04.11.15 Music / Arts / Lifestyle / Culture
Brisbane / Free / Incorporating
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2 • THE MUSIC • 4TH NOVEMBER 2015
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JONSON STREET BYRONBAY FRI NOV 6
FLOATING BRIDGES & KALIDAD SAT 7 NOV
LUKE MORRIS ALBUM LAUNCH THURS 12 NOV
BRIAN JONESTOWN MASSACRE SAT 14 NOV
I KNOW LEOPARD, FEELING DAVE FRI 20 NOV
GAY PARIS, THE BADLANDS SAT 21 NOV
BORNEO, DR GOODARD THURS 26 NOV
LAGWAGON FRI 27 NOV
JIMMY THE SAINT & THE SINNERS SAT 28 NOV
INFECTED MUSHROOM TICKETS AVAILABLE ONLINE WWW.THENORTHERN.COM.AU
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Music / Music / Arts / Lifestyle / Culture
You Won It
Only weeks ago he released his sixth album The Documentary 2, and The Game has now announced he’ll be travelling to Australia in early 2016 for a headlining tour. The US rapper will be hitting up Melbourne, Sydney, Perth and Adelaide, late Feb.
Tropfest Australia has announced the venues for the world’s largest short film festival. They include the main event at Sydney’s Centennial Parklands, as well as Moonlight Cinemas across the nation such as Melbourne’s Royal Botanical Gardens.
Australian Craft Beer Awards
Feral Flavours The West Coast’s Feral Brewing Co took home the top gongs at this year’s Australian Craft Beer Awards for Cryermalt Champion Australian Craft Beer and Champion Wheat Beer with their Watermelon Warhead. 8 • THE MUSIC • 4TH NOVEMBER 2015
Arts / Li Music / Arts / Lifestyle / Culture
Gather Your Frenz
Melbourne punk rock band, Frenzal Rhomb, are hitting up the east coast’s rural towns to give the locals a taste of their Friendless Summer Tour. Starting 17 Dec, they’ll be making their way north, with Clowns their support act the whole way.
Hear That Sound(wave) After month’s of drip-feed announces, the full line-up for Soundwave 2016 has officially dropped and it is to be headlined by Disturbed, The Prodigy, Public Enemy and more.
Bully’s Mates Local supports have been announced for Bully’s national tour here in December. Alongside special guests Rolling Blackouts, it’ll be Flowertruck opening in Sydney, Darts in Melbourne and Tempura Nights in Brisbane.
1 The number of AC/DC gigs everyone should attend in their lifetime
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Music / Music / Arts / Lifestyle / Culture
Feel So Alive
Sydney pop-rock-punk workhorses Tonight Alive have announced their third studio album, Limitless, is only a few months away (with the first taste of new material just dropped), and they’ll be doing a national tour from mid-Jan.
This Is Her Freshly announced for Bluesfest, Melissa Etheridge has added extra dates onto her This Is M.E. tour, named after her recent album release. Aside from the festival, you can catch her in Sydney, Melbourne and Perth in March.
Breakin’ Harts To celebrate the release of single All Rise (Play It Cool), Harts has announced he’ll be trekking through the east coast from midJan, and if that wasn’t enough, he’s also mentioned he’s got a brand-spanking new album to be released early 2016 too. 10 • THE MUSIC • 4TH NOVEMBER 2015
Bye Belly Time Off/The Music Queensland’s editor for the past eight years, Steve Bell, is moving on from the mag to open up a record shop. Mitch Knox will take over as QLD editor, and for all editorial enquiries, hit up National Editor Mark Neilsen.
Arts / Li Music / Arts / Lifestyle / Culture
Thee Oh Seas
Having not graced our shores for what will be nearly three years, Thee Oh Sees will be coming to Australia in Jan, bringing with them a limited edition deluxe vinyl of Mutilator Defeated At Last.
Big Time PDAs APRA have announced 35 finalists for their Professional Development Awards, with Ngaiire, Ruby Boots and L-FRESH The LION, to name a few, up for the prize.
Mad Max: Fury Road
AACTA Stars The Australian Academy of Cinema and Television Arts (AACTA) has announced the nominees for categories including the coveted Best Film award. The list features The Dressmaker, Holding The Man, Mad Max: Fury Road, and more. The awards will be presented at The Star on 30 Nov and 9 Dec. THE MUSIC 4TH NOVEMBER 2015 â€˘ 11
Lifestyle Music / Arts / Lifestyle / Culture
Finders Keepers Markets
Featuring over 100 independent art and design stalls at The Old Museum, the Finders Keepers Markets is back on 7 & 8 Nov. There will be live music, bars, coffee, food trucks and it’s only $2 entry!
