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I N P R E S S I S S U E # 1 2 8 6 W E D N E S D AY 7 A U G U S T 2 0 1 3

“I’m looking forward to them helping us laugh about breast cancer.”


Samuel Johnson, organiser of LOVE YOUR SISTER (P22)



Fri. 9. 8pm - DANCE YRSELF CLEAN FREE screening of LCD Soundsystem’s epic


final show, followed by DJs till late.


Sat 10. 10pm - Ebb & Flow 3rd Dimension Birthday – Jon Beta, Nikko, and Lister Cooray . Visuals by Netzair.


Tues 13. 7pm - Pleasure Forum An Intro to Kink and BDSM with panelists: Mistress Electra A’more, Sado BJ, Mz Mallice, Scott ( AKA Melbourne Rope Dojo) $10

Wed 14. 6.30 pm - We are not real people - screening


WE ARE NOT REAL PEOPLE is a six part webseries, following the post graduate lives of three bright eyed and hopeful acting students.

Thurs 15. 6 pm - Chai Junction


Chai Junction & SHAMIANA- Asia's largest short film club, bring you SCHOLAR SHORTS Speakers - Nigel Foote (Unique Image Creations) & Shu Shu Zheng (Pozible).

The Melbourne International Film Festival is so massive it can be all things to all people, but 2013’s a good one if you’re a stoner.”

“The nature of internet criticism is such that nuance is almost inevitably lost.” Tom Hawking in NEW YORK CONVERSATION (P34)

“Gutsy, sexy and smart, this release is as good a dose of rockabilly boo-yah as you’re likely to get.” Glenn Waller reviews LA BASTARD’S TALES FROM THE BEYOND (P28)

Anthony Carew reviews MIFF 2013

“It’s not only that we both like that music, but we discovered that music in the same room with headphones plugged into a stereo together.”


Tyler Blake of CLASSIXX



“If every happy memory, every pleasant thought, every sundrenched moment of a life was put to music, Paracosm would be the soundtrack.”



Dylan Stewart reviews WASHED OUT’S PARACOSM (P31)


“Salmon plays the more serious half of the duo, but returns Peno’s cheek-stroking serenades with batting eyelids.”



It’s pretty unfortunate that we didn’t start playing until we were in Melbourne, because every venue in Albury caters to heavy metal.”

Grace Robertson reviews THE DARLING DOWNS (P30)

Stu Barlow of DIRT FARMER


Mark Neilsen, Matt O’Neill, Paul Ransom, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Dominique Wall, Josh Ramselaar, Matthew Ziccone.









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







ADVERTISING National Sales & Marketing Director Leigh Treweek Account Manager Andrew Phillips Account Manager Tim Wessling







ACCOUNTS & ADMINISTRATION Accounts Receivable Jarrod Kendall






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INTERNS Annie Brown, Stephanie Tell.

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



PHOTOGRAPHERS Senior Contributor Kane Hibberd Jesse Booher, Andrew Briscoe, Chrissie Francis, Jay Hynes, Lou Lou Nutt, Heidi Takla, Elaine Reyes, Holly Engelhardt.

Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US). Writers Nick Argyriou, Aleksia Barron, Atticus Bastow, Steve Bell, Sarah Braybrooke, Luke Carter, Anthony Carew, Rebecca Cook, Adam Curley, Cyclone, Guy Davis, Dan Condon, Simon Eales, Guido Farnell, Sam Fell, Bob Baker Fish, Warwick Goodman, Cameron Grace, Chris Hayden, Andrew Hazel, Brendan Hitchens, Ching Pei Khoo, Kate Kingsmill, Baz McAlister, Samson McDougall, Tony McMahon, Fred Negro,

DEADLINES Editorial Friday 5pm Advertising Bookings Friday 5pm Advertising Artwork Monday 5pm General Inquiries (no attachments) Accounts/Administration Gig Guide Distribution Office Hours 9am to 5.30pm Monday to Friday

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Pearl Jam







Unquestionably one of the largest and most varied Big Day Out line-ups has just dropped, positioning 2014 as one hell of a good year for live music right from the outset. Clap your peepers on this bill: Pearl Jam, Arcade Fire, Blur, Snoop Dogg aka Snoop Lion (pfft), Major Lazer, Steve Angello, Flume, The Lumineers, Tame Impala, Dillon Francis, MacMiller, Ghost, Grouplove, Flosstradamus, Portugal. The Man, Toro Y Moi, DIIV, The Naked & Famous, Big Gigantic, Pez, Mudhoney, Cosmic Psychos, Northlane, The 1975, Loon Lake, Kingswood, Bo Ningen, The Algorithm, DZ Deathrays, Peking Duk, Ben Morris, Rüfüs and more to be announced. If you can’t find plenty of good shit there then go home, you’re drunk. The travelling music mecca rolls through the usual locales on the following dates: Sunday 19 January, Metricon Stadium and Carrara Parklands, Gold Coast; Friday 24, Flemington Racecourse, Melbourne; Sunday 26 and Monday 27 January, Sydney Showgrounds; and Sunday 2 February, Claremont Showgrounds, Perth.

o Inpress was founded in 1988. This suddenly makes perfect sense – no wonder early memories of picking the mag up religiously every Wednesday morning, as early as possible, involve flicking straight to the club pics inside Zebra: the dance/ nightclub insert that was also a stand-alone title at specified distribution points. Before the multitudinous online photo galleries that award any exhibitionist the opportunity to get their practised pout displayed on, getting one’s mug in Inpress was the equivalent of gaining a medallion to Chasers or Checkpoint Charlie.


Never went to Checkpoint Charlie? Their entry stamp was only visible via a portable ultraviolet lamp, manned by a Soviet uniformed doorbitch/bastard. The club was beyond exclusive and positioned on Commercial Road where The Market nightclub now stands, but back when Street Press Australia (SPA) Director Leigh Treweek had long hair. Chasers? Yeah, that’s still opposite KFC on Chapel Street, but there was a period when it was rechristened ZOS (Zone Of Separation). “Misty, water-coloured memories…” etc. For the past 25 years, bundles of Inpress have been distributed outside venue doors in the wee hours of Wednesday morning, ready for commuters to pick up a copy and liven up their journey wherever, keep others occupied while waiting for late coffee dates or even act as makeshift umbrellas from hairdresser to car in the middle of an unexpected downpour. Sure, preserving a coiffed ‘do is a community service in itself, but, staring down the barrel of the last-ever Inpress, let’s remember the various other ways this specific title has helped improve lives. For starters, people still speak in hushed tones about ‘those’ Christmas parties held at the old Inpress HQ in Bond Street, Abbotsford. If the heritagelisted, bluestone walls could talk, you better believe their most entertaining stories wouldn’t come from the Bates’ Cocoa Mills years. Any emerging writer will tell you that the thrill of physically leafing through a magazine in search of your first published live review, with byline bolded, beats any Google search for its online counterpart and so Street Press Australia’s dedication to print media is commendable. Sure, Inpress featured in episode six of John Safran’s Music Jamboree when the wiseguy included an instructional on how to get your own review published in our rag, and succeeded, but Safran also described Inpress as Melbourne’s “music bible… the weekly must-read for all record industry people”. And you can imagine how evocative Safran’s review of ska band 99% Fat at the Evelyn was. Obviously the recruitment criterion was tweaked before I was welcomed on to the Inpress live reviewing team at the tail end of 2006. My byline could then be sighted in Feedback, the Inpress live reviews section, on a weekly basis. Reviewing for street press offers the gig addicted the opportunity for a free fix and to practise their craft at the same time. Not to mention a live/single/EP review, or even blurb in Backline, could very well be the first chance a band get to see their name out there in the

public domain. Just imagine how many cuttings there have been over the years, where band members proudly attach blurbs advertising their shows to rattling fridges using novelty magnets. With the acquisition of Brisbane’s Time Off in 2008 – joining Inpress and The Drum Media (Sydney and Perth) – SPA realised its vision of a national street press network. Since commencing full-time employment as staff writer with Inpress around that time, I still maintain that one of our crowning achievements during my tenure was the Save Live Australian Music (SLAM) cover. SPA’s commitment to this cause was further cemented when Leigh Treweek gave a stirring speech at the 2009 Australian Music Prize awards ceremony, championing the need for a national system to protect live music before an audience that included Peter Garrett (who was, at the time, Minister for the Environment, Heritage and the Arts). Sorry Lisa Mitchell, the thunder was stolen from your AMP win a little there. But now it’s time for Inpress, along with SPA’s other three interstate siblings, to morph into The Music – a sexier, glossier prototype with enriched content. Our editorial will now also incorporate fashion, food, travel, culture and lifestyle features as well as increased page numbers to cram in even more music profiles. Hold onto this collector’s edition of Inpress, issue number 1286, and resist the urge to line the kitty litter tray with these pages, because it’s the last of its kind. As with the type of artists we ache for who constantly redefine their sound AND look in order to remain current – there ain’t many, but we’re looking at you Bowie (aka Ziggy Stardust, Thin White Duke…) – history has shown that SPA wears change well. Zebra bolted, Interval graduated to Front Row, is live, Your Daily SPA email newsletter invigorates afternoons and The Guide is the best resource for finding out what’s on and planning your social calendar. Farewell Inpress, The Drum Media and Time Off, it’s gonna be so much easier not having to explain the connection between all these titles to musicians, publicists and randoms alike. And best of all, there will be no more grimaces when people make illinformed puns, mistakenly thinking the mag’s called ‘Impress’ – eg. “Oh, you’re the editor of ‘Impress’. I’m impressed, hahaha.” “It’s ‘N’ for ‘Nelly’, you peanut!” And rest assured that when you pick up the debut edition of our rebranded magazine once it hits the streets next Wednesday, you can all draw inspiration from ABBA lyrics. After digesting The Music from cover to cover and not having to wash the newsprint from fingertips before scratching your face, take a moment to ponder: “Who can live without it?/I ask in all honesty/What would life be?/Without a song or a dance, what are we?/So I say thank you for The Music/For giving it to me...” Bryget Chrisfield Editor, Inpress

10 • For more news/announcements go to

FULLY LOADED Fresh off the back of his latest stellar mixtape, Black Flag, Machine Gun Kelly will bring his spitfire rhymes to capital city venues for some very special hip hop nights indeed. Cited as the Hottest Breakthrough MC by MTV in 2011, the prolific Ohio MC has barely come up for air in the past two years, and at 23-yearsold is already positioned to carry on the future of freestyle. Fire away with the ammunition of Machine Gun Kelly on Wednesday 4 September, Capitol, Perth; Thursday 5, The Hi-Fi, Melbourne; Friday 6, Manning Bar, Sydney and Saturday 7, The Hi-Fi, Brisbane.

JUST SOMETHING ABOUT HOUSE MUSIC The joint is going to get trashed when triple j bring their much loved Saturday night House Party radio show out of the studio for some late, late nights. Shaping up to be evenings full of fresh gear, mashups, party favourite’s and everything in between, the line-up offers a veritable feast of beatmakers to get your rumps shaking. Catch Nina Las Vegas, Flight Facilities, Cassian, Tyle Touché and Wave Racer at these dates: Saturday 24 August, Metro Theatre, Sydney (under-18s, afternoon; 18+, evening); Thursday 29, Capitol, Perth; Friday 30, Metropolis, Fremantle; Saturday 31, The Hi-Fi, Brisbane; and Saturday 7 September, The Hi-Fi, Melbourne.


Matt Corby

OH, BROTHER After filling out the GW McLennan tent at Splendour In The Grass, Matt Corby has announced that he will be taking his latest EP, Resolution, out on the road this spring. Get your swoon on when Corby plays the following dates: Wednesday 9 October, Wollongong University; Thursday 10, ANU Bar, Canberra; Friday 11, Hordern Pavilion, Sydney (licensed/all ages); Tuesday 15, Brisbane Convention and Exhibition Centre (licensed/all ages); Friday 18, Festival Hall, Melbourne (licensed/all ages); Wednesday 23, GPAC Playhouse, Geelong (licensed/ all ages); and Sunday 27, Arts Centre, Fremantle.

GLOBAL ROAMING The Sydney indie-dance crew Rüfüs have been getting it done for a few years now but have managed to slide under the radar. That’s all set to change, however, with Atlas, a debut record bristling with energy and vitality. It’s the soundtrack to the best night of your year and you didn’t even know it. Raise your hands towards the neon warmth when the trio play Cambridge Hotel, Newcastle, Thursday 12 September; The Hi-Fi, Sydney, Friday 13 (all ages); Efterski Festival, Thredbo, Saturday 14; Academy, Canberra, Friday 20; Waves, Wollongong, Saturday 21; Corner Hotel, Melbourne, Friday 27; The Zoo, Brisbane, Friday 4 October; Mojo’s, Fremantle, Thursday 10; and Villa, Perth, Friday 11.

R.A. The Rugged Man will be bringing his disarming and devastating tales of the streets our way for a headline tour shaping up to be a big one for rhyme lovers across the country. Through his career R.A. has done things his own way and earned mad respect from some of the greatest to ever hold the mic, including Notorious B.I.G. and Wu-Tang Clan. Ready to unleash on our shores, the New Yorker plays Friday 13 September, Coniston Lane, Brisbane; Saturday 14, The Standard, Sydney; Sunday 15, Transit Bar, Canberra; Thursday 19, The Espy, Melbourne; and Saturday 21, Rosemount Hotel, Perth.

I CAN SEE THE MUSIC! Offering complete aural stimulation while simultaneously demanding you to move, Sampology brings a party unlike any other. Gorge on the feast when the Brisbane bro brings his latest AV extravaganza out on the road, playing Coniston Lane, Brisbane, Friday 30 August; Snow Dome, Thredbo, Saturday 31; FBi 10th Anniversary, Carriage Works, Sydney, Sunday 8 September; Beach Hotel, Byron Bay, Sunday 15; Welcome To The Valley, Belvoir Amphitheatre, Perth, Saturday 12 October; and Brown Alley, Melbourne, Saturday 19.

LINE UP THE SHOTS If you’re looking for something different in metal, make sure you check out the heavy-as-fuck hoedowns from Korpiklaani when they sail in for their first Australian tour. Finland’s beerswilling brethren will surely be causing all kinds of calamity when they perform at The Zoo, Brisbane, Tuesday 22 October; Corner Hotel, Melbourne, Wednesday 23; Manning Bar, Sydney, Friday 25; and The Rosemount, Perth, Sunday 27 October.

WE KNOW YOU WANT THEM Two of pop music’s biggest stars of now are teaming up for a large double bill, with Pitbull and Kesha delivering their swag of hits live on stage this spring. They’ll play the following capital city dates: Wednesday 30 October, Brisbane Entertainment Centre; Friday 1 November, Rod Laver Arena, Melbourne; Tuesday 5, Perth Arena; and Friday 8, Allphones Arena, Sydney.

Leonard Cohen

AGE SHALL NOT WEARY HIM Even at 78 years young, Leonard Cohen is showing no signs of slowing down, with the velvet voiced Canadian returning Down Under for his first run of dates in three years. With his crack nine-piece backing band tackling the journey every step of the way, Cohen will play a host of all ages shows, happening Wednesday 13 November, Perth Arena; Saturday 16, Sydney Entertainment Centre; Wednesday 20, Rod Laver Arena, Melbourne; Saturday 23, A Day On The Green, Bimbadgen Winery, Hunter Valley; Saturday 30, Brisbane Entertainment Centre; Wednesday 4 December, WIN Entertainment Centre, Wollongong; and Saturday 7, A Day On The Green, The Hill Winery, Geelong.

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South Australian piano pop-rock band Bill Parton Trio have released their self-titled debut EP. To celeberate, Bill Parton Trio hit the road for a national tour with Artist Proof and Nathan Leigh Jones. They stop by at the Barwon Club, Geelong on Thursday 22 August and the Empress Hotel on Friday 23. Support for both nights will be The Karmens.

HAVIN’ MORE FUN New cosmic surf trio Dumb Blondes (featuring members of Bleeding Knees Club and Kite Club) are psyched to announce their run of first-ever live shows, to launch their recently-released debut single Into The Light. Catch them at The Espy on Friday 6 September.

AJ Maddah

SOUNDWAVE BOSS MUSIC BIZ’S MOST POWERFUL PERSON AJ Maddah, the festival and touring powerhouse behind the Soundwave and Harvest events, has been named the most powerful person in the Australian music industry. The annual Power 50 list of the industry’s top powerbrokers has been released by the Australasian Music Industry Directory – published by Street Press Australia, publishers of The Drum Media – and they’ve named Maddah number one for managing to cultivate a punk and metal scene that provided a platform for Soundwave to grow into one of the country’s biggest festivals. The impact of that also re-empowered the Australian scene as a whole. He’s also pioneered a level of interaction with punters through that infamous Twitter account. Reacting to the news Maddah told, “To be perfectly honest I am shocked and a little bit uncomfortable. To paraphrase Groucho Marx, I do not care to be on any list that would have me at number one. I’m still learning on the job and taking lessons from masters like Michael Gudinski, Frank Stivala, Carl Nicholas, John Parker, Denis Handlin and Michael Chugg, all of whom are more knowledgeable than me and continue to be very generous to me with their time and advice.” He added, “I’ll keep the spot warm ‘til Michael Gudinski reclaims his rightful place in the next AMID.”

The Holidays

HAPPY HOLIDAYS The Holidays are hitting the East Coast this September and October for their first headline performances for 2013, which, along with the release of their new single Voices Drifting, mark their return to the local and international music scene. Voices Drifting is from the band’s new album (due for release in early 2014), which was created over the past two years in apartments, studios and hotel rooms across Berlin, London, Melbourne, Paris and Tokyo. See the band at the Northcote Social Club on Thursday 3 October.

Independent label Inertia have announced they’ve acquired a 50 percent stake in Melbourne music publisher Gaga Music for an undisclosed amount. The Gaga team will remain in Melbourne, with Inertia directors Ashley Sellers and Colin Daniels joining the company’s board. Canberra post-hardcore group Hands Like Houses have debuted at number 37 on the Billboard 200 chart this week with their second record Unimagine. Melbourne City Council has unanimously voted to accept a petition sporting 6,000 signatures supporting the idea of a laneway to be named after late rock singer Chrissy Amphlett, which was presented to them in early July. Hoodoo Gurus frontman and New South Wales live music ambassador Dave Faulkner has hit back at controversial columnist Andrew Bolt, after he attacked the government in the wake of $560,000 in funding over three years for the National Live Music Office. Pointing to the economic value of live music, Faulkner told, “Just how big does an industry have to be before a blowhard like Andrew Bolt thinks it is one worthy of attention from the Australian government?” The influence of Splendour In The Grass is still being felt across the ARIA Charts this week, with festival headliners Of Monsters & Men enjoying the biggest jump in the Albums Chart top 50. Promoted to the main stage’s closing set of the weekend after Frank Ocean pulled out, the Icelandic indie-folk outfit’s album My Head Is An Animal jumped 21 places to sit at 17. Frank Ocean himself gained 13 positions with Channel Orange promoted to 11 and the not-so-secret band alt-J’s An Awesome Wave is up to 25. Last minute fill-in Lorde’s The Love Club EP moved up to two on the ARIA Singles Chart. A major clean-up was needed at The Annandale Hotel after the iconic Sydney venue was broken into and robbed last week. Police Media have confirmed the venue was ransacked just after midnight on Friday morning, with thieves stealing an unknown quantity of alcohol and cash. Lisa-Maree Bray from Superstylin’ Entertainment said the “entire place was thrashed”. Last week’s Monks Of Mellonwah gig had to be cancelled due to the incident.

Greek power metallers Gus G’s Firewind are soon hitting Australia for the first time. Known as the guitarist for Ozzy Osbourne and by his tenures in Dream Evil, Nightrage and as a touring player with Arch Enemy, Gus G and Firewind have always kept the power metal flame alive with an arsenal of memorable and catchy tunes. See ‘em live at the Corner Hotel on Sunday 3 November.

September marks the long-awaited return of UK tech house legend Terry Francis to our shores. An unwitting ambassador of the tech-house scene, he has been in constant demand as a touring DJ, supporting the works of likeminded producers in the process. He performs at Onesixone on Friday 13 September.

MARTHA MARTHA MARTHA Martha Davis & The Motels are returning to Australia in October, performing on Thursday 28 November at York On Lillydale, Mt Evelyn; Friday 29 at Shoppingtown Hotel, Doncaster; Saturday 30 at the Gateway, Geelong; and Sunday 1 December at the Corner Hotel.

Sticky Fingers

STICKING TOGETHER Sticky Fingers are back in Australia after a couple of months abroad and have brought back with them a brand new video clip for Freddy Crabs. Welcome them back at their shows at Corner Hotel on Friday 11 October and Baha Tacos, Rye on Saturday 12.


Alison Wonderland

THING OF WONDER After her killer set at Splendour In The Grass, Sydney DJ/ producer Alison Wonderland continues touring her new single, Get Ready. Catch her dropping her mix of house, hip hop, Disney themes and dance beats at the Corner Hotel on Thursday 19 September, with support from Willow Beats, LDRU, Tomderson and Cant Say DJs.

THE WEIGHT’S OVER Indie pop dream-weavers Tully On Tully are set to release their debut EP Weightless on Friday 16 August. With music that captures the imagination and hearts of listeners, any lover of poetic imagery would be a fan of Weightless. See Tully On Tully Saturday 7 September at The Toff In Town.


It has been nearly three years since The Screaming Jets have graced (or disgraced) Aussie stages. They now prepare to embark on their first national tour in ages, playing songs that have been crafted by the band and loved by fans and critics around the world. Catch the show at the Corner Hotel on Saturday 9 November.

EAT YOUR CAKE This year’s inaugural Let Them Eat Cake festival on New Year’s Day saw a crowd descend upon the majestic surrounds of Werribee Mansion to sample some of the world’s finest electronic performers, cutting-edge visual artists and an abundance of culinary delights. The garden party returns on Wednesday 1 January 2014. Head to for more info.



2010 saw iconic Melbourne band Models inducted into the ARIA Hall of Fame after gaining notoriety in the early ‘80s with ground breaking mini-album Cut Lunch. With new recordings and re-releases of their classics imminent, 2013 sees the band entering a new phase. Models perform two shows at the Ding Dong Lounge on Friday 20 and Saturday 21 September.

Bob Log III is a one-man band slide guitar party, and he is bringing that party to Melbourne for one show only at The Substation in Newport, on Saturday 17 August. Clad in his cannonball man, extra tight jumpsuit and signature motorcycle helmet with telephone/microphone attached, Bob Log III unfailingly sweats up a river while kicking on a kick drum, stomping his homemade foot cymbal and playing slide on an old archtop guitar.

CREEPY CRAWLEY Elizabeth is the first single to be taken from Lisa Crawley’s forthcoming second album All In My Head. Crawley launches her album in Australia in September, stopping by on Saturday 14 September at the Ding Dong Lounge, Wednesday 18 at The Toff In Town and Thursday 19 at The Espy.


Two of urban music’s biggest superstars partner up as part of the inaugural Episode One tour, which sees one of rap’s most successful MCs TI play his first ever Australian shows, joined by the ever smooth Akon. They perform on Thursday 10 October at Festival Hall.



Brisbane industrial rockers Darkc3ll have announced a tour to celebrate the release of their second album, due out September, while also gearing up to release a new video for single Exorcist. Catch Darkc3ll on Friday 15 November at Rock Dungeon with Cold Divide.

Cloud Control are on a roll, with their upcoming second album Dream Cave, the release of its second single Scar and a set at Splendour In The Grass. They’re set to travel around the nation on their Dream Cave Tour with Palms and Gang Of Youths, which takes in Karova Lounge, Ballarat on Wednesday 4 September; Star Bar, Bendigo on Thursday 5; and Forum Theatre on Friday 6.



King Gizzard & The Lizard Wizard have unveiled the first single from their forthcoming album Float Along – Fill Your Lungs; 30 Past 7 is a psychedelic haze of sitar strings and synthesizers. The band will preview their forthcoming album on Wednesday 28 and Thursday 29 August at the Northcote Social Club.

When it comes to snotty punk rock, there aren’t many bands more legendary than UK Subs, so it’s with great eagerness and slight sadness that we announce the return of the snarling old boys for what is stated to be their very last tour of our country. Say goodbye to them on Thursday 26 September at The Bendigo.

The Queenscliff Music Festival second artist announcement includes San Cisco, PEZ, Dallas Frasca, Baby et Lulu, Microwave Jenny, Jack Carty, Melody Pool, The Murlocs, Fraser A Gorman & Big Harvest and more. The Festival will be held at Princess Park, Queenscliff, Friday 22 to Sunday 24 November.




US pianist Jeremy Denk, admired for his vibrant performances and ability to take complex music and make it sing, makes his Australian debut in a concert stacked with the old and the new. It will be held at the Melbourne Recital Centre on Monday 26 August.

Due to scheduling conflicts, Celtic Woman have been forced to postpone their forthcoming Australian tour. The concerts were due to commence on September 12 and the tour is rescheduled to January 2014. The Melbourne date is now Sunday 19 January at Hamer Hall.

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Sirenia will be touring Australia for the very first time. One of the pioneers of symphonic gothic metal artists, Sirenia will perform tracks off their recent new release Perils Of The Deep Blue, as well as a comprehensive selection of Sirenia tracks across their discography. See them perform at the Corner Hotel on Friday 13 December with Ne Obliviscaris and Orpheus Omega.



The full list of 50 and its analysis is in the Australasian Music Industry Directory, while the top ten are as follows: 1. AJ Maddah – Soundwave, Harvest; 2. Michael Gudinski – Mushroom Group; 3. Michael Chugg – Chugg Entertainment; 4. George Ash – Universal Music Group; 5. Paul Piticco – Splendour In The Grass; 6. Jessica Ducrou – Splendour In The Grass; 7. Richie McNeill – Totem Onelove Group; 8. Janelle McCarthy – iTunes; 9. Richard Kingsmill – triple j; 10. Millie Millgate – Sounds Australia



The Finnish metal invasion that’s relentlessly pummelling our shores continues with Moonsorrow announcing dates for later in the year. The pagan beasts will tear apart the stage at The Hi-Fi on Saturday 23 November.

Ashleigh Mannix

MOUNTAIN MANNIX With a maturing blues, country-funk and edgy sultriness, Ashleigh Mannix’s From The Mountains is the second EP of her Trill EP series. Mannix celebrates with shows on Friday 30 August at Baha Tacos, Rye; Sunday 1 September at The Workers Club (with Al Parkinson and Dan Parsons); Thursday 5 at The Bridge Hotel, Castlemaine; and Friday 6 at the Babushka Lounge, Ballarat.

YEARS OF THE DRAGON For the first time, iconic rock band Dragon are hitting the road in early 2014 to celebrate the three distinct ages that defined their evolution. They perform on Saturday 3 May at the Lighthouse Theatre, Warrnambool; Friday 9 May at the GPAC Drama Theatre; Saturday 10 at the Capital Performance Arts Centre, Bendigo; Friday 16 at Frankston Arts Centre; and Saturday 14 June at The Palms At Crown.

BEAST OF A SHOW Just months after their first tour across the Tasman Beastwars are coming back to give Melbourne fans another dose of their primal, hypnotic powers. Mark these dates down: Thursday 26 September at The Espy; Friday 27 at The Tote; Saturday 28 at The Bendigo; and Sunday 29 at the Barwon Club, Geelong.

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Want all your music news daily? Subscribe to Your Daily SPA at 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. Malthouse Theatres, Merlyn, 7.30pm, to Saturday 10 August.


Artifact – this music doco is directed by Jared Leto under the pseudonym of Bartholomew Cubbins, a recurring character in the Dr Seuss works. It’s about the making of 30 Seconds To Mars’s third album This Is War. Part Of MIFF, Greater Union, 1.30pm. Lovelace – a film directed by Jeffery Friedman and Rob Epstein about porn icon Linda Lovelace whose film Deep Throat made her an instant celebrity. Amanda Seyfried plays Lovelace in this exploration in to the conflicted nature of sexual liberation in the ‘70s. Part Of MIFF, Greater Union, 7pm.

Penny Plain



Mein Kampf – the Australian premiere of George Tabori’s farce, a dizzying and demented play that blends multiple comic genres and humour both high and low. Directed by Beng Oh. La Mama Theatre, 8.30pm, to Sunday 25 August. Check Out How Great My Friends Are – a showcase of 25+ professional artists, hobbyists and debuting artists in a 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.


Penny Plain – a play from the master of marionettes, Ronnie Burkett. This is a dark apocalyptic comedy. Arts Centre, Fairfax Studio, 8pm, to Sunday 18 August. I Am Divine – this doco directed by Jeffrey Schwarz about Divine. Discovered by John Waters, Divine exploded on film and stage with supremely garish outfits and make-up: a radical entertainer working in the best of bad taste. Part Of MIFF, Greater Union, 9pm.

In A World

MIFF-TASTIC SURPRISES This year’s final batch of MIFF Surprise Screenings has been announced. One of them is Stuart Blumberg’s new film Thanks For Sharing. Blumberg is the writer behind The Kids Are All Right and this time he directs this seriocomedy that tackles sex addiction, with Mark Ruffalo, Gwyneth Paltrow and Pink in her feature film debut. In A World is Lake Bell’s absurdist comedy about voice-over artists. And last but not least, A Glimpse Inside The Mind Of Charles Swan III – written and directed by Roman Coppola – is about a graphic designer’s enviable life, which slides into despair when his girlfriend breaks up with him. It stars Charlie Sheen, Jason Schwartzman and Bill Murray. All Surprise Screenings start at 11am on Sunday 11 August. For more info, head to

FRIDAY 9 Stories I Want To Tell You In Person – a play written and performed by Lally Katz and directed by Anne Louise Sarks. It’s about fortune tellers to mystics to Mississippi evangelicals, all encountered on Katz’s quest to cure her curses. Malthouse Theatres, Beckett, 7pm, to Sunday 25 August. Prompter – a work of magic-political-(quasi-sciencefiction)-realism from Hydra Poesis. Written by Patrick Pittman and Sam Fox and directed by Sam Fox. This piece of performance art, theatre and dance has an online chorus streaming from the bedrooms of the internet. Arts House, 7.30pm, to Sunday 18 August.

