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I N P R E S S I S S U E # 1 2 8 5 W E D N E S D AY 3 1 J U LY 2 0 1 3

“If we could just get rid of the problem – environmentally – which seems to be humans, the earth would be quite fine.”


Ronnie Burkett, puppeteer and creator of PENNY PLAIN (P17)

Wed 31. 7pm - Greensticks Premiere screening of teen drama webisode



series Greensticks.

Thurs 1. 7pm - LoopHole opening


GODS GIFT PRESENTS 'le essential essentials'


Thurs 1. 10pm - KO - CLUB **DEEP CLUB OBLITERATION AT K.O.** DJs Forces, Kangaroo Skull, Baba-X, Salmon Barrel . Visuals by Zonk Vision and VJ U2

Fri 2. 10 pm - Alt Future


BrFeaturing up and coming local artists with the best in house, techno, garage and disco.

Sat 3. 10pm - Arthouse

We went through quite a few jobs, homes, girlfriends... and then finally everything went right.”

“Twenty-five minutes in and our first man had fallen, projectile vomiting at the back of the boat.” Rachel Corbett in BEYOND THE SPEAKERS (P32)

“For anyone who was worried about a dip in form, however, fear not. This is a fucking pearler of a rock album.” Dylan Stewart reviews KARNIVOOL’S ASYMMETRY (P26)


Katie Drover, Jen Tutty, With AJ, Brynley Cullen, Moskalin, Sekkt (LIVE) , Ekul Moht


& VJs Lightdoulja & Metallic Jelly

Mon 5. 6.30pm - Process With the winners of the Dulux Study Tour

“One joker steals the show by crowd-surfing on his mate’s back, until Chewbacca turns up on an inflatable tortoise.” Our report of SPLENDOUR IN THE GRASS (P28)


“An unsettling collection of songs that could’ve been penned by Chris Isaak on a crystal meth comedown.”


Glenn Waller reviews DAVID LYNCH’S THE BIG DREAM (P26)




“If you’re slightly sozzled on the slosh and you try and say ‘muddled’ real fast, it may sound a little like ‘mulled’. This is how mulled wine got its name (sort of).”



CREDITS Group Managing Editor Andrew Mast Editor Bryget Chrisfield Editorial Assistant Stephanie Liew Food & Arts Coordinator Cassandra Fumi Staff Writer Michael Smith

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EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. By submitting letters to us for publication, you agree that we may edit the letter for legal, space or other reasons. ©

DESIGN & LAYOUT Art Direction Matt Davis Layout Matt Davis, Nicholas Hopkins, Eamon Stewart


Suzanne Truman reviews CAVALIA

Samson McDougall weighs in on the MULLED WINE debate (P37)



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[NEWS NEWS] n a t i o n a l

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WE GOT GAME Whether he’s coming at you through the big screen, small screen or speakers on the stage, LA gangster The Game brings the same levels of intensity and integrity with everything that he does. Since his five million-selling Dre-helmed debut, The Documentary, in 2005, Jayceon Terrell Taylor has helped keep west coast rap strong, with his record of last year, Jesus Piece, reaffirming his status as one of the finest to ever come outta Compton. Returning to Australian shores next month, the hip hop heavyweight plays Thursday 22 August, The Espy, Melbourne; Saturday 24, The Grand Hotel, Wollongong; Tuesday 27, Metro Theatre, Sydney; Wednesday 28, Panthers, Newcastle; Friday 30, Parkwood Tavern, Gold Coast, and Saturday 31, The Arena, Brisbane.



THE NORTH STANDS FOR SOMETHING IF YOU WEREN’T DOING MUSIC, WHAT ELSE WOULD YOU BE DOING? I have no idea. Probably studying some kind of science. The Trouble With Templeton’s new album, Rookie, out 2 August.

Plenty of bands have tried to throw multiple heavy styles into the pot, but few have succeeded so spectacularly well as Kvelertak. It’s extreme rock’n’roll having a bar brawl with heavy metal while hardcore and punk look on laughing. Dave Grohl loves them, Pitchfork loves them and so should you. On Meir, the latest album from the Norwegian strangleholders, a record that shot to the top of their country’s charts, they have amplified their power while somehow bringing more unpredictability to the table. It’s ferocious, inspired and although draining, it leaves you ever-hungry, with the end result being something that crawls under your skin and leaves you wanting more. Get your fix when the sextet sail into our waters to terrorise the party, playing Saturday 14 September, The Rev, Brisbane; Sunday 15, Manning Bar, Sydney; Tuesday 17, Corner Hotel, Melbourne, and Thursday 19, Amplifier, Perth. Tickets go sale from Thursday.

MAKING THE MOST OF HIS TIME One of the hardest-working and most versatile performers in the country, Lyall Moloney is fast earning a name for himself as a musical shapeshifter whose creativity knows no boundaries. Latest single, Before The End Of Time, proves the point – a hook-riddled jam that comes with dancefloor beats, but drags them through folk, hip hop, traditional pop and everything in between. He’s poked around recently on local festival bills and as support for acts like Sticky Fingers, but now we can get excited for the full experience, with Moloney showcasing his limitless talents on stage during a headline tour. Make sure you get out and throw your support behind the young man when he plays Friday 9 August, the Workers Club, Melbourne; Saturday 10, Baha Bar, Rye; Friday 16, Solbar, Maroochydore, and Friday 23, The Standard, Sydney.

APP IT UP PANDORA RADIO Size: 17.0 MB What it does: It’s got a massive following stateside, and it’s finally made its way to our shores. Pandora gives you personalised music radio. Just start with the name of one of your favourite artists, songs or classical composers and Pandora will create a custom “station” that plays similar music. You also get to ‘thumbs up’ or ‘thumbs down’ their selection. Why it’s essential: Because music. That’s why.



POND Hobo Rocket Modular

THE CIVIL WARS The Civil Wars Sony

HORRORSHOW King Amongst Many Elefant Tracks

SNAKADAKTAL Sleep In The Water Liberation

FOREIGN FACES Get your freak flag flying high with the psychedelic country of Immigrant Union emerging with a smile and a wave. Featuring The Dandy Warhols’ Brent DeBoer as well as Bob Harrow from The Lazy Sons, foundations for the six-piece were put in place at Melbourne’s Cherry Bar and they’ve held onto that honest, hardworking ethic with their music and performances. To celebrate the first single, Alison, from their forthcoming second album, Anyway, the gang will get out on the road for east coast dates, playing Friday 9 August, The Loft, Warrnambool; Saturday 10, The Bridge Hotel, Castlemaine; Thursday 15, The Loft, Gold Coast; Friday 16, Byron Bay Brewery; Saturday 17, The Joynt, Brisbane; Sunday 18, Moreton Bay Trailer Boat Club, Brisbane; Thursday 22, Frankie’s Pizza, Sydney; Friday 23, The Lass O’Gowrie, Newcastle, and Saturday 24, Union Hotel, Sydney.


Platform: iOS 3.0


Immigrant Union

If you think rock’n’roll is best done by the boys, then you simply haven’t seen Stonefield rip it up. Still frighteningly young, the Findlay girls are a tour de force when they plug in and have already played some of Australia’s biggest stages, not to mention iconic overseas events such as Glastonbury. Put Your Curse On Me is the first taste of a debut album that’s supposed to drop in the very near future. Stonefield will be launching the track, with the sisters playing the following dates: Friday 23 August, Small Ballroom, Newcastle; Saturday 24, Oxford Art Factory, Sydney; Thursday 29, Prince Of Wales, Bunbury; Friday 30, Player’s Bar, Mandurah; Saturday 31, Amplifier, Perth; Sunday 1 September, Indi Bar, Scarborough; Friday 6, Karova Lounge, Ballarat; Saturday 7, Ding Dong Lounge, Melbourne, and Wednesday 11, BIGSOUND, Fortitude Valley entertainment precinct, Brisbane. Apes, Stillwater Giants and Jack Stirling from The Joe Kings look after support duties across the various dates; head to theMusic. to see who’s on the bill in your locale.

Nuggets of gold are still being found across The Growl’s most recent collection of tracks – their debut full-length, What Would Christ Do?? – and with third single, Douse The Lamps, the Western Australian lads look set to solidify their place among the top of the new WA crop. Announced as their last live performances for 2013 before they bunker down to work on more new music, this is your final chance to groove to the garage goodness of the five-piece, so make sure you’re in the house on one of these dates: Tuesday 3 September, Northcote Social Club, Melbourne; Wednesday 4, GoodGod Small Club, Sydney; Thursday 5, Black Bear Lodge, Brisbane, and Friday 6, Ellington Jazz Club, Perth. Peter Bibby & His Bottles Of Confidence will support on all dates except Perth, with various special guests filling up the rest of the billings.


SIDESTEPPING THE EXPECTED After spending the best part of last year sharing bills with the likes of Josh Pyke and Matt Corby, Sydney troubadour Jack Carty is slowing creeping down a path less ordinary, and with his new EP, The Predictable Crisis Of Modern Life – a collaboration with producer Casual Psychotic – the songwriter is playing with beats, vocal phrasing and other fresh sounds to create a vibrant new tapestry. Carty will present his Predictable Crisis launch tour on the following dates: Thursday 29 August, Railway Friendly Bar, Byron Bay; Friday 30, The Spotted Cow, Toowoomba; Saturday 31, Joe’s Waterhole, Eumundi; Sunday 1 September, Black Bear Lodge, Brisbane; Friday 6 and Saturday 7, Brighton Up Bar, Sydney; Thursday 12, Toff In Town, Melbourne; Friday 27, Ya-Ya’s, Perth; Saturday 28, Settlers Tavern, Margaret River; Thursday 3 October, Lizotte’s, Newcastle; Friday 4, Clarendon Guesthouse, Katoomba; Saturday 5, Heritage Hotel, Bulli, and Sunday 6, Front Gallery, Canberra.

8 • For more news/announcements go to

Fall Out Boy


PEDAL DOWN Twelve days at Rancom Studio in Sydney have resulted in 13 new songs from seminal Aussie rockers Tumbleweed, the Wollongong fuzz institution now ready to drop their first new studio album in over a decade, Sounds From The Other Side, featuring the band’s original line-up. After dominating the local scene throughout the early ‘90s, including scoring the coveted support slot for Nirvana during their ’92 Oz tour, Tumbleweed shut their doors in ’95, only for them to reopen with blunt force at Homebake in ’09, a rocking reunion that got the momentum going towards what will surely be one hell of an album soon to drop. Get back on the gravy train when the ‘Weed play a hometown show Friday 30 August, Wollongong Town Hall, before tackling three capital city dates - Friday 13, The Zoo, Brisbane; Saturday 21, The Espy, Melbourne, and Saturday 28, the Annandale Hotel, Sydney.

They might not be headlining Soundwave 2014 as they would have liked, but it doesn’t mean Fall Out Boy are going to turn their back on their Australian fanbase. After a five-year wait the four-piece have returned strong with latest record, Save Rock and Roll, and will be bringing their latest pop punk gem out to Australia for a tour playing all ages capital city dates, those being at Sydney Entertainment Centre, Friday 25 October, followed by shows at Festival Hall, Melbourne, Saturday 26 and Brisbane Convention Centre, Sunday 27. Support duties have been handed to Melbourne alt. rockers British India, who have been destroying stages recently and will no doubt thrive in front of their biggest crowds to date. Tickets can be purchased Friday 9 August, with pre-sale action also available for Frontier Touring members from 12 noon on Wednesday 7.

KNOTTING TO LOSE Rocking Melbourne sextet Money For Rope will be burning up and down the Pacific Highway, shaking the foundations of venues with material from their self-titled debut, while kicking the machine into gear before work gets underway on a follow-up. They get things moving along with a two-night stretch at Cherry Bar, Melbourne on Friday 16 and Saturday 17 August, before heading north in September, playing Yours & Owls, Wollongong, Wednesday 4; the Beach Road Hotel, Sydney, Thursday 5; Bar on the Hill Newcastle Uni (with Kingswood), Friday 6; Spectrum, Sydney, Saturday 7; BIGSOUND, Fortitude Valley entertainment precinct, Brisbane, Thursday 12, and The Zoo, Brisbane, Friday 13 (with Tumbleweed).

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Monique diMattina is back, this time with fifth album Nola’s Ark. The album fuses stellar musicianship and New Orleans good time sensibility to take the listener on a journey from sweet sonority to chaos and back. See Monique diMattina play live at Bennetts Lane on Saturday 7 September.

GORGON GROOVE UK-based Gorgon City roll out their polished, powerful and party-minded Real EP and are set to visit Australia in a few months. Inspired by the endless groove possibilities when house, garage and bass music go toe-to-toe, Gorgon City will be supporting Rudimental on Saturday 21 September at Festival Hall.

Nick Cave Nick Cave will speak at the inaugural BIGSOUND Music+Design event, which is part of the Brisbane conference and showcase this September. To be interviewed via satellite by RocKwiz host Julia Zemiro, other names added include Vello Virkhaus (V Squared Labs), Aaron Hayward (Debaser), Josh Gardiner (VICE), photographer Tony Mott, Nimrod Weis (ENESS) and Peter Cooper (Rode Microphones). The film component will feature Elliott Wheeler, Lachlan Goold and Natasha Pincus. All things DIY will be discussed by Paul Curtis and Celeste Potter, Jhonny Russell and Ray Ahn. On the fashion side of things, Australian Fashion Week’s Simon Lock and magazine style editor Kirsten Doak also get involved. American R&B star Frank Ocean last week cancelled all his scheduled Australian shows – including his Splendour In The Grass headline slot – after becoming sick in Melbourne. Ocean, who also pulled out of the Future Music Festival last year, struggled through one Melbourne sideshow before canning his upcoming four sold-out appearances. The news was a huge blow to fans who had been waiting years for Ocean to perform in Australia. New Zealand’s Lorde was brought in to fill the empty slot on the Splendour line-up. Perth hard rock outfit Karnivool have debuted at #1 on the ARIA Album Chart this week with their latest album, Asymmetry. The band’s first #1 (2009’s Sound Awake reached two), the band understandably said, “We’re bloody stoked.” They also thanked fans and called their #1 debut “another win for independent alternative Australian music.” There were also bumps for acts on the Splendour In The Grass bill, including Mumford & Sons, Of Monsters & Men, Frank Ocean, MS MR, James Blake and alt-J.


Five-piece indie-punk band Darts bring their fractured song structures and unpredictable live shows to The Tote every Thursday in August. Having burst into the music scene in 2009, winning triple j Unearthed and releasing their debut album Habitual Slack in 2012, these kids have been busy sharing their music across Melbourne. With epic supports from 8 Bit Love, Velma Grove, Going Swimming, Ceres plus more, your Thursdays in August are complete.


According to the LA Times, a report from US venture capital firm Siemer Ventures suggests the majority of music sales will occur in the digital sphere by 2017. Global digital revenue is expected to reach $11.6 billion by 2016. The report also says that streaming services, whose value to artists has come under scrutiny recently, will add to the 12 per cent growth by 2016, while overall global industry revenue will shrink eight per cent from last year to 2016, with an estimate of $26.5 billion touted. Valve is moving as its current home is up for lease. A regular host of live music, Valve is currently housed in Tempe’s The Harp Hotel but it will move to the Agincourt Hotel, Broadway, as of Wednesday 28 August. Tim Baker, who discovered and was the original manager of The Rubens, has launched a new label, Slow Country Records. The first signing are The Mountains, whom Baker manages. Slow County Records has signed a distribution deal with MGM. The Australian Institute Of Music (AIM) is launching a campus in Melbourne, with the first intake to take place January 2014. In other education news there are rumours another college has lined up a deal with a venue for an on-site live engineering course, launching later this year. Gold Coast pop star Cody Simpson continues his global rise, with his album, Surfers Paradise, debuting at ten in the US album charts this week. He was joined in the top 20 by Sydney exports Sick Puppies, whose new album, Connect, debuted at 17.


Get your butts to the Cobra Bar (upstairs at The Tote) on Wednesday 7 August for a night of local punk, noise and post punk. Kicking things off are McBain, bringing their abrasive blend of noise-surfthrash in what may be their last show for the year. They’re followed by the very sultry Them Nights and post-punk, noise stalwarts Psalm Beach.

Due to extremely popular demand, the freshly crowned “The Voice of Australia” Harrison Craig has announced a third Melbourne show playing at The Palms At Crown on Thursday 3 October. Harrison will be accompanied by a full band and spectacular stage production.

TRIO OF LIFE Three voices. Three cultures. One love of music and the ocean. Xavier Rudd, Donavon Frankenreiter and Nahko & Medicine For The People will tour nationally this September/October. With the Forum Theatre show now sold out they have announced a second show at the venue on Wednesday 2 October.

The Young family – AC/DC’s Angus Young, Malcolm Young and Easybeats’ George Young – have found their way back into the esteemed list of families considered to be Australia’s wealthiest in Business Review Weekly magazine. Ranked at 48, they have estimated combined earnings of $255 million over the past year. The Universal Music Group is preparing to launch a new label, All Def Music, which will aim to sign, develop and promote artists on YouTube. The imprint will leverage the All Def Digital platform, a YouTube channel launched by Russell Simmons, who co-founded Def Jam with Rick Rubin, and leading film, TV and digital media producer Brian Robbins, to create content for the label’s talent. Hip hop industry pioneer and founder of Loud and SRC Records, Steve Rifkind comes on board as CEO and President of All Def Music and ADD Management.

Hugo Race has recently returned from an extensive concert tour of Europe with his Italian-based Fatalists project. Race now brings the tour back to Australia in support of their latest album We Never Had Control. Joining the tour party will be special Italian guests Sacri Couri. They stop by at The Workers Club on Friday 20 September for the official album launch; then The Bridge Hotel, Castlemaine on Saturday 21; and The Post Office Hotel, Coburg on Sunday 29.




SEVEN UP Marlow are thrilled to launch their new EP Seven this Friday, just in time to kick off the Seven Tour! The band have previously toured the country with the likes of Closure In Moscow, Sleepmakeswaves and Jericco. Catch them at Karova Lounge, Ballarat on Thursday 15 August; the Empress Hotel on Saturday 17; Ferntree Gully Hotel on Saturday 24; and the Wool Exchange, Geelong on Saturday 31.

SHOWS US YA GUNS Sydney’s Chicks Who Love Guns unleash their hotly anticipated forthcoming single, Pencil Neck. Released as a limited double-A side 7” vinyl, the track is electrifyingly energetic, setting the stage and firing shots to herald a heroic return, a new level of maturity, with all the old colour and depravity – plus a music video to match. To celebrate, the band play at Liberty Social with Mesa Cosa on Thursday 29 August.


APES AND RANGERS Magic Dirt’s Raul Sanchez, Dallas Crane’s Pat Bourke, Gus Agars of the Vandas and Tex Perkins are The Ape. They’ll bring their simple, primitive rock’n’roll to the Annual World Rangers Day Fundraising Gala along with DJ Max Crawdaddy. Set for this Saturday at the Regal Ballroom, the dinner event raises much-needed funds for the Thin Green Line foundation that concentrates its efforts on “protecting nature’s protectors”.

SWINGIN’ SISTA Fresh from touring her highly anticipated big band album Swing, Australian musical icon Renée Geyer performs an intimate show for fans at the Flying Saucer Club on Friday 16 August: it’ll be a two-hour presentation with Geyer performing the new album plus her many hits with an extended band including a three-piece horn section.

SMOOTH SMOOTA TV On The Radio’s Smoota is hanging around for some solo shows post-Splendour, and he’s dropping in to Bar Open tonight (Wednesday) for a free entry party. The Smoota show is all things groovy, sexual and provocative. He performs solo, singing and playing keys and trombone over his tracks, which are often compared to Serge Gainsbourg, Bryan Ferry, Beck, Peaches, Ween and Sebastien Tellier. Able support comes from local favourites House Of Light and The Night Party.

BUILT UP All Time Low have announced state supports for their upcoming Australian tour. In Melbourne, warming up the stage for them will be Built On Secrets. Their instantly catchy take on ambient-rock translates to an exhilarating live show that will be on display at Billboard on Saturday 31 August (sold out), Sunday 1 September (under-18, sold out) and the final show on Monday 2.

10 • For more news/announcements go to


After a sold out debut tour in early 2012, young American minimalist guitar master Mark McGuire returns to Australia and New Zealand this September. A general guitar guru who creates a cyclic world of uneasy post-pop, minimalism and hazy ambience, Mark McGuire’s new album, Along The Way, is another radical development in his musical career. He performs at The Gasometer Hotel on Saturday 7 September.

AT THE HELM Following a year off the road to write, rehearse and record, Helm will return to the stage to promote and perform their forthcoming third opus, Vol 3... Panthalassa, throughout September and October. In what will be the only tour for the band this year, you can catch them at the Evelyn Hotel on Saturday 7 September. Joining them on tour will be Sydney’s instrumental powerhouse, Dumbsaint.

SO ROMANTIC Chela has released a mini-mix of her upcoming single Romanticise. The single with remixes from the likes of Gold Fields, Collarbones, Boys Get Hurt and more are forthcoming via France’s music/fashion tastemakers Kitsuné on Monday 26 August. She performs a show at Liberty Social this Thursday for Kitsuné Club Night, at The Toff In Town on Thursday 8 August, and with The Preatures at Northcote Social Club on Friday 13 September and Karova Lounge, Ballarat on Saturday 14.

Trigger Jackets will tour the nation this August to promote their debut album Skinny. To coincide with the tour announcement, the band have also released a new single, Coda. See them live on Friday 9 August at the Retreat Hotel with Honeybone, Saturday 10 at Karova Lounge, Ballarat with Royston Vasie and Sunday 11 at The Curtin with Dear Ale.

UNSTOPPABLE FOURTH Having achieved 13 instantaneous sell outs in Australia and New Zealand, The Mrs Carter Show World Tour starring Beyoncé has added even more Australian shows. In Melbourne, a fourth show has been announced at Rod Laver Arena for Saturday 26 November. The emerging hip hop force, Australian-born Iggy Azalea, joins the tour as the special guest for all shows.

BA-BA-BARBARION The Barbariön stage show combines historically inaccurate, sexually ambiguous and highly flammable costumes with hastily assembled pyrotechnics in confined spaces along with ‘carefully’ choreographed guitar moves and plenty of exposed flesh. Catch them live with guests Vice Grip Pussies, Dead City Ruins and Virtue on Friday 9 August at The Espy.


REACH FOR THE TOP A single, continuous one-hour piece of original music, devised and performed by Australia’s foremost composition and performance company, Topology, Ten Hands is a journey through the collective imaginations of five musicians. Dazzling, engaging and provocative, Ten Hands does not hold back, and features five virtuoso composer/ musicians intermingled into one musical whole. See it live at Chapel Off Chapel on Sunday 11 August.


After a packed out show at the Flying Saucer Club only recently, Sun Rising venture east to grace the stage of the famous Caravan Music Club on Saturday 10 August. Coinciding with both Sun Rising’s first birthday and Elvis anniversary week, this show promises to be a truly memorable one.

Dirt Farmer are embarking on a regional East Coast tour in support of their new single, She Shakes. It is the second single from the band’s 2013 EP Delilah Lightning, released in mid June. The Albury-Wodonga natives bring their own brand of summer-tinged slacker rock’n’roll to Yahoo Bar, Shepparton this Friday; The Bridge Hotel, Castlemaine this Saturday; Karova Lounge, Ballarat on Friday 9 August; Barwon Club, Geelong Saturday 10; and The Workers Club Thursday 15 and Friday 16.



The Council return to The Tote every Saturday afternoon in August to play their particular blend of two-piece rock’n’roll. Joining them for their residency will be a line-up of legendary Melbourne musicians playing solo. Kicking things off will be Spencer P Jones ensuring a solid start to what looks to be a great month of music.

US garage-rock legends The BellRays paid a visit to Australia in June 2013 after a lengthy break from touring the Oz territory. They’re already back again, and this time around, The BellRays will headline Melbourne’s CherryFest 2013 on Sunday 24 November hosted in AC/DC Lane and The Cherry Bar.



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FRIDAY 2 The Container Festival Opening – what can you do in a shipping container? Store and move items? Right, But that’s not all you can do at Monash Uni Student Theatre they are launching the first ever Container Festival. This sees multiple shipping containers act as performance venues, for this multi-artform, multi-venue arts events festival. Opening night party, Monash Uni Student Theatre, Clayton (the Hub), 6pm, the festival runs to Tuesday 20 August.

#IFOUNDEINSTEIN “You don’t have to understand anything. It’s a work where you go and you can get lost and that’s the idea” says Robert Wilson about Einstein On The Beach that opens at the Arts Centre this week. This is an opera in four acts, composed by Philip Glass, directed by Robert Wilson and choreographed by Lucinda Childs. It’s Glass’s first and longest opera score; it runs for four hours without out an interval. Einstein On The Beach breaks all rules of conventional opera, with no story, hero, or heroine, EOTB unfolds as a tableau, inspired by the poetic idea of a genius, propelled by Glass’ score. It was first performed in 1976 and has had several revivals. You may have seen a wig wearing Einstein around the streets of Melbourne last Friday playing a violin? If you did it was part of a #ifoundeinstein comp that is now closed. Einstein On The Beach opens at Arts Centre Melbourne on Wednesday 21 July and runs to Sunday 4 August.

THURSDAY 1 Wadjda – the first feature film ever shot entirely inside Saudi Arabia by the country’s first ever female director, Haifaa Al-Mansour. This ground braking film is centered around a young girls desires to own a bicycle so she can race her best friend. Part of MIFF, Forum Theatre, 1.45pm. Upstream Color – this film created by Primer’s Shane Carruth, is abstract science fiction. This hallucinatory cinematic experience follows a man and woman, both escaping a mysterious trauma. Part of MIFF, Greater Union, 9pm. The Wild Party

12 • For more news/announcements go to

I Used To Be Darker – this film directed by Matt Porterfield, this observational film is about 19-year-old Northern Irish runaway Taryn who goes to her aunt and uncle in Baltimore. The couple, both musicians find their marriage ending, with a musical score performed live. Porterfield is a guest of MIFF and will conduct a Q and A after the screening. Part of MIFF, ACMI, 9.15pm. Friday Nights At Monet’s Garden – if you haven’t checked this out yet head on down, check out the exhibition, pop up talks, food (the cheese platter is top notch). Tonight see band Brighter Later headline the musical entertainment. NGV, 6.30pm to 9.30pm, runs to Friday 6 September. Exposed – a documentary by Beth B that looks at the weirdly wonderful world of underground alternative Burlesque. Part of MIFF, Greater Union Cinema, 11.30pm.


Tim Winton’s The Turning – seventeen creative talents work together to create a film adaptation of beloved Australian writer’s novel The Turning. Staring Hugo Weavng, Miranda Otto, Cate Blanchett, Rose Byrne and many more. Part of MIFF, Greater Union Cinema, 7pm.

WEDNESDAY 31 The Wild Party – a dinner and show musical based on the infamous 1928 poem by Joseph Moncure March. Michael John LaChiusa’s The Wild Party is confronting entertainment, presented by Four Letter Word Theatre. Opening night, Revolt Artspace, 7.30pm, to Saturday 3 August.

I Used to be Darker

Pic by Sarah Walker

Magic Magic – this film written and directed by Sebastián Silva, is a claustrophobic tale of schizophrenia and sexuality. Starring Juno Temple and Australia’s Emily Browning. Part of MIFF, Hoyts Cinema, 6.30pm.

Blizzard – a physical dance performance that pays tribute to the resilience of the natural world in the face of human complacence and carelessness. Directed by Nat Cursi. The Substation, 7.30pm, to Sunday 4 August.

SUNDAY 4 Hidden Space, Ready Stages – an immersive multiscreen video installation exploring the theatricality of Arts Centre Melbourne’s unseen chambers. Created by Gabriella Mangano and Silvana Mangano. Hamer Hall 1pm to 9pm (visiting after sunset is recommended). Computer Chess – a film directed by Mr Mumblecore Andrew Bujalski, it’s a recreation of the birth of the digital revolution. Using vintage analogue video equipment to film this early 80s-set story of a computer chess competition, wherein programmers pit their machines against each other to test the limits of AI. Part of MIFF, Greater Union, 1.30pm.

MONDAY 5 Ain’t Them Bodies Saints – a film directed by David Lowery about an outlawed couple who find their crime spree at an abrupt end when they surrender after wounding a cop. Part of MIFF, Forum Theatre, 9pm.

TUESDAY 6 The Bloody Chamber – a play based on Angela Carter’s legendary story of the sinister Bluebeard and his ‘missing’ wives. Directed by Matthew Lutton, with music by David Chisholm, performance text by Van Badham and performed by Shelly Lauman and Alison Whyte. Opening night, Malthouse Theatres, Merlyn, 7.30pm, to Saturday 10 August.

WEDNESDAY 7 Check Out How Great My Friends Are – an exhibition of 25+ professional artists, hobbyists and debuting artists in this three-week interactive exhibition. What happens when a bunch of friends get together and make art? Many of the artists are working in mediums outside their expertise, or are doing projects that use skills they already had but in a totally new way. The exhibition presents fixed gallery works and special events, including a market day and a short film program Cinemania. Opening night, The Library Artspace, 6.30pm, exhibiting to Saturday 24 August.



CAVE DWELLERS They say album number two can make or break you as an artist, but indie rockers Cloud Control hardly seem worried. And, as Heidi Lenffer and Alister Wright gear up for the band’s second release, they tell Natasha Lee they’re just glad to be back home. Cover and feature pics by Carine Thevenau. fter the release of their critically acclaimed debut, Bliss Release, Cloud Control jumped ship from their hometown in the Blue Mountains and did what most Aussie twentysomethings do – packed up and headed over to the UK.


