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Thur 11. 9pm - Fallopian tunes present sonic explorations improvised


electronics and modular wizardry. Free entry

Fri 12. 9pm - IN:SESSION Bringing the best liquid, deep, dark DnB and


glitch that Melbourne has to offer. Free entry


Sat 13. 5 pm - LoopDeLoop LoopDeLoop presents a special screening of the BEST LOOPS EVER. Free entry



Sat 13. 9pm - Pitch(B):tch After almost Nine years Pitch(B):tch DJ’s Mo Ichi and Miyagi are bidding farewell.


Come and join them for one last party guest VJ Alt Esc Del. Free entry

Bringing you the best short films both locally,





In places like that I guess you either get pregnant really young or that’s it, or do drugs, and so I was like, ‘Okay, it’s music...’”

Ronnie Radke of FALLING IN REVERSE (P23)

“If you’re going to get royally wankered at the start of a fourday weekend, you might as well do it constructively, no?” Tom Hawking in NY CONVERSATION (P32)

“Callinan is meticulous in his control of sound, which is unusual for a performer so associated with the unpredictable.” Andy Hazel reviews KIRIN J CALLINAN (P28)


DJ’s Pixleton and Heath Jantango and

Tues 16. 7pm - Comfortable Shorts



“I’d describe Falling In Reverse as a genre of music; it’s just a genre now.”

and globally. $9 on the door

“The mania for the cronut, a hybrid of the croissant and the doughnut, is unprecedented. Is it all a backlash to the War On Obesity?”


Cyclone investigates The Cronut™

“Meat and potatoes heavy metal prepared by the original chefs of the genre.” Glenn Waller reviews BLACK SABBATH’S 13 (P26)

“Drawing inspiration from the minutiae of suburban life, it pairs the innocence of the daily routine with Rogers’ strongest songwriting to date.”


It’s a show thatt is full of questions that will haunt you long after you leave the theatre.” Sarah Braybrooke reviews PERSONA






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Armin van Buuren

IF YOU COULD HAVE RECORDED THE ALBUM ANYWHERE IN THE WORLD WHERE WOULD IT HAVE BEEN? We looked long and hard for the perfect cave to record this album in. Everywhere we went had an angle, which made it untenable. ONE DAY WE SHALL FIND THE PERFECT CAVE. Cloud Control’s new album Dream Cave (expected release: 9 August).


SONIC BOOM! Our feet are sore just thinking about this. Stereosonic is back in 2013 and it’s bigger than ever before; like, seriously large. Don’t believe us? Believe this: David Guetta, Armin van Buuren (pictured), Calvin Harris, Axwell, Sebastian Ingrosso, Above & Beyond, Empire Of The Sun, Afrojack, Boys Noize, Alesso, Dog Blood, Nero, Nicky Romero, The Bloody Beetroots, Labrinth, Bingo Players, Zedd, W&W, Tommy Trash, Krewella, Shockone, Maceo Plex, Ferry Corsten, Andy C, Hot Natured, Solomun, Showtek, Gareth Emery, Robert Delong, I Am Legion (Noisia & Foreign Beggars), Jamie Jones, TJR, Clockwork, Mat Zo, Cajmere, Stafford Brothers, Aly & Fila back-to-back with John O’Callaghan, Giuseppe Ottaviani (live), Flight Facilities, Claude VonStroke, Fritz Kalkbrenner, Matrix & Futurebound, Tommie Sunshine and much, much more. And this year, for something fresh, the peeps behind the festival are taking a leaf out of the Leeds/Reading book, rotating the full festival between two cities over one weekend, the end result being maximum fun for you! Get your weekend party on when the dance behemoth rumbles into your city: Saturday 30 November and Sunday 1 December, Sydney Showgrounds and Claremont Showgrounds, Perth; and Saturday 7 and Sunday 8 December, Royal Melbourne Showgrounds and RNA Showgrounds, Brisbane. Ticketmaster are offering a presale from Monday 29 July, with regular tickets on sale Thursday 1 August.


WHAT DO YOU DO AFTER THE GIG IS OVER WHEN ON TOUR? We usually hang around and chat for a while with friends and people from the show, go for a skate if we can, and then usually head for the next show that night. Sunsets are touring. Check The Guide for dates.

THIS WEEK’S RELEASES JAY-Z Magna Carta… Holy Grail Universal

CALEX YOURSELF It’s been three years since Calexico last visited Australia and in that time the Arizona group have been keeping themselves plenty busy, be it with touring, collaborations, movie soundtracks, live recordings or straightforward studio albums. This continual expenditure of energy will extend to their performances later this year, no doubt, when the much heralded alt. country heavyweights bring their dusty Americana cuts to Aussie audiences once more. Catch them on Tuesday 17 and Wednesday 18 September, Brisbane Festival, Spiegeltent; Friday 20, Byron Theatre, Byron Bay; Saturday 21, Meeniyan Town Hall; Sunday 22, Sydney Opera House Concert Hall; Tuesday 24, Athenaeum Theatre, Melbourne; Wednesday 25, Corner Hotel, Melbourne; Friday 27, Astor Theatre, Perth, and Saturday 28, Wave Rock Weekender, Hyden, with supports at the various dates including Tiny Ruins, Brighter Later, Quarry Mountain Dead Rats and Depedro from Spain.

Sydney DJ and videographer Ego is recognised as a true visionary in his field, who has combined art and music in a way that few can match but all can connect with. To tie in with his latest colourful endeavour, an audiovisual mixtape that’s already getting hyped by the likes of Skrillex and A-Trak, Ego has announced a big lot of dates over the coming months, and is even throwing a few educational performances into the mix to help budding productionists raise their game. Catch a Trip With Ego: Saturday 20 July, Capitol, Perth; Thursday 1 August, UNSW Roundhouse, Sydney; Thursday 8, Oh Hello! Brisbane; Wednesday 21, Karova Lounge, Ballarat; Thursday 22, Eureka Hotel, Geelong; Friday 23, Can’t Say, Melbourne; Saturday 24, Woodport Inn, Erina; Wednesday 28, Apple Store, George Street, Sydney (workshop); Thursday 29, GoodGod Small Club, Sydney; Friday 30, Never Land Bar, Coolangatta; Saturday 31, Beach Hotel, Byron Bay, and Monday 7 October, Redfern Community Centre (Heaps Decent workshop).

Top Of The Hour Gun Fever

VYDAMO Becoming Human Sony

POWDER MONKEYS Smashed On A Knee (reissue) Freeform Patterns/Fuse

After plenty of painstaking hours spent plugging away at it, Dead Letter Circus are finally set to launch their brand new LP, The Catalyst Fire, with their unmistakable sonic intensity paired with a newfound songwriting maturity, resulting in the most assured music the band has yet put together. On their first headline tour in support of that new full-length, the Brisbane boys, along with Closure In Moscow and Sleep Parade, will set out on the road, playing Friday 30 August, The Wool Exchange, Geelong; Saturday 31, The Hi-Fi, Melbourne; Wednesday 4 September, Zierholz, Canberra; Thursday 5, Metro Theatre, Sydney; Friday 6, Waves, Wollongong; Saturday 7, The Cambridge Hotel, Newcastle; Thursday 12, Kings Beach Tavern, Caloundra; Friday 13, The Spotted Cow, Toowoomba; Saturday 14, The Hi-Fi, Brisbane; Thursday 19, Prince of Wales, Bunbury, and Friday 20, Metropolis, Fremantle. Proudly presented by Street Press Australia.



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Proving to be one of the highlights of last year’s London Olympics, Wantok: Sing Sing have been announced as the Saturday and Sunday headline spectacle on the forthcoming Boomerang Festival. With a full 17-piece show featuring the rhythms and sounds of the Pacific, the Indigenous/Oceania musicians will be led by musical director David Bridie, adding their firepower to an already impressive bill that features Gurrumul, Archie Roach, The Medics and Thelma Plum. Powerfully uplifting, enjoy the celebration when Boomerang comes to you Friday 4 through Sunday 6 October at Bluesfest home Tyagarah Tea Tree Farm, Byron Bay. Head to the festival website now to pick up early bird single- and three-day tickets.


Violin electronic dubstep... Things are getting real now. She’s blown up recently as a bona fide YouTube sensation, generating more than 300 million views and now Lindsey Stirling will bring her uncontained music and majestic dance moves to our shores for the very first time. Find out why her worldwide following has grown so dramatically. Stirling plays three intimate shows: Brisbane Powerhouse, Saturday 24 August; Corner Hotel, Melbourne, Tuesday 27, and Metro Theatre, Sydney, Wednesday 28, with tickets on sale Friday.

More than living up to the hype with their second album, Singularity, Northlane’s punishing djent-tinged metalcore has struck a chord with heavy music lovers young and old. Known for their wild live shows, the quintet are no strangers to the road, and have just announced they’ll be letting loose once more this Spring, with Northlane’s tour set to roll out with support from Perth five-piece Saviour. Catch the bands: Thursday 5 September, Studio 6, Sutherland (licensed/all ages); Friday 6, The Basement, Canberra; Saturday 7, Blacktown Masonic Hall (all ages); Sunday 8, The Cambridge, Newcastle (all ages); Thursday 12, Commercial Hotel, Melbourne; Friday 13, Ferntree Gully Hotel; Sunday 15, Coburg Town Hall; Thursday 19, Surfers Paradise Beergarden, Gold Coast; Saturday 21, Racehorse Hotel, Ipswich, and Sunday 22, One Epic Event, Strathpine (under-18).

Ever since he became the first ever artist to be signed by MySpace Records (oh, MySpace *sigh*), Mickey Avalon hasn’t been short on headline-making behaviour, and now the party-rocking white boy will be returning to Australia in celebration of his brand spanking new EP, I Get Even. Avalon will be playing at these venues with support from Evil Eddie and Kid Mac: Corner Hotel, Melbourne, Friday 18 October; Capitol, Perth, Saturday 19; Metro Theatre, Sydney, Sunday 20; The Hi-Fi, Brisbane, Thursday 24, and Coolangatta Hotel, Gold Coast, Friday 25.

Dead Letter Circus






They’re the much-loved Sunday Gentleman of Australian hip hop, but that doesn’t mean Spit Syndicate are averse to a bit of hard work. And the Sydney pairing of Nick Lupi and Jimmy Nice are at it again, taking their top 20 ARIA record to all corners of the country once more. The Money Over Bullshit Tour lands at the following venues: Barwon Club, Geelong, Friday 20 September; The Evelyn, Melbourne, Saturday 21; Phoenix Youth Centre, Melbourne, Sunday 22 (under-18 matinee); The Armidale Club, Armidale, Thursday 26; Solbar, Maroochydore, Saturday 28; Baroque, Katoomba, Friday 4 October; Mona Vale Hotel, Saturday 5; The Loft, Gold Coast, Thursday 10; Woody’s Surf Shack, Byron Bay, Friday 11; Alhambra Lounge, Brisbane, Saturday 12 (under-18 matinee); Amplifier, Perth, Friday 18; Prince Of Wales, Bunbury, Saturday 19; Newport Hotel, Fremantle, Sunday 20; Friday 25, Waves, Wollongong; Thursday 31, Zierholz, Canberra, and Saturday 2 November, The Hi-Fi (all ages). Tickets go on sale Monday, with special guest Joyride as well as more to be announced.

THE ONE AND ONLY There are few genuine superstars on the planet today, individuals recognised across every border and cultural divide, individuals that can go by a single name. Beyonce slides into that category more snugly than those one-piece bodysuits she’s made her own. Throwing herself back into touring once more, the acclaimed R&B diva will be presenting a bold new stage production that promises to dazzle as much as sizzle, her swag of hits complemented by state-of-the-art lighting, dancing, visual effects and more. The Mrs. Carter Show World Tour rolls into Australia playing Tuesday 22 October, Rod Laver Arena, Melbourne; Monday 28, Brisbane Entertainment Centre; Thursday 31, Allphones Arena, Sydney, and Friday 8 November, Perth Arena. Get your tickets from Friday 19 July.

She’s been the Aussie queen of mix for a few years now, but Alison Wonderland is finally ready to carve her own name into Australian club culture, having put together her first single with Blue Mountains duo Fishing. Get Ready for Wonderland to bring the beat back with her new track when she launches it at the following dates: Thursday 25 July, Beach Hotel, Byron Bay; Saturday 27, Splendour In The Grass, North Byron Parklands; Friday 2 August, Star Bar, Bendigo; Saturday 3, Karova Lounge, Ballarat; Sunday 4, King St, Newcastle; Friday 9, Academy, Canberra; Saturday 10, Playground, Sunshine Coast; Wednesday 14, Oh Hello!, Brisbane; Friday 30, Speak Easy, Villa, Perth; Saturday 7, Oxford Art Factory, Sydney; Wednesday 11, Charles Sturt University, Wagga Wagga; Saturday 14, Snow Party, Thredbo; Thursday 19, Corner Hotel, Melbourne; Saturday 21, Elsewhere, Gold Coast, and Saturday 5 October, Woodport Inn, Erina. There’s also a secret show happening on Wednesday 28 August, but she isn’t giving up the info. To find out if it’s happening near you, keep checking our essential go-to, The Guide on

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Acclaimed jewel of dark country blues Cash Savage, and her band The Last Drinks, release their second LP The Hypnotiser on Friday 26 July. Hear the songs live when the band perform at the Bridge Hotel, Castlemaine on Friday 26 July and the Curtin Bandroom on Saturday 27 with The Infants.


BIGSOUND LIVE ACTS ADDED An enormous number of massive acts have been added to the BIGSOUND Live showcase and conference line up for 2013. Leading the second are the likes of former Powderfinger guitarist Darren Middleton, Blue King Brown frontwoman Natalie Pa’apa’a, much adored chanteuse Gossling (pictured) and ska devotees the Melbourne Ska Orchestra. There is just the one international band on the bill so far, with Yukon Blonde from Canada filling that role. Calling All Cars, Chance Waters, KINGSWOOD and Jonti will all ensure there’s a varied crowd checking out the showcases, as well the likes of Davey Lane, Feelings, Sheppard and Diviney. The event happens around the streets of Brisbane’s Fortitude Valley over the nights of Wednesday 11 September and Thursday 12. The full line-up is at

INDUSTRY NEWS Aussie hip hop heavyweights Bliss N Eso have scored their second concurrent number one album with Circus In The Sky debuting in the top spot of the ARIA charts in its first week of release. To get there, they had to hold out the winner of reality TV singing competition The Voice, Harrison Craig, and the might of the Hillsong Live church, who took second and third spots this week respectively. On the singles chart, Robin Thicke has finally had to concede the number one position that has been his for the best part of the past couple of months – his Blurred Lines track now sits in second position as Swedish EDM hotshot Avicii snatches the top spot with his track Wake Me Up. Australia Council For The Arts CEO Tony Grybowski has announced that work to allocate additional funds to local artists and art organisations has already begun, just days after the new council board was announced. Grybowski confirmed that the Visual Arts and Literature were priorities in the board’s first meeting. Following last week board announcement, the Federal Opposition lashed out at the new look Australia Council with opposition arts spokesman George Brandis calling the appointments “deeply disrespectful”, criticising the major city-centric make-up of the board and stating that the literature and visual arts sectors were under represented. After a sterling debut in the top 20 of the Billboard charts last week, Empire Of The Sun have now dropped to 90th position in the second week of release for their Ice On The Dune LP. It wasn’t bad news for all Antipodean artists though, as New Zealand starlet Lorde continues to rise and rise all over the planet. Her The Love Club EP has spent its third week in the Billboard 200 in its highest position yet at 86. Melbourne outfit The Getaway Plan have parted ways with their original bassist Dave Anderson. The band took to Facebook to announce the news of Anderson’s departure after close to a decade with the band. The band also announced that his replacement has been found already, with longtime friend Jase Clarke stepping into the role. Sydney-based rapper Chance Waters will release his next album through Island Records, an imprint of the Universal Music Group. The New South Wales Labor party has called upon the state government to increase the protections of live music venues by stopping councils taking kneejerk action over complaints by ‘wowser’ residents. An extension of the Good Neighbour policy enacted in Leichhardt council, Shadow Planning Minister Luke Foley said, “We’re here today to call on the NSW Government to amend the noise pollution laws, [to] amend the Protection Of The Environment Operations act to support live music in our city and our state. What we’re calling for is mediation over litigation.” The announcement was the latest in Labor’s live music push, which they have been developing since the local government elections last year. South West Sydney-bred but now Melbourne-based rapper L-FRESH The LION has inked a deal with new company Vienna People Recordings. Melbourne punk rockers Clowns have joined Poison City Records, following a string of self-released 7” records. Universal Music Publishing have recently called upon APRA|AMCOS to license their digital rights almost completely throughout Asia, with the exception of Japan.

The Stabs


GETTING STABBY Long-loved and long-lost Melbourne band The Stabs return for a one-off show at the Curtin Bandroom this Saturday to promote the release of both their albums, Dirt and Dead Wood, on vinyl. The Stabs made a big noise and a bigger name for themselves both locally and overseas with their brand of swamp rock before quietly disappearing – until now. Get down and welcome ‘em back to the stage.



MOTHER OF A SHOW Teenage Mothers‘ new single, Mother Satan, is a pulsating noisefest about resistance against evil. On Sunday 21 July, Teenage Mothers and Drunk Mums play a special afternoon gig at the famous skateboarding spot North Melbourne Drains, a gigantic stormwater drain underneath the ‘cheese stick’ near North Melbourne station’s overpass. Then on Monday 29, they support Palma Violets at Northcote Social Club.

THEY’RE CACTUS Melbourne’s ten-piece instrumental funk and soul darlings, The Cactus Channel, launch their second album Wooden Boy at the Northcote Social Club on Thursday 5 and Friday 6 September. The follow-up to last year’s rave-reviewed debut Haptics, Wooden Boy could have been an alternate soundtrack to Ghost Dog – if Lalo Schifrin and The Meters were collaborating on the RZA’s score. Head along and see if you agree.

INTO THE GUTTER The support acts for Guttermouth on their farewell Australian tour have been locked in. Supporting at the Loft, Warnambool on Saturday 10 August will be Cruntburgers, King Of The North and Max Goes To Hollywood. At Ferntree Gully Hotel on Sunday 11 will be For Amusement Only, Fortnight Jumbo and Take Your Own. At Barwon Club, Geelong on Thursday 15 are The Kremlings, Japan For and Mock Turkey. The Karova Lounge, Ballarat show on Friday 16 has got Clowns, The Kremlings and Lizard Punch. Finally, the Evelyn show on Saturday 17 sees For Amusement Only, Take Your Own and Dixon Cider warming the stage. Misfits Stunt Crew will also appear at all aforementioned dates.

HAPPY JOY As Vance Joy’s much loved song Riptide has been certified Gold by ARIA, some of his national tour dates have sold out, including the Corner shows on Monday 2 and Tuesday 3 September. A third show has been announced at the venue for Sunday 1 September.

TWINSIES Joining Robert DeLong as special guest on his first Australian headline shows this July will be our very own indie electronic duo Twinsy, the brainchild of Guy Chappell (Yacht Club DJs) and Michael Belsar (Hunting Grounds). Tickets are now sold out for the Ding Dong show on Tuesday 23 July.

WHITTY RETURN Whitley makes his musical homecoming with the glorious reveal of third album Even The Stars Are A Mess. The record sits at the end of three-year sabbatical that saw the man behind the moniker, Lawrence Greenwood, immersed in a series of existential journeys – both internal and external. As well as playing as part of Splendour In The Grass, Whitley performs at the Hi-Fi on Friday 19 July with guest Esther Holt.


The Murlocs

SALT IT UP ON THE FIFTH FLOOR Fifth Floor is about collaborating with other movements and hosting underground events. They’re putting on a launch party which is being hosted in a secret warehouse location on Saturday 3 August; the address is concealed in your ticket. The sweet-ass line-up includes The Murlocs, Flyying Colours, Strangers From Now On, The Octopus Ride, Dan Trolley and Premium Fantasy. There will also be collabs from psych visual collectives Astral Projection, 12 Sandwiches, Zonkvision and Rarakin Collektive. Sounds triptastic. For more details, visit

LET’S GET LOUD The Cactus Channel

The mighty Frenzal Rhomb are back to set stages alight, and now announce the support acts they’ve enlisted to get that fire going. At the Corner on Friday 2 August will be Crisis Alert and Hug Therapist on board and ready to warm the audience up.

Rock’n’roll legend Jimmy Barnes will perform a run of exclusive shows for his Welcome To The Pleasure House national tour. Barnes will storm the stage armed with his live band and a number of special guests including daughters Mahalia Barnes and Eliza-Jane with her musical partner Ceci, as Evil J & Saint Cecilia. Catch the show on Saturday 7 September at Under The Big Top, Prince Of Wales Showground, Bendigo.

After the critical and commercial success from debut EP On Your Lips We Roared, Sydney five-piece Louis London have been hard at work in the studio, crafting their sound, honing their art and manifesting their extraordinary potential. They perform at Aftr Dark at the John Curtin Bandroom on Thursday 5 September.

10 • For more news/announcements go to

Melbourne singer-songwriter Shelley Segal is bringing American jazz guitarist/vocalist Adam Levy out to Australia to tour their new collaborative album, Little March. The pair hit Bennetts Lane with a full backing band on Friday 26 July and Tuesday 6 August.

Loud Fest returns in 2013 for its third year and will be touring nationally for the first time since its inception. Loud Fest showcases the very best in rock and hardcore music, and this year’s line-up is as strong as ever. Performing at the Melbourne leg at an all-ages concert at Arrow on Swanston on Saturday 3 August are the likes of Confession, Hand Of Mercy and Saviour.

LITTLE CITY Dallas Green – better known as City & Colour – will visit this month for two intimate shows to promote the release of his new album The Hurry And The Harm. See him up close and personal at the Toff on Friday 19 July.

BEASTS ARE BACK The Beasts Of Bourbon formed in 1983. Thirty years, various line-ups, several break-ups, numerous reformations, six studio albums and an endless run of blistering live shows later, The Beasts are back with their new, three-live CD release 30 Years Of Borrowed Time. To commemorate this milestone, The Beasts will play three consecutive shows at the St Kilda Memo on Thursday 29, Friday 30 and Saturday 31 August – with a different line-up (original, Low Road and current) and a different set each night.

Ben Salter gears up to hit the road for his European Vacation National Tour in support of the new European Vacation EP, out this Friday. See him perform on Thursday 25 July at the Workers Club with Junk Horses and Wayward Breed.

SOMETHING MAJOR Major Chord are set to release their fourth album Transition on Friday 2 August. Transition is ten all-new songs by singer-songwriter Dan Flynn, which see him making the change from solo artist to band leader. Major Chord launch Transition at Bella Union on Saturday 31 August with special guests Brighter Later.

OFF-KILTER With their fifth studio album Delta recently debuting at number one in New Zealand, Shapeshifter are bringing their explosive live show back to Australia, with the best local electronic talent in tow as support. At the Melbourne show at Billboard on Friday 16 August, seasoned turntableists Amin Payne and Sean Deans as APSD will get the party started.

STORY SO FAR Sofar Sounds (Songs For A Room) offers artists and music fans the unique opportunity to perform and experience intimate gigs in packed living rooms. Sydney troubadour Brett Winterford is the next to participate, and will be the first artist to perform nationally. He comes to Melbourne on Saturday 20 July. Email to RSVP and for details.

Architecture In Helsinki

PUT YOUR HAND ON YOUR HEART Before he fronts up as the opening act for formidable British hip hop artist Ghostpoet, Oscar Key Sung – one half of leftfield poptronica duo Oscar + Martin – will embark on a small run of his own shows. He brings his lush arrangements to the Toff on Saturday 3 August.

MAY CONTAIN NUTS Coming off the back of a huge European summer tour, Australia’s most notorious hardcore band Deez Nuts have announced the full list of the handpicked supports for their upcoming Australian Tour. Getting everyone fired up at the Workers Club show this Friday will be Sienna Skies, Hellions and Graves.

FIRE IT UP Jinja Safari’s Bay of Fires Tour will burn even brighter with the addition of Cub Scouts and Okenyo. Brisbane’s Cub Scouts have just revealed details of their upcoming EP Paradise, the title track/single of which pushes their trademark pop sound. In contrast, Sydney’s Okenyo have an alluring neo-soul style. The trio of bands stop by the Loft, Warrnambool on Wednesday 25 September; Barwon, Geelong on Thursday 26; the Forum on Friday 27; and Karova Lounge, Ballarat on Saturday 28.

FUTURE ARCHITECTURE Melbourne pop mavericks Architecture In Helsinki have a new single, In The Future – their first new material since 2011’s Moment Bends. They’re also set to play two special warm up shows before their appearance at Splendour In The Grass: one at Ballarat’s Karova Lounge on Friday 19 July and then the Toff on Wednesday 24.

ANTONIO’S BLOWN UP From his breakthrough album All Night Long (2009) to his new single Blow Up, in just a few short years, hip hop/pop artist Gabriel Antonio has helped redefine the path of popular independent music for a new generation. Check him out at the Espy on Thursday 3 October.

SHE GOT SOUL Fresh from recording with Tim Rogers on his soon-tobe-aired TV program Studio at Melbourne’s newest and most stylish art-deco venue St Kilda Memo, and melting the caps off the Snowy Mountains of Music Festival, soul sensation Kylie Auldist and her seven-piece funk band The Glenroy All Stars will be scorching the stage at Cherry Bar’s Big Soul Thursdays on 11 and 18 July.













































20 - 30 BOURKE ST CITY - 9650 0180


[NEWS NEWS] a r t s

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Capsis. Opening night, Fortyfivedownstaris, 7.30pm, to Sunday 11 August.

Yours Truly – a dance piece choreographed and directed by Paul Malek and Kim Adam. This is a wartime inspired love story of those who left, and those who were left behind. Opening night, Theatre Works, 8pm, to Saturday 13 July.

SUNDAY 14 Daria Martin: One Of The Things That Makes Me Doubt – an exhibition from American, British based artist Daria Martin. Working between theatre, design and art, Martin’s hypnotic 16mm films create a magical, mystical, mythical world, activating the spaces of dream and the unconscious. ACCA, 10am, exhibiting to Sunday 28 July.

Tape – a play written by Stephen Belber and directed by Douglas Scott Montgomery, this is a three-hander about sex, drugs and violence. The play was later turned into a film directed by Richard Linklater with Ethan Hawke and Uma Thurman. Broken Mirror Studios, 7.30pm, to Saturday 13 July.


Tavi Gevinson

WRITE WHERE YOU WANNA BE Little Orphan TrAshley Little Orphan TrAshley – Trevor Ashley is Fannie, a ten-year-old inmate of the Sutherland shire orphanage for talented children run by washed-up boozy matron Miss Trannigan (Rhonda Burchmore), and sets her sights on multi-millionaire amateur photographer Daddy Warhorse (Gary Sweet). The Comedy Theatre, 8pm to Sunday 14 July.

THURSDAY 11 Persona – a play conceived by Adena Jacobs, Dayna Morrissey and Danny Pettingill, this play is based on Ingmar Bergman’s iconic film. It was first performed at Theatre Works in 2012. Malthouse, Beckett Theatre, 7.30pm, to Sunday 14 July. Vocal Folds – an exhibition about voice curated by Jacqueline Doughty, with video installations, a listening library and live events. Tonight hear performances by Christopher LG Hill and Alex Vivian, Shane Van Den Akker and Nik Kennedy and Tarquin Manek. Gertrude Contemporary Main Gallery, 7pm, exhibiting to Saturday 20 July.

The Melbourne Writers’ Festival is back with another fortnight of literacy fun. This year will mark the 27th year of MWF and will be Lisa Dempster’s first as festival director. Tavi Gevinson who started blog StyleRookie when she was 12 years old will host Keynote Address: Tavi’s World. The now 17-year-old has gone from bedroom blogger to founder and editor-in-chief of teen website Rookie (now also a print series) which features contributors such as Zooey Deschanel, Lena Dunham and Joss Whedon. New York theatrical event The Moth Mainstage will be another keynote event, hosted by Ophira Eisenberg and Magda Szubanski. MWF will also host a series of events based around the British journal of literacy essays London Review Of Books. Editor of LRB Mary-Kay Wilmers and writers Jacqueline Rose, Jeremy Harding, Andrew O’Hagan, Colm Tóibín and Marina Warner will all be guests of the festival and host various events. MWF also hosts the final chapter of the Edinburgh World Writers’ Conference – writers include Junot Diaz, MJ Hyland and Tony Birch. The full program for MWF will be announced on Friday 19 July. The Melbourne Writers’ Festival runs from Thursday 22 August to Sunday 1 September. For more info head to Much Ado About Nothing – directed by Joss Whedon, this is a modern interpretation of William Shakespeare’s classic comedy set in modern day LA. Opening at Cinema Nova today.

FRIDAY 12 The Sovereign Wife – a new work by Sisters Grimm, this is one woman’s epic journey across our sunburnt country. It is a wild bush-doof through our national identity. Part of the Neon Festival, Opening night, The Lawler, 7.30pm, to Sunday 21 July. The Lord Of The Rings: The Two Towers – the second instalment of Peter Jackson’s epic Lord Of

12 • For more news/announcements go to

Shaun Of The Dead – a special event screening of this cult comic spin on the zombie-movie genre. Followed by Q&A with director Edgar Wright who is in the country promoting The World’s End. Wright also directed Scott Pilgrim Vs The World. Astor Theatre, 7pm.

TUESDAY 16 Shaun Tan’s The Lost Thing – an exhibition that features artist, Shaun Tan’s original drawings and working sketches for picture book The Lost Thing. Journey into this other world, and see how Passion Pictures Australia developed the book into a short animated film, which went on to win the Oscar for Best Animated Short Film in 2011. Opening, ACMI, 10am, to Sunday 19 January 2014.

The Rings trilogy. Watch the movie on the big screen and hear Howard Shore’s unforgettable music live by the MSO. Hamer Hall, 7pm, to Sunday 14 July.

SATURDAY 13 Screen Series: With Open Arms – an exhibition of works by Australian artist who use moving image and new technology. In the afternoon there will be an artist’s discussion with the curator and program manager Jared Davis. Blindside, 2.30pm. Finucane & Smith Glory Box: Paradise – live art exotica and cabaret, with special guests, Pamela Rabe, Rhonda Burchmore and Paul

The Lost Thing




Although it’s been another four years between Karnivool’s second and third records, frontman Ian Kenny stresses to Benny Doyle that the progressive rock outfit still have a great deal to say. Cover and feature pics by Kane Hibberd. arnivool are no longer just Perth’s leading prog rock light. Nor are they Australia’s. Since the release of their widely acclaimed second record, 2009’s Sound Awake, the five-piece have truly become a global entity on the touring circuit. Drum Media catches frontman Ian Kenny arriving at Hurricane Festival in the northern Germany municipality of Scheeßel, where the band are due to perform later that evening on a bill that offers everything from Of Monsters & Men to Parkway Drive. The frontman is excited about the show, admitting that the band have long enjoyed a positive reception from hard rock-hungry Europeans, but seems unaffected by the pressures of trumping their current worldwide standing with their soon-to-be-released third album, Asymmetry.


“Well, we’ll see,” he slowly begins. “We’ll see how this record sits with Karnivool fans and we’ll see where it goes outside that. Karnivool has a good thing happening in Europe, we’ve got a great thing happening in Australia, so we’re going to keep focusing

on those two territories and get back to the States... I dunno, we’ll have to see. It’s kinda too early to tell – we’ve just put [the album] to bed a few weeks ago so I don’t really have any scope on the record yet until it gets out there and does what it does.” First listens to Asymmetry reveal a band that are venturing to the edges of what’s considered their ‘sound’. Things are abrasive in parts, especially early in the record, Karnivool offering arguably more sonic aggression than they ever have before. But, those musical explosions are evened out by songs that are raw and revealed, the band left as exposed as they’ve ever been. “This third record was just about exploration through Karnivool and a bit more experimenting with the band and seeing what we have in us and what’s in the track,” Kenny explains. “I think this record, there’s more band on it; we’ve left a lot of the performances in there, so it’s not so heavily relying on production which maybe makes it a little more raw than the last two. But we’re just pushing it and seeing what else we’ve got to say musically, and that’s what we’ll continue to do I think. That’s what’s exciting about Karnivool.

in the ocean and the cafe culture cruise with locked down sessions with acclaimed producer Nick DiDia (Rage Against The Machine, Powderfinger). And again, like Sound Awake, nothing about the process was instantaneous or immediately gratifying. A second four-year wait time for fans which begs the question: could this band function in the same way if there were only a couple of years between releases?

“It was a pretty open and free space when we were recording – anything goes really,” Kenny expands further. “It wasn’t an easy record to make, it was a pretty demanding record, just due to the nature of what’s happening [in the music]. But the space we recorded in in Byron Bay, it was one of the best recording environments/ experiences Karnivool [have] had. By no means was it chilled out, but it was cool and focused and just a fucking really nice place to make a record.”

“You know what, I think we’d like to do it another way,” Kenny admits straight-up, “but we haven’t discovered a way to do it any quicker because when we’re writing the parts which become pieces of music, they just need a bit of gestation time. We need to sit with them and work on them, which is part of the reason why it takes so long to get these records up to scratch. I think we’re just starting to get a handle on our songwriting as a band, so maybe we’ll be able to deliver the next record quicker, but at this point I can’t say, I have no idea.”

After putting the initial coat on the raw ideas in their home studio in Perth over a two-year period, the band decamped to the Northern Rivers region of the east coast, settling into a routine that balanced time

Pulling the frontman back to his earlier comment: “It wasn’t an easy

“[We] doesn’t really want linear records,” the vocalist continues. “We try and create records that read a bit more like a novel, because you want to be taken somewhere when you’re part of the listening journey, so you want it to lure you in then sit you down, then it picks you up, smacks you across the head, and it pulls you into another room and gives you a different treatment. You want, you need movement in a record; it needs to take you somewhere and make you feel.