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Hey! Yeah! It’s Molly’s Travelling Worm Show! – this play is enchanted and disturbed by childhood memories of road trips to ‘Big Things’, as your intrepid host Melita “Molly” Rowston goes on a fantastical journey into Worm Country. Written and performed by Melita Rowston and directed by Phillip Rouse. Part of the Helium Season, Malthouse Theatres, Tower, 8pm, to Saturday 24 August.


Woody – this stop motion animation film, directed by Stuart Bowan, has won Best Animated Short at the Seattle Film Festival this year, officially making it eligible for submission to the 2014 Academy Awards. Woody is about a man with wooden paddles for hands, who dreams of being a concert pianist. Part Of MIFF, Kino Cinema, 4pm. Happy As Larry – a contemporary dance work from choreographer Shaun Parker, all about dancing for the sheer joy of it. Gasworks Arts Park, 8pm. The Bloody Chamber – a play based on Angela Carter’s legendary story of the sinister Bluebeard

Stories I Want To Tell You In Person



UNITED BY FLAMES The last nine years have seen Dead Letter Circus slowly but surely smoulder into a full blown inferno of progressive rock glory. On the eve of the release of The Catalyst Fire, singer Kim Benzie details the journey to Lochlan Watt. Cover and feature pics by Kane Hibberd. e will be not be not guided/Held apart and counted/Kept within our spaces/ Alone /Some of us have broken free/ And we have chosen/ Bleeding but we’re conscious/Awake”.


The above lyrical excerpt from Alone Awake is representative of the greater vision expressed by Dead Letter Circus’ second full-length. Sat at a table in Gregory Park, Milton, it’s a remarkably sunny winter’s day in Brisbane. Raised in Perth but having lived in the Sunshine State for the last fifteen years, Benzie is casual all over, completely relaxed, and begins enthusiastically speaking of music, and not just his own band, well before the seated destination is reached and recorder switched on. “It’s like we’re all archaeologists in a way, all moving towards the same mountain, carving a little piece or finding the overall shape of music. I think we just got to the stage where all those points had met, and people were looking for the same thing,” he says of the band’s rising popularity amongst the more extreme end of heavy music fans – a fact quantified

by their relationship with US metal label Sumerian Records, as well as their previous and forthcoming overseas touring with such metal acts as Animals As Leaders and Monuments, with their style having subtly influenced their latest effort through sheer subconscious proximity.

an unfair system which might have seemed fair when they conceived it years ago,” he explains, pausing momentarily to take a sip of coffee. “The big companies hold [power] over the world, and that kind of thing. The Catalyst Fire is about that yearning for change that’s within everyone. It’s about an idea spreading like a fire – that spreading of change. Over the last couple of years, everyone’s become a little more aware of how the world actually works, and the mechanics of it all.”

a watertight rhythm section, the band effortlessly construct a deeply psychedelic and dynamic grid of blissful hyperspace noise over which some absolutely beautiful vocal melodies are applied.

A bell rings, and within seconds the park is filled with the jubilation of uniformed primary school students. Benzie continues as though the environment hasn’t changed at all.

“You can say that a lot of alternative rock and a lot of metal has been done now, so the quest for that thing that will stimulate your mind is a little bit harder,” he adds.

“All those films like The Matrix make sense to everyone, and so it’s that little quest. Every conversation you have, say it’s the first time you talk to someone about that, and you would take away that idea from me and give it to someone else. It’s a catalyst fire for change. That’s the basic concept of what’s going on throughout it – the thirst for change, burning from person to person, and snowballing from person to person to that moment where it actually does change.”

Although Dead Letter Circus performs as a five-piece, with original bassist Stewart Hill, guitarist Tom Skerlj, guitarist Clint Vincent and drummer Luke Williams, the latter two formerly of Melodyssey, Benzie explains in detail how and why the album came to be written and recorded with an extra guitarist.

It’s clear that the scope that Benzie’s consciousness embodies extends much further beyond the self. His world view is holistic, having transcended far beyond a “cellular” existence and “invisible walls” people typically build around themselves. Humanity is one, yet we do not have to follow the hive mind. He retains a polite acknowledgement of rules and borders, and despite a lack of overt preachiness his presence alone seems encouraging of respectfully usurping the status quo. “Everyone in the world right now, it’s pretty hard to not be awake to the mechanics of the way the world is, and the problems of the world, being the reserve bank,

The ethos he speaks of has even translated into the band’s business dealings. Back in 2010, Dead Letter Circus were catapulted to success by their debut album This Is The Warning, which under the banner of Warner Music Australia peaked at number two on the ARIA charts. Now in 2013, the release of The Catalyst Fire has been handled by UNFD – an independent label typically home to such metalcore acts as The Amity Affliction and Northlane. “Our contract expired with Warner, and we were just looking around,” he explains frankly. “We’d had offers from everyone around the country, because obviously it’s a successful business model. Something about going with a major label again, although the guys at Warner are awesome, it didn’t really feel like it fit us – a bunch of guys raging against the machine – then being part of a worldwide corporation making lots of money off musicians?” Benzie describes their experiences with UNFD so far as being “much more fair. It just feels like an even gift for what we give to them, for what they give to us. It’s not just Warner – any major label that still operates in the old format... it’s pretty brutal towards the musician. I never want to paint a bad picture of those guys, because they were really nice, but the actual company structure we didn’t vibe on.” Getting back to the music at hand, The Catalyst Fire stands to be hailed as an impossibly cohesive masterpiece of progressive rock. With three guitarists working as one conscious entity alongside

“On the actual CD we’ve listed six musicians as being in the band. At the very start of the record there’s a bit of a grey area where Robert [Maric, original guitarist] stopped writing for the band, and I’d started writing the songs I’d conceived with my friend Luke Palmer, who lives on the Gold Coast, and basically Luke possibly would have joined the band, but he was having a child. DLC is a style, one that has improved with the new album, and the actual style of the band is a style that can be interchanged between different guitarists. “About the same time that I was a


The concept of The Catalyst Fire runs through not just every moment of the music, but the album’s stunning art as well – the seed of which happened to be fertilised in the jungles of Amazon. “I actually met this amazing woman [Klara Soukalova] in the jungle. We were there on an Ayahuasca retreat, and she actually designed this tattoo of mine here. She’s this awesome shamanic artist that does these crazy, huge, intricate [pieces]; it basically looks like you’re looking at this code from an alien race. She drew me this tattoo, because she loved the message of the band, and if you live there and you’re a Westerner, then you’re there fighting for what’s going on in the Amazon. She gave us permission to use some of her symbology in her artwork, and so [with] our Australian artist Cameron Gray we spent about two months working with her just crafting this mandala, and we basically just wanted to create something that was a symbol for change, something that anyone from any walk of life could just stare into and have a bit of an experience looking at it.” Having previously themed an entire tour on the environmentally destructive issue of mining coal seam gas, or ‘fracking’ as it’s known, he reveals that the band soon plans to extend their environmental scope. “We really want to raise some awareness about the fight going on in the Amazon. The oil companies, the indigenous people and the actual river. That’s the heart of the earth. There’s more biodiversity in one hectare of the Amazon than there is in the whole of America. What’s going on there should be at the forefront of global consciousness, as they’re a more defenceless people as well. That’s what we’ll aim our sights on next.”

couple of songs in with this guy, Rob left the band and we had all these tours booked, and our tour manager said, ‘Well, I know the songs, I can pretty much play them now’, so he took his broken wrist out of a cast, jumped on a plane and basically two weeks later was playing in the States on South By South West, and he did the tour over there. By the time we came back, we’d just fallen in love with him being in the band. It fit, it worked. We got back and found ourselves in this unique situation where we kind of had a guitar team, in that we had three guitarists playing on the album as a family, as a unit.” Don’t expect to see them playing live with all six members anytime soon, however. “My initial thoughts were I don’t want to demystify the band or anything like that, by making it seem like there’s someone behind the scenes, but it’s actually a really nice story. He’s the only breadwinner for that family, so the state of the industry dictates that no one’s really making enough money for him to do it, but the musical chemistry is just so amazing.” Although Benzie confesses that no one in the band has had a real day job for the last eight years, their existence isn’t glamorous. He picks a spider he’s noticed off his interviewer’s shirt and explains the concept of the “kudos card”. “It’s like a credit card full of the compliments you might receive. What it’s good for – it’s good for drinks at the bar and occasional self-esteem boosting, like when you’re picking up the home brand spaghetti at the supermarket and someone comes up to you and says, ‘I fucking love your song’, and you’re like, ‘Thanks man! I’m rich! I’m fucking rich!’” “That’s one of the awesome things about being in this genre and writing this kind of music. It’s generally the soundtrack to the intensely emotional parts of your life. It’s very personable music, and it’s not preachy because it’s more of someone figuring it out for themselves, and I just put that into the song. I think that’s why people can connect with it. That’s probably the best thing about being in the band – it can happen anywhere.” “Deny it but know that we can end and nothing changes/Or decide it and hope that we ascend/ That we can shape at all the fire that comes/Or we pretend so we can hope it’s all just pictures in stone/It’s all been for progress/Will we see it fall down just like they dreamed it would?/Will we see it burn down to rise again?/We will see it fall down/Wake from this dream and know/ We must see it burn down to rise again”.

WHO: Dead Letter Circus WHAT: The Catalyst Fire (UNFD) WHEN & WHERE: Friday 30 August, The Wool Exchange, Geelong; Saturday 31, The Hi-Fi




THE MAD ONES Two EPs down, Glass Towers are preparing for the make or breakers: a debut album and a national tour. Natasha Lee chats with frontman Ben Hannam about his new life on the road.

f there was ever a writer prime for acting as a muse to young artists, it was and always will be Jack Kerouac, the Benzedrine-toting, booze-guzzling beatnik king, whose prose hurtled off the page, crashing into you like some kind of wild freight train. It was this ragtag expression of the world around him that infected Glass Towers’ affable and breathtakingly nice (like, who knew rock’n’roll could be so damn polite?) lead singer Ben Hannam, inspiring him to revisit his youth through music.


What’s your favourite decade in music? I don’t really have a favourite decade of music. I’ve been fortunate enough to be in many different shows with music from many different decades. I just love observing the ways in which music itself has evolved over time. Do you remember your first dance performance? No, it’s difficult to pinpoint my very first dance performance as I started dancing when I was four. But I remember my first dance job and that was with Riverdance in Germany. I was instantly hooked to the entertainment industry! What’s your favorite style of dance? Tap/Irish fusion. It combines both of my dance passions and is just so unique to everyone else but me. It’s where I feel the most free. WHAT: Hot Shoe Shuffle WHEN & WHERE: Friday 9 August to Sunday 1 September, Her Majesty’s Theatre


“Kerouac was my inspiration, his halcyon days… my halcyon days,” says Hannam. Aptly titled Halcyon Days, the album is the band’s first, following on from their EPs What We Were, When We Were (2011) and Collarbone Jungle (2012), and according to Hannam, provides a much more “lush and layered” visceral experience. “Yeah,” he begins, “that was definitely a conscious decision… definitely something I wanted to do. I’ve always liked records that were lush and layered, you know? I guess that’s just part of my thinking. I mean, why record a lo-fi record in the studio? Why, when you can make it sound so much better?” Hannam, however, credits 24-year-old wunderkind/ producer Jean-Paul Fung (Bluejuice, Birds Of Tokyo, Silverchair) as being the mastermind behind Halcyon Days’ dream-pop, ‘80s sound. “Most of the songs we took into the studio were already so old,” laughs Hannam. “They were like our babies. It was really hard having to work on them when you already love them so much. We worked with Wayne Connelly on our first EP and he was more concerned with making the EP sound beautiful, while JP [Jean-Paul Fung] took a more hands-on role. We’d be in the studio and JP would tell us, ‘You can make this sound so much better by doing this.’ He’s a genius.” Hannam adds that Fung wasn’t scared to bring out the axe and chop, chop, chop and change away at will. “Yeah, I mean… the songs were already written and they didn’t change too much from the demos, but certain changes were made,” he laughs. “Like, Halcyon was originally seven minutes, but JP cut it down to three.”

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


However, despite receiving the Fung’s magic touch, Hannam still felt the album’s closer, Foreign Time, which Hannam also admitted as being his favourite track because, “it sounds different to the rest of the album”, required a little marginal tweaking, leading him to – where else? – but the backyard of producer John Castle’s parent’s place. “That’s where his studio is!” Hannam laughs again. “Foreign Time is a lot more of a piano ballady-type song and the funny thing was, I just wasn’t happy with the way the piano was sounding. So, I went down to Melbourne to John’s studio and his way of working is just really cool. We bought, like, two bottles of rum and he smokes like a chimney. Anyway, we ended up getting the sound


Sydney-based indie rockers Marlow launched their debut EP through MGM last week, just in time to kick off The Seven Tour up and down the East Coast. The four-piece took the crowd-funding route in order to fund the EP, meeting their initial fundraising target in less than ten days and then exceeding it by another 50%. Seven has already spawned two singles, but their third, Maybe In Time, is considered by vocalist Blake Galera-Hollis to be “the shining beacon of this EP”. We’ve got two double passes to their show at the Empress next Saturday 17 August plus two copies of the EP (for collection at the merch desk on the night) to give away.

Slow Focus ATP Recordings

CUB SCOUTS Paradise EP Independent

ave Dictor’s got a set of balls on him. It’d be one thing to start a band called Millions Of Dead Cops in today’s ‘impossible to shock’ musical environment. But doing this in 1981 – in Texas – and in the middle of Ronald Reagan’s conservative revolution? As I said – dude’s got balls. “Yeah, we pissed a whole lot of people off,” admits Dictor, down a very dodgy phone line somewhere from the backwoods of Texas. “At the same time it was also very exciting because so many of us were restless and exploding inside. All these bands, Black Flag, Minor Threat, Dead Kennedys, Agnostic Front, D.O.A., us, Circle Jerks – so many others – were doing our thing because nothing around us in popular culture interested us. What we were doing was new and nobody quite got it – the music press ignored us and tried to keep that whole dinosaur, stadium rock thing going, but the hardcore movement just kept growing and growing. A lot us thought that something wasn’t right in America at the time and we reacted against it in the only way we knew how. “As for people hating the band because of its name – well just as we pissed them off, they pissed us off,” continues

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“Most of the album is about the age bracket when nothing matters and life revolved around going to school and going to dinner parties and being free. I want people to feel they are invited back.” As it turned out, the trip down memory lane proved to be not only a creative juggernaut for the band, but also something of a bonding session. “I think that now, as a band, we’re closer. I mean, we’ve been friends since primary school. We started writing our first demos back then as well – I was in music classes with the guys [Sam Speck – guitar, Cameron Holdstock – bass, Daniel Muszynski – drums], so it made sense really to start a band.” And in 2008 they did just that, mainly thanks to Hannam’s drive. The next year, after having only played a handful of gigs, the group was parachuted into the festival sphere, performing at Splendour In The Grass, before becoming triple j stalwarts and cementing their steady rise. Along the way, they managed to hone their live wares, playing second fiddle to the likes of Dappled Cities, Neil Finn’s Pajama Club and most recently The Kooks. “They were really nice guys, really down to earth,” gushes Hannam of the latter. “At the first show we did with them in Melbourne, we were packing our stuff and Luke

Hamman adds that the transition from carefree teen into adulthood has single-handedly provided him with enough inspiration and material to keep churning out songs for some time to come. “I mean, the funny thing is now that I’m twenty-one, there are certain things that I look back at and think I maybe would’ve changed and made better, but if I do that in my songs then I would be changing what I experienced and I don’t wanna do that.” The honest commitment to experience was borne out of Hannam’s love for author Jack Kerouac, whom he says helped weave a kind of creative curiosity in him. “Basically that’s where the album title came from. Kerouac was talking about his halcyon days – especially in On The Road – and when I was sixteen or seventeen that’s who I read; that’s who I was into. Every time I went out to house parties I would come home and scrawl down things that happened there, you know, just meeting people and the event. Like, for instance, say I was at a house party and met a real character – someone random and cool – I’d come home and write stuff about them. I would always just scrawl down every tale I knew. So all the songs are based on people I know.” WHO: Glass Towers WHAT: Halcyon Days (HUB/Inertia) WHEN & WHERE: Saturday 17 August, The Toff in Town



Wrongdoers Razor & Tie/Shock Records

The creative basis for Halcyon Days was born out of those “peaceful, happy, free and lush” memories of being a teenager, Hannam revealing that he’s grateful to have the added benefit of hindsight when writing and revising his recollections of a time long passed. “Basically it’s an invitation back to our teenage years – my own halcyon days – when everything was idyllic and peaceful,” explains Hannam, who at 21, is only a few whiskers short of carrying the title of a ‘teen’ himself.

[Pritchard, Kooks lead singer] invited us to hang out. He saw us there and was just, like, ‘Hey guys, come have some drinks.’ Then, when we went to the UK to play at The Great Escape [earlier this year] they called us up, just out of the blue – like they weren’t even performing there – and asked if we wanted to hang out. You meet so many big industry names, so it’s nice to know that there are some regular guys around.”

Want a guaranteed way to piss people off? Try naming your band Millions Of Dead Cops (MDC for short). On the eve of their first ever Australian tour, Mark Hebblewhite chats with hardcore mastermind Dave Dictor to talk punk rock survival and Reagan’s America.



we wanted – but again, JP really was the genius behind even that… He put thumb tacks on the piano and ended up getting this really earthy Matt And Kim-like sound.”

Dictor. “Down south in our neck of the woods you still had the Ku-Klux Clan who were viciously attacking Mexican farm workers and black churches. Basically they did what they wanted because they were aligned with the police – you’d even see them hanging out together. And of course the police at that time would often break up hardcore shows and just start beating people up for no reason. We were originally called The Stains but then we found out there was a band in Los Angeles with the same name – so we had to change it. Choosing a new name was a no brainer when you considered how the police of the time behaved.” Unlike many of their contemporaries, MDC survived the ravages of time and have been an ongoing concern for 30 years. In 2006 the band got a real boost in the arm when the documentary American Hardcore was released and generated a renewed interest into the genre’s roots. “That movie really helped us,” admits Dictor. “When I was asked to be involved I said ‘cool’ and did some interviews and thought nothing of it. Then the next minute we’d be in the middle of New Mexico or something filling up the van and people would come over and say ‘Hey are you Dave Dictor from that movie?” he laughs – “unbelievable.”

That MDC are finally getting the chance to tour Australia is exciting for fans and the band alike. Dictor promises that although the band are now considered veterans, that collectively, they still have a hunger for hardcore. “We’re going to play our arses off for you – I can tell you that,” he says. “We’ve been wanting to come to Australia for so long and we’re really looking forward to playing the shows. Obviously we’ll be playing a lot of the early material – people seem to like that – but overall it’ll be something old, something new, something borrowed, something blue. This band has lots of individual ‘eras’ and we want to show people a little bit of each one so they know what MDC is all about.” WHO: MDC WHEN & WHERE: Thursday 15 July, Corner Hotel



TROUBLING TIMES The Trouble With Templeton’s Thomas Calder was already a critically acclaimed, albeit burgeoning muso when he decided to shake up his entire music make-up. He tells Natasha Lee why, and how he’s made it work.

ands usually like to subtract. You know the deal. Three schoolmates dropping beats turns into two once success looms. A ring-in is added. Creative differences are touted. Stress is blamed. It all falls apart, and the next E! True Hollywood Story is born.


Rarely do bands add. An extra bassist? Another guitarist… wait, the original is still with the band? What? Then again, it kind of makes sense when a band goes from a one-man outfit to a fivepiece. It all began back in 2011, when Brisbane singer/songwriter Thomas Calder started crafting songs in his home studio, and in just over two weeks recorded his mini-album, Bleeders, under the moniker of The Trouble With Templeton. And then BOOM. Unforseen but deserved critical acclaim followed, forcing Calder to take stock of his lonely boy situation and pull together a band. Enter Hugh Middleton (guitar), Betty Yeowart (keyboards), Sam Pankhurst (bass) and Ritchie Daniell (drums).

The band will be riding high on the coattails of Rookie’s release in embarking on a tour that Calder promises will showcase their sound in a completely different light: “I think we’re a lot more rowdy… wait, no, a lot more energetic than people expect us to be,” he laughs. “We really get into it. WHO: The Trouble With Templeton WHAT: Rookie (MGM) WHEN & WHERE: Friday 16 August, Northcote Social Club; Thursday 22, The Workers Club

“I think part of the reason I did Bleeders on my own, was because I hadn’t really met the right people,” explains Calder. It turned out to be the best decision Calder had ever made. The first offering from the new outfit was the eerie Six Months In A Cast, which nabbed the group third place in the International Songwriting Competition’s ‘Rock’ category. “I know what I want in a song,” stresses Calder, “and I’m not necessarily democratic about my music. Not in like an arrogant way. It’s just… it’s about me wanting to express what I do best, and I think that up until Bleeders I hadn’t really met anyone that I trusted, or liked what they did enough to hand my songs over to them.” As it happens, Calder found that in his new band members, who, he admits, have even given him a much craved for musical freedom that he couldn’t entertain before. “I feel a lot freer when I write songs now. With Bleeders… I kind of made one sort of album and obviously being myself I know that’s not the only type of music that I make. But people didn’t know that, and so the album was quickly kind of lumped into a ‘folk’-sounding kind of category, and I had never considered the music folk in any way, but that’s great that some people did. But with this album, I thought having already established that kind of genre and showing off that side of my music – I don’t really need to worry about how people categorise it.” The final fruits of their collective labour is Rookie – The Trouble With Templeton’s first studio album as a ‘complete’ outfit. And for all his undemocratic musings, Calder was decidedly remarkably democratic when it came to recording the album: “I don’t think there has ever been a moment in the history of the band where I or anyone else didn’t like what the band was doing. It becomes like, an extension of yourself… but a better extension of yourself, one that is much more talented than you.” Hardly. The band were helped along by producer Matt Redlich, who’s also worked with the likes of Hungry Kids Of Hungary, Ball Park Music and the ethereal Emma Louise. “It’s that thing that I was talking about before,” begins Calder, “I’m very cautious about letting go of control with my music – but it’s really easy when you’re working with someone who you know is on the same page.” Redlich’s fingerprints are all over Rookie. From the echoed, bleeding guitars on the triple j favourite, You Are New, to Like A Kid’s rambunctious yelling – all topped off with a scrappy, luscious acoustic sound. “Rookie is a lot bigger and a lot more expansive than Bleeders. It’s more what I had originally wanted to do with my sound. This time, I’ve also got a lot more to listen to and to get lost in because I didn’t play every instrument. I think now the sound is just a lot more experimental, and a lot more daring,” Calder suggests before stopping short and correcting himself. “Not that Bleeders wasn’t daring. What I mean is… that was never the main point of the record. I think now we’re just a lot more in your face and confidant. “Wow,” he continues, “I feel like I’m gonna come across really arrogant in this interview, but that’s ok. I’m just really passionate about my music, and I’m really proud of this one [Rookie].” And it seems he’s not the only one. The first single off the album, Six Months In A Cast, nabbed the iTunes Single of the Week in Australia and NZ on its release in September last year, and climbed to #4 on the Independent Radio Chart. The album’s second offering, Like A Kid, is racking up some considerable airplay on triple j, not to mention scoring a heap of praise from reviewers, including Drum’s Lorin Reid, who called it “seriously addictive”. Their latest single, You Are New, is a cacophony of subtle, symphonic notes paired with Calder’s rousing vocals. But for Calder, picking a favourite is akin to the Judgement Of Solomon: “They’re all my babies. I love them all equally,” he stresses, before a little, subtle nagging sees him confess a particular fondness for the slowed-down sorrow of Flowers In Bloom. With so much praise so early, Calder could be forgiven for feeling the pressure ahead of Rookie’s release on August 2. Not so, he insists: “Yeah, no. I don’t really worry about stuff like that. Of course we always really appreciate when people like our stuff, but it definitely doesn’t affect the way we make our music. I only ever feel pressured to be true to ourselves and to do what we want to do, and I think that’s a big part of why people respect and like the band, because we’re not trying to be like anyone or anything else.”

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BLOKES’ BLOKES Drunk, ugly and musically challenged, Cosmic Psychos are a band that should’ve never made it anywhere. Samson McDougall chats with filmmaker Matt Weston about his Psychos documentary Blokes You Can Trust, and with Psychos mainstay Ross Knight about the band’s unlikely successes.



osmic Psycho Ross Knight has no problems calling a spade a spade. “Here’s three ugly-lookin’ blokes, y’know, tourin’ the world, playing in all these wonderful cities, dining at all these wonderful restaurants, meetin’ all these famous people and in the back of your head you’re goin’, I’m thinkin’ to myself, I’m goin’, ‘I’m a fuckin’ farmer!’” he says at the opening of Matt Weston’s Cosmic Psychos documentary Blokes You Can Trust. This basically forms a mantra for the film.


“If you receive an email with a link to the new James Blunt single, don’t click on it. It’s a link to the new James Blunt single!” Thanks for the heads up Mikey Guitar! @MikeyMutineer


Cosmic Psychos were the unmarketable Australian cousin of the fuzzed-out guitar bands that burst out of the ‘States in the late ‘80s. “We were fuckin’ ugly, there was no way... I mean Robbie [Watts] looked like one of the bloody Marx Brothers, Bill [Walsh] was just a bald fuckin’ midget and I was just runnin’ around with a mullet, with a head like a robber’s dog,” continues Knight, later in the film. In spite of this lack of economic potential, or, more likely, because of it, the Psychos’ integrity was never brought into question. Filmmaker Matt Weston had never paid the Psychos much attention in his youth. At the initial suggestion, the concept of shooting a documentary on the band seemed pointless. That was until Weston met Knight. “It would be tricky to fuck up a documentary with someone who can tell such a great story,” Weston says. “I sorta rolled my eyes at [the documentary idea] initially. I’d seen a bunch of music documentaries that I’d found to be quite disappointing because, I think, a band’s general life isn’t that interesting, unless you kinda get into, you know, the craziness of the Ramones or those kinda things. There’s not that many bands that have that much of an interesting story.” Brought up, and still residing, on a farm at Spring Plains near Mia Mia in country Victoria, Knight’s punkrock origins hardly mirrored those of most of his US contemporaries. It was a far cry from the mean streets of 1980s Washington DC or Seattle, but Knight, like any teenager, found plenty to rage against. “When you’re stuck out on the farm and you’re 25 miles away from


I really like June Gloom by a band called Big Deal. It’s got some great grungy tracks, especially the last song on the album, Close Your Eyes – it’s an amazing love song with a killer guitar.

Knight becomes the unlikely hero of this documentary, thereby lifting what might have been your stockstandard talking-head and grainy-footage mosaic band history into more of a character study of the endangered classic Aussie larrikin. Underneath the hardened flesh and bones of this man beats an enormous heart and behind the hardened cranial ridge sits a curious mind grappling through oldschool ideals to make sense of a wild world.

20 • For more interviews go to

In Knight, Weston found a willing, open and reliable storyteller. Knight makes no bones about his personal circumstances during the period of filmmaking – he’s in the midst of divorce proceedings and is faced with the threat of losing his farm. He speaks openly about the addiction and death of his mate and fellow Psycho Robbie “Rocket” Watts. He speaks of his past relationships, his children and the challenges associated with bringing up a teenager with cerebral palsy. Through these stories, and often almost accidentally, Weston uncovers much humour. Knight describes his forays into the New York S&M underworld in the 1990s. We discover, in Knight’s typical understated fashion, that he’s a champion weightlifter – a fact Weston only uncovered late in the filmmaking process. “[It was] just a throwaway comment: ‘I can’t do an interview this weekend, I forgot I’m in the Victorian championships’,” says Weston. “And I’m like, ‘I’m doin’ a fuckin doco on you, why didn’t you tell me that?’ And he’s like, ‘I didn’t know you wanted to know’.” Knight’s grounding in the bush sets him apart from the rest of the punk rock world in terms of upbringing and ideals, but the setting also had a huge influence on the Psychos’ signature sound. In the film, Buzz Osborne of Melvins describes this sound as: “... like late-‘70s punk rock, played through a stereo inside of a muffler of a car dragging down the freeway – that’s what they sound like.” Knight maintains that they had no idea what they were doing musically; it was really just making music for the sake of scoring free beer. The calibre of the talking heads enlisted by Weston suggests a much higher perception of

the band in the wider music world. Osborne, producer Butch Vig, members past and present of Mudhoney, Eddie Vedder, Donita Sparks of L7, The Hard-Ons’ Ray Ahn and so on speak with reverence of this Australian curiosity. The Psychos left an indelible mark on the world of rock’n’roll and they made a shitload of friends. “We’ve bumbled and fumbled our way around and I think people enjoyed us being around because we’re fuckin’ twits, y’know,” says Knight. “We’re not musos, we’re idiots; so maybe we took the edge off a lot of the seriousness of it. It’s not like we try to be clowns, we just are... “This could all be over tomorrow, so we may as well make the most of it and be respectful. We treat everyone the same; I don’t care if you’re the bloke bringing the beer into the dressing room or you’re bangin’ on the door of the biggest rockstar in the world. It doesn’t matter ‘cause at the end of the day everyone’s a bloke or a sheila and you’re either a good bloke or a good sheila or you’re not. We’ve been lucky enough to meet a lot of good people.” It’s ultimately these friendships that shine. A twocase drinking session ensued when Weston finally locked down original Mudhoney bassist Matt Lukin and Vedder for an interview in Seattle – the interview footage ends with both parties carrying 50 cent pieces in their butt cracks in tribute to a party trick they learned from the Psychos. “Most of the people were just like, ‘I’d love to get involved’,” says Weston. “I was getting emails back within an hour... Sitting down with Ross, as far as he’s concerned they’re just beer-drinking mates. It seems that they have the same reaction to him, they just consider him an absolute champion of a bloke to hang out with.” WHO: Cosmic Psychos WHEN & WHERE: Friday 9 August, The Hi-Fi Blokes You Can Trust opens Thursday 8 August, exclusive to Cinema Nova

THE REAL UNDERBELLY Five months after its release, Russell Morris finally scored his first top ten hit album, his first in a 41-year career. He talks to Michael Smith about Sharkmouth.

n July last year, veteran popster Russell Morris released a new album, Sharkmouth, based on stories from Australia’s Depression years and some of their colourful characters, like boxer Les Darcy, “gangsters” of the 1920s and ‘30s like Squizzy Taylor and, from the ‘40s, Mr Eternity, Arthur Stace – as well as that horse, Phar Lap. Guest performers included Mark Lizotte aka Diesel, Renee Geyer, keyboards player James Black, country artist Troy Cassar-Daley and blues rocker Chris Wilson. The album became Morris’ first to make it into the ARIA top ten, hitting tenth spot in April 2013. The delicious irony for Russell was that he’d originally presented the album to the major labels extant at the time and been rejected.