Okay. Yes, this was a little different to your usual expat adventure, with the foursome committed to one mission: recording album number two. Thankfully though, this crosscountry recording sesh worked. But the whole creative sojourn wasn’t easy. Being in a band is hard work. Firstly, there’s the writing the music bit. Combine that with egos, attitudes and a generous amount of alcohol, and you have a recipe for both raucous success and tremendous tantrums. “I think egos are healthy, actually,” shrugs lead vocalist Alister Wright, who, along with band member Heidi Lenffer, has been holed up in Mushroom Records

HQ for most of the day, churning out interview after interview ahead of album number two’s release. Drum have snared the last spot in the interview circus for today. Everyone is tired, and everyone just wants to go home, meaning the barriers are relaxed, and the pair spend most of the time answering questions between themselves.“Yeah,” adds Lenffer, “ego isn’t always a bad thing.” The newie, Dream Cave, might not have that ‘London’ street sound stamped all over it, but Wright and Lenffer sure have embraced London’s alt.punk street fashion. The languid Wright, who is all arms and legs, is clad in a vintage Adidas pullover, ‘strategically’ ripped jeans (“they came like this,” he informs me when asked how he managed to rip them so badly) and a pair of black Doc Martins that he picked up at an op shop in London. Lenffer on the other hand credits her mum

with helping her in the fashion stakes: “She likes to take me shopping and buy me things.” Despite their earlier success, Wright admits that he lost focus of the band’s popularity Down Under while recording the second album: “Well… yeah. I mean, I don’t sit around wondering how popular we are,” he adds awkwardly, “but it is something you think about, you know, having been overseas for so long.” He needn’t have, however, with the group commanding a sellout performance at the Opera House as part of Sydney’s VIVID Festival – a one-off special that saw them debut, Dream Cave, in its entirety. “I think we did ourselves a service on this [album],” begins Lenffer. “This time around… we tried to write more feel good songs, like party songs.” Wright agrees, adding: “Yeah, we tried to write songs that we could play at a festival or at a concert and they would all be enjoyable. ‘Cause, definitely, there’s some that only work in certain situations; they’re not really good for everything. But these, you could play anywhere.” The album’s 11 tracks take you on a hypnotic romp through an alt.psychedelic rock universe, set somewhere between 1965 and ’68. Despite the overarching Mamas & Papas and Beach Boys-esque sounds weaving their way through the album (specifically on the tambourine-happy Moonrabbit), Lenffer denies the band were reaching for any kind of hippy influences. “I know it sounds like it, but I wasn’t really listening to that kind of stuff at the time.” “You said you were influenced by Meditation Song? (from their debut, Bliss Release),” Wright interjects. “Oh yeah,” Lenffer continues, “that’s right. I was trying to write a song like one of our old songs. I was also into that Australian band, REM.” “Wait,” adds Wright, “they’re not Australian.” “Oh right,” apologises a sheepish Lenffer. “Sorry.” Instead, it appears old habits die hard, with the group relying on caves (which doubled as both influence and recording studio for Bliss Release) to help craft their sound. “Well, we didn’t do the

whole band set-up in the cave,” Wright corrects. “We just took in some mics and some stuff that we had already recorded and played them back in the cave for reverb.” Lenffer adds: “We actually recorded it in a place called Bear Cave, and it was actually a quarry. Like, when you listen to the album you can hear water dripping. That’s all from the cavern.” The organic, unblemished musical mindset seems to have worked, with Dream Cave showcasing a more assured and mature sound than Cloud Control’s debut – the tracks more luscious and layered, with every quirk ironed out to produce a seamless albeit textured moodiness. “We stripped it back this time,” Lenffer reveals. “A lot of the demos were done on laptops, and we extract them from technology to a live setting – and making the songs strong in a live setting was really important to us.” The pair reveal that the foursome, which includes

Lenffer’s brother Ulrich on drums and Jeremy Kelshaw on bass, have a remarkably democratic attitude towards their music. And, despite the aforementioned existence of egos, they tend to operate on a greater good philosophy. “We bring different ideas to the table, don’t we?” Wright asks Lenffer. “You’re in the band,” she replies, “you tell me.” Wright continues: “Well, okay… sometimes we all work together, but a lot of the time it’s us bringing a whole bunch of stuff in and ruining it together.” Lenffer laughs, animatedly adding that “you can also form little alliances in the band. Like, if you think the song should sound ‘this way’, you can work with someone – almost like a proposal. You might do a drumming session with someone and then come up with a reason as to why the song should sound a certain way. It’s almost like negotiating,” she admits, before running her fingers through her hair and sighing, “it’s hard… But that said it’s as hard as it is easy. We share a similar philosophy rather than a certain sonic vision.” Wright, who’s been listening intently, widens his eyes and coos “Ooooooh!” while Lenffer continues, “Didn’t we a while ago… yeah, didn’t we try and come up with what we could say was like a foundational idea of the band, and it was ‘being excellent to each other.’” “Well…” begins Wright, “That was actually from Bill & Ted’s Excellent Adventure.” Undeterred, Lenffer continues: “Well, I think we inherited it,” adding (seriously) that, “we took it on as our own,” before the conversation swerves into how “not hot” Keanu Reeves has been looking recently. “Well,” defends a smiling Lenffer, “he’s looked good for so long that I think he’s allowed to start looking fat and old.” Excellent.

WHO: Cloud Control WHAT: Dream Cave (Ivy League) WHEN & WHERE: Wednesday 4 September, Karova Lounge, Ballarat; Thursday 5, Star Bar, Bendigo; Friday 6, Forum Theatre

TAKE IT AWAY For a band that embraces and embellishes the electronic soundscape, Cloud Control are oddly pedantic about creating a sound that can blossom live. “We just did our own thing,” muses lead vocalist Alister Wright when discussing their new album, Dream Cave. Wright and fellow Cloud Controler Heidi Lenffer reveal that even though demos were created on laptops, they worked tirelessly to re-imagine the sound for a live audience. “[The track] Promises is live… I mean the band is live, but we took a lot of takes to get it right. Dream Cave is also pretty close,” explains Wright, who looks to Lenffer for back up. “Yeah…,” she nods, before springing forward and exclaiming, “Oh! What about Happy Birthday?” At this, Wright’s eyes light up: “Yeah! Actually, Happy Birthday is exactly that. The first take is on the album.” “I think we were excited,” explains Lenffer, “you know, we had tried a new thing and we couldn’t replicate it after that. Like we tried to do it again and we did more takes but magic was in the first take.”



Xavier Rudd Megan Washington The John Steel Singers Melbourne Ska Orchestra Darren Middleton Natalie Pa’apa’a Yukon Blonde (CAN) The Jungle Giants Mitzi Calling All Cars Mama Kin Stonefield Chance Waters Bleeding Knees Club Clubfeet Jonti Thelma Plum KINGSWOOD Dune Rats Eagle And The Worm The Trouble With Templeton Hey Geronimo Tigertown Gossling Twin Beasts The Griswolds King Gizzard And The Lizard Wizard Grey Ghost Diviney Halfway Spit Syndicate Elizabeth Rose Adalita Dubmarine Davey Lane FEELINGS Sheppard The Delta Riggs The Audreys Cub Scouts Surecut Kids Tales in Space Rainbow Chan Songs Buchanan Citizen Kay Cosmo’s Midnight Them Swoops Jess Ribeiro and The Bone Collectors Way Of The Eagle Jeremy Neale Little Bastard Band of Frequencies Lime Cordiale Breaking Orbit Eden Mulholland Electric Horse Arts Martial The Walking Who

Damn Terran MT WARNING Glass Towers The Lazys Bored Nothing The Guppies The Love Junkies Jackie Onassis Spender The Middle Names Rainy Day Women Lakyn Ginger & The Ghost BLOODS JONES Jnr Clap Clap Riot (NZ) Gay Paris SHE REX Money For Rope Lanterns Harry Hookey The Starry Field Patrick James Simone and Girlfunkle Grizzly Jim Lawrie Bec and Ben Sidney York (CAN) Mining Boom Your Favorite Enemies (CAN) Fun Machine The Peep Tempel The Orbweavers Bed Wettin’ Bad Boys Saidah Baba Talibah (CAN) Good Oak Villainy (NZ) Tkay Maidza Clowns Ginger and the Ghost Willow Beats Two Cartoons (NZ) Born Lion Zeahorse Mr Cassidy Ride Into The Sun The Sinking Teeth The Harpoonist & The Axe Murderer (CAN) Karl S. Williams Ashleigh Dallas The Demon Parade Slip-on Stereo Pataphysics Willow New Brutalists Soheyla Mustered Courage We The Ghosts + MORE TO BE ANNOUNCED!



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What has been the biggest challenging working with an Angela Carter text? The challenge of adapting Carter is that, being a fangirl, I’m walking a highwire between deference to her text and the demands of theatrical drama. It’s hard to excise her lush descriptions, but I remind myself that the short story itself is not going to vanish as a result of me adapting it. If I’ve done a good job, the pleasures of both shall have distinct but equal flavours. What’s the sexiest word in the English language? Chocolate. A handful of Turkish delights from a chocolatier and I’m anybody’s. What’s the least sexy word the English language? Pustulent. It’s not much of a legs-opener, truth be told. WHAT: The Bloody Chamber WHEN & WHERE: Friday 2 to Saturday 10 August, Malthouse, Merlyn Theatre


Answered by: Angela Librandi The best record I stole from my folks’ collection was… It wasn’t a record as such – it was a song on a cassette! In The Ghetto by Elvis Presley. The first record I bought with my own money was… Am I showing my age if I tell you it was Prince’s Soft And Wet? The record I put on when I’m really miserable is… It has to be The Best Of Donny Hathaway. A good cry always makes me feel better! The record I put on when I bring someone home is… Anything by Maxwell. That voice is pretty much guaranteed to put anyone in the mood. My favourite party album is… Future Sex/Love Sounds – Justin Timberlake. I love a bit of JT at a party. The best album to comedown to is… There are so many. If I had to pick one? Probably India. Arie – Testimony: Volume 1 Love & Relationship. The most surprising record in my collection is… The Best Of Culture Club – brings back a lot of memories. I’m showing my age again! The last thing I bought/downloaded was… The Original Jill Scott From The Vault Volume 1. I was excited since I had just bought tickets, so I bought the one album that I didn’t already have in my collection. The record I’m loving right now is… Girl On Fire – Alicia Keys. I’m a big fan and this album has not disappointed! I’m loving it right now. When and where are your next gigs? My band Afrodescia performs at Alumbra every Sunday. On Saturday 4 August we are celebrating our ten-year residency with some of Melbourne’s best musicians joining us on stage. Website link for more info?, special-events/250/10-years-of-afrodescia

Sydney rapper Dialectrix challenges the status quo of Australian hip hop with his new record The Cold Light Of Day, and tells Chris Yates about the creative decisions that have guided the record into what really is previously uncharted territory. very artist presumably thinks what they are doing is new, different and exciting, and hopes to both appeal to fans as well as creating new audiences through their music. Brief descriptions of the new Dialectrix album having its roots in classic hip hop while incorporating new sounds and ideas really do not do the record justice at all, and the phrase sits within the category of what everyone always says about his work. However, from the opening bars of the record’s first track Shadow In The Light – a track designed to “punch people in the face stylistically” – it’s apparent this isn’t the usual promotional preamble.


A very unconventional drumbeat bordering on jazz kicks in ferociously with Dialectrix (real name Ryan Leaf) launching into his rhymes with a deadpan seriousness that really sets the tone for the record to take itself seriously in the best possible way. Once again Dialectrix has collaborated wholeheartedly with Sydney producer Plutonic Lab (real name Leigh Ryan) for the entire record, with DJ 2Buck supplying the scratches (except for Fire In The Blood which features DJ Morgs). Using one producer throughout the album is in itself a simple decision that few artists really make these days, preferring to pick and choose beats from a variety of sources to give their records a greater sense of variety, which does not always contribute to a cohesive record. Dialectrix says it was a no brainer to work with Pluto again and is confident this decision has helped yield such fruitful results. “I had this moment when we were working on the last record (Audio Projectile) where I thought it was going beyond what I had done before with other producers as far as really collaborating and getting along,” he explains. “I always say that working with him is like working with a band. We both used to play in bands in different capacities and different genres so working with him evoked that same feeling of like – I don’t feel like I’m just a rapper guy who’s rapping on beats. I feel like there’s someone here helping me and vice versa. It kind of grew from that and I just feel like I get a different and better result working with him than I do with anyone else. He’s also a really good friend of mine and it’s just a relationship that’s grown and grown to the point where we are going to continuously do stuff together. Whether it’s always going to be as Dialectrix or whether we go off and do something else together, I don’t know, but I am always going to make music with that dude. I think we drive each other really well – there’s just too many boxes ticked not to go with him again.”


How would you describe The Bloody Chamber in a tweet? The Bloody Chamber is a Gothic delight of lurking shadows, poisonous sugars and the scent of leather on velvet.


“We kind of just let ideas have their time to either sink or swim,” he says, continuing to explain the working relationship between himself and Pluto. “We’re editing each other and helping each other while we write. We throw an idea out there, we entertain it and try and make it work and we both go ‘yes’ or ‘no’. Everything that is on the record we have both agreed on. It’s not like previous groups I’ve been in where if one person really likes a song and everyone else doesn’t – because one guy loves it so much it still gets on there. When it’s just the two of us we usually agree or disagree on the same things. We have this intuitive knowledge when we are working through ideas and coming up with concepts and these songs, we know straight away if we both feel the same way about it. That for me represents that band mentality – when you feed off each other and inspire and influence each other in real time, in the flesh.” Dialectrix says that the more they worked on the record together, the better the results were and the tighter the cohesion of the whole project. He says Plutonic Lab kept pushing him to really try and do something that no one has done before, which he fed off and pushed back that same philosophy to Plutonic Lab as well. No idea was too weird or too unconventional to at least give it a try, and Pluto’s extensive experience behind the controls meant that he had the resources and skills to implement even the most far out concepts. This constant experimentation has resulted in what is an incredibly accomplished record that succeeds in the pair’s efforts to try and create something new. One thing that really separates Dialectrix from the rest of the pack is his mastery of fast rhymes,

taken to new heights on the last verse of one of the album’s undoubted highlights Black And Gold. “I’ve always loved fast rapping,” he says. “I’ve copped a lot of criticism in my early years from people saying that it’s gobble-de-gook or it’s too fast or self-indulgent. Some people seem to like it and some think it’s stupid. I like pushing things to the extremities and I know that you might lose a bit of content to the listener if you go there, but I think sometimes you don’t necessarily need to know what every word is to get the vibe. It can just be intense in nature. I wrote and re-wrote that track three times until I was happy with it.” Another big point of difference for the record compared to so much contemporary Australian hip hop is the absence of singing in the hooks – a trope employed with varying degrees of success almost ubiquitously these days. “I don’t mind singing on choruses, even the rapper,” he says of other folks doing it, “but I do think it has become the standardised norm in this country that you’re expected to be able to sing, or even just expected to sing. I wish I could sing, and sometimes I do sing in day-to-day life, pretty poorly,” he laughs. “I like pop music and I don’t want people to think me not singing on the chorus is a massive statement about the scene. I think it’s been done, and it’s been done well, and I don’t need to come along and fuck that up. I’ve had times where I’ve gone to do a melodic chorus and Plutonic’s just gone, ‘Nup’. Whether people take umbrage with this comment or not – to me if you sing on a song, then the song is soft. If you sing on every single song then the album is soft and there’s no diversity. I then feel like I’m excluded from that listening experience.” WHO: Dialectrix WHAT: The Cold Light Of Day (Obese) WHEN & WHERE: Friday 16 August, Revolver Upstairs

LET’S GET CHOPPING From working odd jobs and climbing the corporate ladder to hair product endorsements, The Chop Tops have had a long and colourful journey, as lead singer/drummer Sinner tells Nic Toupee.

ccasionally, infrequently in fact, the best part of an interview can’t be printed. Certainly that is how this interview with rockabilly rebels The Chop Tops’ lead singer Sinner went down. The crowning moment was his impromptu jingle for Murray’s Pomade, a moment which, if I’d had the sense to record it and immediately upload to YouTube, could have ruined his rocker credibility for years to come. For now, his sell-out secret is safe. But I’m getting way, way ahead of myself.


The Chop Tops have been around since 1995, formed with the idea of playing what Sinner describes as “old ‘50s rockabilly and teddy boy sounds. We wanted to incorporate different sounds. We’re not purists, we’re not trying to be a traditional rockabilly band. We mix these genres into a current sound.” Although it was a part time concern, with the band working a variety of jobs including butcher and office manager between tours, The Chop Tops began to gain momentum in the late ‘90s and early 2000s on the back of the swing revival. “At that time, a lot of ‘billy bands were able to ride the momentum and and the coattails of swing. It all started with Eddie Nichols’ Royal Crown Revue and the Brian

16 • For more interviews go to

This collaborative approach has clearly contributed to the record’s genuinely unique sound. Either party has the privilege of vetoing anything they don’t think is working, and this constant bouncing of ideas and tracks off each other means that everything has gone under serious deliberation and nothing is taken for granted that it will go on to make the album.

Setzer Orchestra – the neo-swing revival really opened doors for us. We weren’t traditional, but it seemed to work. Maybe with so many traditional bands on the scene, they liked the original twist we put on the sound. “The whole band worked a lot of jobs for ten or 11 years of playing from ‘95 to 2006 – we went through quite a few jobs, homes, girlfriends... and then finally everything went right. It’s a funny story: I was working a corporate job for eight or nine years and had worked my way up to management. But I eventually got tired of corporate America – corporate anywhere, really. In maybe 2004 I asked the band whether they’d quit their jobs and see how the band could go full-time, but I met with a lot of resistance. A while later, after a tour, both of the guys were between jobs and came back to me saying ‘hey, remember how you said...’ By then I’d worked my way up to management and got called out when it was really not convenient for me, but I rose to the occasion and quit and we went for it. I said, ‘let’s try this for three months’, thinking we were sure to fail. But after three months it totally took off and we’ve been doing it for a living for around seven years.” While Sinner has abandoned the corporate ladder, the band isn’t above a little endorsement deal –

they are one of only two bands ever sponsored by Detroit’s legendary hair grease, Murray’s Pomade. Beloved by rockabilly bands since The Clash and the Stray Cats made it cool, Sinner staged a determined campaign to be endorsed by Murray’s. “Murray’s and slicked hair are a symbol of rockabilly culture,” he emphasises, “ever since the ‘20s when Murray’s started has become a national thing here, hotrodders greasing their hair back. Getting them to endorse us has been about persistence, writing emails over the years. Eventually they gave us a try and they like how we [our hair] show off the product!” he laughs. Would The Chop Tops sell out and do a Murray’s Pomade jingle? Sinner responds, “Yes! That has to happen!” But at this stage, that jingle remains – to everyone but this hack – in the can. WHO: The Chop Tops WHEN & WHERE: Thursday 1 August, The Spotted Mallard



THE SIMPLE LIFE Singer/songwriter/mother/ businesswoman/social commentator and life coach. It turns out there aren’t many hats the mercurial Clare Bowditch doesn’t wear, as Natasha Lee discovers.


lare Bowditch is the best girlfriend you’ve never had. Seriously. The flame-haired songstress is a beacon of self-loving sanity amongst a sea of obsessive, body-hating headline grabbers. Think Kim Ka… actually, let’s not even waste the print space.


“I was ten or eleven when I lost a heap of weight,” explains Bowditch. “And everyone kept commenting on how good I looked. It was such a confusing experience. Internally, I remember feeling that there was something wrong with all this, but it was still very, very attractive, you know; everyone wants to be liked. But the thing I talk about is, it’s good to be liked and it’s good to be loved for the way you think.” Refreshing, huh? This kind of spiritual journey towards self-betterment is what helped Bowditch craft her latest album, The Winter I Chose Happiness. Exploring happiness was, as Bowditch stresses, “the most dangerous thing” she had ever done as an artist. “A lot of my albums explore things like addiction, grief and lust,” begins Bowditch, who’s on the line from her Melbourne home – and slightly breathless as the clatter of pots and pans can be heard in the background. “Coming to happiness and talking about happiness seemed like the most frightening thing I could do as an artist. The minute an artist starts talking about happiness, they’re pushed to the side and they’re judged as being less of an artist. So for me, that seemed like the most dangerous and exciting thing I could do.” Bowditch’s sojourn from stress began while on tour in Berlin. On the brink of breaking overseas, the singer says she found herself at a crossroads. “I started to realise what it would take to pursue that career and what it would mean for me to continue in this way. It would’ve meant being away from my family, a lot of disruption and some great adventure. But it suddenly occurred to me that wasn’t what I wanted. I wanted something simpler.”


Her quest for the simple life lead the motherof-two to her GP, who, after abating the overly stressed Bowditch’s fears that she “was dying from some rare cancer”, told her to quit her job. “I told her, ‘I can’t quit jobs, I’m an artist!’” she laughs heartily. “Then my doctor goes, ‘Look at your life – you’re a young mother and like so many young mothers, you’re fucking exhausted and you were born to be happy’. I remember thinking, ‘Lady, you’re living on some magical cloud where nobody has to deal with everyday life,’ but then, after I left, I really thought about what made me happy and what it would take to make me happy.”


The quest saw Bowditch devour a swag of self-help books – “There is some good stuff in there” – before enrolling in a six-week course to become a life coach. Yes. A life coach. Even Bowditch admits she found the whole thing hilarious. “I wanted to challenge myself and do the most unlikely thing,” she explains before sardonically adding (as if she can’t even believe she’s saying it), “I became a life coach. I did a six-week online life coaching course. It was slow and steady and, while I don’t think I look particularly different on the outside, I feel a lot different on the inside.” Apart from Bowditch’s internal blossoming, what also emerged from her meditations was an album bursting with hopefulness, exploring themes of not only happiness, but love, adoration, patience and self-discovery, with the singer revealing that her one-year empirical study into happiness (which she laughs, has now spilled over onto its second year) forced her to revisit her past, resulting it the hauntingly relatable track, Amazing Life. “Ahh, yes,” she sighs, before taking a gulp of her tea. “Everyone asks me about that song. This is how it started – I was 19 and I didn’t know what the fuck I wanted to do with my life. I wanted to do everything and I didn’t know how I was gonna do everything. So, I started writing that song and it sat with me for 15, 16 years. And just as I was writing The Winter I Chose Happiness, the chorus just came to me.” The song is classically Bowditch, who calls herself a “multi-passionate”, telling the tale of the indecisiveness of youth, with an impassioned need to do everything. Everything. In it she coos: “You want this amazing life/ But you can’t decide/ You don’t have to be just one thing/ But you have to start at something.”

Bowditch is still trying to do it all, but now she’s being a whole lot smarter about it. Post that now-infamous life affirming tour of Berlin in ’08, Bowditch not only endeavoured to shed her sadness, but also reinvent herself as an inspirational speaker, social commentator (she’s fronted the lion pit that is the ABC’s Q&A program more than once) and business woman, starting up her own company, Big Hearted Business, which aims to teach left-brain logical thinkers how to utilise their right-brain creativity and vice-versa. It wasn’t a totally foreign land to Bowditch, however, with the singer having mentored creative-types over a decade ago as the leader of a Musician’s Self Management and Promotion course at her local community house. The altruistic streak doesn’t stop there. Bowditch is now gearing up for her Winter Secrets Tour, which sees her team up with alt.electro artist Spender, as they tour across the country in a kind of quasitalent quest. Each night, Bowditch will give one musician the opportunity to perform a cover of her new single, One Little River, on stage. Oh, they also go into the running to win $1000. Nice. “It’s always magical these tours,” gushes Bowditch. “Whoever comes, I hope they’re up for a good night because there’s always a lot of laughs and someone taking a really big risk on stage. Just a really good time.” WHO: Clare Bowditch WHAT: The Winter I Chose Happiness (Universal) WHEN & WHERE: Saturday 10 August, Corner Hotel

The arts world seems to be obsessed with the apocalypse at the moment, and Ronnie Burkett’s new show Penny Plain is no different. What is different about it, however, is that this particular tale of the end of the world will be told through puppets, as Oliver Coleman discovers.


being interviewed once by a journalist and she said, ‘Well, Dr Suzuki, with all of these things going on on the planet, will the world survive?’. And Dr Suzuki said, ‘Well, the world will survive, people may not.’ And that really got me thinking that if we could just get rid of the problem – environmentally – which seems to be humans, the earth would be quite fine.”

Ronnie Burkett has been making marionette shows for the past 26 years. He performs alone, commanding the puppets and voicing all the characters. Penny Plain is set in a rooming house, run by the old blind titular character, during the last three days of civilisation. Burkett illustrates, “As humanity starts disappearing the house starts growing; nature starts taking over the house. It’s kind of a morality tale of what would happen if we kind of got out of the way.”

Many people most immediately associate puppetry with The Muppets. Burkett was part of the generation that started working in the ‘70s when The Muppets boomed. He remembers working in front of a television camera with similar pieces of colourful foam stuck to the end of his arm. However, at a certain point his theatrical instincts took over: “And so I thought the marionette might be the most theatrical puppet for live theatre, just because it’s not a Muppet. It’s not a television puppet. You get the full body. Given that I was interested in talking about humanity in terms of literally creating little people, I thought that the marionette was the most suitable instrument for that.”

In reference to the inspiration for Penny Plain, Burkett queries my familiarity with Dr David Suzuki. “He was

While on tour Burkett is happy to be the gypsy performer flying with no fixed address. But to create a show is a

One day we would love to collaborate with our idols. Bands like Muse, Red Hot Chili Peppers, Foo Fighters, Coldplay… and the list goes on! Monks Of Mellonwah’s new EP, Ghost Stories, out now.


We’re calling it as the best, worst music video of 2013. The bio is even better: I know I’m the best. And most of you are just jealous! I’ll never give up! I’m gonna make more and more great music. And you’re just haters, you don’t try to do anything in your life. You even can’t dream anymore. So keep eating your burgers and watching stupid shows on TV all day long. And don’t worry, your brain is already dead. You go girl.


atastrophic climate change, global pandemics, financial collapse, the end of oil – these are a few of the very real scenarios that are touted as possible ends to civilisation. For the first time in history we can say that it’s within the power of the human race to destroy itself. World-renowned Canadian puppeteer Ronnie Burkett taps into this apocalyptic zeitgeist in his most recent show, Penny Plain. “Anything that’s in the show is not really that much of a stretch of the imagination. So I knew that the audience would have a frame of reference for all of these things.”



Frank Ocean cancels all Australian shows

long, somewhat isolating process. He spends over a year in the workshop, mostly alone, painstakingly hand-carving the marionettes. He is joined only in the last three months by a small team of set-builders and costume designers. Certain spectacle orientated shows over the last decade such as The Lion King, Warhorse and the Melbourne produced King Kong have brought greater recognition to the art of puppetry. Burkett explains his reaction to these works: “I think that with all of those spectacle shows my response personally, just for me, has been to make my work even smaller and more refined. I have no negative comment about these shows, it’s just not something I can do or want to. I get more interested in the text and the story, and the small of it, in a way.”

Splendour In The Grass – mud and the world’s longest traffic jam Karnivool - Asymmetry

Exclusive: Stream the second LP, Second Front, from Sydney-based hip hop duo Suburban Dark


Nude protest against streaming performs poorly

WHAT: Penny Plain WHEN & WHERE: Wednesday 31 July to Saturday 3 August, GPAC, Geelong; Thursday 8 to Sunday 18, Arts Centre, Fairfax Studio

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NOT ALL DOOM AND GLOOM It takes three attempts for Jon Porras to answer his phone, but when the Barn Owl member does and the conversation swiftly shifts to experimental music, it’s clear he has all the time in the world, writes Brendan Hitchens.


t’s July 4 in San Francisco, America’s day of celebration and a day commemorating the country’s declaration of independence. It’s an apt time to be calling Jon Porras of Barn Owl, a fiercely independent doom duo from California creating music solely on their own terms. Porras is celebrating with close friends on a rooftop balcony, surrounded by sunshine, barbecue and beers.


Lie on the floor and cry. Ben Salter touring. Check The Guide for dates.


WHAT WOULD WE FIND IN THE STUDIO FRIDGE WHEN YOU’RE RECORDING? None of us are big drinkers; however, we kept a supply of Pinot, Bulmers and Asahi for when the mood arose. The Paper Kites’ new album St Clarity out soon.


Experimental music is not only the easiest way to describe the eclectic and ever evolving Barn Owl sound, but the best. A sound which people have described as minimal techno, horror soundtrack, droning desert blues and more recently doom dub. “People have been tossing around this term ‘doom dub’. A lot of dub musicians will take a live recording and use it as an artefact, process it and reconceptualise it as a recording. In dub culture the lines between producer and artist are blurred. So for the new record Evan and I took the live recordings that we tracked in the studio and brought them to our home studio and did a ton of editing, a ton of processing and used a lot of the techniques that some of our favourite dub producers use. We also wanted to throw in some of the darker tones and texture that Barn Owl has also used, like the melancholy and darker elements. We wanted to include that with the dub process, so I think that is where the term came from.” The band’s sound and instrumentation has developed on each of their five records and it isn’t surprising given the depth of their influences. “Initially when Barn Owl first started we were very influenced by American minimalists, so people like Terry Riley, La Monte Young and Steve Reich. Evan and I really connected over music



Porras and his lone Barn Owl bandmate Evan Caminiti met as students studying American Indian science at San Francisco State University in 2005 and bonded over a love of heavy metal. As the friendship developed it became apparent their musical similarities extended to meditative and psychedelic sounds. While the subject they were studying was immersed in ritualised and ceremonious acts, Porras refuses to be drawn on it playing an influence on the Barn Owl sound. “I think any sort of tribal sound that you might hear from Barn Owl’s music comes from using a pentatonic scale, which is what a lot of Indigenous American cultures use in their own music practice,” he says, “but I think that was just a coincidence. I want to be very careful about appropriating American Indian music, because I feel that that is something very specific and what Evan and I do is something different from that and more related to contemporary experimental music.”

“I’ve just been moving cities so much,” the affable Havdale offers. “I started the band in Vancouver about nine years ago, and then I lived in Toronto for three years so I ended up with a different line-up there. Different people have played on different records, but the record I’m putting out right now was recorded with the band that I did three European tours with – it was a pretty solid band, they’re the dudes that I play with in Toronto when I’m there. But I’ve been living in Berlin for the last year so I play with different people there. “It’s definitely got it’s pros and cons. I couldn’t have afforded to fly a band down here, so there’s that. Plus I did a whole bunch of solo shows last year – about fifty of them in Europe – so it’s until you get a band to a

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Earlier this year the duo completed a successful tour of Europe, including shows and festivals in Luxembourg, Switzerland, Germany, Belgium, France and Italy. Given they were playing instrumental music in non-English speaking countries, the typical language barriers were seemingly nonexistent. “I never thought about that, but I think because our music is instrumental there isn’t that language barrier, so the music has the opportunity to speak on its own through tones, textures and volume.” With no lyrics and often vague song titles, Porras is more than happy to let listeners draw their own conclusions to song meanings. “They come from a variety of places,” he says of song titles Procession Of Golden Bones, Lotus Cloud and Blood Echo. “Sometimes they are ideas we have cooked up on our own and bring to the studio, but sometimes they’re very specific to ideas and feelings that we put forth into the music. We want to be very careful about not clearly defining to the listener what type of images a certain song should

Touring Australia for the first time in August, Barn Owl’s set will be driven by synthesisers, a stark contrast to the looped guitar sounds that trademarked their early recordings “It’s all going to be synthesisers,” Porras reveals. “Evan and I are both playing analogue synthesisers. It’s interesting, because on our last European tour there were some people who were apprehensive and weren’t happy with the idea that we were changing instrumentation, but after we played they were pleasantly surprised. With a guitar, you’re limited as far as frequency range. With synths we can get a lot more interesting low-end happening, a lot more treble. Our range and our capabilities as far as musicians have grown exponentially with the use of synthesisers, so I hope that people will respond positively to that.” Creating a hypnotic groove through layered electronic sounds, Porras admits it’s a constant challenge to not slip into a mediative state when performing live and to an audience. “To some degree I want to let myself go and I want there to be a flow between my creativity and my technical skill. But at the same time I want to be fully aware of where I’m at and want to be fully conscious of what Evan is playing and respond to that. So I think there’s a balance between a meditative state in which you let your mind wander and then the extreme concentration. It’s the balance of those two mentalities that I really benefit from in a performance environment.” So what can Australian fans expect on the impending tour? “We’ll play for an hour long. We like to do a solid block of music and we don’t stop between songs.” Staunch, uncompromising and independent; just the way they like it. WHO: Barn Owl WHEN & WHERE: Saturday 10 August, Northcote Social Club

He’s not scared to chop and change, but The Mohawk Lodge’s Ryder Havdale is more concerned with the journey than the destination, as Steve Bell discovers.


The Bling Ring hits cinemas nationally Thursday 8 August.

Along with sharing close influences with his musical collaborator and long-term friend, Porras says there are many perks of performing in a duo. Having previously played in bands and with a successful solo project on the side, he admits performing as a pair is his favourite formation. “I really like the duo dynamic. I think something special happens between the chemistry that Evan and I have and I think there’s something really special about being able to sit down, compare notes and dive into some composition. There’s the logistical side of being in a duo that makes it easier, but creatively it’s also very helpful to have another person to bounce ideas off and I think we’re really productive within that setting.”

conjure up. We want to leave it open-ended and let the listener create whatever imagery they want.”


yder Havdale – frontman for Canadian-bred rockers The Mohawk Lodge – seems something of a restless soul. For years he’s been adjusting the fluid line-up of his outfit depending on where he is at the time and his specific musical requirements, both of which change rather often. He’s still managed to release four quality albums on his own indie imprint, White Whale Records, and regularly tour the world, so this reliance on chaos rather than stasis seems perfect.