14 • For more news/announcements go to

WHAT’CHU TALKIN’ ‘BOUT IAN? As frontman and lyricist for both Karnivool and Birds Of Tokyo, Ian Kenny has firmly established himself as one of the most engaging and recognisable voices in this country. And you’ve only got to see the lanky vocalist perform to know that on-point pitch and delivery aren’t just in his job description – it’s his life. Kenny admits that on Asymmetry he put more time into his verses than ever before; but how does it all come together? Let’s find out, shall we? “Basically I try and write what I think complements the song and the actual emotional feel of the song, and I just generally try and right lines and lyrics that evoke people to think or to pick up and feel what’s going on in the track,” he explains. “Unless it’s something direct and I’ve got something that I want to talk about, [then] I just try and tell people what’s happening there and then. “Generally I’ll just work on the piece [by myself], come up with what I think it needs to where things are sitting, and I’ll throw them in to see what sticks and if it works then roll with outside ideas, but generally I start things off, just sit there with a track and try to interpret, and whatever comes out comes out and you can work on it from there. “It can be quite demanding at times when it comes to working on vocal parts so it can be complicated,” he concludes, “and not always but generally when you get a piece finished there’s a lot of emotional and musical real estate to play with, so lyrics can go anywhere in this band.”

record to make”, Kenny discusses what Karnivool were battling with during the making of Asymmetry, but also reveals that those tough times do hold their own artistic rewards. “Basically, in preproduction we had most of the arrangements down, and I guess there was like that twenty per cent on a handful of songs that just wasn’t finished. So just ironing out those things in the studio can add a bit of pressure, y’know,

studio dollars and studio hours and you’re sitting there working away then you’ve got to make calls on things. It’s a double-edged sword because sometimes you can just sit there and fucking deliberate for ages on a certain part because you know you have the time, but if you realise you don’t then it forces you to make a call. That just got a bit tense, so there was a bit of a struggle there to finish a few of the pieces, but I think it was a good thing because I think you can hear a bit of a struggle on the record and that’s what you want to hear, you want to hear exactly what was happening – it makes it a bit more real.” Karnivool put a lot of thought into track placement too, allowing the sonic light and shade that encompasses the record to really shine through. “We just arranged them in a flow that we thought made sense,” Kenny reasons, agreeing that with a great deal of progressive rock, the listening experience lives and dies by the journey created. “Yeah, absolutely. We did put a bit of thought into it, and as long as it makes sense... I guess the most important thing about album flow is to do your best with the narrative of the record from song to song, and if you get to a point where it keeps flowing then it works, man.” But even with the aforementioned studio stress, the obvious fan anticipation and other outside pressures aren’t held in high regard by the band. Karnivool run against their own clock and will continue to do so, even if it ticks over at a slower rate than most. “I think the only pressure that comes is internally from the band when we are writing,” Kenny finishes, “what we expect from each other and what we expect from the band. All we’re trying to do is just write music that we hold as the highest above anything, so there’s a lot of pressure there just to get it as good as we can and get it right – that’s the only pressure that really comes into play.” WHO: Karnivool WHAT: Asymmetry (Cymatic/Sony) WHEN & WHERE: Thursday 1 and Friday 2 August, Melbourne Town Hall



TWO AGAINST THE WORLD In his directorial debut, This Is The End, Seth Rogen has his mates either playing into or against expectations. He chats to Anthony Carew about how it developed from a short film to full-length feature, and his concerns about working in the horror-satire genre.

onestly, if you’d asked me a few years ago if I was going to direct a movie, there’s a good chance I would’ve said ‘no’,” admits Seth Rogen. The 31-yearold Canadian funnyman has just made his directorial debut with This Is The End, an apocalyptic comedy he co-helmed with his longtime creative collaborateur Evan Goldberg. “We’re not big planners. We just take it as it comes, and things just kind of happen,” Rogen adds; these things soon to include The Interview, another co-directed flick to be filmed later in 2013, in which Rogen and James Franco play entertainment journalists enlisted by the CIA to kill North Korean leader Kim Jong-un.


Rogen and Goldberg were childhood friends who’ve been working together “literally since we were 13 years old”. That’s when, after meeting at a bar mitzvah, they wrote the first, proto draft for what would eventually, over a decade later, turn into 2007’s Superbad. “We’ve had all the creative arguments you can have by now,” Rogen says, of their partnership.

you’re going to hell,” Rogen explains. “Whether they believe it or not, it’s in the bones of the ideology. It was an interesting moment when [Evan and I] realised as teenagers, that if the end-of-days came, we’d be the ones left behind. It seemed like it was something that no one had really made a movie about, and it was weird and funny, and it was edgy enough that it also seemed like we might get in trouble for it. Which is always a good sign.” WHAT: This Is The End In cinemas Thursday 18 July

Their friendship is at the core of This Is The End, an apocalyptic horror-comedy-satire which finds Rogen and Jay Baruchel playing themselves – or, in the case of Baruchel, a stand-in for Goldberg – and exploring struggles in their friendship amidst the end of the world. With a parade of celebrities all too happy to play themselves – the principle cast is Rogen, Baruchel, Franco, Jonah Hill, Danny McBride and Craig Robinson, and there are cameos from Emma Watson, Channing Tatum, Aziz Ansari, Kevin Hill, Jason Segel, Rihanna, and probably more I’m forgetting – the film becomes about Baruchel’s dislike of Los Angeles, celebrity culture, and Rogen’s new, non-Canadian, non-stoner friends. “It’s real for us,” says Rogen. “When I moved to LA, I found it hard to adjust, and then when Evan moved here a few years later, he didn’t get along that well with a lot of the friends I’d made, and they didn’t like him much. If the whole movie is going to be about this emotional idea, we always ask ourself: ‘is this something that we really care about?’” Rogen and Goldberg first explored the idea in a 2006 short film, Jay And Seth Versus The End Of The World, in which Baruchel and Rogen bickered in a closed room, whilst the apocalypse took place outside their apartment. “Our initial thought was: what’s the biggest movie we can make for the least time and money?” Rogen laughs (meaning, yes, he lets out that trademark machinegun-Elmer-Fudd guffaw). The short film marked Rogen’s debut, but it never actually screened anywhere. Soon after a trailer was posted online, the rights for the project —and a potential full-length adaptation— were subject to a bidding war. It took years for the project to eventually come together. Filming began in 2012, a year in which apocalyptic fears were a persistent part of the cultural (and pop-cultura)l climate. “It seems like the world might end!” Rogen yelps. “The weather’s weird, climate change, pollution, the Pope quit... these are bad signs.” The trailer for This Is The End immediately attracted suspicion that Rogen and pals were blowing their resources on a film in which they dick around, play themselves, and ultimately come across as the new scions of Hollywood privilege, making everyone else a party to their vanity project. That was, says Rogen, kind of the point: they thought having the characters play themselves was a way of tackling the perceptions of their ex-Freaks boys directly. “We know that every time we make a movie everyone thinks that anyway,” Rogen offers, “so we’re attacking that head on; that’s part of the joke of the movie, that we’re friends and we work together all the time. We knew that it would be people’s first reaction, so this is us taking ownership of that.” Whilst Rogen and Baruchel play close to home, the film also has fun with playing against type: dickwaddish Jonah Hill recast as sweet and gentle, Michael Cera turned into a coke-snorting wildman, and Emma Watson becoming a ball-busting survivalhorror heroine. “The whole movie is about playing into or against expectations – from the genre, to how the plot moves, to how you perceive us,” says Rogen. “When we approached each character, that was the exact conversation we had: ‘should they play into or against the expectations?’ And it was different for each guy. For Franco, obviously it plays into expectations, with Michael Cera and Jonah, you’re playing against those expectations.” This Is The End’s relationship to horror movies is uneasy; most genre-lovers don’t want expectations played against. Though Rogen and Goldberg endlessly studied Rosemary’s Baby, The Exorcist (which is very specifically referenced in the film), the original The Night Of The Living Dead and Dawn Of The Dead, they weren’t operating in their comfort zone. “There’s so many movies about: A) the world ending; and: B) people being stuck in a house whilst this shit’s going on around them. We always hoped to be able to have our cake and eat it too, which is to make a satire of them, yet also genuinely participate in this genre we’re making fun of,” Rogen says. “To be honest, we weren’t sure we could pull it off. I’d never been on the set of a horror movie, let alone tried to make one myself. That was my biggest concern as a director: ‘Will we be able to make these moments have genuine suspense, and a real threat of danger? Will we actually be able to make the audience worried that one of our leads might die a grisly death at any moment?’” And the grisly-deaths and doomsday of This Is The End might be the film’s strangest take: rather than weather phenomenon or alien invasion, here the end of the world is a good old-fashioned biblical apocalypse. “There’s an age where every young Jewish person realises that every Christian person they know has been taught that

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EXOTIC ARGUMENTS After taking most of the year off to tend to some “life stuff”, Michigan post-hardcore group La Dispute are heading back to Australia for the fourth time in the last five years. Drummer Brad Vander Lugt speaks with Lochlan Watt.


he last couple of years we’ve toured pretty hard, so we’re doing some life stuff, you know? But very much looking forward to coming back to Australia,” comments Vander Lugt on the band’s current level of activity.


Apart from a US tour earlier in the year with Hot Water Music, it’s definitely been quiet in the La Dispute camp. Real life stuff? After a hard life of drinking gin, pushing the boundaries of science and Wilson Picking, Ben Salter is heading out on his much deserved European Vacation Tour. We’ve got two double passes to give away for his show at the Workers Club on Thursday 25 July. For a taste of his latest EP, check out lead single Semi Pro Gamer. To enter this and check out heaps more head to the Inpress Facebook page.


“Chad [Sterenberg – guitar] got married last year. I’m getting married next month actually,” he reveals. In fact, he was set to get married on the Sunshine Coast to a special local lady, with the ceremony having taken place the week before their latest tour kicks off in Brisbane. In regards to how married life might affect the band, Vander Lugt thinks that, “it’s hard to tell at this point. I don’t think it will have a huge effect on the band and what we do. We’ll still enjoy touring and doing all those sorts of things, so I think just finding a healthy balance will be a good way to go. A tonne of other bands do those same things.” Formed in 2004 in Grand Rapids, Michigan, despite their recent downtime the second half of the band’s decade-long existence has definitely been their busiest. After visiting for a tour with the now-defunct Brisbane group To The North, Australia became the band’s first international destination. Back then they had a handful of splits and EPs to their name, but more importantly, their debut album for No Sleep Records, Somewhere At The Bottom Of The River Between Vega And Altair. High profile tours all across Europe and the USA have followed, as well as splits with the likes of Touche Amore and Koji. 2011’s Wildlife marked the band’s second album and highest level of success to date. With the band coming up on ten years, have they considered if they’ll do anything to celebrate such an achievement? “You know, dude, I hadn’t even thought about that,” Vander Lugt ponders. “It’s pretty wild to think. I don’t know. I really haven’t thought about it at all. That’s very cool that people have cared about it enough for that long to let us still be a band for some reason. I guess we’d have to talk about it and work it out, but it’s certainly not outside the realm of possibility. That’s a pretty crazy milestone.”

What’s your favourite Johnny Cash song? Cocaine Blues, so very wrong in all the right ways. Jaunty and bleak and badass at the same time, and with an impeccable American blues/roots/folk pedigree. Heard it as a kid and still love it. Thanks Dad! What are the challenges about playing a character like June Carter Cash? June was an artist in her own right, but she sort of became known as ‘the woman behind the man’. She made it look easy, but I’ll bet she was paddling pretty damned hard under all those feathers. June said herself that, growing up she never had the looks nor the voices of her sisters, so she had to be something else. Then she spent most of her adult life touring around with a bunch of blokes, being one of the fellas. And trying to raise kids. I can identify with a lot there! I’m not presuming to be June or even to play her, and Tex isn’t trying to be Johnny. I suppose we just hope to be able to shed a little light on some aspects of their life that you maybe didn’t hear about in Walk The Line, and above all to do justice to the songs. People are pretty attached to those iconic songs, so I guess honouring JC+JC through the music is my main challenge. WHAT: The Man In Black – The Johnny Cash Story WHEN & WHERE: Tuesday 16 to Sunday 21 July, Athenaeum Theatre

16 • For more interviews go to


If an actor was to play you in a movie who would it be? Going on previous comments from friends and family, it would be Drew Barrymore followed by Annette Bening. But Kate Winslet would do me quite nicely, thanks.

Their position in their current touring cycle begs the age old question – how far off is the next record? Vander Lugt confirms that the band is writing, and says, “we’re hoping to do another record sometime soon. We’re just in the planning stages at this point, so we don’t have a whole lot of information. We’re super excited about it,

and getting back into that process is a whole thing in itself, so we’re trying to sort that all out at the moment. “Every release we do we’ve made a point to approach it in a different way. At this point we’re just in the earliest stages, so it’s hard to really give you an idea of that, but for sure we’ll switch up the process, and challenge ourselves somehow like we’ve done in the past. It’s a really good way to keep pushing yourself as a musician, and bands never want to write the same record twice. So you need to challenge yourself and challenge the process.” A quick look at the band’s Facebook wall reveals an influx of mail to their PO box – something encouraged wholeheartedly by having given out the address online, and asking their fans to send in whatever they desired. What prompted this move? “Well we got that PO box a couple of years ago actually, and started printing it on our releases,” Vander Lugt explains. “We’ve gotten things here and there, but we just decided, ‘Let’s put it out there and see what people send’. It’s really cool. We’ve actually got a bunch of stuff from Australia which was pretty surprising. But yeah, it’s really fun to go through all the stuff, and a very humbling process. Honestly I don’t know exactly why we did it, but I’m very thankful that we did, for all the great things people have sent our way. “We’ve gotten letters, we’ve gotten some really cool artwork, and people have sent books, records, all kinds of stuff. It’s really cool. Some of the coolest stuff we’ve gotten is some of the artwork, which has been incredible. It’s fun to see how unique people get with it, and like I said, very humbling.” Surely at least one person out there has sent in something weird or creepy by now? The polite, relaxed drummer chuckles slightly, and responds in the negative. “Some of the things we have gotten are pretty... pretty real stories from people who’ve had things happen in

their life that are pretty touching, and I think it takes a lot for someone to send that to complete strangers, and share those kind of stories, so it’s very, very humbling. We’re thankful and appreciate everyone doing that. Having something physical is pretty cool, especially in this day and age when people are more inclined to send an email than a postcard or something. It’s kind of cool to see that stuff and be able to hold it.” Although La Dispute haven’t spent a great deal of time on the road this year, they’ve taken advantage of the time at home to re-immerse themselves in their local scene – something which Vander Lugt feels will be quite beneficial when the writing really kicks in. “We’re finding ways to keep busy, and I think that’s a super important thing and a really good subject to touch on – being involved in the local music scene, whatever scene you may be in. Listening to as much music as you can, taking inspiration from everything around you, I think the only way you grow as a musician or artist is to constantly challenge yourself, but also take inspiration from what’s around you. I think it’s important for when we do have time off, for us to recharge our batteries so to speak as individuals, but also as a band. Collect as much new insight and new ideas as you can, so when we do come together to work on a project together, we’re doing something new, and evolving in a new way. So we’re definitely taking advantage of the time off of tour to grow as individuals and as a band, too. “After Australia, we don’t have anything planned as far as touring goes. I think we’re going to try to keep writing and figure out what’s next for us as far as the release goes. We’re just kind of taking it one step at a time, but we’re super excited to get back into it.” WHO: La Dispute WHEN & WHERE: Friday 12, Saturday 13 (under 18) and Sunday 14 July, Corner Hotel

JAZZ HANDS Melbourne’s Flap! have won jazz awards, played at jazz festivals and feature jazz musicians. Ahead of their latest sprawling tour, Matt O’Neill speaks to trumpet player and vocalist Eamon McNelis about whether or not they’ve ever actually played jazz music.

lap! began quite spontaneously. An informal jam between friends at the Port Fairy Folk Festival in 2007 proved more rewarding than anticipated. With that, they were a band. Since then, they’ve grown to embrace that sense of energetic spontaneity throughout all of their work. Their songs are delivered at breakneck speed. They tour constantly. And, to date, they’re still not entirely sure what genre they play.


“Being called a jazz band doesn’t really bother me. I mean, I am a jazz musician. I just don’t think we really are a jazz band,” McNelis says. “The way that I define jazz is that the forms of the music are improvised whereas our forms are much more set. We’re more of a sort of a rock’n’roll band that happens to sound like a jazz band. Audiences don’t really seem to have a problem with it.

“I didn’t take it particularly seriously when we first started. What really made it fantastic was that some of Jess [Guille – vocals]’s songs were so great. When things started going well and the audience started reacting well, it was just a wonderful thing to see,” trumpet player and vocalist Eamon McNelis reflects.

“You know, people who have heard the albums or seen the live show have generally been quite receptive. It’s when we go to a manager or a booking agent or a festival booker and they hear that we’re some sort of jazz band. Then, you get a lot of, ‘Oh, we don’t do that sort of thing’,” he says, laughing. “So, I suppose it’s not the most commercially viable label. Still, it’s going to be said... we’re pretty jazzy.”

Typically, they’re considered a jazz band. McNelis actually won a National Jazz Award in 2010. Their 2012 album A Great Day For The Race recently won the Australian Jazz Bell Award for Best Traditional Jazz Album. Except their music isn’t really jazz. It’s influenced by certain strands of it, certainly, but it’s influenced by tropicalia, folk, pop, rock and gypsy music as well. They’re hard to pin down.

Contrary to their superficial reputation, their appeal is actually quite broad. More than anything else, Flap! are a fun band. Their high-velocity songs are witty and infectious. Their style carries with it an irresistible sense of exoticism. Awards and instrumentation may suggest a stuffy jazz band – but it’s their unstoppable touring that really defines their appeal. It’s no surprise they’ll be supporting The Cat Empire’s European tour, for example.

“You know, pretty much everyone in this band is in five or six other bands as well. I think most of those bands play once a month – whereas we’re currently playing four or five times a month,” McNelis laughs. “Everything’s been really good. We’re playing some wonderful shows. We’re heading off around Australia for the next month, then we’re off to Europe for a month and then a couple of weeks later we’re off to Europe again with The Cat Empire. “We’ve put a lot of work in, played a lot of shows, done a lot of paperwork. Going to Europe is a massive thing to organise. I can’t believe I agreed to do it again. A thousand things to pay attention to and that constant fear that you’re going to miss the one crucial detail,” he laughs again. “Like I said, things are going really well.” WHO: Flap! WHEN & WHERE: Saturday 13 July, The Hi-Fi



MIFF PROGRAM PREVIEW The 62nd annual Melbourne International Film Festival has unveiled its full program for 2013. MIFF will open on Thursday July 25 with Pedro Almodóvar’s I’m So Excited; and the closing night film has now been revealed as J.C. Chandor’s Robert Redfordstarring, castaway drama All Is Lost, which is one of dozens of films to be coming from Melbourne fresh off screening at Cannes, writes Anthony Carew.

Ain’t Them Bodies Saints

my OPEN day

Computer Chess


Here’s a bunch of our festival picks!

AIN’T THEM BODIES SAINTS USA, David Lowery David Lowery’s debut earnt plenty of praise at Sundance for its Terrence Malick-aping style and its fierce lead performances from Rooney Mara and Casey Affleck.

BASTARDS France, Claire Denis Coming direct from Cannes, Bastards has been called ‘minor Denis’, hewing closer to the realm of the commercial thriller than the glorious art-film abstractions of The Intruder or White Material. But even lesser Denis is greater than most else on in cinemas.

Frances Ha



USA, Ryan Coogler

Russia/UK, Mike Lerner, Maxim Pozdorovkin

Much-acclaimed American indie drama arrives at MIFF before its eventual cinematic release, and possible place on the 2014 Oscars slate.

Standing in defiance of modern Russia, punk ‘actionists’ Pussy Riot became 2012’s great indie-rock cause célèbre after being jailed for the treason of critiquing the state in sloganeering song.



USA, Andrew Bujalski Like Pablo Larraín’s No, the latest film from mumblecore maestro Andrew Bujalski evokes the ’80s by shooting on archaic VHS ‘technology’; the wobbly video-lines adding authenticity to a drama concerned with the extreme nerdery of coding.

UK, Sally Potter Potter’s soap-operatic portrait of best gal-pals coming of nihilist age against the nuclear terror of Cold War ’60s Britain features famous faces across its cast (including, Mad Men nerds, Christina Hendricks playing piano accordion once more). But it’s owned by its lead, Elle Fanning, who submits an unendinglyprofound performance, further clawing her way out of the dank shadows of sibling-trailing childstardom, now just one of America’s most amazing young actors.

COSMIC PSYCHOS: BLOKES YOU CAN TRUST Australia, Matt Weston The bogan Godfathers of Grunge are portrayed, years on, as a kind of absurdist fairytale: farmers from the bush who somehow ended up touring the world, opening stadiums for Pearl Jam, etc.

FRANCES HA USA, Noah Baumbach


Noah Baumbach. All-time mumblecore pin-up Greta Gerwig. Girls oddball beefcake Adam Driver. I’m so there.

Pussy Riot: A Punk Prayer

MISTAKEN FOR STRANGERS USA, Tom Berninger The National – a band readying an impressive forthcoming LP, Trouble Will Find Me – have always had an interesting dynamic: singer Matt Berninger and his mumbly baritone flanked by two pairs of brothers. Touring High Violet, he invited his own brother, Tom, on the road; and the result is anything but your regular rockumentary, instead a portrait of a band as confluence of squabbling siblings.




USA, Shane Carruth The long-awaited follow-up to Primer has already become one of the best-reviewed films of the year; its heightened cinematic ‘vision’ furthering Carruth’s claim as one of American indie cinema’s most interesting new voices. The good oil from film nerds I trust is that if you love it, you’ll love it desperately, deeply, profoundly. For more festival picks head to WHAT: Melbourne International Film Festival WHEN & WHERE: Thursday 25 July to Sunday 11 August, various locations


GIVEAWAY: We have two MIFF e-Mini Passes up for grabs. e-Mini Passes provide admission to any ten sessions, plus three bonus weekday sessions before 5pm (Mon-Fri). For your chance to win stalk the Inpress Facebook.


SUNNY SIDE UP With a whirlwind first year under her belt, Thelma Plum shares some choc biscuits and a cup of tea with Tyler McLoughlan and reflects on learning the ropes alongside Bob Evans and Emma Louise before heading out nationally to do it her way.

risbane folk songstress Thelma Plum has plotted an impressive career trajectory since being unearthed by triple j 12 months ago with a homemade demo of Father Said. The 18-year-old recorded her debut EP Rosie with Tony Buchen (John Butler, Washington), won a Deadly Award for being the best emerging Indigenous talent, played Woodford and Bluesfest and experienced life on the road with two well-loved Australian musicians. She still has to pinch herself sometimes.


“I’m totally surprised about everything!” Plum explains. “Twelve months ago I was nannying and dog-walking; I was playing gigs at, well I guess any gig I could get, but like at coffee shops and places like that… When I won the Unearthed competition, that was really unexpected; I didn’t even know about the competition!” Rosie’s feature track, Around Here, is a deceptively uplifting acoustic singalong that literally la-di-da’s its way to a big fuck you, directed at Plum’s ex-boyfriend. On tour supporting Emma Louise, Plum was greatly excited to be hearing her own vitriol sung back at her. “You know what? When we were in Adelaide… people in the audience were singing along to – well they were

singing along to a couple of the songs – but really loudly to Around Here. And then I started to mess myself up because I thought it was the reverb bouncing on the back of the wall coming back at me and I was trying to sing quietly so I could figure out if it was just me being a crazy person or like actually people were singing! And then I forgot the words [to Around Here]… How do you forget la-di-da?” she laughs in disbelief. “I forgot it and stuffed it up, but then I heard that people were singing, so it was awesome.” Plum’s performance ability has been helped along by a poise that belies her youth. When Plum suggested to a chatty Friday night crowd to listen up as she opened for Emma Louise in Brisbane, they actually did. One would never guess it was only her second time on tour, though it helped having Kevin Mitchell as a guiding light on her debut journey as support for Bob Evans. “He’s ridiculous; he’s just so cool…” Plum admits of Mitchell. “The very first show was in Brisbane and we met him, and I think the first thing he said was, ‘I’m going to the bottle’o, do you guys want anything?’ And I was like, ‘Okay, no thanks!’” I was so new to all of that

stuff and we got to hang out with him in every single city; in his hometown in Perth he showed us around and was kind of like a little bit of a big brother and a mentor and was giving us heaps of advice. He’s amazing.” Plum is in prime shape to showcase her EP through five states on the Rosie tour. “I think it’s gonna be so much fun; I’ve never done a headline show except for my EP launch, so it’s gonna be great,” she says excitedly, oozing the inimitable optimism of youthful vigour. “You have nerves; you think ‘Oh are people gonna come?’ But even if three people come I’m gonna be so happy that people bought tickets to see me.” WHO: Thelma Plum


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WHAT: Rosie (Footstomp/Warner) WHEN & WHERE: Friday 26 July, Northcote Social Club

Where every day is Open Day

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FEET FIRMLY PLANTED After the dust of previous band drama had settled, CSS were more relaxed during the making of their fourth album, Planta, says frontwoman Lovefoxxx (aka Luísa Hanae Matsushita). She chats to Anthony Carew about her thoughts on the mass public protests in Brazil, her childhood dream of being an air stewardess and the healing properties of performing a great show.



What it does: Pretty much what it says it does. By using your phone’s GPS this little baby will tell you where the nearest public toilet is, no matter where you are. It’s got pretty good coverage across Australia as well. Why it’s essential: ‘Cause when you gotta go, you gotta go. Platform: IOS 4.3

f course I’m a feminist!” yelps Luísa Hanae Matsushita, aka Lovefoxxx, leader of Brazil’s electro-pop outfit Cansei de Ser Sexy. “I don’t understand any woman who would say they’re not. I’m for equality for everyone; all I see feminism being is demanding your rights as a human-being. I believe in love, I believe in respect, I believe in kindness. Those are values I don’t think there are enough of in the world.”


WHAT IS YOUR STAPLE MEAL WHEN ON TOUR? Sushi is the big winner – not too heavy, not too light. Beer can become a meal when consumed correctly, too. Josh Pyke touring nationally from August. Check The Guide for dates.


“We’re asked a lot to talk about it, and it’s difficult, because it’s something we’re following online – that we’re reading about online, watching videos of,” says Matsushita, from on the road ‘somewhere in Ohio’. “Watching it from afar, it’s hard to know exactly what’s going on, because the manifestation has grown so big, so vast, and has lost real direction, real specific goals for change. And now right-wing people are becoming involved, so it’s getting a bit weird, and we don’t know how serious it is anymore. But Brazil doesn’t manifest much, so it’s really meaningful that it’s happening.” Growing up in Campinas outside of São Paulo, Matsushita – the daughter of Japanese immigrants – was far removed from Brazil’s teeming poverty, and has spent much of her adult life outside of Brazil, including five years living in London and much of the last decade touring. She once described touring as “sucking her soul”: “It’s always really hard. It’s exhausting. It hurts. To detach from people is painful,” she says – but this life-on-the-road lifestyle is, for Matsushita, the culmination of a childhood dream. “I always wanted to travel, since I was a kid,” Matsushita recounts. “My auntie was an air stewardess, back when they had to be pretty-looking. She was gorgeous! So I had her as a role model: she spoke many languages, she was very clever, very glamorous. So, ever since I was really young, like six or something, I would think about being an air stewardess so I’d be able to travel; I really wanted to see the rest of the world. And I have! But being in a band is way better than being an air-stewardess, because I get to live a lot.”



Matsushita, 29, is talking big-picture beliefs and humanist values because, as has happened so much in the promotion for CSS’s fourth LP, Planta, she’s speaking about Brazil. As one of the country’s most visible pop exports, Matsushita has found herself often discussing the rise of mass public protests across Brazil in 2013.

Growing up, Matsushita thought she’d be an illustrator, and moved to São Paulo at 16 to take up an internship with a fashion designer. She’d never made music when, at 19, her friend (and now former CSS member) Iracema Trevisan invited her to be in her “joke band”, who’d taken their Portuguese name from a Beyonce quote where the starlet had lamented that she was ‘tired of being sexy’. “It was the most unpretentious thing I’ve ever joined,” Matsushita recounts. “We all thought that we would always only play in very horrible places, and we used to think that was very funny. We’ve never had any expectations, we only did things that we thought were good. We weren’t chasing success, we were just trying to make ourselves laugh.”

“We felt really liberated. We treated every song as its own thing, and everything we did was us working together to further the song, not our own personal agendas. We were working together for the music, not against each other to further our own causes.”

After their debut, self-titled album became a huge international success – released on Sub Pop in the US, wildly hyped in the UK, and spawning indie-dance hits Music Is My Hot Hot Sex and Let’s Make Love And Listen To Death From Above – things started to change. Their 2008 follow-up, Donkey, became the ‘difficult second album’, its recording a slog. “Donkey was a really bitter record,” Matsushita recalls. “There was so much bitterness, lots of bad band drama; I don’t really want to talk about it, but we were really hurt by so many events.”

Touring Planta, CSS are rediscovering the simple joys of performing. “Yesterday, we were in Chicago, and I was having a tough day; I was feeling so, so sad, I really didn’t want to go on stage. But the show was so good it ‘cured’ me from that mental state,” says Matsushita. “I know this sounds almost stupid to say, but people really come to our shows to have a good time. We always have really friendly crowds, nobody’s trying to cause trouble. I feel a similarity between our crowd and us. Our interviews and our music attract similar kinds of people. We never have fights in our crowd; when I look out, usually all I see is people smiling a lot. Playing the show yesterday, the energy from the crowd made me feel so much better; and I’m sure it happens the other way around, too, that people can come to our shows, and maybe they’re feeling kind of sad, but after we play they feel so much better. We really love playing shows.”

That band drama found members leaving; first Trevisan, and then, after 2011’s La Liberación, multiinstrumentalist Adriano Cintra. As the band’s sole male member, Cintra has often been painted as the man-who-actually-makes-the-music, a stereotype that was underlined when, upon leaving the band, he gave a bitter interview basically calling his ex-CSSers fame whores who couldn’t play their instruments. Matsushita declines to talk about Cintra directly, but in discussing Planta, he’s clearly in the subtext. “Planta felt really relaxed to make, which was something we’d never experienced before,” says Matsushita.

After making their first three LPs in Brazil, this one was recorded in Los Angeles with TV On The Radio’s Dave Sitek, and features an appearance by Hannah Blilie of Gossip and a co-write with Tim Armstrong of Rancid(!). There’s a strong reggae-leaning vibe on a bunch of the tracks, which are more synthbased; recalibrating the band’s new four-piece lineup (Matsushita, drummer Carolina Parra, and guitarists Luiza Sá and Ana Rezende) around keyboards.

WHO: CSS WHAT: Planta (Stop Start) WHEN & WHERE: Sunday 10 November, Harvest Festival, Werribee Park

LO AND BEHOLD With a European tour and second album under their belts Lo! are, more than ever, a sight to behold. Carl Whitbread talks to Dave Drayton.

here was a period, a few years ago and a few years in length, where Lo! existed solely as Carl Whitbread, the former Omerata guitarist honing demo after demo, composing the music on his own with Breach’s collapse as a benchmark. From this lonely operation the songs that formed the band’s 2011 debut Look And Behold, which was for the most part recorded in a manner not dissimilar. In as far as intelligently heavy music can be in Australia (and in a manner akin to the band’s vocalist Jamie Leigh-Smith), it was a roaring success.


Sit with parents. Pick the cake. Watch mother meltdown trying to make the cake. Enjoy the cake and show off to your mates. Brainstorm for next year’s cake. #win #foodnostalgia

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When it came time for album number two an initially shaky line-up had been solidified over years of gigs, and Whitbread could write better to fully utilise the band’s entire arsenal – not even having a drummer, Adrian Shapiro, living overseas would stop them. “I still sort of wrote the basis for most of the stuff but there was definitely a lot more collaboration this time around,” explains Whitbread, “and even though it was hard to get together with Adrian throughout the process, I’d just email ideas and stuff like that, or songs, and he’d record electronic drums at home and come up with some drum ideas. Also, Jamie had a lot of input this time; he can play guitar and he’s a pretty all round musician as well so there was a lot of the stuff that he’d written on there that we worked together on.

“One of the main differences I’ve noticed on this album is in the drum department,” Whitbread elaborates. “The first one Adrian sort of just roughly stuck to what I had done but this time he sort of opened up a lot more and I also wrote more to his strengths this time; he likes his blast beats and he’s really good at that sort of stuff so it was good to actually write for that this time around and know that we have a drummer who can do that stuff quite easily.” As the sphere of input broadened an already broad heavy musical palette, Whitbread looked further afield to capture the new sounds for what became Monstrorum Historia, opting out of the largely DIY approach that produced the first album. “Last time it was sort of done all over the place and it was really segregated in the way we tracked everything; it was a bit of a nightmare for mixing and stuff,” explains Whitbread, who helmed the desk for much of it. “But this time it was a lot more natural, you know, we all got in the studio at the same time and just did it over a few weeks all at once so I think it’s a lot more cohesive this time as well as far as sound goes.” This time around Dylan Adams was enlisted to assist Whitbread with the recording and handle the mixing. “We’ve worked with him before so he’s sort of familiar

with our sound even though he doesn’t generally do heavy stuff,” Whitbread explains the selection, “but he’s already familiar with us and he’s a good friend and we get along really well. And it was also good to have someone who didn’t just focus on heavy music, I thought that would be a nice element, to have someone from a different background approach what we do and not really be super familiar with that style – especially when it came to mixing, there are lots of techniques that Dylan used that, you know, I guess you normally wouldn’t use with a metal band. I think it really opened the sound up a lot more as well, it wasn’t just typical drum replaced stuff.” WHO: Lo! WHAT: Monstrorum Historia (Pelagic) WHEN & WHERE: Saturday 13 July, Reverence Hotel




THE SOUNDS OF HORROR Returning to our shores to play their legacy of horror classics, Goblin keyboardist Maurizio Guarini admits to Bob Baker Fish that while he finds it somewhat limiting to keep playing their back catalogue, he also feels “lucky and happy to be part of a band that has this history”.