“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living. It’s a way of looking at life through the wrong end of a telescope, which is what I do, and that enables you to laugh at life’s realities.” Dr Seuss

your girlfriend and you wanna go see ya girlfriend on the weekend, you have to ride your pushbike to see her, [but] by the time you’re in there you’re stuffed,” he says. “You’re just so far away from everything and then these bands come along singing about ‘no future’ and I’m 15-16 years old and I’m going through the change of life, you might say. So everything’s bad, everything’s fucked... I could sit out here feelin’ sorry for meself for a couple of years, it was great.”

“I originally did four tracks – Blackdog Blues, Ballad Of Les Darcy, the song about Phar Lap, Big Red and Sharkmouth – and I thought I’d see if anyone was interested, and we did the rounds and went to all the record companies, and all of them said no. So I thought, ‘Damn it, I don’t care. I really like the project myself so I’ll do something that I really want to do’. So I finished it and thought, ‘Gee, this is good’, so we tried it again. So we went back to them again and this time offered

not only the album but also the publishing on the album and my old publishing, on songs like Wings Of An Eagle and Sweet Sweet Love. And they still said no! I thought, ‘Oh well, it doesn’t matter. This is the state of my career these days’. I’ve been around, and you sort of become like an old pair of slippers that people are not unkind to – people really like the old pair of slippers – but they don’t want to wear them so much. So I thought I’d do it myself, enjoy doing it and sell them at gigs and make some money back. Then [former MD at Warner Music Australia] Robert Rigby, from Ambition [Entertainment/ Records], was presented it through a friend of mine, and he said he’d like to take it. We’d already pressed 500 to sell at shows, which he said we could keep for that and he’d take it on from there. Totally unexpected.” It had been five years since Morris had released his last album, Jumpstart Diary, in 2008, which had, in his words, “been received with a collective yawn” despite it also being the year he was inducted into the ARIA Hall of Fame, and that had been his first album of new songs since 1991. Morris seemed to have accepted the fact that his recording career was probably over, though he was still writing songs that perhaps someone from

The X-Factor or The Voice might choose to record, and got on with his solid round of gigs, whether solo, with Jim Keays and the late Darryl Cotton, or Brian Cadd. Sharkmouth itself began with a striking photograph of a Sydney “identity”. “I thought I’d like to do a blues album,” he admits. “I’d written three songs and wasn’t quite sure where I was heading with it, and then one of those fortuitous things happened. I was up in Sydney looking at the colour supplement in the paper and there was a photo of Thomas Archer, which is the front cover of the album. It almost jumped off the page and grabbed me. I took it back to Melbourne and kept looking at it and thought, ‘I want to write a song about this guy’.” WHO: Russell Morris WHAT: Sharkmouth (Fanfare/EMI) WHEN & WHERE: Saturday 17 August, Montmorency Footy Club; Tuesday 20, Corner Hotel; Friday 22 November, Queenscliff Music Festival, Bellarine Peninsula



NEW ORDER Holy Ghost! did it – and now Classixx have metamorphosed from a DJ combo into a live act. Already this year Tyler Blake and Michael David have unveiled their debut, Hanging Gardens, a paean to disco Balearica with some Californian sun. And they’ll be performing songs from it at Listen Out, the successor to Parklife. Cyclone has a chat with the duo.

anging Gardens, out locally through Future Classic, has been a long time coming, Classixx discussing the project three years ago. There’s even a celebratory new single, All You’re Waiting For, featuring DFA Records affiliate Nancy Whang. Switch has remixed it. Tyler describes its release as not merely an achievement, but also “a big relief”. “It took us forever to make it. I think, when we started, we both expected to finish it a lot sooner than it took.” But, then, few artists wrap an album in the timeframe they predict – aside from Rihanna, who outsources the production. Blake and David were childhood friends, attending the same suburban high school in Los Angeles and gigging in teenage bands (though David originates from Johannesburg). Later, Blake, a pianist, headed off to study at Boston’s prestigious Berklee School of Music, but dropped out. David played guitar in a ‘serious’ band. Along the way, they’d both embrace (indie) dance music – and the turntables. When Classixx began DJing nu-disco around 2006, initially under the handle Young Americans, they struggled to score gigs in LA. “At first nobody wanted to book us!,” Blake says. However, as blog faves, they’d soon jet off to New York, Canada and Australia, punters singing along to their remixes. Classixx issued an eponymous EP on DJ Dan’s In Stereo as early as 2008. Their breakthrough hit was 2009’s I’ll Get You, performed by former Junior Senior frontman Jeppe Laursen, on Kitsuné. Classixx have since produced Mayer Hawthorne’s No Strings (off How Do You Do) and remixed pop acts – among them Groove Armada, Ladyhawke and Lana Del Rey (the ace Blue Velvet). Yet Blake nominates their take on Versailles alt-rockers Phoenix’s Lisztomania as his pick. “The Phoenix [remix] is the one that’s been the most important for us, just because, first of all, for us personally Phoenix has been one of our favourite bands,” he says. “We both discovered Phoenix when we were in high school, when we were 15-years-old – before they were really even a popular band. I remember they had this song on this old Astralwerks compilation and Mike and I discovered it together. They were one of our favourite bands in the world for five years before we even got asked to do that remix. So, when we got asked to do it, we thought it was the coolest thing of all time.” Classixx still play their Lisztomania in DJ sets. Growing up, Blake and David cherished LPs – and so they were determined that Classixx cut one. “We had the idea for a long time of making a record because we’ve always been into the idea of the album format – even though it’s kind of fading in dance music.” Nevertheless, the process was daunting. “At first it was hard because we were touring – ‘cause we’d quit our jobs,” Blake explains. “So we had to tour to be able to make a living, which made it hard to find the time to actually finish the songs.” Eventually Classixx pulled back on DJing. But they then had to schedule in their guest vocalists: Whang, Active Child (whose own Hanging On Ellie Goulding covered on Halcyon), Superhumanoids’ Sarah Chernoff, and Kisses’ Jesse Kivel. As such, some of the Hanging Gardens material dates back a couple of years. “We made a lot of songs and then ditched a lot of ‘em, because we didn’t feel like they would hold up,” Blake admits. “One of the main things of finishing the album is that we wanted to feel like every song on it was something that we wouldn’t be embarrassed by or kinda regret including sometime in the future.” Luckily, Classixx are “in sync” in the studio, being old friends. The pair second guess each other. They share the same reference points and so, if one suggests “a New Order drum fill” for a track, the other immediately gets it. “It’s not only that we both like that music, but we discovered that music in the same room with headphones plugged into a stereo together,” Blake says. Hanging Gardens has been well reviewed, receiving praise from Pitchfork (whose writer compared the first single, Holding On, to Discovery-era Daft Punk) and glowing posts on Amazon. Not that Blake sets out to read feedback. “You try not to look at it that much, ‘cause it can be discouraging if it’s bad. We’re both sensitive guys. I think if I did see something [negative], it would maybe bum me out. But people definitely send me stuff that they see – like my mom is very in touch with music and music journalism and she sends me nice reviews and that feels good.” Today Classixx’s LA hometown is America’s EDM hotspot but, perhaps understandably, Blake doesn’t consider them part of that phenomenon. “It’s weird because the whole EDM thing, it’s dance music and it’s electronic, but a lot of it feels just as far away from our music as hard rock does, or rap music does, ‘cause it’s very different. I mean, it’s cool in the way that years ago, when we first started DJing, anything that was dance music-related at all, that wasn’t hip hop, you kind of were turned off by it. Now people are really open to electronic music – which I think is good just for anybody making electronic music... But we don’t feel super-connected to that. I don’t feel that in touch with the current state of mainstream EDM or dance culture in general.” If anything, Classixx belong to an EDM counterculture. “It’s not like we strive to be the alternative to it. I just think naturally that’s where our interests lie. I know from hearing people and people tweeting at us that people do say that – and that’s cool. I’m into that, if that’s what we are.” “Ironically”, Blake says, Classixx are now popular in LA. Mind, they play out only occasionally, so as to keep it “special”. Classixx, in Oz last summer to DJ during the Sydney Festival, are anticipating Listen Out. “We’re gonna be playing live, which we’ve never done in Australia,” says Blake, on synths with David. Blake is chuffed to be billed alongside “hyper-relevant artists” like Disclosure and the flamboyant femcee Azealia Banks, hoping to hang out with them. Of course, Classixx are anxious to stay on Ms Banks’ good side after she dissed The Stone Roses on Twitter for a poorly timed soundcheck at Future Music Festival. “I think we’re way too polite to get in a Twitter argument with her!,” Blake laughs. “We’d be really scared and overly polite.” Classixx are big fans of Australian music. They count Cut Copy as


pals and recently toured North America with The Presets. But they’re also familiar with ‘80s rockers Midnight Oil. Should Peter Garrett be at a loose end now he’s quit politics, Classixx are up for a collab. “Man,” Blake enthuses, “that’d be amazing!” WHO: Classixx WHAT: Hanging Gardens (Future Classic/Innovative Leisure) WHEN & WHERE: Listen Out, Saturday 5 October, Observatory Precinct, Royal Botanic Gardens

For more interviews go to • 21




Shapeshifter have always been more than a drum’n’bass act. With new album Delta, they’ve proven it. Matt O’Neill speaks to bassist/producer Nick Robinson about the band’s transformation.

So You Think You Can Dance

LISTENING TO 1-800-Dinosaur

GOING TO Melbourne Festival 2013 Program Launch

CHECKING OUT Boney opening drinks

WATCHING So You Think You Can Dance US Season 10

READING The (mostly positive) comments under theMusic. news piece announcing four SPA titles uniting under The Music masthead

EATING Mum’s lasagne



How did you get the idea for 10 Minute Dance Party? During Falls Festival, I stumbled upon a small room with a huge line of people. After an agonising 30-minute wait I was greeted by a small blow-up tent with music pumping. Little did I know I was about to embark on the full throttle experience that is 10 Minute Dance Parties. The high stake, almost hallucinogenic experience of cramming a whole night of debauched partying into a neat ten minutes is a crazy ride that I knew I had to share with as many people as I could. What are you most looking forward to at Container Festival? The atmosphere of buzzing artists, the culture of informed discussion and the sharing of creative practise.


hroughout Shapeshifter’s storied career, there’s often been suggestions of a much broader musical tapestry. Their typical output has hardly been monotonous. A highly influential blend of modern soul, drum’n’bass and dub-reggae, Shapeshifter’s pioneering template has been embraced the world over – recent UK crossovers Rudimental but one of many examples of their disciples. Still, there have always been hints of something weirder.


From the outset, they’ve shown a proclivity for genrehopping. Their founding membership comprised graduates of metal bands, jazz schools and dub-reggae outfits and their output has reflected it. Debut album Real Time (2001) had borderline-jazz cuts like Inertia. Soulstice (2006) boasted experiments in hip hop (Southern Lights) and rave (Electric Dream). Shapeshifter Live (2007) was a full-fledged orchestral collaboration. “I think when we started we probably wanted to play a bit of modern music and just do gigs, really. Gigs in a couple of different places. It’s always been a very gradual thing for us. Doing whatever worked best for us at the time,” bassist, keyboardist and producer Nick Robinson says. “All we really wanted to do when we started was play around Auckland and, maybe, as a distant dream, one day make it over to Australia.” With new album Delta, they appear to have finally brought that broader tapestry into the foreground. The band’s fifth studio album ditches the distilled and immediate live band approach of 2009’s The System Is A Vampire in pursuit of rampant neon eclecticism. Wild electric guitar leads crash into dubstep breaks, new wave melodies bounce into electro bass drops and drum’n’bass becomes a mere component of a much larger machine. “At the moment, it’s probably the sound of the new Shapeshifter,” Robinson says, before laughing. “But, looking back at the last five albums, they’ve all been quite different. So, if I was a betting man, I’d bet that the next album will be as different again. There’s always a similar identity under everything, though. I just think it’s good to grow and challenge yourself and challenge your audience.” It’s an incredibly controversial move for the band. One of the most well-regarded drum’n’bass acts in the world, Shapeshifter’s latest evolution follows what is commonly regarded as their definitive album. Recorded with strictly live instrumentation, The System Is A Vampire marked Shapeshifter’s only successful attempt to date at marrying their sleek drum’n’bass production with their unstoppable live show. It coincided with some of their greatest successes. The album was shortlisted for the inaugural Taite Music Prize in 2010 and led to sell-out tours around their

native New Zealand. Most significantly, it saw the band signed to UK’s prestigious drum’n’bass label Hospital Records – winner of the Best Label title at 2011’s Drum and Bass Arena Awards. Robinson is still shocked. “It was definitely a massive pat on the back. We’ve always been fans of Hospital. We went over there and did a couple of gigs with Hospital line-ups, like Netsky and Danny Byrd. People who, you know, I love their music. We’ve listened to their music forever,” the bassist enthuses. “It was definitely an amazing development for the band and we were very honoured to have been signed.

releasing via their Truetone Recordings imprint in New Zealand (and varying labels abroad). “Oh, there was no animosity with Hospital,” Robinson clarifies. “There was very clear communication throughout. Hospital are a label with a very particular style of music and that’s why people like them. They know that. So, when we were writing, they thought some of it worked for them and some of it didn’t. They told us that it’d have to be Hospital. And we just kind of went – ‘well, that’s the album, for better or worse’. It was all very clear.”

“You know, I’m still surprised we have such an international following,” Robinson says candidly. “I mean, we’ve played quite a few places around the world where we didn’t grab more than 20 people – but then we play somewhere like the Czech Republic and just pack out the place with people singing along. We thought there were just a lot of backpackers, but then we realised they couldn’t speak any English.”

“There was never any trepidation about releasing the album, though. You know, we released Diamond Trade, which was one of the lead singles, and, you go on YouTube and there’s all these negative comments. I was like ‘wow, that’s kind of... good’,” he laughs. “When the album dropped, I went online to have a look at what people were saying and there were a lot of people complimenting us on just having the guts to put it out.”

Delta sounds nothing like The System Is A Vampire. In a way, it seems like a very strong reaction to it. Whereas System was the product of a strictly limited sonic palette, Delta was designed to be limitless in its potential sounds. The only ruling was that the album wouldn’t necessarily feature live drums – Delta becoming the only Shapeshifter album to date to not include one of their most celebrated stylistic trademarks.

Robinson remains philosophical throughout. It’s unsurprising, really. Having foreshadowed such a massive change for the majority of their career, Shapeshifter are amply prepared to deal with backlash. They’ve had it for every release they’ve delivered since their debut. Whether it be for implementing guitars or even just adding a vocalist to the fray, they’ve been criticised for it – but still they maintain.

“It wasn’t intended to be a really experimental album. It just kind of came out like that,” Robinson says. “You know, whenever we get together to make an album, we stockpile a lot of tunes and try to work on them all. The ones we like tend to come to the top. From there, we try and piece the album together. It tends to get difficult if we try and guide the process too much. It works best when it’s just a breakdown of what we like.”

“Like I said, I think it’s a good thing to grow and experiment as an artist,” Robinson says. “You know, if you look at all of our favourite artists, they’ve always grown and explored new ideas with every release. They always sound like a bit of a different band with each album. I think it’s great if we can challenge ourselves and challenge our audience with our albums. It’s something that’s really important to us as a band.”

It’s been a polarising release for the band. Some fans have embraced the changes, others have been highly critical. The band’s Facebook profile is rife with strongly worded opinions from both sides of the equation. Shapeshifter’s recent affiliates at Hospital Records, meanwhile, actually opted not to release the album at all – the band once again independently

WHO: Shapeshifter WHAT: Delta (Ministry Of Sound/Universal) WHEN & WHERE: Friday 16 August, Billboard The Venue

WHAT: The Container Festival – 10 Minute Dance Party WHEN & WHERE: Friday 2 to Tuesday 20 August, Monash Uni Student Theatre


What are the key ingredients for a good party? Loud music, sweat and furious dancing.


DARING IS CARING When actor Samuel Johnson found out his sister Connie had breast cancer, he stood up (or rather, sat down) and did something about it. He chats to Matt Ziccone about his charitable foundation Love Your Sister, unicycling and doing ridiculous things in the name of fundraising.

s strange and crazy as you think conversations and dares made with your brother or sister can go, nothing really tops a challenge made by Connie to Samuel Johnson. “We both had made a decision to try and do something to help. Within twenty minutes in Connie’s kitchen we had cooked up Love Your Sister and she put me to work and I’m still toiling away on her behalf.”


Every time we send a live reviewer to cover Tully On Tully, they come back converts: “Tully On Tully are both delicate and powerful, demonstrating flawless mastery of their instruments and vocals,” gushed Stephanie Tell; “Speaking of top-notch musicianship that doesn’t overwhelm the song, Tully On Tully are loaded with it,” Andy Hazel extolled. Now you’ll have to check the diary and plan ahead, but this quintet sound worth a look, yes? We have two double passes to give away to their show at The Toff In Town on Saturday 7 September. To enter this and check out heaps more head to the Inpress Facebook page.

22 • For more interviews go to

It’s a profound promise for an amazing cause: break the Guinness world record for longest journey travelled on a unicycle – which currently sits on 14,686.82km – to raise money and spread awareness for breast cancer research. “Unicycling is not a great love of mine or anything; it was more of an effective way to get people’s attention and take the piss. We were keen to find something unique. It was between a unicycle and a pogo stick - I made the obvious choice.” It’s personal for these guys, as Connie takes on her third battle with cancer. It requires Samuel to take the year to solely dedicate his time to riding all around the country in an effort to raise over a million dollars. If you are wanting to help and enjoy the experience, grabbing tickets

to the Laugh Your Tits Off event at the Athenaeum Theatre on Monday 12 August is a good way to do it. “It’s our most exciting event to date without question. We are hoping for a sell out and absolutely belly aching night. I’m looking forward to them helping us laugh about breast cancer,” says Samuel. Comedians like Dave Hughes, Frank Woodley, Claire Hooper, Dave Thorton and quite a few more will be there to show their support and make you laugh for this incredible cause. If you can’t make that or you are not in Melbourne, they are throwing fundraisers around the country – but one of the most interesting ways to help is by challenging Samuel to do, well, anything. “I will be challenged by anyone to do anything for the cause. People are more than welcome to issue me with challenges as long as it’s for a sizeable donation. I’ve done all manner of crazy things to date whether it be simple things like playing pool for 50 bucks or doing 100 push ups, through to the more hairy stuff like climbing the Gloucester tree, swimming with crocs, eating a live huntsman to the even more ridiculous like riding a bull. It brings new

meaning to the expression ‘hanging on for dear life’. The challenges have been many and varied and part of what makes this exciting at a community level.” For an actor taking a year off, it couldn’t be a better activity to keep in shape. “Surprisingly, unicycling takes every muscle in the body to unicycle effectively. I’m holding my body weight off the seat to avoid ‘ball pain’; that gives me the upper body a work out. To balance, I need my core, and to propel myself, I need my legs. I’ve never been better proportioned myself.” So after 9,250 km around the end of July, it looks like he is not only going to make the set goal, but smash it. Riding a unicycle all day is just the front cover of a truly amazing fundraiser event with an incredibly hardworking team. WHAT: Laugh Your Tits Off WHEN & WHERE: Monday 12 August, Athenaeum Theatre





WHAT IS YOUR STAPLE MEAL WHEN ON TOUR? We stick to quick, easy to demolish items, such as burritos, burgers and kebabs. Anything that can’t be kept for a long period of time. The Vernons Volume 1 EP out now.


Musician first and comedian second, America’s Stephen Lynch returned to old-timey folk and bluegrass for his latest album, Lion, writes Baz McAlister.

alking about Stephen Lynch’s 2012 album Lion, his fifth release, one reviewer described the Pennsylvania-born comedic songwriter as an “evil Paul Simon”.


“Evil might be a bit harsh,” muses Lynch, when this is brought up. “And how do we know Paul Simon’s not evil himself? Why does he get a free pass, because he wrote Bridge Over Troubled Water? Okay, I guess if you write Bridge Over Troubled Water you do get a free pass. “But it’s an honour to be likened to one of the greatest singer-songwriters of all time and that sound was what I was going for – that is the kind of music I love and I was raised on and still listen to, to this day. The intention with this record was to play and record the kind of music I like, which I had never done before. The idea [on my other albums] was always to be as funny as possible; with this one, I wrote the music first and then tried to crowbar the jokes around it. And it worked!” Lion is a collection of beautifully written, atmospheric songs that also pack a punch with inventive, playful lyrics and slow-burn jokes. They’re not inaccessible works about grand themes – rather, they’re songs about tripping on acid at the mall, disagreeing about music with a partner, or questionable tattoo choices.




o matter what you think happens after death, it seems many people hear a sweet soundtrack as they enter the abyss. That’s what the research of UK-based artist and composer Saskia Moore says. Over the last two years, Moore has spoken to 40 people who’ve had near-death experiences about exactly what they heard. And now she’s composed Dead Symphony for the avant-garde ensemble Apartment House. It premiered in London in June and comes to Melbourne in August.


The original idea came in 2009, when her arts practice led her to focus on music and memory. Then, it seems, everything just fell into place. Funding body Sounds And Music in London had put out the call for applications for a residency with Apartment House. Moore rustled a proposal together, and got it. From there it’s been a slow, morbid, beautiful road. “I thought, what do people hear when they die? What is it? Do they have exit music? Does the best of The Beatles play out for you at the end? Or something like that?” Moore asks. What I actually found was that when people are dying, or they have a near death experience, they hear things they’ve never heard before. So then I went, ‘Okay, if that’s what they’re hearing, I want to transcribe it, and learn about it, and


Pluto Jonze’s debut album Eject out now.


Formal Wars is a new reality series screening Thursdays on Seven (it premiered last week on Thursday 25 July).

“My parents love those songs,” he says. “Trust me, there are songs that I’ve written that my parents have not enjoyed, but the ones that target the hypocrisy and the patriarchy of the church, they really love that shit.” WHO: Stephen Lynch WHEN & WHERE: Thursday 22 August, Athenaeum Theatre

I want to replay that as accurately as possible’.” But the human brain does some bizarre things when it’s about to expire. Easy to comprehend, four-piece band rock-out? Not likely. “I honestly didn’t predict how inventive I had to become,” Moore says. “People would often describe it in the form of a feeling, Some people decided it felt like a colour, like purple, and I’d be like, ‘Great! How do I try to express purple?’ I’d give them a crayon, and say, ‘Okay, show what sort of shape purple makes,’ and from there they could say, in a kind of line, or a wave form, what shapes purple made, or they’d say it shifted into green. It was just an easier way for them to describe how these sounds developed or moved or shifted.” But her symphony isn’t just an abstract representation of what people have a vague experience of at the gates of the valley. “They are pretty accurate sonic maps,” she says. “I would know what the sounds were when I’d play it back to them and they would cry. It was often a really visceral response. Obviously there have been the constraints of certain instruments, but this ensemble [Apartment House] have been able to produce some extraordinary sounds.”

Moore “back-and-forthed” a lot about the piece’s presentational form. “If I presented it in a church, it would say something very different to if I presented it in an underground carpark, or in a graveyard, or an art gallery,” she says. She’s settled on the “secret ravines” of Melbourne’s Arts Centre, which she won’t tell any more about. Only that it’s a pretty special space. The audience encompass the orchestra, surrounded by speakers, and a subtle, sound-sensitive light installation designed by United Visual Artists plays out. Moore’s created a transformative experience. “Mortality’s always been heavy-set on my shoulders: death and eternity. I guess, since doing this for two years, I’m just not so frightened any more, and that’s a nice feeling to have.” WHAT: Dead Symphony WHEN & WHERE: Wednesday 7 to Saturday 10 August, Arts Centre, Playhouse

While Dirt Farmer frontman Stu Barlow is relieved the band’s hometown of Albury has evolved beyond catering solely for its strong “heavy metal scene”, Izzy Tolhurst learns the quintet have their sights set on LA. lbury, the geographically fence-sitting town that balances above the Victorian-NSW border on the north side of the Murray River, has a fresh and very well-defined export. Enter slacker-rock band Dirt Farmer, who are now based in Melbourne, but, according to lead man Stu Barlow, their regional heritage can be heard in the band’s music: “I think you can hear a bit of, well, not country, but I guess a regional sound coming through in our music. There’s no synthesisers or anything and there’s three guitars, and we listened to a bit of country music growing up in Albury.” Exactly what country music? Well, Barlow’s band’s moniker may just give you a hint: Dirt Farmer was the title of The Band drummer Levon Helm’s 2007 solo album. The boys are also fans of The Rolling Stones and Bob Dylan, the latter who played and toured with The Band. “We always used to listen to The Band and watch The Last Waltz… our parents were always into that and played us older music,” Barlow confirms, adding that their listening habits were unusual given that Albury’s renowned for its strong “heavy metal scene”. “It’s pretty unfortunate,” he continues, “that we didn’t start playing until we were in Melbourne, because every venue in Albury caters to heavy metal.” With their forthcoming She Shakes Tour taking them to regional

24 • For more interviews go to

“YouTube is the new grassroots movement, thank god for it,” he says. “It would be incredibly easy to say ‘Fuck YouTube’ because they ruin the jokes... but it helps record sales, and it helps sell

The son of two teachers – who were formerly a priest and a nun – Lynch says his songs that poke fun at religion, such as Craig and Too Jesusy don’t cause familial tension. In fact, it’s quite the opposite.



Shanique picks out her “ideal” formal dress, but it’s a far cry from the one her mum has in mind. Ahhh, the drama!

But Lynch has netted a wide audience all over the world since he inked his first record deal in 2000. He’s a familiar face in the US, where he’s been on TV frequently and he recently did a stint on Broadway playing the lead role in musical The Wedding Singer, based on the Adam Sandler film – but he says he relies on YouTube for his global fanbase.

tickets. I’m not a fan of the quality of the video or audio on there, but who cares? It allows people to share you with their friends, and I’m all for it.”



At the recording studio I used in Bondi, nothing is within its use-by date. While at the other recording studio I used in Redfern, there was a family fridge – so nothing very sexy either. Last night’s leftovers, Up & Gos, Powerade (my 14-year-old bro’s a swimmer), and dismembered human parts. The usual.

Lynch says he’s in this for the music, and the comedy was a “happy accident”, but still considers himself outside both the worlds of music and of comedy. “I don’t play comedy clubs and that’s not where I cut my teeth, it was more music clubs, so I don’t feel part of that fraternity,” he says. “And I don’t tour with bands and have support acts and that sort of thing, so I feel like I’m not really part of the music world. I’m in my own little floating bubble between the two, and don’t really penetrate either one.”

Artist and composer Saskia Moore wanted to know more about the sounds that people hear on their deathbed, so she created Dead Symphony. Simon Eales gets the lowdown.



Nashville singer-songwriter Courtney Jaye, on the duets and backing vocals, adds a gorgeous, velvety sonic layer to the proceedings.

areas including their hometown’s cross-river city, Wodonga, Barlow says no hostility lingers. “We’re going back in a couple of weeks. We’re going to a new venue that sounds really good. It’s not heavy metal at all. I think the scene’s changed in Albury, which is good to see.” She Shakes is the second single to be taken from Dirt Famer’s second EP Delilah Lightning. The band’s self-titled EP features a track titled Delilah Lightning and, when asked whether Delilah or Johnny Marble really exist, or are simply convenient metaphors or storytelling vehicles, Barlow responds vaguely, saying, “I guess they’re based on real people, but I don’t like to give too much away [in case] they’d listen and know the song was about them.” But then, as if Barlow suddenly remembers the source of inspiration has already been revealed to the man himself, he’s willing to reveal a little more on the subject of Johnny Marble: “It’s about this 70-year-old bricklayer I used to work with when I was landscaping and he was a really old, grumpy guy, but he had a heart of gold. We didn’t know him that well but we decided to write this story about him… we told him and he told his grandchildren, and they’re our biggest fans now!” Dirt Farmer recruited engineer Anna Laverty (Cut Copy, New Gods, Nick Cave & The Bad Seeds) for the Delilah

Lightning EP and Barlow explains she was headhunted after “a bit of shopping and research, and checking out all the Australian bands we liked to see what engineers they were working with”. Although the majority of the band were already sold by Laverty’s “solid credentials”, bassist Chris Wright needed more convincing. “He went to meet up with her one night and suss her out,” Barlow shares jovially. “He wanted to see what she was like and he returned saying he wanted to marry her! But unfortunately she’s taken [laughs].” So once this touring leg is done and dusted, what’s on the agenda for Dirt Farmer? “We’re all going over to LA in November and will try to record an album before then,” Barlow enthuses. “But we’ll hopefully have it out by January next year.” WHO: Dirt Farmer WHEN & WHERE: Friday 9 August, Karova Lounge, Ballarat; Saturday 10, Barwon Club, Geelong; Thursday 15 and Friday 16, The Workers Club; Thursday 29, Swindlers Valley Ski Lodge, Mt Hotham


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It is time for our evolution. From next week you are going to notice a lot of changes as we upgrade our beloved magazines and re-launch them as The Music. Each state will continue to produce their very own version with a local team of obsessed music fans. You will notice a shiny and rather impressive newsstand magazine format instead of a newsprint tabloid that is packed full of music, arts and entertainment news, features, and reviews. You will also notice that we have broadened our horizons and will be covering more of the things you are passionate about like food, fashion, travel, design, culture and lifestyle. It’s a better guide to living through music and it’s been written by music fans for music fans – you lot. It’s been exciting working on the new title and we can’t wait to show it to you. We hit the street every Wednesday so pick up a copy and let us know what you think. In the meantime hang with us at and check out the gig guide on your smart phone at





Magazine artwork and booking deadlines are Thursday 5pm prior to issue. To mak Email artwork to • New art sp

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ke a booking email or contact your local account manager. pecs and details can be found at




Mute/BMG Drew is devastatingly romantic – all dainty fingerpicked guitar, drips of piano, gliding strings and of course Alison Goldfrapp’s airy vocals, which here act simply as a vehicle for the lyrics. So low-key (but not vacuous) is the melody – at least until the radiant end. “I might as well melt into Sunday,” she sings dreamily, among forestry-evoking lines like, “Trees are your skin on my tongue”. The timpani and chirping birds at the end put Drew in the strange realm of French perfume ad-meets-subdued Disney ballad, in a good way.