Spring Breakers? More like house breakers.

like that when we first started playing together so that was common ground. We were also very interested in the finger stylings of John Fahey, Robbie Basho, Leo Kottke and a few other solo guitarists. So when we initially started I guess we united those two worlds of minimal classical music and primitive acoustic guitar.”

point where not only can you afford to get them around, but for them to afford a month off work – you have to make it enticing. It’s a big commitment for a band to be at the mercy of what shows we can book – it’s basically out of necessity that I’m doing it this way right now.” Havdale has now assembled a band in Australia – with ex-Pollyanna member Matt Handley on drums and Larissa Tandy on bass – to tour here for the first time, on the back of The Mohawk Lodge’s fourth album, Damaged Goods. It’s a collection of anthemic, punchy rock’n’roll – like a bar band with an arena bent – and quite removed from the band’s earlier material. “The band kept getting heavier and I wanted to capture that,” he reflects. “The band I went to Europe with a number of time just became nuts – it was off the hook. We came back and it was just the songs that came out of that experience. And I was listening a lot to one record in particular which was hugely inspirational for me, there’s this band called Ladyhawk – not Ladyhawke from down your way, but a Canadian band – and the singer did this record that’s like nineteen minutes long [2010’s Scriptural Surprise by Duffy & The Doubters], and I listened to it relentlessly. I just wanted to make

that record basically. I was into two records at the time and they were both the complete opposite – the other one was Destroyer’s Kaputt (2011), which is synthy, twenty-minute long songs, and then the Duffy album was just minute-and-a-half bangers, so I went that route. Who knows what the next one will be; I’ve been working on this record back at home which is all cut-up beats and synths and the rule is ‘minimal guitars’. I kind of like going down different roads with different records. “I’ve been running a record label for the last nine years and that’s been my focus – I’ve been touring about a month a year maybe – but now I just want to play music again, so all of my energy has been going into writing and playing, which is why these different flavours are popping up.” WHO: The Mohawk Lodge WHAT: Damaged Goods (First Love) WHEN & WHERE: Friday 2 August, Cherry Bar; Saturday 3, Baha, Rye; Tuesday 6, The Curtin (solo)



SCHOOL’S OUT FOREVER A couple of years after winning triple j’s Unearthed High contest Snakadaktal have delivered their debut album, Sleep In The Water. Phoebe Cockburn tells Samson McDougall about the road they’ve tiptoed thus far.


n these days of instant TV-talent-show-gratification it’s natural to question the legitimacy of bands ‘discovered’ as part of any kind of contest – triple j’s annual Unearthed High competition cannot be immune to such scrutiny. Any questionability associated with the triple j Unearthed brand in general, largely due to the sheer volume of Unearthed acts over the years, however, need not be applied to the Unearthed High batch of artists. Looking back through the five years of the contest, the calibre of the winning acts is undeniable. Of the winners thus far – Tom Ugly, Hunting Grounds, Stonefield, Snakadaktal and Asta – most have gone on to achieve significant success. And though it’s too early to say whether Snakadaktal (the 2011 title holders) will stay the course to the level of Stonefield’s international achievements, their debut album, Sleep In The Water, suggests they have plenty to contribute.


After a vinyl launch without the vinyl, Melbourne rockers Ten Cent Pistols return to their spiritual home at Yah Yah’s on Friday 9 August for the second launch of their Vultures EP. We all know that the blues is fundamental to classic rock’n’roll and Ten Cent Pistols continue this tradition, throwing in lashes of psychedelia and gaze. We’ve got a mega prize pack to give away, including a vinyl copy of Vultures, a Ten Cent Pistols t-shirt and a double pass to the show. To enter this and check out heaps more head to the Inpress Facebook page.


The five pieces of Snakadaktal assembled in 2010 at Melbourne Rudolf Steiner School and, though the debut album has been a while coming, there have been small but significant milestones along the way. Their debut self-titled EP release via I Oh You in 2011 broke the top 30 on the ARIA digital charts and they scored consecutive Hottest 100 spots in 2011 and ’12. “We were all at the same school and were all the same kind of age so we were all just mates,” says singer and keyboardist Phoebe Cockburn of the group’s origins. “We all loved music and the four boys [Sean Heathcliff, Joseph Clough, Jarrah McCarty-Smith and Barna Nemeth] were playing together and writing together and then one day they asked me to have a sing on one of their songs. That’s when I started singing. “From there we started writing our own songs,” she continues. “Sonically, they were very playful and there was a lot of our youth evident in the sound that we were making... We recorded our first EP, which took several months, and we recorded in many of our homes and our bedrooms and kitchens and all the places you shouldn’t record. We released it and then it’s all been happening one step at a time from there.”


HUNX & HIS PUNX Street Punk Hardly Art

PLUTO JONZE Eject Stop Start/Inertia

“We all enjoy each other’s music and enjoy what each other[loves] most and from there I think all of our


Spotted in Melbourne’s CBD. To continue the discussion tweet us @frontrowSPA

As the band’s life has spanned a major transitional period for its members it would not be surprising if their sound had morphed dramatically through this time. Though Sleep In The Water exhibits more contrast than their EP and prior singles, there is an undeniable Snakadaktal-ness to the sound. Perhaps this is a testament to their inherent maturity; this high-school band had concreted such a developed idea of their aural identity at such an early stage that three years on they’re still pushing on the same trajectory.

Nor, says Cockburn, were they necessarily trying to appeal to triple j sensibilities. “It came as a big surprise when the Unearthed thing happened and we became associated with triple j. It’s been really great for us through the process and they’ve been really supportive and they’re always really eager to premiere or preview our new songs and that’s been a really great thing for us and helped us along the way... We never wanted to write or create a sound that was for a certain scene or a certain radio station; we just hoped that people would enjoy the music...” The strength of Sleep In The Water is that its songs are given space to breathe. The poppier, more radio-friendly pieces (Fall Underneath, Hung On Tight, Isolate) are offset by more sparsely instrumented and challenging tunes (Ghost, The Sun I). Any weakness centres around the earnestness of the thing, it all sounds very grown-up; though it’s hard to criticise a band for believing in what they do. “With this record I think sonically it’s taken a change and that’s due to our ageing and developing as people,” comments Cockburn. “We did intend to create a record that had its own life and we didn’t want listeners to feel that they had [gotten] their head around it in the first listen. Hopefully that came across.” The band steered away from stringing together existing material in creating their debut LP. Instead they spent four months living, writing and recording in producer Dann Hume’s Stables Recording Studio in Gisborne (“We couldn’t have chosen a better mate for that”), determined to produce a cohesive album rather than

just a collection of songs. “It was great,” says Cockburn of the process. “It was a huge experience and it was how we wanted to do it from the start. We couldn’t have imagined doing the studio hours, whatever they may be, that’s just too foreign for us... “The product that we wanted to make wasn’t one that was a bundle of songs or a bundle of, I don’t know, really concise pieces of music. We think that the record is musically very patient, as was the process of recording it. And I think that comes across. We did want it to be one body of work from the very beginning and we did want it to have a really lateral dynamic throughout the songs, sonically and lyrically. I guess that was just what we wanted to create from the very beginning.” At the time of the interview, Snakadaktal are on the cusp of a huge national tour, which stops at Sydney’s Metro Theatre, Melbourne’s Forum, Perth’s Capitol and Brisbane’s Hi-Fi, amongst other venues. They’re large rooms and Cockburn admits the live performance is still a little hard to grasp. “I’d definitely say we’re a recording-based band,” she says. “The live performance is something that I think we struggle with emotionally a lot of the time... Hopefully with time it will become a bit more natural and a bit more easy and we’ll be able to understand why people are there looking at us a little more... It’s really overwhelming, and trying to focus on something while you’re so confused about something else is a difficult thing to do. Hopefully that will just become a bit more easy with time.” WHO: Snakadaktal WHAT: Sleep In The Water (Liberation) WHEN & WHERE: Friday 23 August, Wool Exchange, Geelong; Saturday 24, Forum Theatre

HOME IS WHERE THE ART IS Ian Strange grew up in the suburbs of Perth, where he began his artistic career as a graffiti artist under the name Kid Zoom. Kate Kingsmill talks to the former “angst ridden kid” about his latest boundary-pushing exhibition.

etting into graffiti as a “direct reaction” to the frustrations of being in the suburbs, Ian Strange has gone on to forge a successful visual arts career and is now based in New York. It was with that perspective and distance that Strange began to investigate the idea of home, identity and suburbia.


The suburban angst Strange felt as a teenager was, “ironically the reason I ended up running away and the reason I ended up in New York,” he says. It was there that Strange discovered a graffiti and street art scene that was completely urban in context, “whereas really my upbringing is suburban, and what’s unique about me and what I’m actually interested in talking about is what I know and where I’ve come from.” The realisation sparked an interest in Strange for exploring suburbia and what that represents. “It makes perfect sense for me to go back and make work about my own home and suburbia and also larger ideas of the suburbs and suburbia. To me there’s sort of a sense of alienation and detachment but also a sort of familiarity as well. A love/hate thing.” After two-and-a-half years in the making, Strange’s new exhibition Suburban opens on 27 July at NGV.

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influences somehow combine and that’s where we begin to create our own sound,” says Cockburn of their collective voice. “We never really pinpoint particular artists and then hope to create a sonic product that is similar to that, we always just try and keep it coming from us and that’s how it just happens naturally.”

The artist worked on a massive scale for the works, creating what he calls “interventions” – painting whole facades of houses, burning fires and in one case even burning down an entire house. Suburbia is a complex concept, both intimate and broad, and international in scope. “The idea of suburbia and that sort of post-war ideal of suburbia, I think that has trickled down from America and is very prevalent internationally in pop culture. So when you think of the home, I think there’s a familiarity to the American suburbs that isn’t just for America or Americans, I think it’s actually international and I think it’s a larger idea that’s translated internationally.” Strange and his crew travelled all across the States, conducting interventions in Ohio, New Jersey, Michigan, Alabama, New York and New Hampshire. “It became something where, as I was making it, I was beginning to understand different ideas of home and suburbia and seeing other people’s reactions to it,” says Strange. “Obviously in Detroit you get areas that have been hit by the fall of the auto industry and then because of the housing crisis there as well, it means the home has become a very political object in

those areas in particular. We were working in some areas where people within the last five, six years, their houses had dropped in value by [many] thousands of dollars, something ridiculous where they’re paying off a $300,000 loan on houses worth $15,000 now. And so for them, it’s obviously about that when they see this work. “It’s really interesting to see people’s reactions and the conversations that come up and that really started to make me realise that this work was a lot less of a personal investigation. It can be read in many different ways and this idea that home and suburbia, the home is a potent icon and image for people. We came to realise how broad this work can be, I think.” WHAT: Ian Strange: Suburban WHEN & WHERE: Saturday 27 July to Sunday 15 September, National Gallery Of Victoria




GOD COMPLEX American metallers Lamb Of God bottomed out in an emotionally complex year. Back on the upswing Simon Holland catches a word with guitarist Mark Morton to talk about the ride.


amb Of God guitarist Mark Morton misinterprets an innocent ‘Whachoobinupto’ as a literal question. “I’m at home in Richmond, Virginia. Just finished picking some blackberries with my daughter actually. Its real nice man, real nice. She loves it. I live out in about eight acres or so back in the woods so when the wild blackberries are out we go and pick them and my wife makes cobbler out of them.” Did someone pass on the number for Forrest Gump by mistake? “Nah man, that lifestyle still exists. My neighbours got a bunch of chickens, there’s fresh eggs over there. They’ve got goats. I took a picture and put it on my Twitter of a whole family of wild turkeys crossing my driveway this morning. I caught a peek of them nice and early when the sun was still coming up.”


WHAT IS YOUR STAPLE MEAL WHEN ON TOUR? Spaghetti Bolognese. Dan Parsons’ new self-titled album out now.

The derailing of the conversation takes a bizarre twist. In 2010, Lamb Of God frontman Randy Blythe rejected the presence of an overeager fan that jumped on stage, and assisted him off the stage while playing a show in Prague. The fan, a Czech national named Daniel Nosek, aged 19, hit his head and later died from the wounds sustained from the impact. Czech officials arrested Blythe with charges of manslaughter in 2012 and sent the singer through the judicial ringer. Imprisoned in a foreign county, Blythe was left to fend for himself before a fundraising effort saw him released on $200,000 bail. The jury acquitted Blythe of the charges in March of this year. The tragedy was well-documented at the time through media filters, though the desecration of the band’s name was largely compounded by a general lack of understanding for mitigating circumstances of a gig and metal was once again demonised as an unsympathetic killing machine. The split reaction from Blythe had seen the dagger of fate enter and twist with a disembowelling action.

Julie Van Huizen (@JulieVanHuizen)


“You know the old saying, ‘You don’t know what you’ve got until it’s gone,’ it’s completely true,” reflects Morton. “But when we talk about being faced with changes in career and those kinds of things – yeah, those are things that you think about but they are not even on the same scale as what the real ramifications of that situation were.” Despite having been asked a thousand times before, Morton pauses to compose his words carefully: “That tragedy in Prague definitely renewed my gratitude for the situation that we’re in as a band. You know, we’ve been doing this a long time, but being faced with that situation made me feel really lucky that


Turns out I’M the somebody that needed to step up and put George Costanza’s face on the Royal baby: #SUMMEROFGEORGE

The ride for Lamb Of God was anything but easy. The rusty axe of eastern bloc justice threatened to decapitate the band, and while Blythe was eventually released on bail and subsequently acquitted, the six-month trial had indelibly left the indents of a death grip on all involved. For the duration of this six-month eternity, the band came within a hair’s breadth of losing it all.

They’re all awesome but if I had to choose I think I’d have to say Melbourne. Not only because the crowds and the venues are awesome, but you’re also guaranteed to get good food and coffee. And that’s important when on tour. Good people, good venues, good food and above all, good coffee. Dead Letter Circus touring nationally. Check The Guide for dates.

“I haven’t known any different experience, I think we have that Lamb Of God way of keeping ourselves humble.” adds Morton. “If anyone gets a little too full of themselves, there’s always four other guys right there that are ready, willing and capable of knocking your ass back down to earth because we all know each other so well. You can’t get too high on the totem pole before someone is going to remind you who you are. It keeps us humble. And, I mean, we stay at home. You and I started this conversation just shooting the shit about what I did today and I went out and picked blackberries and hung out on the driveway. I’m from here, you know what I mean? I never left. I never moved to Hollywood or NYC when the band started hitting the big time.

The well-adjusted, but increasingly rare, outlook reflects deeply woven moral values, spun from a cloth of historical brutality and injustice in the region. This level of passion and reflection has a way of filtering through the arts and Richmond, Virginia is no exception to the rule, giving birth to more than its fair share of international-calibre talent. The old ‘something in the water’ chestnut is met with laughs but Morton is quick to assure that Lamb Of God is only one cog in a complex wheel. “Municipal Waste are killing it, they’re from here.” remarks Morton with a touch of fatherly pride, a suggestion he laughs about: “We’ve taken them out on tour, but I don’t think we mentored them. They’ve made it on their own, which has been great to watch. We do have some great mentors down here, though: There’s a band called Gwar and they’ve been doing it a long time. They took us out very early on and they’ve taken Municipal Waste a few times as well. I think if anyone is the town mentor it’s been Gwar. They’re still doing it and I think as these bands come up and out of Richmond, hanging out with Gwar is really the rite of passage. It’s like, you know, you’ve got something going on when Gwar takes you out. It’s always a good little christening for your career and we’ve been able to pay that back. We’ve taken Gwar out a couple of times now and they can open for us,” he laughs. “That’s kind of an ongoing joke.” WHO: Lamb Of God WHEN & WHERE: Sunday 22 September, Festival Hall

On the eve of their first Australian tour proper, Bardo Pond guitarist Michael Gibbons explains to Steve Bell that for them, it’s all about losing themselves in the music. or more than 20 years now Philadelphian trippers Bardo Pond have been peddling their distinctive brand of spacey, drug-inspired psychedelia – hypnotic, meandering sonic explorations, their dense drones dripping with reverb and distortion and slathered with white noise, augmented by the world-weary vocals of flautist Isobel Sollenberger – yet, one quick trip to Sydney for Vivid Live in 2010 at the behest of Lou Reed aside, they’ve never officially toured Australia. Now, thankfully, that’s all about to change, with their inaugural sojourn to these shores coming despite a relatively quiet period for the quintet of late: their Record Store Day EP from earlier this year, Rise Above It All, was their first official release since their selftitled eighth album dropped back in 2010. Behind the scenes, however, things have been churning away as normal, and – as well as the tour – Bardo Pond fans are about to be inundated with recorded material. Besides a heap of reissues and material from their abundant side-projects in the offing, most excitingly they’re about to drop a new album in the northern fall. “It’s a less sprawling album than the last one – I think the longest track is only ten minutes long,” guitarist and founding member Michael Gibbons laughs. “And

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The two discussions, while polar opposite in theme, link to provide an illustration of a band born from geographical coincidence but bound in blood. “I’ve known Chris [Adler, drums] and John [Campbell, bass] since we were 17 and we all turn 41 this year.” says Morton. “Chris and Willie [Adler, guitar] are brothers so they’ve known each other since day one – and have grown up together – and Randy not much less than the rest of the guys. We’ve all known each other and were friends long before we were even in a band and long before we were doing anything but playing basements and parties and stuff, so we’ve all taken this trip together.

It’s just not who I am. Most of my friends and people that I hang out with don’t really talk about what I do. There’s a whole ‘nother life outside of Lamb Of God.”




we’re able to continue to do this. That said, I think it is important to stress that that was certainly not the worst part of that situation. I mean, that situation was about Daniel and his family, so any sort of concerns that we may have had about our career, or that kind of thing, paled in comparison to that kind of tragedy of Daniel being injured and subsequently losing his life, and the trauma and grief that his family had to go through – and are still going through. So I think that is, to this day, something that we all really think about all the time.”

it’s a shorter album. I think it’s going to be old school – like a forty-minute, one-album record – that’s the way it is right now and that’s the way I want it. We really like the songs; it’s kind of a more electric album. It has a little bit of acoustic guitar, and was recorded pretty straight-up. We’re pretty psyched about it; it’s kind of like [1997 album] Lapsed was years ago or something, it’s just like a short rock album.” The typical Bardo Pond track unfurls like some strange quest to the outer reaches of the imagination – what are the band themselves searching for when they confront these new frontiers? “It’s like the sound of the song – the tones and how much each of us can lose ourselves in it,” Gibbons suggests. “We go through a lot of riffs and stuff, and the tunes that live on for us are the ones that have a certain sound or tone that make us want to keep doing it. I think that’s what we’re looking for. It’s like a mutual feeling. It’s intuitive. It’s really organic and intuitive the way that tunes kind of grow with us and how we all kind of add our own thing to it. “Sometimes we come in with a vague idea, and then that winds up changing into a different form and then

that becomes the idea. Sometimes there’s an idea that’s pretty strong and we just work to make it as good as we can. It comes a lot out of jamming. Things happen that we don’t expect and provide lanes to much better ideas than the one we originally thought it was going to be. “It’s funny because even when we have tunes finished and we’re playing live they’re morphing still – there will be parts that didn’t even make it onto the record that we’ll wind up doing live, just because the song has made it known that that’s what it wants to be. They pretty much remain close [to recorded versions], but we know the parts that we make up on the road. I miss being on the road for a while, because that’s when that stuff really starts happening. If you’re out for a month and jamming tracks, they present themself in a way that we have to react to it – it’s a fun journey.” WHO: Bardo Pond WHEN & WHERE: Saturday 3 August, Corner Hotel




TWO OF A KIND The music biopic is a tricky genre to get right. But the Jeff/Tim Buckley flick, Greetings From Tim Buckley, manages to shake things up a bit the right way, as Guy Davis finds out how from star Imogen Poots.

he career of singer-songwriter Jeff Buckley was brilliant but all too brief, cut tragically short by his drowning death in 1997. In the years since his passing, there have been any number of attempts to get a Buckley biopic off the ground, but Greetings From Tim Buckley takes an innovative approach that both pays tribute to the artist’s work and provides some insight into his background, his motivation and his inspirations.

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What inspired the name 6” Uncut? It came from a search to unify and articulate exactly what I wanted my cabaret practice to be. It had to be trashy, sub-culture, and suitably punk and distasteful, whilst at the same time remaining incredibly personal and intimate. That’s what cabaret’s always been about for me, and that’s exactly the kind of experience I want my audiences to have at my shows. Do you prefer writing or performing? Performance is probably my first love and definitely what I tend to be doing a lot more of at the moment. Writing’s always been another great love of mine though, and it’s so fantastic to get to do both in tandem. What’s the toughest thing about performing solo? Definitely the total lack of any kind of safety net. Unlike when you’re performing alongside a really strong ensemble cast, where everyone’s looking out for one another, when you’re flying solo you’ve only got yourself and the hard, hard ground to fall back on. But that’s incredibly exhilarating at the same time, and it gives you far more scope to play with and feed off the audience. WHAT: The Container Festival – 6” Uncut (runs to Friday 16 August) WHEN & WHERE: Friday 2 to Tuesday 20 August, Monash Uni Student Theatre

Gossip Girl’s Penn Badgley plays Jeff Buckley, while Ben Rosenfield plays his father. And cast in the pivotal role of Allie, a young woman working at the tribute concert who helps Jeff gain some deeper understanding of

Poots was well aware of Jeff Buckley’s work – her brother gave her Buckley’s seminal album, Grace, for her birthday when she was a teenager – but she was not so up to speed with the elder Buckley, so a crash-course in his back catalogue was required, in which the actress found herself becoming just as much of a Tim Buckley fan. “I listened to Tim more during the making of the film because I thought that was appropriate,” she says. “And I think I may prefer him. I really enjoyed going through all his records and trying to understand the man he was. He was quite extraordinary – this beautiful voice and these beautiful lyrics.” Poots was drawn to Greetings From Tim Buckley by the writer-director’s “ideas, energy and passion”, and what she viewed as the film’s unconventional take on the biopic formula. “I just adored the way this script was written,” she says. “I thought it was really clever in terms of what it is to make music, and the similarities and differences in the

two eras of Tim and Jeff.” Aside from the back catalogues of the two generations of Buckleys, there wasn’t a lot of research Poots could undertake, given that the lives of both men were cut short. “It’s very difficult to find enough information about someone, especially someone like Jeff Buckley,” she says. “It’s hard to find information about someone like Jimi Hendrix, even, who was so prolific and who died at the same age as Jeff. And Buckley’s fame was far more fleeting. So it is difficult to find the real stuff, the real deal, but you just got to go from what you can.” She admits her co-star Badgley had an easier task of it, and admires his boldness in meeting with some of Jeff Buckley’s friends and contemporaries. “I thought that was quite a bold thing to do, his performance being his take on this iconic figure,” she says. WHAT: Greetings From Tim Buckley In cinemas Thursday 1 August

TECH CHESS The game of chess takes a leap onto the big screen via the computer screen. Anthony Carew gets the lowdown from filmmaker Andrew Bujalski on how the feat was achieved.

spent ten-plus years making movies on 16mm, being asked over and over again when I was going to make a movie on video. And there was some contrarian streak in me that was like: ‘you want video, here’s video!’” laughs Andrew Bujalski. The 36-year-old filmmaker has just made Computer Chess, a film about computer programmers in 1980 shot using era-specific Sony Portapak ‘technology’. “I thought about the camera before anything else: what would it mean to tell a story in those images?”


These images are blurry, wobbly, and in ghostly blackand-white, with a constant sense of experimentation at odds with the nondescript naturalism of 2002’s Funny Ha Ha, 2005’s Mutual Appreciation and 2009’s Beeswax. “Previously, I wanted each movie to look un-self-conscious, to never draw attention to itself. With [Computer Chess], I wanted everything about it to absolutely draw attention to itself.” Taking the idea of a computer chess tournament from a book of chess trivia he’d bought for $1 from a remainder bin, Bujalski treated the screenplay as his “happy fantasy place”; the “least commercial, most fun” idea he’d turn to when “frustrated at thinking of ways to make a living.” Having grown up a science-fiction nerd, he wanted to tap into the tenor of



The title refers to Buckley’s father, a celebrated musician in his own right. But Tim’s dedication to his craft saw him neglect his wife and young son, with Jeff left feeling somewhat estranged and alienated from the man as a result. The film, written and directed by Daniel Algrant, follows the younger Buckley as he prepares for his public performance debut at a 1991 tribute concert for Tim – a concert that would launch his own career – while struggling with his father’s legacy, dealing with the estrangement he feels and gradually coming to terms with the past.


Heathen Skulls have managed to convince Philly psychlords Bardo Pond to bring their droning, space rock set up to Australia for the first time. They’re at their best when they’re locking in on stage and exploring new cosmic regions. With as many side-projects as albums, it’s very fortunate to be getting this line-up together and we’ve got three double passes to give away to their only Melbourne show at the Corner Hotel this Saturday.

his father’s life and work, is UK actress Imogen Poots, whose diverse body of work includes 28 Weeks Later, the Fright Night remake and the recent Steve CooganMichael Winterbottom collaboration The Look of Love.

technology in the ’80s. “There was a sense of wonder, but a lot of philosophical questions seemed to hang in the air,” Bujalski recalls. “We all knew that computers were going to change our lives, but we didn’t quite know whether we were relinquishing our humanity, too.” When time came to cast a film conversed in arcane jargon, Bujalski stayed with his realist cinematic ways. “You can hire actors and put glasses on them and mess up their hair, but there’s no better way to get your computer programmers to sound like computer programmers than to hire a bunch of computer programmers.” So, amidst more ‘known’ nerds like film critic Gerald Peary, animator Bob Sabiston, and Linklater legend Wiley Wiggins, there are computer-programming professors Gordon Kindlmann, Patrick Riester and James Curry, continuing the filmmaker’s long-standing practice of working with non-professional actors. “I’m always wary of casting anyone too familiar,” Bujalski admits. Yet, retroactively, Beeswax now has a bona fide TV star in its midst: Alex Karpovsky. “I’m so happy for Alex, I always fantasised that one of the actors in my movies would become a big star,” beams Bujalski. “I welcome any Girls fans who love Alex to come and watch [Beeswax].” As the ‘Godfather of Mumblecore’, Bujalski

crossed paths with Girls creator/debate-starter Lena Dunham very early in her ascent (“of all the people I’ve known who I’ve seen make their way towards stardom, Lena, more than anyone, has done it completely on her own terms”); the pair first meeting at SXSW’s indiemovie breeding-ground. The social angle of film festivals was something Bujalski tapped into for Computer Chess; its convention hijinks drawn from the director’s past. “To some extent that’s every film festival!” says Bujalski. “As much as it’s a great thrill to be invited to film festivals, especially internationally, at a certain point, when you keep seeing the same people in these hotels city after city, you do think: ‘I know we’re all artists here, but it’s starting to feel like we’re all carpet salesman going from one convention to the next.’” WHAT: MIFF – Computer Chess WHEN & WHERE: Saturday 4 August, Greater Union; Friday 9 August, Forum Theatre

GIRLS WITH GUITARS Two rock’n’roll friends have found their feet in the whirl that is Diva Demolition. Guitarist Sherree Newton gives Michael Smith a brief introduction.

The Turning

LISTENING TO Ngaiire – Lamentations

GOING TO Fifth Floor Secret Warehouse Party with The Murlocs, Flyying Colours, Strangers From Now On

CHECKING OUT Wheeler Centre presents Tim Winton’s The Turning panel disussion at Forum Theatre

WATCHING I Am Divine, part of MIFF

READING The Rosie Project by Graeme Simsion

EATING Overpriced soup

DRINKING Mulled cider

24 • For more interviews go to

or high-energy, girl-fronted four-piece Diva Demolition, 2013 has already proven their best year yet, having scored an opening spot on the national Monster Tour, featuring some of their biggest musical heroes – KISS, Motley Crue and Thin Lizzy – and the New Zealand and Melbourne Aerosmith shows. What’s exciting them right now though is the imminent release of their debut album, Like It Too Much!.


“It only took about three weeks to record,” guitarist Sherree Newton explains, the album essentially finished by the middle of last year. “It’s just about bringing out at the right time, and we had those two big tours, and in that time we obviously wrote more tunes and [the label] looked at us and went, ‘Well that’s gotta go on,’ and we’re, ‘oh really? Okay,’” she laughs. “So there are just so many tunes now – and we’re still going. It’s just like this creative tap that’s been turned on – it’s very exciting.” Newton and main singer, songwriter and bass player Kylie Cowling began working together in Adelaide back in 2005, forming an all-girl band called Legless that toured nationally and internationally, to Japan and, for Australia’s Defence Forces in Timor Leste, the Solomons and the Middle East. By 2010, however, the band had fallen apart and the pair relocated to Brisbane where they met guitarist Ricky Collision, who introduced them

to the guys who run indie label Spitfire Records and, taking their name from the final Legless album, Diva Demolition was born. They’ve already an EP, Diva Disease, to warm things up for the album release. “That actually happened the week of rehearsal prior to going on tour with KISS,” Newton admits. “It just came to us. It was about a particular person as well,” she raucously laughs again, “and it’s a culmination of stories put together, and the label said, ‘You’ve got to play that!’” In Legless, the four girls each took on a particular character – the cop, the school girl and so on – gaining them attention while giving them the kind of confidence performing as someone else brings, as shown by the Chrissy Amphlett. In Diva Demolition however, Cowling and Newton are very much themselves, though there’s still plenty of rock’n’roll glitz and glamour involved. Now they transform, on their website and in their videos, into Anime characters. “That was the original idea, many years ago, becoming someone else when you dressed up – you tend to come out of your shell more. Now, we’re ourselves, but we can express more through the animation, as a delivery format. Everyone’s got their take on it! It’s just rock’n’roll.” The album was produced by Craig Porteils, whose extensive CV includes working on the triple-platinum

Heart Of Stone album from Cher and Fleetwood Mac’s “comeback” album, Behind The Mask. As for touring with KISS and Aerosmith, “it was mind-blowing – mindboggling! We had to stop saying ‘pinch me, is this really happening?’ because we were getting bruises! “I felt like I’d run a marathon by the end of the Monster Tour, I was so excited and so pumped – you couldn’t keep me still. And we were only up there twentyfive minutes or so. God it was good fun! There was an incredible amount of people out there, who’d come early too, to catch the opening acts.” For now it’s back to the pubs on the Miss Adventures Tour – with fellow female-fronted band, Melbourne’s Bellusira, who are touring their debut album, Connection. WHO: Diva Demolition WHAT: Like It Too Much! (Spitfire/MGM) WHEN & WHERE: Saturday 31 August, The Espy; Sunday 1 September, New Market Hotel, Bendigo





Elefant Traks Jimblah’s latest offering is a politically charged rumination about refugees. It’s made all the more compelling due to its acoustic finger-picked guitar and string arrangements underneath the percussion, deep and garbled (and at times, indeed emulating the sound of feet marching) as well as a birdlike female coo; Jimblah’s intense, forceful delivery; and a melancholy male vocal crying the chorus melody. And just as everything elevates, the end hits us abruptly, leaving us quiet and awed.

ROBIN THICKE Take It Easy On Me Star Trak/Universal Thicke continues the creepy vibe with gag-inducing lines like “When I look right through your dress/ I want your cherry pie”. Opinions about Blurred Lines’ message aside, it’s a global hit for a reason, but this song just sounds like a guy struggling to keep up with the cool, young kids. Despite Timbaland’s production here being tight as ever, any tiny urge you have to gyrate to the pounding beats and arpeggiated synths is negated by Thicke’s unconvincing womaniser shtick on this disappointment of a club banger.