It’s 40 years since Bonzo, JPJ, Jimmy Page and Robert Plant gave us Houses Of The Holy. This Saturday at the Yarraville Club Ash Naylor, King Of The North’s Danny Leo and some of Melbourne’s best musos will take us back to the era of the Golden Gods. For keen Zep fans we’ve got two double passes to give away. To enter this and check out heaps more head to the Inpress Facebook page.



LISTENING TO Kirin J Callinan - Embracism

GOING TO Morning Ritual - Beaches & Ausmuteants @ Copacabana

CHECKING OUT The final Neon Festival show of the season, Sisters Grimm’s The Sovereign Wife

WATCHING Joss Whedon’s Much Ado About Nothing

READING A Heartbreaking Work of Staggering Genius by Dave Eggers

EATING Southern-fried chicken on waffles at Dr Juicy Jay’s Fried Chicken & Crab Shack, North Melbourne


here are bands, and then there are icons: musicians or bands that at a particular time in their lives happened to be doing the right thing at the right time, in the right place, which changed everything. This particular right place was Italy in 1975, and Giallo director Dario Argento had just fired the composer of his latest film Profondo Rosso (Deep Red) and was unsuccessfully attempting to woo Pink Floyd to step in and complete the job. They declined and instead he turned to a little-known Italian progressive rock band, Cherry Five. This decision changed film composition forever. Suddenly here was a hysterical, somewhat bombastic, prog-rock score that didn’t so much evoke a mood as assault the images and in turn play havoc with the audiences’ senses. Cherry Red changed their name to Goblin and the soundtrack was so well received that it made it into the Italian charts and continues to sell a ridiculous amount of copies today. More importantly, it was the beginning of an extremely fruitful relationship with Argento that included classics such as Tenebre and Phenomena. Their most acclaimed work is the gory occult masterpiece Suspiria, where Goblin’s heightened, almost operatic rock music mixes baroque, prog and strange atmospheres, to merge seamlessly with Argento’s bright woozy images, taking on a feverish hallucinogenic quality. Film music had never called attention to itself in this way before, it’s never been this hysterical, this overblown, this terrifying.


Last October the band performed this score live in Melbourne for the first time, in two sold-out shows. Goblin keyboardist Maurizio Guarini is still pinching himself about these performances. “We could never imagine in any way that after 38 years someone would ask us to play that live,” he laughs over the phone from his adoptive home in Toronto. “Things just happen that you could never imagine before. And we enjoy [ourselves] too because that was the first time that we played live with the movie. It was a lot of preparation because people outside listen to our music played in sync with the movie, but in our headsets we have all the clicks just to start at the right moment in the movie. It was quite an interesting experience for us as well.” It’s a testament to the power of this iconic score that the level of interest continues to this day. Guarini, however, seems a little hazy when it comes to specifics about of how it evolved. “It was a long, long, long time ago. I just remember going to Dario’s house and he was talking about this movie. From what I remember he told us what he needed, and about the movie. The fact that the soundtrack was composed before the movie footage, that was different from the way he would



Mulled wine




“I think talking about internal problems is always true when you’re talking about bands,” Guarini suggests. “We’re not the only ones. Especially with a band like us, we’re so different musically. Some are – let’s say jazzy, or funk or rock or classical, so we have different influences. The reasons, we can start arguing about something musically, that’s the richness of Goblin I would say. So many different people together to make the music, but it’s risky. It might happen that it creates problems and that creates a change in line-up. Actually we change a lot of time, our line-up,” he admits with a chuckle. “Of course, every person who comes in brings their own experience and tries to push the sound in his direction even without trying. You play in your certain way and the sound of the band changes,” he continues. “So the band is not pretending to have a sound. The sound is just the ensemble, the total sound of all the musicians. It’s always exciting playing with new musicians and exploring new ways. Even a small detail can bring you somewhere else. There’s always a positive experience in the exchange of ideas of playing in a band.” The latest incarnation of Goblin is a quintet that features Guarini, original keyboardist Claudio Simonetti and original guitarist Massimo Morante all from the Profondo Rosso days. This time they’ve been playing

“We did plan to do some studio work,” Guarini reports, “but for some reason, maybe we are busy, we haven’t accomplished anything yet. That might be a future goal to do studio things, but not yet. For now we are a live band.” Goblin are in the unenviable position of having to remain in the past. Despite recent recordings, such as 2006’s Back To The Goblin, the obsession with the work they were doing 38 years ago is probably more intense now than ever before. New material, such as Guarini’s solo album from earlier this year, could never hope to compete with Goblin’s imposing legacy – something that is surely frustrating to the band members. “If it’s my opinion I would say ‘yes’,” Guarini admits. “I would like to go very high continuously. Just say ‘no’ to the past because I think we need to innovate every once in a while. But on the other side, I understand that people are so attached to what we did at that time and I have to say that throughout there is some magic. You can’t just sit around the table and say, ‘Lets create some magic’. We are fixed to that thing; we can’t do anything about it. We cannot avoid it. Not that we aren’t happy about this. This is something that keeps us glued to the past in some ways. I don’t like one hundred percent this, but on the other side I feel lucky and happy to be part of a band that has this history.” WHO: Goblin WHEN & WHERE: Sunday 14 July, Billboard Deep Red screens Tuesday 30 July, MIFF, Greater Union

In her upcoming part in stage variety show, Finucane & Smith’s Glory Box, and indeed all of her work, performance artist Yumi Umiumare aims to balance the light and fun stuff with the dark and twisted. She reveals to Simon Eales what audiences can expect.

he’s one of Australia’s underground performance art superstars, carving her own brand of being out of the dispate art forms of cabaret and Japanese Butoh. Yumi Umiumare returns to Melbourne, rejoining Finucane & Smith’s annual cabaret extravaganza, Glory Box, after a couple of years’ absence. Since the last time she was part of Glory Box, previously called The Burlesque Hour – a stage variety show divided into five to ten minute acts performed by some of the world’s most famous women of cabaret like Ursula Martinez, Jess Love, Holly Durant and Lily Paskas – Umiumare has been hard at work. Her acclaimed 2012 Melbourne Fringe show, DasSHOKU SHAKE! rocked audiences with a movement and sound-based visual feast. She then worked on a small dance show before developing Hipbone Sticking Out with Indigenous community-focused company Big hART, which opens in the first week of July. “I’m interested in documentary-style theatre at the moment as well as the kind of pop icon and supernatural stuff,” she says, referring to the Big hART show, based on the story of an Aboriginal boy who died in custody 30 years ago. DasSHOKU SHAKE! too, was a poetic reflection on the devastating Japanese earthquakes of

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Maurizio left Goblin during the recording of Suspiria, working as a session musician for the likes of Italian film composer Fabio Frizzi, on nasty classics such as Zombi 2, The Beyond and Gates Of Hell. Of course he would return a few years later, but in Goblin’s world that’s just what happens. Over the years it’s been a revolving door of musicians – the band has been dormant, dissolved or resuscitated repeatedly, providing, from the outside at least, the appearance of a tempestuous creative environment.

together since 2010, taking advantage of the renewed interest in not only their own oeuvre, but also in classic horror movie scores in general. Live it’s very much a greatest-hits package, playing tracks from classic scores such as Deep Red, Suspiria, Patrick, Tenebre and Dawn Of The Dead, as well as their nonsoundtrack albums like Roller and Back To The Goblin.



normally shoot. To tell you the truth I can’t remember exactly what Dario said. For sure he gave us the right message to write the right score for the movie, because after that something magic happened. After that the image and the music just worked so well together.”

2012. “I’m always really curious about the real thing, and then maybe exploring it in an abstract way,” she says. All this productivity is despite falling from a ladder and fracturing her heel earlier in the year. She’s not 100% fit just yet, but plans to be just in time to jump on the Glory Box freight train. “Moira Finucane and Jackie Smith, the creators [of Glory Box], are pretty amazing and quite persistently put the show on every year, which is big work, and they really always have great audiences and sell out. It’s pretty amazing,” Umiumare says. Normally her own shows will be 90 minutes long, with the space to build and explore complex themes dealing with contemporary existence. Glory Box is heaps different. “It’s very interesting to have a much more compressed, short, punchy act. It’s like a rollercoaster. It’s very artistically stimulating and sometimes quite confronting, because we need to fit everything in three minutes or six minutes. Moira and I joke and call it ‘Tip Toe Quick Butoh’ – we just do five minutes on stage and leave,” she says, laughing. Umiumare’s work is different to the other sirens she joins on stage who could probably be categorized as classic cabaret artists. “I do Butoh/cabaret,” she says. “In a way,

the two cannot be separated: darkness and lightness. So it looks at their coexistence in life. Butoh was originally called ‘the dance of darkness’. I combine that dark, macabre side, with the fun and cheerful side. Sometimes we choose to not express the darkness; we try to make it fluff up, light and fun, but I’m always interested in the dark, twisted characters. So in this show too, I try to explore the slightly weird, slightly scary side. It might appear cute and cuddly, but it turns into a monster.” So Umiumare gets to explore each end of the realism spectrum on stage this July. In Glory Box, we get to see the brilliance of her work in kernel form, among other world-class women of cabaret. “It’s always inspiring to be back with the team. It’s like a big family.” WHAT: Finucane & Smith’s Glory Box WHEN & WHERE: Saturday 13 July to Sunday 11 August, fortyfivedownstairs




THE ART OF MAKING LOVE “It’s like making love,” The Cult frontman Ian Astbury tells Nic Toupee of performing Electric in full. “Each time you play you have a different set of emotions and you’re in a different moment.”



don’t like nostalgia,” states Ian Astbury, lead singer of seminal rock band The Cult. It’s a somewhat paradoxical position to hold, when we’re on the phone to talk about The Cult’s impending Australian tour in which they will play 1987’s Electric album in its entirety. Electric is famous not only for the singles Love Removal Machine and Wildflower, but also for being the album which, under the wing of visionary producer Rick Rubin, transformed The Cult from pasty British, pirate-shirted goth types to internationally loved, hard rock hot property.


WHAT ALBUM IS ON HIGH ROTATION WHEN YOU ARE ON TOUR? Frank Ocean’s Channel Orange and Tame Impala’s Lonerism was last year. We haven’t toured this year so looking forward to seeing what’s next. Eskimo Joe touring nationally. Check The Guide for dates.


Astbury sounds animated as he recalls those early years. “It was 1985, at a nightclub in Toronto, when I first heard the Beastie Boys song Cookie Puss and I had to find out who produced it! I loved the strippedback sound of it and I realised that was the way The Cult should be produced. We were 24 years old at the time, out on the road and playing rock’n’roll, we wanted something to capture that feeling in the studio.” Astbury’s Torontonian epiphany took The Cult to the chaotic freak scene that was Manhattan in the mid-‘80s, to meet Rubin, who as a first priority sat the band down for a serious session of listening to a ‘60s psych rock/proto metal band. “We sat down with Rick in a New York dorm room and he played us a Blue Cheer video, then asked, ‘This is how I can see you guys sounding, more stripped back and direct.. Do you want to do this?’ Billy [Duffy, guitarist] and I looked at each other and said, ‘Hell, yes! Definitely’.” Saying yes to Rubin, in hindsight, was obviously one of the most pivotal points in The Cult’s career. It gave them much-desired international adulation, and the opportunity to change both sound and image. But even at the time, recording in New York, the band were instantly aware that they weren’t in the Batcave anymore. “Working with Rubin in 1986 in New York, we were hanging around at Def Jam with Rick and the studio was a meeting place for everybody on the label. LL Cool J, Run DMC, Beastie Boys – they all seemed to turn up, particularly around dinner time,” Astbury laughs. “It’s tough trying to convey what New York was like at the time – ‘lawless’ is a good word. People got killed, or shot, just around the corner from where I lived, Washington Square, which was really close, had drug deals going on all the time – muggings.” While Astbury was recording Love Removal Machine by day, he and the band were getting loose at Madonna’s favourite hangout, Danceteria, by night. “I didn’t really get going until four or five in the afternoon, and was out ‘til seven or eight in the morning, at the Danceteria, or a hip hip club. It was a really exciting


Filmed live.


Labor moves to silence anti-music residents

Isaac Graham Glorious Momentum

Actress Karen Sibbing discusses her new play, Persona Exclusive feed: Glass Towers Halcyon Days

On Tour: Sticky Fingers tour diary Part Two

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time and there was so much happening in New York then, in art, and there didn’t seem to be as much of a division – everyone was just into music.” The excitement and decadence of long New York nights and chaotic days soaked into the Electric recording sessions, and Astbury considers that it gave the album the live feel he really wanted. “It’s a very good document of where we were at in New York, it was such a lawless place. Rick was there all the time, encouraging us to keep it very live, much less texturally dense than previous records.” Astbury recalls feeling no nervousness about the band’s new direction: “If you approach music with that philosophy, constantly rationalising what you do, it makes things very difficult; if you’re thinking about what you’re doing and why rather than being present and just doing it.” Of little consideration, also, was the risk that fans of their more gothic sound would find The Cult’s new, heavier material estranging. “The opinions of other people are none of my business,” he says, matter-offactly. “My business is to be in touch with my own truth and to be courageously honest with myself. Electric, at the time, was a courageously honest record. What we had established with the Love album – everyone got used to that band. It didn’t feel right to repeat it, it felt like a cynical formula. When we were recording Electric, it felt like we were doing exactly what we were into.” For a man who doesn’t enjoy nostalgia, Astbury has conjured up Electric’s potent protozoa very well but, of course, the obvious question remains: Why that album? And why now? “Many songs from Electric are still a part of us, part of our DNA,” he replies. “We’ve never stopped playing Wildflower, Love Removal Machine or Little Devil. If you want to make sense of it, a way to look at it is that Electric is an album of live music – music of the instant – and that’s what’s so compelling about it. It’s the same

with being onstage: seeing the music being performed fresh, created again in a fresh moment – it’s like making love. Each time you play you have a different set of emotions and you’re in a different moment.” But The Cult won’t only be performing Electric when they hit our shores. “We’re playing two sets each night, starting with the Electric set,” Astbury reveals. “Then we’re going to flip it, change the lighting and production and come back and do a set based on whatever we feel like playing, taking into account the environment and audience. We will definitely play from Love, Choice Of Weapon, Sonic Temple. We really give a lot of thought to what the choices will be.” The Cult’s musical continuum comes to an abrupt stop at one Electric track, however. “We don’t play our cover of Born To Be Wild,” Astbury says sourly. “That got added to Electric at the very end, and is the only thing that Rick came up with that we didn’t really agree with. He said, ‘Cover born to be wild.’ We didn’t want to, but he convinced us. He said, ‘It will give you guys a point of reference, a context for people to understand.’ We just said, ‘Fine, whatever,’ but never agreed with it.” Astbury’s history lesson does make him misty-eyed for his youth. In fact, when he was recording Electric, Astbury was already imagining what it would be like to be an older man. “If I saw myself walking down the street at 50, when I was 24, I would think I looked like an old wolf,” he laughs. “I always thought I’d evolve into a heavier character, have experiences that would define me. So rarely do people pull their heads out of their arses and look at the sun, the stars, the birth of a child – it’s profound. You have to honour what is here around you right now. I grab that moment.” WHO: The Cult WHEN & WHERE: Saturday 5 October, Festival Hall

DANCING IN THE STREET Anthony Kupinic from Pludo tells Chris Yates about the benefits of hanging out and taking in the street performers sometimes, and how often a parent’s best intentions can set their children off on the exact path they don’t want them on.

nthony Kupinic started Pludo as a side project after he decided that the band he had dedicated a large chunk of his life to (A Sound Mind) were not headed in a direction that he personally wanted to go in. While there are elements from that group’s pop leanings in Pludo’s sound, it’s clear that he had very different plans for where he wanted to take his music. Pludo encompass many ideas, with big electronic soundscapes delving into tracks of ambience and light through to much dancier numbers. It wasn’t until a chance encounter with street performer Alex Cooper that he realised exactly which direction he and his music were really headed.


“I met Alex in Sydney and he was busking on a bucket drum set,” Kupinic explains. “Growing up, his mum never really supported him doing music. She never bought him a drumkit – she considered it taboo to get involved with music. So when he moved from the US to pursue music, he just started playing on the street with the bucket drums. I saw him playing and I thought, ‘Fuck, this kid is incredible!’ He was so entertaining and pulling off so much sound with such a little amount of stuff. We had a jam literally straight on the street with no rehearsal. We play to a click so he put the headphones on and the first thing he did was duct-tape the headphones

all the way around his head! You get crowds on the street if you’re interesting, and just from this we had a crowd of about 70 people. He never knew any of the songs and we just started jamming and freestyling in the street around what I had previously written.” Kupinic says from this moment he knew that Cooper had to be a part of the band. He was packing some demos at the time and from this first performance alone they managed to sell 70 copies. He estimates that Pludo have sold about 4,000 copies of their demo on the street at over 200 shows in the last four months, an incredible achievement for any act. He says that the addition of Cooper to the live set is invaluable and provides a much more interesting live show than a dude clicking away at a MacBook, an all too common sight at electronic gigs. “There’s just nothing entertaining about that,” he says. “A lot of it is pre-recorded – let’s say 98 per cent and there’s no real performance or nothing spectacular about it. Now we’re adding some electric guitar and stuff like that. We keep telling people that our style is somewhere between a band and a DJ because it’s really hard to explain what we’re actually doing. It has the

rock elements now, and the electronic and the ambience as well. I think [the current live show] is a really good indication of where we’re heading in the future.” The band’s new single Haywire is accompanied by a video that shows the guys going nuts doing what they would do on stage. The complicated set-up is not without its downsides. “We wanted to give people some indication of what they can expect from our live show,” he says of Haywire’s elaborate video. “Our live set up is similar to that except we don’t trail it out over such a huge space. We’re still kind of figuring out our set up to be honest. Because we play on the street as well between all the shows we break so much stuff! My email is full of dealing with companies about warranties.” WHO: Pludo WHEN & WHERE: Friday 12 June, The Hi-Fi





With nearly 50 years in the business, Todd Rundgren is still having fun and is happiest making music that he hopes can connect with listeners, as Michael Smith discovers. omething of a musical polymath – a multiinstrumentalist, singer, songwriter, composer, videomaker, mixing and mastering engineer, and producer – Todd Rundgren is nothing if not prolific. He has written everything from straightahead pop to fusion and even, surprisingly, on his latest album, State, the odd tongue-in-cheek disco track. State is album number 24 under his own name, but in terms of what he has been involved in, that’s just scratching the surface. You can add two albums with his ‘60s garage pop band Nazz and nine with his experimental outfit Utopia, alongside a stack of production credits on albums by, among many others, the New York Dolls, Grand Funk Railroad, Hall & Oates, XTC, Bad Religion, The Tubes and most notoriously Meatloaf’s ridiculously successful Bat Out Of Hell.


On the line from Chicago at the time of this interview back in April, Rundgren was about to do a “music college residence” where he was helping a number of ensembles learn his material for a performance a week later. Then he had two weeks off before the start of the State world tour that will bring him back to Australia, just six months after he was last here, in February, touring as part of Ringo Starr’s All Starr Band, on which it was obvious the multiinstrumentalist was having enormous fun. “Well, it’s hard not to. It’s probably one of the best gigs in all of music,” he admits with a laugh. “You know, it’s always great to work with other players, especially other players that you get along with well, and we all get along really well together – and it’s great to play with a Beatle! And it’s great to play Beatle music too. I mean, we all grew up with it and although he doesn’t seem like it, Ringo’s half a generation older at least than all of us, so we were all kids when he was doin’ it, and it kinda takes us all back to that, you know, ‘innocent time’, every time we play With A Little Help From My Friends.” Rundgren was 16 when Beatlemania hit the States, but his first band, Woody’s Truck Stop, were more in the Stones mould. It was Nazz, which he formed in 1967 with fellow Woody’s Truck Stop escapee, bass player Carson Van Osten, that put him on the international map, albeit four years after a single he wrote for them, Open My Eyes, was included in the infamous Nuggets compilation. By the time Nuggets was released in 1972, he was two albums into his solo career, the third, 1973’s A Wizard, A True Star, the first indication of the progressive rock streak in his writing that would lead the following year to the formation of Utopia, many of whose original members played on the album.


“I’ve had the advantage also of a second job that paid me pretty well,” Rundgren, whose biggest (and probably only significant) hit, Can We Still Be Friends?,

came in 1978, reaching #29 in the US charts, admits with another chuckle, “which was producing records for other people. The end result of that is not just the fact that I get paid to make a record; I get to learn about other people’s music. Every production I’ve done I’ve taken something away from it to use in my own music in some sense or another. “And also the necessity to kind of stay up on what, you know, people are listening to, just in case somebody asks you to make a commercial record! It’s a great advantage to an artist to be able to have the constant refreshment of working with other artists and trying to put their material in the best light.” While his latest album, State, written, performed and produced entirely by himself (bar some guest vocals on the track Something From Nothing) was, like all his albums, made to satisfy his own musical muse rather than any potential commercial interest, Rundgren still ended up “doing the research” in a sense, “staying up”, with what people are listening to. “Well, I wanted to make a record that sounded current,” he explains. “You know, that didn’t necessarily sound like… an insular project, like I just went off and hid somewhere and made a rant on everybody. And the reason for that is because I haven’t had, for a very long time [laughs], a label that more or less contracted the record. Most all of my records in recent years, I find the wherewithal to get them completed and then I have to go out and find someone to distribute them. So the whole idea that somebody was putting their faith in me made me feel to a certain degree obligated to give them a record that wouldn’t be too difficult for them to sell.” That “somebody” is Mark Powell, whose label Esoteric Recordings – ‘the home of progressive, psychedelic and classic rock’ – an imprint of the Cherry Red Records group, has released State, putting Rundgren alongside fellow “prog” artists Ken Hensley of Uriah Heep, Steve Hackett of Genesis and Van Der

Graaf Generator among others. As for Rundgren’s “research”, he turned to his kids for a few pointers. “I wasn’t completely in the dark,” he chuckles, “but I was kind of surprised at how creative and boundarypushing a lot of what is happening and what’s going on in the business is. You sort of lose sight of how much has happened in such a short time and the end result is just a lot of really interesting stuff. “More and more, and particularly in this record, I’m trying to get away from sensation, I guess. I want the process to be as organic and in some ways subconscious as I can make it, and so as time goes on I spend less and less time actually, ‘quote’, making the music – i.e. sitting in front of a screen, composing and arranging and that sort of thing, and I spend more and more time just pondering on what I’m going to do. “I don’t want people to think, though, that I’m sitting around trying to figure out what they’ll like and then that’s what I do. I’m trying to convey some real thing about myself to them. Since that’s the biggest concern, that’s what I wrote about ultimately!” When Rundgren toured here with Ringo, he got to play three of his own songs in the set, but was then reminded that, “ironically, the only thing that qualified as a ‘hit’ record in Australia was the song we forgot to rehearse,” he admits with another laugh, “which apparently is Can We Still Be Friends? So I was just getting that everywhere I went. I blanked is all I can say – I didn’t realise that anybody cared! So that’ll be part of the set this tour.“ WHO: Todd Rundgren

Thanks to hipsters everywhere, everything old school is new again. So, maybe it’s time to show our environment a little love by forgoing the petrol guzzler, and hopping on a Reid Cycle. And because the people at Reid Cycles are so awesome, they want to give away two bikes – one for the ladies and one for the lads. The process is the same for guys (a custom Reid Harrier is up for grabs) and gals (you could win a Reid Vintage Ladies Bicycle 6 Speed): hit up’s Facebook page and you’ll go in the draw to win a bike! You can choose your own colours (sweet!) and all bikes come with 100 bucks worth of free extras. Hop to it! To enter this head to’s Facebook page.

If Sydney tourists want to gamble, they don’t need a new casino. They just need a Cityrail timetable. Chris Urquhart (@chrisurquhart) weighs in on James Packer’s new casino.

WHAT: State (Esoteric Antenna/Cherry Red) WHEN & WHERE: Friday 19 July, Trak Lounge Bar; Saturday 20, Caravan Music Club; Sunday 21, Corner Hotel




He is one of the most polarising figures in heavy music, but with Falling In Reverse’s second record, Ronnie Radke and his cohorts are serving up songs for every taste. Benny Doyle gets introduced to music’s newest genre. hether he’s been beefing with former bandmates, going to battle with keyboard warriors or casually ditching microphone stands into fans, drama storms have followed Ronnie Radke like clouds follow Garfield on a Monday. But that all seems set to change as he’s recently become a father. There’s no ranting during the course of our interview and he barely speaks ill of anyone. He just seems content with music and life.


In a desert drawl he explains where he was coming from with Fashionably Late, the new record from his band Falling In Reverse . “I just sat for a long time and thought how am I supposed to be innovative? I don’t want to be like anyone else, ever. I just thought how can I do this? I’ve been rapping for a long time and nobody really knows about that. I’ll just do demos and see if I can try and mix rap without sounding like Linkin Park or Limp Bizkit or any type of what you would call ‘rap rock’; try to not sit in that form of what they were.” Radke’s flow can be found on tracks like Rolling Stone, Champion and Self-Destruct Personality. “I took the best of the best and tried to blend it together. I made sure I separated the rap in the songs from the metal

[though], so it wasn’t together on purpose, [but] it pretty much [takes] you on a rollercoaster ride in each song.” Radke levels: “[Rap] will never be the main thing in Falling In Reverse, but it will have its [place].” Painstakingly, Radke wrote this sophomore offering twice before his bandmates arrived in the studio to add what he calls the “flair”. Producer Michael ‘Elvis’ Baskette and “the best mixer in the world” Chris LordAlge then used their studio wizardry to give the LP a sonic sheen that illuminates through the speakers. And although, like most everything Radke has a hand in, it divides opinion, it succeeds in the rocker’s quest to stand as a round peg in a world of square holes. “Growing up people were telling me what I can and can’t be,” he relates. “I’ve always been the type that’s tried to do everything different. I just want to be a different breed of band where we can do everything.” With this considered, his following statement comes as no surprise: “I’d describe Falling In Reverse as a genre of music; it’s just a genre now,” Radke says genuinely. “Every genre that you could think of has one band; some guys call us ‘everything-core’, but

I just say that Falling In Reverse is an actual genre now because it’s everything that you could possibly think of. And my voice, it just ties it all together.” Radke has mentioned that Fashionably Late is the album he should’ve made years ago. However, as a founding member of Escape The Fate he never had such creative liberties. “My band, my old band, they would dull me down,” he reveals. “I had so much eccentric writing capabilities... [But] I’m not here to talk crap; I won’t talk crap about them anymore. They were just not letting me use my full potential of writing. [Now], I can’t believe the response that we’re getting, it’s astronomical; everywhere I go someone is talking about [the record] – it’s cool to see.”

WHAT’S THE FIRST ITEM ON YOUR RIDER FOR THIS TOUR? It sounds a bit lame but the past two years in Africa have left me with an appreciation for mineral water, it’s so gosh-darn refreshing! The Basics touring from September. Check The Guide for dates.

WHO: Falling In Reverse WHAT: Fashionably Late (Epitaph)

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TRICK OR TREAT? Singer-songwriter Laura Imbruglia might be living in a new city and playing with a new band on her new album What A Treat, but some things never change. She tells Steve Bell about the power of country music, searching for laughs amidst bleak terrains and embracing her inner freak (and blaming Ween).

t’s been the best part of a decade now since young Sydney musician Laura Imbruglia started playing her trade on the touring circuit as a budding songwriter, but the passing of time has gradually ushered in a myriad of changes in her world. She now calls Melbourne home, has established a crack band of musicians in that city, and for the first time they’ve all contributed to one of her albums, her brand-spanking third effort What A Treat.


To enter this and check out heaps more head to the Inpress Facebook page.


Australia’s favourite mute, anthropomorphic animal Humphrey B Bear is making a comeback to television thanks to an extensive make-over of programming at South Australia’s community station Channel 44. Perhaps the most exciting part of Humphrey’s return will be the first appearance of his mother. The geniusly titled Mumphrey will be helping out with the goodnight message, tucking Humphrey into bed so she and the rest of SA’s parents can enjoy a couple of glasses of red.

I love you with so much of my heart that none is left to protest.”

It’s an assured, albeit occasionally melancholy, group of songs which were accumulated over the course of three years, and while there’s no overarching theme to the collection per se, they definitely feel like they belong together. According to Imbruglia this is by necessity rather than design; partly due to her not churning out songs at a rate of knots, plus because she’s a fan of bands who embrace a wilfully eclectic streak. “I usually let the songs dictate [the feel of the album] because I’m not very prolific, and I struggle enough to just get enough songs to fill an album,” she reflects. “So if I was to dictate a theme or a particular sound that I wanted then I’d never get anything done, because I’d be constantly trying to re-write the songs or write songs that are more suited. I just use the excuse that I’m a Ween fan if ever anything goes astray – if an album’s not cohesive musically I can just say, ‘Well I like Ween and Ween do that, and Ween rule!’. That’s my excuse for everything.” It’s an excuse that could apply equally as well to Imbruglia’s career as a whole, because her sound has changed dramatically over the journey, especially if you hold What A Treat up next to her relatively shiny 2006 self-titled debut. “It’s just growing up, and as you get older getting a better feel for the right kind of people to work with – both in your band and as a producer,” she explains of the gradual shift. “The first album is really hi-fi, and there was a lot of work from both my manager and the producer saying, ‘Make sure it’s radio-friendly! You’re gonna fucking get flogged on triple j blah blah blah’ – that’s just not a consideration for me anymore. That changes the sound a fair bit when you stop caring about stuff like that. And I didn’t really get into country music until after the first album, and then when you start listening to lots of old country music and bluegrass and stuff I guess you appreciate warmth in recordings more than you might have before.”


You may know him from the time he spent displaying his talent during primetime on The Voice, but Nicholas Roy doesn’t need a tragic backstory to create amazing pop music. There’ll be no Delta in sight when he plays the Northcote Social Club on Thursday 18 July. We’ve got two double passes to give away.

- Beatrice

“[I enjoy songwriting] to a point. Sometimes it’s not that rewarding because you just can’t get to the end of it – if you work on a song for too long, you stop seeing what’s good about it. I nearly gave up on Harsh Dylan Songs because I was working on it for months and months and could only get the verse lyrics, and was just singing really crap lines in the chorus. It took me listening to Dylan and realising that I could hide some insults within the chorus by referencing Bob Dylan songs – making it a whole song of insults in one line – and that would work just fine.” Imbruglia’s default mode of lyricism involves utilising her wonderfully wry sense of humour, even sometimes in the bleakest of surrounds, and the ensuing levity characterises the tracts without rendering other emotions redundant, not always the easiest of feats. “I think that’s just the way I roll in life and as a writer,” she smiles. “When I started out I used to only write humorous songs, and I think it was just a defence mechanism at first because I was worried that I wasn’t a good writer or worried that people would get bored, so I was constantly cracking jokes to keep people

Speaking of grim, Imbruglia’s early career found her constantly being scrutinised in the context of her ridiculously famous sister, a ludicrous situation given that they were coming from entirely different musical places. Thankfully Laura’s longevity has eroded these inane comparisons, even if her sister’s shadow still occasionally looms large. “Yeah, it’s finally backing off a little bit which is good,” the singer admits. “I don’t really cop much flack from people. I still regularly get people accidentally calling me Natalie when they’re talking to me, but I guess it’s just in their brain and you can’t really help that. I’m not really fussed anymore, I don’t think that people are still accusing me of nepotism or anything – I’ve been around enough and done enough things by myself that people don’t think I’m just passing through or whatever. In the early days I was constantly accused of that, and as a result – or as a backlash – I basically refused to speak to newspapers. I had to turn down free promo, but it was basically just them wanting to talk to me about my sister, which was a waste of time for everyone involved. Them’s the breaks, that’s what happens if you have the same surname as someone who’s successful.” WHO: Laura Imbruglia WHAT: What A Treat (Ready Freddie/MGM) WHEN & WHERE: Saturday 13 July, The Tote

Independent theatre company Sisters Grimm has turned plenty of popular narratives upside down on their heads, but when they tackled something a little closer to home in their new play, The Sovereign Wife, it wasn’t that easy, as company co-creator Ash Flanders tells Sarah Braybrooke.


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“I don’t know that it comes easy, some of the songs – and you can probably tell the difference between them – just write themselves; Awoooh!, Why’d You Have To Kiss Me So Hard?, and The Intervention, those songs were ones that just fell together, and I didn’t have to work very hard. But then they’re not superclever or anything, I just try to get my point across and make the lyrics fit in with the feel of the song, whereas there are other ones that I agonise over for months and months – some of them are very syllable dependent, like Limerence for instance, and that ate into several hours of my commuting time on the way to work. But it pays off – it’s really rewarding when you find that missing word you’ve been desperate for.

entertained. Now it’s my way of giving people relief from the relentlessly depressing nature of the songs’ subject matter – it’s for my own benefit as well as the audience’s, because it can be a total bummer sitting through a whole set of my songs, especially if you’re already depressed or you’re trying to have a fun night out. It’s just me saying, ‘Find something funny in this situation, because there must be something amusing about this’. I love The Magnetic Fields and Morrissey and writers like that, who manage to inject a bit of humour into grim subject matter.”


t’s Australiana, but not as you know it. Ash Flanders, one half of independent theatre company Sisters Grimm, explains the inspiration behind their latest play, The Sovereign Wife. “When you reference Australia, there are certain things in cinema, like corrugated iron or hats with corks on them, and they just seem to mean Australia on film. And we wanted to exploit those narrative structures and iconic things,” he grins, “and see what we could do to fuck them up!”