ÓLAFUR ARNALDS For Now I Am Winter Mercury Classics Ólafur Arnalds emerges this month with his major label debut that builds upon the last six years of producing slow burning ambient music that quite uniquely brings together subtle electronics and evocative orchestrations. A virtual winter wonderland, Arnalds’ latest longplayer continues to work up hauntingly beautiful and dreamy atmospheres but this time around they exist in numbing subzero temperatures. It is an approach that gives For Now I Am Winter a frosty touch and unlike many of his other compositions Arnalds’ meditations on this album have a much more sombre and funereal feel.


Guest vocalist Arnór Dan features on four songs and on Old Skin he rather heartbreakingly finds an old man enviously contemplating youth. It feeds into We (Too) Shall Rest, a bitterly cold dirge that practically halts time as it leads the listener to deep meditative introspection. Arnalds’ relatively simple and minimal piano compositions are augmented by a palette of electronic sounds that bring to mind Uusitalo and the icy house explorations of Karhunainen. The stately minimal orchestrations of Nico Muhly directs the strings of Icelandic Symphony Orchestra to sweep across this album but never overpower its always intimate tone. These elements come together beautifully on the album’s title track. The cool trickle of piano notes on A Stutter unfold into a bittersweet daydream constructed of icy crystalline tones and a gently melting string quartet as Dan sweetly whispers intimate secrets, his vocals adding heartbreaking warmth to the mix. Existing between neo classical, ambient and indie pop, Arnalds delivers much more than just evocative music for imaginary films.


Guido Farnell

FLO RIDA FT PITBULL Can’t Believe It Atlantic/Warner Are you ready for the first line? Okay, here we go: “I can’t believe it, white girl got some ass”. The lyrics, “I wanna see that bubble-yum-bum,” and, “My last name must be Robbin ‘cause I’m baskin’ in these asses,” also feature. And imagining little, white, weedy, martian-like Pitbull among all that “badonkadonk” will make anyone queasy. Can’t Believe It is musically basic (essentially one bass riff) and lyrically heinous.




Love And Theft


On the inside sleeve of Shakedown, Melbourne bluesman Chris Russell gives the lowdown. Sentences like “driving down the blacktops in the US southeast, the Mississippi river never far away”, paired with the opening riffs to (Somebody Call The) Po’ Po’ gives the listener an instant connection with the raw, rambunctious nature of Chris Russell’s Chicken Walk.

Representing one half of the two guys from Foo Fighters that most casual fans wouldn’t be able to name, Chris Shiflett has sidestepped Dave Grohl’s imposing shadow again for another foray into country-western music on All Hat And No Cattle.


Since dropping their debut in late-2011, the duo of Russell and Dean Muller played plenty of shows both in Australia and abroad, their guitar-and-drums take on the Delta blues gaining fans wherever they go (including this year’s Golden Plains, where they were given The Boot – a moment captured in the album’s packaging). CRCW’s first album introduced a new generation of local music fans to the blues, an ostensibly American genre whose seductive, dirty sound was baptised by Robert Johnson and confirmed by BB King, John Lee Hooker and Muddy Waters. It was a juicy catfish to be washed down with an ice cold beer and a slice of sweet potato pie. Shakedown is equally as good, but not noticeably better. Whereas their first album harboured an urgency in its pace and Russell’s lyrics, Shakedown instead takes the road less travelled and uses the slow, steady pulse of the mighty Mississip’ as its reference point. For every guttural vocal line there’s a guitar riff or solo getting worked over like nobody’s business. Although the differences between Shakedown and Chris Russell’s Chicken Walk are few and far between, those unfamiliar to CRCW will be impressed. It’s not for everyone, but for those looking for a local introduction to the blues it’s an example better than most.

All Hat And No Cattle

This album of mostly covers sees the group wearing hearts firmly on cuffed sleeves as they mosey through a collection of songs written by luminaries of the style, including Del Reeves, Merle Haggard, Buck Howard and Waylon Jennings, among others. As a band, The Dead Peasants can do nothing wrong, with all musicians working as one to create the type of sounds generally associated with boot scooting, chewing beef jerky and spitting tobacco into a metal bucket at the end of a bar. Vocally, Shiflett could do with more oomph, and the lack of vocal prominence in the mix doesn’t help matters. However, the tightness of the band makes it easy to forgive this minor flaw and instead focus on the overall package, which is a respectful tip of the hat to the band’s musical heroes. Launching out of the rodeo gates with Don Rich & The Buckaroos’ Guitar Pickin’ Man, this song exudes the upbeat sentiment the rest of the collection embraces, with its twanging string plucks and laidback toe-tapping feel. It’s a testament to the skill of all involved that the tracks on this release were all recorded live, with only vocals and Marty Rifkin’s pedal steel added later. As a mellow way to while away an hour with a pool cue in hand, this album fits like a comfy boot. Glenn Waller

Dylan Stewart

The original line-up of Sugababes is back in fine form with another single in Flatline, an electro-R&B tale of love gone stale. Its sparse verse allows the soloists to display their wares and a big chorus sees the trio come together doing what they do best: harmonies. You can hear the desperation in the lyric, “There ought to be a way”. The bridge is even bigger, with bouncing drum rolls and dramatic “oh oh oh”s. Fierce and vulnerable at the same time.


Bedroom Suck The slightly out-of-tune guitar is strummed limpwristed, and the vocals sound defeated. Considering the prevalence of local dolewave/slacker pop/rock, as well as its current flavour-of-the-however-manymonths status among hip audiences, we all know that that may well be intentional: to sound raw and real and worn out. But there was some gusto behind Bitch Prefect’s previous efforts – Bad Decisions, for example – that’s missing here. Drifting is an apt title since they indeed sound like they’ve lost their footing.

AVABEREE Running Out Independent This release from Brisbane trio Avaberee is the kind of thing that keeps getting better as you listen to it. Taking their cue from ladies of the ‘80s, they pull off retro electro pop, with a dance beat, sweet backing harmonised “do da do”s and a simple but effective chorus line – “You’re running out of love” – that’s not unlike the refrains of ‘80s pop hits. It’s defiant yet wistful, while also being something you can dance to.


Always Tuesday Independent There could be a great singer-songwriter in M E Baird, but it’s not on show here. If you’re going to have a song that clocks in at 5.08 minutes, it better utilise that amount of time effectively – yet there is no reason Always Tuesday needs to drag on for this long. The star of the track is the violin and its impressive solo, which makes everything else fade further into dull territory. There is real melancholy, but it’s hard to break through the tedium to find it.

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PIAS Australia

ATO/[PIAS] Australia

Off The Hip

There’s a decidedly Depeche Mode feel (circa Violator, in particular Personal Jesus) to The Weight, the opening track to Editors’ latest album, The Weight Of Your Love. Much in the same way that the title and opening track to their last album, In This Light And This Morning, was a dark and moody beast, The Weight has a beautiful heaviness to it, only this time it’s a fuller, more solid creature with a definite rock backing replacing the decidedly electronic bent, with singer/guitarist Tom Smith’s always impressive baritone continuing to bolster this tenebrosity.

It always seems like too many years pass between each Gogol Bordello record. Of course, this is never the reality, with the collective having released eight full-length albums since 1999. And of course, every time a new collection of their ramshackle, gypsy- and eastern European-styled music does land, it’s undoubtedly glorious. It’s the kind of stuff that makes you want to drink vodka and dance.

Tales From The Beyond sounds like it was created with one purpose firmly in mind: to provide the soundtrack for women in sequined dresses and suspended cages to dance to in a ‘50s-style rum bar. If this was La Bastard’s intention then they’ve succeeded, with surfer-rock guitar whammy bars soundly tweaked over the methodical pounding of drums and sultry, squealing vocals.

Pura Vida Conspiracy comes hot on the heels of a 2011 Russian language release (that will not be named due to this reviewer’s incompetence with the Cyrillic language) and 2010’s brilliant Trans-Continental Hustle. It continues playing to the band’s strengths; diverse instrumentation, an elasticity that barely contains the cacophony of sound coming through the speakers, and, front and centre, the irrepressible Eugene Hutz.

Taking a leaf out of Rockabilly Songwriting 101, La Bastard have grabbed the ball and are running with it, not messing with the formula at all. Opener Beaten Down commences with vocalist Anna Lienhop singing head voice over swaying guitars, evoking the eternal dilemma of lovers at loggerheads. The album peaks and dips in all the right places, with the lyrics playing a big part in creating moods that go from controlled recklessness to full dancefloor freak-out. Dick Dale would be proud of some of Ben Murphy’s guitar parts, that can shift from subtle strum to evil surf at the flip of a pick.

The Weight Of Your Love

The first cracks in this powerful façade appear four songs in, on What Is This Thing Called Love – the first of three ballads on the record. This isn’t a bad track per se, but the fact that it is immediately followed by the other two ballads make this a weak point in the album. You can’t help but feel that this tracklisting is flawed. Honesty could be even further enhanced by the removal of the out-of-place brass accompaniment which, thankfully, makes a limited appearance during the track. Formaldehyde, the most upbeat number on offer, does its best to recapture the feel the first three tracks set, yet something is lost, leaving the song and the remainder of the album to be best described as good, but not great.

Pura Vida Conspiracy

The moustachioed, oft-shirtless Hutz is at the top of his game here, his at times pained vocals (Hieroglyph for example) evoking his roots. Although he and his band have called New York City home for years, the Ukrainian and eastern European influences ring loud. Wailing violins and glistening accordions hark back to traditional ‘eastern’ instruments, although when paired with screaming electric guitar solos and 1970s punk-influenced drumming – like on John The Conqueror (Truth Is Always The Same) – they reveal a very contemporary sound.

The first Editors album since the departure of lead guitarist Chris Urbanowicz is, with all due respect, none the worse for his leaving. The depth of sound is intoxicating and comes close to swallowing you whole. “I promised myself I wouldn’t talk about death/I know I’m getting boring,” laments Smith during the chorus of The Weight, yet this couldn’t be further from the truth.

Always a massive hit on any festival line-up and with a passionate Australian following, it was surprising to see Gogol Bordello absent from the first Harvest and Big Day Out line-ups. Their frenetic live shows are a sight to behold, the band’s eight members capturing the raucous sound of their recorded work perfectly. Cross your fingers for a last-minute appearance.

Dominique Wall

Dylan Stewart

Tales From The Beyond

Interesting chord progressions give the listener’s ear plenty to latch onto, with Call Of The Wild’s final looping and ominous sounding refrain heralding the end of one of the album’s standout tracks. Timorese Ninja also shifts musically from classic rockabilly to something altogether more sinister with the subsequent You’re Not Here Anymore following suit. In fact, the second half of this album wouldn’t be out of place at some insane big-top circus, with Running Out Of Time’s creepy dissonance a madness-inducing good time. Gutsy, sexy and smart, this release is as good a dose of rockabilly boo-yah as you’re likely to get. Glenn Waller







XL/Remote Control


With a menacing and somewhat unsettling beat, Nadine Shah welcomes us into Aching Bones, the opening track of her debut album, Love Your Dum And Mad. It is a track which echoes with traces of PJ Harvey, early Nick Cave & The Bad Seeds, mixed with an industrial sound, thanks to the metallic clanging that runs throughout. Shah’s vocals are strong, yet the melodramatic nature of this debut makes it not the easiest album to sit through.

Coming out of a hiatus Sigur Rós returned to our ears last year with the unusually languid Valtari which moved through restrained almost soporific moodscapes. Since last year keyboard player Kjartan Sveinsson left the band, reducing Sigur Rós down to a bare bones three piece. Kveikur, which seems to have been recorded very quickly, strips away a lot of the ornamentation that Sveinsson used to add to the mix. The delicacy of Valtari is washed away in favour of a heavier guitar approach. This is perhaps best exemplified on the album’s heavy opener Brennisteinn, which finds Jónsi drifting ethereally like a guiding light over the heavy metallic churn of sinister guitars. As Kveikur progresses, the band move beyond the menace of the album’s cover and surprisingly start dealing songs that seem to converge on working a format that goes pop.

If every happy memory, every pleasant thought, every sun-drenched moment of a life was put to music, Paracosm would be the soundtrack. Washed Out, aka Ernest Greene, has returned with his second full-length album, and it’s one for lazy, hazy days, where priorities are disposed of and the prosaic nature of daily life is set aside.

Love Your Dum And Mad

The atmosphere created by Love Your Dum And Mad is one of utter dreariness, and not in a particularly good way. Admittedly, she’s included songs (such as Dreary Town) about, and dedicated the album to, two friends who suffered from mental illness and passed away while Shah was working on the album, and she should be commended for not shying away from a topic that has been taboo for far too long. That said, it’s still difficult to maintain an interest in these songs, which are not short, as you work your way through the 11 on offer.


Aside from Aching Bones, which is the definite highlight of the album, closing track Winter Reigns is worth a mention if only for its extended and very pretty piano introduction.

While their previous albums seemingly brought together Iceland’s volcanic fire and glacial ice to create drama and tension, this album leaves behind those wildly crashing instrumental moments to let Jónsi work it verse and chorus. Perhaps the album’s highlight Rafstraumur refashions all the familiar discordant post rock elements into a brilliant pop hooks that are instantly accessible. Everything neatly arranges itself around Jónsi’s angelic vocals, which after all these years remain thrilling. As Kveikur comes into full bloom it recalls the upbeat dreamy optimism of Jónsi’s solo album Go more than anything else Sigur Rós have recorded. Perhaps now quite a different band to the one that Tommy Lee once liked to listen to in a foetal position, Sigur Rós seem to have entered an entirely new phase of their recording career.

Dominique Wall

Guido Farnell

Shah had a very high-profile collaborator for this record in the form of recognised British producer Ben Hillier, who has worked with Depeche Mode, Blur and Editors to mention a mere few. Sadly, it’s this fact and Shah’s background (her father is Pakistani and her maternal grandparents are Norwegian) that are the most interesting things about Love Your Dum And Mad.


The album, Greene’s follow-up to his debut LP Within And Without (2011), feels like the graduation of the artist. His precocious talent is undeniable, although it seems that up to this point his musical abilities have been hidden behind the hype his earlier releases created. While acknowledged, alongside Toro Y Moi, as a pioneer of the ‘chillwave’ sub-genre, at the time of Within And Without’s release it was difficult to see Greene as an artist not defined by the scene. Paracosm, however, sets all the pretension behind. The result is an honest yet surreal record that embraces the otherworld-ness that the album title evokes (paracosm a name to describe fantasy worlds: think Narnia, Middle Earth or Westeros). The lyrics “Make believe the world has vanished around us/We could sneak away and not come back” – Great Escape and “Inside our sanctuary/Where we can get away/A place to run and hide” – Paracosm are examples of the escapism that Greene encourages.

SAM BUCKINGHAM I’m A Bird Independent “With its folk melodies and tales of love and longing, I’m A Bird is a soothing and uplifting record that feels like she’s playing just for you.” Ash Goldberg


Lamentations Wantok/The Planet Company “An album you can’t place or date; it’s universal, floating through space a cut above the rest.” Lorin Reid


Independent “The great thing about this album is that it doesn’t surrender and lay down in front of you; rather it demands a bit of work from the listener and is rewarding if you’re willing to put the effort in.” Lorin Reid

Paired with the more than 50 electronic and analog instruments that blend with Greene’s lyrics, Greene and producer Ben H Allen (Animal Collective, Cut Copy) have created a record that evokes both a timeless quality and a relevant immediacy. The next time the sun comes out, play Paracosm. Let it wash over you. Dylan Stewart

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[REVIEWS REVIEWS] l i v e Stones, Hammond struts the stage like a (very) young Jagger, although his baby-face is much more reminiscent of Keanu Reeves than the 70-year-old icon. The band have a fair fanbase through the significant triple j airplay of singles such as America and Money, and tonight it’s safe to say they add a few more to that number. As they finish their 40-minute set off with Rah Rah Radio, it’s clear that big things are on the cards for The Riggs.

FIDLAR Pic by Kane Hibberd


Dune Rats Pic by Kane Hibberd

CORNER HOTEL: 29/07/13 Walking through the Richmond back alleys and parking lots, young men loiter in small groups, drinking cans of beer and smoking funny-smelling cigarettes. It might be a Monday night, but with tonight’s bill set to be a doozy, it’s worth staying out late for. If Kevin Smith characters Jay and Silent Bob were here tonight, they would blend in perfectly with Dune Rats’ crowd. Hell, they could even be in the band. Young, long-haired and full of fun, the two-piece (plus one additional member) from Brisbane are here to teach a new generation of pop-punk fans the genre is not all about Fall Out Boy and Simple Plan. The set is raw, it’s often out of tune and it’s got all the ‘fuck you I’ll do what I want’ attitude that one could hope for from an up-and-coming band. There’s a heavy reverb on singer Danny Beusa’s vocals, which makes it nigh-on impossible to hear any of his lyrics, but judging by the moshpit that springs up by the second song, it doesn’t matter. There’s a (very) loose rendition of Violent Femmes’ Blister In The Sun thrown in, Red Light Green Light goes off and by the time they finish their 40-minute set with single Fuck It there’s not a care in the world. At 10.20pm, after some H2O-based refreshments have been sourced (it’s a Monday night after all), the curtains part and LA four-piece FIDLAR take to the stage amid a cacophony of cheers. They launch straight into Cheap Beer from their excellent debut album and from there it’s an hour of power both on and off the stage. Stage diving – by audience and band members – is the order of the night, with bassist Brandon Schwartzel losing a bass string when he decides to take his instrument with him. Although the dick move of kicking the photographers out from the pit after just two songs (“but please write good things about us”) is undeniable, it is one of the surprisingly few moments of douchebaggery for the night. With any young upstarts there’s a worry they might be a bit too cool for school, but FIDLAR are candidly excited about the fact there’s a bunch of people here to see them. It’s not often that a band will return to the stage once the curtains have been drawn and the house lights and music have gone on, but FIDLAR do exactly that. It’s a humble, unneeded gesture, but one that is much appreciated by the rabid crowd; when they rip into Blink 182’s Dammit, it’s like it is the first time the song’s ever been played. Sweaty and sober, it’s an awesome way to finish a killer gig. Dylan Stewart

BEN SALTER, JUNK HORSES, WAYWARD BREED THE WORKERS CLUB: 25/07/13 The Workers Club is usually warm and inviting, but on the night of Ben Salter’s European Vacation Tour, fairy lights adorn the bandroom, making it downright beautiful. The gig is in support of Salter’s European Vacation EP, which is doubling as a farewell tour before he leaves for Europe (again). “Sweet gothic folk” outfit Wayward Breed kick off the night with adequate, indie-folk songs. The music isn’t bad but, in the same stroke, it’s neither groundbreaking nor particularly inspiring. Junk Horses, on the other hand, bring a gritty, riotous intensity to the stage, complete with fun guitar solos and growly vocals courtesy of lead singer Kate Alexander. They’ve got a real energy about them, with punchy tunes that feel too well behaved to be full-on punk, but too edgy to be straight-up rock. The only area they’re let down in is during the time in between songs, where the awkward silences are punctuated by a few awkward attempts at crowd interaction. Ben Salter arrives on stage in a very understated manner, introducing himself with a quiet, “We can start now if you like?” Beginning with Not Today, he makes his way through a large chunk of repertoire, including tracks from The Cat, European Vacation and some as-yet-unreleased songs. The singer-guitarist is accomplished for sure but, without any accompaniment, his live set is much more languid than the recorded counterparts, drifting rather than driving along. Songs such as The Cat, which benefit from a forceful rhythm section, are still beautiful in their own way but feel somewhat directionless. West End Girls and Semi Pro Gamer have the same issue – there’s nothing bad about them per se, but inviting even one or two band members onstage to bolster Salter’s voice and guitar

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would make the live show that much more interesting. For a few songs, it’s okay, but the guitar-voice combo gets a little tiresome in an hour-plus set. Still, Salter succeeds where some other bands do not: even though he’s softly spoken, he commands attention with his between-song banter. He talks about Europe, about friends, his new songs and his tour, plus the fact that he’s making the set up as he goes along. Often mournful, occasionally hopeful and always heartfelt, Salter’s live performances are something to watch out for if you enjoy indie-pop folk. But you’ll have to wait until he gets back from Europe. Sharona Lin

FRANK OCEAN FESTIVAL HALL: 25/7/13 At first, it’s strange seeing Frank Ocean standing on the Festival Hall stage solitary, with the only equipment being the two mics in front of him. A gigantic screen is set up onstage behind Ocean, a video of billowing clouds projected on it as theatrical fog enshrouds him. As he sings an intro, seemingly accompanied by a tinny, pre-recorded instrumental track, a slight panic that this might be a glorified karaoke session sets in. Thankfully, when the kick drum and soul bassline intro of Novacane begins, backlights behind the screen shine to reveal the silhouettes of the live band members, which include a pianist, drummer, guitarist, bassist and a trio of brass players. Throughout the night this happens intermittently, enough to acknowledge and remind us of the band’s presence, but the focus is squarely on Ocean: he’s the one we’re here to see. Ocean’s a step behind the beat but soon warms up, finishing the song with the Auto-Tune mic and a garbled vocal outro. Footage of a sports car driving in the desert is now playing onscreen. The recognisable first four notes of Thinkin’ Bout You are played by the trumpet instead of violin as per the recording, and Ocean switches up the melody’s timing, resulting in a jazzier rendition. He hits that ultra-high note (“Do you not think so far ahead?”) but it looks like a struggle. Our suspicions are confirmed when he walks off the stage at the song’s conclusion and returns with a cup of what punters near the stage speculate is tea. “It’s frigid as fuck in Melbourne right now,” he says, and explains that he’s sick. This becomes more apparent as the set wears on, his vocals sounding noticeably hoarser. He splutters and has to pause to clear his throat during Forrest Gump, and the crowd encouragingly cheers him on. The spoken word verses of Super Rich Kids provide some respite for him. Unfortunately, he still has to alter the way he sings every song, shying away from the big or challenging parts and rearranging the melodies, often singing the octave down from the original. You can feel the audience collectively holding their breath in the leadup to the money notes, rooting for him to land them. The high staccato piano and the brass once again playing the original string melody (plus a few backing vocal melodies!) in Lost means that the band are the star of the track, showing up Ocean, who gladly lets the crowd take over singing duties for a chorus. One of the highlights of the night, we show our appreciation with drawn-out, thunderous applause. Ocean and band resume equal footing with the following Pilot Jones, another high point of the set. The screen flashes with images of burning palm trees, first yellow and orange before the colours become solarised, and with the stage seemingly alight, Ocean and band launch into Pyramids. Truthfully, it doesn’t make the impact it should, with Ocean battling to keep it together, but the set ends strongly with compelling closer Bad Religion. The church organ tones ring out, and Ocean musters whatever energy he has left to really reach for the soaring line, “If it brings me to my knees”, and bust out that high “No!”. In a spontaneous and almost reverent moment, the song fades out to the audience clapping in time, until it’s the only noise in the venue, eventually speeding up to grand applause. “I don’t wanna speak much tonight but I do wanna thank you guys, you made that a lot easier,” Ocean says, before bidding us goodnight and exiting the stage. There’s understandably no encore. Despite his obvious discomfort and frustration, we get much more than a

mere glimpse of Ocean’s undeniable talent and charisma, even if what we have heard tonight is only two thirds of what he could have delivered, were he not sick. (Later we find out he has cancelled the remainder of his Australian shows, including his Splendour headline set, due to having a small tear on one of his vocal cords. So all things considered, he truly put on an admirable show.) Nevertheless, we are happy for the opportunity to witness Ocean’s live efforts, supported by the gorgeous backdrop, pink and blue lighting and faultless band. Stephanie Liew

THE DARLING DOWNS, SKYSCRAPER STAN & THE COMMISSION FLATS, FRASER A GORMAN THE TOFF IN TOWN: 27/07/13 With only his guitar and harmonica to keep him company, Fraser A Gorman stands a lonely figure on the Toff stage early on Saturday evening. A few onlookers stand on the outskirts like awkward preteens at a school dance. Non-deterred, Gorman rewards the early arrivals with his richly sung folk and hilarious anecdotes of his childhood passion for war. Skyscraper Stan & The Commission Flats are next with a sure claim to ‘the lankiest band in Melbourne’ title. Although the microphone stand is extended upright, the appropriately titled frontman still has to stoop to bring out his contradictorily low timbre. The band should have the room tapping their heels as they run through the rollicking country blues numbers Oil City One Step and Moses, but the crowd appear to be on the older side of 50 and satisfied with this rare opportunity to simply watch without the need to strain their necks. Necks return to the regular gig-craned position when the curtains open for headliners The Darling Downs. After a six-year hiatus, tonight marks the launch of In The Days When The World Was Wide, the third collaborative album by Kim Salmon (The Beasts Of Bourbon, The Scientists, etc) and Ron Peno (Died Pretty). Though they waste little time telling us so, or on much banter at all, the duo seem happy to be back. Peno has an affectionate grin plastered across his face as his beautifully smooth howl complements Salmon’s evocatively astute guitar and banjo. Peno performs as if in a pantomime, strutting and swirling around the stage, and punctuating his phrases with dramatic open arms. Salmon promotes the band’s souvenir ties by mustering the biggest Windsor knot we have ever seen. He plays the more serious half of the duo, but returns Peno’s cheek-stroking serenades with batting eyelids. The clear fondness between the two accentuates the music’s intimacy, particularly in songs Forever Night and Down Desire. Bassist Jeff Hooker and drummer Michael Stranges join the duo for much of the set, but they are careful to never upset the powerful simplicity that categorises the distinctive Darling Downs sound. In this way, they create an impressive mix of upbeat melancholy in highlights Wish You Were Her and Between The Forest And The Trees. After a jolting Light Of The World, the curtain closes and the DJ music abruptly stifles the calls of, “Encore!” Typical to The Darling Downs’ style, they don’t add any more than necessary.

The bar opens some time around 10.30pm, its offerings quenching the thirst of a sold-out crowd with 30-odd minutes to kill. When the ladies from Deap Vally take to the stage, a ripple of applause quickly transforms into a cacophony of cheers. Lindsey Troy and Julie Edwards take up their respective positions on stage and rip straight into their ball-tearing set. It’s not long before they get into debut single Gonna Make My Own Money amid plenty of voices – male and female – singing along with gusto. When an eager young punter at the front of the crowd ambitiously requests a signature on her CD, she is immediately obliged by Troy and Edwards, who go out of their way to please the packed Tote bandroom tonight. In a shameless attempt to buff out the length of their set (“we were told off in Sydney for not playing long enough” – not a great move) they fail miserably in trying to inspire a crowd rendition of Advance Australia Fair. The closest they get to crowd participation is a lone dickhead attempting an “Aussie, Aussie, Aussie” shout-out to groans of despair. It’s a sole blight on an otherwise blistering set and, even if it’s over within an hour, Deap Vally certainly impress. Dylan Stewart

JAMES BLAKE, OLIVER TANK PALAIS THEATRE: 31/07/13 Sydney artist Oliver Tank opens the show tonight, with a quick half-hour set. His voice is layered for nearly every song, lending it a breathy, almost choral sound. To accompany his voice, he plays a guitar laden with effect and uses a sample pad to play a mix of tribal-sounding percussion and bass notes. His songs tend to ooze out as his lyrics repeat to the point of becoming more like mantras for meditation. That’s not to say that he sends anyone to sleep – at the end of his set he’s treated to rapturous applause. On his first ever Australian tour, James Blake played two sold-out shows at The Prince. Now, just two years later, he’s playing just a short walk down the road at the Palais to a crowd three times the size. The UK singer’s popularity has grown immensely over the last two years and it’s wonderful to see him playing in such a beautiful venue so suited to his music. Blake opens with two older songs, Air & Lack Thereof and I Never Learnt To Share, immediately getting the crowd on side. The latter especially coaxes cheers as soon as Blake sings the first line and a few more adventurous audience members attempt to sing along with his fluttering voice. Blake’s bandmates have much more pronounced roles in this live setting as different parts of the instrumentation come into focus. As they play an extended version of CMYK, drummer Ben Assiter drives the quicker latter half, expertly playing both a sample pad and (most of) a regular kit. Guitarist Rob McAndrews adds some slide notes and washes of distortion to Lindisfarne I, perfectly accompanying Blake’s wistful lyrics. Voyeur proves to be the standout of the show, practically turning the Palais into a nightclub with the thumping bass and menacing keys accompanied by flashing green lights as the song gets fleshed out and extended. The finale and encore that follow pale in comparison but Blake saves the best for last, finishing solo, with a cover of Joni Mitchell’s A Case Of You. The show ends with Blake hunched over a keyboard, only a single light illuminating him and every person in the room hanging onto every word and note before erupting into a standing ovation for this brilliant show. Josh Ramselaar

Grace Robertson

DEAP VALLY, THE DELTA RIGGS THE TOTE: 27/07/13 Saturday night’s alright for a rambunctious rock’n’roll double-header, and what better place to do it than the Tote. The entry queue snakes all the way to the pool table in the front bar and with the bandroom bar not yet open for business, it’s a fair old shambles early on. On at a shade before 10pm, Sydney lads The Delta Riggs jump on stage ready to throw down a fine brand of rock music. Despite some lingering queue-and-no-open-barbased disgruntlement from the audience being noticed by the band’s lead singer Elliott Hammond (“it’s Saturday night but you’re acting like it’s a Monday!”), after the first couple of opening tracks the growing numbers in The Tote are singing along and air-pumping their fists with gay abandon. For the uneducated, The Delta Riggs’ sound is classic era rock and/or roll. Channelling The Rolling

James Blake Pic by Jay Hynes

live highlight of the set is decidedly when Richie 1250 returns, from what most assumed was a toilet break, in a frilly new outfit – one reminiscent of the ‘puffy shirt’ from that episode of Seinfeld. Anyone who incorporates a costume change in a support slot at The Tote gets immediate kudos. This six-piece’s bubbly eccentricity and amusing songs such as Crawfish (a Rock Lobster reference?) and French Fry can’t help but charm the growing crowd.