KARNIVOOL Asymmetry Sony When Karnivool first landed on our collective aural platter in 2005, it was with a flurry of guitars, rhythms and the poignant-yet-strained vocals of singer Ian Kenny. They arrived with little fanfare, from the far-flung Western Australian shores, but they were willing to push themselves as far as they had to. International success followed off the back of their much-acclaimed second album, 2009’s Sound Awake, and those who bore witness to the band around that time will attest to the quality of not only their music but also their live delivery. So the band’s third record, Asymmetry, comes with some pretty serious expectations. For anyone who was worried about a dip in form, however, fear not. This is a fucking pearler of a rock album, and deserves to be included in any conversation about the best Australian albums come the end of the year.



Sunday Best

Ed Banger Records

There’s a hypnotic quality to the tracks on this release that gives weight to the decision by David Lynch to go with The Big Dream as the title for this album. Lynch has crafted an LP that could very well have been the score for a pseudo-nightmare featuring wine-red curtains, backwards-talking midgets and beached prom-queen corpses. While not quite the Twin Peaks soundtrack, as an exercise in creepiness of the swampy-blues variety, this album succeeds, also providing Lynch’s doting audience with more of what they crave: the opportunity to tell people that they “totally got what Lynch was trying to do there”.

It’s been five years since their last compilation and while the 12s have not been flowing as fast and furiously as they used to, Parisian label Ed Banger celebrate ten years in the business with this compilation.

The Big Dream

The band’s ambitions have never been as pronounced as they are on Asymmetry, their mixing of rhythms, tempos and time signatures a breathtaking achievement of a band at their peak. Comparisons with Tool are inevitable such is the complicated nature of Karnivool’s sound, but whereas it looked like the band were destined for the ‘also-ran’ pile after the success of Kenny’s other band, the mainstream and populist Birds Of Tokyo, it’s all systems go for the five-piece. Asymmetry has all the elements of an epic record; 14 tracks and 67 minutes’ worth of brilliant songwriting, devoted band members who never hog the spotlight, and knowing that the fans will absolutely lap it up. The result: Purely said, Asymmetry is awesome.

The title track and album opener is unsettling in its slow pace, like musical quicksand dragging one under, and contrasts nicely with the more up-tempo sleaze of Star Dream Girl, which could easily have made it to the opening credits of True Blood. Unfortunately, Lynch’s inbred-hick-sounding voice really isn’t the best, not just in terms of tone, but timing. Thankfully, the music is powerful enough in its brooding intensity to make it easy to block out the nasally vocals, leaving an unsettling collection of songs that could’ve been penned by Chris Isaak on a crystal meth comedown. Last Call is a standout, purely for the phrase “last call, time, gentlemen please”, an evocative, repeated line that paints a picture of despondent bar flies, whiskey and jadedness. This world-weariness permeates much of the album and combined with the glut of tremolo guitars and plodding bass creates a mood that smacks of ‘50s film noir gumshoe paranoia filtered through a modern mixing desk. The Big Dream provides the ideal soundtrack for a poker night, if it involves high stakes, ex-cons and hard liquor drunk neat with no chaser.

Dylan Stewart

Glenn Waller

Ed Rec Vol X

One-time Daft Punk manager Busy P, who started the label, weighs in with the track Still Busy, which suggests he’s still got plenty of fire in the belly and is only getting started. Gathering all the usual suspects from the label’s illustrious roster, each of them provides a new track for this compilation. Predictably they bring the beats that would get most listeners jacked up. Justice reworks Brainvision into Brainvision MMXIII, dropping the tune’s rock inspiration and replacing it with a melodic electro disco vibe. House-meisters Cassius craft a light and breezy groove over some gloriously fat beats on Sunchild. Perhaps the real highlight here, though, is Oizio’s thumpingly insistent Secam, which works up a sweat over an angular funk groove. Meanwhile, Feadz and DSL weigh in with muscular grooves that work up a quirky electrohop bounce. Boston Run get jiggy with the acidic 303 wiggle of Grinded, which blasts with beats that are sure to make minced meat out of anyone on the dancefloor. SebastiAn deploys an electronic orchestra on the melodramatic Moi, which comes to us as a demo; sounding unfinished, it fails to satisfy. This compilation evidences that the artists signed to Ed Banger continue to evolve beyond the influential electro bangers that made them famous in the first place. It will be interesting to see what the crew will give us in the next ten years. Guido Farnell

Independent You can tell the slow, crawling bass and guitar, plus lolling vocals Pencil Neck begins with are making way for something to slap you in the face. That ‘something’ turns out to be gut-piercing shrieking and fret-ripping in the chorus, which you enthusiastically welcome. These Sydney dudes have got all your garage-punk needs sorted. Check out the video to see food and paint-covered people making out.

FRANZ FERDINAND Right Action Dimoni/PIAS Franz Ferdinand are back, but they’ve somehow navigated themselves to land smack-bang in the middle of Dud Central. “Right thoughts, right words, right action,” repeats Alex Kapranos, like a motivational speaker addressing his audience. However, the positivity of the words doesn’t shine through; the track’s jaunty, jerky beat and jovial horns are quintessentially Franz Ferdinand, yet their spark’s gone missing.

ONE DIRECTION Best Song Ever Colombia Tween girls might seem excessive in their devotion for 1D, but they’re onto something. Best Song Ever is yet another solid chart-topper. While it sticks well within the confines of teenybopper pop, it’s doused liberally with their trademark larrakin charisma. Manufactured music or not, these kids obviously love what they do and you can hear that exuberance in their output. Plus, the video features a daggy dance number, and you gotta love people who can poke fun at themselves.

BEDOUIN SEA Drunken Kings Independent A tropical, twee finger-picked guitar riff is cute for a verse… and then the chorus sounds just the same and you realise how sick you are of the ‘indie-folk-pop with stomping, tribal drums and gang harmonies’ aural palette. It’s all beige now. The perkiness is monotonous. As for Drunken Kings, it feels like onethird outro, and forgive the nanna-ism but that’s quite enough carrying on, thank you very much.

26 • For more reviews go to




Roc-A-Fella Records/Universal


Dominus Records

It’s been four years since Jay Z’s last solo album, but you’d never notice. Through a collaboration with Kanye West on 2011’s Watch The Throne, and an executive producer role on The Great Gatsby’s soundtrack, his recent acquisition of a minority stake of NBA team the Brooklyn Nets, and his relationship with wife Beyonce and newborn, the man born Shawn Carter has never been far from the headlines.

Jon Hopkins may not quite be a household name, but recent collaborations with Brian Eno and his production work on Coldplay’s Viva La Vida have provided him with a respectable reputation and a growing following of listeners. Immunity, Hopkins’ fourth album, makes for immersive listening that shifts from techno beats to ghostly ambiances across the two parts into which it’s divided. Aggressive beats and deep shuddering bass dominate the first four tracks of the album. The casual listener could easily dismiss this as glitchy minimal tech, but Hopkins distinguishes himself from the pack with a highly-crafted mix that spatialises his sonics to give it depth and dimension. Over the rhythms Hopkins layers moody synthetic sounds that etch out subtle melodies and vaporous clouds of noise that drift in and out of consciousness to hypnotising effect.

Power metal pride of Wollongong, Lord, are back in black and serving up another main course of galloping victorious tunes with latest outing, Digital Lies.

Magna Carta... Holy Grail

All this has upped the expectations of Magna Carta... Holy Grail to stratospheric proportions. They hype might not have reached the heights of Daft Punk or West, but there was plenty expected of Jay Z’s latest record. Unfortunately, the results cannot be seen as definitive. It’s no lay-down misere, but it certainly doesn’t display the cutting edge that Carter has been – rightly or wrongly – known for over the past 15 years. If a single adjective had to be used, it might be ‘lazy’. Now, before fans start clogging the Inpress inbox with hate mail, let me explain. For Jay Z to continue the upward career trajectory that has followed him since he burst onto the scene in the mid-’90s, this album would have had to re-write the concept of music as a whole. But there’s no standout track on the album, the production is good without being amazing, and despite platinum-plated guest spots from the like of Justin Timberlake, Beyonce, Frank Ocean and Pharrell, and the lyrical content is just not accessible enough for the majority of listeners – for example, “Marble floors, gold ceilings/Oh what a feeling, fuck it I want a billion” on Picasso Baby. Maybe – just maybe – the diversification of his portfolio has left his music a little flat. Dylan Stewart


Abandon Window heralds the album’s ambient second half with a haunting and icy cool piano piece that allows Hopkins to show off his classical training and compositional skill. It feels like we have left the clatter of the nightclub behind, before Sun Harmonics moves us into a cosy intimate space. It melts into the dreamy title track, a lullaby that meanders through the subliminal, as King Creosote coos softly in the background. The track doesn’t really end; rather it simply evaporates and we open our eyes to find that we are standing on the beach at daybreak. Waves crash on the sand and squawking seagulls fly above our heads as Hopkins’ field recordings quietly fade. Immunity drips with a delicate beauty that is sure to resonate with many listeners. Guido Farnell

Digital Lies

There are no surprises here, just straight-up power metal with inspirational key changes that wouldn’t be out of place in an ‘80s martial arts montage scene. Head honcho LT (Lord Tim to his mates) takes the helm with vocal/guitar and keyboard duties, and full credit to him for being able to deliver this level of wrist control while belting out a vocal range that shifts from a very Bruce Dickinson bellow to a blackened metal scream. First single off the album, Betrayal Blind, gets the blood pumping with its blistering pace, double kick drums and rousing call to action chorus. LT’s dexterity is put to the test on this one, as he gives his fingers a good stretching for the lengthy legato guitar solo. The title track is drenched in keys, and with its stomping verse and uplifting chorus it’s nigh on impossible not to imagine some sweating denim-clad European losing his mind to this in a very orderly moshpit. Point Of View ups the ante in terms of pace and stands out as the thrashiest number in the pack. Because We Can is a tongue-in-cheek one minute and 58 seconds of absolute cheese-grater shredding, purely designed to highly arouse guitar dorks who prize speed and technique over memorable licks. It’s all in good fun, though. There are a number of tracks that clock in at over eight minutes, but they’re all well focused and don’t beat about the bush compositionally. Cohesive and considered, Digital Lies is the clarion call to enter a battle on a unicorn wielding a flaming sword. Glenn Waller







You’d be hard pressed guessing how old Snakadaktal’s members are from the music presented on debut, Sleep In The Water. The fact the five-piece range in age from 18 to 20 is simply remarkable given the maturity of music on offer here. Originally discovered by triple j’s Unearthed High, Snakadaktal have taken their music to a new level from 2011’s seriously promising selftitled EP. The music is probably best described as a dreamy, soothing form of minimalistic pop, where – like the waves depicted on the album’s cover – layers of ethereal sounds tend to drift over the listener. It’s in the song construction, though, where the band truly defy their age, showing an ability to structure tracks around an innovative rhythm section that’s light years beyond many far more experienced bands.

Aluna Francis and George Reid drop their AlunaGeorge debut full-length, Body Music, following a number of fairly well acclaimed EPs and singles. The duo, operating on a dynamic featuring Reid on production and Francis as singer, produce vaguely experimental electro pop and – for all it’s worth – that sums the record up.

Sleep In The Water


Body Music

That being said, sometimes the emphasis on minimalism is a little overstated. For instance, on opener, Fall Underneath, and first single, Hung On Tight, I kept on hanging for a dominant melody to be layered over the top to provide more of an emotional connection. Snakadaktal need to be careful of being a little too restrained, for despite the music’s sophistication, it’s occasionally hard work getting emotionally attached to some tracks here. This is easier in the album’s superb second half though, starting with The Sun I, where the layers of music are foregone and Sean Heathcliff goes it alone with his solitary guitar. The Sun II builds on this, leading up to powerful album highlight, Sleep, before Phoebe Cockburn delivers some gorgeous vocals on Union to help round off what may be the year’s best debut album.

Things don’t really begin with a bang or a whimper; rather, they shuffle into life with the minimalist throbbing pop of Outlines, a suitable name given how pared down the tune is. Along with follow-up groover You Know You Like It, this presents the duo’s ideas fulfilled in greatest success. There’s a definite and palpable love for the past shimmering through on the album, and the ‘90s R&B vibes and Prince-reminiscent sexuality is what makes the record as enjoyable as it is when it hits the nail on the head. For all the praise that can be heaped upon the album’s ideas, the result is frustratingly shallow. The experimental edge never really has room to move and simply serves to constrict the album’s shimmering grooves. There’d be little arguing against how lovely Francis’ voice is – striking a gorgeous middle ground between naïve innocence and powerful confidence – and Reid is a more than competent producer, though the result is a hazy, occasionally monotonous 50 minutes of pleasant if inauspicious pop. The uniformity of tone across the record is a double-edged sword – it grounds the record as a well-planned and thought-out release – but has tracks bleeding into one another too easily to be discerned as remarkable or lasting. AlunaGeorge may have a brilliant album in them, but this is not it. Andrew McDonald


Edward Sharpe & The Magnetic Zeros

Hand In Hand


“A joyous album, sounding more 2003 than 2013, on Hand In Hand Riva Starr throws caution to the wind, making the music he wants to hear. We do too.” Darren Collins

Snatch/One Love

Edward Sharpe doesn’t exist. He’s a fictional messianic character, a manifestation of vocalist Alex Ebert’s mind. And while Sharpe mightn’t be real, the music of Edward Sharpe & The Magnetic Zeros certainly is. The eponymous third album of this late-‘60s Californian revival band is filled with the uplifting gospel-chorus chants, handclap percussion and the array of horns, accordions and strings for which the ten-plus band is known. And yet there’s a sense of growth on this LP. Ebert ventures from the quirky Let’s Get High and delves into the more meaningful, with the melancholy gospel blues of the sermon-like Life Is Hard. Much as Edward Sharpe is an amalgamation of Jesus, a space alien and a psychedelic bearded hippy, the record is a union of seemingly contradictory influences: Better Days has hip hop rhythms, If I Were Free sounds like it belongs on The Beatles’ White Album, Johnny Cash could have sung They Were Wrong and the duet Two with Jade Castrinos begs contrast with Sonny & Cher. It’s an eclectic mix. Yes, Edward Sharpe & The Magnetic Zeros are still producing music about spirituality, peace and getting high (on love). But the album also witnesses this neo-hippy and his troubadours maturing as a band and artists. Listen to final track This Life – Ebert’s whisper-thin voice, the choral challenge of “Liar!” and the frontman’s earnest choked-down tears as he responds, “I’m telling the truth to y’all!” and try to tell yourself you didn’t feel something.

FUCK BUTTONS Slow Focus ATP/Fuse “Slow Focus is menacing, danceable, introverted and wide reaching; it is still a wonderfully hard sell and hardly to suited to pop tastes, which makes it all the more essential.” Andrew McDonald


Sing Me The Songs: Celebrating The Works Of Kate McGarrigle Nonesuch/Warner “Yes, this is a sad record at its heart (remembering a musician and musician taken too soon), but there’s also a great musical party to be had, too.” Liz Giuffre

Ash Goldberg

Paul Barbieri













For more reviews go to • 27

[REVIEWS REVIEWS] l i v e significant others to finish being all homoerotic. One joker steals the show by crowd-surfing on his mate’s back, until Chewbacca turns up on an inflatable tortoise. It’s undeniable. Jake Bugg’s got mad skills. However, his solemn, concentrating onstage persona calls to mind an Idol contestant at the start of his ‘journey’. Much to our amusement, a row of young ladies line the photography barrier, swooning, as picked out by the cameramen to broadcast on the giant screens. Bugg doesn’t offer much to the listening experience via live performance, but he could certainly record proficiently in just one take. Melbourne’s Chet Faker brings his smooth, electro sounds to the Mix-Up for this afternoon’s Splendour crowd. The timing is perfect since most of the crowd is relaxed, passively enjoying the music while mentally preparing themselves for tonight’s festivities. The conclusion of the set is slightly awkward when the band attempt a strange, double-time coda. Faker concludes by introducing the band and then himself last. He really should realise that everyone knows who he is by now. Lawrence Greenwood, a staple of the Australian music scene better recognised by his revived moniker Whitley, plays to a reduced-but-intimate crowd in the GW McLennan tent. Seated on a piano stool for almost the entire set’s duration, Greenwood concentrates mainly on material from his third and latest album Even The Stars Are A Mess. Despite a relationship with said alter ego that has been fraught at times, Whitley fans are enduring, imbuing their cheers with affection and warmth to accompany tracks from his increasing catalogue.

Babyshambles Pic by Stephen Booth

SPLENDOUR IN THE GRASS NORTH BYRON PARKLANDS: 26/07/13–28/07/13 FRIDAY It’s too late to pre-book shuttle bus tickets online. Cue social media hysteria before festival outfits and accessories have even been finalised. After some mad Googling, we ascertain tickets can be purchased on the ingoing shuttle service, but need to be pre-purchased from a ticket window onsite for the journey/s home. Phew! Considering this new site is even further afield, traffic management needs sorting out. There’s only one lane of traffic winding through the bushland and a snail would have beaten our bus to the entrance. From boarding this bus at Belongil (just outside the old site) to walking into the festival (after queuing for a wristband) takes two hours and ten minutes. Officially opening Splendour In The Grass’s tenth anniversary year on the Supertop stage are one of 2013’s triple j Unearthed winners, Melbourne four-piece Baptism Of Uzi, who show off their formidable debut Stray Currents EP. It’s clearly a special moment for the boys, who take the time to photograph the fast-gathering crowd, proudly informing audiences, “Don’t worry – we got everyone in”. The long, charged songs and fuzzy, plunging transitions have echoes of experimental rock duo Ratatat, but there is little doubt these boys will annihilate airwaves on their own merit too. Deap Vally frontvixen Lindsey Troy flings her pink, heart-shaped sunnies off and they clatter onto the Supertop stage so she can concentrate wholeheartedly on the filthy riffs. But it’s really all about drummer Julie Edwards’ hairography – cascading auburn curls are flung rhythmically in all directions – plus she wears raven-feather epaulettes better than Luke Steele ever will. “This is the first show I’ve played on one hour’s sleep,” admits Troy, before checking she has her “special bucket” (Edwards: “barf bucket”) positioned side of stage. If Peaches and Robert Plant procreated, their offspring would be Deap Vally. The Splendour forum hub is always a good one if you wanna sit down with your paper plate of food and savour every morsel so we head there for the tail end of the Can We Trust The Media? debate, which features “a special appearance” (via pre-recorded video footage) from WikiLeaks’ editor-in-chief and Victorian Senate candidate Julian Assange. The best part of it is when a surfer dude starts doing yoga exercises from his seat in the front row and then leaps up and bounds around the tent shouting messages such as: “Bring back the love!” We want what he’s having. American surf rockers Wavves thump onto the Supertop stage at a time when punters appear confident that the forecast of rain is, well, utter bullshit, and embrace lashings of sunlight and cold beer. As a result of this newfound confidence, torrents of half empty cups are thrown over the crowd, fittingly, like swelling waves, as the band play tracks from their four albums, which span five years. Finishing with their best feet forward, Wavves belt out a delightfully deafening rendition of King Of The Beach. There are too many floral wreaths on heads to count assembling in Supertop and craning for sightlines prior to Haim. It’s definitely a chick love-in and a few mother-daughter combos are spied. The Californian sisters sure can play and their endearing personalities shine through. Some guilty glances are exchanged within the crowd when the pronunciation of their band’s name is revealed as “Hi-em” (rhymes with time). Don’t Save Me is incandescent live and there’s a mass exodus after penultimate track Forever. A successful debut visit to our shores. Over yonder, the sassy and fabulous Clairy Browne and her Bangin’ Rackettes take to the Mix-Up tent as night sets in, luring audiences with Browne’s extraordinary vocal range and perfectly executed harmonies. United, they infuse passion into well-aired tracks such as Love Letter, Whatta Man and their latest, Walk Of Shame. With nine band members in total – and ladies who don

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Having recently released the follow-up to 2010’s Bliss Release, Blue Mountain band Cloud Control take to the stage a little later than scheduled but, in the same vein as their music, do so with persistent enthusiasm and zest. Playing out the set in a pattern of one old song followed by one new, the freshly acquired intensity and weight of new album Dream Cave is evident as it’s held up against its predecessor. However, the delight expressed for older tracks such as Gold Canary, There’s Nothing In The Water We Can’t Fight and Just For Now appears not to have wavered over the years.

Haim Pic by Stephen Booth matching beads, tassels and sequins – this Melbourne outfit knows the value of stage presence and audience participation as they encourage the crowd to dance and strike “original” poses. It is a reminder that showmanship – or rather showwomanship – is here to stay. By 6pm on the first day, the D-floor of the GW McLennan is already a giant mud pie with the trek to the stage perilously slippery. Lead singer John Gourley’s vocals are high and crystal clear and the band is as tight as a snare drum. Purple Yellow Red And Blue showcases Portugal The Man’s sound of high falsetto vocals over some stock standard indie guitar, synth and drums. While the band plays well, tonight’s performance lacks a bit of snap, crackle and pop. The Supertop crowd is bafflingly sparse (especially considering this is Pete Doherty’s first appearance on an Australian stage) when Babyshambles arrive onstage, the ramshackle frontman sporting a jaunty captain’s hat and further continuing this nautical motif with a horizontal striped, long-sleeve tee. (He’s portly these days, so could’ve rethunk the direction of those stripes.) This band sound tight, guitars locking in for sexy time. Doherty recently told Irish Independent he’d have to “lose a hand” in order to persuade him to stop using drugs so it’s surprising to see how proficient a vocalist/guitarist he is. Fuck Forever goes down a treat and it’s a shame Splendour punters chose to be elsewhere. Kind of wish Doherty had wiped out a couple of times onstage, though: His performance is kilometres away from train wreck territory. To the couple of thousand revellers churning up the Mix-Up big-top, Flight Facilities are the commanders of good times and they are even wearing the hats to prove it. Elizabeth Rose takes the stage to perform I Didn’t Believe and the crowd somehow surpasses the fever pitch that they were already trending along. Every electro fan makes the most of the music and vibes despite the muddy conditions.

the weekend, and this band is duly thanked as the swelling Supertop chants loudly to each song. SATURDAY It’s a much smoother transition into the site today and Brisbane boys Art Of Sleeping open proceedings before an eager crowd, unmarked by the premier night’s festivities. Frontman Caleb Hodges continues to thank the crowd for their early attendance and the band play through their Like A Thief EP: Art Of Sleeping’s collection of songs that are helping define a modern Australian sound. Above The Water is met with knowing claps and nods, yet a lesser-known number titled Crazy (taken from their forthcoming album) is also well received. Masses assemble for the monster fun-making rave machine that is Jagwar Ma in Mix-Up tent. They’re so fierce they could’ve been swapped with Klaxons. Come Save Me perfectly segues into another banger and this outfit’s tunes are multi-faceted iridescence in a live setting. Set closer Man I Need takes us on a magic carpet ride of swami electro carnage that is (almost) enough to distract us from the sight of a franger squished into the mud. Random festival highlight spot quizzes throughout the weekend see Vance Joy’s name crop up a lot, but we wouldn’t have missed Jagwar Ma for the word. Hype warranted. Jagwar Ma are officially the next Cut Copy. Violent Soho do not let their 2.20pm timeslot perturb them: They rev up the crowd from mad to angry in about a quarter of a song. The band’s Jesus Stole My Girlfriend track is the set highlight along with the two giant circle pits created in the crowd. ‘Soho take credit for having the best mosh of the festival, much to the annoyance of the (significantly smaller) gaggle of bored girlfriends waiting on the periphery for their

Hot pants and synths are the order of the day for New York electro-pop duo Ms Mr. As twilight descends, the band deliver hit after hit, which only increases the crowd’s insatiable desire for more. Singer Lizzy Plapinger remarks, “This is the kind of gig that you dream of playing when you first start a band,” to deafening cheers. However, the largest cheer is saved for when Max Hershenow announces that they are going to play Hurricane, the first song they ever released, to close what can only be described as a career-defining set. Gold Bar celebrity sighting: One Direction’s Harry Styles. Come on, it was him! He loves Matt Corby, so… Canyons always bring the class (with the exception of a side rat’s tail on Leo Thomson’s head that would even be inexcusable on a Collingwood fan’s noggin) and inside Red Bull Music Academy marquee their disco cuts find an eager audience. The duo’s ‘ear for a choon’ is what makes them worth experiencing and the fact that they still cart vinyl around earns them extra bonus points. Attempting to mix in a badly scratched, unsalvageable copy of John Paul Young’s Love Is In The Air is an exasperating finish to an otherwise stellar set. Co-pilot Nick Littlemore is still absent from Empire Of The Sun’s live show and there are as many dancers/ creatures onstage as there are musicians. Sure, Luke Steele’s got talent and hearing debut album tracks such as Walking On A Dream and We Are The People in a festival setting is awesome, but watching the drummer trying to negotiate a gigantic tribal headdress as it slips forward is amateur hour. The unitarded dancers also have so many props and swordfish masks to manipulate that barely eight counts of unison are achieved throughout the entire set. A nearby onlooker scratches his head before sharing, “It’s David Bowie meets Kiss”. When a massive creature that looks like it’s made out of giant cardboard toilet paper rolls lifts its arms from which smoke cannons loudly erupt, we wish Iron Maiden’s towering mascot Eddie would enter stage left and exterminate. Fourteen years is a long time by anyone’s standards, but in the case of Ohio’s The National, time has definitely served them well. Presenting a thunderous

Klaxons draw a decent crowd to Mix-Up tent and remind us how good dancing in the mud is for toning the legs. Gravity’s Rainbow probably kicks the hallucinations in for many, but the actual visuals leave a lot to be desired – the band’s name scrawled in primitive font on the back screen for the majority of their set is just plain lazy on their part. Klaxons sound exactly like their records live and their nu rave comes over more like dated rave these days. Would’ve liked some extra crank. A headline act that definitely endures both the extraordinary highs and the gut-wrenching lows life casts out – an example of the latter saw past shows cancelled in order for bassist Ted Dwane to recover from brain surgery – perform a show that defies death and passionately embraces life with all of its hardships. Masters of catchy melodies and fervent lyrics, Mumford & Sons play the best of Sigh No More and Babel, closing with crowd favourite The Cave. The audience is almost unmatched in size throughout

Empire Of The Sun Pic by Stephen Booth

live set at the Supertop, the five-piece nominate only the best from their six-album catalogue, including the beloved and ever-moving Fake Empire, Bloodbuzz Ohio, a few off their latest Trouble Will Find Me album and tonight’s closing track Terrible Love. Frontman/ genius Matt Berninger is serious and considered, injecting potent conviction into every weighted word. SUNDAY Breakfast celebrity sighting: Matt Corby leaning in a Byron Bay café window to chat with Lara Bingle. The weekend’s strong Mix-Up scheduling continues, placing PVT onstage just after midday. There are three players onstage, including brothers Richard (frontman) and Laurence (drummer) Pike, and as such some friendly sibling jibes enter between-song banter. Their looped sounds wash over us and pleasantly warm our synapses up for day three. Bookmark these guys for late-night viewing in a venue near you. Hailing from Australia’s Western front, Perth filth-guitar strummers The Growl certainly embody their name. The overtly charismatic Cameron Avery (also of Pond) is at the helm, taking control of both band and today’s modest crowd with his bourbon-laced voice, one hand dug defiantly into his hip for the set’s duration. However it is their best-known track With The Sharp End Of A Trowel that really showcases the band’s skills. As the first taste of The Growl’s harmonies, this is grrrrrreat. Sharing keyboardist James Ireland with Perth pals The Growl, and immediately following this band on GW McLennan stage, The Chemist’s brand of rock echoes the genius of Jack White. Fronted by Ben Witt (who also plays in Bob Evans’ band) and armed with an amazing percussion section – at times three maracas are shaken in unison by multiple pairs of hands – the songs rocket along with a vague and gritty Western, fight-in-a-saloon feel. Thus, any sensible professional would prescribe large doses of these guys. Airbourne were BORN Ready To Rock as Joel O’Keeffe barges onstage, already bare-chested and sweaty. The Warrnambool dudes embody rock’n’roll, which has been underrepresented at this year’s festival up until FIDLAR’s previous set on the very same Supertop stage (oh and not to forget Deap Vally, of course). O’Keeffe encourages “SplendAH!” to light our collective spliffs and get a “contact high”. He may not scale scaffolding these days, but O’Keeffe’s party trick of bashing a VB tinnie against his skull until it spouts like a fountain is something not to be tried at home. You always get what you sign up for with Airbourne: They are the custodians of rock.

