once a week between Campbelltown and Blacktown. Must be able to come to rehearsals. Ph:0425 246 253 Alex.

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PROFESSIONAL DRUMMER AVAILABLE! Sydney based, ready for session work, touring etc. - lots of experience at 24 years of age, will travel. ardieworsleymusic@gmail. com iFlogID: 20865


SINGER SEEKING A GRADE BAND THAT HAS THEIR S**T TOGETHER. PRETTY OPEN IN REGARDS TO GENRE BUT PREFERABLY ROCK. FOR VOCAL REFERENCE VISIT www. facebook.com/delsantomusic Based in Sydney. Please contact: steveshifter@hotmail.com iFlogID: 20857

MUSICIANS WANTED BANDS DRUMMER WANTED Drummer Wanted for metal/ rock band, all original music, ready to gig, any age, male or female. contact Greg 0406138713. iFlogID: 21418

HOW TO BREAK INTO THE MUSIC INDUSTRY !? This will answer all your question regardless of the music genre you play. Check it out: www.oxygenmusicgroup.com/events iFlogID: 21567

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BASS PLAYER BASS PLAYER REQUIRED For Elvis band and variety of songs including originals. Must be able to come to rehearsals once a week, rehearsals between Campbelltown and Blacktown. Ph: 0425 246 253 Alex iFlogID: 21133

BASS PLAYER WANTED Bass player wanted for Central Coast band. Tour from Brisbane to Melbourne already booked for june/ july with established booking agent and publicist. Sounds like The Black Keys, Contact Kurt 0403915430 or email newregulars@live.com.

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Guitarist/Singer wanted for established ‘all live’ covers duo from January. Confirmed regular gigs already booked. Style of duo is relaxed but also upbeat. Professionals only need apply. 0402 980 602 iFlogID: 20407

Rhythm Guitar, Keys, Backup Vox needed! Kilby’s the name. Melbourne based. Our sound is light/dark indie rock. Listen here: triplejunearthed. com/Kilby. Email here: kilbytheband@gmail.com - Must have dedication/good gear/love for music! iFlogID: 20987

KEYBOARD KEYBOARD PLAYER WANTED Looking for a M/F keyboard player 26-39 to join 4M1F playing newwave flavoured indie rock/pop. Current album release Aust/US getting good college airplay. Starting work on next album. Own transport (rehearse Brunswick) essential. Email: contact@noescapefortheking.com iFlogID: 21290

OTHER RADIO SYDNEY IS BIG! VERY BIG! www.radiosydney.com.au The worlds largest free digital radio sevice? We say YES!

Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15454

If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217

New Musicians Chat Site, available for artists who wish to discuss their music. Go to http://express.paltalk. com/?refc=86001 and enjoy some conversations with other musicians. Open part time at present. iFlogID: 20990

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Vocalist Needed! Prog Rock Band. Perth. Must have powerful voice, be easygoing & dedicated and be creative both vocally & lyrically. Call/ Msg Brendon on 0435508833 if interested.

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SERVICES BEAUTY SERVICES Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338 iFlogID: 17428

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you a better chance of getting a mix sounding great through a variety of different sources. For example, you could have one pair of high-resolution studio monitors, a small pair of hi-fi speakers or computer speakers, and a single mono speaker to check everything’s good down the middle.

The top has been internally carved and braced, and the back has also been braced with a lattice pattern. This new twin-bracing approach actually gives this small guitar more bottom end than most dreadnoughts! Twenty gorgeous frets have been finished to perfection. The frets are nice and shiny, beautifully rounded, and there’s not a sharp edge in sight. Honestly, I’d have to say the fretwork on this instrument is just about the most magnificent I’ve ever seen. The neck also feels fabulous with a soft D-profile, the action set to a medium height, and a nice light string tension thanks to Elixir Nanowebs.

COLE CLARK ANGEL AN1A-BB ACOUSTIC GUITAR www.coleclarkguitars.com Cole Clark is a company dedicated to creating wellpriced, quality guitars their own way with simple, no frills quality, and I’ve been a fan of their approach for some time. Some of their Aussie and international endorsees include Birds of Tokyo, Boy and Bear, Jack Johnson, Ben Harper and even The Kaiser Chiefs. The Cole Clark AN1-BB Angel is completely different to the Fat Lady models. It’s a Grand Auditorium non-cutaway design (different to the AN-2) featuring a smaller body than most dreadnoughts, yet with a full 25.5” scale length. A large selection of Australian tone woods have once again been incorporated, with solid bunya for the top, blackwood for the back and sides, Queensland maple for the neck and Indian rosewood for the fingerboard and bridge. The fingerboard in particular was especially beautiful on the test guitar, oily, soft to the touch and sweet to the ear.