Haim Pic by Holly Engelhardt

Headliners for the evening are Pronto, a spunky local outfit who play traditional garage punk with echoes of the well choreographed roughness of Gang Of Four. This is the penultimate show of their Tote residency and the energy of their fast-paced performance is out in spades. This raw five-piece use clanging overdriven guitars and fast but steady tempos to raise the intensity of the night. Fierce and emboldened frontman Jack Petty exudes swaggering showmanship while delivering fast-talking vocals. With both guitarists alternating between playing backing chords and lead melody, plus a strong rhythm section, Pronto bring a vigorous and solid set to the table. For those with a penchant for power-punk tunes of bygone eras, Pronto is a safe and rewarding bet. Stephanie Tell

DAUGHTER, LITTLE GREEN CARS CORNER HOTEL: 23/O7/13 Like this evening’s headline act, Little Green Cars are in Australia for Byron Bay’s Splendour In Grass. The Irish outfit’s music is characterised by a head-bopping 4/4 beat and multiple harmonies. Throughout Big Red Dragon and Harper Lee the band demonstrate with finesse their obvious vocal abilities, however, during tonight’s performance, the guitars sound a tad lacklustre. Daughter take the stage and a giddy Elena Tonra thanks the crowd for being here. This continues, profusely, all night. Daughter seem to have carved out a niche that perfectly combines the musical styles of Alt-J and the XX with a bit of Florence & The Machine thrown in as well. What makes Daughter different however, is their ability to create powerful lyrics and deliver them like a punch to the guts. They best demonstrate this with their track Smother that ends with the line, “I wish I stayed inside my mother/Never to come out.” The crowd, needless to say, is incredibly supportive, hanging on every note and even giving a loud, encouraging cheer when Tonra fumbles during the


most intimate moment of Youth. Nevertheless, the lack of banter between songs and the introspective vibe of Daughter’s music sees a heavy silence descend upon the crowd at the end of each track. This creates a strange, if not hostile, vibe in the venue, with many unsure if they are even allowed to talk lest they incur the wrath of a fellow punter who will have their night utterly ruined by overhearing non-Daughter-related banter. Even guitarist Igor Haefeli remarks, “You guys are eerily quiet”. Daughter close off the set with a surprisingly highenergy rendition of Home. Drummer Remi Aguilella comes into his own and clearly enjoys being able to finally play at a speed greater than 60 bpm. For the encore, Daughter slow everything down again with the intricate In the Shallows. They finish the night by finally succumbing to the numerous requests for their cover of Daft Punk’s Get Lucky. While Daughter’s set comes off as a bit samey, with a plethora of similar-sounding songs (each a perfect break-up track in its own special way), the band’s large and devoted following demonstrate that they are clearly one of those acts that fulfil a niche and give people exactly what they are looking for. Benjamin Meyer

HAIM, THE PREATURES THE HI-FI: 25/07/13 To an overwhelmingly oestrogenic crowd and a sold out, packed out room The Preatures blast through a tight set of polished rock. Sharp, punchy, stylish and vaguely dangerous in a way that channels the early days of the Cherry Bar without the fear of ever playing a bum note, the five-piece are a sleek machine. Lead singer Isabella Manfredi oozes charisma and channels sheer joy with a wide boyish grin and no less than three costume changes in half an hour. New song Cruel is a barnstorming slice of guitar pop and deserves a charting come Hottest 100 time. Once the songs slow down they lose their individuality but any set that ends with Is This How You Feel? has got to be considered a winner. Arriving on stage to a blasting 99 Problems yet initially drowned out by emphatic cheering, Haim are possibly the first band to sell out The Hi-Fi with just four released songs to their name. Within seconds it’s apparent that something big is happening here, and you can throw all the accusations of conservative influences you like at this band, but they won’t sound like anything other than three sisters making music for each other. With today’s music news revealing that their debut album has recently been finished in Sydney, the Haims and drummer Dash Hutton open with Better Off, a track that sends the audience into ear piercing raptures. Moving through The Wire, Honey And I and Oh Well – songs presumably featuring on their forthcoming album – they move from a gritty hard rock through intricate pop hooks, bluesy ballads and some truly endearing banter without ever breaking a sweat. Regardless of genre, their fantastically imaginative use of dynamics and spectacular vocal arrangements are constantly impressive. Whatever fraternal force it is that propels Haim, it feels like a privilege to be let in on it; they could be playing their garage or Wembley. Bassist Este’s bass face (and playing) is magnificently unique, guitarist Danielle channels an angry folk rocker brandishing a Gibson SG and Alana (aka “Baby Haim” on “her first big tour”) does everything with all of her seemingly limitless energy. All three women beat floor toms and profusely remind us that we are the “coolest”, “sexiest”, “most attractive” and “dopest” crowd they’ve ever played to, to which we scream. A cameo from Momma Haim sends the audience into further peals of deafening shrieks before their pithy set draws to a close with Falling, Go Slow, Don’t Save Me and Forever. Naturally, they’re brought back out for an encore, for which they reward us with new track Let Me Go and an epic extended taiko-style floor tom solo. Not one person tramping up the stairs into the cold night air looks anything less than ecstatic, and it’s hard to think of another band that could generate this much love with a set of almost entirely unheard songs. Expect to get familiar. Andy Hazel

PRONTO, RICHIE 1250 & THE BRIDES OF CHRIST, ROSS DE CHENE HURRICANES THE TOTE: 24/07/13 Openers for Pronto’s Tote residency show tonight are the noisy duo Ross De Chene Hurricanes. The band are unfortunately quite late due to undisclosed technical issues but the wait is well worth it. The pair are an incredibly tight, indie-rock outfit with blues undertones whose high-octane sets are ideal for any garage enthusiast. This is conveyed through opener I Don’t Really Care, a song lifted off their solid Don’t Sweater It EP, which is followed by some great new material. Unfortunately due to their lateness, the set comes to a close after what feels like about 20 minutes – a shame considering the duo’s contagious noise-rock tunes are consistently a winner. Closer Keep It To Yourself proves that this talented duo are as capable of unleashing a sound as sturdy and full as any large band. After RDCH’s lo-fi sound, it’s doubtful that anyone unfamiliar with Richie 1250 & The Brides Of Christ is expecting what is to follow. Despite their Murderdolls-esque name, The Brides Of Christ are a delightfully androgynous alternative-pop outfit, almost like a B-52s revival band. Frontman Richie 1250’s enthusiasm and mumbled banter are fantastically entertaining, as is backing vocalist, tambourine and maraca player Helena Plazzer’s aggressive ‘60s go-go dancing. The

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Einstein On The Beach




A voice in the foyer noted that last time the production toured – a ‘druggier’ period in history – the real party was to be had in the bar amidst the free-for-all leave-when-you-please approach of four-and-a-half hours of opera composed by a then-cab-driving Philip Glass. The excited low conversation continued inside above the opening drone of Knee Play 1. Soon the cast march out, one by one, backs hunched, then upright, like robotic suspender-clad lemmings, and the voices hush.

The greatest trick the devil ever pulled was convincing the world he doesn’t exist. The most amazing trick Mark Ruffalo pulls is convincingly acting in this film. As a confused and out-of-his-depth FBI agent, his sustained sense of conviction over the two hours of this tangled, magic-filled ball of confusion is remarkable. In fact, the whole cast is impressive (hello Michael Caine, Woody Harrelson, Jesse Eisenberg). The questions is why they were convinced this overly complex story of a gang of illusionists robbing banks through magic was actually worth performing in. The film is at its best in the first 20 minutes. It starts with a punch and clearly establishes its basic premise. It’s clear from the outset that a refined suspension of disbelief will be required to appreciate the film. But then the high concept just gets waaaay too high.

In Train clouds converge on the floor of the stage, danced on by figures while above, a child holds a cube of light and throws small planes into the white abyss. The locomotive curiously pokes its nose out of the wings, withdraws.

The Past

THOROUGHLY MIFFED WITH ANTHONY CAREW The Melbourne International Film Festival is so massive it can be all things to all people, but 2013’s a good one if you’re a stoner. The old wizard of baked psychedelia, Alejandro Jodorowsky, may’ve returned from the wilderness offering only the unimaginably awful The Dance Of Reality; but were you tripping your balls off during Six Mil Antennas’ bugfuck art-school shenanigans projected ‘full dome’ on the roof of the planetarium; or when witnessing Ben Wheatley’s sly 17th-century war comedy A Field In England drop ’shrooms and descend into strobing hell; or watching the wasted philosophers of Computer Chess stumble through Andrew Bujalski’s dirty Portapak greys; or when pondering the nature of nature in Shane Carruth’s Malickian masterwork Upstream Colour; or when thrown into Ari Folman’s lysergic animated alternate-worlds in The Congress; MIFF 2013 would’ve flipped your damn wig. Of course, the fest didn’t get off to the best start. No matter how stoned – or waxed on mescaline – you were, I’m So Excited was still Pedro Almodóvar’s worst movie, and the corporate-lounge-bar soft-jazz band at the opening night party deeply wounded my soul. Then there’s all MIFF’s other lamentable things: the Russell Street Vinyl Chairs experience; the sickly green pixels of digitally-projected subtitles (has a single session screened from celluloid?); the stench of popcorn; the so-bad-it-broke-my-brain end to the shitty For Those In Peril; the old people who sat behind me talking every Omar plot-turn aloud. Yet complaining about a festival that drops a mother-lode of non-superhero movies upon Melbourne’s doorstep – and genuinely summons spontaneous intellectual sidewalk discussions – feels like whinging in the face of amazingness. Like, my first day at the MIFF featured a back-to-back of Michel Gondry’s tear-sheddingly sad, wonkily dreamlike, and, like, transcendently-hypertwee Mood Indigo, followed by Lucien Castaing-Taylor and Véréna Paravel’s Leviathan, a striking sight/sound feat that instantly hurtles into the conversation of the greatest documentaries ever. A week later came Asghar Farhadi’s astonishing The Past, the latest masterpiece from one of new-millennial cinema’s great masters. The Film Festival is so massive that it can be all things to all people, which really just means that it becomes a succession of personal moments, moreso than an event where the curatorial presentation scripts the

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experience. Which means that coming up with a singular narrative is a failed gambit from the start. So let’s sing out to the randomness of the program, from the amazing babes of the film-festival-in-jokey Macaroni & Cheese, to the yards of cock in Paradise: Love and Stranger By The Lake (which boasts 2013’s best unsimulated art-movie ejaculation; though it pales in comparison to 2012’s champion, The Boy Eating The Bird’s Food, in which the boy ate a handful of his own semen). Let’s hear it for Elle Fanning in Ginger & Rosa, Juliette Binoche in Camille Claudel 1915, Isabelle Huppert in Tip Top, and Greta Gerwig in Frances Ha. Noah Baumbach’s sweet late-20s-malaise comedy hits regular-release cinemas, like, next week, but seeing it ASAP feels 2013 appropriate: I dropped my first Frances Ha quote roughly half-an-hour after I saw it (“I’ll be the one with acne, holding more acne”, if you’re curious). More random visions of MIFF: Les Apaches jammin’ Molly Nilsson loud; Mark ‘Boogie’ Cousins getting an EISENSTEIN tattoo mid-What Is This Film Called Love?; Bubba Smith telling me “I love you” in the killer first dudes-crackin’-wise 20 minutes of Rewind This! (it kinda sucks after that); the ‘Defloration’ email in the excellent, incesty The Unspeakable Act; the truly great propaganda-poster phrase ‘Venereal Disease Covers The Earth’ in Matt Wolf’s disappointing Teenage; the climactic vomit three hours into Joshua Oppenheimer’s The Act Of Killing; the defiant, finalstatement-to-the-court speeches-as-poetry in Pussy Riot: A Punk Prayer; Michael Haneke hugging people in Michael H. Profession: Director; Paulina García serving up woman-scorned revenge with a paintball gun in Gloria; Ned Oldham wailing his divorce blues in I Used To Be Darker; or, more’s the point, that sublime moment in Museum Hours when Mary Margaret O’Hara starts singing, solitary, her voice so etched with history and truth I nearly swooned in the cinema. And with that, wait, shit, MIFF is almost over. Of course, the final days come crammed with greatness (if you’re lucky, you can still witness: Leviathan, The Past, Vic + Flo Saw A Bear, The Congress, Computer Chess, Frances Ha – aka so many of 2013’s Best Movies). And the last day now has excess Charlie Sheen and Gwynnie Goop taking her clothes off, for reasons hard to fathom. Searching for a fitting end to the sprawl is as unwise as trying to make the behemoth a singular anything; but as the end of MIFF begets the end of winter, fingers crossed your last festival film leaves you with a spring in your step.

Now You See Me

Amongst the repetition, the subtle variation, the piece by piece by painstaking piece assembly of the set, one can move from entranced to overwhelmed instantly – an abrupt shift in the emphasis of the melody, the previously unobserved arrival of a large stick of light ensuring a perplexing visual and melodic cacophony. Small errors in the systems these repetitions establish mean that promises – a resolve hinted at melodically, a fixed image on the stage – are constantly broken in glorious slow motion. Robert Wilson’s sets are changed by silhouettes, Urs Schöenebaum’s lighting still amazing even during these transitions from the regimented monolithic greys of the courtroom to the angelic futurism lights and science during Spaceship.

The WTF factor is through the roof. There are inconsequential references to the GFC and the Eye of Horus, while the relevance of the illusionists naming themselves The Four Horsemen is never explored. Weird plot twists aren’t explained, character motivations are unclear, there are terribly choreographed car chases, and one scene where Isla Fisher floats around in a giant bubble. Climax after climax, twist after turn, we lose these flimsy characters in a ridiculous maelstrom of a plot. No wonder poor Mark Ruffalo looks so confused. Kate Kingsmill In cinemas Thursday 8 August

Lucinda Child’s choreography has the cast with busy, ticking fingers and works best with Glass’ unique compositions in the stunning Dance 1. Nothing happens quickly and as a result each act is given the opportunity to be epic through merit of duration alone, but the artistry on all fronts means this ‘epic’ is earned and not expected.

The Bling Ring

Dave Drayton Arts Centre, State Theatre to Sunday 4 August


THE BLING RING FILM Sofia Coppola’s fifth feature, The Bling Ring, is based on the real-life events involving a group of teenagers robbing the homes of Hollywood celebrities, a fact that makes the film instantly more fascinating than it might otherwise be. A strong ensemble cast of newcomers mixed with big names such as Emma Watson and Leslie Mann (playing daughter and mother) brings what could have been a lacklustre script and onedimensional characters to life. In particular, Katie Chang and Israel Broussard give believable performances as the effortlessly cool, sweet-faced yet rebellious ringleader Rebecca Ahn and the shy, self-conscious new kid-turned-fashionista/Ahn’s best friend, Marc Hall. Although based on real people, it’s refreshing to see a woman of colour in a lead role, and a gay character who isn’t a caricature or stereotype. Watson also shines as the manipulative, sneering Nicki Moore.

Oh, to be a child again to revel in the whimsical artifice of this adaptation of the much-loved Dutch children’s book, Ophelia’s Shadow Theatre, by The Netherlands’ Het Filiaal. Through ingenious usage of silhouette puppetry and cardboard models, the youngsters in attendance today are rendered almost catatonic with wonder for the entire 45 minutes. This is no mean feat, as 45 minutes of adult concentration mathematically equates to roughly six hours of toddler equivalent. There are simple yet profound life lessons to be gleaned by all ages from this quirky, heart-warming little tale, charting the life of Ophelia, who dreams of becoming a critically acclaimed darling of the theatrical stage. The twoperson show stars Mirthe Klieverik as Ophelia, along with director Ramses Graus, and sees the pair take on multiple roles as well as stage hand duties – an inspired touch that while entertaining also educates the little ones about stage production. The pace of the play is dizzying and with never a dull moment the audience is expertly drawn into Ophelia’s world. The accompanying classical/jazzy soundtrack has been ideally chosen to blend with the action, and certain cinematic techniques such as montages and fast-forwarded motion are used to both dramatic and hilarious effect. Not just for kids, Miss Ophelia is a delight for the inner child in us all.

Though some might dismiss The Bling Ring as shallow entertainment or glamorisation of petty crime, it’s an interesting comment – if a little sententious at times – on our obsession with celebrity culture (and blatant disregard for their privacy) and the way that broadcasting our lives via social media is second nature nowadays: if it’s not on the internet for all to see, did it really happen? Ahn and co. want nothing more than to be a part of the glitzy Hollywood A-list world and both their crimes and the aftermath allowed them that; first the (pretence of the) lifestyle, then the fame/infamy.

Glenn Waller

Stephanie Liew

Arts Centre, Fairfax Studio (finished)

In cinemas Thursday 8 August




Bone There’s a scene in Cool Hand Luke, the 1967 film starring Paul Newman, in which Newman’s Luke is forced to dig a ditch in a prison yard and then fill it in again. When the prison guards come to inspect his work, their response is inevitable: “What’s your dirt doing in Boss Keen’s ditch?” a guard asks the thin, worn-out man, signalling yet another all-night digging session. The scene marks Luke’s eventual (though not permanent) taming by the prison system, the point at which the delinquent finds the light through discipline – or, to us, the point at which the rebel hero is broken through enforced, meaningless and torturous repetition. Though heartbreaking in Newman’s hands, the turn of events doesn’t exactly surprise. It’s the same salvation story seen through history: the nuns who give their bodies to repeated labour to find the grace of god; the rows of those in military service moving in unison for the greater good; the explanation to a young woman or man that a menial job will provide a foundation for a worthy life. Echoes of those stories can also be heard in the forthcoming new album from Melbournevia-Perth group Bone. Leaden math-rock rhythms drag screeching and buzzing guitars and frontman Jon Shub’s shouted refrains to create one of the most affecting Australian rock albums heard in recent times, a relentless but so-listenable run of tracks under the title For Want Of Feeling (out through Tenzenmen Records on 16 August). There’s a small debt owed by the record to My Disco – and that band’s beats-based side project Kangaroo Skull will provide a DJ set at Bone’s Melbourne album launch. But where My Disco’s sharp repetition comes in the name of precision (or perfectionism, a need for cleanliness), Bone’s stilted patterns sound more like self-imposed punishments. On Pedestal, the album’s searing second track, reluctant introductory guitar notes bend around a heavy, laboured drumbeat before they become a cascading horror-film score that turns over (and over and over) as Shub yells, “Fuck a pedestal, give me a platter.” Shub’s vocals, swathed in distortion, are all about lives left to stagnate. Following the fast-paced deep groove of See The Boy, Shub exhaustedly calls, “Monday through Wednesday/Every second weekend.” The clanging No Seed has him warning, “You let yourself get too damn dry/ Now there’s no living seed in your seed pile/ No seed, no life…” That lyric tells a fair amount about Shub’s lyrical outlook and provides enough explanation for the band’s chosen sounds and structures. The blame for all this stagnation rests squarely on the individual; penance comes in the form of repetition, of hard physical labour that eventuates as a record. It could perhaps as easily been a ditch, or a war for that matter. But where wars and ditches aim for salvation, and where the objective reality of those things shows us torture, Bone aim for something far more basic and leave little room for sympathy. It’s there in the title. Throughout For Want Of Feeling, what the band seems to be striving for is humanness itself, or a single version of that; striving to find a place where humanness isn’t buried in deadpan jokes, double meanings, brands and icons, layer upon layer of the stuff that takes us away from ourselves. There’s no one to blame for the need to labour for this but ourselves, and by the end of the record, it’s up to the listener to decide whether Bone have made any ground. They aren’t giving any great revelations away, but they’re certainly putting in the elbow grease. Even Luke would have broken before the hammer-and-nail tones of final track Bath Time. After five years of writing The Breakdown each week for Street Press Australia’s east coast titles, this is my final entry for this column. I’ll be back writing for SPA in a new capacity in September.



Frank Ocean

It’s a pity that Ocean didn’t complete his run since he’s been previewing material, including the track Pray. Earlier in the year Ocean, who typically shuns interviews, told Radio 1’s Zane Lowe that he’s progressing on a second album with Pharrell Williams and Danger Mouse as collaborators. Lately he vibed in the studio with London teen King Krule, a post-dubstep indie act due to debut with 6 Feet Beneath The Moon this month. You can hear Ocean on Oceans, arguably the redeeming cut on Jay Z’s otherwise predictable Magna Carta... Holy Grail. Meanwhile, Ocean’s rival The Weeknd will drop Kiss Land in September. So far the Canadian has circulated two singles – he’s just followed the murky title-track with Belong To The World.

Thank God for James Blake. The Brit solely repped the alt.urban side at Splendour In The Grass (and as part of its travelling road show series) with his postdubstep soul when Frank Ocean cancelled because of “vocal issues”. Ocean performed the one sold-out gig in Melbourne yet reportedly struggled to hit the notes. It’s the second time the Odd Future singer has suspended Aussie dates – previously he (quietly) canned 2011’s Future Music Festival to finish channel ORANGE. That went on to be proclaimed ‘Album Of The Year’ by several critics but, while nominated for the Grammy equivalent, contentiously lost to Mumford & Sons’ Babel.

In 2013 there has been some choice alt.R&B from Solange, inc. and Rhye. Now we have AlunaGeorge with Body Music on Island Records. The retro-futurists, bound for the Listen Out fest, placed second in The BBC’s Sound Of 2013 poll, California’s Haim (who, for the record, sound more like Toto than TLC!) the victors. Singer-songwriter Aluna Francis, originally in the electro-pop My Toys Like Me, linked up with producer George Reid, guitarist in the math-rock Colour, in 2009, airing music online. This year the Brits enjoyed a UK smash with Disclosure in the twitchy Inner City-esque anthem White Noise.

This tour Blake’s band, last here in March, played theatres, with the show focussed on the magnificent Overgrown. The R&B Life Round Here featured new arrangements, while an unexpected highlight was a classically ravey rendition of Voyeur – very ‘90s Detroit techno. Alas, Blake didn’t perform the RZA-blessed Take A Fall For Me as he did at Coachella with the Wu-Tang Clan don himself. Blake’s set remains centred on the music, with no visuals. His approach to music may be innovative but, beyond that, he avoids gimmickry. He doesn’t even sell merch! Blake is truly the successor to Japan’s David Sylvian, who experimented with synthbased soul in the ‘80s. The New Romantic’s ambient Ghosts was a curious pop hit (Tricky recently sampled it). What’s more, Sylvian & Co radically reconfigured the Motown standards I Second That Emotion and Ain’t That Peculiar. And they recorded songs with titles like The Experience Of Swimming that Blake – and Ocean – might dig. ‘80s illwave, indeed. In Melbourne Blake, no slacker, also DJed at a tour afterparty.

Body Music combines the slinky downtempo feel of Jessie Ware, influenced by quiet storm and ‘90s R&B, with the ‘80s synth-pop nostalgia of Little Boots, plus contemporary glitch and bass music. The obvious standout is the engaging You Know You Like It, first heard back in 2011. In fact, a few Body Music songs will already be familiar to long-time AlunaGeorge fans, another being the airy Your Drums, Your Love. A bigger problem is that Francis, a former reflexologist from Wales, has a tiny, fragile, almost childlike voice – described by one UK critic as “a cross between Aaliyah and Lily Allen”. As such, Attracting Flies isn’t as venomous as its lyrics suggest. The opener Outlines is shimmery nightbus balladry that could be Katy B chillin’. Bad Idea is an ‘80s song looking for MTV. The upbeat Lost And Found is a throwback to Shanks & Bigfoot’s two-step garage Sweet Like Chocolate. The LP’s later tracks are a lil’ samey – or undeveloped – although the title-track has an ethereal charm. Awesomely, Body Music closes with a cover of Montell Jordan’s 1995 This Is How We Do It!


METAL, HARDCORE AND PUNK WITH LOCHLAN WATT down for some shows in November. You can catch them on Sunday 3 November at the Corner Hotel, and tickets are available now through Korpiklaani (Finnish for ‘wilderness clan’) are set to make their first visit down under this year, proving that folk metal really is blowing up out of control. The band has released eight albums, the most recent being 2012’s Manala through Nuclear Blast Records. Do a dance or something at the Corner Hotel on Wednesday 23 October, with tickets available now through Northlane Ghost from Sweden, The Algorithm from France, and Australia’s own Northlane constitute the metal contingent at 2014’s Big Day Out so far; two thirds of which also appeared on this year’s Soundwave. The event will take place in Melbourne on Friday 24 January at the Flemington Racecourse. Between The Buried & Me will return to Australia for their fourth visit this November, making it almost a year to the date between tours from the progressive metal masterminds. The band will be performing their sixth album, last year’s 72-minuteplus The Parallax II: The Hypersleep Dialogues from start to finish. This time they’re bringing The Contortionist with them, the second run down under for their like-minded fellow Americans. Catch the duo at the Corner Hotel on Tuesday 19 November. Tickets are on sale through Oztix this Thursday. Cyberne, a progressive metal/noise rock-styled group (or “Japanese aggressive psycho rhythm”, as they describe themselves) from Osaka, Japan, will follow up on their 2011 visit to Australia this November. Melbourne two-piece DEAD will be joining them on all shows. Catch them on Tuesday 5 November at the Reverence Hotel, and again on Wednesday 6 November at The Bendigo. Head to cyberne.zombie. jp to get a grasp on their aurally-challenging tunes. Firewind originally cancelled their first Australian tour they had scheduled for April 2012, reportedly thanks to the dodgy practices of promoters Whiplash. Well, the much more reputable Metropolis Touring has picked up the slack and will bring the Greek power metal lords

Moonsorrow have also joined the list of European bands to announce Australian tours in the last week. The Finnish group play a mixed bag of tunes, drawing influence from various areas of folk, black, pagan and progressive metal, with many of their epic songs exceeding the ten-minute mark. You can see them live at The Hi-Fi on Saturday 23 November, and pick up tickets at, yep, you guessed it – Sirenia is a symphonic metal band from Norway, and they’ll be in Australia this December for two shows only. You can grab a ticket now from metalmassacre., and catch them singing about Vikings and mermaids and stuff at the Corner Hotel on Friday 13 December with Ne Obliviscaris and Orpheus Omega. Encircling Sea will officially launch their A Forgotten Land double LP this Friday 9 August at The Public Bar. The post-black metal group, who haven’t played a show in eight months, will be joined by Infinite Void, Halt Ever and Of Hearth & Home, and it will cost you $10 on the door. Voltera spent most of 2012 recording three EPs as part of their Co-Ordination series. The eclectic Melbourne band, who draw influences from all sorts of heavy, world and electronic music genres, will launch Co-Ordination in its full, conjoined glory this Friday 9 August at the Northcote Social Club alongside Circles, Death Audio and Sirus. $12 pre-sales are available from, or else it’ll be $15 on the door. Sewercide, who were in the studio last week tracking new material for an as-yet unspecified release, will bring thrash and death to The Bendigo the evening of this Saturday 10 August. Joining them will be Harlott, Maniaxe, Counterattack and Atomic Death Squad.


AFI First up this week is the news that one of my favourite Australian hardcore acts have decided to call it a day. After finishing up an extensive tour of South-East Asia and Japan, Melbourne’s The Broderick have announced that they will not be making music together anymore. It also looks like there will not be any farewell shows either. This is the end. After a very long time between records, The Broderick finally released their debut fulllength last year. Called Free To Rot, Free Of Sin, the band destroyed minds with their brand of heavy hardcore, with the album hitting the top of a lot of 2012’s album of the year lists (mine included). The band released a statement early last week saying that their shows in Asia “will be the last shows that we will ever play as we have decided that we will no longer be an active band”. I’m a bit upset about this for now, and look forward to seeing what musical pursuits the band move onto next. In better news, you’ve all heard the new AFI track I Hope You Suffer over the last few weeks. Now we finally have details of the new album; to be released 18 October through Universal Music, it is called Burials. The ninth full-length studio album for the band, the record was recorded in LA with Gil Norton (Pixies, Patti Smith, Foo Fighters). Singer Davey Havok says of the album, “This record is of silence, of burials, and the burials that result from that silence. It’s of betrayal, cruelty, weakness, anxiety, panic – deep and slow – despair, injury and loss.” While slightly cryptic, it sounds like typical AFI fare to me, and if that first track is anything to go by, Burials may well be a contender for album of the year. At the least, it will definitely be better than Crash Love. Last week marked a year since Tony Sly lost his life. To mark the occasion Fat Wreck Chords have released more details regarding the release of a tribute album, with the proceeds from the compilation to go to the Tony Sly Memorial Fund. In a press release, the label said “while we continue to mourn Tony our friend, we also celebrate Tony the artist through his songs.” The Songs Of Tony Sly: A Tribute will be released through Fat Wreck Chords on 29 October and will feature the likes of The Gaslight Anthem, Bad Religion, The Bouncing Souls, Rise Against, NOFX and more than 20 more artists delivering their interpretations of Sly’s songs. Head over to the Fat Wreck Chords website for all the details. In what has been a huge year for Sydney’s Northlane, with the release of their excellent second album, Singularity, that has seen them earn some excellent support slots, and tour extensively on their own headline tours. To top things off, the band have now also scored themselves a national slot on next year’s Big Day Out, with the likes of Pearl Jam, Blur, Arcade Fire and Snoop Dogg (aka Snoop Lion). Big Day Out hits Melbourne on Friday 24 January. So it turns out that the newest drummer for Against Me! is Atom Willard. Willard posted a tweet last week stating that he was taking over the drummer’s chair for the Floridian punks full-time, replacing Jay Weinberg who quit the band late last year and also contributing the drum parts to the band’s forthcoming sixth album Transgender Dysphoria Blues. Willard’s resume boasts stints with the likes of The Offspring, Rocket From The Crypt and Angels & Airwaves. No news yet on a permanent replacement for bassist Andrew Seward who left the band back in May. Also on the BDO line-up is legendary Victorian punk band, Cosmic Psychos. The band had screenings of their documentary Blokes You Can Trust showing at the Melbourne International Film Festival last week, and this week it gets a general release. Directed by Matt Weston (of The Nation Blue and High Tension fame), the film was funded by a crowdfunding campaign and tells the story of the remarkable history of the band. From all reports, the film is a brilliant watch and a must for Australian music fans, so check the interwebs for dates and locations of where it will be showing near you. Last up for this week, I mentioned a couple of months ago that Doomriders were in the studio working on a new album. As promised, I have details so here they are! The album, Doomriders’ third full-length, will be released 15 October through Deathwish Inc and will be called Grand Blood. It is their first album since 2010’s epic Darkness Comes Alive, and according to reports this record sees the band pushing themselves into new sonic territory, apparently exploring noise rock influences among others. Pre-order information and new music premieres are expected very soon, so stay tuned to the Deathwish Inc website for all the details.