After wondering why Amish people are drinking and smoking durries (so therefore not truly Amish) in the Gold Bar throughout the weekend, we stumble upon our answer near the GW McLennan tent where a largescale Amish performance art installation is in session. There’s a lady reading a book in a carriage, kids sitting on hay bales and a bell is rung to denote dinner time inside the wood frame skeleton house. Of the woman cast as a reading enthusiast, we ponder: Fancy telling your mates you attended Splendour In The Grass and finished a couple of books across the weekend? Frank Ocean went so damn hard at his Melbourne show that he allegedly tore a vocal cord. And so Lorde, the gutsy 16-year-old from our neighbours across the pond in New Zealand, fills a void created by his absence with saccharine-laced, pop tracks such as Royals and Tennis Court. Whisked over at only a day’s notice, Ella Yelich O’Connor takes to the stage diplomatically and while she doesn’t Channel ORANGE she certainly conjures something brave and soothing. The punters show their full support with rapturous applause and Lorde is gonna be huge. For triangle-loving, elevated mystery band Alt-J, their ascent up the Splendour In The Grass festival bill in Frank Ocean’s absence feels appropriate when the Supertop crowd swells. With only one available album at this stage of their career, they are forced to play their debut An Awesome Wave set almost in full. Matilda is particularly adored by the crowd. Written almost five years ago, it is one of the band’s earliest tracks and, like Breezeblocks, pays lip service to their popculture obsession (specifically the 1994 Luc Besson movie Léon: The Professional). Between their own hits, Alt-J also weave in a couple of new songs plus Slow Dre: an incredible Kylie Minogue/Dr Dre mash-up. Festival tip: buy a plastic poncho, cart it around with you every day and it will never rain when you are in transit outdoors. As our final shuttle bus for the weekend passes a Koala Crossing sign, we’re pretty sure the only wildlife crossings the past three days would have been made by munters in animal onesies. What makes Splendour In The Grass so enjoyable is the atmosphere created by festival heads travelling from all corners of Australia to worship sick tunes. This year’s music scheduling is a little low on wow-factor (especially after Frank Ocean’s cancellation) and the amount of time it takes to commute in and out of Byron Bay makes us question whether it’s accurate to call this site North Byron Parklands. Bryget Chrisfield, Benjamin Meyer, Izzy Tolhurst

TODD RUNDGREN, DAVEY LANE CORNER HOTEL: 21/07/13 Fresh from the ‘G, the triumphant Tigers fans are full of cheer at Corner Hotel’s cosy front bar. Further inside the venue, on leave from You Am I duties, Davey Lane is presenting a reverb-laden set of atmospheric tunes, showcasing his songwriting skills and a fine collection of guitars. The audience respond politely but seem preoccupied with discussing possible Todd Rundgren setlists and what the US music legend has played at the two Melbourne shows preceding this one.


malfunction, is appreciative. Where the vocals aren’t cutting it, perhaps the electric guitars will as Rundgren and band kick into rock mode. There are glimmers of Rundgren magic but most of it is a struggle. He hacks out an encore of Hello It’s Me and ironically finishes with A Dream Goes On Forever, when in reality it’s a nightmare. Symptoms of a gruelling winter schedule or symptomatic of an artist at the end of his career? Time will tell. Greg Phillips

Despite this being Rundgren’s fourth Australian visit in four years, it’s actually the first time he’s been able to present us with a show full of tunes from his own vast catalogue of pop, soul, electro and prog rock. Earlier this year he played a cameo role as part of Ringo’s All Starr band, there was the 2010 Robert Johnson blues tribute tour, and, in 2009, he took part in the Rogues Gallery show at Sydney Opera House singing sea shanties. Todd’s crack band featuring Jesse Gress (guitar), John Ferenzik (keys), Prairie Prince (drums) and Kasim Sultan (bass) stroll on stage 20 minutes late with Rundgren fronting soon after. For a packed house of Rundgren enthusiasts, all the elements seem to be in place for a classic show… all the elements except for one: Rundgren’s voice. It’s not until the second verse of Real Man from 1975’s Initiation album that Rundgren’s vocal mic kicks into action. At this point he’s probably wishing it hadn’t as his voice is incredibly croaky. Nothing a little vocal warm-up shouldn’t fix, we hope. He’s halfway into second song Love Of The Common Man and it’s obvious the man’s voice is shot. At Ringo’s show months prior, Rundgren’s voice was fine and reports from his other Australian gigs suggest it was okay then too. Clearly, he shouldn’t be up there tonight. Resorting to age-old stage tricks such as audience sing-alongs and relying on his band to cover him with their sweet harmonies and amazing musicianship, nothing is going to stop this train wreck. The best tracks are those in which Rundgren sings less: soul tunes such as I’m So Proud and Ooh Baby Bay, where the backing vocals dominate. The crowd is sympathetic and encouraging. Rundgren, who blames the cold weather and three gigs in a row for his vocal

Todd Rundgren Pic by Matt Alam

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Greetings From Tim Buckley

GREETINGS FROM TIM BUCKLEY FILM Set during the lead-up to Tim Buckley’s tribute concert held at St Ann’s Church, Brooklyn, in 1991, Daniel Algrant’s Greetings From Tim Buckley sees Jeff Buckley (Gossip Girl’s lonely boy Penn Badgley) trying to grapple with the resentment he felt towards his estranged father. With intermittent flashbacks portraying Tim gallivanting about on tour, emotionally and physically absent from his wife and son, the daddy issues angle comes across as more trite than heartstring-pulling. Badgley is a surprisingly convincing Jeff, particularly when he’s singing. It’s a strange thing to hear something so akin to Jeff’s recognisable, high-pitched wailing and soulful melismas and trills coming out of Badgley’s mouth. The supporting actress/lead female role, played by Imogen Poots, is essentially a prop — a lens through which we discover the many facets of Jeff: tortured, brooding, playful, cocky, eccentric, spontaneous, reckless. Nevertheless, the charismatic Poots gives the character colour and warmth, which makes that aspect of the storyline bearable. With a gorgeous soundtrack filled with Tim’s songs, both original recordings and others’ renditions, the film’s strongest scenes centre around the music itself. As we finally see the concert come together, Jeff paying his respects through performing his father’s music (a moving solo acoustic version of Once I Was in particular), therein lies the emotion that was missing throughout the majority of the film. Stephanie Liew In cinemas Thursday 1 August

OPEN HOUSE MELBOURNE EVENT Open House Melbourne 2013 has the largest collection of properties open for public viewing in the six-year history of the event. This year saw 111 buildings opening their doors for public perusal throughout Melbourne, with the Hellenic Museum seeing her fair share of visitors today. Situated on William Street, the Hellenic Museum’s large doors open into a majestic foyer of polished boards and rustic Greek columns welcoming visitors in from the cold. A left turn leads into a room dedicated to Apulian pottery, copies of Greek statues such as the Aphrodite Of Milos (late 2nd century BC) and placards detailing the history of Greek immigration to Australia, from the 1850s to now. Behind this wall of information, a screening is being

Cavalia held that visually takes the audience on a journey through time as it describes the ‘initial ripples’ of Greek migration of 1810-1850 up to what is referred to as ‘the flood’ of immigration from the 1950s to the present. An adjoining room features The Mary And Peter Mitrakas Collection Of Cypriot Antiquities in the form of more ceramics, which, to quote the accompanying information board, “form part of the largest private collection of Cypriot antiquities in the world”. En route upstairs, one is confronted with bizarre statues of human bodies with animal heads on the stairwell forming part of the photography exhibition, Between The Worlds, by Melbourne artist Polixeni Papapetrou. The modernity of this exhibit contrasts with the religious iconography room nestled next to a space dedicated to celebrating the successes of high profile Australian Greeks. The Open House Melbourne initiative is a fantastic way to get to know this amazing city, and the Hellenic Museum is an informative eyeopener into the world of Melbourne’s Greek population. Here’s looking forward to next year’s event.

Matt Ziccone MIFF Next Gen Screening Friday 2 August, ACMI and Sunday 4 August, Greater Union

Glenn Waller

VALENTINE ROAD FILM In 2008, Larry King was shot dead in front of his classmates. Brandon McInerney is serving 21 years for the crime. When Australia receives news of another school shooting in the US, it’s easy to jump into the discussion of gun control butbut HBO Documentary Valentine Road wants to look at one moment and not look at more than that. This event had a major effect on a town, a country and the way they look at tolerance. First-time filmmaker Marta Cunningham has incredible access to the lives of the affected and her access of trail information really puts the viewer through all

Open House

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perspectives. From media, the children, teachers, defence and prosecution defence, each person speaks of the act, the effects and their thoughts. The film at times seems to have an agenda but it really lets each person talk for themselves. Nothing is truly unbiased but Valentine Road doesn’t silence the voices of those with fringe or mainstream opinion. It’s not just a piece on youth violence but the problems of a failed system. It wants you to make up your own mind and discuss your opinion but one thing is very clear. The adults around these children failed them every step of the way.

MIFF Opening

I’M SO EXCITED MIFF OPENING NIGHT GALA The 2013 MIFF opening party was one great big night of fun, kicking off with the energetic mile-high film I’m So Excited! It’s unlikely to be anybody’s pick of the fest, but it was definitely the right energy to launch a marathon festival. There were grumbles from buffs that Pedro Almodóvar had produced his first flop... And it’s true, most of the humour consisted of cheap jokes lacking subtlety. And there were shocked responses to a cheerfully represented rape scene where a female business passenger high on mescaline decided to pop her cherry with a drugged and unconscious man in economy. But on the other hand, with satire you need to throw taste out the window and enjoy a bit of the old comedy with hidden political messages. Bawdy, yes, tasteless, yes, but is this a bad thing or just a very accurate representation of the genre? Sure they could have programmed some esoteric and inaccessibly subtle piece of twat, but I’m So Excited! was irreverent and fun – the perfect film to kick-start a party. Unfortunately, the party itself was a bit bland. MIFF put up an alright spread, with a touch of atmosphere on the lower level and a D-floor hidden away in a corner, but it could definitely be improved with a bit of flair in the design and entertainment departments and much better booze organisation for the bubble drinkers. James Daniel MIFF runs to Sunday 11 August

Don’t let the sigh-inducing ‘big-budget’ and even more cringe-worthy ‘fun for the whole family’ hype put you off a ticket to Cavalia. The popcorn-crunching-crowddrawing commodity has arrived in town beneath a big white top at Docklands. There are merchandise stalls, lavish VIP ticket options and post-show stable tours on offer for those with the cash, but for the average ticket holder the show itself is an experience to remember. Cavalia is the concept of Normand Latourelle, one of the co-founders of acrobatic spectacle Cirque du Soleil which married the circus and theatre art forms. Cavalia also trades in delivering spectacle and thrives as a cross-disciplinary feast of awe-inspiring antics set to stunning multi-media projections and live music. However, in Cavalia, 50 horses join the performers on the 50-metre-wide stage. The anticipation in the audience that has been growing from before its fairy-tale opening becomes an electric energy in adrenalin filled sequences. The animals before us remain impulsive and inquisitive within their choreography. The creators and performers of Cavalia are masters at working an audience, prompted by our curiosity and excitement regardless of what goes to plan. It is Cavalia’s spirit described as ‘a magical encounter between man and horse’ that transcends the work beyond just a visual indulgence for its audience. For anyone that has ever been on the back of a horse, or held their hand out to stroke its mane, the show is an immediate sensory experience. Suzanne Truman White Big Top to Sunday 18 August

WHITE RABBIT RED RABBIT THEATRE Nassim Soleimanpour’s White Rabbit Red Rabbit doesn’t deconstruct the fourth wall; it simply convinces you that it never existed in the first place. With a different actor every night Soleimanpour’s work challenges the concept of theatre as we know it by transforming the audience into active participants of the work instead of passive consumers. Soleimanpour’s script is funny, poignant and very uncomfortable. He not only demonstrates what it is like living in a society where any form of independent political expression is squashed, through allegory and disarming charm he makes you live it, expertly manipulating the audience to drive home his point – that tyranny can happen to anyone. Catherine McClements, our actor for tonight, opens the manila envelope containing the script to a sudden applause. The set is sparse with a white ladder being the most distinguishing feature. At the beginning of the work each audience member is given a number and from there on in every single person is invested in the play and its outcomes. McClements is endearing and she leads the audience expertly through the process even though she is as much in dark as we are. White Rabbit Red Rabbit is original, insightful and thoroughly good theatre. The work’s key achievement is illustrating how innocently people accept the powerful’s decisions simply because they say they are powerful. Benjamin Meyer Malthouse Theatre to Saturday 3 August

White Rabbit Red Rabbit








herself, dropping formulaic urban albums like Ciara: The Evolution (which topped the US charts, but undersold its predecessor). She introduced a Sasha Fierce-style alter-ego, “Super C”, on the more adventurous Fantasy Ride. It had a kinky R&B song called Like A Surgeon. Yet Harris ignominiously opened for Britney Spears.


Scott & Charlene’s Wedding Hearing the debut album from Scott & Charlene’s Wedding, 2011’s Para Vista Social Club, it was pretty easy to imagine the Melbourne band’s songwriter, Craig Dermody, sitting on a train heading for deep northern suburbia. Or he was waiting for a train in the city’s west, late for a shift ‘driving trucks’, or in a vinylfloored kitchen wondering if he could do better. That last scene appeared in the album’s final song, Find A Way, in which Dermody sang, “Won’t someone get me out of this place?” The album, backed by wiry or droning guitars, was rooted in Melbourne’s aged and none-toowealthy neighbourhoods, which have long been homes for the city’s musicians and artists. So when the band’s second album, Any Port In A Storm (Fire Records), starts up with Dermody working in a ‘junk shop’ – on the song Junk Shop – it’s a bit like coming to a film sequel and finding the hero character transported to a new place and time. The Australianisms have been replaced with American terms; Dermody sings about having “busted up with a true love”, and we’re left to guess where and when the relationship happened. On the album’s second song, Lesbian Wife, he’s watching cars “lining up for their gasoline after the biggest storm we’d ever seen”. The guitars are more certain of where they’re headed and just slightly cleaner now. A lot has gone down since the band’s first recorded appearance. Some of the band’s progression between records has transpired on music blogs over the past year and a half: Dermody’s move to New York City, the group’s signing to the UK’s Fire Records and their invitation to Glastonbury. But Any Port In A Storm is no rags-to-riches tale. Dermody has stated in interviews that he was writing for the album as he gathered a New York band and networked to score gigs, working a laundry list of bad jobs to pay rent. Instead the album finds Dermody in a new set of down-and-out situations. It also finds him penning odes to New York City. Just as Dermody didn’t shy from name-dropping Melbourne locations in Para Vista Social Club, turning the record into one partly about the city itself, Any Port In A Storm bears references to downtown, to the Lower East Side’s Spring Street, to Hurricane Sandy. It’s a well-tapped muse, New York, from Iggy Pop’s Avenue B to Simon & Garfunkel’s Bleeker Street to Joni Mitchell and Leonard Cohen’s lullabies to Chelsea and Lou Reed’s many ruminations about life in lower Manhattan. More recently there’s been The Moldy Peaches’ NYC’S Like A Graveyard – “all the corpses like the way I play my guitar” – which says a fair bit of the status of fuzzy rock’n’roll in its most famous and now mostly gentrified birthplace. When The Strokes’ Julian Casablancas released his song Ludlow St in 2009, the overriding thought was that anyone who could afford to wander around the LES probably didn’t have too many issues worth singing about. It’s a fair credit to Dermody that Any Port In A Storm never sounds like a reach back to more romantic times despite its ties to garage and art-rock, and the manner in which Dermody sometimes drawls his words, less Aussie suburbdweller and more Reed-loving hopeful. Partly it’s to do with the album’s title: when the best solution is any solution, many in 2013 find themselves packing up and moving to where life might be kinder or dreams might have a chance of being fulfilled. The experience Dermody sings about on the album is now one far more relevant to life in New York City than any blind paeans to the tough streets of Manhattan. He’s still looking to find a way in the city; still wondering if he can do better.

Poor Ciara Harris. The Princess of Crunk&B blew up with Goodies (featuring Petey Pablo) in 2004 – the year before her edgy pop rival Rihanna aired Pon de Replay. Today CiCi understudies her. Harris’ R&B brand – she, too, is a singer, fashionista and actor – has lower market value. Ironically, that is partly because Harris has so zealously guarded her privacy, despite being romantically linked to Bow Wow, 50 Cent and Ludacris. She’s currently dating the cred rapper/singer Future, a Dungeon Family member. But her music also lacks personality. In 2008 Harris appeared nude on the cover of Vibe – it looked like a desperate move, but she subsequently protested that her clothes were digitally removed. Regardless, Harris, not yet 30, has influenced tough urban stars like Jessica Mauboy, Jessie J and Rita Ora as much as Rihanna. Harris’ fifth album, Ciara, a US No. 2, puts her back into contention. It’s her finest since 2009’s conceptual Fantasy Ride – which was slept-on, although it spawned that funky hit with Justin Timberlake, Love Sex Magic. Ciara is Harris’ equivalent of Trey Songz’ Chapter V – post-illwave cool. Ciara Harris was christened after her mom’s Revlon perfume, ‘Princess’ her middle name. She was born in Austin, Texas, but grew up a global army brat. Settling with her parents in Atlanta, she became a cheerleader. Harris wanted to be a dancer (her energetic live performances attract rave reviews to this day). She formed a girl group – they split – and wrote for Fantasia. Mentored by Jazze Pha, Harris then signed to LaFace and debuted with the album Goodies, Lil Jon helming the title-track. It was certified US tripleplatinum. Post-crunk, Harris struggled to reinvent

Ciara is the follow-up to 2010’s attitude-laden, if ultimately hollow, Basic Instinct, a flop, and signals a fresh start for her. Unhappy at a lack of support from Jive, which had subsumed LaFace, Harris switched to Epic – now under the stewardship of LaFace founder LA Reid. Originally entitled One Woman Army, Ciara has had a long gestation. Several singles floundered, including Sweat with 2 Chainz. But it’s all turned out well. On Ciara Harris doesn’t so much as imitate her contemporaries, as outfox them. I’m Out, the current single, one of two songs with Nicki Minaj, is a triumphal club banger a million times stronger than Beyoncé’s Run The World (Girls). It chucks together rave, hip hop, dancehall, goth and sirens. And Minaj, resembling less of a Monster High doll, co-stars with Harris in the video. The other song with Minaj, the Euro-dance Livin’ It Up, is co-written by Wynter Gordon, but not nearly as impressive – and certainly no We Found Love. Like Rihanna at her best, Harris also experiments. Both singers, neither possessed of Beyoncé’s sonorous voice, are indebted to the subtler Janet Jackson. Harris channels Jackson on the LP’s lead single (and hit), Body Party – spacey, synthy soul produced by Mike WiLL Made-It, the dude behind RiRi’s Pour It Up. He’s possibly been studying James Blake’s chords. Aside from co-penning Body Party, Future duets with Harris on the balmy ‘90s acoustica Where You Go, again masterminded by Mike WiLL, and serves as an executive producer. Super Turnt Up is just as singleworthy as Body Party – alternatively zippy and sparkling electro’n’B with chopped & screwed vocals (surely the new Auto-Tune?). Harris even raps, sounding very Minaj. Harris is lyrically edgy like Rihanna, too. However, this good girl gone bad does take some ill-advised risks. In the tradition of Like A Surgeon, Rodney Jerkins’ deceptively poppy Read My Lips is freaky fun, but DUI, an otherwise bland ballad, is less cute provocation than just ick. The same goes for the electro-house Overdose. ‘Nuff said.

ADAMANTIUM WOLF METAL, HARDCORE AND PUNK WITH LOCHLAN WATT The Ophidian Ascension from Melbourne has also in fact recently joined the Skull And Bones roster. Featuring Jake Green, former drummer of The Red Shore, the death metal group will release their debut EP, Ire, on August 30.

Karnivool Karnivool’s new album Asymmetry has debuted at number one on the ARIA charts. The Perth prog-rock/ metal band is reportedly the 50th Australian act to ever hit the prestigious number. Here’s to more victories for heavy music, and hats off to Karnivool! Kvelertak are hitting Australia for a run of club shows. The Norwegian band’s second Kurt Ballouproduced album, Meir, was released via Roadrunner earlier this year. Following up on their 2012 run on Soundwave, you can catch the highly unique metal group at The Corner Hotel on Tuesday 17 September. That Striped Sunlight Sound is a little event that’s going to hit The Reverence Hotel on Friday 27 September. Featuring the UK’s progressive mathcore group Rolo Tomassi and hard-hitting Japanese metal legends Palm, the colourful mini-fest will feature Australian acts A Secret Death, Totally Unicorn, Jack The Stripper, Stockades, Fourteen Nights At Sea, Urns and Jurassic Penguin. Put together by Brisbane label Monolith, tickets are available now through Oztix. I Shall Devour will head off on a national run this month in support of their debut EP, Manipunation, released in June through Skull And Bones Records. The Brisbane deathcore act will be joined by Cairns-based label mates, A Night In Texas, who also recently released their first EP, Invigoration. You can catch them at The Gasometer on Friday 9 and Saturday 10 August at Wrangler Studios for an all ages event, with both shows featuring the same accompanying lineup of The Ophidian Ascension, As Silence Breaks, The Seraphim Veil and Hollow World.

Mephistopheles from Tasmania have announced a worldwide signing to Willowtip Records for the forthcoming release of their second album. Titled Sounds Of The End, it’s the jazz-influenced technical death metal band’s first release since 2006, and first to feature Matthew Chalk (original vocalist of Psycroptic). The album is slated for release in October, with further details and material expected to surface soon. Aversions Crown has released a new live video clip for their single, Overseer. Filmed at YMCA HQ in Perth on their recent tour with Thy Art Is Murder and King Parrot, you can of course find the effort on YouTube. The band is hard at work on album number two, with more news expected in coming months. Ire will headline a gig of metal and hardcore this Thursday 1 August at The Bendigo Hotel, with help from Abreact, Disasters and Searcher. Tickets $10, doors open 8pm. Our Last Enemy are launching an album of remixes and rarities titled Engineering The Enemy. It’ll feature remixes by Mortiis (ex Emperor), Travis Neal (Divine Heresy), Angel (DOPE), The Berzerker, Angelspit and more. The Sydney-based industrial metal group will launch it in Melbourne this Friday 2 August at Revolver with Witchgrinder, Cold Divide and Verona Lights. Fifteen bones is the price on this one. Loud Fest 2013 will take place at Arrow on Swanston this Saturday 3 August. Headlining the huge metalcore event will be the infamous Confession, joined by Hand Of Mercy, Saviour, Feed Her To The Sharks, For All Eternity, Storm The Sky, Stories, The Sweet Apes, Elegist, I Valiance and Exposures. The all ages event will run from midday and cost you $35 on the door. Bardo Pond from the USA will bring their psychedelic, fuzzed-out rock sounds to Melbourne for the first time ever this Saturday 3 August thanks to Heathen Skulls. Formed in 1991, the group’s eighth album was self-titled and released in 2010. You can catch them at The Corner Hotel with Pearls, Ride Into The Sun and OHMS.

Me First & The Gimme Gimmes One of the albums that I am most looking forward to in 2013 is the new one from Balance & Composure. Separation was a truly astounding debut, so I’ve got high hopes and expectations for the follow-up. Last week announcements were made regarding the release. It is called The Things We Think We’re Missing and it is to be released 10 September (in the US) through No Sleep Records, and also on 9 September in the UK and Europe through Hassle Records. Both labels have pre-orders available now, with the first 500 pre-orders receiving a piece of the reel used in recording the album, as well as a download of a “making of” documentary. If you’re a collector, both labels are also releasing exclusive vinyl colours that will be shipping worldwide. In Australia it’s out Friday 13 September through Shock. In touring news, Me First & The Gimme Gimmes are heading back to Australia for eight shows this October, for some punk rock-supergroup-cover band awesomeness. Since their last visit back in 2010, the band released their Sing In Japanese EP, which basically does what it says it does. If you’re not a Japanese speaker, never fear as it is also the first time the band have been back to Australia since they release their Go Down Under EP back in 2010 (covers of songs by Australian artists like INXS, The Easybeats and Olivia Newton-John). Anyway, tickets are on sale now for two shows at The Corner Hotel, either on Saturday 5 or Sunday 6 October. Poison City Records have announced a split 7” release between two of the label’s biggest heartbreakers – Jen Buxton and Lincoln Le Fevre. The release sees the two mates join forces for release Thursday 12 September, with both currently working towards new albums for 2014. As such the split will consist of four new tracks (two from each) which were recorded together back in June at Le Fevre’s Hobart studio. El Alamein are a brilliant band from Brisbane who are, unfortunately, gearing up to play their final shows. If you haven’t checked out last year’s New Patterns EP then you need to do that ASAP. While you’re at it, check out the band’s newest release No Bad Days, which will be the final thing you will probably hear from them. Released through Monolith Records, these self-described “fruit punks” have delivered four tracks that were recorded and mixed over a couple of days at Sun Distortion Studios in Brisbane. As I mentioned last week, El Alamein are playing with The Smith Street Band (as a part of their Don’t Fuck With Our Dreams EP launch shows) on Saturday 10 August at the Old Bar. Jackknife Music has announced that they will be releasing the debut 7” from Melbourne singer-songwriter, Lucy Wilson. Her music might not sound like punk rock or hardcore, but she has guested on The Smith Street Band’s 2011 debut, played with the likes of William Elliot Whitmore and Tim Barry, as well as featured on line-ups like Poison City Weekender, All Tomorrow’s Shoeys and Blood, Sweat & Beers. Anyway, crossover aside, the 7” is called Full To The Brim and was recorded down in Hobart with Lincoln Le Fevre. It will be released as a pre-order next month, with instantaneous digital download. Hit up Lucy Wilson’s Bandcamp page to check out more of her stuff. On a heavier note, Southern Lord are gearing up to release the newest record from (yes, I’m going to say it again) supergroup All Pigs Must Die. Combining the talents of musicians from Converge, The Hope Conspiracy, Bloodhorse and more, the newest record (the band’s third) is streaming in full now through the Revolver Magazine website. The album is called Nothing Violates This Nature and was recorded by Kurt Ballou. You can order CD and digital versions of the record now through Southern Lord, with the vinyl version to follow in the coming weeks. Last up for this week, the only acceptable answer to the question, “What are you doing on Saturday night?” is that you’re heading along to the Central Club in Richmond to celebrate 20 Years of Brewtality with Mindsnare. Yes the overlords of Melbourne hardcore/metal are playing their 20th Anniversary show, with Warbrain, Crisis Alert and MetalStorm supporting. While you’re at it, make sure you head on over to the brilliant Rest Assured Zine as the guys have been pulling together a stack of retrospective features celebrating the legacy of this legendary band. Included on the site is a look back over the Mindsnare discography and an interview with Andy Murphy, who has been responsible for the iconic Gas Man artwork that has defined the band’s image over the past decade.

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How quickly the mighty have fallen. I still recall meeting a journo and her friend for a drink in the wash-up from the opening parties in early June. The friend, a publicist for one of the island’s major clubs, also ran his own DJ agency – meaning he had gotten the art of balancing daytime working hours with the necessity of being out late at a club most nights down to a fine art form. When I jumped up to grab them drinks from the bar he requested a “freshly squeezed juice”, before recounting the different varieties of fruit he’d eaten earlier to boost his energy, while the journo (who incidentally was one up on me in terms of seasons on the island) declined all offers entirely.

T-Model Ford It is with an incredibly heavy heart that I file this week’s column as I report on yet another sad passing of a man I consider to be one of the great bluesmen of our time. Legendary Mississippi bluesman T Model Ford (born James Lewis Carter Ford) passed away in his Greenville, Mississippi home at an unknown age – believed to be somewhere between 89 and 94 years of age – after a battle with a respiratory illness the week before last. The gruff bluesman didn’t begin playing until the 1970s when his fifth wife gave him a guitar on the night she left him. Ford had never learned to read or write, let alone how to play guitar, so he taught himself a technique that would make him sound like artists he admired such as Howlin’ Wolf and Muddy Waters. He began to play in juke joints throughout the south of the United States and even scored a tour in support of Chicago blues legend Buddy Guy, before eventually being discovered by Matthew Johnson of Fat Possum Records who signed Ford. It was this signing that ultimately gave his career the shot in the arm that would see him rise to a new level of relative stardom around the world. His 1997 album Pee Wee Get My Gun saw the rugged stream of conscious sounding lyrics and raw, simplistic guitar patterns capture the attention of blues fans around the world, and Ford followed these up with a further four records on the same label. Through this time he would play upwards of 150 shows per year, often arriving to a show early and playing up until curfew, constantly swigging from his bottle of Jack Daniels. In 2008 Ford had a pacemaker inserted but continued touring shortly after. He suffered his first stroke in 2010 which meant he lost some mobility in one of his hands, though that didn’t stop him touring. He did slow down a little after his second stroke towards the end of last year, limiting his public performances somewhat. Early in life Ford spent two years on a chain gang after killing a man in a bar fight, and is said to have still had scars on his ankles from those days of hard labour. Ford fathered 26 children and had six different wives throughout his life. His most recent wife and now widow Estella Ford was with him when he passed away. On Ford’s most recent visit to Australia he played the 2004 Byron Bay Bluesfest and a series of accompanying dates with fellow bluesman Robert Belfour. It was at that Bluesfest that I first became enamoured by the work of Ford and the gruffness of his brand of blues. That first song he performed was one of those truly mind blowing musical experiences and, to be frank, I don’t think I’ve been the same since. As he was splitting the set with Belfour (understandable for a man of his age) it was all over within less than half-an-hour, but T-Model was none too keen on that idea. The stage manager came on stage and told him it was time to leave, but T-Model wasn’t going. I couldn’t hear the exchange, but the scowl on his face showed that T-Model was mightily pissed off; he ended up leaving the stage begrudgingly before coming back to meet the couple of handfuls of people who had come to see him play. The second time I saw him was in Austin, Texas, five years later and the night before SxSW. It was at this show that I got to see T-Model play the way he wanted to play. I’m not sure how long he went on for, but he didn’t stop in a hurry, song after song, set after set, he was onstage for hours, hollering his tales of woe and belting his rusty sounding guitar. He was in his mid-80s, in his element, and it was a life-affirming thing. Rest In Peace, T-Model. One day I’ll buy you a quart of Jack Daniels for everything you’ve given me.

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Ibiza It’s the middle of July and after two months of being footloose and fancy free, I’m well and truly in lockdown mode when it comes to embracing the party. We’re running seven nights a week and I’m wearing sobriety like a badge of honour, desperate to cling onto self-preservation. I’ve barely seen my friends in the last few weeks. We’re completely out of social sync. I’m skipping beers in the Old Town or a rave at ENTER, instead turning drop-in visits to a club into a minor religion, clutching my bottle of water resolutely and refusing to take a sideways glance at a vodka Red Bull. I must be strong; it’s the only way I can survive… The watershed moment was a kick on to We Love at Space a couple of Sundays ago that had been preceded by a cocktail-a-thon at Pikes for a friend’s birthday. I spent the next three days wanting to hang myself and hopelessly wondering how the fuck I was going to survive the next four months on the island. The party may not have been over, but it sure as hell needed to be taken down a few pegs.

I still remember my internal monologue at the time laughing haughtily and thinking how dull they both were in between large swigs of my caña. Now all I wanna do is to pin a poster of this person on the wall and bow down to them each evening. On Monday I went back to this same bar – my beloved local DJ Coolture opposite Figueretas beach – and recounted the story to the neighbourhood barman Jimmy, while ordering a pineapple juice for myself and pint of lager for my companion. “It took me two months, Jimmy, but I got it; it’s a marathon, not a race,” I told him like some excited school kid who’d just solved the blackboard maths problem. Jimmy, the epitome of a loveable shit-stirring Glaswegian ex-pat who has been on the island 15 years gave me a wry grin and a wink and lapsed into a rare moment of seriousness: “Exactly, my dear. You finally got it.”* *Disclaimer: Later that night I was to be found downing multiple glasses of medicinal rosé in the name of ‘getting an early night’ to counteract my over-consumption of energy drink and have a break from the shitty over-the-counter sleeping pills I’ve been regularly necking, so any hint of vice free, sobriety-fuelled smugness inherent in this column can duly be wiped.

BEYOND THE SPEAKERS FILLING THE DEAD AIR WITH RACHEL CORBETT and the four-hour trip to Great Whites that stood ahead of us was beginning to feel more ominous. Twenty-five minutes in and our first man had fallen, projectile vomiting at the back of the boat while the captain looked over his shoulder with a face that said, ‘You’d better get used to it because I’m not turning around’. Not exactly what you want to see from the only person who has the power to get you out of your current situation alive. In the 13 years I‘ve worked in radio there have been very few moments where I have wished I were dead. Of course, there have been low points, like working with arseholes and getting up at 3.30am, but on the whole it’s presented me with mostly positive opportunities. However, there are always exceptions. A few months ago a client approached us suggesting we record the radio show on location, from a Great White Shark dive, and it seemed too good an opportunity to pass up. As we packed our bags, I was filled with a giddy anticipation. I had visions of miles of sun-drenched ocean stretching out as far as the eye could see; my team and I secure in our cage, floating peacefully in the vast blue ocean, while these majestic examples of evolutionary perfection swam past us in all their terrifying glory. Nowhere in this idealistic scene of man meeting beast had I considered the possibility I would be struggling to contain not only my excitement, but also my breakfast. It wasn’t as though I was naïve about the risks, in fact I had taken enough prescription sea-sickness medication in the lead up to warrant an intervention from concerned family members. But I had worked for four months as a diver in Honduras many years ago and as Mother Nature had not reared her ugly head to me then, I had no reason to believe she would start now. At the end of the day, however, it was clear that Mother Nature not only had decided my time had come, she also had every intention of punishing me for not succumbing to her awesome power earlier. We boarded the boat at 5am and as we pulled out of the harbour, the seas appeared calm, almost inviting. For a brief moment it even felt as though Mother Nature was on our side. Fifteen minutes into the open seas, however, it was clear our optimism was ill founded

An hour in and a quarter of the boat were down with one girl literally screaming the words, ‘I want to die’ at ten second intervals. Something we would have arranged if we weren’t still a full three hours away from Great White territory. Hour three came and went with barely a man left standing, and those who were still upright had the unenviable job of collecting laden sick bags to store until we were back on dry land… which would not be for another nine excruciating hours. By the time we actually made it to the sharks, you had never seen a more pathetic collection of broken individuals, and this was only made worse by the fact that a mere five minutes immersed in the shark cage, which was rocking more than the boat, was enough to reduce even those of us who had not yet fallen, to weakened, vomiting messes. In fact, once everyone had had their turn in the cage you could barely see through the water for all the vomit, but on the upside, at least the crew didn’t have to waste their own chum to attract the sharks. As the skipper began to lay out the lunch that was included as a part of the package, it was clear the crew were determined to push on in the face of overwhelming adversity. I appreciated their efforts, and applauded their optimism, but as I took a bite of my roast chicken I secretly hoped it had been marinated in horse tranquiliser so I could at least pass out and be re-awoken when this God-forsaken nightmare was over. Twelve hours into this hellish ordeal we finally returned to shore sapped of our collective will to live and mere shadows of our former selves. I had spent the final four hours of the journey seated next to the client who had suggested this brilliant idea, clutching a half full sick bag I was periodically purging into, thinking, ‘There must be a better way to build a business relationship than this’. Mother Nature truly is a bitch.