Red Hot: Go The Red Hot Summer Tour has announced its biggest line-up yet, with Jimmy Barnes, Noiseworks, The Angels, Mark Seymour & The Undertow and The Badloves all performing at the one show. The tour hits QLD early March.
0 Our tip for the number of times you’ll get to see AC/DC after this current tour
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Buzz Off UK punk band Buzzcocks have announced their 40th anniversary Australian tour, which will complement their appearance at Golden Plains. They’re hitting up Aussie cities from mid-March before heading to NZ.
e / Cultu Music / Arts / Lifestyle / Culture
Oooh La Boite!
La Boite have revealed their 2016 season, featuring Shakespeare, circus and television actors Bridie Carter and James Stewart taking to the stage in A Streetcar Named Desire.
A Streetcar Named Desire
YOWIE PRESENTS: POST DREAM 6TH NOVEMBER
HARD-ONS, HOUND, RON SWANSONS 7TH NOVEMBER
MULTIPLE MAN 8TH NOVEMBER
MIDAS GOLD, DE’LYSID PICT 12TH NOVEMBER
YOWIE A New Le1f Already on the line-up for Melbourne’s Sugar Mountain festival in Jan, Le1f has announced three exclusive headlining shows around the country in January. He’ll be hitting up Sydney, Brisbane and Perth in support of his album Riot Boi.
JOY “ODE” EP LAUNCH 14TH NOVEMBER
HIDEOUS TOWNS, RINSE, NOIRE 15TH NOVEMBER
TAKING BACK SUNDAYS ACOUSTIC AFTERNOON 19TH NOVEMBER
So Built While here for Golden Plains next year, venerated US-bred indie heroes Built To Spill will also be performing a few standalone headline shows on the east coast in March.
WWW.THEFOUNDRY.NET.AU THEFOUNDRY.OZTIX.COM.AU Built To Spill
228 WICKHAM STREET, FORTITUDE VALLEY
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Music / Music / Arts / Lifestyle / Culture
For Australian day, Ozfest is hitting up the Sunshine Coast, and have announced they’ll be bringing Seth Sentry, San Cisco, Tired Lion and Saskwatch so far, but there are still more artists to come.
Sleater Slays Sleater-Kinney are beefing up their 2016 tour while here as part of Golden Plains festival, with added dates in Brisbane, Adelaide and Sydney in March.
Tommy Is A Gun Following a recent guest appearance at Just For Laughs Sydney All Star Gala, Irish comedian Tommy Tiernan will return with his Out Of The Whirlwind show to Brisbane, Melbourne, Sydney and Perth from midApril next year.
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The northern state has already set up and launched the comeback of the second annual Brisbane Asia Pacific Film Festival (BAPFF). Titles include Tehran Taxi and Our Little Sister. You have 11 days to catch any of the 102 films. Tommy Tiernan
Blues On The Side Bluesfest have announced more sideshows, including Brisbane headline shows from Nahko & Medicine For For The People Nahko & Medicine The People and St Paul.
Arts / Li Music / Arts / Lifestyle / Culture
One of Australia’s most treasured artists, Charles Blackman’s art will be featured from 7 Nov at Queensland Art Gallery. This exhibition hosts over 50 of his paintings and works on paper.
Charles Blackman, The Blue Alice
Our Little Sister
If you had seen only land turtles and then someone told you about sea turtles you would be like, “don’t be ridiculous” It’d be like, “So you’re saying they have flippers, not feet? Lol ok sure,” hey, @shutupmikeginn?
Jump In Philly-based, punk rock two-piece Girlpool have announced Aussie shows in Jan, on top of their appearance at Sydney Festival, and will be dot to dotting up and down the east coast in early 2016. THE MUSIC 4TH NOVEMBER 2015 • 15
R E M ’ M N U I S LOV
Festivals are no longer purely about music nowadays some get us closer to nature, some explore our rich culture, others tell us to ‘get folked’ - and crew from some of our foremost and best events happening before the end of the year, as presented by The Music, tell Steve Bell that now the keyword is ‘experience’.