We have seven in-season double passes to giveaway to see Joss Whedon’s Much Ado About Nothing that hits cinemas Thursday 11 July. For your chance to win, stalk the Inpress Facebook.

While she’s musically accomplished, there’s no doubt that the core strength of Imbruglia’s writing is derived from her deft lyricism, and she explains that sometimes this gift is excised more easily than at others.

Frequently drawing on Hollywood films and pop culture for dramatic fodder, in the past Flanders and collaborator Declan Green have developed pieces based on everything from horror films to Gone With The Wind-style Civil War melodramas, but this is their first foray into home territory: writing about Australia. With references including Banjo Patterson, Baz Luhrmann’s Australia and the artwork of Ken Done, The Sovereign Wife is the story of Moira O’Flaherty, an Irishwoman who moves to the goldfields looking for a better life, but whose journey is far from smooth. Described as their own take on the Great Australian Frontier Epic, Flanders sums it up as “One woman’s brave journey to try and understand

what Australia is. It takes her to the gold fields, to the outback, into the desert, and even to a bush-doof.” Staged at the MTC as part of the Neon Festival of Independent Theatre, The Sovereign Wife represents a bigger than usual production for the team – revelling in a DIY garage ethos, their last Melbourne show was performed in a friend’s shed. But although they are bringing it to a bigger stage, they are keeping what Flanders calls their ‘poor theatre’ aesthetic intact: “We’re into people acting as though the stage is an amazingly rendered, perfect version of what the gold fields looked like, when in reality it’s this insane mess! Because we make comedies we find that [disparity] really good.” Describing themselves as a queer theatre company, Flanders explains that the Sisters Grimm aren’t so much interested in gay issues as in ‘queering’ up popular narratives: “taking an ‘outsider looking in’ perspective that can corrupt the way that we see these stories.” Casting is one of the major ways they try to do this. “We change the genders; races are inverted and scrambled; age, everything, gets played against type. The comedy comes from the gap between what we’re saying that we’re doing

and what’s actually happening.” And so you might have a hysterical mother played by a bloke, and her child played by a 70-something-year-old actress, as in Little Mercy, a take on ‘evil-child’ horror films that Sisters Grimm staged recently. The Sovereign Wife continues the tradition of irreverent cultural commentary the company is known for, but it has been a change of focus thematically, explains Flanders. “I think that engaging with local content for the first time, talking about our own country, has been really challenging. And it’s been a step up for us, because it’s pretty easy to do Hollywood cinema shows, based around Hollywood narratives, but as soon as you turn that lens on ourselves, a lot of stuff comes up,” Flanders laughs. “It’s been really good for us to look at our own cultural cringe – which is so Australian to begin with.” WHAT: The Sovereign Wife WHEN & WHERE: Thursday 11 to Sunday 21 July, MTC Neon Festival, The Lawler





Broken Chest Independent Zindzi Okenyo leads a band, and together they own their neo-soul sound. Okenyo’s got a rawer voice than you’d regularly hear in current electro-R&B – it’s like honey on tree bark; rough but also thick and sweet – and the style of Broken Chest is a step removed from that genre too, leaning more in the direction of sample-based pop soul. Organic sounds are electrified; new and old worlds collide with traces of gospel melodies and sharp, modern production.

DEMI LOVATO Made In The USA Universal Demi Lovato released this just in time for Independence Day; what a coinkidink! With lines such as “Our love runs deep like a Chevy” (is that a coy reference to SEX in the back seat?), “I know that we’ll never break/Because our love was made/Made in the USA” and other vague references to ‘Murica and patriotism, Lovato sounds like a child regurgitating what her parents taught her. It seems like it’s trying to say a lot while ultimately not saying anything significant at all. Plus, the combination of a banjo and drums that sound like the pre-programmed R&B beat on Garageband? Country-rock-pop-R&B… yeah, nah.


Sluts Who Stole Our Palm Tree




Circus In The Sky Illusive/Liberation Bliss N Eso are back and better than ever. Their fifth album, Circus In The Sky, sees rock beats, popular samples, impressive collaborations and the same lyrical genius that Bliss N Eso always deliver. With the unlikely opening of Charlie Chaplin and his speech from the 1940 film The Great Dictator, expectations are endless but the uplifting choruses and killer vibe to follow don’t disappoint. Circus In The Sky has an impressive array of collaborations with musical greats such as NYC rapper Nas and Aussie crooner Daniel Merriweather, along with Aussie hip hop’s finest in Drapht, 360, Pez and Seth Sentry. I Am Somebody featuring Nas is the release’s high point. The track demands more from Bliss N Eso with the inclusion of this talented guest artist but also features soulful sounds and a catchy chorus that sees us singing along at every chance. Can’t Get Rid Of This Feeling featuring Daniel Merriweather is another highlight. Again stretching the pair’s flow, but they deliver faultlessly. The song itself includes some of the funkiest beats on the album and contains the following lyrics: “At peace with the world when the vibe is magic” – pretty much sums up what Bliss N Eso achieve on this album. Who doesn’t like a bit of Bluejuice? So with the inclusion of the popular track Act Your Age, appropriately named to match the Bluejuice hit, head bopping is a must. Reservoir Dogs is what we’ve been waiting for from Aussie hip hop’s dream team: Bliss N Eso, 360, Pez, Seth Sentry and Drapht all together = MC heaven. No power struggles, no top dog, just a sense of unity along all over this killer track. Circus In The Sky is a 2013 must-have.




Cartel Music/Universal

They’re one of Perth’s best-kept secrets but Boys Boys Boys! look set to take the country by storm if second album We Are Excited About Everything is anything to go by. The scary part is, having seen them strut their stuff live, they are actually excited about everything – be it Casio keyboards, massive hats or bucketloads of glitter on their clothes – and that attitude really translates to their music. Best described as the soundtrack to one of those daggy but still awesome ‘90s house parties, the pop-rockin’ six-piece have honed their act through a stack of gigs over the last few years. And, having supported Regurgitator, they’ve taken a leaf out of the ‘Gurge’s book and employed Lachlan ‘Magoo’ Gould as producer. The result is a vibrant, poptastic release filled with some of the biggest and brightest choruses you’ll hear this year.

Lou Doillon is better known in the fashion and acting worlds, but Places sees the French style icon, model and actress deliver her debut album. Given her genes (she is the daughter of fashion icon, actress and singer Jane Birkin – who just happens to have one of the most coveted designer handbags in the world named after her – and half-sister of fashion icon, actress and singer Charlotte Gainsbourg), this is a surprisingly late foray into the music world.

We Are Excited About Everything

Opener Don’t Bail Out is classic bubblegum pop before the band fire up the bratty vocals on Super-Fine. But things really take off in the second half as BAGRA’s Van Halen-style keyboards ring out, leading to a harder-edged chorus. We Like To Move keeps the momentum going ahead of the quirky Management Baby. Casio Joy was recently played on American sitcom Suburgatory and it’s easy to see why, as it launches into a bridge section that’s impossible not to tap along to. And, Get Rad rocks out nicely towards the end, showing off some of the band’s more muscular guitarlines – something that gets lost a little in the mix. This won’t be everyone’s cup of tea as some may find the sheer positivity and bratty vocals too much, but give it a chance; this one’s a pretty classy effort. Paul Barbieri

Ashleigh Lucas


Produced and arranged by French singer, songwriter and producer Etienne Daho (who has also worked with Gainsbourg and is friends with Birkin), Places is, unexpectedly, sung purely in English with an accent that belies her roots. Doillon’s musical style is much like her fashion sense: relaxed and not fussy, but well put together. Sure, she isn’t doing anything that is particularly breathtaking or groundbreaking, but the tracks contained on Places are unexpectedly selfassured, and you find yourself having to remember that this is, actually, a debut album. It really feels as though she has been doing this for years. Her slightly husky low-slung vocals flow effortlessly over the musical accompaniment, which could be best described as folk, with Same Old Game, One Day After Another and Jealousy being prime examples of this. The album only really loses momentum towards the end, with the title track and Real Smart (the two longest songs out of the 11 on offer) dragging things down, especially given that they follow the very upbeat Questions And Answers. This aside, Places is an impressive debut. If Doillon was ever intimidated by the musical shadow cast by Birkin and Gainsbourg in terms of actually releasing a record for public consumption, you’d never know it. Dominique Wall

Independent At 100 seconds long, the newie from these Melbourne lads is the epitome of short, fast and fun. It’s couldn’tgive-a-shit surf-garage pop – with sulky shrieks, backing vocals in the form of falsetto “ooh-ooh-oohooh”s and distorted, punky strums. You can almost hear them sticking out their tongues and flipping the bird. If only they hadn’t used the word ‘slut’, although it does make for an undeniably attention-grabbing title.

ARCHITECTURE IN HELSINKI In The Future Independent More of the same from Architecture In Helsinki, but not as instantly magnetic as some of their previous efforts. It’s lacklustre as a single to return to relevancy with; it’s caught between not having enough breathing space to be minimal and not yet meeting the requirements for ‘dancey party track’. The perky synth riff gets old fast, as nothing happens until the middle of the song. By the time it picks up you’ve already turned your attention elsewhere.

BRITNEY SPEARS Ooh La La Sony Made of composite sections, including a rapped/ spoken pre-chorus with an ascending synth siren, sweet guitars in the chorus, booming drums, a chopped-up almost-dubstep breakdown and Spears’ vocals sounding more bubblegum pop than ever, this shouldn’t work nearly as well as it does. Particularly since it’s a single taken from The Smurfs 2 soundtrack. Yet it all comes together in a delightful pastel clash.


A&R Department Glacier doesn’t stray from its mid-level dynamic, and eventually you can’t tell where the verse ends and the chorus begins. The vocalist’s heaving sighs are the musical equivalent of over-acting and the weak back-up wailing doesn’t help. The slowed-down tempo change outro is the most interesting part, because it’s the only bit you can differentiate from the rest.

26 • For more reviews go to







The godfather of metal, Ozzy Osbourne, is back in black and reunites with former bandmates Tony Iommi and Geezer Butler in the studio for the first time in 25 years for 13, and it’s amazing to think that these guys are pumping out this kind of music at an age when most people are tucking their shirts in at their armpits and trying to remember where they left their keys.

The world that British singer and producer Obaro Ejimiwe, aka Ghostpoet, exists is one where the line between talking and singing blurs. He’s been quoted as saying that he mumbles “over quirky sounds”, and that’s an extremely apt description.

El Pistolero marks the third recording for world touring Aussies Tracer, a band dedicated to writing no-nonsense power-chord driven rock that screams out to be listened to in an inebriated state.


End Of The Beginning is a fitting way to reintroduce Ozzy to the fold, a slow, plodding dirge building to typically classic Sabbath riffery. Produced by Rick Rubin, he’s seen to it that the band sticks to their strength, that being chunky riffs that are there to complement a song rather than undermine it. The album’s shortest song clocks in at four-and-a-half minutes, with over half of the LP falling in the sevento-eight minute region. This never detracts from the flow, however, as the longer numbers have enough happening dynamically to keep one interested. 13 has plenty of classic Sabbath breakdowns that never mess with the formula that has had people barking at the moon since the band’s inception. Tracks like Loner and Age Of Reason underscore the power of the pentatonic blues scale in the rock music canon; Tony Iommi should be stored in a glass humidified box like Lenin upon his death, so future generations will know what a guitar legend looks like. Rage Against The Machine drummer Brad Wilk offered up his services for this release and proved an ideal match, getting the job done like a champ. Meat and potatoes heavy metal prepared by the original chefs of the genre. Glenn Waller

Some Say I So I Say Light

And indeed, it’s Ejimiwe’s low-key approach which makes Some Say I So I Say Light work. You get the feeling you’re being let in on his internal monologue without his knowledge, which means that his thoughts aren’t being prettied up for the audience. On top of that, in much the same way that The xx make minimalism work for them, so does Ejimiwe. The few tracks that do have livelier musical accompaniment (actually, there are only two songs that fall into this category – Plastic Bag Brain and the album’s debut single Meltdown, which features Woodpecker Wooliams) are still within keeping with quieter numbers on the album – the extra noise is used sparingly and with good effect. The same can be said for the guest vocalists he enlisted for this record – they’re used for the benefit of the song, not because of any clout their name may carry. English singer Lucy Rose (who has also worked with Bombay Bicycle Club) contributes vocals for Dial Tones, and the sweet clarity of her voice against Ejimiwe’s deep, heavily accented words is beautiful. Sound-wise, there is a lot that is similar between the tracks (excluding the aforementioned livelier numbers), yet Ejimiwe has put each one together in such a way that you don’t really notice it, and if you do, you don’t really mind. This is an intimate album and a mighty fine one at that. Dominique Wall

El Pistolero

Having garnered attention for a style of music that doesn’t exactly ask much of its audience, Tracer have astoundingly found international success, including a Classic Rock gong in the UK late last year, with riffs that sound like they were written in five minutes and recorded in ten. This isn’t to say this album has no merit, as rock of this ilk was never meant to be taken so cerebrally. Opener El Pistolero begins rather awkwardly, but second track, Lady Killer has a great hooky chorus featuring a vocal melody used to great effect. The band’s influences are splattered throughout the album, with Dirty Little Secret smacking of Queens Of The Stone Age, with its swinging drumbeat and pumping chorus, while Dead Garden may well have been sung by Chris Cornell on an off day. Scream In Silence is another standout, possessing a swagger that demands it be played at full blast from a speeding muscle car. Bizarrely, though, somebody thought that Eastern-sounding guitars and strings would be a good idea to open Hangman. Another lowlight comes in the form of the Spanish sounding Ballad Of Pistolero, neither a good example of Latin guitar finger-picking, nor a good Western take on that style. Ultimately, this LP reveals a band in chrysalis. Hopefully Tracer will be encouraged to blossom into a finer tuned and more individual unit than they currently are, which in today’s musical climate would unfortunately be a rarity. Glenn Waller


Sound As Ever (Superunreal Edition) Sony

Hi Fi Way (Superunreal Edition) Sony

Hourly, Daily (Superunreal Edition) Sony

The year was 1993. Your humble scribe was an eight-year-old squirt, yet to bask in the glory of Australian rock music. You Am I, currently celebrating the 20th anniversary of their debut record, were preparing to take the country by storm. Twenty years after its original release, Sound As Ever still carries with it the expectations of youth; of a young band finding their feet amidst the grungy landscape of the early 1990s. With the benefit of 20 years’ hindsight, the influence of bands such as Nirvana and Pearl Jam seem the most obvious element of raucous opener Coprolalia, and Adam’s Ribs B-side Alembic, especially compared with the band’s more recent, country-tinged albums. Under the guidance of Sonic Youth’s Lee Ranaldo, the album is steeped in ambition and drive, the songs fast-paced and reminiscent of the sound that recalls other Australian bands of You Am I’s ilk: Ratcat, Hoodoo Gurus, early Powderfinger and the like. After the success of their debut album, Russell Hopkinson took over on drums and the next chapter of the You Am I story was to be the release of the seminal Hi Fi Way. On it, the band’s scope was a little wider, Tim Rogers’ songwriting a little more mature, and the sound a little more honed than on their debut. You can still find singles such as Cathy’s Clown and Purple Sneakers smeared with the cheap beer and cigarette ash on sticky carpets around Australia, but the backhalf of Hi Fi Way has also stood the test of time. Acoustic Handwasher, the brilliant Punkarella and Ken (The Mother Nature’s Son) ooze the swagger and poppy nature of the mid-‘90s and set the genre up for the likes of Jebediah, Magic Dirt and Spiderbait to drag it into the new millennium. For all the reverence with which Hi Fi Way sits within the band’s back catalogue, it is Hourly, Daily that captures the early You Am I years best. Drawing inspiration from the minutiae of suburban life, it pairs the innocence of the daily routine with Rogers’ strongest songwriting to date. Gone is the grungy nostalgia of Sound As Ever, instead The Go-Betweens and Sgt

Pepper seem to be heavy influences on the band during this period. The remastering of these three records, by Steve Smart at 301 Mastering in Sydney, is fantastic; his experience in the industry stretches back to the time You Am I were cutting their chops on the Sydney pub scene. On all three albums he simultaneously captures the earnest ambition and musical landscape of the original recordings and updates them with the immediacy needed to capture a new generation of fans in 2013 (see Forever And Easy from Sound As Ever as an example). The album artwork has also benefited from a makeover, most noticeably with the inclusions of essays written by three parties very close to the production of the records. On Sound As Ever, drummer Russell Hopkinson reflects on his relationship with You Am I prior to his replacing the band’s original drummer Mark Tunaley between Sound As Ever and Hi Fi Way, and the self-doubt that racked Hopkinson before agreeing to fill Tunaley’s shoes.

On Hi Fi Way, Ranaldo takes the reader/listener through his (abridged) relationship with the band, and the recording process in New York City of that seminal album, although given the producer’s preeminent standing in rock music, his few hundred words could’ve been grittier. Hourly, Daily features two reflections by Wayne Connolly and Paul McKercher, who recorded the album in Sydney’s Q Studios in December 1995. They’re honest paragraphs written by men who were both invested heavily in the album’s subsequent success.


Most impressive though, is the bounty of B-sides, live and unreleased tracks that fill the second disc in each package. A total of 67 songs make this trio of re-issues a true You Am I fan’s wet dream. Numbers such as Up Against It and Tuesday Morning, which (somehow) didn’t make the cut of Hourly, Daily but would’ve fitted in nicely on some of their early 2000s-era albums, are just two out of a plethora of highlights. The surf-and-science-infused rockabilly of Sci Fi Way (originally released as a Purple Sneakers B-side and here residing on Hi Fi Way’s second disc) and a live cover of The Beatles’ You Can’t Do That (originally recorded by 3RRR at Jazz Lane in Melbourne, here found as the closing track of Hourly Daily’s Disc 2) are other highlights.


Of course, it can’t all be killer; acoustic versions of Rosedale and Trainspottin’ (from Sound As Ever) sound as though they were recorded underwater, and the inclusion of a whopping 15 live tracks on Hi Fi Way Disc 2 verges on overkill. Overall, though, these six discs offer a perfect snapshot of You Am I as they were in the halcyon days of the Australian alternativerock scene. In the years since, You Am I have delivered the great (Dress Me Slowly), the mediocre (Deliverance) and everything in-between. Sound As Ever, Hi Fi Way and Hourly, Daily, though, prove a stroll down memory lane for the band’s early fans, and an important lesson to a younger generation about one of the country’s greatest rock’n’roll bands.



Matador/Remote Control “As harrowing as it is beautiful, this is the kind of album that stays with you long after the final note has sounded.” Justine Keating

THE PASTELS Slow Summits Domino/EMI “It probably won’t grab you on first listen – and it’s not supposed to. This is a project all about mood and looking at the big picture, not the brush strokes used to create it.” Pete Laurie


From The Hills Beneath The City Rough Trade/Remote Control “Houndmouth have tapped into the meeting place between blues and old-school rock‘n’roll... they don’t stray one inch from their dusty, sun and heat-drenched style.” Lorin Reid

Dylan Stewart

For more reviews go to • 27

[REVIEWS REVIEWS] l i v e BALL PARK MUSIC, EAGLE & THE WORM, JEREMY NEALE FORUM THEATRE: 05/07/13 The doors aren’t even open and the line already disappears around the corner, that’s how eager fans of Brissy’s Ball Park Music are. Once inside the beautiful Forum Theatre, those who don’t set up camp at the front fill up the booths. First on stage is Brisbane’s Jeremy Neale sporting double denim and accompanied by his band of “party brothers”. The boys warm up the crowd with their indie pop under a sleepy blue stage light. Next up is local band Eagle & The Worm who are as fun as always with their funky horns and big sound. A real pleasure to watch live, this eight-piece band play with the kind of enjoyment that demonstrates they’re doing exactly what they love to do. The room is filled with a youthful crowd, of the hip and trendy variety, and all are in a good mood. We sing along to ABBA’s Thank You For The Music, which acts as entrance song for Ball Park Music. It’s hard not to like Ball Park Music: their energy is high, their songs makes you feel good and their lyrics sometimes catch you by surprise. For example, there probably aren’t too many bands that can get a large crowd to confess to being exclusive masturbators, singing, “I only have sex with myself!” at the top of their lungs during the chorus of Sad Rude Future Dude. I Fucking Love You lights a fire under the crowd and gets everyone dancing and wiggling their hips along with singer Sam Cromack, who bears an uncanny resemblance to Louis Theroux. Highlights (apart from bass player Jennifer Boyce’s metallic shiny pants) include the delicate Coming Down and joyous Surrender.

You Am I (04/07) Pic by Chrissie Francis

In between the mix of much-loved songs, Ball Park slip in a few newies – one of which they are still tossing around a name for. The band encourage everyone to film the new songs on their phones and put them on YouTube.

You Am I (07/07) Pic by Lou Lou Nutt

You Am I (07/07) Pic by Lou Lou Nutt

YOU AM I FORUM THEATRE: 04/07/13 & 07/07/13 You Am I’s Forum appearances are heartfelt and, like their custom bass drum head, which reads “Toasting G.B.T.F.L.o.U. [translation: God Bless The Fucking Lot Of Us]/YAI/xx”, references a whole bunch of in(band)jokes. The tour celebrates 20 years since the release of You Am I’s debut Sound As Ever album with the band performing the two albums that followed – Hi-Fi Way and Hourly, Daily – in their entirety. On both nights this reviewer was in attendance, frontman Tim Rogers takes the stage dressed like Willy Wonka without the top hat and with a whole bunch of banter as camp as the outfit. Rogers’ and Davey Lane’s guitar techs earn their pay throughout each set, scurrying at breakneck speed to hand the talent their next guitar. With about 12 seconds between each song, the shows have a strangely slick, business-like feel as You Am I churn ‘em out. However, there are some solid standouts within the sets. With cello accompaniment, Rogers deftly manages to rekindle the crowd’s 13-year-old angst with Please Don’t Ask Me To Smile. Purple Sneakers steals the shows by making us remember every person-shaped hole that we’ve ever had in our hearts – but in a good way. Awful Christmas carols with porn lyrics are played over the venue sound system during intermission on both nights. This inclusion must be to either satisfy some weird in(band)joke or send the multitudes scampering to the sanctuary of the side bar during the 20 minutes it takes for Rogers et al to change. Deviating from his usual antagonistic persona, a visibly emotional Rogers delivers a multitude of “thank you”s throughout the Hi-Fi Way half, even remarking at one stage during the Sunday night show: “This band gave me a life: not a good life, not a bad life – it gave me a life.” The gratitude that he feels towards all You Am I fans is palpable. The set on Thursday is beset by technical issues, with obnoxious feedback squeals happening a little too often. It also seems that the rock’n’roll lifestyle may finally be affecting Rogers, whose voice strains to hit the high notes at times. By Sunday, however, all sound issues have been ironed out and Rogers doesn’t miss a beat, proving that it’s always better to go on the final night. Furthermore, the atmosphere is more relaxed during this scribe’s second experience of the show and, given the less-than-capacity crowd, has a much more intimate feel. In the Sunday encore the band nail Mose Allison’s Young Man Blues and finish with the crowd-pleaser Berlin Chair. This tour, like all ‘best-of’s, acts as a thank you to all You Am I fans. The band play their tracks like a well-oiled machine and get a little bit mushy. And everyone loves them for it. Benjamin Meyer

28 • For more reviews go to

KIRIN J CALLINAN, STANDISH/ CARLYON, JONNY TELAFONE NORTHCOTE SOCIAL CLUB: 04/07/13 Tonight’s line-up deserves Arts Victoria funding for a ‘live exploration and reassessment of masculinity and electro rock’; each act taking inspiration from looking inward and exploring what a man is in modern Australian society. Each act also happens to kick arse. Stripping off within the opening seconds of the first song, Jonny Telafone, eyes closed, standing amidst small bursts of dry ice, occupies a bizarrely perfect balance between the seductive and the aggressively intimate. Though he seems wholly engaged when performing, the second he’s not singing his sometime-secular paeans to the spiritual and the physical, it’s like he thinks he’s invisible; swigging beer, stoking his dry ice machine, freezing in poses. It’s captivating stuff and during his final two songs – Stay Strong For Me and The End – the audience (mostly men in glasses, trimmed beards and with swept back hair) get noisy in their appreciation. Opening with clouds of choked synth atmospheres, Standish/Carlyon’s arresting set builds on crisp, distant drums and overt sexuality oozing from every plucked bass note and barely discernible vocal. In lesser hands, it would be easy for this to turn into a prematurely disappointing mess, but so confident and self-assured are these men, we’re instead privy to a seamy sub-urban pleasuredome. Focusing on the creation of mood seems to be their drive and songs seem to explode unexpectedly. When melodies surface, as on Nono/Yoyo and Subliminally, they shine brightly. Closing song Gucci Mountain is introduced as “a terse psychological thriller taking place over several continents”. Its ricochets of sparse slap bass and vocal refrain send us to our own dark places. Equally adept with sound and mood, and probably the only Australian act to generate more hyperbole than Standish/ Carlyon in recent months, is Kirin J Callinan. Entering the room to silence, he arranges himself amidst two microphones, adjusts his headset mic, and kicks into gear. Blasting us with strobes and lasers, and instantly hitting all the high-mid frequencies that Standish/Carlyon missed, opening song Halo and title track of new album Embracism is galvanising stuff. Instantly showing us his mastery of production, Callinan is meticulous in his control of sound, which is unusual for a performer so associated with the unpredictable; even the humility of his banter seems designed to offset the ambition on show. Regardless of hype and filmclips, the sonic impact here is massive and brilliantly constructed. Callinan’s guitar sounds are often deftly tight bursts of chaos. Conversely, his voice is a hoarse and often limited (perhaps due to recent overuse) instrument. Chardonnay Sean follows and allows his excellent three-piece backing band to stretch out. Moving from furious blasts of keys and guitar as on Come On USA to the near-shoegaze splendour of

This gig is a bit of a rip-snorter that has something for everyone, whether you are their biggest fan and get to hear Sea Strangers (a song they haven’t played live for three years), or you only know their hit It’s Nice To Be Alive. They also throw a hint of MMMBop in there and finish up with The Beatles’ Eight Days A Week so everyone can sing along.

Victoria M and Landslide, Callinan’s set is well-paced and seems to build to the closing epic Love Delay that seem impossibly huge, and leaves Callinan’s voice at its most ragged. Returning to the stage alone to display his astoundingly proficient guitar layering, he closes the set with a wave and leaves to wild cheers.

Annie Brown

Three bands with a theme, captured at exactly the right time; tonight is a gig for the time capsule.


Andy Hazel

DICK DIVER, TWERPS, THE STEVENS CORNER HOTEL: 05/07/13 The bands haven’t even started playing yet and already there’s a line of people outside and around the corner. Tonight shows just how strong the Melbourne live music scene is at the moment – all three bands have been plugging away for a while and tonight have a sold out Corner Hotel to show for it. It’s fantastic to see such a turnout and it makes for a great feeling of unity amongst the crowd. First up are The Stevens, playing the most energetic set of the night to an already packed room. They cover most of their recently re-released self-titled EP and a handful of new songs off their upcoming album. Their half-hour show, like their songs, is short and sharp and has a lot of people moving. After some rough shows over the summer – poor sound at Laneway, a disrupted Meredith set – Twerps are back where they’re at their best: playing indoors to a full room. They’re testing out some new material too, sounding even more relaxed than their already laidback songs. He’s In Stock and their breakthrough song, Dreamin, are both highlights of a fantastic set, getting many in the crowd dancing or bopping their heads. As the curtains open on Dick Diver, bassist Al Montfort stands centre stage to kick off the set with the driving bassline from Bondi 98 before the rest of the band starts up as the whole stage is revealed. The set shows off most their latest album, the excellent Calendar Days, with a few choice cuts from their debut, New Start Again. They change instruments around here and there – Calendar Days sees drummer Steph Hughes on guitar and lead vocals, while later they introduce keys and saxophone for Blue & That.

SPENCER P JONES & THE ESCAPE COMMITTEE, SHIFTING SANDS, ALEX & THE SHY LASHLIES Alex & The Shy Lashlies are first up tonight and, with the exception of their closing song, which stands out for all the wrong reasons, there isn’t anything particularly memorable about their set. The band’s final number, however, is a dull, drawn-out affair that causes any interest their previous songs may have aroused to dissipate. Their brand of generic indie pop isn’t bad, but it does lack any substantial hooks. Brisbane’s Shifting Sands have taken their time to get to our fair city. Sadly, their first visit to Melbourne is without guitarist Dan Baebler (SixFtHick, The Tremors), but that doesn’t stop them. Sitting on a chair in a pose that pays homage to true dive bar style, Geoff Corbett (SixFtHick, The Tremors) croons, “If you really love her, you’ll keep her airway clear”. This opening line sets the bar with regards to what Shifting Sands are all about. The guitar accompaniment of Dylan McCormack (Gentle Ben & His Sensitive Side/The Polaroids) helps concrete the band’s unsettling, off-kilter songs about love and other such things. The restrained keyboard and backing vocal interjections, courtesy of Danielle Golding, combined with Alex Dunlop’s equally restrained drumming, offset Corbett and McCormack to the right extent. Just as you wonder if the tone may improve, the next song is introduced as, “A song about surfing and stabbing to death the performer Jack Johnson in an alleyway in Surfer’s Paradise”. This draws a rousing round of applause before Corbett adds, “It’s a dream I had.” While it may be a surprise to see Corbett in this light (as opposed to his usual crazed, injury-inducing antics as co-frontman – alongside his brother, Ben – of SixFtHick), it shows that he is not a one-trick pony. The whole thing is the ultimate musical interpretation of happy hour. Wonderfully disturbing.

For Lime Green Shirt, Hughes leaves the drums until later in the song, allowing the lush guitars more room to spread out. It’s little changes like this that make Dick Diver such a rewarding live experience. Montfort’s banter and ad libs are fantastic too – “get your sax back!” he exclaims after finishing Head Back with a saxophone solo. Past Dick Diver shows have been lax affairs; sometimes it seems like they’re almost about to fall apart. But tonight they show that they’ve managed to smooth the rougher edges without losing any of their charm.

The original bill for tonight’s show included the Spencer P Jones and Kim Salmon Band. This, however, was changed to Spencer P Jones & The Escape Committee due to personal reasons. Jones relays Salmon’s apologies to the crowd, informing us that Salmon was forced to return to WA due to a death in the family. Jones and his band then kicked off their powerful set with When I’m No Longer Poor, taken from the band’s album, Fugitive Songs. The fact that Shifting Sands are so stripped back certainly helps make The Escape Committee sound even fuller than normal. Throughout their hour-and-a-half long set, Jones shows why he is such an important figure in Australian Music.

Josh Ramselaar

Dominique Wall

live PINK, THE KIN ROD LAVER ARENA: 07/07/13 “I’m excited,” announces 12-year-old niece en route to her first concert. She’s pre-purchased Pink merch and pulls her studded denim jacket open to reveal a t-shirt emblazoned with the BLOW ME (one last kiss) logo. The LED lighting system covering AAMI Park’s roof is lit up only in pink tonight and Rod Laver Arena also boasts a tickled-pink façade. Handpicked by Pink, support band The Kin wander out via a curved catwalk that stretches from stage right of the main stage around to a heart-shaped mini-stage set up amongst the crowd. Adelaide brothers Isaac and Thorald Koren are perfectly styled and alternate vocal duties, all of which are delivered with much affectation. The drummer uses no sticks, but his fingers are all taped up suggesting maybe he oughta. There are also three rows of egg shakers strung around one ankle. He’s later introduced as Shakerleg, much to our delight. And the innovation doesn’t stop there, with the former New York subway busker timekeeping by bashing on a guitar case and also scraping a set of keys along it. A didge intro wins the crowd over. The title track from the trio’s Get On It EP has shades of Maroon 5 and we’re all invited to meet the band at Door 17 at the conclusion of Pink’s set. Even if only a small percentage of the audience purchases The Kin’s EP at each one of Pink’s Australian shows they’re revving up (LA’s Youngblood Hawke have also snagged some support slots), they’ll do alright. Classy nanna-at-the-disco music, including Chic’s Good Times, blares out of the venue sound system during changeover and tonight’s demographic is surprisingly more mother (or auntie) than daughter. A spotlighted, crazy-clown character targets audience members throughout the arena to help kill time. As soon as his image appears on the giant screens it’s clearly showtime. Roving cameras zoom in on crowd members and the aforementioned clown declares a volunteer is needed. Quelle surprise! Tonight’s main attraction pops up on the screens, pictured seated among the crowd, and plays reluctant volunteer as we all swan-neck to determine her exact location. Then, just moments later, Pink explodes through a trapdoor in the stage attached to bungy ropes before she’s caught by three ripped male dancers way up near the fly system grid. Raise Your Glass makes a jubilant opener and you could see the muscle definition in Pink’s bare


midriff from the cheap seats. As soon as her feet reach the ground, Pink is very generous with the amount of flesh she presses as she rolls across the stage, eye level with her fans and grabbing outstretched hands. She even makes “bad dancing” look good! When clown dude returns to intro the fetish segment, heart palpitations commence upon the realisation that 12-year-old niece has her camera phone poised, recording: “Love is all about nipple clamps…”/”The smell of crotch…” – a phone call from my sis tomorrow is a given, then. The choreography during Try draws gasps. At one point Pink counterbalances, supporting a very muscly male dancer’s full body weight in a pose previously seen during Cirque du Soleil shows. She doesn’t have beautifully pointed feet, but that’s nitpicking. On the first time she played How Come You’re Not Here for her husband Carey Hart, Pink admits with a grin, “I’ve never seen a man more uncomfortable,” before admitting it’s a personal favourite. She challenges herself to do something scary every tour, and for these shows Pink has learned how to play The Great Escape on piano (although she points out Jason Chapman is seated on his piano stool, ready to take over in the event of a major stuffup). She hits a clanger, reacts immediately, “Ah, shit!” and then pauses. After managing to pick up where she left off and completing the song, Pink’s display of humanity further endears her to us. Claiming she used to get gifts from fans such as bras and “a warm block of cheese”, Pink gets loads of stuff for Willow these days. After gratefully receiving a customised pair of Paul Frank PJs with her daughter’s name embroidered on the top, Pink jokes, “I think judging by the size of this I can wait ‘til Christmas and totally take credit for these.” She better start preparing a speech to get out of that hefty excess baggage charge on her way out of our country, if the offerings she collects tonight are anything to go by. Pink proves she can ‘just sing’ during an acoustic set, accompanied by guitarist Justin Derrico, on the heart-shaped ministage. Her version of Cyndi Lauper’s Time After Time accentuates the song’s moving lyrical content and gives us a second to reflect: “Hey, Miley Cyrus totally stole Pink’s ‘do!” Pink’s fans truly are fanatical and there are many requests to sign arms. A front row punter has apparently been here since 10am yesterday!

sassiness and morphs into You Make Me Sick (what’s with that “Got me lit like a candlestick” line?). “Who in here’s a dirty, filthy slut?” Tense aunty moment number two. Happy to report 12-year-old niece didn’t raise her hand. Does Slut Like You credit the riffage from Blur’s Song 2 and/or Nirvana’s Smells Like Teen Spirit in the liner notes?