For more opinion go to • 33



And then the Tumblr backlash started. It’s been discussed ad infinitum how the internet has accelerated the traditional binge’n’purge cycle of criticism to warp speed but, even so, the way in which Brooks was built up and torn down in the space of little more than a day was pretty remarkable. Much of the criticism of the song focused on the idea that Brooks was attempting to speak for women, or appropriating the experience of sexual assault for his own ends.

The Sound Of Music I’m not ashamed to say that one of my favourite films is The Sound Of Music. I couldn’t tell you how many times throughout my childhood I watched this film. It has cemented itself in my psyche, I can recite The Sound Of Music quotes that complement day-to-day situations, I know almost all of the lyrics to all of the songs and I would have no trouble listing all of Fraulein Maria’s favourite things. You know, the ones she remembers after a dog bite or a bee sting, when she’s feeling sad (she simply remembers her favourite things and then she won’t feeeeeel so baaaaaaad). I think my favourite song was always Climb Every Mountain. There’s a scene towards the end of the film where Maria is having a crisis about whether or not she should marry God, or whether she should go for the handsome, solemn, I’ve-never-been-the-samesince-my-wife-died Captain Von Trapp who was in serious need of being rescued by a novice nun. This is what the Mother Superior advises her, through song: “Climb every mountain/Ford every stream/ Follow every rainbow/’Til you find your dream.” The Von Trapps dreamt of living in a country without Nazism, where they could raise the seven singing children in safety, where the Captain wouldn’t be forced to partake in policies he had an ethical objection to. And at the end of the movie, Climb Every Mountain plays as the Von Trapps ESCAPE from Nazi Austria, through the mountains, UNAUTHORISED, on their way to Switzerland to SEEK ASYLUM. That’s right, the Von Trapp Family Singers were ASYLUM SEEKERS. This musical lead me to be believe that good people escaping poor, or dangerous, or totalitarian, famine-ravaged, war-torn places had a right to seek better lives in better places and that they would be helped. But if the Von Trapps had made their way to Australia – by boat because, for those who don’t know, Australia is an island, there are no mountains between our borders and the borders of the nearest country for refugees like the Von Trapps to climb in order to find their dream – Kevin Rudd would send them to a poor pacific island denying them any help and Tony Abbott would set the military on them. You would have to re-title the musical – The Sound Of The Von Trapps Seeking Asylum In Australia: Fuck Off, We’re Full. I used to be a patriotic Australian. Yes, our country has problems and I have always dreamed of playing a part in the positive shaping of our national identity. The day Kevin Rudd announced his policy to deny asylum to anyone seeking it from a boat, I had to throw my lunch in the bin and talk myself out of throwing up. You see, I’ve been travelling around the UK and Europe for over a year now, and this is what people say when I tell them where I’m from – “Australian? Oh you’re all racist.” I have been called a “Fucken Abo’” countless times by white people and black people, and one man even told me, sardonically, that he’d heard Australia is full. I always argue the claim Australians are racists is racist in itself, and everyone has a chuckle. But as the laughter dies down, people always go on to tell me a tale of racism they, or someone they know, experienced in Australia. This is our reputation. Yes, racism exists all over the world but as far as I can tell, we are the only country where racism is seen to be an intrinsic part of our national identity. When you meet people around the world they don’t give a shit about kangaroos anymore, they think we ride Aboriginals and refugees to school.

Dead Girlfriends Welcome to the internet, where trying to do something right apparently gets you a whole lot more grief than just plain old being an asshole. I’ve spent a decent amount of the last few days writing about an artist called James Brooks, who has recorded under various monikers over the last couple of years – first Elite Gymnastics and, until this weekend, Dead Girlfriends, a name derived from a speech by feminist theorist Andrea Dworkin (it’s a reference to the macabre idea of counting the progress of gender politics by the number of assaults on women). Feminism is obviously something that’s important to Brooks – he’s written extensively about feminist theory and rape culture on his Tumblr, and these ideas have also worked their way into the lyrics for his new EP, which he self-released via Bandcamp last week. The EP’s called Stop Pretending, and its four songs are united by themes of sexual violence and male complicity in that violence, examining what it means to be a man in a culture that legitimises and, at times, actively encourages sexism and misogyny. Not that you’d know any of this from the online shitstorm that’s arisen around the EP’s final track On Fraternity, wherein Brooks discusses feeling alienated from patriarchy and masculinity in general. The song is written largely in the second person – “The way your heart speeds up when you notice someone walking behind you... well, that’s why” – and concludes with the line, “This is why I wanted out”. The song was initially pretty well received; Pitchfork gave it one of their Best New Music ratings and other reviewers spoke positively of its approach to its chosen subject matter.

The nature of internet criticism is such that nuance is almost inevitably lost – the nature of the medium means that opinions are formulated and expressed on a superficial level, without the benefit of time to step away and reflect. This means that art – in this case music – is generally taken at face value, on the basis of first impressions, and opinions tend to snowball once someone’s voiced them. Clearly, On Fraternity wasn’t perfect – to an extent its subtleties were lost because they weren’t particularly well-expressed, and you can certainly see how they might have been missed. But it’s also a demonstration of how the internet can devolve very quickly into a dogpile – a “giant chrome echoing rage-chasm”, in Brooks’s own words. The most depressing aspect of the whole business is that it featured a shitload of terrible publicity for an artist who’s actually trying to do something right. There’s a shitload of misogyny on the internet, and it’s hard to see how anyone’s cause is served by heaping abuse on an artist who’s trying to combat it, even if he does so imperfectly.



A Pregnant Light Deathless Maranatha may not be his real name, but all the guitars, drums and howls you hear as he performs under the name A Pregnant Light are his alone. It’s metal. Some have called it ‘purple metal’, and unlike monochromatic black metal there’s no corpse paint or spikes. Maranatha has said that he tries to write heavy metal like a punk rock Johnny Marr and listening to his prodigious output there is also a definite nod to post-punk and shoegaze. Some of it sounds more like Cleaning The Mirror-era Pink Reason than it does Immortal or Darkthrone.

I can no longer defend us. I tried to imagine what the political discourse would be if the refugees on the boats were white westerners like the Von Trapps and I feel sick because I think that if that were the case, the government would probably do the only thing that might put people smugglers out of business – go to Indonesia and collect the refugees themselves. There are alternatives to these policies, there are solutions that would not only benefit people who are seeking help, but would even benefit the nation. But there is little political will to implement them because there is little compassion for these refugees and I’ve begun to believe that’s because white Australia doesn’t see its own face staring back at it from the boat decks.

Following seven solo EPs and three splits – all released on his cassette-only label Colloquial Sound Recordings – his latest three-song tape Domination Harmony sees the Grand Rapids, Michigan musician getting even more melodic. He says he is Madonna fan – he has covered Live To Tell and the ‘purple metal’ tag is led partly by the purple hued cassette covers that usually involve Hollywood stars and starlets of the past. A Pregnant Light plays up to the deliberately obscure one-man metal approach. The band has never performed live and Deathless Maranatha has said doing so would require some thinking and a unique approach. He releases super limited number cassettes – one of his latest, a split with power electronics outfit Deeper Wells, is limited to 30 copies. Despite this or maybe because of it he is definitely one of the more interesting figures in the metal world at the moment.

And rather than try to educate our people, as government should, as true leaders should, dispel fear and ignorance – the main ingredients for racism – our leaders have taken fear and ignorance and racism and using it to grab votes, and they’re lying about their policy motives. I look at our country and it scares me. Enough to make me want to Climb Every Mountain in search of a better place and seek asylum.

Speaking of weird names it’s hard to beat He Who Crushes Teeth, the founder of Raspberry Bulbs, the raw punk band who kick in touches of black metal. Also known as Marco Del Rio, Mr Teeth is drummer in long running black metal machine Bone Awl but with Raspberry Bulbs he takes a more hardcore punk approach to the form. Growing from a solo project to a quintet, the band have recently released Deformed

34 • For more opinion go to

Obviously, there’s an entirely valid suspicion of someone for whose benefit patriarchal institutions exist – a straight white dude, basically – presuming to tell women how they should feel about their own experiences under those institutions. The accusations of “mansplaining” focused on this idea, and suddenly Brooks was being accused of things like being a “stand-in for a distracted, bored patriarchy” – accusations that were based on a single interpretation of a song that was open to many such readings (as Brooks himself pointed out, the song features no gender pronouns at all). By the end of the week, Spin’s website was running a feature wherein a seven-person panel of feminist writers were discussing the work of an artist who pretty much no one reading that site would have heard of a week before.

Worship, their second LP and first for UK label Blackest Ever Black. Songs are fuelled by harsh guitars and scorching vocals but amongst the scowl there is more driven melody than you would find on your noisy black metal album. Song titles go Groping The Angel’s Face and Cracked Flesh, and the lo-fi recording set-up works well for the bummed out vexing. I still haven’t decided how I feel about the music itself but the approach and energy is refreshing and I’m looking forward to hearing which territory the band explores next. One band who I have no qualms heaping massive praise upon is Lakes, the project led by Sean Bailey whose new LP Blood Of The Grove is due out very soon on Adelaide label No Patience (Rule Of Thirds, Vaginors). Since 2002, Bailey has released a steady stream of 7” records, cassettes, CD-Rs and LPs that counter bleak folk with a dark mysticism that has drawn comparisons with the solemn approach of Death In June and Current 93. 2011’s Winter’s Blade was an underrated gem and Lakes’ best work to date so the new album is highly anticipated and marks a shift between Lakes as a one-man band into a trio. With the stark album imagery and photography beautifully matching the songs misty ambience and Bailey’s deep baritone, this is an album that fans of dark but beautiful music need to have. Lakes launch Blood Of The Grove Saturday 24 August at The Tote alongside White Hex and Prolife. Finally, a one/two blast of dark hardcore. After a couple of months out of action with some members travelling overseas, Melbourne five-piece Removalist are back with their, dark, grindy hardcore that features big riffs and tearing vocals. Live, they bring to mind the crazed mayhem of US hardcore bands and as you can expect the general vibe is one of bleakness and despondence, with song titles such as Acceptance and lyrics like “I have no place here”. You can hear and download their demo – recorded in a Brunswick house – on their Bandcamp page to judge for yourself but they come recommended. I know next to nothing about Philly’s Perfume River except that their No Wind flexi on French label Symphony of Destruction is one rabid beast of crusty and scowling D-beat punk. Vocals are shot to bits both in the delivery and the recording. Real loud. Real ugly. Real good.


Jackie Onassis This Friday 9 August, there’s a gig that’s just going to be too good. Local maestro Eloquor will launch his excellent album From The Oceans Of Karana at Revolver Upstairs. For those playing the home game, Karana is one of the year’s most intriguing, innovative releases. It eschews party rap and obvious hip hop tropes in favour of philosophic lyricism and spiritual exploration. It takes a certain kind of artist to write a four-track-long narrative about a young man’s religious awakening – and not only does Karana feature such a missive, it’s delivered in fine fashion, too. The Karana launch show will be a cracker, with 76, Ginger Van Es, Duvs and Strike Won all helping out the headline act. The support bill features Adelaide’s Terra Firma legend Simplex, who visits Melbourne all too rarely, as well as L-Fresh The Lion and DJ S-Tea. Entry to the gig will be just 13 dollars at the door – that’s a small price for a hell of a lot of excellent hip hop. It’ll be a gig well worth seeing, so make sure you don’t miss out. Also, don’t forget that Jackie Onassis are heading our way for a show on Saturday 10 August at The Workers Club. It’s the Melbourne leg of their Smoke Trails tour, named for the track that’s become a bona fide radio hit. If you haven’t picked up your tickets yet, it’s suggested that you do so immediately. They’re available from Another great 2013 album will be belatedly celebrated next Friday 16 August, when Dialectrix swings into town to formally launch his recent release The Cold Light Of Day. This album has confirmed what most of us (hopefully) already knew – that D-trix is one of Australia’s finest MCs. The album’s intense lyricism is beautifully complemented by Plutonic Lab’s excellent production (and Pluto will be appearing on stage at the gig, as befits this fine collaboration). Supports include Class A, Sinks and the inimitable P-Link, whose tough, gutsy brand of hip hop should set the tone for the evening perfectly. The gig will take place at Revolver Upstairs (which has suddenly become the home of awesome hip hop this winter), and it’ll be a good one – Dialectrix is a master of cutting up a stage. Also – you’ve probably heard the new Thundamentals single Smiles Don’t Lie by now (it’s been getting plenty of airtime on triple j – good work, Thundas!) but if you haven’t seen the video clip yet, you are really missing out. For the first 90 seconds, you’ll think you know exactly what look and vibe the clip is going for and then you’ll realise that you’re dead wrong. I don’t want to give anything away, as the element of surprise is absolutely crucial when watching it, but I’d like to give it two Intelligible Flow Video Clip awards. The first is for Best Delivery Of The Word ‘Instagram’ In A Video Clip (Tuka’s face in this bit is priceless). The second is for Oddest Of Hockey Sticks (which anyone who has seen it will understand). While Thundamentals have announced a single tour for Smiles Don’t Lie, Melbourne unfortunately hasn’t landed a stand-alone show. If you want to see the lads in action, you’ll need to pick up a ticket to Sprung Hip Hop Festival on Saturday 19 October. (Let’s be real, though, you were totally planning to do so anyway.) If you remain ticketless for Sprung, you can rectify that situation by visiting post-haste. In the meantime, you can familiarise yourself with the Smiles Don’t Lie video clip by watching it at Enjoy.





an array of Australian actors, Noah Taylor and the terribly talented Sarah Snook among them. Kudos to the lads for keeping it on home soil, especially when Hollywood beckoned post-Daybreakers.

Patrick So I’m taking a break from the twentysomething pages of notes and fragments of dialogue I’ve so far assembled for this screenplay that pits bushrangers against bunyips (hey, Don Hany, call me – this could be good for both of us) to talk about the current state of Australian ‘genre’ cinema. A few years back, Mark Hartley’s energetic, entertaining documentary Not Quite Hollywood paid loving tribute to this bald-headed-stepchild segment of the local film industry, which seemed to reach its peak in the ‘70s and ‘80s. And it ended on an optimistic note that appeared to double as a call to arms, with the doco name-checking a handful of titles that indicated a few intrepid Aussie filmmakers were taking a crack at horror, science fiction and the like. Since then? Well, it’s been a little hit and miss. For mine, the high point has probably been the Spierig Brothers’ Daybreakers, an inventive take on the vampire yarn that initially left me a tad underwhelmed but on subsequent viewing revealed itself to be a clever, well-crafted B-movie. Admittedly it imported a couple of its leads in Ethan Hawke and Willem Dafoe and was set in some vaguely American locale, but the vast majority of the cast and crew were locals, so we’re justified in calling it a home-grown production. And the Spierigs have not long wrapped shooting in Melbourne on a new project, the time-travel caper Predestination – once again Hawke is toplining but he’s supported by

But who else is in the fray or the horizon? There’s a guy named John V Soto over in Western Australia who’s churned out a few pulpy thrillers with titles like Crush and Needle (Crush I caught – it wasn’t especially memorable – but I’ve yet to see Needle), and he’s currently in post-production on a murder mystery called The Reckoning... hey, which stars Hemsworth and LaPaglia! (Wait... that’s Luke Hemsworth and Jonathan LaPaglia. Okay, as you were.) Greg McLean is making Wolf Creek 2, and while McLean’s an ace craftsman, I dunno about doubledipping the Mick Taylor well – he seemed a one-anddone character to me. After going Hollywood for a while, Jamie Blanks came home to knock out the nicely gruesome and disreputable Storm Warning and a somewhat wan remake of the nature-getsnasty thriller Long Weekend. (And in the clumsiest segue in Trailer Trash history, isn’t Saw boy James Wan doing well for himself? The Conjuring is making a nice chunk of change by effectively scaring the strides off viewers, and now he’s taking a great leap forward, landing the plum gig of helming the seventh Fast & Furious flick.) Effects whiz Justin Dix showed a knack for close-quarters tension and atmosphere with his Aliens homage/ripoff Crawlspace but the screenplay could have used another draft. Or two. There are people I’m neglecting or forgetting, I’m sure, and for that I apologise. If you’re a fan of one of these people – or you are one of these people – please let me know. But the Melbourne International Film Festival, on the verge of coming to a close, has given a couple of filmmakers a forum for their projects. I’ve been remiss in not catching Zak Hilditch’s apocalyptic These Final Hours, but I can kinda vouch for Mark Hartley’s Patrick remake, which mixes gothic mood and gory shocks in equal measure. (Self-promotion alert: I’m moderating a Q&A with Hartley at a MIFF screening of Patrick Friday 9 August. Come along!)


Shrek With the Melbourne Writers Festival set to launch in a couple of weeks, Cringe would like to draw your attention to what the wacky folks formerly from the Adelaide equivalent are up to. The Body In The Garden writers festival is a potpourri of crime and gardening writers on the same three-day bill. Now from a crime writer’s perspective, there’s a lot to be gained from reading up on gardening – understanding the best flower beds to bury a body under, the forensic breakdown of certain types of soils, the most effective implements to dig through clay – but it’s difficult to see at a glance what’s in it for the gardening fans. Unless like me, you attend a lot of crime writing events and appreciate that most crime enthusiasts are also retired, genteellooking ladies who are smack bang up for pruning box hedges and savaging their long-time partners with a pair of second-hand secateurs afterwards. So not such a wacky idea after all, and there are plenty of high profile crime and gardening writers who’ve signed on including Shane Maloney, Barry Maitland and Michael Robotham, landscape designers Myles Baldwin and Paul Bangay and native plant guru and presenter on the ABC’s Gardening Australia program, Angus Stewart. The opening night is entitled, Burying the Dead: Compost or a Crime? Watch out for the crime and wine writers festival next year – The Bodies In The Barrels! Or perhaps the opening night debate of the erotica and gardening festival the year after – Stamen vs Semen? Now back to good old Melbourne Town and a much more conventional partnership. On Friday morning, the team

at the Australian Centre for the Moving Image (ACMI) were bursting with excitement over a new historic collaboration that will see the institution host the world premiere of DreamWorks Animation: The Exhibition. The exhibition will be a behind-the-scenes peek at the studio over the past 20 years which has been responsible for the Shrek, How To Train Your Dragon, Madagascar and Kung Fu Panda franchises. DreamWorks Animation Chief Creative Officer, Bill Damaschke, who was in Australia for the announcement said: “From the beginning I’ve felt a kind of kindred spirit between DreamWorks Animation and ACMI, which makes them feel like part of our family. Both companies are creatively driven and extremely ambitious which consequently means this exhibition will truly be one-of-a-kind and certainly a whole lot of fun.” No doubt ACMI will also be hoping that the exhibition will be as successful as the Pixar one back in 2007 that smashed all previous attendance records with around 140,000 punters walking through the doors in Fed Square. ACMI Director and CEO, Tony Sweeney, said, “Visitors will be able to fully explore the groundbreaking technologies that DreamWorks Animation has used to create its animated characters and worlds over 20 years, from the pioneering forms of computer animation and motion capture through to the very latest in 3D technology.” If that sounds like your bag, then no need to rush out just yet. The exhibition doesn’t open until next April as part of the Winter Masterpieces series, and after that it will tour internationally. In brief, our 24-hour artistic one night stand, White Night has taken out a Helpmann Award for Best Special Event. Andrew Walsh AM, White Night Melbourne’s creative director, said, “It is very exciting to have White Night Melbourne acknowledged in such a way in its first year. It was a real joy to bring together such an eclectic program as we did for the 2013 event. It was even more touching to see how Melburnians and visitors embraced it.” The Award seems to have sealed the deal, because an excited Louise Asher, Minister for Tourism and Major Events, sent out a media release on the same day confirming White Night will return in 2014 on Saturday 22 February. If you want to get involved next year, artists, performers and organisations can register an interest in participating from mid-August at

For more opinion go to • 35



CIRCUMNAVIGATING Industrial rock outfit Voltera busily released three EPs over the course of 2012, each of which were influenced by a different global co-ordinate, its musical aesthetic and subsequent socio-political climate. These combine to form the sensory abrasion of Co-Ordination, the band’s second full length album to be launched this Friday at Northcote Social Club with special guests Circles, Death Audio and Sirus.

WOODEN BOATS Melbourne blues-rockers The Groves are launching their single Down With The Ship and its film clip, which was crowd-funded on Pozible, at the Grace Darling this Saturday with The Ivory Elephants, Cotangent and Kinloch Troons. The Groves’ signature garage blues has been on their latest offering, resulting in a tight knit blues shuffle, awash with crunchy guitars and powerful vocals.


SOLAR POWER The Electric I presents Chemikalia, four shows put together for their first residency at the Evelyn Hotel. After the release of their debut album Martyrdom in May, The Electric I have been touring Melbourne stages with their experimental multi-genre progressive pop. They’re playing every Tuesday at the Evelyn, this Tuesday with Jose Luis Rodriguez, Katherine Gailer, Reilly Fitzalen and Sun Lotion.

BARBARIÖN Friday, The Espy


Formed in 2007 with the sole ambition of ‘making party’, Barbariön have bludgeoned their way through pubs and clubs to become a Melbourne favourite. You might have seen them performing at Boogie, Cherry Rock, Meredith or Big Day Out – they’re pretty hard to forget, what with their onstage get-ups involving all manner of leather, fur, studs and armour. They’re celebrating their new single Metalman by putting on this free show, where you can see them pumping out powerful metal riffs in all their scantily-clad glory.

Five-piece indie-punk band Darts bring their fractured song structures and unpredictable live shows to The Tote every Thursday in August to the Cobra bar. They burst into the music scene in 2009, winning triple j Unearthed and releasing their debut album Habitual Slack in 2012. This Thursday they’ll be supported by The McQueens.


FRONTLASH FLYING HAMBURGLAR The man who tried to board a plane at a Chinese airport with his pet turtle disguised as hamburger. The conversation beside the carry-on luggage scanner allegedly went something like this: Guard asks man, “It’s a turtle, isn’t it?” Man replies earnestly,” No, it’s a hamburger.”

PIANO MAN Seen Behind The Candelabra yet? It’s the Liberace movie directed by Steven Soderbergh and props to the make-up department – you’d swear Michael Douglas was actually Liberace! Rob Lowe’s cameo is a stroke of brilliance also.

This Saturday the Evelyn sees some of Melbourne’s newest and brightest, featuring space crooners Ghost Orkid, psychedelic journey-men Kalacoma, riotous babes Manglewurzel plus loop-based dub-infused circus-sideshow act Hoops N Loops. It’s a fundraiser for an infamous inner-city warehouse in the process of renovating, aiming at building facilities to provide services to the artistic and social justice community.




Watt’s On Presents returns to The Toff In Town tonight (Wednesday), this time with Melbourne’s finest exponents of psych rock. The night will feature the excellent underground slacker post-grunge outfit Atolls, as well as Mesa Cosa, Grand Rapids and Clavians.

The Friday Nights at Monet’s Garden series presents a stellar variety of Australian musicians performing Friday evenings at the NGV to mix it up with the crowds for the Monet’s Garden exhibition. This Friday it’ll be Halfway following a widespread national tour and ahead of the release of their fourth LP.

THE SUNKING Six days before the anniversary of his death 36 years ago, Elvis Presley’s spirit will be shaking the Caravan Music Club walls this Saturday as Sunrising Australia perform their twist of the timeless music that came from Sun Records in Memphis, 1950-1957, including songs from Elvis, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Roy Orbison, Rufus and more.

HAPPY FEET The Palais foot warmers.

NOT YOUR GRANDMA This Sunday, Madeleine Paige (ex-backing singer for Kate Miller-Heidke) teams up with young bluegrass award winner Dan Watkins at the Victoria Hotel (Brunswick) as Red & The Wolf to perform country heartbreakers and hipslapper duets. Inspired by the likes of Gillian Welch and Dave Rawlings, the duo play old-time, modern and original songs. x

BACKLASH FLYING OYSTER The dude on the 96 tram at 9.57am last Thursday who spat into his hand and threw the contents out when the doors opened at stop 11, Victoria Parade, without checking first to see whether anyone was walking past. Thankfully, no one was, but really!?

BRIGHT EYES Neon sneakers on Toorak pensioners.

SLIP SLIDIN’ AWAY The concept behind Channel 7’s new contribution to the ‘laugh at people falling over’ genre, Slide Show, smokes our noodles. But what if they threw some ketamine into the catering? Now we’re talking!

SEX KITTENS The Tiger & Me and The Nymphs present two nights of a double headline live-recording at The Toff In Town this weekend. Featuring a set from each band and a collaborative set, both nights will be recorded, with the best performances to be released as independent live albums. Saturday’s show will focus on upbeat, raucous songs, while Sunday’s will be more intimate.

FALSELY FEARLESS Bringing raw power to the Evelyn this Sunday is The Braves with their supersonic blend of boogie and blues. They’re supported by a fresh incarnate of Smoke Stack Rhino playing blues heavy grooves, which cut through the minds of the desensitised youth of today, plus the gnarled-out trash ballads of The Fibs.

SHOOTING BEES Perth garage grunge trio Trigger Jackets are touring to launch their debut album Skinny including their debut Melbourne show at the Retreat Hotel (Brunswick) this Friday, to unleash their sophisticated hooks and heavy anthems. Also featuring on the night will be Honeybone (NZ) bringing their brand of swaggering, howling blues to the stage as well as Heavy Judy.

Dear Ale are launching their second album Somewhere To Be at The Curtin throughout a four week residency in the bandroom. This Sunday will be the second week and will see the band play their first album from start to finish in full. They’ll be joined by The Quarters, Trigger Jackets, Hunter and G-Pop.

GRUNGE GREETINGS Melbourne based three-piece post-grunge outfit Long Holiday are very excited to launch their recently released debut album …Greetings From at The Bridge Hotel, Castlemaine on Saturday 24 August. The band’s energetic sound is a combination of hard-hitting snarling vocals plus extra-crunchy riff’n’roll axe-work; heavy, droney/sludgey bass; alongside pounding drum beats in all directions. Support is from stoner/doom/ hard-rock Melbourne legends Mammoth Mammoth.

WOBBLY HEARTSTRINGS This Thursday there is a new oriental disco heathen goddess on the block. Chela is the latest and greatest one-woman act to emerge from the bleak, black backstreets of Armadale, Wadonga, and she recently featured on Clubfeet’s new single Heartbreak. She’ll be joined by Five Mile Town (NZ) and Loose Tooth at The Toff In Town.

INVISIBLE WINTER Brisbane instrumental rock quintet Ghost Notes’ LP Hidden Horizons paints a widescreen, sunsoaked vision of their previous releases, where indie rock mixes with jazz noir, spaghetti-western soundtracks and an organic ambience. They’re launching the album at Old Bar this Thursday with Great Earthquake and Cold Hands Warm Heart.

IRISH EARTH Melbourne-based international Celtic-rock super group Claymore are hitting the Flying Saucer Club this Friday. Bringing their unique brand of traditional Celtic music melded with contemporary rock, they’ll perform a plethora of reworked traditional classics, original tracks and rock songs with Celtic-instrumentation.

GET SIETTA GO Sietta’s new single Let It Go is an artistic statement; James Mangohig weaves ethereal plucked harps, subtle sub bass tones and tribal percussion with the inspired Caiti Baker in her element. It’s a cinematic scene of high drama in slow motion. Check it out for yourself when they play at The Workers Club on Saturday 7 September.

BIG BLUE BOWLS Vintage vocals and smooth as honey harmonies; Wish In My Dish is the newest release from singersongwriter Susy Blue. The catchy sing-along single effortlessly combines Susy Blue’s love for calypso, ‘60s pop, whimsy and folk. She’ll be playing this Saturday at The Workers Club for a matinee show with indie-pop four-piece Elephant Eyes.

HORNY JAZZ-AGE The JMQ is a horn-led quintet, offering a modern take on standards with special jazz arrangements. On the final track of their previous CD they engaged an “augmented” horn line-up, expanding the band to nine. They decided to use the extended horns the entire new album, doubling to a dectet. They’re launching The Little Big Horn Project at Bennetts Lane tonight (Wednesday) with a full concert performance.

TURNING ARROWS Luke Beesley aka New Archer sings rusty, bookish folk-rock on an old parlour guitar with Ian Wadley (Mad Nanna) on brushed, fidgety drums. They just launched their debut EP and are playing at The Gasometer Hotel this Thursday. Supports come from the fractured, minimalist vocals and instrumentation of Sarah Mary Chadwick (NZ) and the echoing-guitar, analogue-warmth of Nth Wheel.

For more news/announcements go to • 37

[THE GUID IDE] i n d i e




Soul Chic’s vocalists Nardia & Georga have been heavily influenced and taken by Eva Cassidy’s story. Through their delectable unique voice blend they have mastered the art of harmonies and have since performed as a harmony duo around Australia and Europe. With special guest Davies West (featuring Alex Attrill) they’ll be playing at the Caravan Music Club this Sunday.

Alesana (USA) have pushed the boundaries since their inception, creating their own unique sound with each album straying even further away from any formulas. This is evident with their most recent concept album A Place Where The Sun Is Silent, which strays from pop gems to classically tinged Ballads and grandiose string quartets. Check out some of their new material at the Evelyn Hotel this Friday.

CAFFEINE WATER A catalytic hip hop release, Eloquor’s third LP From The Oceans Of Karana consists of his masterful storytelling transcended by a soundtrack of evocative 1970s Bollywood samples, soulful jams and classic boom-bap sounds. Eloquor returns to Revolver Upstairs this Friday supported by hip hop veteran Simplex (Terrafirma), emerging MC L-Fresh The Lion and DJ S-Tea.

BIRDS WANT BRAINS It’s been almost a year since Paint Me A Phoenix shared the stage with Xenograft, but they’ll be coming together again this Friday at the Grace Darling Hotel. Supports come from Zombie Psychologist and The Black Galaxy Experience to create a night of unique, instrumental-based, modern musical ear sandwiches.