The iconic contoured Cole Clark headstock is still present, but this particular model is more bare bones with a simple decal that’s still classy. A lovely soft natural satin/nitrocellulose finish adorns the whole guitar and feels so much nicer than a typical gloss finish. Very stripped-down in appearance with no fancy bindings, the simple pinstripe rosette and small mini mother of pearl/ abalone dot markers work in perfect visual harmony with the tone woods. Awesome Graphtech bridge pins, TUSQ nut and TUSQ saddle make for a firm, snag-free string path, while Grover Rotomatic machine heads kept her perfectly in tune through a variety of different tunings. This guitar feels like magic to play. The neck and fingerboard are so soft, the Elixir strings have that smooth, coated feel, and the action is set just right to help notes resonate properly and carry the tone better. Unplugged this guitar has a very even voice, with a nice strong round bass, even midrange and clear top end. It’s evident that the money has gone into beautiful tonewoods, quality hardware and electronics, and fantastic manufacturing, as this is a real stripped-down working musican’s guitar. Plugged in, the tone just gets better. The piezo has a nice brilliant chime, and the top-mounted pickup sounds completely different, much warmer and richer in the mids. Finding a nice balance between both pickups generates a more real, natural acoustic tone, something that most single piezo-based preamps fail to achieve on their own. The Cole Clark AN1-BB is my favourite guitar in their catalogue. It’s perfect for guitarists who are put off by bulky dreadnaughts but still require a full sound, and I love everything about it.

BEHRINGER XENYX CONTROL 1 www.galacticmusic.com.au Behringer have started to pump out mixers and control surfaces for computer-based recording, and this is fantastic news for people like myself who have home studios and require good gear but are lacking in the cash department. The Behringer Xenyx Control 1 is a high quality, low noise, big headroom control and communication centre for your studio. The unit contains one big knob for volume control, source selectors, monitor switches and a talkback mic (very handy indeed). And with the ability to send four stereo inputs from different sources, you can pretty much hook up all your devices and leave them in place. The Control 1 also provides you with the ability to monitor audio through up to three sets of studio monitors and two headphone sends. Why three pairs of monitors? Well, how many times have you been in a recording studio or your own studio and had a really killer mix that sounded great in the studio but thin or out of balance in your car, on your little stereo in your room or iPod dock? The reality is that mixing through multiple sets of speakers and compromising between all (as you would in a professional studio) will give

Having an in-built talkback microphone is fantastic, and this one can get very hot and sensitive, so you won’t have to set up additional mics for talkback or keep taking your headphones off if you have an artist recording in your home studio. You can also set up a footswitch for talkback if you have a guitar in your hands and are recording at the same time. Multiple input connections give you the option of sending a stereo signal back and forth from USB, as well as a separate RCA connection for turntables or other stereo sources. The thing that I couldn’t grasp at first is that if you’re recording, you need the USB input activated if you want to receive a playback from your DAW (Digital Audio Workstation), so you need to have the third (USB) input active to hear playback or monitor your mix. One problem I’ve been finding with the Behringer units recently is that it’s up to your computer to automatically install the drivers, and these drivers simply offer a generic USB audio codec, instead of low latency ASIO drivers. You might run into some problems if you’re using Windows XP, and you’ll definitely not want to monitor the return from your DAW when recording. On my PC I could only get the latency down to 40ms, which is pretty poor considering I can get my fixed card down to 2ms. You can download free Asio drivers at http://www.asio4all.com. This improves the latency drastically, but specific drivers from Behringer would have been much nicer. Plugged in this thing looks awesome; nice bright orange metering on the knob, green and red LEDs when buttons are switched down and a bright red metering display for volume. On the back there is further connectivity with two separate two-track outs to different sources as well as a DAW out. Benringer’s Xenyx Control 1 is excellent value for money. It takes a little bit of know how and tweaking to get it underway, but once you start recording with it you won’t look back.

The Strauss SSW-Wah 6P is one hell of a tank. It’s built tougher than just about any pedal on the planet and weighs a tonne. On top of the wah, a six-way selector and handy status indicator shows you when your wah is engaged. On the sides, you have a true/split bypass switch and power adaptor input, while underneath, a clever battery compartment, so you don’t have to remove the rubber feet to change the battery like older annoying designs.