A visual montage from the ‘90s precedes Pink’s first single There You Go, which still exudes edgy

By far the evening’s biggest wow moments see Pink flying in a harness while somersaulting, spinning above

Pink Pics by Kane Hibberd


Bryget Chrisfield

What’s on

Magnetic Heaven presents


our heads and utilising the arena’s full circumference. She pauses on towering podiums at the rear of the stadium to sing So What‘s verses and Pink’s aerial circus skills perfectly drum home her fearless persona. As we file out of the venue listening to All You Need Is Love by The Beatles, there’s a sense of empowerment. And during the drive home 12-year-old niece reveals her plans to become a Formula One driver.

















BOB EVANS ($20/$25)


Tuesday 16 July: The Malthouse, South Melbourne @ 8pm


Saturday 20 July: St. Mathews Anglican Church, Manly @ 8pm


Saturday 27 July: The Courthouse Theatre @ 8pm

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Joss Whedon’s adaptation of Shakespeare’s Much Ado About Nothing is a perfect example of what people should be doing with Shakespeare. Very often we see the reworking of Shakespeare done in his dramas and when the comedies appear, they’re either not known or they simply don’t work. What is incredibly impressive about this film is that not only does Whedon and his cast pull it off in a modern context but, after the period of adjusting to Shakespearean form kicks in, it is as funny, if not more so, than most films that have come out in the last 12 months. This film surprises you, constantly playing on the elegance of language and the crude essence of what the film is about – the ridiculousness of the way these characters handle the validity of a girl’s virginity. While the script is Shakespeare, the direction is clearly Whedon, and his contemporary humour and setting really allow for the silent jokes and the ritzy world in which it is set. There are a lot of actors in the film who have worked for Whedon before but he also has grabbed some online faces from the boys of Atlanta, Georgia sketch comedy duo, BriTANicK, and one half of LA comedy-folk duo Garfunkel & Oates.This is a film you want to go to the movies for. It’s charming and funny and is quite possibly the truest and the best adaptation of Shakespeare you can get without appearing over-intellectualised.



Matthew Ziccone

In the style of the sci-fi horror genre that movies like Alien and The Fly belong to, Justin Dix’s Crawlspace appears to be a pretty sincere tribute to this style of film. While the script in this film can sometimes make you laugh out loud from some pretty terrible dialogue, its concept and gore scenes are going to be praised by the genre lover – and those who are not will enjoy laughing at its absurdity. Telling you a lot of the story will give away the twists the film will give you so to sum up: Murderous psychics versus Aussie soldiers. The film’s action sequences are interesting, though nothing new, but the claustrophobic feel to the film made these scenes edgy. One problem, however – and something many films tend to be doing these days – is by having so much camera movement it’s hard to get scared or excited when you don’t know what’s going on. Saying this, it works most of the time for this flick because of its crazy plot and while some things are truly silly, story-wise it kind of works. Films like this are rare in Australia and they are not for everyone. If you know you love John Carpenter films and enjoy the story of soldiers being led to their doom in an underground science facility where psychic tests are done on people, you should definitely check this out. Normal film-goers, this may be a waste of your time.

Toby Schmitz’s adaption of Evgeny Shwarz’s 1944 play The Dragon is so laden with puns that the script is heaving with the sheer effort of keeping them in. Unfortunately, when they do burst out, most travel over your head at the speed of a 747 with the few chortles from crowd letting you know that you missed a joke. The ones that are easier to pick up on are definitely of the dad-joke variety and are repeated ad-infinitum. The set is intricate and the use of multimedia projections all come together to create a solid and believable fantasy world. Tripod have a strong stage presence and double as friendly animal guides and the three heads of the feared dragon. Scott Edgar’s portrayal of the gibbering dragon head is a stand-out, and it is a shame that this character doesn’t get more stage time. The problem with The Dragon is that all the characters are one-dimensional with this being very noticeable in the only woman Elsa (Nikki Shiels). The Dragon would certainly not pass the theatre version of the Bechdel test. However, to Shiels’ credit, she commits to the performance, is a joy to watch and isn’t afraid to make herself look ugly. This makes Elsa totally likeable even though she is about as deep as a child’s paddling pool.


Matt Ziccone

Cassandra Fumi

Sarah Braybrooke

Premier screening at the Astor Theatre

Malthouse, Merlyn Theatre to Friday 26 July

Malthouse, Beckett Theatre to Sunday 14 July

In cinemas Thursday 11 July

An actress loses her voice. A nurse is appointed to look after her as she recuperates by the sea. In this secluded setting, a strange and complicated relationship develops between the two. The basic premise of Persona’s plot is simple enough, but it’s a show that is full of questions that will haunt you long after you leave the theatre. Is Elizabeth, the actress who mysteriously stops speaking one day, really ill, or merely pretending? And is Alma, her nurse, really the wholesome woman she seems? Are the two women even real, or could one perhaps merely exist in the mind of the other? What starts as a stylish re-working of an Ingmar Bergman timeless film develops into something that feels entirely fresh and raw, drawing themes of identity, madness and the nature of power. The two characters seem to define not only themselves but each other in the performance of their various ‘roles’, whether they be patient and carer, parent and child, confidants or nemeses. Returning to a larger stage this year after a successful run at Theatre Works, Adena Jacobs’ play appears to have lost none of its verve. Elegant without slipping into affectation, the production design is immaculate and the acting packs a punch; Karen Sibbing’s depiction of Alma deserves a special mention for its sheer power and range.

Story Of O

STORY OF O THEATRE It’s rare in theatre that audience members continue sitting in the space, staring at an empty stage long after the actors have left. This is the case with The Rabble’s Story Of O. The work is a re-imagining of Anne Desclos’ 1954 erotic novel Story Of O. Expectations of a bit of sexy theatre are quickly smashed. Kate Davis and Emma Valente make theatre like kids in a sandbox; they craft works despite the knowledge that they could come crashing down. They are the little theatre company that dreams big and delivers. The Rabble’s vision of O looks like a fractured carousel – a surrealist carnival of warped desire. Jane Montgomery Griffiths opens the show and takes us on a linguistic journey of O, extracting for us the relationship of desire and the female body within language. Mary Helen Sassman depicts the character of O, a woman who submits herself to a group of men. She excels at delivering a realistic and emotionally relatable character despite the highly stylistic nature of the show. Story Of O mostly refrains from nudity and realistic sex, instead suggesting sexual acts with the use of rolling pins, plastic cling wrap, soundscapes and live black and white projected footage. Robin Thicke’s problematic party hit, Blurred Lines, which reached number one in 14 countries, has been criticised by a UK rape charity for trivialising sexual violence, objectifying women and “reinforcing rape myths”. The decision to play Blurred Lines in a party sequence is laced with gut-pulling nuance. Throughout the show we experience the story’s sex acts from O’s perspective and struggle to establish consent; even in a scene where she says that she does consent, it feels unclear. The play artistically blurs eroticism and desire. Because of the challenging nature of the piece, everyone will have a different experience, which is the mark of a great work. Cassandra Fumi MTC Neon Festival, The Lawler

THE (NON) FICTION WORKS OF WERNER HERZOG FILM It’s a typically cold and bleak night in Melbourne town. Beards, long coats and beanies have sprouted like mushrooms. The Melbourne Cinematheque meets every Wednesday night. Last week it was all about Roger Corman; tonight and for the rest of the month it’s German auteur/lunatic Werner Herzog’s extraordinary documentaries. Herzog it seems is quite popular, with a long line and not a seat spare. Apparently it’s not always like this. We begin with Lessons Of Darkness (1992), Herzog’s bombastic hypnotic post-apocalyptic sci-fi take on Kuwait’s oil fields on fire. There’s a ten-minute break and Brad Dourif (Deadwood) appears as the frustrated alien in 2005’s The Wild Blue Yonder, Herzog’s fusion of fiction and documentary footage. There are ripples of laughter as Dourif expresses his exasperation with the CIA’s lack of interest in his origins, though the later it gets, the audience begins to thin. The Great Ecstasy Of Woodcarver Steiner (1974) is remarkable, using footage of a Swiss ski flyer slowed down 20 times, as he soars, bird-like, across the slopes to Popol Vuh’s overwhelming score. The final film is La Soufriere (1977), where Herzog excercises his ego by wandering through abandoned towns on the island of Guadeloupe with a volcano erruption imminent. Are you crazy, Werner? You want to ask, but don’t because we already know the answer.


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Bob Baker Fish Melbourne Cinematheque ACMI to Wednesday 17 July








A Change Is Gonna Come. James’ music was very different to that of Johnson, being earthy neo-soul. Funnily enough, Kanye West had an early production role in it. The next year, Johnson lost her music producer fiancé Kip Collins to a motorcycle accident. Around 2009 she moved to South Africa – but was reportedly deported to the US over visa issues. Puff Johnson

Cody Simpson A few (or more) fun ‘facts’ about Cody Simpson as posted by fans to the Weebly website: Several years before Cody signed a record deal, his grandma asked him, “Codes, what are you going to do? You’re so good at guitar and swimming.” And Cody said, “Well, I know I was born to be famous at something but I haven’t quite figured it out yet.” He used to live in the neighbourhood of Robina in Gold Coast, Australia, but moved to Los Angeles after he signed a record deal with Atlantic Records in May 2010. His parents’ names are Brad and Angie. Brad owns an investment company. Before the family moved to the US he had to make sure that he could oversee the business from across the ocean. His favourite colour is green and blue. There’s a healthy amount of green-and-blue on the cover of Simpson’s second album, Surfers Paradise, out through Warner on Friday. The artwork depicts Simpson in a buttoned shirt with a surfboard under his arm against a sky that, depending on which way any individual leans on the specificities of the colour spectrum, could be described as ‘more blue than green’, or ‘green with most of the yellow taken out’. The bottom half of Simpson’s shirt could certainly be described as ‘kind of green’, but also ‘a little bit blue’. It’s safe to say Simpson would approve. The sky isn’t unlike that which can be seen from the shores of the beach the album title references, the Gold Coast tourist attraction famed for bikini-clad meter maids and the arrests of drunken school-leavers. Thus far in its regal history, Surfers Paradise hasn’t had much in the way of a pop music representative. There’s been Ricki-Lee, sure, but she was born in New Zealand and hasn’t had the international impact of Simpson or displayed his dedication to representing the meeting point of shipped-in sand and mall shopping. That half green-and-blue shirt (the top half is kind of pastel pink but maybe more like salmon – too wishy-washy a combination even in its origins to be anyone’s favourite) is one of many high-street outfits to be sported by Simpson against a beachy backdrop in photos. It’s his go-to promo pose, so much so that one begins to wonder if Simpson knows a trick or two about staying dry while surfing fully clothed. It’s easy to imagine a leisurely stroll along the Surfers Paradise esplanade with Simpson’s newest single, Summertime Of Our Lives, streaming from the nearby shops as shirtless 12-year-olds sling racist cuss words from passing skateboards. The song is a ukulelebacked ditty that latches onto the white appropriation of Polynesian music just a few years after Jason Mraz made it unpopular. Or perhaps it would be the song, Wish U Were Here, a chintzy dance number written in part by Dr Luke and featuring Californian teen rapper Becky G. The song, from Simpson’s 2012 debut album, Paradise, is kind of like Justin Bieber’s Beauty And The Beat, written in part by Max Martin and featuring Nicki Minaj, but without the clout those names bring. It could even be Cody’s little sister Alli Simpson providing the soundtrack to a night out on Surfers with her debut single, Why I’m Single. Yes, the Simpson name is becoming a pop brand. As with Cody, however, 15-year-old Alli isn’t committing to one road to fame, describing herself on her website as a “model, an actress, a dreamer and I guess I’m a blogger now too, haha”. Watch those blogging dollars roll in, Alli. And why shouldn’t Surfers Paradise have its own famous family, built like the suburb itself on investment with more bubbly ambition than any ratbag kid with a script-font chest tattoo or a genuine idea could beat down? The rest of Australia should be proud of our cultural export, too. Few others are willing to stand on the world stage and declare on behalf of our country in this time of great political progression, when innovation and change are words on the lips of so many brave parliamentarians and law-makers, “We, like, might have something to say, we just haven’t figured it out yet.”

Puff Daddy wasn’t the only ‘Puff’ in the ‘90s urban movement. The R&B singer Ewanya “Puff” Johnson was a real contender for the thrones of both Whitney Houston and Mariah Carey, debuting on the Sony imprint WORK Group with her album, Miracle, in 1996. Future American Idol judge Randy Jackson served as executive producer. Johnson was afforded a huge push in Australia, actually travelling here for a promo tour. Sadly, and mysteriously, Johnson never released another album. The soulstress’ death from cancer late last month at just 40 has attracted negligible news coverage. Johnson was born in Detroit but launched her career in Los Angeles. Even before her first single, she sang on the title track of Tupac Shakur’s US Number One album, Me Against The World, a song helmed by Danes Soulshock & Karlin. (Johnson also worked with the Cali outfit – and production vehicle – Somethin’ For The People.) Johnson’s lead single was the lush ballad, Forever More, produced by Narada Michael Walden. Walden had previously been involved in hits like Aretha Franklin’s Freeway Of Love, Houston’s How Will I Know and I Wanna Dance With Somebody (Who Loves Me) and Carey’s I Don’t Wanna Cry. Forever... reached the Australian Top 30. Later, Johnson contributed Over & Over to the soundtrack accompanying The First Wives Club. This ‘chick flick’ was a box office success and starred Diane Keaton, Goldie Hawn, Bette Milder and, in a bit part, Sarah Jessica Parker pre-Sex And The City. However, Over... would be Johnson’s final single. She joined Michael Jackson on the HIStory World Tour. Johnson spoke of writing with good friend Lauryn Hill – prior to her The Miseducation Of... But then she vanished. Johnson’s name made a surprise appearance in the writing credits of Leela James’ cred 2005 debut,

So what went awry with Johnson’s great ascent? One rumour is that she was traumatised by the murder of Shakur. But Miracle didn’t live up to sales expectations. Maybe Johnson felt disillusioned or simply lost momentum. Possibly, like Hill, she decided the music industry wasn’t for her. Miracle still impresses with its mix of smooth ‘90s R&B and hip hop soul. In the same vein as the melodic Forever... is the traditional ballad, Some Kind Of Miracle, penned by Diane Warren, with Walter Afanasieff (Carey) producing. There were sniggers at the time about its unfortunate title, yet Jermaine Dupri’s All Over Your Face evokes Carey’s initial hip hop manoeuvres. Yearning is Janet Jackson-style quiet storm, but Johnson had better vocal chops. Randy Jackson has paid tribute to Johnson on Twitter: “RIP Puff Johnson, sad so sad to hear we lost you. So happy I got to work with u and be a part of ur life... One of the greatest talents ever.” Today the mainstream media fixates on Beyoncé Knowles as if she were the sole R&B diva in the world (well, aside from Rihanna). Even Queen Bey seems to believe it, basking in reflected glory on her controversial (and self-leaked) Bow Down, courtesy of Hit-Boy. Sings Knowles, “I know when you were little girls, you dreamt of being in my world. Don’t forget it, don’t forget it. Respect that, bow down bitches.” Knowles’ arrogance was rightly challenged by the underrated Keyshia Cole on Twitter: “Can’t stand when people all self righteous when it’s convenient it makes them look good. Lmao! But can still talk shit when convenient 2 FOH.” Johnson and her generation of R&B vocalists – Toni Braxton, Mary J Blige, Faith Evans, Monica, Brandy and so many others – opened the doors for Knowles, who was but a 14-year-old wannabe at the time of Miracle. The ‘90s sistas should be recognised – and celebrated.

ADAMANTIUM WOLF METAL, HARDCORE AND PUNK WITH LOCHLAN WATT out the video from the Brisbane-based group on YouTube, and pick the album up when it hits on Thursday 8 August via UNFD. The band will play the Hi-Fi on Saturday 31 August. Enabler from the USA hit Melbourne town this week for two shows with local blackened crust lords Urns. Check them out at the Bendigo Hotel on Thursday 11 July with A Million Dead Birds Laughing, Party Vibez and Diploid, and on Friday 12 at Black Goat Warehouse with In Trenches, Join The Amish and Jurassic Penguin. Both shows are $15 on the door. Electrik Dynamite will launch their brand new 7” record this Friday 12 July at the Espy with support from Brisbane’s De La Cruz, as well as locals Shadows Of Hyenas and The Fallen Angels. They will also play an all ages show on Saturday 13 July at Irene’s Warehouse with De La Cruz, Elm Street and Black Mayday. The glam-inspired band have just released two new video clips for both songs contained on the 7” – Showgirls and Steel Of Fortune – which can be viewed online. The Amenta Psycroptic will headline a show on a boat named the Victoria Star on Saturday 7 September in Melbourne. Supporting will be Ne Obliviscaris, Hybrid Nightmares and Orpheus Omega. Early bird tickets for the 18+ event are available now for $40 through Oztix. Palm have announced their return to Australia this September and October. The Japanese metalcore band, who last visited the country in 2007 with Adelaide group The Rivalry, will hit the road for a massive 18-show tour with the recently reformed A Secret Death. Melbourne shows include That Striped Sunlight Sound alongside Rolo Tomassi and Totally Unicorn at the Reverence Hotel on Friday 27 September, and an appearance at the Bendigo Hotel on Tuesday 1 October. Dead Letter Circus have dropped the first single from their forthcoming second album, The Catalyst Fire. Titled Lodestar, you can check

Lo! from Sydney will hit town on Saturday 13 July playing the Reverence with High Tension and Jurassic Penguin. Having just released their second album, Monstrorum Historia, as well as having conquered in a 25-show European tour alongside Cult Of Luna and The Ocean, this will be the band’s final Melbourne show with vocalist Jamie-Leigh Smith, who recently announced his departure from the group. The Amenta and Ruins bring their Flesh Is Heir tour to the Bendigo Hotel this Saturday 13 July. Joining them for a night of blackened extremity will be Sydney’s Ouroborus, locals Whoretopsy, and New South Wales’ Dead River Runs Dry. Kromosom are also gigging this Saturday 13 July, just to make the options even more diverse and hard to choose from. The thrashing crust legends will be launching their Nuclear Reich 12” at an all ages venue known as Antiverse, playing with Last Measure, Debacle, Havittajat, Extinct Exist and Masses.

Clowns Thirteen years and three albums on from their humble beginnings, hardcore stalwarts Down To Nothing are now one of the most recognised, straight-edge hardcore bands in the US, if not the world. Now the band are getting set to release their long-awaited, new LP called Life On The James through Revelation Records this September (10 September to be precise, though this date is for the US only). Produced by Terror’s Nick Jett, the band have described the record as an album concept they’ve wanted to create for a long time, building on themes of hometown pride. Stay tuned for more details of the album and pre-order information, but the artwork and tracklisting are available online now. Poison City Records have announced that the newest addition to their stable is Melbourne’s Clowns. This band have taken an old school style approach to hardcore punk, drawing influences from the likes of OFF!, Massappeal, The Bronx and Hard-Ons, as well as having a ‘nothing better to do’ ethos to back it up. Having spent three years consistently playing shows, as well as self-releasing a bunch of 7” records, 2013 not only sees the band signing to PCR, but releasing their debut full-length, I’m Not Right, which is set for an October release. The band are playing Poison City Weekender, but you can also catch them at the Public Bar in Melbourne on Friday 26 July, at the Reverence on Saturday 27, or at the Northcote Social Club when they support MDC on Thursday 15 August. This is probably a weird thing to include in a music column, but the program for the Melbourne International Film Festival has been announced and there are some fantastic music-related documentaries showing. A Band Called Death is a doco that’s high on my ‘must view’ list. It’s about a band called Death, which comprised three African-American brothers who created antiestablishment music and utilised a DIY ethic years before punk exploded onto the world’s consciousness. The long awaited documentary Filmage: The Story of Descendents/ ALL is also being shown. But the film I’m most looking forward to is The Punk Singer. Basically a biography of Kathleen Hanna, the founder and leader of the Riot Grrrl movement, the film tells the story of a feminist icon who showed so many girls that they could be the lead singer of a punk band. Head over to the MIFF website ( au) to see the full list of films showing and to book all your tickets. Hopefully see some of you at the screenings. A reminder that the incredible La Dispute are back in Australia and their Melbourne shows are this week. Not only are La Dispute heading over, but also their friends Pianos Become The Teeth (who I’ve never seen live before so I’m a bit more excited to see than La Dispute at this point). Resist (who are presenting the tour) have also managed to line up some EXCELLENT choices in supports as well, so these shows are really going to be something special. If you’ve got tickets to the sold out show at the Corner this Friday 12 July, you can see them play with Stockades. If you don’t have tickets for that show, you can catch them on Saturday 13 July for an under-18 show with Initials, or at another 18+ show on Sunday 14 July with Fear Like Us. Also next week, legendary hardcore act Youth Of Today are hitting Melbourne, before they head up to Sydney to headline the annual Hardcore weekend. Formed back in 1985, Youth Of Today went on to establish the youth crew subculture of hardcore, with its resounding philosophy of PMA. The band disbanded back in 1990, and then reunited in 2011 to bring their timeless message around the world. In 2013 they hit Australia for the very first time – you can catch Youth Of Today at the Reverence Hotel on Thursday 11 July with Vigilante and Right Mind. Tickets are still on sale. Last up for this week, last week’s Short.Fast.Loud saw Stu conducting his Mid-Year Report and the results surprised me. It was a little bit disappointing to see only four Australian bands in the list of 20, but with two of those in the top five I guess that’s not too bad a result. So mid-year, the top five punk and hardcore albums were Wil Wagner’s Laika at number five, What You Don’t See by The Story So Far at number four, The Wonder Years came in at number three with The Greatest Generation, Bring Me The Horizon’s ‘Sandpit Turtle’ … Pardon me I mean, Sempiternal came in second, and Sydney locals Northlane took out the number one spot with their great record Singularity.

For more opinion go to • 31







On making EPs versus albums as a producer: “It’s a lot more manageable [to put together an EP] than trying to organise an album’s worth of guest rappers. Keeping it condensed to four songs and one rapper makes things simpler and focuses the project a bit more, too. I like the creative process more this way as well – again it’s a more focused effort.” On the next release lined up for the EP series: “It’s going to be different, it’s going to be me experimenting a bit more and doing some stuff I’ve wanted to try for a while. It’s not gonna be the usual Chas, that’s for sure!”

Laura Marling “Mrs Lattimore!” came the well-spoken English accent of a woman whose face was framed by a 1920s-style bob haircut to match her 1920s attire. “It’s so nice to see you again. I remember when you were just a little girl, playing in the gardens,” she beamed and crossed the name off her list while the so-called Mrs Lattimore stood with an uncertain smile on her lips, not quite sure what to make of it all. Mrs Lattimore was a fake. She had never been here before. She was just another ticketholder like the rest of us, playing along with this charade, the charade becoming an increasingly common style of entertainment in London. Tonight’s event being Laura Marling’s Secret Music Show, the first music gig to be held by the now well-known Secret Cinema. What I’m calling “Dress Ups For Adults”. If you haven’t heard of London’s Secret Cinema, you should YouTube it. Film-goers purchase tickets to an award-winning film and everything including the film is kept a secret. The only thing you’re told is what you have to wear because, when you arrive, the entire world of that film has been recreated. For Lawrence Of Arabia, men rode horses and camels dressed as Arabs and shouted “Allahu Akbar” as they wandered amongst early 20th century British soldiers, and belly dancers shook their hips for hundreds of dressed-up ticket holders sitting on the ground enjoying Middle Eastern fare before the film screened. After enjoying years of success with film, Secret Cinema have decided to branch out into music and Laura Marling at The Grand Eagle Hotel – an empty 19th century building in Hackney that used to be a school, and of course, wasn’t on a map as a hotel because it didn’t really exist – is their first event, and my first Secret-anything experience. We sat down in the dining room for chilled almond soup with sour cherry juice, the latter served in a syringe for you to plunge into the soup. Followed by roasted quail, which took 45 minutes to eat because we daintily pulled it to little pieces with our knife and fork, too afraid someone would judge us if we picked it up with our hands and started gnawing at it like it was KFC. Dinner was accompanied by live music, a lovely ‘70s-folk-style three-piece with a singer who sounded exactly like Joni Mitchell only no one knew who they were and they weren’t on any of the event info. Not longer after they finished a short set, we were hurried out into the long hallway to watch Laura Marling play a version of Springsteen’s Dancing In The Dark from the second floor balcony. With the lights turned off, twilight streaming through all the stained glass windows and maids slowly sprinkling rose petals on the guests below, it was pretty magical. Marling played her full set at the ball, in the ballroom – a few hundred people standing in front of a stage in a converted gym hall. “They say it’s typical of English people to get a cold in the summer... I have a cold,” she quipped. And occasionally her smooth vocals broke from the strain of it, or she played the wrong chord and had to start again. I didn’t mind any of this; you’d have to a complete arsehole if you did, and the vibe in the room was we’reall-friends-here-human-girl-you’re-doing-great. But to be honest, this is where the magic spell broke. Marling was not in costume and all the effort put into the rest of the mansion seemed to stop here – it was just a gym hall, with Laura Marling playing in it, and it was definitely 2013. This is a fantastic way to see music, it’s a whole experience, but they should have kept up the ruse until the final curtain call. Two days later I woke up with a cold. Yep, Laura Marling gave me a cold.

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Chasm A couple of weeks ago I wrote about the release of Chasm’s new EP Smoking Aces. It’s part of his 2013 EP series (the first was the excellent Diamond Cuts, which featured Skryptcha and Rachael Berry). This time around, he’s teamed up with emerging MC Monchichi, and if you haven’t given this short sweet release a spin yet, doing so is highly recommended. Being the champ that he is, Chasm found a bit of time to answer some questions about the EP, so read on to learn more about Smoking Aces. On the EP title and suit-of-card track names: “It was Monchichi’s idea. I think he thought of a deck of cards when I first pitched the idea to him of a four-track EP, one of four EPs in the series. Then the idea was each track would represent a different card and the subject matter would relate to it in some way.” On working with Monchichi: “He has a flow that stands out to me in the landscape of rappers in this country. That’s why I wanted to work with him. I also thought it’d be cool to work with someone that people wouldn’t necessarily think I would work with. He just has a dope style and it’s as simple as that really: was feeling his style and wanted to work with him.”

On what else he’s been up to: “I have been working on the new Astronomy Class release, a Khmer-themed project which had been awesome fun to make and also working on a new EP for my other alias Dr Don Don.” Smoking Aces is now available through iTunes, so make sure you grab yourself a copy and immerse yourself in some tunes courtesy of one of this country’s most innovative producers. It’s been a while since the last Raise The Roof, but the hip hop extravaganza will be back at the Espy for its sixth installment on Saturday 20 July. Urthboy has top billing this time around on a line-up that also includes Joelistics and the longdormant Resin Dogs. Also on the bill: Briggs, Loose Change, Mind Over Matter, Purpose, One-Sixth, Dr Flea, Eloji, Dibe, M-Phazes and Slap 618. Reason will once again take hosting duties for the evening. The bill perhaps doesn’t have the massive punch of some of the earlier Raise The Roof iterations, but it is packing a significant amount of unconventional hip hop from some of the most adventurous artists in the business, and it doesn’t feel quite as same-same a bill as we’ve seen recently (for a while there it seemed like you had to check the event date to work out whether a Raise The Roof poster was for an upcoming or past show). Tickets for Raise The Roof #6 are on sale now through Oztix, so make sure you pick yours up and support one of Melbourne’s finer hip hop institutions.

THE GET DOWN FUNKY SHIT WITH OBLIVEUS to anyone who wants more than the standard disco edits we’ve been privy to for the past five years.

Tessela It’s hard to imagine the cold confines of Melbourne Town right now as I fly thousands of feet over the Pacific between LA and Hawaii, but I’m going to do my best and jump into some electronic bizness on the dirty funk basslines, booty house, b-more and trap tip this time around. What better place to start than with the new jam from Tessela, Hackney Parrot. Sounding like the mongrel love child of a b-more mix tape and a jungle session down in a stinky, dark basement somewhere in NYC, this bad boy jam simply kicks. The beat’s not far from It Takes Two, the ol’ skool Rob Base and DJ E-Z Rock classic, whilst a sparse bassline and simple handclaps round out the affair with some euphoric synths and vocal stabs to carry the breaks. If you want something for that car ride between gigs, then this is your poison. On the Stateside tip, I was recently hyped to a tasty EP called New York Anthem by Tony Quattro. Straddling the line between 2-step and house, but with a Strictly Rhythm vibe, this EP was made for the late night sets. My money is firmly planted on his joint with Doctor Jeep, Forth & Seek, a 2-step belter with enough bleeps and blobs to sound right at home on any classic breaks mix from Jeno or Garth circa 1995 (for those that know their classic California breakbeat). Anyways, I recommend this

Onto other vibes, I reckon I was one of the last dudes on the planet to get hyped to the whole trap phenomenon and, to tell you the truth, I’m still not 100 per cent sold on most of it. That said, there are quite a few massive tracks No Name Nath hyped me to recently. As most of the masses are quite aware of a certain Harlem Shake, I’m not even going there, but I will go to Baauer, the dude who wrote the jam. His Dum Dum single from last year is absolutely huge and I don’t think I’ve ever seen heads dance the way they dance to this track. If you too haven’t tried him out yet, I suggest you brace yourself for a bizarrely funky ride into the apocalypse and search for the name. While you’re there, do yourself a favour and have a listen to Buku and his bug zapper basslines filtered throughout the single All Deez. Imagine 18-year-old white boys in their parents’ borrowed Commodores rolling down the street busting out ‘all deez hoes’ at the top of their lungs. Actually, don’t! Hopefully, I haven’t scared you away because the song bumps big time and like I said, I’m not 100 per cent sold – but, throw in a swag of drink cards, 600+ sweaty punters, a good system and you’ll have a good start to the whole trap vibe. Well that worked for me, at least. Also working well for me and providing the best segue from the futuristic trap sounds to the analogue stylings of 45s is the best mid-week funk and soul session this town has to offer. It’s at this sweet venue off Little Bourke Street called du Nord and the night’s called Lil Lordag (Swedes represent) or in English terms, ‘Hump Day Funk’. It’s brought to you all free of charge by the always hustling Mr Lob and the man plays nothing but the best vintage swinging and funky 45s known to humankind. The night has been getting rave reviews and I even broke my school night cherry recently and had a right good old time pleading to hear my favourite songs. If you find yourself out on a Wednesday night in the CBD, I could not recommend this more and with those parting words, I am out of here.