TO THE POWER OF 23AOA are returning to The Tote this Saturday to launch their debut EP. It combines riff-laden rock tangled with maniacal Bonham-esque beats, tied off at the end via soulful soaring melodies. Varying influences bleed into individual playing styles, which produce a large, dark, sporadic, sonic groove, laced with pop-like sensibilities. Supports come from Rumor Control and Kovo.

YELLOW DAYS Head to the Cobra Bar upstairs at The Tote tonight (Wednesday) for a night of local punk, noise and post-punk. Kicking things off are McBain, bringing their abrasive blend of noise-surf-thrash to the stage. Following are the very sultry Them Nights, a warm sloppy garage nightmare, with post-punk, noise stalwarts Psalm Beach headlining proceedings.


Answered by: Leigh MacDonald


If you could support any band in the world – past or present – who would it be? Black Rebel Motorcycle Club.

Suzanne Kinsella is a songwriter and multiinstrumentalist whose music can be described as brooding and melodic, with soundscapes neatly packaged into accessible and well structured alt. pop songs. Currently in the studio with her band, Suzanne Kinsella will release her debut album next year. She’s playing at the Retreat Hotel (Brunswick) this Thursday with Queen & Convict.

Adelaide Hills based singer-songwriter Loren Kate will release her new studio album Moving On on Thursday 12 September. It draws parallels to folk masterpieces of the ‘70s but with a contemporary twist, a true testament to Loren’s musical influences: Joni Mitchell, Joan Baez, Carole King and Bob Dylan. See Loren Kate live at the Thornbury Theatre on Friday 8 November and Harvester Moon Café, Bellarine on Saturday 9.

ROARING GOOD TIME After some soul-searching and some travelling and some university-ing and some asking friends for money to make new CD-ing, The Pretty Littles have a new song and album ready to go! Never Felt Worse is the first slice off the album. It’s a heavy track with a simple sentiment and bugger all lyrics. The Pretty Littles are launching it at The Espy on Friday 30 August with support from The Harlots, Neighbourhood Youth and Knitting For Gran.

DIRE FINANCES Ahead of a full band show in September, Broni will be playing a slew of shows around Melbourne and several at the Wesley Anne front bar, including one there this Friday. His new single Homeless Without You is a stripped back little ditty with just him and his guitar, which is a little different from his last two releases.

DILEMMA OF DIALOGUE Following the release of their third record Having Said That, Let Me Say This, Warnambool based Tank Dilemma are playing this Saturday at the Lomond Hotel (East Brunswick) and this Sunday at the Old Hepburn Hotel (Hepburn Springs). This album takes in frenetic swing, New Orleans 7/4 blues, hard funk, rock, straightup soul and features Shannon Bourne on guitar.

‘LUKA LOVE Sydney singer-songwriter Iluka presents her first release, Glory Days. Reminiscent of Edith Piaf, Janis Joplin and Dusty Springfield, Iluka has begun a bold quest to fuse half a century of music’s greatest elements to create something as unique as it is affecting. She performs on Thursday 15 August at Beav’s Bar, Geelong with Mark Wilkinson and Saturday 17 at The Workers Club with Avaberee and Bec Sandridge.


The Evelyn are keeping it simple with their new baby, Three’s A Crowd. This residency will stretch throughout July and August and is made up of two-piece acts with the occasional soloist. Each Monday there’ll be an eclectic line-up of established bands, re-adapted acts and resident DJs. This week it’ll be Mandek Penha, Toxic Lipstick and Kokatsuna Onani.




In mid-2012, four Sydney dudes came together with a singular goal in mind: to create some righteous punk rock. The result was Born Lion, with a roaring wall of sound made up of fucked up chords, angular rhythms, hard beats and double shouty vocals. New track D For Danger is no exception, a howling helter skelter of pounding drums and churning riffs. In commemoration, the boys are hitting the road. Witness them live on Saturday 5 October at the Old Bar.

How did you get together? Michael and I started making music in 2008, and got Antoni and Nick on board shortly afterwards. Sum up your musical sound in four words? Garage blues rock’n’roll.

You’re being sent into space, no iPod, you can bring one album – what would it be? Grinderman 2. Easily my favourite Australian album, possibly my favourite album of all time. Greatest rock’n’roll moment of your career to date? Nick and I were driving between Ballarat and Bendigo at 2am in pouring rain. A kangaroo jumps on the road and tries to make friends with our iron horse at 90k/ph. Just kept driving. Bad arse. Why should people come and see your band? Because we don’t really have a Plan B. When and where for your next gig? Saturday 10 August at the Grace Darling Hotel. Website link for more info?


TO BE A METALMAN The Barbariön stage show combines sexually ambiguous and highly flammable costumes with hastily assembled pyrotechnics in confined spaces along with ‘carefully’ choreographed guitar moves and plenty of exposed flesh. After a successful European tour, Barbariön are set to unleash their new single Metalman. Catch them this Friday at The Espy; on Friday 23 August at the Barwon Club, Geelong; Saturday 14 September at The Tote; and Friday 27 at The Bridge Hotel, Castlemaine.

Answered by: Kelly Day


Sum up your musical sound in four words? Cream in your coffee.

Matty Green’s band, in trio mode, brings their heartfelt southern fuzzed-out slow train to the Retreat Hotel (Brunswick) tonight (Wednesday). Green, who is fresh off a two month UK/European tour with The Simone Felice Group, has being playing sold out shows through the UK and Europe. He’ll be showcasing some new tunes that were written overseas.

WALK OR DRIVE This Sunday, The Drunken Poet is presenting two of this town’s finest songwriters. Van Walker and Charles Jenkins are responsible for several records that rarely leave the Poet stereo, beautifully crafted pieces of pop, country and folk perfection. Whether crossing the Nullabor, or the High Street Bridge at 5am, there’ll be a song for all occasions.

THE NYMPHS How did you get together? Strangely, we came together about eight years ago, singing BVs for a hip hop band! They introduced us onstage as The Nymphs, and with a name like that, how could we look back?

If you could support any band in the world – past or present – who would it be? Elvis Presley! We could sneak onstage during his set and join in with doo-wops and some daggy dancing. You’re being sent into space, no iPod, you can bring one album – what would it be? Maybe we’d bring something like Bowie’s Space Oddity to while away the lonely hours with a bit of astronautical paranoia. Greatest rock’n’roll moment of your career to date? We’ve been fortunate enough to tour with RocKwiz… But perhaps it was singing for David Walsh’s 50th birthday amongst the cage strippers, absinthe tables and oyster towers!



Why should people come and see your band? We’re fun! We sing in four-part harmony!

Scattered Disc Objects are Richmond Brain (Catnip) on guitar and lapsteel and Sam Price (Peon) on drums. Together they make lush, cinematic and textured sonic landscapes for you to bliss-out to. Be entranced by their first appearance at The Curtin front bar this Saturday afternoon as they work up to their first release on French label C45.

The holidays may be over, but let nostalgia get the better of you when All The Colours, supported by Velma Grove, Murdena and IO generously band together in support of the RMIT Interior Design School to help raise funds for their graduate exhibition. Let them draw you back to the party like you’ve still got nothing better to do this Sunday at Ding Dong.

When and where for your next gig? Saturday 10 and Sunday 11 August. We’re recording two nights live at The Toff in Town with The Tiger & Me.

38 • For more news/announcements go to

Website link for more info?


Up Up Away combine the old-school funk sounds of the ‘60s with the laid back, futuristic sounds of the neo-soul movement. They’re playing The Curtin tonight (Wednesday) with Karate Boogaloo and The Do Yo Thangs.

Maids will release their self-titled debut EP on Friday 16 August. The combination of Maids’ super heavy riffery and the out there weirdness of vocalist/drummer Sean Cook is an interesting pleasure. See for yourself when they play on Saturday 7 September at Black Night Crash at the Rochester Castle Hotel with Darts.

PROVERBIAL PAINTS The Familiars have a DIY attitude and make fullblooded, two-guitar driven, high impact indie rock. It’s got a dash of grit, plenty of melodic sensibility and a heck of a lot of danceability. They’re launching their debut EP Ampersan at the Grace Darling Hotel this Thursday with supports from Colourwaves and Kris Schroeder.

FIVE MINUTES WITH MATT WESTON (DIRECTOR) Were you a fan of the Cosmic Psychos? No I wasn’t, I thought they were shit! Or maybe I just missed out on them growing up. It wasn’t until the suggestion was made to make a doco on them that I really checked them out and couldn’t believe what I’d been missing out on. I think not being a fan of the band really helped in digging out a story as well. What was the most memorable day of shooting the documentary? The most memorable shooting day was in Seattle at Matt Lukin’s from Mudhoney/Melvins. I had been trying to confirm Eddie Vedder for an interview for the previous month, and had resigned myself to it not happening, and then after chatting to Matt for a few minutes he said, “Ed said he might pop in in a few hours and do the interview if that’s okay with you!”. They ended up polishing off a few cases of beer and demonstrated the 50 cent coin game to me – which you’ll have to check out the film to see, but involves a coin and Eddie’s butt. Two thirds of the funding for the documentary came from crowd-funding; do you see this becoming a way of the future? It has to be – I think it puts the decisions on what gets made into the hands of fans and the general public instead of being decided by a core body. I think the way things are going where certain groups are offering Matched funding is also a really healthy direction, but at the end of the day I think only the best of the bunch will get made. It’s an exciting time. Where did the idea in incorporate animation come from? I had always wanted to work with Lluis Fuzzhound for a while but we could never work out a project to do together. When I started initial interviews with the Psychos, so many of the stories were these ridiculous tales of late night drinking and stupidity that not only would not have any footage or photos to accompany it, but lent itself perfectly to animation to complement and further illustrate the absurdity of everything those drongos got up to.


Performing since 2009, Andrew Nolte, his saxophone and his novelty dance orchestra have performed jazz festivals, jazz clubs, and live music venues. The band, consisting of eight highly trained musicians, features a cavalcade of roaring brass, wailing saxophones and a banjo, sousaphone, trap kit rhythm section. They’ll be playing at the Spotted Mallard this Sunday.




Two of Adelaide’s newest but rowdiest bands Wireheads and Mountain Blood head to The Gasometer Hotel this Saturday for their debut Melbourne performances. Both have new cassette tapes released and both belt hard with catchy but rugged punk. Joining them are Beat Disease and power-pop outfit Pronto.

The Box Of Blues project pairs two of Melbourne’s best known blues-roots acts this Friday at the Thornbury Theatre. Chris Wilson has been an essential part of Aussie blues roots music for over 20 years, considered by many as Australia’s finest blues singer. Geoff Achison played with the legendary ‘Dutch’ Tilders in the ‘90s, and has now carved his own niche on the international circuit.

SORE STOMACH Spleen will continue their assault on Melbourne’s airwaves with night of prog-rock at the Reverence Hotel (Footscray) this Thursday. Joining them will be fellow rockers Scorching Winter, Rock Monster, and sludge rock band Trod.


We have ten in-season double passes to Cosmic Psychos: Blokes You Can Trust up for grabs. For your chance to win stalk the Inpress Facebook page.

Inspired by traditional Cuban rhythms but with a unique Australian twist, the Afro-Cuban groove juggernaut that is Los Cougarmen will be bringing their monster beats for the first time to The B.East this Saturday.

STAMPING SOPRANOS Head down to the Reverence Hotel (Footscray) to witness Stomp Dog every Sunday afternoon in August with a whole bunch of other rollicking bands. They’ve been described as “the devil’s own band of bushranging outlaws, playing bush music with teeth”. This Sunday they’ll be joined by Juke Baritone and Zeptepi.


Hitting up the Bookclub bandroom for Black Night Crash at the Rochester Castle Hotel this week are The Black Gypsies. Channelling influences ranging from BRMC, The White Stripes and Led Zeppelin to The Brian Jonestown Massacre, The Black Gypsies are sure to feel right at home jamming with BNC this Saturday.

Kicking around the Oz music scene for nigh on 10 years now, Laura Imbruglia has toured Oz countless times and Europe twice. She’s played with The Eels, Tegan & Sara, New Pornographers, Sebadoh, Violent Femmes, Josh Pyke, Sarah Blasko and many more. Catch her at the Spotted Mallard this Tuesday with Alyx Dennsion.



The Council return to the front bar at 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. This Saturday it’ll be Ruby Soho, ex-lead guitarist of Bunny Monroe.

Since 2004, Zoophyte have forged an enviable reputation as a guitar-heavy, alt.rock tour-deforce. That sound has been honed and perfected on the band’s latest album, Somewhere Elsewhere. Catch them at The Prince Public Bar this Friday with Smoke Stack Rhino.

What’s the song about? Naive optimism in a ‘fuck you, hater, I don’t care!’ kinda way.

Up Here, In The Future Independent

Is this track from a forthcoming/existing release? Yes! This is the very first single off our upcoming album, due to be released early next year.

Website link for more info?

After a slight misstep to start, Melbourne artist Spender delivers a very suave set of songs on his debut EP. The uptempo lounge jazz of opener Peace Of Your Mind isn't immediately likeable, however Tom Spender strikes gold with Never Again. Steering clear of any urgency, the track very successfully combines an easy R&B vibe with Spender's jazz sensibilities. The tracks that follow very nearly match this quality and even when the tempo increases again on Magic Man and Bed & Chair, the charismatic delivery and idiosyncratic choruses ensure pleasurable listening experiences. Catch him at Corner Hotel this Saturday.


How long did it take to write/record? Two days to write and record the original demo. This new recording took a bit longer, as it was quite layered, not to mention being recorded along with ten other songs.

When and where is your launch/next gig? The Workers Club Sunday 11 August from 2pm, with our friends Elephant Eyes for their EP launch, so it will be a double celebration!

Donut Beach Records/MGM

Josh Rawiri's new project touches on some moments that could see Moroccan Knights become widely appreciated. While the southern indie rock of the EP's earlier tracks are strong, they don't differentiate Moroccan Knights from other bands jamming on a similar vibe. However the genuinely warm blues-rock sound that engulfs the back half of this EP is a total winner. The slight forays into psychedelia are also welcome additions to the repertoire and the musicianship on display makes the back-to-back When I See Her and Peace Love With You the standout tracks. Moroccan Knights play this Saturday at Penny Black.

Single title: Wish In My Dish

Do you play it differently live? A bit – the recording has a lot of little percussive layers like jewellery clinking and flute key slaps which we make up for with lots of handclaps.

Modern Pest



We’ll like this song if we like... Kooky calypso, Bo Diddley, Shirley Temple, Hey Mickey handclaps with wacky gamelan trip-hop.


Moroccan Knights


What was inspiring you during the song’s writing and recording? Summer, February dandelions/wishes through the air making me feel happy and hopeful. A deadline was looming. I was also doing a songwriting challenge/forum in which you write and record a song every two days.

This debut EP showcases a quiet self-assurance and some superb songwriting. The expressiveness of Kate McMahon's voice is evident from first track India – softly soaring above the music without overdoing the histrionics. The addition of significant male backing vocals on Mother Said and I Want To Know only adds depth and helps to highlight the poignant lyricism these songs possess. The music itself may seem unremarkable but the soft flourishes and instrumental runs give Elephant Eyes a sense of strangeness that moves away from standard indie pop. They play the matinee this Sunday at The Workers Club.



Cosmic Psychos: Blokes You Can Trust In cinemas Thursday 8 August



After almost five years, old school punks The Boots are returning to wreak havoc on awaiting ears. To kick them back into gear before several more live shows, catch their comeback show this Saturday at the Barley Corn Hotel alongside Murderballs, threechord wonders Where’s Grover?, The Ganthenheilm Pact and Admiral Ackbar’s frontman Toffer Rush.

What was it like working with the Cosmic Psychos? I have my first AA meeting the next week.

Heavy rock three-piece System Of Venus have a thirst for low-end, riff-laden tunes and steam-rolling grooves, while blending elements of stoner rock and metal with intricate, mood-driven melodies. They’re playing with garage punk rock trio Angry Mules this Saturday at the Brunswick Hotel with supports from Borrachero, Cheshire Grimm (NZ), The Balls and Black Mayday.


Zelus is a new Melbourne-based jazz trio who enjoy sharing their musical passion through their diverse repertoire. Their original compositions draw from many influences such as jazz, funk, blues and Latin with a strong improvised spirit. Check them out tonight (Wednesday) at the Spotted Mallard.

After two years of pub rock shows, experimental music nights and queer dance parties, diva rhythm ambassadors Black Vanilla are finally releasing music in permanent. Their mixtape Black On Black On Black will be absurdly launched alongside Golden Blonde’s debut album Gwen at The Gasometer Hotel this Saturday, with purveyor of celestial muck, Angel Eyes opening.



Katana Cartel has gotten together with Fallen Angels, Searching In Silence and We The Ruins to put together a night called New & Raw! this Sunday at The Tote, showcasing four new hard rock and metal bands.

Local duo A Cheeky Grin are an intense, dissonant blurring of the darker sides of underground rock’n’roll and are readying their assault on the Melbourne music scene. Support from garage rockers The Dead Heir and indie movers Dangerous John makes for an awesome night downstairs at The Gasometer Hotel this Thursday.









Knowing how to catch attention without bombarding the listener, this EP features four tracks of chilled electronica. The opening moments of Bloom are enough to win you over as the track plays off Spoonty's crisp beats with waves of manipulated vocals. The EP hits another peak with the more frantic Up Here, the thick layers of vocal samples captivating without overwhelming. The hints of further experimentation on last track Over are a good sign as this talented artist looks to make a name for himself in an increasingly popular genre.

THE FAMILIARS Ampersan MGM A Byron four-piece that show promise but don't make the most of some good moments. Each track swings by and sounds great in parts but the band miss the opportunity to reach for a rewardingly expansive sound. This is epitomised with Time; its straighttalking lyricism is admirable but it isn’t until the guitar solo flares that the music matches the intensity of the vocals. Start It Up comes closest to fully delivering, with an easy transition from tension-building verse to the chorus release. When it works, the earnest indie rock of Ampersan is truly enjoyable. The Familiars play this Thursday at Grace Darling Hotel.

For more news/announcements go to • 39

[THE GUID IDE] f o o d



*That Contain Foods

You can give back to the community just by being savvy about where you choose to dine at. Brendan Hitchens looks into ethical eateries. Pics by Holly Engelhardt. Engelhardt

(And I Want My 1 LifeMoneyIs ABack)Lemon– Meat Loaf

2 The Salmon Dance – Chemical Brothers

3 Peel Me a Grape – Anita O’Day

an Ethiopian beer helps to provide agricultural pumps to rural farmers in Ethiopia via KickStart, a Negra Modelo provides a loan to a small business in Mexico via Root Capital and a glass of wine from Stellenbosch provides local language books to South African school kids via Room To Read.”


n Britain, The Sustainable Restaurant Association have in place a ranking system that assesses eateries based on their environmental, ethical and social impact. After running for the past three years, the scheme will go international this year as they, in their own words, “help diners identify those restaurants doing the right thing”.

Author, television chef and restaurateur Kylie Kwong advocates the program. “Any initiative that brings to our attention the absolute importance of environmental, ethical and social practices within our workplace, and in this case, the hospitality industry, is surely positive,” she says. Though the SRA’s plans to rank and highlight food organisations who are making positive impacts to the environment and society is only in its infant stages, ethical eateries in Australia, and particularly Melbourne, are by no means a new concept. STREAT is a social enterprise that supports disengaged youth by training them in the hospitality industry using their four Melbourne cafes. “Many of our young trainees are referred to us through various social service agencies, including Melbourne City Mission, The Salvation Army and Mission Australia,” says STREAT’s marketing manager Ian Johnson. “The William Angliss Institute has been a fantastic training partner for STREAT since we started in 2010. They have provided Certificate I and II hospitality training programs that are specifically tailored to meet the needs and abilities of our trainees.” Since its first humble food cart opened in 2010, STREAT has now sold over 350,000 meals and coffees, provided 30,000 hours of paid employment to its youth, trained 52 young people in the program and graduated six full classes. The majority of STREAT graduates are now working, most for the first time in their lives. Along with their training programs, STREAT also offer customers a unique loyalty card that supports the community. “Basically, for every nine coffees or meals you buy, we give the tenth one to a homeless person.” Also situated in Melbourne and servicing the community in their own unique way, Shebeen is a bar like no other. Donating 100% of their profits to organisations tackling poverty in the developing world, every beer, wine, cider and margarita sale sends funds back to the drink’s country of origin. “We work with seven beneficiary partners that work in the ten countries that our products come from,” says bar manager Simon Griffiths. “Drinking

40 • To check out the mags online go to

Griffiths says the response to the bar has been overwhelming. “It’s amazing to see Shebeen’s concept getting people excited. It’s gone wild on social media but also resonated with audiences that we never expected; we regularly have groups of 65-75 year-old women in for lunch, which is an absolute delight – and I don’t think they found us on Twitter,” he laughs. “As a 20-something year-old, I fell in love with the concept of doing something good whilst doing something that I loved – going to a bar,” says Griffiths, who hatched the idea with University friend Zanna McComish in 2007. He now harbours plans to take the concept interstate and one day, overseas. “We’re looking first to expand within Australia, and will then look for opportunities overseas.”

4 Ice Cream – Sarah McLachlan

5 Jam Stew – Deep Purple


Similarly to Shebeen, Kinfolk is an inner city Melbourne café that re-directs 100% of their profits, in this case between four development projects in Australia and abroad. “When people come up to the till to pay, they get to nominate one of the four projects we support,” says general manager Jarrod Briffa. “There’s two in Africa, through Y Generation Against Poverty: one of them is a child protection group and the other is a community development project in Rwanda. There’s one in Melbourne with Urban Seeds, which is a social inclusion project for marginalised and homeless people, and there’s Palm Island, with The Cathy Freeman Foundation, which is based around bridging the gap for Indigenous disadvantage.” Since 2012 and with the support of their loyal customers, Kinfolk have been able to distribute over $65,000 to their project partners. Briffa says the café, which has been so successful it is outgrowing its premises, has seen the benefits of their donations first hand. “The money is great for helping all the projects but it’s also great for spreading the word for what they are doing. I think where the biggest outcome for the project is, is that people are connected to their causes through something they do every day. Through buying a coffee you’re learning about these issues, what these projects are doing and you’re able to contribute, without having to take money out of your pocket.”

Portt lan nd And yet another awesome #mexibreakfast with @lloydhoneybrook TACOSSSSS Going to miss this when we head West next week! with Lloyd James Honeybrook at Uno Mas.



It seems quite fitting that for the last issue of Inpress as we know it, we have been advised to cut some naughty bits out of The Pub Strip.

And the lawyers got really heated about this bit...



Katie Brianna

THE UP SIDE OF THE DARK SIDE It’s Katie Brianna’s birthday when Howzat! contacts her. She’s doing a gig at The Pub in Tamworth with Karl Broadie. We mention that we hope she has a happier day than the subject of her song Birthday Girl, from her debut album, Dark Side Of The Morning. “Yeah,” she smiles, “I guess that song is kind of true. It was 2.32am when I looked at my phone while I was writing it, the morning after my birthday. I’m a night owl and my husband usually likes to get to sleep at a reasonable time. I was drinking a bottle of wine on my own – he doesn’t drink – and I was feeling quite lonely.” But just like Katie’s own story, there was a happy ending. “This year was a good birthday,” she says. “I played a gig with a good friend and then stayed up till 6am, and I wasn’t lonely.” Katie Brianna’s life changed when her sister brought home a copy of The Captain, Kasey

42 • For more opinion go to

Chambers’ solo debut. “I hadn’t heard anything like it before,” Katie recalls. “All I wanted to do was sit down with my new guitar and learn all of her songs.” Katie would later play the first song she wrote, No Friend Of Mine, to Kasey’s dad, Bill, who became a bit of a mentor. “It was so daggy. I think it was about an old high school boyfriend.” Soon after, Katie was working with another songwriting hero, Paul Kelly, on the ARIA Awardwinning Jindabyne soundtrack, singing his song Jindabyne Fair. That was released in 2006. Asked if she can put the making of her album into a few words, Katie says simply: “It took a long time.” It’s a cliché that you have a lifetime to write your debut album, but it’s true with Dark Side Of The Morning. Katie started writing the single, Oh Night, when she was just 15, and in Siren Call she sings: “Good things come to those who wait.” Indeed. Katie was 19 when she wrote the heartbreakingly beautiful title track. “I was coming through the worst part of a period of depression, hence the sad subject matter. I suppose a lot of the songs are very much at the ‘sad’ end of the songwriting spectrum. Dark Side Of The Morning was like a release for me, letting go of that part of my life.” Bernard Zuel’s Sydney Morning Herald album review stated: “It would be fair to say this album does tend to see the cloud in every silver lining, to feel sorry more than happy, to imagine the rain just behind that blue sky …” Is Katie a glass-half-empty person? “I think when I wrote a lot of these songs I really was. I’m happy now, though! That’s not to say I won’t write any more sad songs,” she laughs. “Who wants to sit down and write a song when they’re happy?” To escape “seemingly incurable shyness”, Katie started writing songs. “I was extremely shy around strangers as a child. If a teacher even

just asked me a question, I would go beet red and want to cry. Singing and playing in front of people really has helped ‘cure’ me.” Katie is the high school dropout done good. “I left after Year 10,” she reveals. “I was really miserable at school. I didn’t realise at the time but those feelings of depression and anxiety started early in high school. And I just couldn’t handle it anymore.” Katie got a job at McDonald’s, “which lasted for about three days because I couldn’t handle that either”. Katie is now 25, with no regrets. “It wasn’t right for me to be there [school] and it was doing nothing for me.” She actually did a university bridging course and contemplated becoming a scientist. “That makes me laugh now. I’m so happy doing what I’m doing, even though it’s definitely not an easy path.” Katie Brianna journeys to Melbourne this weekend, to launch Dark Side Of The Morning at the Retreat Hotel on Saturday, with The Weeping Willows.

Sheppard EP SHEPPARD (20)



It’s chilling and it’s thrilling – and Mark Hartley’s debut dramatic feature, Patrick, has a couple of music connections. Mark has made more than 150 music videos, including some chilling classics for Stephen Cummings (head to YouTube to check out the clip for Fell From A Great Height). Patrick is a remake of the 1978 cult classic, directed by Richard Franklin – the drummer in Ross Wilson’s high school band, The Pink Finks, who had a Top 20 hit in Melbourne in 1965 with their cover of Louie Louie. Patrick hits cinemas in October.

Glorious Ruins HILLSONG LIVE (16)

CHART WATCH What About Tonight land at 30.