Horrowshow Party people, what I really want to know – are you feeling, are you feeling Horrorshow? That’s the question that MC Solo poses to the listeners on the title track of the new album, King Amongst Many, and for my part, the answer is firmly in the affirmative. Solo and producer Adit have produced another sublime record in King Amongst Many, which freely oscillates between the intricately poetic and impossibly catchy. Solo’s trademark sociopolitical commentary is out in full force on tracks like the single, Unfair Lottery, but is interspersed with wry humour – Nice Guys Finish Last, which features the familiar vocals of Joyride on the chorus, is a prime example. Then there are tracks like Dead Star Shine that serve as a reminder that these guys will never, never stop pushing themselves to break new ground musically. There are a few choice guests on this record – the Elefant Traks family is ably represented by Urthboy and Jimblah, and industry legends Muph and Suffa make appearances as well. Naturally, Horrorshow are heading out on tour to celebrate the release of this long-awaited album, and they’ll be bringing New Zealand’s Home Brew and the aforementioned Jimblah with them. They’ll be playing The Corner Hotel on Thursday 26 September and will also throw the kids a bone with an under-18s show at the Ding Dong Lounge on Sunday 29 September. These guys sold out their last run of shows well in advance, so if you’re planning to head along (and you should be), advance purchases are recommended. Tickets to The Corner show are available from cornerhotel. com, while the young ‘uns can grab their Ding Dong Lounge presales from There are some sick gigs coming up in the next couple of weeks, starting with Raven & Myk Reid’s show at Laundry Bar this Saturday 3 August. The bill is jam-packed with Australian hip hop goodness – supports include Queensland’s Verbill, locals One-Sixth and Must, plus Perth lad Soma. All up, that’s some of the most authentic, committed hip hop in the country and will be a show well worth catching. Make sure you don’t miss out. Sydneysiders Jackie Onassis are also heading back our way next Saturday 10 August for a headline show at The Workers Club. These guys are having a killer year – their tracks are all over the radio, they’ve toured with Spit Syndicate and, in huge news, they just announced that they’ve signed to Sony. They’ve got a brilliant pop-influenced vibe about them – tracks like Crystal Ballin’ are reminiscent of Illy at his best, but as they’ve shown on Smoke Trails, they’re capable of going down a slower, more thoughtful route as well. The Sony signing is great news for this powerful duo, who have also announced they’ve got a new release in the works – the Juliette EP. Next Saturday, they’ll be supported by Ry and Peezo. Make sure you head down and check out the show. Pre-sale tickets are available from Melbourne’s Justice & Kaos will be hitting the stage regularly in August – they’ve landed a Wednesday night residency at the Evelyn Hotel. The residency will celebrate their second iteration of Home indVasian, where they’ll commit to a sequel to the successful 2011 project that saw them writing, recording and releasing a song every week – for 30 weeks straight. Every Wednesday, they’ll be jumping up on stage at the Evelyn Hotel to perform new material from Home indVasian 2, as well as fan favourites from the old series. The residency kicks off on Wednesday 7 August and runs for four weeks. Head down to see what these impressive youngsters are cooking up.







This year, Hooton is producing Jon Bennett’s My Dad’s Deaths at Edinburgh’s famed Underbelly venue. Last year, Hooton and Bennett took Pretending Things Are A Cock to the Fringe and garnered a loyal following. In the process they got to meet David Hasselhoff and Jack Gleeson (who some might recognise as minor character “King Joffrey Baratheon” on little-known HBO show Game Of Thrones). “He was such a lovely young Irish lad that I couldn’t treat him like the king we all know he is. Plus he even posed in the Pretending Things Are A Cock photographic series. What a great guy.” Oh yeah, and the image kind of went viral! Jack “Joffrey” Gleeson When I think of Thornbury circa 2013, I think boutique baby stores, beer gardens, and beautiful people eating beautiful pizza. It would take a brave soul to introduce a comedy night to music-and-foodie dominated High Street, but that’s just what Christian Bianco and Dick Wakefield, from the Thornbury Local, have done. “There was a lack of live comedy in the general High Street area, so we gave it a crack!” Comedy At The Local is a monthly night catering to newcomers and old hands alike. “‘Til now it’s been pretty much just stand-up,” Bianco explains, but he’s open to experimentation. “I’d like to think we cater for any kind of live performance comedy we can. So long as people are doing their own thing, and not particularly playing to a lowest common denominator, I think it’s great.” Did I mention it’s a free event? And there are drink and meal specials? Well, there are. It’s, in Bianco’s words, “a very affordable night out!”. Each year at around this time, a pilgrimage of performers makes its way to the quaint village of Edinburgh, Scotland (usually by budget airline). “Imagine the fiveby-ten metre space outside the Melbourne Town Hall during the Comedy Festival and multiply that across a one-kilometre radius of central Edinburgh. It is manic! If you’re not being seduced into a show by a flyer, you’ve more than likely accidently stepped into a performance space.” That’s Bronwyn Hooton of 2hoots Productions speaking. 2hoots is an independent production company that represents several of Melbourne’s comedy stars.

Hooton is a one-stop-shop for her artists. She handles everything from schedules and budgets, to marketing, PR, sponsorship and technical stage stuff – in other words, all the crap that gives comedians headaches. Yep, she’s pretty much an angel, but one who loves her job nonetheless. “Comedians rise and fall on the instant reaction of a group of peers, who are usually only two feet away,” she says. “I think it’s one of the bravest art forms you can present to an audience.” It certainly takes a level of self-confidence that isn’t the birthright of many. Arguably, comedy is a trickier game for women; as difficult as it is to believe, some idiots still can’t fathom a funny female. And the evidence speaks for itself: in Melbourne, at least, there are rarely more than two women on any bill of stand-ups. “I don’t think it’s specifically a comedy divide, but a general female equality conversation,” says Hooton. “The alpha youth of today have access to more female comedian role-models. With the explosion of social media and geographical boundaries for broadcast diminished, it’s not just the opinion of a few who decide on what will be broadcast to the masses in a defined space, but the opinion of a world-wide audience that makes a comedian popular. Time, I think, is the answer.” Up next for 2hoots Productions is Kai Smythe’s Hairy Soul Man, every Friday and Saturday night of the 2013 Melbourne Fringe. Expect confetti cannons. Comedy At The Local kicks off Wednesday 7 August followed by the first Wednesday of every month. Kai Smyth in Hairy Soul Man plays at the Lithuanian Club during the Melbourne Fringe Festival.

With Love was released in the US in 1963, the CIA – who were clean out of ideas at that time – liked the look of Rosa Klebb’s poison-tipped shoe so much they created one for real. With this knowledge, Greene said he expected to see numbers to the summer exhibition (it starts on 1 November) “boosted by ASIO agents”.

MIFF opening Move aside, Pippa Middleton and Kate Moss. Last week Cringe swapped her polar fleece and Arctic explorer socks for espresso martinis and a scarlet Berber rug with two super-glam events in one week. The first was the launch of the Designing 007 exhibition at Melbourne Museum on Wednesday morning. The martinis were virgin, but the caffeine was real and the canapés being served off steel attaché cases were a nice touch. CEO of Museum Victoria, Dr Patrick Greene was in a festive mood with his beloved Liverpool set to play the Melbourne Victory that night. “Ever since we announced this exhibition, I’ve been asked two questions,” he said, explaining that they were divided strongly down gender lines. “Women ask: ‘Is he coming?’ And the men ask: ‘Is the car coming?’” Unfortunately, ladies, the answer to the first question is ‘unlikely’. Greene said he “didn’t know”, but for those who love the smell of gasoline and the roar of an engine, yes, the 1969 Aston Martin DBS featured in On Her Majesty’s Secret Service will be there. In fact, it’s here already. In a surprise move, it drove up the concourse with Greene as passenger at the event. The car will be joined by iconic items from the past 50 years of Bond such as Roger Moore’s white tuxedo from Octopussy, the space suit from Moonraker and Daniel Craig’s blue swimmers from Casino Royale, as well as a whole host of props and gadgets. Apparently when From Russia

The second event was of course the black tie opening of the Melbourne International Film Festival (MIFF) on Thursday night. Although Melbourne’s film glitterati are far too non-linear to uphold dress codes, it was a strange mix of wannabe jam-startlets in strappy numbers and men with electric shock hair in an array of suits, kilts and skinny jeans. Held back at the Arts Centre’s Hamer Hall this year, the sound for Pedro Almodóvar’s I’m So Excited was much improved to the screening two years ago of Balibo. The revamp of the Hall was indeed money well spent! And while it wasn’t the same as seeing a film in a cinema – the angle of the screen was neck cramp-inducing – Hamer Hall is perhaps a more fittingly grand venue than the old Russell Street cinemas used in previous years. In a move away from tradition, Festival Director Michelle Carey programmed a Spanish film instead of the usual Australian premiere, saving The Turning, Patrick and Mystery Road for in-festival screenings. Almodóvar’s hysterical hijinks on a plane was a solid choice to set up a festive evening but it didn’t have the same wow factor as The Sapphires last year. MIFF patron Geoffrey Rush did, however, wow the opening night industry-strong audience by simply reciting the words to the Pointer Sisters’ song I’m So Excited as his welcoming speech, thereby proving the man could read the White Pages and make it sound like Alan Bennett or at least Shakespeare. Adam Zwar and his partner Amanda Brotchie walked the red carpet before me, Adam Elliott was behind us in the cloakroom queue, while Balibo and The Turning director Robert Connolly was waxing lyrical on the way to the bar. The MIFF opening night is always a star-studded affair. Asher Keddie was there, as were Hugh Sheridan, the cast from Winners & Losers, Patrick star Peta Sergeant and a raft of familiar faces you can’t quite put a TV show on. Early indications are that this will be a cracker of a fest – strap yourself in for an Almodovarian flight of fancy. MIFF ends on 11 August.

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This week Super Best Friends bring their 1,2,3! Tour to Black Night Crash at the Rochester Castle Hotel. The three piece’s unique blend of indie-punk heralds influences from the likes of some BNC favourites including DFA 1979 and Les Savy Fav. Support comes from local outfit The Morrisons, with BNC DJs spinning the best of new and classic indie rock, shoegaze and Britpop all night.

AMBIENCE UPSTAIRS HTRK Friday, Howler Brand new Brunswick venue Howler has begun its life in the best possible way. Fresh off a DJ set from James Blake, this Friday the venue will host the critically and more generally acclaimed HTRK. Returning to their home town, the experimental duo will showcase new tracks from their upcoming fourth album, which they have been busy recording in the US. They have brought in some of the best support acts this town has to offer in Rat & Co and Lowtide, but the headliner alone should be enough to get to you this one.

Upstairs at The Gasometer Hotel this Saturday, four of Melbourne’s most out-there solo electronic acts join forces for a night of synth, noise and ambience. Miles Brown will bring his melancholic theremin and dark dance party concoction, Tim Coster will plunge you into deep synth minimalism, Glass Bricks will display swirls of sound art mayhem, and Satyrs will remind you that the devil is real and living in Brunswick.

WHISKEY FOR WINTER Brisbane-based duo, TheWhiskeyArchive will bring a special blend of smooth, smoky, nouveau-folk to the Wesley Anne this Sunday. Performing tracks from their debut self-titled EP, the combination of ukulele songstress Jane Cameron and singer/ songwriter Mark Bentley creates a captivating vocal, musical and songwriting chemistry. Joining them is local folk-inspired indie band Big Winter.

NOT TOO TACKY Nebraskatak aren’t your everyday happy-go-lucky indie pop band. Their songs are the weapons against every past heartbreak, the shields against future ones, and the rose petals on lovers’ bedspreads on Valentine’s Day. Oh and also, they’re just really fun to dance to. They will be launching their very first EP at the Evelyn Hotel this Friday, with support from Oh Pep!, Young Maverick and The Darjeelings.


FRONTLASH WASTE(D) MANAGEMENT To the gentleman who wore a hi vis vest in order to smuggle his little brother into Splendour inside a wheelie bin, through the mud: We salute you!

Prepare your ears for a sonic assault on every Sunday in August at Old Bar. Whitewash, the brand spankin’ new band featuring Nathan Hollywood and members of Them Swoops, Cherrywood and Bayou sound like Joy Division on speed. With distorted, melodic bass lines, frenetic drums, ear punching guitar lines drenched in a wash of synths, reverb and Hollywood’s baritone vocals, they’re not what you’d expect from their other bands. Heads Of Charm and Cassin will be supporting this week.

COUNTRY DRUNKS For many years now the T-Bones have been chronicling the fading fortunes of rural Australia, songs about amphetamine-fuelled shearers, guns, broken hearts and the inevitable lure of the city. Products of Northern Victoria, the T-Bones inhabit the characters they create, delivering the stories with a sincerity that many writers are incapable of reaching. Catch them spinning yarns this Saturday night at The Drunken Poet.





So-bad-it’s-good viewing: Grease The Musical teaser at the Helpmann Awards makes us wanna attend for all the wrong reasons.

This Friday is the first one of the month and that means First Floor is hosting a huge gay, lesbian, and everything else party night. This time, Closet is paying homage to John Travolta, because though he may be a happily married Scientologist, he sure can dance. There will be disco galore and with any luck, you’ll even find yourself some Summer Lovin’ in the middle of winter.

Carrie Phillis of The Booby Traps teams up with Johnny Casino, Craig Jackson and Scott Nash to deliver a formidable rock’n’roll outfit, Carrie Phillis & The Downtown Three. They will be heading to Melbourne for a couple of shows to launch their debut release, the Spend It With You EP. Catch them live this Friday at an Off The Hip Records instore party with The Ears and The Spasms, and this Saturday at the Old Bar with Sun God Replica and The Mockingbird.

The Sideshow Brides craft a unique blend of country folk. With haunting harmonies and captivating melodies, the songs weave through tales of dark and seedy desolation to the abandon of drinking whiskey in your Sunday finest. Which is precisely the plan this Sunday at the Drunken Poet. Following them will be the male voice of the Stillsons, Justin Bernasconi, bringing the weekend to a close with some of the songs that have made his band the critically lauded bunch that they are.



IS DUMB IS GOOD If you’ve heard the debut single by Dumb Blondes – a spanking new collaboration between Jordan Malane (Bleeding Knees Club), Nicholas Futcher (Kite Club) and Joel Abbott (current touring drummer for both bands) – you’ll be excited about their impending tour too. Into The Light is beyond a’ight.

HORSE TALES The Taste Of Indie Collective heads West to the Reverence Hotel this Thursday. The evening will be kicked off with a solo electric set from singerwongwriter Bob Crain, that will be followed by powerful indie rock trio Man City Sirens who promise to get your blood pumping. The night will wrapped up with a ride on Storyhorse, who will thrill with musical instrumentation and piercing vocals as they wind through a set of their unique apocalyptic folk.


BACKLASH MINI MORPHSUITS It’s bad enough to look around and see toddlers in the crowd at Splendour In The Grass, but when they’re dressed in morphsuits… what’s the number for child protection services?

BOY GEORGE Won’t the real royal baby please stand up!? We all know it’s Queen B and Jay Z’s daughter, Blue Ivy.

ALL OUTTA FROTH MIFF’s opening night party: over catering on the prawns, under catering on the bubbles.

Leading up to their impending debut album release and launch, The Death Rattles gather their pieces together, after being spread all over the world for the last three months, for this show at the Reverence Hotel. Helping them kindle the flame on the night will be New Zealand-cum-Melbourne recruits The Beggars’ Way and the man, the myth, Brooke Deadwood of Saint Jude. So come along on Friday and help give The Death Rattles a warm welcome back during the cold dead of winter.

AWAY TO LATIN AMERICA There is a fundraiser for the children of Latin America at the Reverence Hotel this Saturday with a massive lineup. The Tearaways will be headlining the event along with Yard Apes, The Jacks, Hailgun, Stranglehold, Counter Attack, Dirty Chapters and The Transitions.

PRECIOUS PUBLIC Precious Jules do not belong to Kim Salmon or Mike Stranges. They‘re all yours. Just wrap your ears around them. If you have ears for punk, glam and rock‘n’roll filtered through the post modern ‘90s and noughties and brought up to the minute by a couple of masterpop theoreticians then you have ears for Precious Jules. Catch them when they play the Prince Public Bar this Friday.

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Spacey Space’s first gig was his own 21st, and then he heard Carl Cox play at the Palace Theatre around 1992, a set that changed the way he thought about DJing. Since 2004 has been a Revolver Sunday morning resident. Spacey has played over 1000 DJ sets with everyone from ClaudeVon Stroke to Squarepusher. He remains at the top of his game and at the top of the Melbourne scene. Catch him at The Prince this Saturday for Poison Apple.

As part of Castlemaine Fringe Fest, Duncan Graham & His Co-Accused will be playing their own special brand of blues ballads, urban folk and power pop at The Bridge Hotel, Castlemaine this Friday. Power-pop, blues, suave balladry and urban folk are all visited in the course of a night. Rex Watts will support.

HOT TROT Best known as the writer/producer/guitarist behind the ARIA and multi award-winning artist Dan Sultan (amongst his other musical projects), Scott Wilson has enjoyed many musical accomplishments and now takes the opportunity to do something very different. Wilson’s Stompy & The Heat is a rock’n’roll band far removed from the musical fairyfloss of today. They play this Saturday in the Prince Public Bar with The Braves and Knitting For Gran.



Rock’n’soul revivalists My Dynamite are back for their first headline show since returning from Europe. After spending five weeks abroad the band are bringing their rockin’, yet soulful tunes to The Bendigo Hotel this Saturday. Previewing new songs for the next album as well as some worthy covers, be sure to bring your dancing shoes. Joining them are good friends The Spin and Taylor & Brown.

Following The Spoils’ sold out performance of The Velvet Underground & Nico as part of Pure Pop’s Summer of Classic Albums Series, Sean Simmons goes out solo tonight (Wednesday) at the Standard Hotel playing Spoils big hits as well as some experimentation and even perhaps a Velvets song or two.


Rarely have we seen someone rise through the ranks as quickly as 23-year-old Boris Daenen, aka Netsky. Leading a wave of new skool D&B talent from Europe with his blend of uplifting, melancholic melodies and heavy dancefloor bass and beats, Netsky’s popularity as both a DJ and producer is second to none. He plays the Royal Melbourne this Sunday.

Agency Dub Collective, Melbourne’s hardestworking live dub band, are back from a massive tour, which stretched from Brisbane to the Mornington Peninsula. They settle back into Melbourne life with a show at the Retreat Hotel this Friday.


indie news




Independent Haunting, rhythmic guitar music that grips the listener effortlessly. At times intentionally ugly, with moments of flawed (and distorted) beauty, the debut from Esc is a worthy addition to the canon of dark Aussie post punk. The centrepiece of the EP comes in the form of This – a six-minute march through segments of noise, driven on a backbone of basslines and including ghostly voices and guitar squeals that swirl around loosely in the mix. It’s stunning and emblematic of the potential of Esc’s music. Though the casual listener may get lost in the long instrumental passages, there is much to hold onto in the occasional vocal melodies that appear.

ANDREW SWIFT & THE RATTLESNAKE CHOIR Up With The Anchor Independent While some of the tracks on this EP are harmed by their overzealous attempts at emotional resonance, this is forgivable as Andrew Swift comes across as a songwriter with genuine hurt. The tracks that bookend the album are the best examples of Swift’s writing and the lovely clean and full-bodied sound that prevails on the release coming together. The Dockland Lights – with its well-weaved allusions to Melbourne – has the band at its most upbeat and accessible, while the acoustic surrounds of Making The Nouveau Riche are perfect for Swift to soar over. Swifty and his mob are playing this Sunday at The Curtin.

THE MIGRATIONS The Migrations Independent The mixed bag of tracks does keep things interesting, and it’s fun hearing the interplay of Matt Davidson’s lead vocals with the backing vocals that appear prominently throughout. However, while the songs possess the hallmarks of good pop music, they come across as a little bland. It is only with closing track Messin’ With My Heart that the elements of The Migrations come together to create something properly impressive. The duet has that great endearing quality that calls for repeated listening. The band play this Saturday at Yah Yah’s.

KALACOMA Spiral Eyes Independent Stepping into the weirdness, Kalcaom’a debut EP sees them push in directions far from any commercial sounds while still managing to produce an ultimately listenable effort. They make rock music that sits roughly equivalent to Radiohead’s most challenging moments, and while that may seem like a hasty comparison, the quality of Kalacoma’s music is able to stand up to it. Each track has a moment where a musical shift occurs and the band takes the tune to another level. It’s rare for an EP to feel like a complete work, but with Spiral Eyes, Kalacoma have accomplished just that. They play this Thursday at The Gasometer Hotel.

PORCELAIN PILL Porcelain Pill Independent Whenever a ukulele features prominently in a band’s sound, it can be cause for concern. But this Melbourne duo and their self-styled folktronica avoid the whimsical connotations of the instrument with an austere sound awash in moody electronics. They take an assured approach across the five tracks on their debut EP, with Adam Scott-McGuinness’ careful croon complemented exceptionally well by their blend of digital and acoustic instruments (including a gorgeous cello). Though what’s on offer here is pleasing, at times the music can sound a little too comfortable and it would be great to hear the duo push beyond this. Nonetheless, this is an impressive and mature-minded debut.

LOVE SWOOPS Them Swoops are set to drop their follow up single Too Fast For Love, lifted from their forthcoming EP Glimmers. The single was self-recorded and mixed by LA based producer Mark Needham and looks to build on the growing momentum around their stellar debut Work Around It. They play The Espy front bar this Friday.



Answered by: Rommer Bernate

The quietly remarkable debut LP from Melbourne outfit Brighter Later, The Wolves combines elements of psych-folk, dream pop, and alt-country. Brighter Later launch the album at the Northcote Social Club this Sunday with Spender supporting.

Address: 29 Chapel Street, Windsor

PLEAD INNOCENCE Multi-instrumentalist Dune will be launching her debut EP Oh Innocence at the Ding Dong Lounge this Saturday. The expansive EP boasts five selfproduced tracks which traverse a futuristic vista created from textured synths and beats, resplendent with lashings of primal emotion and stark imagery.

IN THE HOOD His Merry Men bring a fat nine-piece sound and danceparty attitude to every gig. They sport suave outfits, face melting dance moves and a dynamite four-piece horn section, the ‘Hell Yeah Horns’. This Saturday they play the Empress Hotel with The Bon Scotts.

GENUINELY GRUMPY Adelaide rockers Sincerely, Grizzly have performed slots at the BDO and Laneway, and earlier this month supported Bob Mould, Birds Of Tokyo and Presidents Of The United States Of America. Now with the release of their video for latest single Isaac, they are coming to the Book Club band room at the Rochester Castle Hotel this Saturday along with Dead Owls.






A-OKAY Georgi Kay is a 19-year-old artist from Perth. She is the co-writer and vocalist on Ivan Gough & Feenixpawl’s track In My Mind, which won Best Dance Release at the 2012 ARIA Awards. She is currently working on her debut album. Check her out at Yah Yah’s this Thursday.



What’s the capacity? 408 Why should punters visit you? You can be assured of a friendly, hip, contemporary and welcoming environment offering everything from great tunes to cocktails.


What’s the best thing about the venue? Other than great food, drink, staff and tunes, The Railway offers one of Melbourne’s best voted rooftop bars with happy hour drink specials seven days a week, 4pm to 7pm.


What’s the history of the venue? The Railway Windsor maintains itself as in independent, family-owned and run hotel. Undergoing major renovations and refurbishment in August 2006 The Railway has provided south-side punters access to live music and good times ever since. What is your venue doing to help the local music scene? The Railway places great emphasis on booking and supporting both established and up and coming local Melbourne DJs. What are some of the highlights? NOVA Oaks Day breakfast, the annual sunset gigs and personalities from TV, radio and sport. Website link for more info?

ALL THE MORE TO SEE Mark Seymour & The Undertow take their launch tour of new album Seventh Heaven Club to the Yarraville Club this Friday with special guest Charles Jenkins. This is your only chance to see the man who brought you your favourite Hunters & Collectors songs and a string of acclaimed solo albums in Melbourne’s west.


RIDING THE BOOM Scoop into the tri-colour rainbow when three of the country’s tastiest bands – laidback pop stuff Mining Boom, ex-Red Riders Palms and Adelaide janglers Bad//Dreems – haul ass into The Gasometer Hotel this Saturday for a night of delicious indie pop. Joining these bands is special guest Danger Beach.

LAYING THE WAY With a strong and growing reputation for deepening the appreciation of songcraft in Melbourne, Unpaved Songwriter Sessions host six original artists every week, sharing songs in a similar fashion to what they do at the Bluebird Cafe in Nashville every Monday at Old Bar. This week the night will feature Bill Chambers, Alanna Eileen and Michael Waugh. Before the sessions begin Crotchety Knitwits and Knitting, Sewing, Boozing will play.

FLOATING ON A DREAM Australia’s most irrepressible frontwomen of soul, jazz and blues come together for one night only at Old Bar this Saturday. Zoe K has recently relocated to Melbourne, and this will be her debut Old Bar performance with hot new line-up, Zoe K & The Dreamboats. She willl be joined by Melbourne’s very own sassy songstress Stella Angelico.

NO HALF MEASURES There’s a lot of damn good pop music springing up around Melbourne at the moment but few do it as well as Full Ugly. They take over The Gasometer Hotel on Wednesday in March with free shows and an awesome deal where the pub turns into something like an RSL. Tonight Velcro and DJ Cameron Bird join them.

SUMMER SUN A special dual single launch takes place at Ding Dong Lounge this Friday. From humble beginnings as an acoustic duo (now a five-piece), Winter Moon have gone from open-mic nights in dingy hotels to headlines at some of Melbourne’s finest music venues. In launching their new single they are joined by Crooked Saint and White Summer.

LAVERS Name: Dominic Lavers Single title? Dream In Japanese What’s the song about? It’s about doing your own thing, despite no one else understanding what it is that you’re doing or why. How long did it take to write/record? It was a quick one to write, with the chorus coming all at once. We recorded it shortly after at Studios 301, Sydney, because we wanted it to feel fresh for as long as possible. Is this track from a forthcoming release/existing release? Being disco-inspired, it’s a little different to our other folkier stuff and might not fit on the debut album. However, if it’s hugely popular, we might just don some flares and welcome the ‘70s revival. What was inspiring you during the songs writing and recording? There was a lot of strutting around like John Travolta in the studio. We were blasting the Bee Gees and yelling “More cowbell!” – it was definitely the best recording experience we’ve ever had. We’ll like this song if we like... Cowbells, handclaps, and if you’re watching the film clip and not taking the ridiculously cheesy dance moves too seriously. Do you play it differently live? We keep it true to the recording most of the time but, unfortunately, there’s no cowbell. Seb or Matt need to grow another hand because I have no rhythm. When and where is your launch/next gig? Saturday 3 August, the Empress Hotel, with Hamish Anderson, Callee and Adrien Siboulet. Website link for more info?

Package includes print ad + ipad ad + website ad More information and booking online

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[THE GUID IDE] i n d i e






The Grand Rapids‘ second single, Brian’s Got A Rubber Soul is all guitar-organ and rolling drums and bass. Pop into Yahs Yah’s this Saturday evening and get your free copy at the launch. The Walking Who (Syd), The Citradels and Trappist Afterland Band are also playing.

It’s finally happening: Dan Parsons is officially launching his new album at the Old Bar. It’s on tonight (Wednesday) and he’ll have his band in tow. To cap it all off he’ll have his mates Big Smoke and Red & The Wolf (Madeleine Paige and Daniel Watkins) as supports.



Perth experimental rock group Tangled Thoughts Of Leaving have announced the release of their new EP Failed By Man And Machine. They play two shows at the Northcote Social Club this Thursday and Friday in support of This Will Destroy You.

Fallopian Tunes presents Electric Cultures III: a night presenting contemporary experimental electronic music. Much like its predecessor, it continues to showcase artists on the periphery. Electric Cultures III will host performances by Gurner, Club Sound Witches (QLD), Big Yawn, Cocks Arquette and Match Fixer. It’s on this Thursday at Old Bar.


What’s the first record you bought? The first record I bought was Antmusic by Adam & The Ants. I was a little bit too young for the first wave of punk in 1977 so Adam Ant was my entry point, but I did make up for lost ground and became a huge fan of The Clash, 1980s American punk like the Dead Kennedys and Big Black, as well as the local bands that feature in our film: The Undertones, Rudi and The Outcasts. My first live gig was another local band, Stiff Little Fingers at The Ulster Hall in Belfast, a very grand but down-at-heel old Victorian concert hall that punk rock shows kept open in the ‘70s and ‘80s. It’s also the location for the final scenes of our film.

Esc sound a lot like a Flying Nun love child that lives between the split homes of Thom Yorke and Joy Division. Come down to the Evelyn Hotel this Monday to see Esc supported by the likes of Scotdrakula and Straw King Eye. This Monday is the final night so they will be launching their single and video clip as well.

If you could be in a punk rock band what would you play? It would have to be guitar; I had lessons when I was a little kid but had absolutely no talent for it at all. Strangely, during the filming of Good Vibrations it transpired that it was the star of our film, Richard Dormer’s dad who had been my guitar teacher. With hindsight, I see that not too much guitar skill would have been required to form a punk band – but I think all the really good ones could play.


What film do you wish had never been made? I’ve just seen an absolutely brilliant documentary by a film maker called Joshua Oppenheimer called The Act Of Killing, which is about the genocide of over a million people that took place in the wake of a failed coup in Indonesia in the mid’60s. It’s unflinching, and an incredibly powerful piece of film making. I’m glad film has this power to bring these things to our attention but I certainly wish they didn’t have to be made. What film is your guilty pleasure? Anything directed by John Hughes, especially the classics The Breakfast Club, Pretty In Pink and Ferris Bueller’s Day Off, but to be honest there’s not too much guilt about these, mostly just pleasure. There is also a running joke between my friends that my favourite film of all time is Step Brothers, which isn’t true but I do love John C Reilly. WHAT: MIFF – Good Vibrations WHEN & WHERE: Saturday 10 August, Greater Union

TROTTIN’ HOME Melbourne five-piece The Trotskies launch their awaited second single Home at Cherry Bar on Friday 9 August. A mixture of energetic, dark vibes with rich and thoughtful melodies, The Trotskies are gearing up for their debut EP. They’re joined by garage rockers The Corsairs and hypnotic three-piece Busy Kingdom.

POP POP It’s pop, its rock, it’s all in one. It’s Popsicle: all your favourite tunes from yesterday and today, hot from the decks designed to make your Saturdays pop. Head to one of Melbourne’s best voted rooftop decks at the Railway Hotel Windsor on Saturday night.


WOODEN ARM After a season of recording, writing and rejuvenation, the captivating sounds of pop/folk trio Armfield are due to grace the stage at Elwood Lounge this Friday for two solid sets of handcrafted tunes that are sure to be a musical treat.