Alaska Fundraiser Pic by Marina Galperina “Community” is an oft-overused word these days, for the simple reason that in post-Thatcher/Reagan urban environments, it really doesn’t exist any more, and certainly not for transient twenty- or thirty-somethings – we are a collection of individuals, living out our lives in a space that we cohabit out of necessity and convenience rather than through any sense of shared origin or experience. This is especially true in a place like New York City, where neighbourhoods and blocks are constantly changing and evolving as people move in and out and upwards and downwards in the world. This is a city where people come to rent and work and hopefully save enough cash to continue moving, be it within the city or back out into the world. It’s a place where everyone lives and nobody really belongs. It’s A Moveable Feast, as Hemingway once said about Paris. And yet, and yet. Occasionally something happens that makes you reassess such weary urbanite cynicism, or at least suspend it for a couple of weeks. So it’s gone of late in my corner of Brooklyn, largely because of a strange thing happening: a local bar catching fire. The place is called Alaska, and it’s a pleasantly dingy little bar a couple of blocks from my apartment. It’s one of those bars that makes you think that maybe Cheers wasn’t a laughably idealistic portrayal of the sort of establishment generally populated by alcoholics and people with nowhere else to go. It’s the sort of place that feels like an extension of your living room, where interesting people come and go at strange hours with booze in tow. Anyway, the other night Alaska caught fire. I’m not sure exactly what happened, because (for once) I wasn’t there – apparently there was some sort of electrical fault, and there were flames, and then the fire brigade turned up and basically destroyed the place in the process of extinguishing the fire. The upshot of it all was that there was suddenly no more Alaska – and, because the owners were only “semi-insured”, there was a distinct possibility that there may never be again. It was at about this point that things started to get rather heartening. Over the Fourth of July weekend – a four-day weekend if, like pretty much everyone else, you were sensible enough to take Friday as a vacation day – the bar’s owners organised a benefit for their staff, who’d gone unpaid (and untipped) during the time the bar’s been closed. It was held on the roof of a great decrepit loft building in Brooklyn, and the turnout was one of those things that rather reaffirms one’s faith in humanity. Standing on said rooftop as the sun went down, watching the Independence Day fireworks go off in the distance over the Hudson and listening to a band who were – well, they were kind of okay, and they were called The Teen Commandments, which was amusing. It felt like for once I was drinking for a decent cause, which if you’re going to get royally wankered at the start of a four-day weekend, you might as well do it constructively, no? The benefit was a resounding success, as far as I could tell – there were perhaps 150 punters there, perhaps more, and at $5-$10 a donation, that’s a decent sum to bridge the gap for people who haven’t been paid for a couple of weeks. This weekend, the owners have had something of a working bee to put the bar back together again. I may head down after I finish this column, but in the meantime, I’m told a bunch of regulars have been pitching in – some people who work there, some who drink there, some who’ve been a couple of times and just like the place. A... well, dare I say it, a community. And in a couple of weeks’ time, Alaska will reopen and I’ll have somewhere to squander my hard-earned cash on booze again. Forgive me if I get all sentimental – I’ll be back to being cynical again in no time, I’m sure.







which displayed a verve and imagination missing from many a recent big-ticket blockbuster.

Pacific Rim Measuring one’s expectations is a vital skill in this life, and when it comes to your entertainment of choice it seems to be increasingly tricky. Unless you choose to cut yourself off from the media – traditional, social, what have you – there’s a good chance you’re going to be exposed not only to the usual avalanche of hype that accompanies an upcoming release but the unsolicited opinions of pundits both professional and amateur about its chances of critical acclaim and commercial success. And there are many times when that can poison the well. Take The Lone Ranger, Disney’s reinvention of the masked hero of the old west and his faithful sidekick Tonto. Even in the midst of filming, reports started to leak out about a budget spiralling out of control and needing to be cut back (does a Lone Ranger movie, even one from the makers and star of the Pirates Of The Caribbean mega-franchise, really need to cost in excess of $200 million?) and subplots and story elements that had been scripted but then discarded (werewolves had apparently raised their shaggy heads in an early draft before being excised, which strikes me as a poor decision because, as we all know, werewolves improve everything). And the movie came to be regarded as a broken pony before it even galloped into cinemas, a perception that seemed to stick, given its lacklustre debut as the American box office last weekend. Personally speaking, I was actually kinda taken with the movie,

World War Z faced the same kind of gloomy prerelease press, with more than one article focusing on its troubled production history and allegedly desperate scramble to revamp its third act. (Screenwriter Damon Lindelof was drafted to rescue the seemingly adrift project, which doesn’t necessarily strike me as the most rational solution, given that his contributions to the likes of Prometheus don’t seem to have been that helpful.) And when such articles – or anecdotes or bits of hearsay from ‘industry insiders’ – start doing the rounds on Twitter or whatever, it rarely bodes well. That said, World War Z doesn’t seem to have suffered as dire a financial fate as The Lone Ranger. What can I say, people dig zombies, even when their flesh-eating antics aren’t depicted in all their gory, gushing glory. But then you also have the pressure of great expectations, and that brings us to something like Pacific Rim, opening in cinemas this Thursday. I think I speak for a great many geeks when I say that this year’s crop of big movies has been a little disappointing. Speaking for myself, I know I’ve been slightly let down by the likes of Star Trek Into Darkness (it’s perfectly fine but it doesn’t raise the bar JJ Abrams and his team set with their first Trek) and bitterly disappointed by Man Of Steel (seriously, this is a leaden, sluggish mess, utterly bereft of excitement or emotional resonance). So I went into Guillermo del Toro’s monsters-versusgiant-robots extravaganza with high hopes. This was based on del Toro’s track record, the presence of some of the other talent involved (you go, Idris Elba) and, well, the notion of big ol’ mechanical badasses throwing down against gigantic scaly beasties from another dimension. I’m a simple man, I have simple needs. And Pacific Rim is... well, okay, I guess. Maybe my inner 12-year-old and I are not seeing eye-to-eye as much these days. But after an impressive opening half-hour or so, which neatly sets up the mythology of its world, the movie started to feel like more of the same old same old, with murkily-shot scenes of carnage taking precedence over the people in the midst of it. I felt submerged rather than swept away.

Tobias Manderson-Galvin pic by Max Milne In most countries around the world, the thought of turning parliamentary records into a theatrical production might seem as dull as listening to hours of debate about tax legislation or long-winded explanations of footnotes in the current accounts, but not in Australia, where policy discussion has for the past couple of months (nay, years) taken a backseat to political intrigue that even Alan Sorkin couldn’t have written. A good piece of theatre needs a fair dose of conflict, and there’s been no shortage of that over the past couples of months in parliament so it’ll be interesting to see if a new ‘verbatim’ production based on actual transcripts, The Hansard Monologues: A Matter Of Public Importance manages to capture the drama. Playwright Katie Pollock and political writer Paul Daley have compiled a script from speeches made in the Australian parliament over the past three years for the production, which will be mounted at Sydney’s Seymour Theatre at the end of this month. A month out from the Federal Election, the production might serve as a ‘Cliff’s Notes’ for voters who simply switched off towards the end. One of the producers of the show is a former editor of the Sydney Morning Herald, Peter Fray, who’s keen to line up a live pollie to appear at each production. So far he’s cornered Rob Oakeshott – let’s hope he doesn’t want to relive his infamously long hung parliament speech! It’s hard being a playwright in a country where our politicians are such actors that verbatim political records require no dramaturgy to make them suitable for performance, but some are succeeding. A former Play School presenter and a performance poet are two of the

four winners of this year’s RE Ross Trust Playwrights’ Script Development Awards. The annual Awards foster Victoria’s theatre industry by helping local writers with grants of between $3000 and $10,000 to enhance their scripts through workshops with a Victorian-based theatre company or group, director or dramaturg. This year four plays were awarded from 29 entries. The 2013 judges – Declan Greene, Mary Lou Jelbart and Anne McInerney – welcomed a larger field this year. (Damn, should have entered last year!) The judge’s report acknowledged a wide variety of works ranging from “short works aimed at young children to ambitious long plays stretching the theatrical form, representing an enormous variety of genres: thrillers, fantasy, science fiction, horror, domestic drama and comedy. Submissions included elements of dance, song and poetry, as well as various visual forms from fundamental drawing techniques to the incorporation of new technology.” In the end it seems the ‘thriller’ genre shone through with three of the four selected having a violent mystery at their hearts. Just Perfect, by accomplished actress and presenter Trudy Hellier, is inspired by real-life events surrounding the murder of a Melbourne businessman with a secret life, examining the tragic effects on those left behind. “The writing has a very precise, beautiful level of detail that allows tragedy to loom right from the start and build its power slowly, step by step,” said the judges. The Unknown Man On Somerton Beach, by poet and co-founder of the MKA theatre company, Tobias Manderson-Galvin, also has a famous unsolved mystery at its centre. Didem Caia’s Vile is described as a “tale of oppression, abuse, love and loyalty that is timely, surprising, challenging and artfully handled”. And Mari Lourey’s Dirt Songs explores contemporary issues such as the mistreatment of Indigenous people and the exploitation of natural resources. The four writers, together with Merrilee Moss, who received a ‘highly commended’, now join the prestigious list of former winners including Lally Katz and Patricia Cornelius. State Library of Victoria CEO and State Librarian Sue Roberts said the awards “…fill a gap in the industry and provide a wonderful opportunity for playwrights to develop their craft and offer a rare chance for emerging and established playwrights to showcase their work.” Let’s just hope that parliament calms down now and keeps some playwrights in work.

For more opinion go to • 33

[THE GUID IDE] EURO ENDGAME Closure In Moscow return home to Australian shores in July to put the finishing touches on their muchanticipated sophomore album Pink Lemonade, which will see the light of day later in 2013, and head out on tour though July to showcase some of the amazing new material and all the epic sing-along goodness from their groundbreaking debut First Temple. Catch them at the Toff In Town this Saturday for a little bit of sonic bliss.


SEVERAL ORGANS Melbourne-based acoustic folk roots act Seven Hearts will be launching their debut video for Monogirl before heading to the UK for some shows. The video was filmed in Hungary, depicting a young woman and her focus on her body image and the material world, distracting her from recognising and realising her inner beauty and potential. It will be screened for the first time this Saturday. Seven Hearts will perform live with support from Nice Boy Tom, Monotreme and Birahny Lawrence.



Friday, Revolver Bandroom

This Friday, free in the Prince public bar, comes local music legend Dave Graney. Cementing his place in Australian music history fronting The Moodists 30 years ago, Graney has continued to wield a large musical presence in this city with his various bands, most recently with this band The MistLY. On Friday he will be performing in solo mode along with The Morning After Girls.

The very cheeky REMi has gained a fair bit of attention since the release of his single Sangria a couple of months ago. Flowing over his main man Sensible J’s musical workings he captures the magic of days off and good times. To follow up, the emerging hip hop prospect is giving away a free mixtape FYG :: ACT 1. Make sure to catch this kid before he blows up as REMi kicks off his Free Sangria Tour ih his hometown this Friday.

BIRDS OF FLAME The newest venue in South Wharf, Gasolina, will host Firebird this Saturday. They are a red-hot, no holds barred blues and rockabilly trio that take their musical cues from legends as diverse as The Rolling Stones, Stray Cats, Stevie Ray Vaughn, and Screamin’ Jay Hawkins, and use them to concoct a high-octane sound that is distinctly their own.


FRONTLASH RECORD LIBRARY London-based DJs Sophie Austin and Elly Rendall have opened a vinyl-only public library in Stoke Newington. Can we have one too, pretty please?

BOTTOMS UP Wet July. We don’t care that it doesn’t rhyme.

WE’RE INTO HIM Chet Faker getting his Rock On during Saturday night’s RocKwiz duet with Saskwatch’s Nkechi Anele. That is all.

After whetting the public’s appetite with singles Why’d You Have To Kiss Me So Hard? and the infectious Awoooh!, Laura Imbruglia is finally ready to present the other pieces of the puzzle. What A Treat (which, incidentally is packaged with a fanfunded jigsaw puzzle!) heralds the expansion of Imbruglia’s sound from three-piece to five-piece band, introducing lead guitar and pedal steel to flesh out her arrangements. Imbruglia launches her new album with Melodie Nelson this Saturday at the Tote.

BE COOL A new Friday night institution began last week and now the not-to-be-missed second week of The New Cool at Circus Bar (South Yarra) promises to be off the hook this Friday. Get down early so you don’t spend the night standing out the front staring at their charming security guards.

WEEKEND PRINCE Matt Watkins will be this Saturday’s special guest at Poison Apple in the Prince Bandroom. The electro genius will bring the house down with tracks from his new EP Killer. In the front bar Holy Moses Heartache, Victor Kennedy You Yangs and Los Dominados will kick up a fuss with a fabulous mixed bag of shit hot live music.

ONE FOR ROBBO Chet Faker Pic by Andrew Briscoe

BACKLASH GRAND SLAM Whaddawewant? Save the Palace! Whendowewannit? Now! Don’t just like the Facey page, sign the petition! (At the time of going to print) the signature goal was almost achieved!

LOST PROPERTY GPS micro-chipped wedding rings. Hmmm… is this really to find the ring if it gets lost or a tracking device for cheaters?

BOOBY PRIZE The Boob (aka Michael Bublé) covering Daft Punk’s Get Lucky live at London’s O2 Arena while stalking through the crowd and then pulling some cringeworthy moves.

Peter Roberts was an important member of many bands like Streetlife, Network and Stylus, just to name a few. Now it’s time to give back to Robbo, who is battling the cruel disease that affects so many Australians in their latter years. The fundraiser will be held on Central Club Hotel on Wednesday 24 July with Stylus and many other artists performing.

KIRK GOES GOLD Shaun Kirk will complement a bevy of other talented acts at the Bendigo Blues & Roots Music Festival’s latest showcase event on Sunday 21 July. The award-winning troubadour has brought his soulful grooves and robust vocal range to all the major blues festivals since first picking up the guitar at age 16, and now he’s set to ignite the festival’s fourth showcase for 2013 at the Goldmines Hotel.

TTTDC FRONT BAR For a month of Saturdays in July, there will be a weekly gathering headed by TTTDC in the Tote front bar. This three-piece feed off riffs and gravy and will bend their will to electrify your mood and put a kink in your swagger. This week they are joined by Batpiss for their second appearance at the Tote in two nights.

NEW CROP Fraser A Gorman & Big Harvest release their new single and video Dark Eyes and celebrate with an intimate solo residency, playing Wednesdays in July at the Spotted Mallard. This week Fraser will be joined by Bob Harrow of Immigrant Union fame.

34 • For more news/announcements go to

TEN SMITS The Smitten have a show at the Empress tonight (Wednesday). Michael Kean will be playing bass super sub again, while regular bassist Moose enjoys the country air. They are joined on the night by the very talented Peter Carr and Come Back Julie.

BEE THERE Taking influence from blues and jazz artists, Bee has an empowering and enchanting stage presence with a unique and captivating sound. She blends essences of jazz, folk and blues to create her own acoustic sound, demonstrating an original take on music. Catch her as she launches her debut EP with Bnash, Mantic Notion, Tash Sultana, Ross Evans and Rob & Andy in the Espy’s Gershwin Room on Friday 26 July.

MUMMA’S APES Tonight (Wednesday) Drunk Mums along with Bad News Toilet and Apes will be reshaping your view of the Toff via an anti-hegemonic display of rock’n’roll. Drunk Mums share the ability of their Queensland forebears, The Saints, in combining brash yet melodic song structure that invites the audience to boogie. Young rockers Apes will play one of their first shows since releasing their debut EP and Ballarat’s Bad News Toilet are closing the night with their genre-melting style of DJing.

SIMPLY A MUST Heymus is an acutely delightful guitar, bass and saxophone outfit blending heartfelt folk with upbeat, blues, all laced with pop sentimentality. With a great lust for live performance Heymus will have you forgetting who’s buying the next round and resolute in your decision to get out of the house this Thursday at the Empress Hotel.

OUT OF THE FOREST Returning to the studio to hibernate after the successful release of their debut LP in 2012, Whitaker are spending July working on a follow-up release for 2013 – emerging only to perform intimate acoustic sets filled with their signature lyrical and melody-driven folk/pop material (as well as some brand-new tunes) Monday evenings at the Toff In Town. This week they will be joined by Gabriel Lynch and Nick Basitras.

BIG BONED Some things are just out of place. Like a garbagefuelled fusion generator in a rather unreliable American sports car or two fine psych bands at Sydney Road’s biggest beer garden dance bar. But you mix the two together and the next thing you know you are traversing the space time continuum. Melbourne drone, psych, kaleidoscopic kit smashers The Grand Rapids and ex-Bris/Syd wall of sweeping shoegazers Tender Bones get set for fuzz in the fifth dimension. Head along this Saturday at the Penny Black.

WATERY NUMBERS Imogen Brough’s music has as ethereal quality. Earthy vocals combine with creative, lyrical piano and violin in a soft-rock, balladic style. Hints of Celtic and Irish music surround her melodic songwriting, of love stories and of the sea. Brough brings her music to the Toff In Town this Thursday with support from Maeflower.

SLAMMIN’ BENDIGO The Music Man Megastore Bendigo will be hosting Music Slam Number Two from Thursday 18 to Sunday 21 July. There will be 44 bands appearing over the four days, including Towers, Cardinals, Temples, One Girl Army and Hold Your Own, but that is only scratching the surface. After the success of the first Music Slam last month, this is sure to be even bigger and better!

TOP OF THE CHOPS The Chop Tops return to Australia with their unique style of revved-up rockabilly. Hailing from Santa Cruz, California They have toured with bands like Mad Sin and the Nekromantix, The Dead Kennedys, Suicidal Tendencies, Dick Dale, John Lee Hooker and Chuck Berry. They’ll be raising the roof at the Spotted Mallard on Thursday 1 August, along with Hank’s Jalopy Demons.

indie news



This Saturday, Leaps & Bounds Music Festival and the Evelyn present The Asylum Seeker Resource Centre Fundraiser, featuring three great local bands. Pony Face have had a spectacular six months, with the release of their third album Hypnotised to critical acclaim and also a national tour. Their friends The Twoks will be joining them, having just released their record Sailing Away – The Instrumentals, as well as Human Face who’ll be opening the night. All proceeds will go to the Asylum Seeker Resource Centre.

Following two headlining performances at the 2013 Melbourne Cabaret Festival, Charlie Lane will be dropping into the Grace Darling tonight (Wednesday) to host a party celebrating all things quirky. Joining the festivities will be Lane’s special guests, Dash in all their glamour and The Keytar Kids in all their toyness. Put aside your school-night worries and check out Charlie Lane’s Leaps & Bounds Festival show.

DON’T STAY BLUE POLO CLUB Answered by: Gully Chaps EP title: Live For Tonight How many releases do you have now? We first released an album when we started, released She Will Never Know EP last year and now this one.

With infectious vocals and a subtle dark side, progressive folk-pop five-piece Tully On Tully join the Leaps & Bounds Music Festival. Headed by the haunting vocals of Natalie Foster, their latest single Stay evokes thoughtful imagery and poetic descriptions. Joining them at Yah Yah’s this Sunday is the vintage vocals and smooth honey harmonies of Susy Blue, as well as the cinematic sounds of Catch Release.

Was anything in particular inspiring you during the making? Just working as a team. We have been doing a lot of live shows with a full band, so [there’s] lots of energy, which has carried over onto the EP. What’s your favourite song on it? She’s A Pro: a dark electronic track with deep 808 drums and lyrics about spoiled rich girls off dad’s cash.

When and where is your launch/next gig? The Workers Club EP launch, Friday 19 July. Website link for more info?


WHOOSHING ENGINES From what began in 2009 in a lounge room in St Kilda, Howlin’ Steam Train have forged a reputation for a rollicking live show, which they’ll be bringing to Yah Yah’s this Saturday as part of Leaps & Bounds Music Festival. As the name implies, Howlin’ Steam Train are ragged, relentless and freakin’ fun. They’re a nice and boozy cocktail of rock, soul, boogie and a bunch of other sensual delights you can’t quite pick.

My Piranha bring their fast paced grunge rock‘n’roll to Bar Open this Thursday in anticipation of their second single I Was Born Yesterday, taken from their latest double A-side release. They’ll be joined by good friend Glen Bailey with his soulful voice and blues-rock guitar stylings. Also onboard are the always super fun, psychedelic, garage party band favourites A Gazillion Angry Mexicans for this Leaps & Bounds Music Festival show.


Was anything in particular inspiring you during the making? Works from J Cole, Kendrick Lamar and Lupe Fiasco. What’s your favourite song on it? I’d have to say two: Yes! (first track) and Vision (last track). We’ll like this EP if we like... The likes of Lupe. When and where is your launch/next gig? Friday 19 July at Revolver Upstairs. Website link for more info?

Having formed in 2008, The High Society are a nine-piece juggernaut that blur all lines of musical austerity. With three MCs at the centre and a sixmember backline including some of Melbourne’s most talented musicians, the band genre hop into reggae, jazz, hip-hop, drum and bass, funk and rock. They’ll be playing at First Floor this Thursday with Mayfield as part of Leaps & Bounds Music Festival.

I Am Duckeye are performing a special acoustic show at the Empress as part of the Leaps & Bounds Music Festival, a joyful gathering to bring awareness to the thrill of unsupervised intersection pole-vaulting experiences for innercity kids. Having just released their debut album Husband to rave reviews, they will be rippin’ stripped-back-to-basics versions of a selection of quality tracks from their illustrious career.


How many releases do you have now? One single, one EP.



Five-piece experimental, trip-rock band Kalacoma write music that draws on their love of vintage tone and the avant garde. Having just completed their June residency at the Evelyn and with their debut EP Spiral Eyes receiving much critical acclaim, they’ve been selected to headline Bar Open as part of the Leaps & Bounds Music Festival this Saturday. Also performing are their good pals Howard.

EP title: Yes!

Four-piece Enabler (USA) have pushed out eight furious releases of their own unique meshing of metal, punk, hardcore and grind, the latest of which is their scorching Shift Of Redemption EP. They head down under for the first time this July to launch it. Sludge group Urns will join them for all shows. This Thursday at the Bendigo Hotel, as part of Leaps & Bounds Music Festival, they’ll also be supported by A Million Dead Birds Laughing, Party Vibez and Diploid.

This January, Melody Pool was crowned the Songwriting Winner of the Telstra Road To Discovery competition with her title track The Hurting Scene and the beautifully empowering Henry. Her anticipated debut album is a stellar collection of depth and grandeur. Hear her performing songs from it live at the Grace Darling this Friday, as part of Leaps & Bounds.





We’ll like this EP if we like... A$AP Rocky, The Weeknd, Kanye, Flume, Big Boi, Ta-Ku, Pusha T. Big drums and tight raps/production, electronic/ hip hop beats and good times.

Hailing from Wellington, Project H have recently released their EP Journey To The Sleepy Town and are bringing their fusion of technology and DIY, eerie moods and haunting soundscapes to Bar Open tonight (Wednesday), as part of Leaps & Bounds Music Festival. They’ll be joined by solo performer Popolice’s seamless blend of pop, noise and funk, as well as Vowel Movement, and The Paper Boat, with their improvised live performances of postrock with elements of jazz for non-jazz musicians.

SINGING LAWYERS Popboomerang Records, the City of Yarra and Leaps & Bounds Music Festival present It’s Not The Singer But The Song at the Yarra Hotel (Abbotsford) this Saturday. This afternoon and evening show features handpicked Australian pop, rock and jangle bands showcasing their own material as well as classic Australian pop songs. Performing will be Peter Carr and Mezz Coleman (aka The Family Tree), Tim Reid, Danny McDonald, Michael Meeking, Nick Batterham, The Wellingtons, The Jonesez and headliners The Solicitors.





SYDNEY MORNINGS Morning Ritual is a series of Leaps & Bounds weekend gigs starting at midday at Copacabana (Collingwood). This Sunday it’ll play host to Beaches, who are playing their first Melbourne gig since their sold out album launch gigs at the Northcote Social Club. Support comes from Geelong-based synthpunk snotnoses Ausmuteants. Between sets there’ll be band DJ sets from members of Zond and Deaf Wish.

THE TONAL TEENS Sixties teen-scene-garage-punk Sydneysiders Los Tones will be hitting the road this month to launch their debut 7” record Buchanan Hammer/Gone Away. Catch them with the UK’s Hank Haint at the Tote Cobra Bar this Friday, and then with Mesa Cosa and Hank Haint at Old Bar this Saturday. The two shows are part of the Leaps & Bounds Music Festival.

WILD CATS AND DOGS Jackals are a new Melbourne band getting a lot of attention for their own venomous brand of rattle snake rock’n’roll that’ll pull you out of the swamp and drag you screaming and kicking across the gravel to the dusty desert. Together with Map Ends, Gentlemen and Meth Leopard they’ll be hitting up Old Bar this Friday as part of the City of Yarra’s Leaps & Bounds Music Festival.

OUT OF EXILE For a very special night thanks to Leaps & Bounds, The Meanies return to the Tote this Friday for Exile On Johnston Street. It will be almost 24 years to the day of their very first show, which just so happened to be at the same venue. This generation’s Tote-loving regulars Batpiss are playing too, along with Geelong punks The Kremlings and Jan Juc fuck-ups The Dipsticks.

BROTHERS IN HANDS This July Brothers Hand Mirror are bringing their notoriously wild live exploits to Cobra Bar, upstairs at the Tote every Thursday evening. Nothing will make you want to dance more than the anticipation of the duo’s forthcoming EP Picture Tape. Part of the Leaps & Bounds Music Festival.

GEORGI KAY In My Mind Ivy League A very impressive debut EP from this young Perth artist. Brooding and majestic, Kay lets her songs unravel slowly – the melodies revealing themselves over drawn-out chord progressions. The songs vary in sound from the stark piano balladry of Breakfast In Bedlam to the almost mid-tempo dance chorus of Right Next To You. Yet these changes complement each other and only serve to engage the listener. The most praise has to be reserved for her cover of Björk’s Joga though. The midway point of the EP epitomises Kay's talent, showcasing her ability to use simplicity to create something beautiful.


The Main Guy & The Other Guys Independent It sounds like these guys had a lot of fun making this record, but the humour they bring is a bit hit and miss. Stylistically they are all over the place, swapping genres to aid their dumb punchlines. Thankfully, the annoyingly incessant single Partyhard is the weakest track on their debut EP. The standout track comes with the fast-paced rock'n'roller Just A Roll Of Toilet Paper. It may be one of the silliest tales put to music, but there is no denying their catchy take on the genre they are lampooning. The fun-time four are playing the Grace Darling this Thursday and the Wesley Anne on Friday.


The Love Club Bossy Music/Universal Lorde's debut EP could easily have been just another Major Label take on pop quirkiness. Well that's exactly what it is, but thanks to Lorde's creative delivery and some clever production work, it comes across as a strong introduction to an artist rather than a flimsy attempt at a quick cash in. The New Zealand high schooler impresses with each track and, crucially, while there's definitely confidence, the naiveté of her lyrics and style has been retained as well. Apart from the successful single Royals, the slightly darker Biting Down provides a major highlight.


Osborne Again As part of the growing Ocean Party family, Shark Alarm offer an even less concerted attempt at creating original music than their Melbourne slacker associates. Even for this type of music Mitch Clemens hasn't got a strong voice, but this doesn't stop him from creating charming little local tales of young adult living. It doesn’t hurt that the music he has to work with is surprisingly solid. The guitar, bass and drums set-up moves together easily, and the simple approach means any musical shifts really grab attention. A bit of organ here and there helps to liven things up a little. Shark Alarm play next Tuesday upstairs at the Rochester Castle.


Only The Quick And Hungry Highway 125 Despite the possible dangerous connotations of their chosen title, Bear With Guns approach this record with a warm sound taken directly from their busking roots. There's a whole lot of acoustic instrumentation going on, with their music taking on a rootsy, permanent holiday-type vibe. There are some nice moments but the release struggles to build momentum with some of the tracks feeling a bit light on. The trumpet-laden Wandering Soldier and closer, Taken For A Fool, show the best of the band's songwriting, but elsewhere it seems the five-piece have failed to capture their live energy on tape. Not unenjoyable and definitely worth a couple of bucks in the hat.

For more news/announcements go to • 35

[THE GUID IDE] i n d i e






Get toasty by the open fireplace in the Espy front bar this Monday to catch The Pierce Brothers, who play a captivating fusion of roots and foot-stomping indie folk. Born in small bars and on the streets of Georgia and Tennessee with a donated guitar, a plywood board and two milk crates, Rattlin’ Bones Blackwood will also be joining the line-up, as well as Adam Hynes.

After a massive six months on the road in support of his new album Sinners And Saints, Benny Walker brings his band to the Toff In Town this Sunday to bid Australia farewell before taking the show on the road in Canada. He will joined by Damon Smith & The Quality Lightweights.

This Thursday, surf rockabilly party animals La Bastard will be returning to the scene of their sell-out debut album launch, the Retreat (Brunswick) to treat you to their unforgettable live show and reverb-drenched licks, plus a sneak peek at tracks from their forthcoming EP. They’ll be joined by Alysia Manceau (The Velocettes).


BRIDGE TO BOUNTY THE MERCY KILLS Answered by: Mark Entwistle Single title: Don’t Give It Up What’s the song about? It’s about calling the shots. It’s about getting back up and dustin’ yourself off. It’s about rock’n’roll. How long did it take to write/record? The riff came first and the song followed a few days later. It quickly took shape. Almost wrote itself, we played the hell out of it. It was recorded over two days. Is this track from a forthcoming release/existing release? Yes, Don’t Give It Up is taken from our debut album which will be released in September. This is a two-track single which also features the song Little Mercy and is available at our shows. What was inspiring you during the songs writing and recording? We all listen to different sounds for inspiration. Always keen to try new ideas. There’s a great energy when we hit the studio, just having a blast putting the tracks down together keeps it sharp. We’ll like this song if we like... Stomp guitar dirt groves, with a killer female/male vocal attack. Do you play it differently live? Our live sound is raw and dirty, we smash it up. It can be hard to capture that energy in a studio. We record at GM with a rad dude, Chris. Loving the results.

Nigel Wearne continues to celebrate the release of his second single and title track from his latest album Black Crow. He performs a rare show with his band The Cast Iron Promises at the Retreat (Brunswick) this Sunday for a night of good ol’ country twang, honky-tonk and honest storytelling. The night kicks off with Nice Boy Tom and fellow Melbourne songwriter, Bill Jackson.

Comprising vocals, guitar, violin, accordion, glockenspiel, drums, bass and piano/organ and music saw, The Spoils combine enchanting stories of pursuit, regret and frustration with tales of mystery, murder and the macabre. They’ve recently released a self-titled European vinyl compilation through Beast Records, France. Catch them at the Bridge Hotel (Castlemaine) this Friday supported by Julitha Ryan (Silver Ray/Dead Salesmen).




Get into gear for the launch of Vultures Of Venus’ brand new single Get Laid. They’re going all out at the Evelyn this Sunday with dancers The Venus Man Traps, projections, lasers, smoke machines and some damn fine tunes. Joining the electro space rockers will be troubadour rock‘n’rollers Skyscraper Stan & The Commission Flats, all girl punk three-piece Tequila Mockingbyrd and alternate rockers The Heroines.

Dear Ale… are celebrating the release of their second studio album Somewhere To Be with a Sunday night residency at the Curtin Bandroom in August. The ripper supports for the month include Hunter, The Quarters, Trigger Jackets (WA), The Tarantinos, Andrew Swift & The Rattlesnake Choir, Green Green Green, The Furrows, Broni, Young River & The Evans Street Band and G-pop.



This Friday, A Strange Day will be playing their debut gig at the Gasometer. They’re a two-piece band who combine electronica and guitar with shoegaze elements – it’s loud and atmospheric. Their debut coincides with an EP launch and a killer supporting line-up including Bad Family, The Stevens and See Saw.

Come and farewell 8Foot Felix this Friday night, days before their departure to tour the UK. The brass has been polished and the rigging re-jigged by busy months of gigging. Elated gratitude is oozing from the band following the storming success of their Pozible campaign. It’s time to celebrate in full style in the glorious setting of the Spotted Mallard ballroom. They are supported by The Redbrigade.

SHARING KIND Throughout their daily toils and tribulations The Wikimen always find time to string up the double bass and polish the vibraphone for a new sonic adventure in the realms of early 20th century pop jazz. The Wikimen have set up shop at the Spotted Mallard throughout the month of July, with free shows every Sunday. To celebrate their return, the Mallard kitchen is serving up a succulent Sunday roast with all the trimmings.

When and where is your launch/next gig? This Saturday 13 July at Cherry Bar for the Don’t Give It Up single launch with post punk icons La Femme and local lads Kill Shott. Come get some! Website link for more info?



ALGAE AHOY Join Hoy for Thursdays in July at Spotted Mallard for a full band residency to warm the wintry nights. Hoy will be performing songs from their upcoming album Aquaslum with a six-piece band. With different guests to open the night, Hoy and friends will rock and folk out, spanning sounds that reference the likes of Mazzy Star, Fleetwood Mac and Bonnie Prince Billy, amongst others.


SEASONS GHOST Answered by: Oden Willson Album title: Under No King Where did the title of your new album come from? The album is named after our title track Under No King, which is about a political view about not having a controlling social structure. How many releases do you have now? This is our first in English. How long did it take to write/record? We started writing in mid-2012. We started recording at the end of January 2013. Was anything in particular inspiring you during the making? Inspiration came from various places: current events and a lot of personal experiences we were going through at the time. What’s your favourite song on it? Half the band really likes Castle Bravado, the other half like Under No King. Will you do anything differently next time? Smear a pine cone with peanut butter and leave it outside the studio window to attract native birds and dinosaurs in order to get in touch with nature. When and where is your launch/next gig? Our album Under No King is being launched at the Bendigo Hotel in Collingwood on Friday 19 July. Website link for more info?

Since its release in February, Yeo’s cheekily-titled album Sell Out has been stirring the underground musical scenes across Australia. Think James Blake’s intimate prism of future garage songcraft combined with the playful work ethic of Prince and Chet Faker’s blueeyed jams, seasoned with a lick of Pharrell Williams’ cocky colour. He’ll be at the Gasometer this Thursday for the Melbourne leg of his winter tour with The Townhouses and Canberra ex-pat wizard Eaves.

MAKING WAVES Local indie, dream-pop five-piece Diamonds Of Neptune are making a name for themselves playing some of Melbourne’s best known venues to a fast growing fanbase. Joining them this Saturday night at Revolver Upstairs will be Spunk Machine, Lamb Boulevard & The Umbrella and Jordan Walker for a night of indie dreams and delights.

PLAYING BALL With a fresh selection of the finest emerging and established bands each week, Roots of Music Wednesdays uncovers new local and national talent each week at the Revolver Bandroom. Tonight (Wednesday) will host 19-year-old singer-songwriter Ash Ball who alongside his band The Ash Ball Project plays catchy pop-rock tunes. Supporting on the night will be two up and coming singersongwriters, Daniel Jenkin and Walker.