DV 403 CPC cmcmusic.com.au Marco deVirgiliis is a unique man. Considering he cut his musical teeth playing saxophone and trumpet, it’s surprising that his contribution to the musical world has been with his excellent bass amps - thus “Markbass”. This company has only been around for ten years but has already made a big impact. Their bass amps and cabs have set new standards for their power-to-weight ratio - light weight, big sound - ya gotta be happy with that! The last two years have seen this innovative man put his skills into guitar amps under the brand “DV”. His latest offering, the 403 CPC, is sure to woo fans around the world - it’s simply brilliant. I’ve had this amp for two weeks and foolishly took it to a jam with three other great pretenders at a friend’s place using DV’s single 12” cab - it’s still there and I am not allowed to take it home! We’ve plugged in a variety of instruments: one Strat, one Tele, two Les Pauls and an Ibanez 421 complete with whang bar and shredding gear. That’s just the electrics. We have also used it for several acoustics with built-in pickups: a beautiful Maton Southern Star, a 30 year old Maton Coolabah and my own Gibson J 45. This may be a sweeping statement but

I clicked the wah on, a bright blue LED lit up, and a massive, throaty punch came out of the first position. On a clean setting, the tone was fantastic but changed very quickly from bass to treble. Some more ‘throw’ or wider distance between heel and toe would have been nicer. Played with some drive, the first setting really popped out, and leaving the wah at full treble produced a great lead tone. The first setting was very strong and sounded almost like a talk box with a nice big gurgle, perfect for replicating Bon Jovi, Alice in Chains, even some Daft Punk.

all of these instruments are making the sweetest sounds they have ever made - all of them. This amp has a quality that is just magic, very real, sweet as honey, and has extraordinary dynamic response. The transient response is the best I have ever heard. If all you want is bee-sting rock tones maybe you can find better elsewhere but for most rock, pop or jazz, be it chords or solos, this amp is pretty well king. In addition to an excellent tone, the 403 CPC has Continuous Power Control. This gives you the option of playing an amp that induces power stage distortion anywhere from one watt to 40 watts. You can have it sounding like a Santana Mesa Boogie but still be able to hold a conversation. The 403 head weighs only eight kg or so, one of many great aspects of the DV philosophy. Other benefits of this philosophy include MIDI control of channels, three channel settings that the amp remembers each time you turn it on, an excellent footswitch system that lets you know which channel you’re on, an assignable effects loop that you can tailor for just about any situation and a neat stylish appearance that will make your friends hate you. There is a lot to love about this amp but you won’t really love it like I do until you try it. Anyone is going to enjoy playing through this amp.

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STRAUSS SSW-WAH6P WAH PEDAL www.musocity.com.au Strauss is an Australian company that has been reborn to “reignite fire into our musical bellies”. In the ‘70s Strauss amps made up the backlines at the old Sunbury music festivals (Australia’s version of Woodstock) where Billy Thorpe rocked his 300w Warrior amp to send a message that it was the loudest amp in the land. At the same time, other guitarists loaded two Strauss Minuet PA cabs into the back of their Holden panel vans and went off to conquer volume wars of their own. Like so many others, Strauss has now moved its manufacturing overseas to China and expanded its range to include accessories like speakers and valves, as well as this new 6-position wah. Everyone loves a bit of wah. I know it was one of the first effects I ever bought, and still remains a crucial aspect to any pedal board. As you may know there are countless wah pedals on the market, but not all of them offer the ability to change the contour or shape of the wah sound.

Position 2 produced a strong but more natural sounding wah. Played clean it reminded me of a modded crybaby, still bass heavy but with a wider throw than the last setting. Driven with a humbucker and a lot of gain, position two reminded me of Kirk Hammet’s tone circa the self-titled ‘Black’ album and Load, from deep bass to a high shrill. Next up, position 3 was Hendrix to a tee. A nice natural, quacky Vox/Crybaby wah that was much smoother than positions 1 and 2. This wah setting explores the mids more rather than sweeping from bass to treble. Position 4 was the ‘funk’ setting for me; perfect with a dry, clean tone and a singlecoil bridge pickup. Then positions 5 and 6 were more an exploration of treblier settings, producing a bright, ‘bubbly’ ripple when played clean. The Strauss SSW-Wah-6P is a fine effect, full of great tone, features and versatility. The actual physical size of the pedal was a little small for my foot and I prefer a traditional pedal more for its feel, but the clever placing of the six-way switch and status indicator makes it an acceptable compromise. If you’re a musician who requires more than one wah, you should check out the 6-P.

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Inpress Issue 1267  

Melbourne is one of the few true rock’n’roll capitols of the world. And Inpress magazine is the voice of this great rock’n’roll city. For ov...

Inpress Issue 1267  

Melbourne is one of the few true rock’n’roll capitols of the world. And Inpress magazine is the voice of this great rock’n’roll city. For ov...

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