Melbourne-based beat-maker and producer, Super Magic Hats is set to launch his self-titled debut EP tonight (Wednesday) at The Workers Club. Super Magic Hats combines elements that reference a hopeful sound with heartfelt beats steeped in emotion.

ENDLESS PERSERVERANCE Madhouse at the CBD nightclub in Melbourne city presents an absolute treat for punters this Friday. Not only are the mighty Perseverance making a rare live appearance, but they are launching their magnificent second full length album, Silence, Forever; Endless. Providing heavy support on the night are Evil Intent.


Answered by: Noah Skape


Sum up your musical sound in four words? Punk-fucked Lloyd Webber. If you could support any band in the world – past or present – who would it be? FAIM would have to open for the impossible Bad Religion, The Matches, The Mint Chicks and Midnight Oil fantasy show.

It is fervently recommended that you get yourself to the Northcote Social Club this Saturday for Rapskallion’s tumultuous return to their beloved hometown of Melbourne. Exploding with the force of a musical broadside with a brace of new tunes for your sensory titillation. Miss Friby and The Formidable Vegetable Sound System support them.

SEE YOU LATER LACHLAN The Lachlan Bruce Band will be rocking for the last time for a few months tonight (Wednesday) at Bar Open, before Bruce heads off to rock the shit out of Europe. Blues giants The Ivory Elephant and soul greats Stevie And The Sleepers will be tearing up the stage as well.


Having played only a handful of shows including supports with Chet Faker, Rat & Co have garnered much support in the blogosphere in Australia and overseas. After successfully launching their debut double A-side in December last year, they now launch their debut album One Uno Ein at The Toff In Town this Thursday.

Say hello to Passerine and first single Ready To Begin from the debut Passerine EP. If you like your band driven tracks with references from the likes of LCD Soundsystem, Moloko and The Rapture, head down to Passerine’s single launch at The Workers Club this Thursday, with supports from Back Back Forward Punch, Dear Plastic and DJ Bootsy.

Starting off the year with a hard-hitting agenda, The Sinking Teeth headline The Tote this Thursday. After storming into Melbourne’s music scene in 2012, the band continues to produce their punk, alt.rock styled performances and sounds. Ivy St and Seesaw are supporting them.


Tank Dilemma have for years delighted crowds with their tight, funky take on soul, blues, swing, and pop. They perform at The Spotted Mallard this Friday night. Guitarist extraordinaire Shannon Bourne will kick the night off.

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



Full-tilt rockabilly trio from California, The Chop Tops perform an upbeat blend of rockabilly, surf, and teddy boy rock’n’roll at The Spotted Mallard this Thursday night. Support on the night comes from local purveyors of rockabilly madness Hank’s Jalopy Demons.

Madre Monte will return to their old stomping ground at Bar Open this Friday. The band will indulge in their usual mix of Cumbia, reggae and AfroColombian rhythms, with extra inspiration and musical knowledge collected from revisiting homelands.



Back from snowy Chicago, where they recorded their next record with Steve Albini, Love Of Diagrams brave the heat one more time this summer at The Tote this Saturday. Zond and Eastlink are the special guests. This is the last chance to see Love Of Diagrams for ages.

Broderick Smith has been making music for nearly 50 years. He staked his first claims with seminal Melbourne blues and roots outfits Carson & The Dingoes. He performs in his hometown of Castlemaine every Sunday in March from 4pm at The Bridge Hotel.

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You’re being sent into space, no iPod, you can bring one album – what would it be? Does every Seinfeld episode on DVD have bonus commentary? I would like them compiled as an audio book to take to my space house, thanks. Greatest rock’n’roll moment of your career to date? I think I speak for us all when saying that staying up all night drinking tequila and singing along to Limp Bizkit with our friends from The Decline, Hightime and Pour Habit is definitely up there on the list.

When and where for your next gig? Friday 2 August, The Gasometer Hotel with Beaver. Saturday 3 at the Barley Corn with Significant Other.



How did you get together? We met through a mutual love for all facets of punk rock, high school style. Then we had to stay together because Jay Swensen fell terribly pregnant – father/mother TBC.

Why should people come and see your band? If you’re a fan of raucous punk rock, sex, violence, theatrics, cabaret, vaudevillian mayhem and/or good songs, please see FAIM.

They are launching their new EP, Escape The Grid, this Saturday at the Central Club (Richmond). It is a fantastic line-up of rock with Husk, Dirty F and Dinosaurs Exist on the bill as well.

Communion Melbourne features a different line-up each month offering a creative platform for emerging, developing and established artists to perform in an environment that embraces collaboration and mutual support. Mustered Courage, House Of Laurence, Kathryn Rollins, I, A Man and Jack Donn will all appear at The Toff In Town this Sunday.


The Brides Of Christ are doing a split cassette tape with Anto J Macaroni’s sweet new band The Impossible No Goods, featuring BJ Morriszonkle on drums and a bunch of horn players. Scoop one up and party down this Friday at The Public Bar. Opening up is new band, The Pink Tiles.




NOT AS STRANGES AT IT SEEMS Melbourne songwriter Victor Stranges is performing a one-off show with Northern Ireland award winning songwriter and musical partner, DC Cardwell this Friday. The acoustic show is performed in an intimate courtyard within the historic building, Mission To Seafarers, located in Flinders Street, Melbourne.

JOHNSTON JAZZ This Thursday, the JMQ’s special guest singer at the Commune Cafe is versatile and amazing jazz-soul songstress, May Johnston. A powerhouse voice, she is bringing the women of Jazz with her to the Commune. She will be performing tunes from Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Etta James.

THE REAL MCNEIL Tracy McNeil has quickly become one of Melbourne’s finest imports. Her sound is an authentic mix of alt. country, rock-pop goodness. Catch them live at the Retreat Hotel supporting Snooks La Vie this Thursday with special guest Jacob Cole on guitar.

STEVE’S SMALL FACE The Small Faces’ sensational psychedelic concept album Ogdens’ Nut Gone Flake will be performed in track order by the Steve Lucas Band, complete with original narration this Saturday at the Caravan Music Club. Steve Lucas is the legendary singer/guitarist of seminal Sydney punk band X who set a benchmark for Australian punk.

FIERCE BROS It has been a big year for the Pierce Brothers. Their blend of roots and foot stomping indie folk has seen them play shows with the likes of The Beards, Ash Grunwald and Bonjah. Their new EP Blind Boys Run is set to launch at the Evelyn this Thursday. They are joined by Lillis, Elliot Friend and Al Parkinson.

Website link for more info?

WHAT GLORIOUS HEATHER Mixing the old-time Blues of Memphis Minnie with country fiddle, Cajun sounds and the grooves of New Orleans, Heather Stewart is a singular artist. As the fearless leader of her trio, Stewart possesses a powerful voice and mean chops on the fiddle. Catch the Heather Stewart Trio this Sunday at the Drunken Poet from 4pm.

PADDED FEET A Stomp Dog show takes the audience on a wild ride with songs that run at a frenetic pace that threaten to go off the rails at any moment, followed by tunes based in a deep melancholia. They play this Saturday night at the Drunken Poet.

JUST A LITTLE BIT Performing music from their latest release With The Little We Have, and introducing many newer compositions The Jack Pantazis Group will be accompanied by some of this country’s finest musicians when they play at The Bridge Hotel (Castlemaine) tonight (Wednesday) as part of the Castlemaine Fringe Festival.

HEALTHY OBSESSION It has been five years since then-blog MetalObsession. net launched with the sole purpose of giving heavy Australian bands a promotional outlet. They will be celebrating with a birthday show at the Evelyn Hotel this Saturday. The Amenta, Okera, The Levitation Hex, Departe, Desecrator, Arbrynth and others will appear.

WHAT LOVELY CHAPIS After a truly adventurous four years, one of Melbourne’s most acclaimed psychedelic rock groups will be tuning in for the last time. Tehachapi’s last show will be held on the Evelyn Hotel’s rooftop this Sunday, joined by long-term sonic pals Matt Kelly (with his phenomenal strings section), Strangers From Now On and Amanita.

JAILBREAKERS All-girl garage growlers The Reprobettes are on the loose and out to get every thrill they can beg, buy or steal. The Reprobettes and The Bluebottles perform at the Victoria Hotel (Brunswick) this Friday from 10pm.






Samson McDougall weighs in on the winter spiced syrup debate. Pic by Holly Engelhardt. Engelhardt


e do like to dress up in woolly coats and boots and clomp around pretending like it’s freezing, and if we’re clomping around pretending we might as well do so with half a skinful of warm goon and spices. Are ya with me? That’s the spirit. It’s winter (duh) and what better way for us antipodeans to celebrate than to coopt the northern hemisphere’s customary seasonal booze for our tippling pleasure. If you’re slightly sozzled on the slosh and you try and say ‘muddled’ real fast, it may sound a little like ‘mulled’. This is how mulled wine got its name (sort of). It’s a bloody old drink, steeped in bloody ancient traditions and there’s bloody dozens of regional variations of the stuff around the globe. In Scandinavia it’s called gløgg or glögg – depending on where you are – and the Russians call it glintwein. But that’s enough of the bloody history lesson. About this time of year Australian beach and riverside cafes and bars roll out the cauldrons and start chalking up their blackboards. The stuff’s everywhere. Gluhwein (the German name for it) purveyors Pichlers Tiroler Gluhwein featured at the recent Sydney Good Food & Wine Show. This month in Perth you can get on the gløgg in St George’s Cathedral while getting all psychedelic to Carl Orff’s epic choral work Carmina Burana. So popular is this seasonal transformation now that, in order to stay on trend, many winter grog spots are pushing the goblet into warmed ciders and hot buttered rums. Brisbane writer Sophia McMeekin wrote on recently, “... we love it when the cold weather rolls in because all our favourite watering holes bring out a selection of mulled wines and tempered ciders to warm our bellies and add a festive rosy glow to our cheeks,” before reeling off a series of the “best warm bev’s” in town.

DIY MULLED WINE It’s winter (duh) and what better way for us antipodeans to celebrate than to coopt the northern hemisphere’s customary seasonal booze for our tippling pleasure.”

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Behind closed doors, take one goon bag of red (any old shit will do – think value for money here, people), a splash of brandy for that extra kick, a couple of oranges and lemons cut into slices, a dash of honey, a few cinnamon sticks, a handful of cloves and a sprinkling of nutmeg and put it on the heat. Slowly bring it up to steamy, crank up the fire/heater, strip down to your undies, put on a record (preferably something mellow but with sufficient edge not to undermine your street credibility – head towards Dirty Three, Lower Plenty or HTRK but remember if you get to The xx, Jeff Buckley or Joanna Newsom, you’ve gone waaay too far) and let the buzz kick in through your bones to relax your meaty parts. Sitting at the outer reaches of this list (and surely towards the frayed ends of sanity) is an establishment pushing hot rum milk punch – where will it end? The cynics amongst us will cry foul. ‘It’s a shameless cash-in!’ they’ll say. ‘It’s basically $7.50 for some warm goon with a slice of orange and a cinnamon stick’. Melbourne breakfast DJ Stew Farrell is one such moaner. “One thing that I’ve noticed a lot around every two-bit bar and juke joint around this town at the moment – and they think they’re the only place doing it, by the way – is serving, in these cold winter months, mulled wine,” he groaned in a recent early-morning rant on 3RRR. “There’s mulled wine everywhere... All you’ve gotta do if you wanna serve mulled wine, just so you know, is get a blackboard and write ‘It’s cold outside but it’s warm in here. Mulled Wine! Cosy Mulled Wine!’ Put a candle in front of the blackboard and you’ve got yourself a cafe, girlfriend!” If you, like Farrell, loathe the very concept of encouraging the next blog-propped trend but you enjoy the tepid tendrils of a hot red in your guts, it’s time to take back what surely belongs to the people and bring the boiled Bordeaux back to the ‘burbs. It’s easy, breezy and just a little bit sleazy. At least if you haven’t been posted on Instagram all ruddy-cheeked and drooling over a greasy glass in bad light, you won’t ever have to deny your succumbing to the flavour of the month circa-2013 when you pour over these photos, all ruddycheeked and in bad light, ten years from now. Be warned: as with any unexpected tendency towards sappy and over emotionally-charged music selections, any movement involving poetry, board games or massage should be avoided while under the influence of gløgg, or, for that matter, pretty much any time at all. But don’t let that slow you down and remember this old Latin proverb: “It is well to remember that there are five reasons for drinking: the arrival of a friend, one’s present or future thirst, the excellence of the wine, or any other reason.” The consumption of mulled wine need only be a slave to the latter.

What drink turns you on? Our Hot Buttered Banana Rum Cocktail that we sell at Cider House or a nice Chocolate stout What drink turns you off? Malibu and Sambucca How old where you when you first had alcohol? Very early, Dad corrupted me with a sip of beer here and there, only small amounts! What’s the secret to making your own mulled cider? Getting the right balance of spices and finding a cider with a good amount of residual sugar the end result is Warm Liquid Apple Pie. Brunswick Street Cider House 386-388 Brunswick St, Fitzroy


Portt lan nd We went to The Original just for their boozy shakes, and boozy shakes we got! Bacon maple bourbon shake and The Grasshopper (creme de menthe, creme de cacao, chocolate ice-cream), and about a litre of each! Also got some killer hot wings with blue cheese sauce and pulled pork hot pockets. w @lloydhoneybrook #boozenshaken #maplebaconbliss

For more interviews go to • 37



LOCAL MUSIC NEWS BY JEFF JENKINS consciousness ramble,” Susy says. “I was doing FAWM (February Album Writing Month), an internet forum where you write/upload a demo of a new song every two days. I was writing in my garden and there were all these dandelions floating in the air. I think one landed on a dog bowl near the pond. I’ve always blown on them and made a wish, so to have so many floating through the beautiful summery air made me feel happy and hopeful.” Wish In My Dish is from Susy Blue’s forthcoming second album, which follows 2011’s Curly Girl. The difficult second album? “No difficulties at all,” Susy smiles. Shane, she says, is “hilarious”, adding, “I was so determined to maintain control over our first album but, after working with Shane, I think it’s way better to have another person, provided that they’re great and you like them and trust their taste.”

Susy Blue

BLUE FOR YOU It’s just what we need – a summer song in winter. Suffering from the winter blues? Check out Susy Blue and her sparkling new single, Wish In My Dish ( More infectious than the flu, it is, as Susy says, “a happy celebration of being young and free … a kooky stream of consciousness flow”. Was it as much fun to record as it sounds? “Yes,” Susy exclaims, “we started with stomps and handclaps … how can you go wrong?” Producer Shane O’Mara then added clinking jewellery and flute key slaps. “And we even recorded his crazy little dogs barking.” The song’s catchy title is simply the start of the fun. “It was just a random stream of

38 • For more opinion go to

So what’s Susy’s all-time favourite “happy” song? “Oh, that’s a tough question, can I have two? Over the last couple of years, it’s been Little Joy’s Brand New Start; more long-term, The Specials’ A Message To You, Rudy.” And her favourite sad song? “Many Tori Amos songs guided me through my sullen adolescence, the most rainy day one being Horses off Boys For Pele.” Susy Blue is also a band. “It refers to me as well as the band,” she explains. “Susan Hull is my real – and boring – name.” As Susan Hull, she studied classical flute at the Queensland Conservatorium, where she was inspired by Emma Dean, Jackie Marshall and Katie Noonan. “I was terrified by the prospect of singing publicly, let alone something as personal as a song I had written. These amazing ladies had amazing voices, personas, stage presence, wrote great songs and totally did their own thing – a huge inspiration.” Susy was blonde, but now she’s a brunette. Do

blondes have more fun? “I suppose I was younger with blonde hair and definitely wilder, but I think I can only blame my lack of wisdom and responsibility for that rather than my hair! Though there’s not much more wisdom or responsibility going on now – I can’t even commit to getting a dog, which would make me insanely happy, or a part-time job.” Susy was part of the FReeZA Central mentoring program. “It was great,” she says. “My mentor was Suzannah Espie, who is a legend, so it was a privilege to have her support. And I made some great friends and contacts.” Susy also has plenty of supportive fans, including her mum, who sold a Susy Blue CD to her dentist. So what’s been Susy’s favourite description of the Susy Blue sound? “Songs full of light and flight, that are free, fun and on the fringe, yet nestled in pop overtones.” Yep, that sums it up nicely. Susy Blue launches Wish In My Dish with a special afternoon show at The Workers Club on Sunday 11 August.

WIDE WORLD The remarkable Ron S Peno celebrated his birthday last Friday with the release of the third Darling Downs album, In The Days When The World Was Wide, which he launched the following night with Kim Salmon at The Toff In Town. It was a stunning showcase of one of the year’s finest albums. The consensus seems to be four-and-a-half stars, with the record already receiving that rating in The Age, The Weekend Australian and Stack. “The Darling Downs’ world is vast and fertile,” Patrick Emery wrote in The Age, while Peter Lalor stated in The Weekend Australian: “Hell, it’s all good and verging on an Australian classic.”


Fire Starter SAMANTHA JADE (18) Reload SEBASTIAN INGROSSO & TOMMY TRASH (20) To The End Of The Earth JESSICA MAUBOY (22, debut) Sheppard EP SHEPPARD (27) Act Yo Age BLISS N ESO (34) Alive EMPIRE OF THE SUN (35) Karnivool debut at number one – just four months after Ian Kenny’s other band, Birds Of Tokyo, topped the charts. Asymmetry KARNIVOOL (number one, debut) Circus In The Sky BLISS N ESO (three) More Than A Dream HARRISON CRAIG (four) A Time For Us LUKE KENNEDY (10) The Great Country Songbook TROY CASSARDALEY & ADAM HARVEY (12) This Music CELIA PAVEY (18) Sharkmouth RUSSELL MORRIS (21) Departures BERNARD FANNING (22) Glorious Ruins HILLSONG LIVE (28) The Beginning And The End Of Everything JOSH PYKE (30) Ice On The Dune EMPIRE OF THE SUN (32) As The Crow Flies DANNY ROSS (40)


Vance Joy hits the Top 10.


Riptide VANCE JOY (number 10)


Parachute TIMOMATIC (13)


Resolution MATT CORBY (14)

Everything Is Everything MAJOR CHORD


[THE GUID IDE] g i g s

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


PRESENTS JAMES BLAKE: July 31 Palais JAGWAR MA: August 1 Corner KARNIVOOL: August 1, 2 Town Hall COSMIC PSYCHOS: August 9 Hi-Fi CLARE BOWDITCH: August 10 Corner SHAPESHIFTER: August 16 Billboard DIALECTRIX: August 16 Revolver THE TROUBLE WITH TEMPLETON: August 16 Northcote Social Club 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) JAPANDROIDS: August 28, 30 Corner THE STIFFYS: August 29 Beav’s Bar (Geelong); 30 Musicman Megastore (Bendigo); Saturday 31 Grace Darling TWELVE FOOT NINJA: August 30 Ferntree

THIS WEEK INTERNATIONAL LAURA MARLING: July 31 St Stephen’s Uniting Church PASSION PIT: July 31 The Hi-Fi DARWIN DEEZ: July 31 Corner Hotel SMOOTA: July 31 Bar Open JAMES BLAKE: July 31 Palais Theatre, Howler (late DJ set) A LOSS FOR WORDS: July 31 Barwon Club (Geelong); August 1 Next; 3 Ferntree Gully Hotel; 4 Phoenix Youth Centre SALMONELLA DJ SOUNDSYSTEM: August 2 The Espy OF MONSTERS & MEN: August 3, 4 Palais Theatre BARDO POND: August 3 Corner Hotel CHVRCHES: August 5 Corner Hotel


NATIONAL DAN PARSONS: July 31 Old Bar LACHLAN BRYAN: July 31 Retreat; August 2 Zeally & Cliff (Torquay); 3 The Post Office Hotel (Coburg) JAGWAR MA: August 1 Corner Hotel INDIAN SUMMER: August 1 Eureka Hotel (Geelong) KARNIVOOL: August 1, 2 Town Hall DARTS: August 1 The Tote CHELA: August 1 Liberty Social OUR LAST ENEMY: August 2 Revolver ADAM EATON: August 2 Grace Darling APES: August 2 Karova Lounge (Ballarat) FRENZAL RHOMB: August 2 Corner Hotel DIRT FARMER: August 2 Yahoo Bar (Shepparton); 3 The Bridge Hotel (Castlemaine) ADALITA: August 2 The Tote HTRK: August 2 Howler THE DUNHILL BLUES: August 2 Old Bar; 3 The Tote; 4 Cherry Bar SCOTT DARLOW: August 2 Emmanuel College (Point Cook); 6 Our Lady Mary College (Fitzroy) DAVID BRIDIE: August 2 Memo (Healesville); 3 Caravan Music Club; 4 Montrose Town Centre ALISON WONDERLAND: August 2 Star Bar (Bendigo); 3 Karova Lounge (Ballarat) HOLLOW EVERDAZE: August 2 Northcote Social Club OSCAR KEY SUNG: August 3 The Toff In Town SUPER BEST FRIENDS: August 3 Rochester Castle MINDSNARE: August 3 Central Club THE APE: August 3 Regal Ballroom FIFTH FLOOR LAUNCH ft THE MURLOCS: August 3 Secret Location FANNY LUMSDEN & THE THRILLSEEKERS: August 3 Wesley Anne MOZFEST ft BROTHERS GRIM & THE BLUE MURDERS: August 4 Corner Hotel EAGLE & THE WORM: August 6 The Workers Club SHELLEY SEGAL: August 6 Bennetts Lane

FESTIVALS LOUD FEST: August 3 Arrow On Swanston

UPCOMING INTERNATIONAL JOAN BAEZ: August 8 Hamer Hall COSMIC PSYCHOS: August 9 The Hi-Fi FUNCTION, PANGAEA: August 9 Brown Alley ALESANA: August 9 Evelyn Hotel; 10 Lilydale Showgrounds BARN OWL: August 10 Northcote Social Club GIRAFFAGE: August 10 Liberty Social GUTTERMOUTH: August 10 The Loft (Warrnambool); 11 Ferntree Gully Hotel; 16 Karova Lounge (Ballarat); 17 Evelyn Hotel; 18 The Man (Falls Creek); 19 Swindlers (Mt Hotham) SENSES FAIL: August 11 Corner Hotel PINK: August 13, 14, 16, 17, 19, 20, 22, 23, 25 Rod Laver Arena MILLIONS OF DEAD COPS: August 15 Corner Hotel FLYLEAF: August 16 The Hi-Fi BASTILLE: August 16 Corner Hotel SHAPESHIFTER: August 16 Billboard CARTEL: August 17 The Hi-Fi OBEY THE BRAVE: August 17 Bang; 18 Allen McLean Hall ASH: August 22 Corner Hotel THE GAME: August 22 The Espy YOUNGBLOOD HAWKE: August 24 The Toff In Town LINDSEY STIRLING: August 27 Corner Hotel JAPANDROIDS: August 28, 30 Corner Hotel

31 JULY 2013

Tom Fryer Band + Mathew Roche Trio: 303, Northcote Smoota + The House of Light + The Night Party: Bar Open, Fitzroy Open Mic + Various: Bonnie & Clydes Cafe & Cocktail Bar, Thornbury The Deep End + Smoke Stack Rhino: Cherry Bar, Melbourne Darwin Deez + Pluto Jonze: Corner Hotel, Richmond Sunset Blush + Eva McGowan + Sophie Rose + Jemma Nicole: Empress Hotel, Fitzroy North Cassius Clay + Alice D + The Slims + Cowgirl Caviar: Evelyn Hotel, Fitzroy Sean Kirkwood + Miles Calder + Chris Mulhall: Grace Darling Hotel (Band Room), Collingwood DJ Set with James Blake: Howler, Brunswick Mad Nanna + Lower Plenty + Destiny 3000: Northcote Social Club, Northcote Dan Parsons + Big Smoke + Red & The Wolf: Old Bar, Fitzroy James Blake: Palais Theatre, St Kilda Lachlan Bryan: Retreat Hotel, Brunswick Roots of Music feat. Hailey Kramer + Bradley J Green + Sophia Brown: Revolver Upstairs, Prahran Fraser A Gorman + Forever Son: Spotted Mallard, Brunswick Laura Marling: St Michael’s Uniting Church, Melbourne Open Mic Night + Various: The Brunswick Hotel, Brunswick Sarah Blasko + Fletcher: The Capital, Bendigo Performing Arts Centre, Bendigo

40 • To check more gigs online go to

Wine, Whisky, Women feat. Jayne Liford + Zoe Keating + Alice Williams: The Drunken Poet, Melbourne Upper Echelon Cypher Competition + Various: The Espy (Basement), St Kilda Collage with Jailbird Jokers + Monster Jeans: The Espy (Lounge Bar), St Kilda Split Seconds + Kate Martin: The Gasometer Hotel, Collingwood Passion Pit + PVT: The Hi-Fi (U18’s), Melbourne Olympia: The Post Office Hotel, Coburg Ten Bones + Ali E: The Public Bar, North Melbourne Nigel Wearne: The Standard Hotel, Fitzroy Pronto + Bits of Shit + Cuntz: The Tote, Collingwood A Loss For Words: Twelve, Frankston Simply Acoustic: Wesley Anne, Northcote


Kickin The B at 303 feat. Sleeping Bag: 303, Northcote Battle of the Bands (Final) + Various: Baha Tacos, Rye Three Quarter Beast + Little Foot + Poison Fish: Bar Open, Fitzroy The Prayerbabies + 8 Bit Love + Major Tom & The Atoms: Bella Union, Carlton South Kevin Welch + Bill Chambers: Caravan Music Club, Oakleigh The Sweethearts + DJ Vince Peach + Pierre Baroni: Cherry Bar, Melbourne SharedBill: Club Voltaire, North Melbourne Next feat. A Loss For Words + Monuments + Sidelines: Colonial Hotel, Melbourne Tom Gleeson: Comic’s Lounge, North Melbourne Jagwar Ma + Guerre + DJ Angelo Gruzman: Corner Hotel, Richmond

Gully Hotel; October 4 Corner Hotel DEAD LETTER CIRCUS: August 30 Wool Exchange (Geelong); 31 Hi-Fi CLOUD CONTROL: September 4 Karova Lounge (Ballarat); 5 Star Bar (Bendigo); 6 Forum BIG SCARY: September 5 Karova Lounge (Ballarat); 6 Hi-Fi HUNGRY KIDS OF HUNGARY: September 5 Barwon Club (Geelong); 6 Corner Hotel; 7 Karova Lounge (Ballarat) THE DRONES: September 13, 14 Hi-Fi PEACE: September 13 Eagle Bar La Trobe University; 14, 15 Northcote Social Club THE PAPER KITES: September 15 Hi-Fi, 28 Forum ILLY: September 20 Corner RUDIMENTAL: September 21 Festival Hall JINJA SAFARI: September 25 Loft (Warrnambool); 26 Barwon Club (Geelong); 27 Forum; 28 Karova Lounge (Ballarat) HORRORSHOW: September 29 Ding Dong; October 17 Karova Lounge (Ballarat); 18 Wool Exchange (Geelong) FOALS: September 26, 27 Palace XAVIER RUDD: October 3 Forum BOY & BEAR: November 1 Wool Exchange (Geelong); 2 Forum

Tim Guy: Edinburgh Castle Hotel, Brunswick Mark Jolley + Ryan Vager + Micky O’Sullivan + Nikita: Empress Hotel, Fitzroy North Indian Summer: Eureka Hotel, Geelong Arthur Penn & The Funky Ten + That Gold Street Sound + BJ Morriszonkle: Evelyn Hotel, Fitzroy Nebraskatak + Little Two Eyes + The Give: Grace Darling Hotel (Band Room), Collingwood Ghost Towns Of The Midwest + Liam Gerner + Luke Moller: Great Britain Hotel, Richmond Sooky La La + Meth Leopard: Lounge Bar, Melbourne Karnivool + Northlane: Melbourne Town Hall, Melbourne Campus Band Competition, NMIT Heats+Various: Northcote Social Club, Northcote Electric Cultures III feat. Gurner + Cocks Arquette + Club Sound Witches + Big Yawn + Match Fixer: Old Bar, Fitzroy Radioutkast: Retreat Hotel, Brunswick Taste Of Indie Collective feat. Storyhorse + Man City Sirens + Bob Crain: Reverence Hotel, Footscray Melbourne Fresh Industry Showcases + Various: Revolver Upstairs, Prahran The Chop Tops + Hanks Jalopy Demons: Spotted Mallard, Brunswick The House of Light + Plum Green: Tago Mago, Thornbury Emerson + Abreact + Disasters + Searcher: The Bendigo, Collingwood Crayon King + The Dark Ales + The Woodland Hunters + The Scrimshaw Four: The Brunswick Hotel, Brunswick Fem Belling: The Commune, East Melbourne The Middle Names: The Curtin, Carlton

Open Mic, Poetry, Storytelling & Song + Various: The Drunken Poet, Melbourne I Know The Chief + We The People + The McQueens + Great John Himself: The Espy (Lounge Bar), St Kilda Sans Gras + Kalacoma + On Sierra: The Gasometer Hotel, Collingwood Frank Sultana & the Sinister Kids + A Gazillion Angry Mexicans + Two Headed Dog + Cotangent: The Gasometer Hotel (Upstairs), Collingwood


2 AUGUST 2013 Grand Cru + Crimery + I Am Dub I + Underground + Citrus Jam + Tomas Fitzgerald: 303, Northcote Jesse Valach & Blues Mountain Trio: Baha Tacos, Rye The Bullettes: Bar Open, Fitzroy Rebecca Mendoza Quartet: Bennetts Lane, Melbourne Ray Beadle + Monica Trapaga: Caravan Music Club, Oakleigh The Mohawk Lodge + The House of Laurence + Ali E: Cherry Bar, Melbourne Spencer P Jones: Cherry Bar (Afternoon), Melbourne Horrorwood Mannequins: Club DV8, Melbourne Tom Gleeson: Comic’s Lounge, North Melbourne Frenzal Rhomb + Crisis Alert + Hug Therapist: Corner Hotel, Richmond Agility + The Grand Rapids + Chop Squad: Ding Dong Lounge, Melbourne Acoustic Foxx + Temple Of Tunes: Edinburgh Castle Hotel (Early), Brunswick King Lucho: Edinburgh Castle Hotel, Brunswick Scott Darlow: Emmanuel College, Point Cook

Marty Kelly & Blues Drive: Lomond Hotel, Brunswick East Karnivool + Northlane: Melbourne Town Hall, Melbourne David Bridie: Memorial Hall, Healesville Friday Nights at Monet’s Garden feat. Brighter Later: National Gallery of Victoria, Southbank Hollow Everdaze + Contrast + Baptism Of Uzi + Sleep Decade: Northcote Social Club, Northcote The Dunhill Blues + The Yard Apes + Mass Cults + Blue Stratos: Old Bar, Fitzroy Mammoth Mammoth + Bonez: Retreat Hotel, Brunswick The Death Rattles + The Beggars Way + Brooke Deadwood: Reverence Hotel, Footscray Our Last Enemy + Witchgrinder + Viral Millennium + Cold Divide: Revolver Upstairs, Prahran Tank Dilemma + Shannon Bourne: Spotted Mallard, Brunswick Alison Wonderland: Star Bar, Bendigo Red Rockets of Borneo + Sexy/Heavy + The Dark Ales: Tago Mago, Thornbury Lieutenant Jam + A Gazillion Angry Mexicans + The Wild Comforts + Shane Bauer: The Brunswick Hotel, Brunswick