BART’S OLD PET Stompy & The Heat are a relatively new band originally based around the sound of a cheap 1960s Japanese guitar. Teamed with manic drums and an uncomplicated collection of raw, bluesy, punky songs, at their show this Friday at the John Curtin Bandroom you can expect stories of aliens, zombies, motorcycles, the devil, Mongolian warriors and much more. Support on the night comes from The Ivory Elephant.

36 • For more news/announcements go to

Irish singer-songwriter Mick Flannery brings his highly successful tour to Australia and the Spotted Mallard this Saturday night with support from Mick McHugh and Gallie. The winner of Best Irish Male at the 2009 Meteor award is known for his gifted lyricism and will playing tracks from his acclaimed third album, Red To Blue.

FOREST FLOWERS The Friday Nights at Monet’s Garden series presents a stellar line-up of some of Australia’s most renowned and acknowledged musicians, singers and DJs to perform Friday evenings at the NGV. They’ll be mixing it up with the crowds for the Monet’s Garden: The Musée Marmottan Monet, Paris exhibition. This Friday it’ll be The Go-Betweens’ Robert Forster.


This Saturday is the Bella Union’s inaugural Rockabilly Dance, where the boards will be rockin’ and the rab will be red-hot. Turn up your cuffs or pop on a frock, break out your best threads, and get ready to dance the night away to the high-octane billy grooves and rockabilly of Hank’s Jalopy Demon.

STAGGERING SUGAR HIGH Sydney’s Lime Cordiale released an accompanying video clip to their new single Bullshit Aside just days before their hometown show in Sydney last weekend. They now launch the single at the Workers Club this Saturday with Lurch & Chief and The Red Lights.

THE HOLY ZEP To celebrate the 40th anniversary of Led Zeppelin’s hugely influential album Houses Of The Holy some highly regarded musos including Ash Naylor, Danny Leo (King Of The North), Stephen Hadley (Paul Kelly Band) and Bruce Haymes (Renee Geyer Band) are performing the album live in full at the Yarraville Club this Saturday.

TWIRLING BERRIES Four-piece rock band The Spin pride themselves on making music with groove, soul, and above all a little bit of love. Taking influence from Britpop among other genres, their style is a great mix of fun, upbeat tunes, peppered with some dark, moody rock‘n’roll grooviness, all injected with a warm and fuzzy dose of soul power. Catch them this Friday at Cherry Bar.

TIGHT DELIGHT Tiaryn and her blisteringly hot band have been hosting Three Tight Tuesdays with Tiaryn in July at the Evelyn. Mixing hip-gyrating neo-soul with unashamed, quirky pop, her music is alluring, raw and will work its way into your mind’s record player. Supporting Tiaryn this Tuesday will be Gossamer Pride, Thando and Do Yo Thangs for the last of these residency shows.

GOOD NEIGHBOURS Taking to the Book Club stage next will be local indie four-piece Neighbourhood Youth. The band’s hook-laden songs offer an inimitable dynamism and cohesiveness showcasing oft-bruised, ever-soaring vocals seamlessly surging over the top of reverb-drenched guitar lines and driving rhythms. Join in the fun at Black Night Crash at the Rochester Castle, Saturdays 9pm-3am.

The mighty Electrik Dynamite are launching their brand new double A-side 7” vinyl Showgirls/Steel Of Fortune as well as unveiling the music videos for both tracks at the Espy’s Gershwin Room this Friday for a fusion of ‘80s rock‘n’roll with the precision of metal. Joining the six-piece will be Brisbane boys De La Cruz and local up and comers Shadows Of Hyenas and The Fallen Angels.




Hot on the heels of their critically acclaimed fourth album Recovery on Chapter Music, Melbourne’s scruff pop wonders New Estate are celebrating their tenth year of existence with a residency at the Grace Darling. They’ll be joined by a host of carefully chosen special guests each week. This Sunday it’ll be Dusken Lights and Guy Blackman.

This music is for the true adventurer, and definitely not for the faint-hearted and not even for the majority of the metal hordes. This is specialized, head-fucking, sonic battery. The Amenta play at the Bendigo Hotel this Saturday with guests Ruins, Ouroboros, Whoretopsy and Dead River Runs Dry. You have been warned.


Melbourne blues-rockers The Groves are launching their single Down With The Ship, and its accompanying film clip, at the Grace Darling on Saturday 10 August. In May, The Groves and their crew spent one very long day and night filming the upcoming video, funded by a successful Pozible campaign. Check it out.


Melbourne thrashers Harlott are an unstoppable force in the local metal scene. Joined by the sinister-sounding Hybrid Nightmares, drunk-party thrashers Inebriator and newcomers Hollow World and Atomic Death Squad, they rock the Reverence Hotel this Friday.

Samara’s voice encompasses utter strength and power while engaging a natural, deep and intricate sensitivity. A potent sensuality also drives her music and performances. But don’t just take our word for it; see her live at the launch of her new album Precious, on Saturday 20 July at the Thornbury Theatre.



There are a couple of great gigs at the Standard this week. Tonight (Wednesday), The Davidson Brothers are playing two sets from 8.30pm. Then on Sunday, Large No 12s will also be performing two sets, starting a little earlier from 7.30pm (so you can be in bed at a reasonable hour and rest up for another work week!).

The legendary New York City hardcore band of the ‘80s Youth Of Today are heading to Australia this July, bringing with them the energy and emotion that make them one of the underground music scene’s most important groups ever. They play the Reverence Hotel this Thursday with Vigilante and Right Mind.



Cyclone susses out exactly what it is about the doughnut that’s making mouths water, and chats to celebrity patissier Adriano Zumbo about his version, dubbed the ‘zonut’.







n his influential tome, The Structures Of Everyday Life, French historian Fernand Braudel charted the introduction of chocolate into Western society, in the process revealing gradual changes in both consumption and cultural values. The socioeconomics of chocolate, the original ‘It’ sweet, are bound up with colonisation - the Spanish conquistadors bringing cacao beans to Europe from Meso-America in the 1500s - and class, with the beverage initially enjoyed by aristocrats. Europeans added sugar and milk and, by the Industrial Revolution, had solidified, and ‘democratised’, chocolate. Today’s mass market can assuage guilty consciences about past slavery by purchasing organic Fairtrade chocolate. And Lindt’s chilli-flavoured chocky is no hipster fetish – that’s how the Aztecs dug it. Chocolate isn’t even so indulgent anymore, the dark variety containing ‘healthy’ antioxidants. So what would Braudel think of contemporary micro-food trends?

must stay cutting-edge – and competitive. Some are tapping into nostalgia by reinventing old favourites.

The mania for the cronut, a hybrid of the croissant and the doughnut, is unprecedented.”

In recent times any number of nutritional superfoods have become fashionable – quinoa, goji berries, edamame beans. Conversely, there’s also been a succession of decadent and sweet fads – the cupcake, macaron and churro, a Spanish doughnut. However, the mania for the cronut, a hybrid of the croissant and the doughnut, is unprecedented. Is it all a backlash to the War On Obesity? Or are people treating themselves to (relatively) affordable indulgences amid economic uncertainty? Sydney’s charismatic celebrity patissier (and MasterChef guest) Adriano Zumbo, who’s done much to rebrand macarons (aka Zumbarons), has his theory. “I think it’s the fact that sweet treats are an indulgent item and we need that naughty treat every now and then. It makes us happy and gives us instant satisfaction. We are almost drawn towards desserts and sweet treats because we know they are ‘naughty’ and we shouldn’t have them. Also, life needs balance, so it’s a must after every savoury meal to balance it with something sweet.” Mass dessert obsessions aren’t so new. In the ‘70s carrot cake with cream cheese icing was novel. In 2013, social media, as well as the popularity of cookery shows (food porn!), are driving hyper trend after hyper trend. At the same time, boutique bakeries and patisseries

The doughnut has long spawned global variations (the Japanese have a bean paste one), but latterly it’s been given an artisan makeover. The cronut is the invention of New York pastry chef Dominique Ansel. He premiered the deep-fried treated pastry dough with flavoured cream filling and glaze at his SoHo bakery in May, attracting not only early morning queues, but also scalpers. Ansel, who makes just 200 of the “labour-intensive” delicacies a day, has imposed customer quotas. Moreover, cronuts need to be scoffed down quickly, having a short shelf life. A “premium” delivery service (not sanctioned by Ansel) has sprung up, with fanatics paying US$100 for a $5 pastry. The cronut has gone viral. Ansel, a shrewd monopolist, trademarked his portmanteau in the US early. The media has dubbed the cronut a “Frankenstein pastry” – and it is rather dichotomous, mashing up a modern French culinary tradition with an American fast food classic. High- meets pop-culture.

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The doughnut (or ‘donut’) is an American icon. There’s actually a National Doughnut Day, which raises funds for the Salvos. The doughnut has its genesis in 1800s America, with Dutch immigrants preparing olykoeks (“oily cakes”), a hit in the Great Depression and as a comfort food for American soldiers in wartime. Entrepreneurs were soon all over the doughnut – with or without a hole or fillings, flavourings and toppings. Vernon Rudolph founded Krispy Kreme in Winston-Salem, North Carolina in the late ‘30s, purportedly winning the secret recipe from a French chef in a poker game. Australia would be the first country outside of North America to land a franchise, the famous Original Glazed Doughnut on sale in Sydney from 2003. On opening, the Krispy Kreme store at Chadstone, Victoria had long lines and garnered much publicity, but, inexplicably, the demand dropped off. Krispy Kreme entered voluntary administration three years ago. Suburban outlets closed – though they remain at airports and Krispy Kreme doughnuts are available at 7-Eleven and online.




Inevitably, we now have local versions. The bourgie MoVida Bakery in South Yarra, Melbourne is offering the ‘dossant’, its name determined through a Twitter contest, with such fillings as lemon curd, raspberry and, yep, salted caramel. Dossants typically sell out before noon, costing $5. Zumbo, too, has put his own spin on the phenomenon, presenting the zonut at his Rozelle, Sydney café. “It’s been a little tricky trying to get the correct ratios – to get the right fat balance and flakiness,” he admits. “We have also had some problems with shrinkage.” Still, Zumbo is happy with the reception. “There has been a great response to the zonut. We change the flavours every week to keep it exciting. There have only been one or two negative comments, but it can be tricky sometimes because [zonuts] are best eaten within four to five hours after frying, otherwise they start to go soggy.” Zumbo’s approach to hip desserts has already proven egalitarian. He launched an innovative home baking kit range in supermarkets, including one for salted caramel macarons. Indeed, as the carrot cake is now ubiquitous, so is the macaron. McCafés have them. Alas, Ansel, the cronut mastermind, is not flattered by imitators, lashing out at “copycats” (shouldn’t that be “biters”?) on Twitter. What, then, will be next sweet craze? Could it be the whoopie pie – a cookie-cum-cake sandwich the Amish created that is to the macaron what the doughnut is to the croissant? Perhaps, if their quasi-exclusivity hasn’t been forfeited. Betty Crocker is currently marketing a packet mix with the sticker, “Move over macarons, whoopie pies have arrived”. Or did they miss the party?

Portt lan nd Went for brekky at Kenny & Zuke’s. Mac’n’cheese, breakfast dog, pastrami, kraut, mustard Reuben sandwich & a root beer float! w @lloydhoneybrook #brutal #nystylz — with Lloyd James Honeybrook

To check out the mags online go to • 37



Scott Kingman & Andy McLean

HORSEHEAD RIDES AGAIN Well, it’s not exactly Horsehead. But two members of Howzat!’s all-time favourite band are making a new album. Singer Andy McLean and guitarist Scott Kingman have launched a Pledge campaign to help fund a new album (which might also feature Horsehead drummer Max War). “This is an offshoot but it’s not Horsehead,” Andy points out. He and Scotty recently returned to their spiritual home, the Espy, for a photo-shoot, and snippets of three songs have been posted at – Free, Better You and Man At The Door. This is going to be a great album.

A CLOCK UP When Bruce Milne conducts his Leaps & Bounds’ magical mystery bus tour, chances are it will be 11 degrees. But, sadly, as the bus drives past the Nylex

38 • For more opinion go to

Clock, Bruce won’t be able to point to the clock and say, “And way up on high, the clock on the silo says 11 degrees.” We’re loving the Leaps & Bounds Music Festival. It’s great to see local government supporting music and live venues. But it’s ironic that the festival takes its name from an iconic song that refers to a landmark that lies dormant. The Nylex Clock, which was erected in 1961, has been switched off since 2008, when Nylex went broke. The Planning Minister, Matthew Guy, reckons it would cost about $40,000 a year to switch it back on and keep it running – surely, a small price to pay for a landmark? There’s even a Facebook page, Return The Power To The Nylex Clock, which has more than 3000 likes. Skipping Girl Vinegar helped get Audrey skipping again; it’s time to get the Nylex Clock ticking again. Many years ago, Paul Kelly told Howzat! he would always sneak a peek at the clock when he drove down Punt Road, “and I always get a little buzz when it’s 11 degrees.” Paul also revealed that Leaps And Bounds was not a sports song, even though it mentioned the MCG. “It’s kind of a song about nothing, about feeling good, for no particular reason… just some days you feel like you’re floating.” It’s Greg Arnold’s favourite “Melbourne” song. “And my love of the song is increased by a mate mishearing the lyrics,” the Things Of Stone And Wood singer says. “He always thought it was a song about a guy being refused entry to the MCG and he’s yelling, ‘But I’m a member, I’m a member!’” Bruce Milne is doing three more bus tours of City of Yarra music sites – today (Wednesday) and next Tuesday and Wednesday. Howzat! is also excited about the Popboomerang Records’ day, “It’s Not The Singer, But The Song”, at the Yarra Hotel on Saturday. Head to for more info.

LOVE STEPHEN Howzat!’s all-time favourite album, Stephen Cummings’ Lovetown, turns 25 this year. Stephen

– back in Lovetown after a tour of France – is playing Saturdays in July at Pure Pop (6pm). Meanwhile, director Mike Brook is turning Stephen’s 2009 memoir, Will It Be Funny Tomorrow, Billy?, into a film called Don’t Throw Stones.

Sheppard EP SHEPPARD (19)


Heart Hypnotic DELTA GOODREM (31)

Howzat! is loving the new Josh Pyke album, The Beginning And The End Of Everything, out now on Ivy League. With a title like that, Josh has been forced to deny it’s his last album. And why would he call it quits when he’s at the peak of his powers? Josh is doing two shows at the Corner on Saturday 17 and Sunday 18 August.

YOU’RE THE VOICE More than 60 per cent of the Australian songs to hit the Top 40 this year have been Voicerelated. Howzat!’s mid-season report reveals that, love or hate it, The Voice is making a major impact on the charts. In the first half of 2013, 57 Australian songs cracked the Top 40, 35 of them Voice-related. But just ten homegrown hits have cracked the Top 10, compared to 20 for the same period last year, and not one local song has topped the charts. The story is brighter on the albums chart, with six chart-topping Aussie albums and 17 local releases hitting the Top 10 (compared to 15 last year). Scoring number one albums in the first half of this year: Flume, Nick Cave & The Bad Seeds, Hillsong United, Birds Of Tokyo, Bernard Fanning and Harrison Craig.

Riptide VANCE JOY (24) Alive EMPIRE OF THE SUN (25)

Hello STAFFORD BROTHERS (38) Bliss N Eso become the seventh Aussie act to have a number one album this year. Circus In The Sky BLISS N ESO (number one, debut) More Than A Dream HARRISON CRAIG (two) Glorious Ruins HILLSONG LIVE (three, debut) The Great Country Songbook TROY CASSARDALEY & ADAM HARVEY (six) Departures BERNARD FANNING (11) Ice On The Dune EMPIRE OF THE SUN (15) Sharkmouth RUSSELL MORRIS (23) Loveless DREAM ON DREAMER (29, debut) Flume FLUME (30) Not Art BIG SCARY (32, debut)




Samantha Jade – who’s playing Kylie in the upcoming INXS mini-series – starts a fire at number nine.

Shiver And Shake SWEET JEAN

Parachute TIMOMATIC (number four)


Fire Starter SAMANTHA JADE (nine, debut)

The Beginning And The End Of

Resolution MATT CORBY (10)

Everything JOSH PYKE



[THE GUID IDE] g i g s

1,000’s of gigs at your fingertips. The Guide at


JOSH PYKE: August 17 Corner PLUTO JONZE: August 17 Northcote Social Club THE REAL MCKENZIES: August 28 Loft (Warrnambool); 13 Espy; September 1 Barwon Club (Geelong)

STEVE VAI: July 13 Palais


JAPANDROIDS: August 28, 30 Corner

AIRBOURNE: July 19 Whalers Hotel (Warrnambool); 20 Corner

THE STIFFYS: August 29 Beav’s Bar (Geelong); 30 Musicman Megastore (Bendigo); Saturday 31 Grace Darling DEAD LETTER CIRCUS: August 30 Wool Exchange (Geelong); 31 Hi-Fi CLOUD CONTROL: September 4 Karova Lounge (Ballarat); 5 Star Bar (Bendigo); 6 Forum

SURFER BLOOD: July 24 Corner

BIG SCARY: September 5 Karova Lounge (Ballarat); 6 Hi-Fi

HAIM: July 25 Hi-Fi BABYSHAMBLES: July 25 Palace

PEACE: September 13 Eagle Bar La Trobe University; 14, 15 Northcote Social Club


THE PAPER KITES: September 15 Hi-Fi, 28 Forum

COLD WAR KIDS: July 30 Hi-Fi

ILLY: September 20 Corner

JAMES BLAKE: July 31 Palais

RUDIMENTAL: September 21 Festival Hall

JAGWAR MA: August 1 Corner

JINJA SAFARI: September 25 Loft (Warrnambool); 26 Barwon Club (Geelong); 27 Forum; 28 Karova Lounge (Ballarat)

PLUDO: July 12 Hi-Fi GOLD FIELDS: July 12 Karova Lounge; 13 Corner; 18 Eureka Hotel (Geelong)


KARNIVOOL: August 1, 2 Town Hall

YELAWOLF: July 8 Corner Hotel PINK: July 10, 11, 13, 14, 16 Rod Laver Arena ENABLER: July 11 Bendigo Hotel; 12 Black Goat Warehouse JUAN ATKINS, FUNK D’VOID, PHIL KIERAN: July 12 Brown Alley MELBOURNE METAL MONSTERS VOL 1 ft HARLOTT: July 12 Reverence Hotel JONNY CRAIG: July 12 Wrangler Studios; 13 Bang; 14 Pelly Bar (Frankston) LA DISPUTE: July 12, 13, 14 Corner Hotel STEVE VAI: July 13 Palais CLOSURE IN MOSCOW: July 13 Toff In Town MICK FLANNERY: July 13 Spotted Mallard A DAY TO REMEMBER: July 14 Festival Hall

POLO CLUB: July 11 Fitzroy Town Hall KYLIE AULDIST: July 11 Cherry Bar DEEZ NUTS: July 12 Workers Club PLUDO: July 12 Hi-Fi REMI: July 12 Revolver THE MEANIES: July 12 Tote DICK DIVER: July 12 Barwon Club (Geelong) THE MOHAWK LODGE: July 12 July Yahoo Bar (Shepparton); 14 Bridge Hotel (Castlemaine) LIME CORDIALE: July 12 Loft (Warrnambool); 13 Workers Club SWEET JEAN: July 12 Caravan Music Club; 13 Northcote Social Club ESKIMO JOE: July 12 Ormond Hall GOLD FIELDS: July 12 Karova Lounge (Ballarat); 13 Corner Hotel ANTHONY CALLEA: July 13 Palms At Crown THE STABS: July 13 Curtin Bandroom LAURA IMBRUGLIA: July 13 Tote LO!: July 13 Reverence Hotel KIM & BENI: July 13 Survivor FLAP!: July 13 Hi-Fi BEACHES, AUSMUTEANTS: July 13 Copacobana IT IS NOT THE SINGER BUT THE SONG ft THE SOLICITORS: July 13 Yarra Hotel THE AMENTA: July 13 Bendigo Hotel BON’S BDAY BASH ft MASSIVE: July 13 Espy THE NEVER EVER: July 14 Wrangler Studios NUN, EASTLINK: July 14 Copacobana MARGRET ROADKNIGHT: July 14 Bungalook Studio (Lakes Entrance) MUSCYCLE ft VIKA & LINDA BULL: July 14 St Ali North


UPCOMING INTERNATIONAL PINK: July 17, August 13, 14, 16, 17, 19, 20, 22, 23, 25 Rod Laver Arena ONRA: July 18 Howler GUY J: July 19 New Guernica CITY & COLOUR: July 19 Toff In Town TODD RUNDGREN: July 19 Trak; 20 Caravan Music Club; 21 Corner Hotel SAINT VITUS: July 20 Hi-Fi DAYLIGHT ROBBERY: July 21 Gasometer STEREOPHONICS: July 21 Palace DAUGHTER: July 23 Corner Hotel ROBERT DELONG: July 23 Ding Dong SURFER BLOOD: July 24 Corner Hotel HAIM: July 25 Hi-Fi, Liberty Social (late DJ set) BABYSHAMBLES: July 25 Palace LADI6: July 25 Revolver EVERYTHING EVERYTHING: July 26 Corner Hotel FRANK OCEAN: July 26 Festival Hall JEHST, M-PHAZES: July 26 Laundry Bar BLEEDING THROUGH: July 26 Ferntree Gully Hotel; 27 Hi-Fi WAVVES, UNKNOWN MORTAL ORCHESTRA: July 27 Corner Hotel DEAP VALLY: July 27 Tote DIZZY WRIGHT: July 27 Prince (two shows) JAKE BUGG: July 28 Corner Hotel MS MR: July 29 Hi-Fi FIDLAR: July 29 Corner Hotel PALMA VIOLETS: July 29 Northcote Social Club ALT-J: July 30 Festival Hall VILLAGERS: July 30 Corner Hotel

HORRORSHOW: September 29 Ding Dong; October 17 Karova Lounge (Ballarat); 18 Wool Exchange (Geelong)

CLARE BOWDITCH: August 10 Corner

FOALS: September 26, 27 Palace

SHAPESHIFTER: August 16 Billboard

XAVIER RUDD: October 3 Forum

DIALECTRIX: August 16 Revolver

BOY & BEAR: November 1 Wool Exchange (Geelong); 2 Forum

WED 10 JULY 2013

GOBLIN: July 14 Billboard



Tom Fryer Band + Adrian Sherriff Trio: 303, Northcote Project H + Popolice + Vowel Movement + The Paper Boat: Bar Open, Fitzroy Mingus Amongst Us: Bennetts Lane, Melbourne L.A.A.: Bennetts Lane, Melbourne Open Mic+Various: Bonnie & Clydes Cafe & Cocktail Bar, Thornbury The Deep End + Uptown Ace + The Workinghorse Irons: Cherry Bar, Melbourne Presentation Night (music, football & life)+Paul Kelly + Bob Murphy + Francis Leach: Corner Hotel, Richmond Mo’ Soul+Kingston Crown + DJ Vince Peach: Ding Dong Lounge, Melbourne Dizzy’s Big Band + Peter Hearne: Dizzy’s Jazz Club, Richmond The Smitten + Come Back Julie + Peter Carr: Empress Hotel, Fitzroy North Charlie Lane + Dash + The Keytar Kids: Grace Darling Hotel, Collingwood Daniel Jenkin + Walker : Revolver Upstairs, Prahran Pink: Rod Laver Arena, Melbourne Fraser A Gorman + The Bob Harrow Band: Spotted Mallard, Brunswick Ópen Mic Night +Various: Tago Mago, Thornbury Lace and Whiskey + The Pirates + Styx & Stonz: The Bendigo, Collingwood Open Mic+Various: The Brunswick Hotel, Brunswick Wine, Whisky, Women+Celia Church + Tinker Girls: The Drunken Poet, Melbourne

40 • To check more gigs online go to

Collage with Jordan Walker + Heymus + Calling Mayday + Finding Harold Bloom: The Espy, St Kilda Mallee Songs + Mudlark + Little Killing: The Gasometer Hotel, Collingwood Split Seconds + Kathryn Rollins: The Gasometer Hotel, Collingwood The Davidson Brothers: The Standard Hotel, Fitzroy Drunk Mums + Bad News Toilet + Apes: The Toff In Town, Melbourne Pronto + The Jackals: The Tote, Collingwood Kite Club + Red Spencer + Agility: The Workers Club, Fitzroy Davey Lane: Yarra Hotel, Abbotsford

THU 11 JULY 2013

Kickin The B at 303 feat. Hey Gringo Hammond Au Go Go: 303, Northcote My Piranha + A Gazillion Angry Mexicans + Glen Bails: Bar Open, Fitzroy Tal Cohen Quartet: Bennetts Lane, Melbourne Kylie Auldist + DJ Vince Peach + Pierre Baroni: Cherry Bar, Melbourne Super Unsigned Music Festival+The Aoede Project + Dice + I’ll Be an Indian + Taylor Sheridan + The Sand Dollars + Josh Cashman + Nikhail + Hemera: Corner Hotel, Richmond Skyscraper Stan & The Commission Flats + Elegant Shiva + The Strange + The Velvets: Ding Dong Lounge, Melbourne Mae Collard: Dizzy’s Jazz Club, Richmond The Weekend People + Heymus + Ten Gallon Head: Empress Hotel, Fitzroy North

Animaux + That Gold Street Sound + Cassius Clay: Evelyn Hotel, Fitzroy Polo Club + more: Fitzroy Town Hall, Fitzroy The Great Imposter: Gertrudes Brown Couch, Fitzroy Tom Dickins & the Punintentionals + The Main Guy & The Other Guys + Brendan Welch: Grace Darling Hotel, Collingwood Sugar Fed Leopards: Great Britain Hotel, Richmond Prepared Like A Bride + Elegist: Karova Lounge, Ballarat Calling Mayday + The Quarters + Jailbird Jokers + Holliava: Laundry Bar, Fitzroy Nice Boy Tom: Lomond Hotel, Brunswick East La Femme: Music Land, Fawkner Haarlo + Ainslie Wills + Eliza Hull: Northcote Social Club, Northcote Youth Of Today + Vigilante + Right Mind: Reverence Hotel, Footscray Pink: Rod Laver Arena, Melbourne Hoy + Olympia: Spotted Mallard, Brunswick Fiona Lee Maynard & Her Holy Men: Tago Mago, Thornbury Enabler + Urns + A Million Dead Birds Laughing + Party Vibez + Diploid: The Bendigo, Collingwood Lost Heart Sirens + Neil Wilkinson: The Bridge Hotel, Castlemaine Gil Askey: The Commune, East Melbourne Adam Eaton + Adam Lawler: The Drunken Poet, Melbourne Around the Fur - One Night for Chi+Various: The Espy (Gershwin Room) , St Kilda The Black Gypsies + Bleeding Rose + Mimi Velevska: The Espy (Lounge Bar) , St Kilda Jakubi + Dylan Joel + Junior: The Espy (Basement) , St Kilda

Yeo + The Townhouses + Eaves: The Gasometer Hotel, Collingwood Mike Noga: The Post Office Hotel, Coburg Alora: The Thornbury Local, Thornbury Imogen Brough + Maeflower: The Toff In Town, Melbourne Leaps & Bounds Festival+Brothers Hand Mirror + Hyperborea + Angel Eyes: The Tote, Collingwood Anna’s Go-Go Academy: Victoria Hotel, Brunswick Beccy Cole: Wellers, Kangaroo Ground Nick Lovell + Dash: Wesley Anne, Northcote Moments Notice: Wesley Anne (Front Bar), Northcote The Paul Kidney Experience + Slocombe’s Pussy: Yah Yah’s, Fitzroy

Maclaine Sydney Quartet: Dizzy’s Jazz Club, Richmond I Am Duckeye + The Vocal Lotion + Dave Hoang: Empress Hotel, Fitzroy North Cruntburgers + Lizard Punch + Foley + Admiral Ackbar’s Dishonourable Discharge: Gertrudes Brown Couch, Fitzroy Melody Pool: Grace Darling Hotel, Collingwood Gold Fields + Phebe Starr + Willow Beats: Karova Lounge, Ballarat Brad Strut: Laundry Bar, Fitzroy Party and Bullshit Fridays +Various DJs: Laundry Bar, Fitzroy The Nudgels: Lomond Hotel, Brunswick East Friday Nights at Monet’s Garden feat. +Robert Forster: National Gallery of Victoria, Southbank The Transatlantics + The Shaolin Afronauts + The Seven Ups + Special Guests : Northcote Social Club, Northcote Eskimo Joe + Guests: Ormond Hall, Melbourne Footy + Exotic Dog: Petersham Bowling Club, Petersham Brunswick Massive + Trophy Wives: Rainbow Hotel, Fitzroy

The Spoils + Julitha Ryan Band + Guests: The Bridge Hotel, Castlemaine Calling Mayday + The Dead Elected: The Brunswick Hotel, Brunswick Stompy & The Heat + The Magic Bones: The Curtin, Carlton Traditional Irish Music Session+Dan Bourke & Friends: The Drunken Poet, Melbourne Electrik Dynamite + De La Cruz + Shadows Of Hyenas + Fallen Angels: The Espy (Gershwin Room) , St Kilda My Secret Circus + Empra + Virtue + Heston Drop: The Espy (Lounge Bar) , St Kilda Marilyn Rose And The Thorns + The Antoinettes + Noir + The Falling Standards: The Espy (Basmement) , St Kilda Postal + Battletruk + Tired Minds + Hailgun + Last Measure: The Gasometer Hotel, Collingwood Pludo + Special Guests : The Hi-Fi, Melbourne

THE AMENTA: July 13 Bendigo Hotel

FRI 12 JULY 2013

D.Y.E: 303, Northcote The Kujo Kings: Bar Open, Fitzroy The Broken Sweethearts: Barley Corn Hotel, Collingwood Berlin Postmark: Barley Corn Hotel, Collingwood Dick Diver + Hierophants: Barwon Club, South Geelong The Meltdown: Bennetts Lane, Melbourne Enabler + Urns: Black Goat Warehouse, North Coburg Double Lined Minority: Bridge Builders , Lilydale Sweet Jean : Caravan Music Club, Oakleigh Anna Gilkison Trio: Chi Kitchen, Melbourne La Dispute + Pianos Become The Teeth + Stockades: Corner Hotel, Richmond

Harlott + Hybrid Nightmares + Inebriator + Hollow World + Atomic Death Squad: Reverence Hotel, Footscray Friday On My Mind+Various DJs: Reverence Hotel, Footscray Remi: Revolver Upstairs, Prahran 8FootFelix + The Red Brigade: Spotted Mallard, Brunswick The Three Kings: Tago Mago, Thornbury

TrashDolls Sleepover Party+Son of Set + Wolf Pack + Fortune Fails + Ethno Tekh + Big Fucking Robots + Artificial Theory + Vicky Aisha Blackthorn + Dolly + Luna Trash: The Liberty Social, Melbourne Lime Cordiale + Guests: The Loft, Warrnambool The Bluebottles: The Post Office Hotel, Coburg


3PBS ‘ACID COUNTRY’ with David Heard

Broadcasting LIVE from The Labour from 3pm Featuring Live Performances by


Supporting City of Yarra’s LEAPS & BOUNDS MUSIC FESTIVAL THU 11TH







Cafe & Cocktail Bar

c i M Open s y a d s e Wedn BonnieClydesCafeCocktailBar

2 2

$ Mulled wine $ Daquiris open 6pm Till Close Musician's Welcome 806 High st, thornbury 41

[THE GUID IDE] g i g s

1,000’s of gigs at your fingertips. The Guide at

TOUR GUIDE LIME CORDIALE: July 12 Loft (Warrnambool); 13 Workers Club

LAURA MARLING: July 30, 31 St Stephen’s Uniting Church COLD WAR KIDS: July 30 Hi-Fi PASSION PIT: July 30 Palace; 31 Hi-Fi DARWIN DEEZ: July 31 Corner Hotel JAMES BLAKE: July 31 Palais A LOSS FOR WORDS: July 31 Barwon Club (Geelong); August 1 Next; 3 Ferntree Gully Hotel; 4 Phoenix Youth Centre (all ages) SALMONELLA DJ SOUNDSYSTEM: August 2 Espy OF MONSTERS & MEN: August 3, 4 Palais BARDO POND: August 3 Corner Hotel CHVRCHES: August 5 Corner Hotel JOAN BAEZ: August 8 Hamer Hall COSMIC PSYCHOS: August 9 Hi-Fi ALESANA: August 9 Evelyn Hotel; 10 Lilydale Showgrounds THIRTY SECONDS TO MARS: August 10 Rod Laver Arena BARN OWL: August 10 Northcote Social Club GUTTERMOUTH: August 10 Loft (Warrnambool); 11 Ferntree Gully Hotel; 16 Karova Lounge (Ballarat); 17 Evelyn; 18 The Man (Falls Creek); 19 Swindlers (Mt Hotham) SENSES FAIL: August 11 Corner Hotel MILLIONS OF DEAD COPS: August 15 Corner Hotel FLYLEAF: August 16 Hi-Fi BASTILLE: August 16 Corner Hotel SHAPESHIFTER: August 16 Billboard CARTEL: August 17 Hi-Fi OBEY THE BRAVE: August 17 Bang; 18 Allen Mclean Hall ASH: August 22 Corner Hotel LINDSEY STIRLING: August 27 Corner Hotel JAPANDROIDS: August 28, 30 Corner Hotel THE REAL MCKENZIES: August 28 Loft (Warrnambool); 31 Espy; September 1 Barwon Club (Geelong) CYNDI LAUPER: August 29, 30 Palais BEING AS AN OCEAN: August 29 Bar 12 (Frankston); 30 Wyndham Youth Resource Centre; 31 Workers Club FAT FREDDY’S DROP: August 31, September 1 Forum ALL TIME LOW: August 31, September 1 Billboard ANDREW STRONG & THE COMMITMENTS: September 5 Corner Hotel VOLUMES: September 7 Ringwood OLP; 8 Evelyn HIT THE LIGHTS: September 7 Phoenix Youth Centre (Footscray); 8 Corner Hotel ANBERLIN: September 8 Palace PEACE: September 13 Eagle Bar La Trobe University; 14, 15 Northcote Social Club GHOSTPOET: September 14 Corner Hotel CELTIC WOMAN: September 15 Hamer Hall AMANDA PALMER & THE GRAND THEFT ORCHESTRA: September 20 Forum Theatre