Reload SEBASTIAN INGROSSO & TOMMY TRASH (26) Time Of Our Lives WHAT ABOUT TONIGHT (30, debut) Act Your Age BLISS N ESO (31) To The End Of The Earth JESSICA MAUBOY (32) Kate Ceberano debuts at 23. Asymmetry KARNIVOOL (number three) Circus In The Sky BLISS N ESO (four) More Than A Dream HARRISON CRAIG (five) A Time For Us LUKE KENNEDY (12) The Great Country Songbook TROY CASSAR-

Kensal Road KATE CEBERANO (23, debut) Departures BERNARD FANNING (28) A Hell Of A Career! JOHN WILLIAMSON (29) Sharkmouth RUSSELL MORRIS (31) This Music CELIA PAVEY (33)


Riptide VANCE JOY (number eight) Parachute TIMOMATIC (12)


Resolution MATT CORBY (15)


Fire Starter SAMANTHA JADE (19)

Everything Is Everything MAJOR CHORD

[THE GUID IDE] g i g s

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


CLOUD CONTROL: September 4 Karova Lounge (Ballarat); 5 Star Bar (Bendigo); 6 Forum

SENSES FAIL: August 11 Corner Hotel

PRESENTS 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 Gully Hotel; October 4 Corner Hotel DEAD LETTER CIRCUS: August 30 Wool Exchange (Geelong); 31 Hi-Fi

THIS WEEK INTERNATIONAL JOAN BAEZ: August 8 Hamer Hall 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 SENSES FAIL: August 11 Corner Hotel PINK: August 13 Rod Laver Arena


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 COSMIC PSYCHOS: August 9 The Hi-Fi 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

UPCOMING INTERNATIONAL PINK: August 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 GUTTERMOUTH: August 16 Karova Lounge (Ballarat); 17 Evelyn Hotel; 18 The Man (Falls Creek); 19 Swindlers (Mt Hotham) CARTEL: August 17 The Hi-Fi BOB LOG III: August 17 The Substation (Newport) OBEY THE BRAVE: August 17 Bang; 18 Allen McLean Hall ASH: August 22 Corner Hotel THE GAME: August 22 The Espy DRAGON: August 23 Corner Hotel YOUNGBLOOD HAWKE: August 24 The Toff In Town JEREMY DENK: August 26 Melbourne Recital Centre LINDSEY STIRLING: August 27 Corner Hotel JAPANDROIDS: August 28, 30 Corner Hotel 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

7 AUGUST 2013

Ben Carr Trio + Trio Agogo + Guests: 303, Northcote Songrider’s Club + Various: Baha Tacos, Rye Bridgewater + Evil Twin + Damn That River + The Eleven Dollar Bills: Bar Open, Fitzroy John Montesante Quintet + Fem Belling + Bobby Valentine + Elly Hoyt: Bennetts Lane, Melbourne Open Mic + Various: Bonnie & Clydes Cafe & Cocktail Bar, Thornbury Tales In Space + Red X: Cherry Bar, Melbourne Mo’Soul feat. Yeo + DJ Vince Peach: Ding Dong Lounge, Melbourne Huw Murdoch + Ciggie Witch + Arrester: Empress Hotel, Fitzroy North Justice & Kaos feat. Ry: Evelyn Hotel, Fitzroy Paul Kelly: Geelong Performing Arts Centre (Playhouse Theatre), Geelong The Baudelaires + The Beggars Way + Amy Volkofsky: Old Bar, Fitzroy Roots of Music feat. Joe Forrester + Cardinal + The Mere Poets: Revolver Upstairs, Prahran The Atlantic Fall + The Belt Eaters + One Day Maybe + Snares & Wires: Tago Mago, Thornbury Open Mic Night + Various: The Brunswick Hotel, Brunswick Up Up Away + Karate Boogaloo + The Do Ya Thangs: The Curtin, Carlton Wine, Whiskey, Women feat. Georgia Fields + Lauren Glezer: The Drunken Poet, Melbourne

44 • To check more gigs online go to

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

Matt Kelly + Guests: Empress Hotel, Fitzroy North

Xenos + Bricks Are Heavy + Severity + Diploid: The Gasometer Hotel, Collingwood

The Familiars + Colourwaves + Kris Schroeder: Grace Darling Hotel, Collingwood

James Kenyon: The Standard Hotel, Fitzroy Atolls + Mesa Cosa + The Grand Rapids + Clavians: The Toff In Town, Melbourne Slow Club feat. Palm Beach + Them Nights + McBain: The Tote, Collingwood Alta + Friendships + Audego: The Workers Club, Fitzroy The Tin Men Trio: Wesley Anne, Northcote Simply Acoustic: Wesley Anne (Bandroom), Northcote


Kickin The B at 303 feat. Kim Kelaart Trio: 303, Northcote Love Migrate + Sagamore + Skinny G: Bar Open, Fitzroy Clairy Browne & The Bangin’ Rackettes + Chris Russell’s Chicken Walk: Caravan Music Club, Oakleigh Eurogliders: Chelsea Heights Hotel, Chelsea Heights Kingston Crown + DJ Vince Peach + Pierre Baroni: Cherry Bar, Melbourne Next feat. Deez Nuts: Colonial Hotel, Melbourne Super Unsigned Music Festival feat. Diamonds Of Neptune + Lee Bradshaw + Poppy + Kate Finkelstein + Mantis & The Prayer + The Anomalies + Kovo + Damn That River: Corner Hotel (6.30pm), Richmond Taste Of Indie Collective + Various: Edinburgh Castle Hotel, Brunswick

Naked Bodies + The Pope’s Assassins + The Night Before Tomorrow: Grace Darling Hotel (Basement Show), Collingwood Rocky & Nancys + Howl & Crow: Great Britain Hotel, Richmond Joan Baez + Chucho Valdes & The AfroCuban Messengers: Hamer Hall, Melbourne Johnny Can’t Dance + Fruit Jar: Lomond Hotel, Brunswick East Sooky La La + A Gender: Lounge Bar, Melbourne Paul Kelly + Urthboy: Melbourne Recital Centre, Southbank Ghost Notes + Great Earthquake + Cold Hands Warm Heart: Old Bar, Fitzroy Spleen + Trod + Rock Monster + Scorching Winter: Reverence Hotel (Front Bar ), Footscray Kindread + Rara + Friendships + Blossoms + London + Island Universe: Reverence Hotel (Band Room), Footscray Melbourne Fresh Industry Showcase + Various: Revolver Upstairs, Prahran Diesel: Spotted Mallard, Brunswick Twin Ages + Berlin Sirens + Auranix + Black Saloon Cowboys: The Brunswick Hotel, Brunswick John Montesante Quintet + Andrew Swann: The Commune, East Melbourne Jakobi: The Curtin, Carlton Marlon Williams + Jemma Nicole: The Drunken Poet, Melbourne The Staffords + Louis & The Honky Tonks + Slow Dancer + Children Overboard: The Espy (Lounge Bar), St Kilda

Trigger Jackets + Honeybone: Retreat Hotel, Brunswick

Johnny Rock & The Limits + High Fangs + The Squeeze: Ding Dong Lounge, Melbourne

Eloquor + Simplex + L-Fresh The Lion: Revolver Upstairs, Prahran

King Lucho + Tim Guy: Edinburgh Castle Hotel, Brunswick

Eurogliders: Shoppingtown Hotel, Doncaster

Anthony Atkinson & The Running Mates + The Zebras + Last Leaves: Empress Hotel, Fitzroy North

Pete Bibby + Pretty Good Sex + Dean Anthonisz: Tago Mago, Thornbury

Alesana + Pretty Little Liars + Armorus + I Am Everest: Evelyn Hotel, Fitzroy String Fever: Famous Blue Raincoat, South Kingsville The Vendettas + Kill Shot + The Jacks + Space Junk + Ainslie Adams + Lola Ramone + Midnite Velvet: First Floor, Fitzroy

XAVIER RUDD: October 3 Forum

Collage with Sand Giant + more: The Espy (Lounge Bar), St Kilda

Grinspoon + The Snowdroppers + Dave Larkin Darwin Theory: Corner Hotel, Richmond

Buddy ‘n’ Roy: The Palms, Southbank The Impossible No Goods: The Public Bar, North Melbourne Liam Gerner: The Sporting Club, Brunswick Various: The Thornbury Local, Thornbury Chela + Five Mile Town + Loose Tooth: The Toff In Town, Melbourne Slow Club feat. Darts + The McQueens: The Tote, Collingwood Wishful + Mayfi eld + Waco Social Club: The Vineyard, St Kilda

Palace Of The King: The Bridge Hotel, Castlemaine Scaramouche + Seedy Jezus + The Caning + Trash Fairys: The Brunswick Hotel, Brunswick Skyscraper Stan & The Commission Flats : The Cornish Arms, Brunswick

Claymore: Flying Saucer Club, Elsternwick

El Moth + Ghost Orkid + Kalacoma: The Curtin, Carlton

Paint Me A Phoenix + Xenograft + The Black Galaxy Experience + Zombie Psychologist: Grace Darling Hotel, Collingwood

Traditional Irish Music Session with Dan Bourke & Friends: The Drunken Poet, Melbourne

Dirt Farmer + Second Hand Heart + Dark Arts: Karova Lounge, Ballarat

Bronson + Heaven The Axe + Naberus + Join The Amish: The Espy (Lounge Bar), St Kilda

The Shambelles: Lomond Hotel, Brunswick East Paul Kelly + Urthboy: Melbourne Recital Centre, Southbank

Barbarion + Vice Grip Pussies + Dead City Ruins + Virtue: The Espy (Gershwin Room), St Kilda

ISAAC GRAHAM: August 10 Public Bar

Winter Moon + Cheshire Grimm + The Mohawk Lodge + First Love DJs: The Workers Club, Fitzroy Anna’s Go-Go Academy: Victoria Hotel, Brunswick Moments Notice: Wesley Anne (Front Bar ), Northcote We’re 30 Bitches... And Tales Of Other Actual Achievements+ Various: Wesley Anne (Bandroom), Northcote Honey Badgers + Cashew Chemist + Gamma Rays: Yah Yah’s, Fitzroy


9 AUGUST 2013 Rock For Refugees + Various: 303, Northcote Peace Pie: Baha Tacos, Rye That Gold Street Sound + Sol Haus & The Spokesmen: Bar Open, Fitzroy 4Tress + Black Fuel + Triumph Over Logic + Return To Rio: Barley Corn Hotel, Collingwood Ummet Ozcan: Billboard The Venue, Melbourne

As A Rival + Eater of the Sky + Low Point + Falconio + Stevenson’s Rockets: Musicman Megastore, Bendigo Friday Nights at Monet’s Garden feat. Halfway: National Gallery of Victoria, Southbank Voltera + Circle + Sirus + Death Audio: Northcote Social Club, Northcote

Chris Wilson: Cherry Bar (Afternoon), Melbourne

The Smith Street Band + The Bennies + Foxtrot + World Cup: Old Bar, Fitzroy

The Trotskies + The Corsairs + Busy Kingdom: Cherry Bar, Melbourne

Bernard Fanning + Big Scary + Vance Joy: Palace Theatre, Melbourne

Cheshire Grimm + The General + Cashew Chemist + Spiral Arm: The Espy, St Kilda The Ophidian Ascension + As Silence Breaks + I Shall Devour + A Night In Texas + Kontact + The Seraphim Veil: The Gasometer Hotel, Collingwood Drooling Mystics + Mathew Watson (Other Places) + Nick Pratt + Vowed + The Seaport & The Airport: The Gasometer Hotel (Upstairs), Collingwood


VAN WALKER Songs by Himself Two Sets 5pm to 7PM SUN 11TH

BACKWOOD CREATURES Two Killer Sets 5pm to 7pm TUE 13TH

CHARLES JENKINS Tuesdays in August Residency Acoustic Show from 8.30pm COMING SOON TO THE LABOUR



[THE GUID IDE] g i g s

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

TOUR GUIDE JEFF LANG: August 10 Yarraville Club

(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)

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 MACHINE GUN KELLY: September 5 The Hi-Fi DEMARCO: September 7 The Espy MARK MCGUIRE: September 7 The Gasometer Hotel VOLUMES: September 7 Ringwood OLP; 8 Evelyn Hotel HIT THE LIGHTS: September 7 Phoenix Youth Centre (Footscray); 8 Corner Hotel ANBERLIN: September 8 Palace KELE OKEREKE (DJ SET): September 13 The Prince TERRY FRANCIS: September 13 Onesixone PEACE: September 13 Eagle Bar La Trobe University; 14, 15 Northcote Social Club GHOSTPOET: September 14 Corner Hotel KVELERTAK: September 14 Corner Hotel LISA CRAWLEY: September 14 Ding Dong Lounge; 18 The Toff In Town; 19 The Espy

NATIONAL VIOLENT SOHO: August 15 Liberty Social DARTS: August 15, 22, 29 The Tote DIRT FARMER: August 15, 16 The Workers Club 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 EAGLE & THE WORM: August 20, 27 The Workers Club 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 BILL PARTON TRIO: August 22 Barwon Club (Geelong); 23 Empress Hotel 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 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 KING GIZZARD & THE LIZARD WIZARD: August 28, 29 Northcote Social Club 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

Cosmic Psychos + Ooga Boogas + Dead River Open: The Hi-Fi, Melbourne Immigrant Union: The Loft, Warrnambool Zoophyte: The Prince (Public Bar), St Kilda Ben Carr Trio: The Sporting Club, Brunswick

TWELVE FOOT NINJA: August 30 Ferntree Gully Hotel; October 4 Corner Hotel

Raparee: The Thornbury Local, Thornbury

THE WOOHOO REVUE: August 30 Northcote Social Club; September 28 The Loft (Warrnambool)

Lyall Moloney + Bootleg Rascal: The Workers Club, Fitzroy

ASHLEIGH MANNIX: August 30 Baha Tacos (Rye); September 1 The Workers Club; 5 The Bridge Hotel (Castlemaine); 6 Babushka Lounge (Ballarat)

Chris Wilson + Geoff Achison : Thornbury Theatre, Thornbury

DIVA DEMOLITION, BELLUSIRA: August 31 The Espy; September 1 Newmarket Hotel (Bendigo)

Broni: Wesley Anne (Front Bar/ Early), Northcote

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 DUMB BLONDES: September 6 The Espy STONEFIELD: September 6 Karova Lounge (Ballarat); 7 Ding Dong Lounge SHAUN DIVINEY: September 7 Wrangler Studios MONIQUE DIMATTINA: September 7 Bennetts Lane HELM: September 7 Evelyn Hotel TULLY ON TULLY: September 7 The Toff In Town TRIPLE J HOUSE PARTY ft NINA LAS VEGAS: September 7 The Hi-Fi JIMMY BARNES: September 7 Prince Of Wales Showground (Bendigo) TONIGHT ALIVE: September 11 The Hi-Fi (under-18); 13 Billboard JACK CARTY: September 12 The Toff In Town THE CAT EMPIRE: September 12, 13 Forum NORTHLANE: September 12 Commercial Hotel (South Morang); 13 Ferntree Gully Hotel; 15 Coburg Town Hall CLAIM THE THRONE: September 13 Evelyn Hotel THE DRONES: September 13, 14 The Hi-Fi

Ten Cent Pistols + The Stephen Bowtell Band + Private Radio + Dead Gang: Yah Yah’s, Fitzroy


10 AUGUST 2013 Mycology + Lotek + Zulu Flow: 303, Northcote Lyall Moloney: Baha Tacos, Rye Echo Drama + Liquid Funk Orchestra: Bar Open, Fitzroy The Boots + The Murderballs + Where’s Grover? + The Ganthenheilm Pact + Toffer Rush: Barley Corn Hotel, Collingwood Dirt Farmer + Sugar Ghouls: Barwon Club, South Geelong Sublimation: Bella Union, Carlton South Zulya & The Children of The Underground: Bennetts Lane, Melbourne The Songs That Made Memphis feat. Sun Rising: Caravan Music Club, Oakleigh Howlin’ Steam Train + Sons Et Al + The Holy Rollers: Cherry Bar, Melbourne Clare Bowditch + Spender: Corner Hotel, Richmond

THE SNOWDROPPERS: September 13 The Curtin

July Days + The Peaks + The Zanes: Ding Dong Lounge, Melbourne

THE PREATURES: September 13 Northcote Social Club; 14 Karova Lounge (Ballarat)

All Day Fritz: Edinburgh Castle Hotel (Afternoon), Brunswick

KIERAN RYAN: September 14 The Workers Club

Hello Satellites + Comfort Creatures + Slow Galo: Empress Hotel (Afternoon), Fitzroy North

PIGEON: September 13 Can’t Say

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 LET THEM EAT CAKE FESTIVAL: January 1 Werribee Park BIG DAY OUT: January 24 Flemington Racecourse RAINBOW SERPENT FESTIVAL: January 24-28 Lexton

46 • To check more gigs online go to

Guilty Hero + Red Eye Express + Stickleback + Garagee: Empress Hotel, Fitzroy North Ovens Street Warehouse Fundraiser feat. Ghost Orkid + Kalacoma + Mangelwurzel + Hoops N Loops + Sun Lotion: Evelyn Hotel, Fitzroy Saturday Live Sessions feat. Max Savage + Joel Hindmarch: Ferntree Gully Hotel, Ferntree Gully Bernard Fanning + Big Scary + Vance Joy: Geelong Performing Arts Centre, Geelong

The Groves: Grace Darling Hotel, Collingwood Digger & The Pussycats: Great Britain Hotel, Richmond Trigger Jackets + Royston Vasie + Guests: Karova Lounge, Ballarat Alesana + Save The Clock Tower + This Fiasco + Oceans To Athena + Swim Through Seasons + Fail The Abstract: Lilydale Showgrounds (All Ages), Lilydale Tank Dilemma: Lomond Hotel, Brunswick East Barn Owl + Zond + Miles Brown + Kane Ikin: Northcote Social Club, Northcote The Smith Street Band + The Bennies + El Alamein + Stockades + Lee Hartney + Sex Drive + Apart From This: Old Bar, Fitzroy Brad Martin Project: Rainbow Hotel, Fitzroy

Black Vanilla + Golden Blonde + Angel Eyes: The Gasometer Hotel (Upstairs), Collingwood Showdwon At The Hi-Fi + Jericco + The Khyber Belt + The Siren Tower + The Killgirls + Anna Salen + I Am Duckeye + Head Filled Attraction + LeBelle + Lung + Transcience: The Hi-Fi, Melbourne Guttermouth + Special Guests: The Loft, Warrnambool Harry Howard & The NDE: The Post Office Hotel, Coburg The Elliotts: The Prince (Public Bar), St Kilda Isaac Graham & The Great Unknown + The Shadow League + I Am The Riot + Nathan Seeckts: The Public Bar, North Melbourne

Phoebe Jacobs: Bar Open (Downstairs/ Afternoon ), Fitzroy Splendid Chaps: Bar Open (5pm), Fitzroy Zulya & The Children of The Underground: Bennetts Lane, Melbourne Tribute To Eva Cassidy feat. Soul Chic: Caravan Music Club (Afternoon), Oakleigh Topology: Chapel Off Chapel, Prahran Southern Lightning + DJ Max Crawdaddy: Cherry Bar (Afternoon), Melbourne 4Tress + Diana’s Bow + The General: Cherry Bar, Melbourne

IMMIGRANT UNION: August 9 The Loft (Warrnambool); 10 The Bridge Hotel (Castlemaine)

Only Aliens + Fusionite + Hugh Kirne + Michael Yule: Revolver Upstairs, Prahran Grumpy Neighbour: Shamrock Hotel, Kyneton The Infants + Elephant: Tago Mago, Thornbury Sewercide + Harlott + Maniaxe + Counter Attack + Atomic Death Squad: The Bendigo, Collingwood Immigrant Union: The Bridge Hotel, Castlemaine Angry Mules + System of Venus + Cheshire Grimm + Borrachero + The Balls + Black Mayday: The Brunswick Hotel, Brunswick Tinsley Waterhouse Band: The Brunswick Hotel (Afternoon), Brunswick

Greens Dairy Angel Ensemble: The Sporting Club, Brunswick A Man Called Son + Guests: The Thornbury Local, Thornbury The Tiger & Me + The Nymphs: The Toff In Town, Melbourne The Council + Ruby Soho: The Tote (Front Bar / Afternoon), Collingwood 23AOA + Rumour Control + Kovo: The Tote, Collingwood

Liam Gerner + Friends: The Cornish Arms, Brunswick

Jackie Onassis + Ry + Peezo: The Workers Club, Fitzroy

Scattered Disk Objects: The Curtin (Front Bar / Afternoon), Carlton

Ol’ Timey Music Jam with +Craig Woodward & Friends: Victoria Hotel (Afternoon), Brunswick

Mystery + Shadows Of Hyenas + Voodoocain: The Curtin, Carlton Ian Collard: The Drunken Poet, Melbourne Kings & Queens feat. Three Storey Goat + Jon Vendetta + Altamira + Midnight Alibi + Hushfi re + Diamond Fist + Not Today: The Espy (Gershwin Room), St Kilda Kid Selzy & Gutz + Illuminate + Dr Flea + Strike Won + West Gate Keepers + Hospa The Horrorble + DJ Bonezy 2 Blades + Sammy Scissors + Phil Para: The Espy (Lounge Bar), St Kilda DJ Token + DJ Asylum + DJ Arctic + DJ Baddums + DJ Gingus: The Espy (Basement), St Kilda Beat Disease + Mountain Blood + Wireheads + Pronto: The Gasometer Hotel, Collingwood

Senses Fail + Left For Wolves + Surrender + Ever Cold: Corner Hotel, Richmond RMIT Index Fundraiser feat. All The Colours + Murdena + IO: Ding Dong Lounge, Melbourne Georgia Fields: Edinburgh Castle Hotel (Afternoon), Brunswick Birds & The Bees Showcase + Various: Empress Hotel (Afternoon), Fitzroy North The Braves + Smoke Stack Rhino + The Fibs + Guests: Evelyn Hotel, Fitzroy

Short Order Schefs: Victoria Hotel, Brunswick

Vincs & Wakeling: Famous Blue Raincoat, South Kingsville

Thomas Hugh + Puerto Rico: Wesley Anne (Bandroom / Afternoon), Northcote

Guttermouth + Special Guests : Ferntree Gully Hotel, Ferntree Gully

Charlie Lane: Wesley Anne (Bandroom), Northcote

Saturday Live Sessions feat. Sheriff + Simon Levick: Ferntree Gully Hotel, Ferntree Gully

Les Minijupes + A Gender: Yah Yah’s, Fitzroy Jeff Lang + Chris Russell’s Chicken Walk: Yarraville Club, Yarraville


11 AUGUST 2013 OPA: 303, Northcote Jazz Vocal Sessions + Various: 303, Northcote Paul Kelly + Urthboy: Ballarat Regent Multiplex, North Ballarat

Moonshine Whistlers: Lomond Hotel (Afternoon), Brunswick East Marty Kelly & The Weekenders: Lomond Hotel, Brunswick East Oliver Mann + Leo Mullins: Northcote Social Club (Matinee Show), Northcote Beersoaked Sundays with Whitewash + The Grand Rapids + Zone Out: Old Bar, Fitzroy Rory Ellis & The Devil’s Right Hand: Rainbow Hotel, Fitzroy


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

Juke Baritone + Stomp Dog + Zeptepi: Reverence Hotel (Front Bar ), Footscray

[THE GUID IDE] Bluegrass Jam + Various: The Sporting Club, Brunswick

ALESANA: August 9 Evelyn Hotel; 10 Lilydale Showgrounds

Austin Brady: Wesley Anne (Front Bar ), Northcote

Lindsay Field + Glyn Mason + Sam See: Royal Oak Hotel, Fitzroy North


Andrew Nolte & his Orchestra: Spotted Mallard, Brunswick Nick Murphy & Jeff Samin + Johnny Livewire & Lucy Dwyer: Tago Mago, Thornbury

13 AUGUST 2013

Calypso + Pepperjack + Frankie Andrews + James Dobson + Tane + Kyle Taylor + James Mackey + Hudson + Michael Nocentini + Richy McKay: The Brunswick Hotel (Afternoon), Brunswick Dear Ale + The Quarters + Trigger Jackets + Hunter: The Curtin, Carlton Van Walker: The Drunken Poet (Afternoon), Melbourne Charles Jenkins: The Drunken Poet, Melbourne Dale Ryder Band + Bad Boys Batucada + Ms Butt: The Espy (Lounge Bar), St Kilda Lot 56: The Inkerman Hotel, Balaclava Julitha Ryan Band: The Post Office Hotel, Coburg King Lucho: The Sporting Club, Brunswick

Daniel Sheehan Trio: Bennetts Lane, Melbourne Killshott: Cherry Bar, Melbourne

The Sideshow Brides: The Standard Hotel, Fitzroy

Bent Street: The Westernport Hotel, San Remo

The Cassettes: The Thornbury Local (Afternoon), Thornbury

Susy Blue + Elephant Eyes + Mayfair Kytes: The Workers Club (Afternoon), Fitzroy

The Tiger & Me + The Nymphs: The Toff In Town, Melbourne Now Hear This ‘The First Time’ hosted by Melanie Tait: The Toff In Town (Matinee Show), Melbourne Katana Cartel + Fallen Angels + Searching In Silence + We Built These Ruins: The Tote, Collingwood

Mike Rudd: Vesbar Wine Lounge (Afternoon), Somerville Red & The Wolf: Victoria Hotel (Afternoon), Brunswick Clued Up!: Wesley Anne (Bandroom / Afternoon), Northcote Trio Agogo: Wesley Anne (Front Bar), Northcote

MON 12 AUGUST 2013

Lebowskis Present James Macaulay Quartet + James Gilligan + Kieran Hensey: 303, Northcote

Monday Night Mass feat. Miss Destiny + Toothache + Pro Life: Northcote Social Club, Northcote Songwriter Sessions feat. Kate Brianna + Dominic Mithen + Christopher Sprake + Arrestor + more: Old Bar, Fitzroy

Cherry Jam + Various: Cherry Bar, Melbourne

Passionate Tongues Poetry hosted by Michael Reynolds: The Brunswick Hotel, Brunswick

Three’s A Crowd feat. Mandek Penha + Toxic Lipstick + Kokatsuna Onani: Evelyn Hotel, Fitzroy

The Pierce Brothers + Rattlin’ Bones Blackwood + Adam Hynes: The Espy (Lounge Bar), St Kilda

The Electric I feat. Jose Luis Rodriguez + Katherine Gailer + Reilly Fitzalen + Sun Lotion: Evelyn Hotel, Fitzroy Kain Borlase Trio: Kojo Brown, Richmond Irish Session: Lomond Hotel, Brunswick East Pink: Rod Laver Arena, Melbourne Discovery Night feat. EXP Band + House of Light + The Dan Dans: The Brunswick Hotel, Brunswick Collage + Various: The Espy (Lounge Bar), St Kilda Eagle & The Worm + The Bluebottles: The Workers Club, Fitzroy Open Mic Night + Various: Wesley Anne, Northcote


THU 8TH 8.30PM

+ FRUIT JAR (Cajun acoustic roots)


FRI 9TH 9:30PM

(Girls rockin’ night out !)

SAT 10TH 9:30PM

TANK DILEMMA (Chunky soul grooves)

SUN 11TH 5:30PM

MOONSHINE WHISTLERS (Sultry vintage swing)

SUN 11TH 9:00PM





IIRISH SESSION (Celtic ďŹ ddlin’)



140 Sydney Rd


9387 6637


















Sat 10th Aug 9.30pm

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VALE MIKE SHIPLEY Born in Sydney but based in LA for many years, Grammy Award-winning mixing engineer/producer Mike Shipley passed away Friday 26 July. Shipley was probably best known for engineering/mixing on many a Mutt Lange production, from Def Leppard to Shania Twain. He got his first big break working for London’s Wessex Studios in the late ‘70s, engineering sessions for, among others, Sex Pistols and The Damned. He relocated from London to Los Angeles in 1984 to work on an album by The Cars, and over the intervening years engineered, mixed and/or produced albums by artists as diverse as The Corrs, Maroon 5, Kelly Clarkson, Keith Urban and the aforementioned Twain and Leppard. Last year, Shipley won Best Engineered Album and Best Bluegrass Album Grammys for his work on the Alison Krauss & Union Station album, Paper Airplanes.

AIM COMES TO MELBOURNE Sydney’s Australian Institute of Music (AIM) is opening a campus in Melbourne, right in the CBD at 120 King Street, with applications now open for the first intake, the first term commencing Tuesday 28 January next year. The first year will see AIM offering a Diploma and Bachelor of Music in Contemporary Performance and Composition & Music Production, and a Bachelor of Entertainment Management. AIM will be holding an information evening between 6pm and 8pm at the Intercontinental on Collins Street Wednesday 28 August.

SOUND BYTES The Vaccines recorded their latest EP, Melody Calling, at Eldorado Studios in Burbank, LA, with producers John Hill (Rihanna, M.I.A., Santigold) and Rich Costey (Muse, Franz Ferdinand). Brooklyn-based synth-pop outfit St Lucia, essentially Jean-Philip Grobler, recorded and produced the debut album, When The Night, due out in October, with additional production and mixing from Chris Zane (Passion Pit), Rich Costey (Muse, Foo Fighters) and Andy Baldwin.



ANATOMY OF AMBITION These New Puritans’ Field Of Reeds is a sprawling experimental release encompassing field recording, classical orchestration and avant-garde electronics. Jack Barnett takes Matt O’Neill through the mechanics of assembling the band’s third album.

ield Of Reeds is an almost wholly unique recording. A stark about-face, their latest release sees These New Puritans almost completely ditching both the percussive dancehall and hip hop influences of their last album, 2011’s Hidden, and the visceral post-punk flavours of their debut, 2007’s Beat Pyramid. In their place are lengthy, amorphous compositions spliced together from classical orchestration, found sounds and analogue electronics.


The process of recording the album was lengthy, convoluted and frequently eccentric. The majority of work was done within Berlin’s Funkhaus Nalepastraße. From 1956 till the fall of the Berlin Wall in 1990, the concert hall of the former German Democratic Republic, Funkhaus Nalepastraße encompasses large orchestral spaces and smaller, more intimate rooms previously used to record radio plays. The former allowed the band to record their expanded musical arrangements, the latter their experimental foley room found sounds. “We started in Berlin because we wanted to start with the ensemble stuff,” bandleader and co-producer Jack Barnett explains, the group having taken the unusual step of recording strings, reeds and brass before anything else in the process. “Berlin was where we had a lot of conductors we trusted and a really big space to record. These amazing old German, like post-war, radio studios – this absolutely huge complex of spaces. “Like the German equivalent of Maida Vale studios here in Britain,” the frontman clarifies, referencing the current home of the BBC Symphony Orchestra and the one-time home to John Peel’s Peel Sessions. “So you’ve got these great big rooms made of wood and of stone and then you’ve got these weird spaces with staircases that lead to nowhere – which is where we recorded a lot of the sound effects and that sort of thing.” In recording, Barnett and co-producer Graham Sutton prioritised an obsessively regimented live approach. This applied equally to recording instrumentalists,

electronics and samples. Drummer (and frontman’s brother) George Barnett was forced, for instance, to play up to 76 takes for Fragment Two. Jack Barnett explains he approaches recording takes in quite a clinical way. Each performer is expected to satisfy a list of predetermined criteria before they’re given their leave. “I’m really analytical with this sort of thing. There will always be four or five specific qualities that I want to capture within any given part. Referring specifically to the drums in Fragment Two, there are so many things that I wanted to capture with that drum part. Little dynamic lifts, that sort of thing. I basically have a little checklist. It’s all about the nuances. I think nuance is really important in this sort of music.” Again, this approach wasn’t limited just to instrumentalists. The entire band spent a whole day smashing glass in the studio for the conclusion to The Light In Your Name. The band used a variety of unusual approaches for capturing their sound. A Neumann Model Head microphone for example, which models human hearing, was used for shattered glass. In another instance, they brought a live hawk into the studio to sample the sound of its wings as it took flight. “We have this thing about really close, intimate recordings – lots of little details. That’s why we had to bring the hawk into the studio. We were never going to get those details outside where it’s windy and full of ambient noise. Especially since we were trying to get the sound of the wings. It’s a very quiet sound, a hawk taking off, so you need relatively low ambient noise. I don’t think we used the Head microphone, though. I think it was just a DPA condenser mic.” Surprisingly, Barnett and Sutton still retained a remarkably practical approach when recording the album’s most unusual elements. Adrian Peacock, who possesses what is commonly considered the lowest singing voice in England and features on the album’s title track, was recorded as a standard vocalist. Wrangling

a magnetic resonator piano (a recent mechanical invention perhaps most crudely explained as an e-bow for piano), their approach was equally straightforward. “Well, it’s still a piano, basically. We recorded it essentially like any other piano. I think we just ended up using a Coles 4038. Like I said, it’s the same as recording a grand piano. Some of the sounds it produces are a massive extension of the piano’s range and application – but it’s still, to all intents and purposes, a piano.” A significant portion of the album’s assembly ultimately came down to mixing and editing. By the end of tracking, Barnett and Sutton were left with a series of recordings spanning (many) takes of sound sources ranging from children’s choirs and hawk feathers to shattered glass and magnetic pianos. Determined to keep the live aesthetic, Barnett shied away from comp tracks. The whole process saw Sutton and Barnett in the studio for 12 hours a day for nearly two months. “I generally try to use as many full takes as possible, yeah,” Barnett describes the process. “People go mad copy-and-pasting everything together – so there’s none of that. All of that stuff works for some music, that copy-and-paste culture, but with this kind of music it just sounds crap. There’s so much energy and momentum built into the music. Too much editing and copy-and-pasting would just lose that, I think.” WHO: These New Puritans WHAT: Field Of Reeds (Infectious/Liberation Music)


Inpress Issue 1286  

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...