OSCAR KEY SUNG: August 3 The Toff In Town

Blow at The Horn + Various: The Horn, Collingwood Kitsune + Chela: The Liberty Social, Melbourne Next feat. A Loss For Words: The Order Of Melbourne, Melbourne Suzannah Espie + Ian Collard: The Post Office Hotel, Coburg Hopes Abandoned + The Crunt Burgers + Foley + Thundabox: The Public Bar, North Melbourne The Sand Dollars + Albert Salt + Cousin Tony’s Brand New Firebird: The Toff In Town, Melbourne Passerine: The Workers Club, Fitzroy Sarah Blasko + Fletcher: Wendouree Centre for Performing Arts, Wendouree Danny Stain: Wesley Anne (Front Bar), Northcote Gram Friday: Wesley Anne (Band Room), Northcote The Midnight Scavengers + Fraudband + Special Guests : Yah Yah’s, Fitzroy

Brother Johnstone + Amy Wolkofsky + Nineteenth Century Strongmen: Empress Hotel, Fitzroy North King Of The North + Battle Axe Howlers + Tracer + The Wardens: Evelyn Hotel, Fitzroy The Nexus Project: Famous Blue Raincoat, South Kingsville The Best of Bon Scott + Various: Flying Saucer Club, Elsternwick Adam Eaton + Arilea Jacobs: Grace Darling Hotel (Band Room), Collingwood Suns + Cochlear Kill + Chambers: Grace Darling Hotel (Basement), Collingwood HTRK: Howler, Brunswick Apes + Them 9’s + Bad News Toilet: Karova Lounge, Ballarat Sarah Blasko + Fletcher: Lighthouse Theatre, Warrnambool

Bridgewater: The Cornish Arms, Brunswick Batpiss + Brat Farrar + Mesa Cosa + Bad Vision: The Curtin, Carlton Traditional Irish Music Session with Dan Bourke & Friends: The Drunken Poet, Melbourne Salmonella DJ Soundsystem + Same Home Town + Congo Tardis #1 Soundsystem + Ras Crucial + Phantom Hitmen: The Espy (Lounge Bar), St Kilda Like Thieves + Berlin Postmark + Veludo + Euclid + Jenarium: The Espy (Gershwin Room), St Kilda September Falls + Underwood Mayne + The Sweets + The Grenades: The Espy (Basement), St Kilda


DANNY WALSH BANNED Two Crankin’ Sets 5pm to 7PM SUN 4TH


Funked Up Blues


CHARLES JENKINS Three Week Residency




[THE GUID IDE] g i g s

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

TOUR GUIDE JAMES BLAKE: July 31 Palais Theatre, Howler (late DJ set)

THE REAL MCKENZIES: August 28 The Loft (Warrnambool); 31 The Espy; September 1 Barwon Club (Geelong) CYNDI LAUPER: August 29, 30 Palais Theatre BEING AS AN OCEAN: August 29 Bar 12 (Frankston); 30 Wyndham Youth Resource Centre; 31 The Workers Club FAT FREDDY’S DROP: August 31, September 1 Forum ALL TIME LOW: August 31, September 1, 2 Billboard ANDREW STRONG & THE COMMITMENTS: September 5 Corner Hotel

NATIONAL PAUL KELLY: August 7 Playhouse (Geelong); 8, 9 Melbourne Recital Centre; 11 Regent Cinemas (Ballarat) DIESEL: August 8 Spotted Mallard (solo); November 2 Palms At Crown DARTS: August 8, 15, 22, 29 The Tote EUROGLIDERS: August 8 Chelsea Heights Hotel; 9 Doncaster Shoppingtown Hotel; 10 Ferntree Gully Hotel GRINSPOON: August 9 Corner Hotel BARBARION: August 9 The Espy IMMIGRANT UNION: August 9 The Loft (Warrnambool); 10 The Bridge Hotel (Castlemaine) DIRT FARMER: August 9 Karova Lounge (Ballarat); 10 Barwon Club (Geelong); 15, 16 The Workers Club BOOTLEG RASCAL, LYALL MOLONEY: August 9 The Workers Club; 10 Baha Tacos (Rye) TRIGGER JACKETS: August 9 Retreat Hotel; 10 Karova Lounge (Ballarat); 11 The Curtin 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 SUN RISING: August 10 Caravan Music Club JEFF LANG: August 10 Yarraville Club THE TIGER & ME: August 10, 11 The Toff In Town TOPOLOGY: August 11 Chapel Off Chapel EAGLE & THE WORM: August 13, 20, 27 The Workers Club VIOLENT SOHO: August 15 Liberty Social ILUKA: August 15 Beav’s Bar (Geelong); 17 The Workers Club MARLOW: August 15 Karova Lounge (Ballarat); 17 Empress Hotel; 24 Ferntree Gully Hotel; 31 Wool Exchange (Geelong) DIALECTRIX: August 16 Revolver I, A MAN: August 16 The Tote DAN PARSONS: August 16 Wesley Anne THE TROUBLE WITH TEMPLETON: August 16 Northcote Social Club RENEE GEYER: August 16 Flying Saucer Club KINGSWOOD, MONEY FOR ROPE: August 16, 17 Cherry Bar DON MCLEAN: August 17 Hamer Hall GLASS TOWERS: August 17 The Toff In Town JOSH PYKE: August 17 Corner Hotel PLUTO JONZE: August 17 Northcote Social Club HOLLOW EVERDAZE: August 17 Karova Lounge (Ballarat); 24 Barwon Club (Geelong) RUSSELL MORRIS: August 20 Corner Hotel THIS SANCTUARY: August 21 Valleyarm EGO: August 21 Karova Lounge (Ballarat); 22 Eureka Hotel (Geelong); 23 Can’t Say HOLY HOLY: August 22 The Workers Club

FOR OUR HERO: August 22 Next; 24 Wrangler Studios FUN MACHINE: August 22 The Curtin; 24 Grace Darling BOB EVANS: August 22 Karova Lounge (Ballarat); 23 Torquay Hotel; 24 The Westernport Hotel (San Remo); 26 Beav’s Bar (Geelong); 27 The Loft (Warrnambool) MOVING PICTURES: August 23 Palms At Crown CASTLECOMER: August 23 The Workers Club DRAGON: August 23 Corner Hotel ED KUEPPER: August 23 Flying Saucer Club; 24 Theatre Royal (Castlemaine) SNAKADAKTAL: August 23 The Wool Exchange (Geelong); 24 Forum MIDNIGHT JUGGERNAUTS: August 23 Karova Lounge (Ballarat); 24 Corner Hotel GOLD FIELDS, CLUBFEET: August 23 The Prince LET IT BE ft DOUG PARKINSON: August 24 Hamer Hall GRACE KNIGHT: August 24 Flying Saucer Club (Elsternwick) ALL THE COLOURS: August 24 The Workers Club TOM WEST: August 25 Evelyn Hotel CHICK WHO LOVE GUNS: August 29 Liberty Social THE 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 BLOODS: August 30 The Workers Club DEAD LETTER CIRCUS: August 30 Wool Exchange (Geelong); 31 The Hi-Fi SETH SENTRY: August 30 Black Swan Hotel (Bendigo); 31 Karova Lounge (Ballarat); September 6 Westernport Hotel (San Remo); 7 Wool Exchange (Geelong) TWELVE FOOT NINJA: August 30 Ferntree Gully Hotel; October 4 Corner Hotel THE WOOHOO REVUE: August 30 Northcote Social Club; September 28 The Loft (Warrnambool) DIVA DEMOLITION, BELLUSIRA: August 31 The Espy; September 1 Newmarket Hotel (Bendigo) THE FAUVES: August 31 Corner Hotel MAJOR CHORD: August 31 Bella Union THE BOMBAY ROYALE: August 31 Howler SHAUN KIRK: August 31 The Loft (Warrnambool) UNDERGROUND LOVERS: August 31 Northcote Social Club FANNY LUMSDEN & THE THRILLSEEKERS: August 31 Baha Tacos (Rye); September 1 Pure Pop Records VANCE JOY: September 1, 2, 3 Corner Hotel THE GROWL: September 3 Northcote Social Club CLOUD CONTROL: September 4 Karova Lounge (Ballarat); 5 Star Bar (Bendigo); 6 Forum LOUIS LONDON: September 5 The Curtin BIG SCARY: September 5 Karova Lounge (Ballarat); 6 The Hi-Fi THE CACTUS CHANNEL: September 5, 6 Northcote Social Club HUNGRY KIDS OF HUNGARY: September 5 Barwon Club (Geelong); 6 Corner Hotel; 7 Karova Lounge (Ballarat) JEREMY NEALE, FEELINGS: September 6 The Workers Club STONEFIELD: September 6 Karova Lounge (Ballarat); 7 Ding Dong Lounge SHAUN DIVINEY: September 7 Wrangler Studios

FESTIVALS PROGFEST: August 24 The Espy POISON CITY WEEKENDER: September 6, The Curtin; 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) ONE ELECTRIC DAY: November 24 Werribee Park VANS WARPED TOUR: December 7 TBC STEREOSONIC: December 7, 8 Royal Melbourne Showgrounds RAINBOW SERPENT FESTIVAL: January 24-28 Lexton

42 • To check more gigs online go to

Beaver + Damn Hearts + FAIM + Take Your Own + Foxtrot: The Gasometer Hotel, Collingwood Sime Nugent Band: The Post Office Hotel, Coburg Kim Salmon + Mike Stranges + Jonesez: The Prince (Public Bar), St Kilda Richie 1250 & The Brides of Christ + Smoota + The Impossible No Goods + The Pink Tiles: The Public Bar, North Melbourne Adalita: The Tote, Collingwood John Patrick & The Keepers + You & The Colonies + Ben Campain: The Workers Club, Fitzroy Mae Trio: Thornbury Theatre, Thornbury Deborah Conway: Wellers, Kangaroo Ground Broni: Wesley Anne (Front Bar), Northcote Songwriters In The Round + Various: Wesley Anne (Band Room), Northcote The Zanes + Chase City + Pretty City + Chris Mulhall: Yah Yah’s, Fitzroy Dirt Farmer: Yahoo Bar, Shepparton Lachlan Bryan: Zeally and Cliff, Torquay


3 AUGUST 2013 Cure Motel + Sassfras + Loopoligist: 303, Northcote Loud Fest 2013 + Confession + Hand Of Mercy + Saviour + Feed Her To The Sharks + For All Eternity + Storm The Sky + Stories + The Sweet Apes + Elegist: Arrow On Swanston, Carlton The Mohawk Lodge: Baha Tacos, Rye Papa Chango: Bar Open, Fitzroy Yvette Johansson Quartet: Bennetts Lane, Melbourne David Bridie & The Pills: Caravan Music Club, Oakleigh

The Love Bombs + Vice Grip Pussies + Stone Revival + Submarine: Cherry Bar, Melbourne Tom Gleeson: Comic’s Lounge, North Melbourne Bardo Pond + Pearls + A Dead Forest Index: Corner Hotel, Richmond Hunting Season + Spunk Machine + Walker + Trading Tails: Ding Dong Lounge, Melbourne Lavers + Hamish Anderson + Callee + Adrian Siboulet: Empress Hotel, Fitzroy North Pour L’amour Du Niger feat. Tom Tuena + Iris + Moon Project: Evelyn Hotel, Fitzroy A Loss For Words: Ferntree Gully Hotel, Ferntree Gully The Chantoozies: Flying Saucer Club, Elsternwick A Taste of Tamworth feat. Carter & Carter + Travis Sinclair + Jayne Denham: Gateway Hotel, Corio Long Holiday + Valentiine + System of Venus + Redfield: Grace Darling Hotel (Band Room), Collingwood Paddy McHugh + Adrian Stoyles + Johnny Gibson: Grace Darling Hotel (Basement), Collingwood Reilly Fitzalen + M Antonio + Billy Longface: Great Britain Hotel, Richmond Alison Wonderland: Karova Lounge, Ballarat The Jackson 4: Lomond Hotel, Brunswick East Pacific Blues Union: Musicman Megastore, Bendigo Radioutkast: Newmarket Hotel, Bendigo Chris Russell’s Chicken Walk + Fraser A Gorman & Small Harvest + Mightiest Of Guns: Northcote Social Club, Northcote Chris Russell’s Chicken Walk + Special Guests : Northcote Social Club, Northcote Lady Killer Night feat. Zoe K & The Technicolour Dreamboats + Stella Angelico + Mystery Guest: Old Bar, Fitzroy Phoebe Jacobs + Samara Williams: Open Studio, Northcote

Of Monsters & Men : Palais Theatre, St Kilda The F100s: Retreat Hotel, Brunswick The Tearaways + The Yard Apes + The Jacks + Hailgun + Stranglehold + Counter Attack + Dirty Chapters + The Transitions: Reverence Hotel (Afternoon), Footscray Super Best Friends: Rochester Castle Hotel, Fitzroy Bang Sleep Over Party feat. Secret Headliner + I, Valiance + Hollows: Royal Melbourne Hotel, Melbourne

Leopard Slugg + Optical Screw + Sorry Mediators + The NBC: The Espy (Basement), St Kilda Love Chants + Woollen Kits + Wonderfuls + Flat Fix: The Gasometer Hotel, Collingwood Sex Pest + Bloody Hammer + Gentlemen + Ratsak: The Gasometer Hotel (Upstairs), Collingwood 25 Hours + FG: The Hi-Fi, Melbourne The Gogo Goddesses: The Luwow, Fitzroy

DARWIN DEEZ: July 31 Corner Hotel

The Drunken Poachers + Phoebe & Schina: Tago Mago, Thornbury Dirt Farmer + DD Dumbo: The Bridge Hotel, Castlemaine Riot In Toytown + Citizen + Burn Collect + Virtue: The Brunswick Hotel, Brunswick Mayfield + Bec & Sebastien: The Brunswick Hotel (Afternoon), Brunswick Mindsnare + Warbrain + Crisis Alert + Metal Storm: The Central Club, Richmond Voltaire + Juke Baritone + Rouge Fonce: The Curtin, Carlton The T-Bones: The Drunken Poet, Melbourne The Angels + Tracer: The Espy (Gershwin Room), St Kilda Arcane Saints + Destroy She Said + Voodoocain + The Caning + Phil Para: The Espy (Lounge Bar), St Kilda

Lachlan Bryan: The Post Office Hotel, Coburg Stompy & The Heat + The Braves + Knitting For Gran: The Prince (Public Bar), St Kilda Thin Green Line World Rangers Day Fundraiser + The Ape: The Regall Ballroom, Northcote Greens Dairy Angel Ensemble: The Sporting Club, Brunswick Lot 56 + The Original Snakeskins: The Thornbury Local, Thornbury FAIM + Sidewalk Diamonds: The Tote, Collingwood Soul-A-Go-Go + Miss Goldie + DJ Manchild + Richie 1250 + Pierre Baroni + Zack Rampage + Dave Boots: The Workers Club, Fitzroy Come Out Swinging 2 + Ray Beadle + Monica Trapaga: Thornbury Theatre, Thornbury


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

The Moonee Valley Drifters: Victoria Hotel, Brunswick Little Secrets: Wesley Anne (Band Room), Northcote Tango Rubino: Wesley Anne (Front Bar/ Afternoon), Northcote The Migrations + Paper Jane: Yah Yah’s, Fitzroy


Matt Glass & The Loose Cannons + The Winter Suns + Kerryn Fields: Bar Open, Fitzroy David Jaanz Master School Showcase + Various: Bennetts Lane, Melbourne The Three Kings + The Dunhill Blues + DJ Max Crawdaddy: Cherry Bar (Afternoon), Melbourne Love Hate Rebellion + Dave’s Pawn Shop + The Halls + Pretty Dulcie + Ghosts: Cherry Bar, Melbourne Blaze of Glory II Morrow Park Benefit feat. Brothers Grim & The Blue Murders + Mesa Cosa + Made For Chickens By Robots + Boatfriends + The Barons Of Tang + more: Corner Hotel (Afternoon), Richmond

ALISON WONDERLAND: August 2 Star Bar (Bendigo); 3 Karova Lounge (Ballarat)


James Hazelden & The Gentlemen Callers + Man Bites God + Conor Farrell + The David Lovegrove Acoustic Experience: The Toff In Town, Melbourne The Large Number 12s: Yarra Hotel, Abbotsford

MON Georgia Fields: Edinburgh Castle Hotel, Brunswick Victoriana Gay + Ashley Naylor + Kasper: Empress Hotel (Afternoon), Fitzroy North The Manatee + Waterline + Temple Of Tunes: Empress Hotel, Fitzroy North Sex, Votes & Rock & Roll feat. Fiona Patten + Drunk Mums + cTrix + Georgia Mac + Free Choice Duo + DJ Hotep: Evelyn Hotel, Fitzroy Vines & Wakeling: Famous Blue Raincoat (Afternoon), South Kingsville The Cairo Club Orchestra + Nichaud Fitzgibbon Quartet: Flying Saucer Club, Elsternwick Donna Dean Band: Lomond Hotel (Afternoon), Brunswick East Ken Maher & Tony Hargreaves: Lomond Hotel, Brunswick East

David Bridie: Montrose Town Centre, Montrose Chris Russell’s Chicken Walk + Saint Jude + Gator Queen: Northcote Social Club (Matinee Show), Northcote A Band Called Life + Super Star + Gugg: Northcote Social Club, Northcote Bearsoaked Sundays feat. Whitewash + Heads Of Charm + Cassini: Old Bar, Fitzroy Of Monsters & Men : Palais Theatre, St Kilda A Loss For Words: Phoenix Youth Centre, Footscray Stomp Dog + Zeptepi + Moosejaw Rifle Club: Reverence Hotel (Afternoon), Footscray The Prayerbabies: Royal Oak Hotel, Fitzroy North C3: Shamrock Hotel (Afternoon), Kyneton The Wikimen: Spotted Mallard (Afternoon), Brunswick

Danny Walsh Banned + Dirt Land: Tago Mago (Afternoon), Thornbury Layabouts in Lace: The Bendigo, Collingwood Iain Archibald + James Southwell Band + The Long Stand: The Brunswick Hotel, Brunswick Andrew Swift & The Rattlesnake Choir: The Curtin, Carlton Dear Ale + Broni: The Curtin (Band Room), Carlton The Sideshow Brides: The Drunken Poet (Afternoon), Melbourne Justin Bernasconi: The Drunken Poet, Melbourne Dale Ryder Band + Bad Boys Batucada + Ms Butt: The Espy (Lounge Bar), St Kilda Water Graves + Sacred Flower Union + Outerwaves + Blossoms: The Gasometer Hotel, Collingwood The Lucilles: The Standard Hotel, Fitzroy

5 AUGUST 2013

Lebowskis Present + Various: 303, Northcote Bennetts Lane Big Band: Bennetts Lane, Melbourne Cherry Jam + Various: Cherry Bar, Melbourne CHVRCHES + City Calm Down: Corner Hotel, Richmond Split Teeth + Pneumatic Slaughter + Removalist: Northcote Social Club, Northcote Songwriter Sessions with + Bill Chambers + Alanna Eileen + Michael Waugh + more: Old Bar, Fitzroy Let’s Get Funny At The Brunny + Various: The Brunswick Hotel, Brunswick The Pierce Brothers + Rattlin’ Bones Blackwood + Adam Hynes: The Espy (Lounge Bar), St Kilda Red Cats at Midnight: Wesley Anne (Front Bar), Northcote


6 AUGUST 2013 Klub MUK: 303, Northcote Scott Darlow: Academy of Mary Immaculate, Fitzroy Shelley Segal + Adam Levy: Bennetts Lane, Melbourne Kill Shot: Cherry Bar, Melbourne The Electric I feat. Kathleen Gonzalez + Arte Kanela + Ghost Orkid: Evelyn Hotel, Fitzroy Irish Session: Lomond Hotel, Brunswick East Discovery Night + Riyah + Bridgewater: The Brunswick Hotel, Brunswick The Mohawk Lodge: The Curtin (Front Bar), Carlton Collage with Matt Katsis + Lubomyr + more: The Espy (Lounge Bar), St Kilda Ska vendors + The Pat Powell Band + The Rechords: The Substation, Newport Old Man River + Magic Steven: The Toff In Town, Melbourne Eagle & The Worm + Flyying Colours: The Workers Club, Fitzroy

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â&#x20AC;&#x153;Live At The Lomondâ&#x20AC;? THU 25TH 8.30PM

FRI 26TH 9:30PM


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I’m neither a fan nor an enemy of the ‘wretched cowbell clicking thing’, but I’ve found it really useful. For example, when a band comes in to record, if I use a ‘click’, then the lead singer needs only do a ‘guide track’, while I attend to recording a great rhythm track with the drummer and bass player and the rest of the band, which might take four to 12 takes. It saves wearing the singer out... If he’s gotta sing every song ten times for a guide while the band is recording, by the time he has to do his final vocal, his voice will be shot. If a band only has a couple of days in the studio, you need to keep everybody in top shape for when they’re needed. So – and now I get to the point – if I use loose or open-back headphones, I’ll end up with a lot of the click track ‘bleeding’ into the recordings and I won’t be able to get rid of it; it’s obviously not a good thing to have songs with more clicks than the paparazzi chasing Kim Kardashian! I tend to use headphones like Extreme Isolation EX-29s, or similar headphones that are sealed around your ear and don’t leak the sound of the click. It’s especially crucial when recording quieter instruments like acoustic guitar or flute, where clicks can really easily leak. So if you’re having trouble with unintended cowbell leakage, use one of these ‘closed’style headphones – they’ll help out a lot. Jeff Cripps, c/- A Sharp Recording Studio

SOUND BYTES Guitarists Derek Trucks and his wife Susan Tedeschi recorded the latest 11-piece Tedeschi Trucks Band album, Made Up Mind, in their Swamp Raga Studio in Florida.

ver the past few years, Johan Örjansson had become quite the celebrity in his hometown of Falkenberg in Sweden, releasing four increasingly successful albums. Despite a burgeoning local fanbase and broadening touring schedule however, he felt the performances on those early albums, and more particularly the production, hadn’t really served the songs well, so he decided to revisit them and reinvent himself in the process.


Recording began at Algorythm Studios with producer Pelle Nyhage, who had produced his first two CDs, 2007’s Empty Road, at Medborgarhuset, Östra Frölunda, and 2008’s Gone, both released on Nyhage’s Superpuma Records. Going through Örjansson’s old recordings together, they re-recorded many of the vocals and some of the acoustic guitar parts, stripping songs back and “re-making” them. When it came to completing the new album of remakes, Melancholic Melodies, however, Örjansson went to Studio Stäpelston to work with producer Jens Classon. Since Örjansson’s English isn’t great, Muso did an email Q&A with the songwriter. Muso: I see that you began Melancholic Melodies by reworking a lot of songs from your back catalogue with your old producer Pelle Nyhage at his studio, Algorythm. He’d produced your previous albums Empty Road and Gone. So how different was his approach to production during the reworking process?


Örjansson: The first thing that we did was to remove all of the excess. We found out that there were a lot of instruments and sounds that had been recorded that just didn’t make sense or made the songs feel too big. The thing we talked about was to have my vocals in the centre at all costs. That’s the case with my old recordings I think, that the music takes too much focus from the storytelling. We decided to only use the instruments that really helped get the song in the direction we wanted to go.


Ryan Adams has recorded a new album, his first with a full band in four years, with producer Glyn Johns.

Basko Believes is the new incarnation of Swedish singer-songwriter Johan Örjansson, the debut album from which is a reimagining of his early recordings. Michael Smith posed the questions.



The Epitome multi-effects pedal from Electro-Harmonix is a compact unit consisting of three of Electro-Harmonix stand-alone units, the Holy Grail, The Stereo Electric Mistress and the Micro Pog. Controls are as with the stand-alone pedals and the controls for each unit are separated in coloured zones of purple, yellow and red, with three knobs to control for each effect.

It’s a well-built unit and looks and feels like a confident piece of machinery. I know a lot of guitarists stay clear of little LED screens and multi-effects units that promise to emulate the first moon landing, but this little baby will sit well in your analogue pedal board and save a bit of space while delivering exactly what you expect. It isn’t a true bypass pedal but there are no annoying clicks when pushing the pedals to interfere with those more intimate chord progressions. So a pretty good offering from Electro Harmonix and the usual varied prices on line.

Playing guitar these days presents the best of us with a bewildering number of technological gimmicks and little boxes of black magic, but at the end of the day what we’re looking for is a great sound out of the speaker cabinet, whether it be a stack of Marshalls on stage or your ear-busting speakers in your lounge room. That’s where the JamUp Pro app from Positive Grid gives a whole new slant on things. Sure we’ve had the Line 6 range of products for a few years and countless other emulators, but this offering from Positive Grid can be installed on your iPhone or iPad, carried in your pocket, set up in seconds and the JamUp XT is FREE!! The Pro version is $20.99 from the Apple App store but with that you get 46 amp channels and 40 effects. The amp models were accurately measured against the actual units and this package sounds pretty convincing. Think about it - 46 amp channels and 40 effects for 21 bucks! The JamUp plug interface is $19.99 from Amazon and with all this on your iPhone or iPad and an 8-channel recorder, it’s hard to see why you wouldn’t have this in your pocket ALL the time. You can also buy the Air Turn, “the world’s first wireless footswitch iOS Guitar & Bass Multi-Effects System”. Really? Yup. Really. This is great. Honestly, with a sound-on-sound phrase sampler and an iTunes player with time stretching, metronome, chromatic tuner, Fender Bassman and Twin, a Vox AC30TB, Marshall JCM800 and ‘Plexi’, and a Mesa/Boogie Dual Rectifier as well as a gazillion effects and multi-channel recorder, what more could you ask? The tone is great, the effects are fully adjustable and you can dial in some great tone in no time. And it’s not just a pocket practice unit - you can use this for recording and quite frankly for small gigs, duo or solo shows. It is a 168Mb download so you need a Wi-Fi connection to download this.

Barry Gilmour

Barry Gilmour

The Holy Grail section has Spring, Hall, Room and Flerb reverb types, with a blend and amount knob to adjust the subtlety or otherwise of the reverb section. The Micro Pog and Stereo Electric Mistress have similar controls and do all the same things as the individual pedals. Having both a flanger and chorus in one pedal creates opportunities to generate some interesting modulation, including a fairly wide variety of cool, synthesiser effects when you turn up the rate knob. You can also produce a cool, almost ‘wah’ sound by pushing the Mistress’ presence and turning down the rate. Engage the shimmer button and it places the Electric Mistress at the end of the chain. This results in a more ethereal output consisting of huge modulating reverb that works great for epic cinematic rhythm beds.

46 • For more interviews go to

Muso: You mentioned in your press release that one of the things you liked about Algorythm Studios was its analogue tape machines and equipment. What gear did you end up using on the Melancholic Melodies album? Örjansson: Using the analogue stuff always feels better I think. When you don’t, something seems to get lost. We used the TEAC 1/4” tape machine on every song I think. I knew that it was going to change the feeling of the songs but I had no idea that it was going to make that much of a difference. On the vocals we used an AKG BX-20 Reverb, an old spring reverb from the late ‘60s I think. For compression on the voice we had an ADL 1500. We even used it for the bass. Pelle, who owns and works at Algorythm Studios, had an old SABA radio from the ‘50s that was used in a couple of the songs. On the song Izabella Case, we used it on all the instruments and that old radio had to work hard and the results came out great. For the acoustic guitars we had the Avalon VT-747. It made them sound great. Muso: While you were working on Melancholic Melodies, you hooked up with lead guitarist Joey McClellan and drummer McKenzie Smith from Midlake and you’ve now worked on a new album together in their studio, Redwood, in Denton, Texas. What sort of studio have they set up? Örjansson: We recorded on a custom-built 40-channel Trident 8t series console. The studio had three recording rooms. They had a smaller room for vocals, control room and then the main room where we did all of our basic tracks. The walls were made of cedar and reclaimed woods. It’s a recording environment that was warm, inviting and conducive to making great music. Muso: You ended up recording with an American band – has that had an impact on your sound on the new record? Is there a title for the new album yet, and when can we expect to see it released?

Örjansson: Going to the Redwood studios in Denton to make an album was a great opportunity for me and recording with these guys was so creative. The sound and the way that they play had a big impact and that was one of the reasons I went there. They understood right away where I wanted to go with this album. A title for the album? I have a few ideas for an album name but I think I will keep that to myself a little bit longer. If everything goes as planned, it will be released sometime early next year. McClellan and Smith converted what had begun life as a woodworking shop and then a motorcycle repair shop into a functional 1200 square foot recording space with house engineer Jordan Marton. The studio’s Trident console is actually the last ever made by John Oram, who was one of the founders of the Trident company, before he left in 2007 to start up his own high-end audio company, Oram Consulting. As it happens, Redwood Studios is also an endorsee of Australia’s own microphone manufacturing company, Rode. Melancholic Melodies is out now through An Ocean Awaits. Basko Believes will be touring Australia for the first time in December, dates to be announced in October.


Fortunately or not these days, the use of a click track (usually a cowbell, with a hit every crotchet beat, to keep a drummer in time) is pretty well universal in all studios around the world.






QUEST QM-1000AS “One word sums up the QM-1000AS Flexi-System: flexibility. Mobile DJ, small band, bar installation, corporate theatre, audiovisual multimedia production, with a QM-1000AS you can cover these compact production requirements all in the same week.”


That’s how Quest describes their QM-1000AS offering. It’s billed as a bit of an allrounder and it does a pretty good job. This is no Nexo cabinet, but we’re not expecting that from a unit from these guys. Quest does good quality budget PA gear well and they don’t leave much wanting.

The Shure Beta 27 is a side address condenser mic aimed at the recording market. It’s a pretty sturdy piece of kit and it feels like it’s going to deliver. In fact picking one of these up will make you feel more manly. It’s a nice piece of metal with gold bits!

The QM-1000AS sub bass enclosure contains a 650 watt RMS mono bass amplifier, two powerful 200 Watt RMS at 8 ohms or two 300W at 4 ohms, independently accessible satellite amplifiers, a system controller, adjustable crossover and a multiplicity of system configuration options.

Sure, Shure have put their stamp all over the live and recording markets with the SM 57 and 58 and their Beta offerings, wireless kits and, well, I could go on. But they’ve done it by delivering reliable good quality product that people trust and this seems to slot right into that family.

Couple the QM-1000AS plus two QM-108 Mid/High or two QMDC 10 speakers and you have a great full-range system to achieve fantastic results for full-range high output in medium-sized venues and for small band or DJ, just like it says on the box. If you really want to kick out the jams, add two powered satellite speakers and you can use the internal amps to run two channels of foldback, or you can use the QM 1000AS to power up to four passive speakers as a mix of front-of-house and/or foldback in either full-range or crossover output mode. A pair QM 1000 bass modules will gives you four extra amplifiers you can configure for combinations of foldback and front-of-house configurations. At Sound on Stage we’ve been dealing with the guys from Quest for many years and whether selling, hiring or operating with this gear, it’s always on the money. This is a true workhorse from a pretty reliable Australian stable. Good value for money and good build quality.

This is a quality product with a really nice neutral frequency response (unlike the 57, which puts its name on your recordings), a three-position low-frequency filter and a -15db pad.

Barry Gilmour

Barry Gilmour

Connectors are gold plated, and there’s an internal pop shield that works well unless of course you have a really powerful vocalist and then you’ll be wanting a pop filter in front. This is a great mic for electric guitars, capturing a wide-open audio scene and beautiful sparkling high ends with a good sense of open air and headroom. It’s good for vocals, giving a sense of clarity and it’ll look after acoustic instruments with confidence. A great addition to the family from Shure. For details of where to buy or to demo, contact www. or call (02) 9281 0077.

Inpress Issue 1285  
Inpress Issue 1285  

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...