NATIONAL INDIAN SUMMER: July 17 Karova Lounge (Ballarat); August 1 Eureka Hotel (Geelong) TJINTU DESERT BAND: July 17 Burrinja Cultural Centre (Upwey); 18 Kingston Arts Centre (Moorabbin) KINGSWOOD: July 18 Corner Hotel KYLIE AULDIST: July 18 Cherry Bar GOLD FIELDS: July 18 Eureka Hotel (Geelong) YES PLEASE 2ND BIRTHDAY ft I’LLS: July 18 Workers Club NICHOLAS ROY: July 18 Northcote Social Club SEA LEGS: July 18 Ding Dong; 19 Espy LITTLE FOX: July 18 Curtin Bandroom; 20 Workers Club GRACE KNIGHT: July 18 Kangaroo Ground, Wellers; 19, 20 Bennett’s Lane; August 24 Flying Saucer Club (Elsternwick) DAVID BRIDIE: July 18 Loft (Warrnambool); 19 Ararat Hotel Red Room; 20 Northcote Social Club; August 2 Memo (Healesville); 3 Caravan Music Club; 4 Montrose Town Centre CLAIRY BROWNE & THE BANGIN’ RACKETTES: July 18 Caravan Music Club; 19 Corner Hotel; 20 Meeniyan Town Hall AIRBOURNE: July 19 Whalers Hotel (Warrnambool); 20 Corner Hotel WHITLEY: July 19 Hi-Fi CITIZEN KAY: July 19 Revolver POLO CLUB: July 19 Workers Club WAX WITCHES: July 19 Can’t Say PERICO: July 19 Empress TEN THOUSAND: July 19 Newmarket Hotel (Bendigo); 20 Espy ARCHITECTURE IN HELSINKI: July 19 Karova Lounge (Ballarat); 24 Toff In Town BUFFALO TALES: July 19 Elsternwick Hotel (Elwood); 20 Ferntree Gully Hotel; 21 Workers Club; 30 Sandbar (Mildura) MASKETTA FALL: July 20 Bang ATLAS GENIUS: July 20 Toff In Town GREY GHOST: July 20 Evelyn WORDLIFE: July 20 Palace RAISE THE ROOF ft URTHBOY: July 20 Espy MEZZANINE: July 20 Rochester Castle OOGA BOOGAS, EXHAUSTION: July 20 Copacobana ROYSTON VASIE: July 20 Ding Dong MARGRET ROADKNIGHT: July 21 Bennetts Lane Jazz Club THE POWDER MONKEYS: July 21 Tote TEENAGE MOTHERS, DRUNK MUMS: July 21 North Melbourne Drains

JOE CAMILLERI: July 21 Old Hepburn Hotel KERSER & RATES: July 24 Barwon Club (Geelong); 26 Karova Lounge (Ballarat) BEN SALTER: July 25 Workers Club SCOTT DARLOW: July 25, 26 July St Joseph’s College (Geelong); August 2 Emmanuel College (Point Cook); 6 Our Lady Mary College (Fitzroy) PSYCROPTIC, KING PARROT: July 25 Karova Lounge (Ballarat); 26 Barwon Club (Geelong); 27 Northcote Social Club; 28 Musicland THELMA PLUM: July 26 Northcote Social Club WORLD’S END PRESS: July 26 Ding Dong BAD//DREEMS: July 26 Gasometer SHELLEY SEGAL: July 26, August 6 Benetts Lane CASH SAVAGE & THE LAST DRINKS: July 26 Bridge Hotel (Castlemaine); 27 Curtin Bandroom GREEN STONE GARDEN: July 26 Edinburgh Castle; 27 Wesley Anne STANDISH/CARLYON: July 27 Shebeen ROSS MCLENNAN: July 27 Spotted Mallard SAM BUCKINGHAM: July 28 Workers Club SIMON MELI & THE WINDOWBIRDS: July 28 Northcote Social Club DAN PARSONS: July 31 Old Bar; August 16 Wesley Anne LACHLAN BRYAN: July 31 Retreat; August 2 Zeally & Cliff (Torquay); 3 Post Office Hotel (Coburg) JAGWAR MA: August 1 Corner Hotel KARNIVOOL: August 1, 2 Town Hall OUR LAST ENEMY: August 2 Revolver APES: August 2 Karova Lounge (Ballarat) FRENZAL RHOMB: August 2 Corner Hotel ALISON WONDERLAND: August 2 Star Bar (Bendigo); 3 Karova Lounge (Ballarat); September 19 Corner Hotel OSCAR KEY SUNG: August 3 Toff In Town FIFTH FLOOR LAUNCH ft THE MURLOCS: August 3 Secret Location PAUL KELLY: August 7 Playhouse (Geelong); 8, 9 Melbourne Recital Centre; 11 Regent Cinemas (Ballarat) EUROGLIDERS: August 8 Chelsea Heights Hotel; 9 Doncaster Shoppingtown Hotel; 10 Ferntree Gully Hotel GRINSPOON: August 9 Corner Hotel BERNARD FANNING: August 9 Palace; 10 GPAC Costa Hall (Geelong); November 9 Rochford Wines (Yarra Valley) CLARE BOWDITCH: August 10 Corner Hotel ISAAC GRAHAM: August 10 Public Bar DIALECTRIX: August 16 Revolver THE TROUBLE WITH TEMPLETON: August 16 Northcote Social Club DON MCLEAN: August 17 Hamer Hall GLASS TOWERS: August 17 Toff In Town JOSH PYKE: August 17 Corner Hotel PLUTO JONZE: August 17 Northcote Social Club RUSSELL MORRIS: August 20 Corner Hotel EGO: August 21 Karova Lounge (Ballarat); 22 Eureka Hotel (Geelong); 23 Can’t Say FOR OUR HERO: August 22 Next; 24 Wrangler Studios MOVING PICTURES: August 23 Palms At Crown CASTLECOMER: August 23 Workers Club DRAGON: August 23 Corner Hotel SNAKADAKTAL: August 23 The Wool Exchange (Geelong); 24 Forum MIDNIGHT JUGGERNAUTS: August 23 Karova Lounge (Ballarat); 24 Corner Hotel LET IT BE ft DOUG PARKINSON: August 24 Hamer Hall BEASTS OF BOURBON: August 29, 30, 31 St Kilda Memo THE STIFFYS: August 29 Beav’s Bar (Geelong); 30 Musicman Megastore (Bendigo); Saturday 31 Grace Darling DEAD LETTER CIRCUS: August 30 Wool Exchange (Geelong); 31 Hi-Fi SETH SENTRY: August 30 Black Swan Hotel (Bendigo); 31 Karova Lounge (Ballarat); September 6 Westernport Hotel (San Remo); 7 Wool Exchange (Geelong) DIVA DEMOLITION, BELLUSIRA: August 31 Espy; September 1 Newmarket Hotel (Bendigo) THE FAUVES: August 31 Corner Hotel MAJOR CHORD: August 31 Bella Union VANCE JOY: September 1, 2, 3 Corner Hotel CLOUD CONTROL: September 4 Karova Lounge (Ballarat); 5 Star Bar (Bendigo); 6 Forum LOUIS LONDON: September 5 Curtin Bandroom BIG SCARY: September 5 Karova Lounge (Ballarat); 6 Hi-Fi THE CACTUS CHANNEL: September 5, 6 Northcote Social Club SHAUN DIVINEY: September 7 Wrangler Studios JIMMY BARNES: September 7 Prince Of Wales Showground (Bendigo) THE CAT EMPIRE: September 12, 13 Forum NORTHLANE: September 12 Commercial Hotel (South Morang); 13 Ferntree Gully Hotel; 15 Coburg Town Hall THE PAPER KITES: September 15 Hi-Fi; 28 Forum ILLY: September 20 Corner Hotel

FESTIVALS LEAPS & BOUNDS FESTIVAL: July 5-21 Melbourne SPLENDOUR IN THE GRASS: July 26-28 North Byron Parklands (Byron Bay) LOUD FEST: August 3 Arrow On Swanston POISON CITY WEEKENDER: September 6, Curtin Bandroom; 7 Corner Hotel; 8 Reverence Hotel LISTEN OUT!: October 5 Observatory Precinct Royal Botanic Gardens SPRUNG FESTIVAL: October 19 Kevin Bartlett Sport & Rec Complex HARVEST FESTIVAL: November 10 Werribee Park HITS & PITS FESTIVAL: November 22 Palace QUEENSCLIFF MUSIC FESTIVAL: November 22-24 Princess Park (Queenscliff) STEREOSONIC: December 7, 8 Royal Melbourne Showgrounds

42 • To check more gigs online go to

Dave Graney + The Morning After Girls: The Prince (Public Bar) , St Kilda Gabriel Lynch: The Thornbury Local, Thornbury Leaps & Bounds Festival+The Meanies + Batpiss + The Kremlings + The Dipsticks: The Tote, Collingwood Los Tones + Hank Haint: The Tote, Collingwood The Poly’s: The Vineyard, St Kilda Deez Nuts + Trainwreck + Disasters + The Approach: The Workers Club, Fitzroy The Main Guy & The Other Guys: Wesley Anne (Band Room) , Northcote Buddy ‘n’ Roy: West Gippsland Arts Centre , Warragul Jonny Craig + Built On Secrets: Wrangler Studios, West Footscray Midnight Alibi + Jaju Choir + Spykite: Yah Yah’s, Fitzroy The Mohawk Lodge: Yahoo Bar, Shepparton Brillig: Yarra Hotel, Abbotsford

SAT 13 JULY 2013

‘Feelings’ Acoustic Night+Various: 303, Northcote Jonny Craig + Built On Secrets: Bang, Melbourne FistMess In July +Strawberry Fist Cake + Lizard Punch + Admiral Ackbar’s Dishonourable Discharge + Thunderbox: Barley Corn Hotel, Collingwood Cannonball + Chantal Mitvalsky: Bennetts Lane, Melbourne DJ Rowie + Andycan + Knackers: Big Mouth, St Kilda The Lounge Lizards: Caravan Music Club, Oakleigh The Mercy Kills + La Femme + Kill Shot: Cherry Bar, Melbourne La Dispute + Pianos Become The Teeth + Initials: Corner Hotel (Under 18 Show (12.30pm)) , Richmond Gold Fields + Phebe Starr + Willow Beats: Corner Hotel, Richmond Tone Deaf End of Exams Party+The Griswolds + Young Mavericks: Ding Dong Lounge, Melbourne Midnight Run+DJ Kieran + DJ Pinball + Bennis + DJ Dan Watt + DJ Gupstar: Ding Dong Lounge, Melbourne Mary Mass + Roger Clark Quartet: Dizzy’s Jazz Club, Richmond

Matt Glass: Edinburgh Castle Hotel, Brunswick Phil Para: Elsternwick Hotel, Elsternwick The Pope’s Assassins + The D-Grades: Empress Hotel, Fitzroy North Seven Hearts + The Monotremes: Empress Hotel, Fitzroy North Asylum Seeker Resource Centre Fundraiser +The Twoks + Human Face: Evelyn Hotel, Fitzroy Buddy ‘n’ Roy: Frankston Arts Centre, Frankston Firebird: Gasolina, Southbank Beccy Cole: Gateway Hotel, Corio Kate Martin + Neda: Grace Darling Hotel, Collingwood Wet Lips + Nun Of The Tongues: Great Britain Hotel, Richmond Rory Ellis: Kelly’s Bar and Kitchen, Olinda Fiona Boyes: Lomond Hotel, Brunswick East Pitch (B):tch - Last Dance+DJ Miyagi + Mo Ichi + Jantango + Pixelton: Loop, Melbourne Rory Ellis: Mocha and Lime, Healesville Sweet Jean + Bluebottles + Marlon Williams: Northcote Social Club, Northcote Bohemian Nights: Northcote Town Hall, Northcote Steve Vai: Palais Theatre, St Kilda Brad Martin Project + Ben Smith & The Noise Diary Chapter: Rainbow Hotel, Fitzroy The Androgyny + The Divine Fluxus + Cotangent + The Heroines: Reverence Hotel, Footscray Lo! + High Tension + Jurassic Penguin: Reverence Hotel, Footscray Pink: Rod Laver Arena, Melbourne Mick Flannery + Special Guests : Spotted Mallard, Brunswick Kim & Beni: Survivor, Melbourne The Bin Night Romeos + Elephant Hide : Tago Mago, Thornbury The Amenta + Ruins + Ouroboros + Whoretopsy + Dead River Runs Dry: The Bendigo, Collingwood Vanessa Craven + Fat Chance: The Bridge Hotel, Castlemaine The Stabs + Special Guests : The Curtin (Front Bar) , Carlton Moosejaw Rifle Club: The Drunken Poet, Melbourne Sans Vox+Mushroom Giant + Meniscus + The Black Galaxy Experience + The Nest Itself + Montresor: The Espy (Gershwin Room), St Kilda

Massive + AC/ DShe + Dead City Ruins + Black Aces + DJ Pony + Phil Para Band: The Espy (Lounge Bar), St Kilda Melissa James & Band + Sex Street + Shirley Davis + The Godfather: The Espy (Basement), St Kilda Justin Fuller + Gurner + A Scratch Ensemble + Downcast + Greatest Hit DJs: The Gasometer Hotel, Collingwood

The Never Ever: Wrangler Studios, West Footscray It?s Not The Singer But The Song+Various: Yarra Hotel, Abbotsford Jonesez: Yarra Hotel, Abbotsford

SUN 14 JULY 2013

Jess Locke: 303, Northcote

SWEET JEAN: July 12 Caravan Music Club; 13 Northcote Social Club

Flap! + The Perch Creek Family Jugband + Coral Lee & The Silver Scream: The Hi-Fi, Melbourne Geoff Achison + Christo Rook: The Loft, Warrnambool Bang feat. Jonny Craig + Built On Secrets: The Order Of Melbourne, Melbourne Anthony Callea: The Palms, Southbank The Breadmakers: The Post Office Hotel, Coburg Matt Watkins: The Prince, St Kilda Holy Moses Heartache + The You Yangs + Los Dominados: The Prince (Prince Public Bar ) , St Kilda Jemma Nicole: The Thornbury Local, Thornbury Closure In Moscow + Special Guests : The Toff In Town, Melbourne Laura Imbruglia + Melodie Nelson: The Tote, Collingwood Leaps & Bounds Festival+TTTDC + Batpiss: The Tote, Collingwood Lime Cordiale + Guests: The Workers Club, Fitzroy Ol’ Timey Music Jam with Craig Woodward & Friends: Victoria Hotel (Afternoon), Brunswick Projeto Insperado: Wesley Anne (Front Bar), Northcote You & The Colonies: Wesley Anne (Afternoon), Northcote Thomas Dylan: Wesley Anne, Northcote

Joel Silbersher: Bar Open, Fitzroy Dave Rex Quartet: Bennetts Lane, Melbourne Goblin + Miles Brown: Billboard The Venue, Melbourne Margret Roadknight: Bungalook Studio, Lakes Entrance Rory Ellis: Burrinja Café & Bar, Upwey Cherry Blues+Southern Lightning + DJ Max Crawdaddy: Cherry Bar, Melbourne La Dispute + Pianos Become The Teeth + Fear Like Us: Corner Hotel, Richmond Little Secrets: Empress Hotel, Fitzroy North Caity Fowler + Tom Dickins + Sophia: Evelyn Hotel (Afternoon) , Fitzroy Vultures of Venus + Skyscraper Stan & The Commission Flats + Tequila Mockingbird + The Heroines: Evelyn Hotel, Fitzroy Jonny Craig + Built On Secrets: Ferntree Gully Hotel, Ferntree Gully A Day To Remember + The Devil Wears Prada + Dream On Dreamer: Festival Hall, West Melbourne The Migrations: Fox Hotel, Collingwood


1,000’s of gigs at your fingertips. The Guide at

New Estate + Dusken Lights + Guy Blackman : Grace Darling Hotel, Collingwood Green’s Dairy Angel Ensemble: Great Britain Hotel, Richmond Jadida: Kindred Studios, Yarraville The Leslie Avril Band + Marty Kelly & The Weekenders: Lomond Hotel, Brunswick East Swimming + Naomi Keyte + Banoffee: Northcote Social Club (Afternoon), Northcote The Nudgels: Rainbow Hotel, Fitzroy Nigel Wearne & The Cast Iron Promises + Bill Jackson: Retreat Hotel, Brunswick Jamie Hay + Donnie Dureau + Grace Lawry: Reverence Hotel (Front Bar (Afternoon)) , Footscray Pink: Rod Laver Arena, Melbourne Lindsay Field + Glyn Mason + Sam See: Royal Oak Hotel, Fitzroy North Julie Bailey + Steve Sedergreen Band + Mike Jordan: Ruby’s Music Room, Melbourne The Wikimen: Spotted Mallard, Brunswick

The Taylor Project + Tinker Moustacha : Tago Mago, Thornbury Phil Para: The Bay Hotel, Mornington Angry Anderson + James Southwell Band + Stone Revival + Joe Conroy & the Phantom 309: The Bendigo, Collingwood The Mohawk Lodge: The Bridge Hotel, Castlemaine Brunswick Basement +Various: The Brunswick Hotel, Brunswick Brillig + The Little Sisters: The Drunken Poet, Melbourne Dale Ryder Band + Bad Boys Batucada + Ms Butt: The Espy (Lounge Bar) , St Kilda

Craig Woodward & Friends: The Gasometer Hotel, Collingwood Stephen Cummings: The Post Office Hotel, Coburg The Large Number 12s: The Standard Hotel, Fitzroy Benny Walker + Damon Smith & The Quality Lightweights: The Toff In Town, Melbourne Wash Winter WIllies Away With Whiskey. Leaps & Bound Festival Edition+Various: The Tote, Collingwood Camp Camp Revolution + Mimi Velevska: The Workers Club, Fitzroy

Timber & Steele presents+Traveller & Fortune + Olivers Army + Colourwheel: The Workers Club, Fitzroy Talk Thing: Wesley Anne (Band Room), Northcote The Never Ever + Nine Sons Of Dan + A Sleepless Melody + Way With Words + With Confidence: Wrangler Studios (All Ages) , West Footscray Sophie Koh: Yarra Hotel, Abbotsford



16 JULY 2013

15 JULY 2013

Lebowskis Present+Various: 303, Northcote Browne, Hannaford & Pankhurst Trio: Bennetts Lane, Melbourne Cherry Jam Mondays+Various: Cherry Bar, Melbourne Three’s A Crowd Feat. Pioneers Of Good Science + Clavians + Toyota War: Evelyn Hotel, Fitzroy The Pierce Brothers + Rattlin’ Bones Blackwood + Adam Hynes: The Espy (Lounge Bar) , St Kilda

LA DISPUTE: July 12, 13, 14 Corner Hotel


Bluegrass Jam Night+Bluegrass Gentry: The Sporting Club, Brunswick Whitaker + Gabriel Lynch + Nick Bastiras: The Toff In Town, Melbourne

The Man In Black - The Johnny Cash Story+Tex Perkins + Rachel Tidd + The Tennessee Four: Athenaeum Theatre, Melbourne Fran Swinn Trio: Bennetts Lane, Melbourne The Patron Saints: Cherry Bar, Melbourne Three Tight Tuesdays with Tiaryn+Gossamer Pride + Thando & Band + The Do Ya Thangs: Evelyn Hotel, Fitzroy Howlin’ Wind: Malthouse Theatre, Southbank Roger Knox + Special Guests : Northcote Social Club, Northcote Leez Lido + Voodoocain + The Mongrels: Revolver Upstairs, Prahran Pink: Rod Laver Arena, Melbourne Tom Dickens & the Punintentionals + Willow: Spotted Mallard, Brunswick Staffan Songs + Casey Hartnett: The Curtin, Carlton

“Live At The Lomond� THU 11TH 8.30PM

NICE BOY TOM (Contemporary roots)


FRI 12TH 9:30PM

(Cajun-cross grooves)

SAT 13TH 9:30PM

FIONA BOYES ELECTRIC TRIO (Journeywoman-blues-queen)

SUN 14TH 5:30PM


(“Parlez-vous country ?�)

SUN 14




TUES 16TH 8:00PM

IIRISH SESSION (Celtic ďŹ ddlin’ frenzy)



140 Sydney Rd


9387 6637











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HERE $35 $60 $50 $50




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Rather than book time in one of the countless studios in LA, fusion band Volto!, comprising members of Tool, Pigmy Love Circus and Alanis Morissette’s band, tracked the songs that comprise their debut album, Incitare, ‘live’ to tape utilising the recording equipment at Tool’s rehearsal loft’s modest studio. When he “had a small window of opportunity between projects”, veteran recording engineer Joe Barresi (Tool, Queens Of The Stone Age, Bad Religion) was called in to sit at Tool drummer Dan Carey’s API 2448 console, complete with custom Neve faders. To get the performance and overdubs onto tape, they dusted off an old Studer A827 gold 24-track machine. Once the recording and mixing process was completed, Incitare was delivered to Gateway Mastering and left to the very capable ears of Bob Ludwig.

SOUND BYTES On a “day off” in Amsterdam in late June, South African born, Australian forged, California based producer Kevin Shirley booked a studio to record a song for Jimmy Barnes and his daughter Mahalia and The Soul Mates, guitarist Joe Bonamassa throwing down a few licks for good measure. Melbourne four-piece Bellusira called in mixing/mastering engineer Ricki Rae (Electric Mary, Dirt River Radio) to produce their debut album, Connection. Sydney singer-songwriter Jane Walker will be heading to France to record her next album with UK producer, writer and programmer James Sanger (Keane, Dido, U2) in his Vibey Studios, a converted 12th century monastery in Normandy. Perth four-piece Mezzanine have been recording their debut album at Blackbird Sound Studios with the studio’s owner/operator, producer and engineer Dave Parkin (Jebediah, Snowman). Twincest recorded their debut EP, Fuckotash, at artist-run creative space Hope Street Studios in Melbourne’s Brunswick, with producer Ptero Stylus (Diafrix). After tracking the rhythm section with Syd Green in Sydney, singer, songwriter and guitarist Johnny Cass took himself down to Sing Sing Studios in Melbourne to record the band’s debut album, Tombstone Bullets, with engineer/ producer David Nicholas (INXS, Midnight Oil, Jimmy Barnes), the results then sent to California to be mastered by Michael Lazarus. Perthsiders Cal Peck & The Tramps recorded their self-titled debut album at Debaser Studios with producer Andy Lawson (Eskimo Joe, The Augustines), with William Bowden then mastering it at his Balmain, Sydney facility, King Willy Sound. Peter Holz aka PHM Electronic stopped by Damien Gerard Sound Systems in Sydney’s Balmain recently to record Maxine Kauter’s new album. Holz has most recently been working on tracks by The Ransom Dance and Swivelhead. Twenty-one year old Melody Pool from Kurri Kurri in NSW used crowdfunding to get her to Nashville to record and produce her not in the least country album, The Hurting Scene, alongside US singer Jace Everett and producer Brad Jones (Missy Higgins/Josh Rouse/Justin Townes Earle). The debut EP, Cabin Fever, from Operator Please drummer Tim Commandeur, under the pseudonym Alaskan Knight, was co-produced by engineer/producer Andrei Maberley, who works out of Guerillamixer at Queensland Uni.

46 • For more interviews go to

Not only did Melbourne singer-songwriter Andy Szikla write and play pretty much everything on his debut album, Dark Valley, but he also built a bit of studio kit that’s become quite the thing, as Michael Smith discovers.

ack in the ‘80s he was banging around Melbourne in a band called Ides Of March, in the ‘90s another called Mr Fish, and he’s played in singer Kerri Simpson’s Trio. Now singer, songwriter and multi-instrumentalist Andy Szikla has finally got around to recording and releasing his debut solo album, Dark Valley, a punch collection of dark roots/ folk/Americana-style ballads on which he’s sung and played everything – acoustic, electric, slide and pedal steel guitars; bass, mandolin, banjo, piano, organ, harmonium, string synth, wind, xylophone, percussion and drum programming. Well everything but the drums on opening track, Blood Brothers, and some of the backing vocals courtesy of Rick Plumridge, Matt Harding and a scorcher performance at the end of Take Me Up from Kerri Simpson.


What’s more intriguing though, for Muso, is the fact that Szikla actually developed a piece of equipment in order to facilitate an aspect of the recording of Dark Valley that has also been used in the studio by, among others, Jon Stevens, Diesel and Baby Animals on their new album, This Is Not The End. He’s dubbed it the Prodigal Channel Strip. Dark Valley is one big-sounding record. “Every single sound that’s on this album,” Szikla explains, “went through the Prodigal at one point or another; most of it during recording, some of it pre-mix. One of the things about the Prodigal is that it has an extremely nice compressor [an FET input compressor/limiter], and compressors are at their best when they’re used for making things sound bigger, which was very helpful with this album. They are for squashing the dynamic range, but if you can do that without it sounding like it, it’s a bit like thickening your soup and coming out with something a bit more robust. So it’s very much tied to this record. “The bigness of it is on purpose. The theme of Dark Valley is so big – I’m talking about big things – and I discovered you can’t do that effectively unless, I guess, the sound that supports it is big. In the early

stages of making this record, when I was asking myself these sorts of questions of how to do it, I remembered Kevin Klein being interviewed by David Letterman about doing Shakespeare, and he’d said it’s got to have a heroic dimension to it because Shakespeare’s talking about big things. So I thought the album had to have a heroic dimension to it, and that led me to Springsteen’s Born To Run, which is kind of along the same lines. So I tried to find sounds that were big, and if I was talking about something important, I was feeling whether it sounded important.” Szikla recorded the album over a year or so in the living room of his Melbourne flat, running his laptop, an Mbox 2, a couple of microphones and the Prodigal. “All the electric guitar, for instance, is through a Line 6 guitar preamp box – virtual guitar amplifiers – and then through my Prodigal preamp.” As with most musicians these days, Szikla has worked in a number of other areas, among them designing electronic devices, including a number of audio-visual conferencing products, and in that context had begun designing a high-quality Discrete Transistor Microphone Preamp. “I had these designs for it I’d started years ago and would go back to once every three or four years until something ‘real time’ got in the way and I’d have to shelve it again to go off and make money with something else, so I just resurrected one of these projects into the Prodigal. The design spec was that you had to plug your crappy, tinny-sounding shit in one end and out the other end came angels beating you in the head with fluffy pillows. “At some point in there I met and befriended David Nicholas, who should be a national treasure, I think, as a recording engineer. He ran [the now sadly defunct] Rhinoceros Studios in Sydney, where all the INXS records were made [Nicholas worked on Kick, X and Shabooh Shoobah], and he was Chris Thomas’ engineer

The Greg Bennett Regency AB-2 acoustic bass under review is finished in high gloss black, the top spruce, the back, sides and neck mahogany, and it’s the neck that wins it for me, nice and slim, like an Ibanez electric, low action and designed for speed, the way I tend to (over)play. The body is also a comfortable size, so I’m not having to reach over too far to play it, unlike more traditional acoustic basses. Unplugged it’s got a really warm tone, but plugged in, the piezo pickup, run off an active preamp, enhances that warmth, yet can give you plenty of bite if you like things toppy, as I do. It’s not a “rock” bass, though I could probably crank it in a band context – something to look forward to – but in a semi-acoustic blues-roots context, like the one I played it in recently, launching the new album from Isaiah B Brunt, there’s more than enough headroom to get the message across. With the control panel mounted on the topside, it’s easy to see and manipulate the basic two-band EQ, so you can concentrate on performance. All up, it plays like a dream. Michael Smith

“I’m in the process of working up a production model of the Prodigal and intend to have it on the market some time this year.” That friendship naturally led to Szikla calling on Nicholas to mix Dark Valley, which was then mastered by Don Bartley at his new Benchmark mastering studio in Blaxland in Sydney’s Blue Mountains. “Coincidentally, [Nicholas’] style is big. He once said to me, when asked about making hit records – does anyone know how to do it or is it just luck? He looked me in the eye and said, ‘I do big, and when big’s in fashion, I have hits, and when it’s not, I don’t’.” WHO: Andy Szikla WHAT: Dark Valley (Rubber) WHEN & WHERE: Saturday 27 July, Cherry Bar


SAMICK AB-2/BK ACOUSTIC BASS Designed by Nashville-based luthier Greg Bennett, it’s hard to believe that this truly beautifully-made acoustic bass was manufactured in Indonesia, but there you go – time to get past those inevitable preconceptions about sweatshops and mediocre quality. Samick has been in the business of making quality instruments since 1958, and obviously recognised long ago that American luthiers were the way to go with regards to design, and it’s paid off. The woods utilised in manufacturing Bennett’s designs are sourced from around the world, rather than just pillaged from Indonesia’s own threatened rainforests (hopefully not pillaging someone else’s in the process!).

[in London] for some time – he did the Pulp record that everybody knows – and we wound up colleagues doing audio-visual work in Sydney. I was in the process of designing the Prodigal at the time, got his opinion and he made a few suggestions, which I gleefully took on, and then I gave him one. He occasionally gives it back to me when I’ve got a few more ideas to tweak it up, but he’s basically been using it on every record that he’s made in the last four years or so, including the new Baby Animals album, and if you listen to the bass guitar, especially through something big, it’s an amazing sound he’s pulled. But he’s used it on everything – he’s used it on vocals, piano, Spanish guitar, all sorts of things.





Here’s a great story, though it must have been horrifying at the time. Five days before they were due to head off to Applewood Lane Studios, an hour west of Brisbane, to record their debut album I Need Space with renowned producer Magoo (Regurgitator, The Jungle Giants, Midnight Oil), Hobart, Tasmanian five-piece Ben Wells & The Middle Names were having their final rehearsal at their singer’s rental home/studio when a fire ripped through the house. Only they and their guitars got out in one piece. Then when the band arrived in Brisbane, they had a puncture and found themselves stranded on the highway, and then, getting to the studio, they found that Magoo’s house had been burgled! Despite it all though, the band and producer got stuck in and made the album.





STERLING MUSIC MAN 7-STRING GUITAR Music Man has a mid-priced version of the John Petrucci seven-string guitar, the “Sterling” model, a replica of the top-shelf JP70 you’ll see Petrucci playing with Dream Theater, G3 or the like and which he developed with Music Man. Over the centuries the guitar has seen any number of string variations. In fact the word ‘guitar’ is thought to be derived from the Persian word for ‘four strings’. The Renaissance guitar (1400-1600) was a four-string affair while the Baroque guitar (1600-1750) was five. In Spain a sixth string was added; hence the term ‘Spanish guitar’ and around the world we’ve quite a few examples of sevenstring guitars. In France Napoléon Coste played and composed for the seven-string in the 1800s. Russia and Brazil developed seven-string guitars independently. In America, jazz guitarists, including my own teacher, Bucky Pizzerelli, experimented with seven strings and all in the quest for a bigger range. After playing the Sterling Music Man through a few different amps and settings I’d have to say that it plays favourably and comes up sounding quite good. I really liked the sustain and just happened to need to put down some slide guitar on a track in the studio so this guitar will be heard on Volume 3 of my Guitar Heroes project that we’re about to launch. Whether you need “four octaves plus” for sophisticated “prog rock” or power chord jamming for “punk” or “death metal”, I believe you’ll do well with the Sterling. Obviously the full-priced Petrucci model is what you’ll hear on those classic recordings and the thought occurs – just how much difference would there be? I wouldn’t mind A-Bing it sometime. Steve Flack

The Yamaha CL5 is a small package for what’s included, but don’t let that deceive you; this is a very powerful and capable machine. All the consoles in the CL series are a scalable system, so they can be networked together to share head amps and all use the same Rio I/O rack. The CL5 mix capacity is 72 mono plus eight stereo inputs, which includes 64 channels of Dante and eight local, with 34 faders, standard output meters, 48/44.1 kHz sampling rates, a comprehensive selected channel section and a backlit colour LED touch screen. Onboard processing is impressive and includes reverbs, delays and other effects, 16 31-band GEQs, Rupert Neve Designs Portico 5043 compressor and Portico 5033 EQ and new Yamaha VCM compressors and EQs. Neve has officially recognised the Yamaha VCM (Virtual Circuitry Modelling) technology as the first capable of faithfully reproducing his legendary audio artistry. Working together with Yamaha’s Dr K, they’ve come up with some impressive onboard processing on this machine. There are two options for I/O. The Rio3224-D gives you 32 channels of analogue input, eight channels of AES output and 16 channels of analogue output. The Rio1608-D provides 16 in and eight out of analogue in/out. Despite all the power, this is a very simple console to set up, with no specific start-up sequence. Connection is through the Dante network protocol over CAT5e cable and is extremely reliable, with built-in redundancy using a network switch. There’s simply so much packed into this console I could go on for hours. Suffice to say this is a new generation of Yamaha console, not an updated M7, and although the feature sets are very familiar, the console is streets ahead of its predecessors. Barry Gilmour

Inpress Issue 1282  

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 1282  

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...