s spring slowly blooms into summer our thoughts turn to entertainment and relaxation, and that often means attending one of the festival experiences on offer. And in recent years the approach to these events undertaken by the organisers has changed dramatically: these days the overall experience itself is paramount, which is the precisely why the rise of ‘boutique festivals’ has been so sudden and unrelenting. Given that Woodford Folk Festival has been running for nearly 30 years and hosts over 100,000 patrons annually it’s hardly a small event, but its all-pervading sense of community and focus on art and nature places it firmly in non-commercial realms as far as festivals go. “[Director] Bill Hauritz always says that it’s a ‘folk festival’ and not a ‘folk music festival’, so the majority of the program comes out of a folk tradition, or in some way we think furthers the interests of the folk community,” explains Woodford Folk Festival Program Director Chloe Goodyear. “Hip hop definitely wouldn’t be considered by many to be folk music, but I consider it to be in the same arena because hip hop artists - especially in Australia - tend to be the ones talking about what’s happening in the world, and talking about politics. That’s what people traditionally considered folk music to be, telling the stories of everyday people, and Woodford is a festival made by, and made for, people. It’s made for a really specific experience for people, which I think is probably best described as a ‘folk experience’. “There are so many people these days making really beautiful festival experiences. I think the word ‘festival’ is today used for so many different things - there are food festivals and science festivals and art festivals and music festivals - so it’s a bit of a catch-all that doesn’t describe the breadth of what those people are trying to make.” In terms of ‘art festivals’ the
The best festivals start off really small - to try and jump in as a big event is really hard.
Festival Of The Sun
Brisbane Wo Asia Pacific od for dF Film Festival olk Fe sti (BAPFF) - now in its va l second year - is quickly becoming a highlight of the SEQ calendar. “We always want cinema that is strong but also different and unique - something that you don’t normally see in commercial cinemas or get commercial release - but at the same time we try to keep an open mind,” explains BAPFF’s head programmer Kiki Fung. “We want to be surprised and we want to be taken on a journey of discovery. Then there are surprises coming in and you know when you see those films because you get so excited and you whole body is screaming, ‘This is the one!’ “You get to understand these countries and their film industries really in-depth, because this is a specialised program covering 70 countries and areas in the region. We can watch more and more submissions and build a really good understanding of what’s good from a particular country - or what is special and representative of a certain country or culture - and this is really precious and eye-opening. “Cinema itself is very diverse and liberal, and there are films that we see that carry some European aesthetic as well, but we do see some threads and themes through the Asian films we saw this year; for example, in this region the people and the creatives, when they look at a human’s relationship
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with the world, they have a different perspective. This is generalising a little bit, but we in this region care about our relationship with the land and the climate and the landscape - we are part of the world and part of nature - so a lot of the films are about connection and self-discovery, looking at our identity and how we see ourselves as part of the world.” Down the road and into the Northern Rivers region of NSW, the Mullum Music Festival has gone from strength to strength of late, its eclectic line-ups taking over the every nook and cranny of the town itself. “We always get returns to Mullum people come once and they nearly always return,” smiles Festival Director Glenn Wright. “The best festivals start off really small - to try and jump in as a big event is really hard. It’s okay in some boom times when all of the festivals are doing really well and everyone’s buying tickets, but in the harder years I think that those events that just jumped in really struggle because they don’t have that core base that are really committed to coming each year. “We don’t have VIP areas at all, so rather than artists going to a backstage area they get vouchers for drinks at all of the bars where the patrons frequent too, so there’s more of that relationship where the artists become part of the festival rather than being separated from the community. That’s a real plus, but we can only do that because we’re not too big. And the people who come along to watch get to see the artists in a really comfortable and relaxed environment, in a lovely little festival precinct where everyone
lives together for three or four days.” Down the highway at Port Macquarie, the popular Festival Of The Sun is even smaller again, but that doesn’t prevent great experiences in the slightest. “When I first started FOTSUN the whole goal was a bit of a cultural tourism aspect,” explains Festival Director Simon Luke. “It’s the time of the year when it’s predominantly quiet just before Christmas yet it’s an awesome time of the year to visit Port Macquarie - the weather’s good, the temperature is great, the surf’s on and it’s not too crowded - so festival visitors get to rock up to a town that’s really cruisy. It’s not school holidays and it’s not peak season, so they’re getting to enjoy the town just the way we as locals enjoy the town, and that’s pretty unique I think. I think that’s one of the reasons people from out of town like heading here for the festival. “When I first started it [in 2001] was like a little free community festival, and the whole idea was about showcasing local independent bands. Just organically we started attracting interest from independent Aussie bands from outside of the region, and that transitioned into triple j getting on board to support it. Our focus has always been to put on a really solid mix of good Aussie acts - it’s never been a strict rule to exclude internationals - but it just works for us, and I love the relationships we get to build with burgeoning Aussie acts over the years like Tame Impala and The Jezabels (to name but a couple) as they get bigger after they first play here and then keep coming back.”
oe r l h C yea d Goo
It goes without saying that there’s more on the festival calendar in SEQ and surrounds than what we’ve highlighted here, so let’s take a brief look at what else is on the festival horizon. First up from 6-8 Nov the Airlie Beach Festival Of Music proves that there’s plenty of fun to be had in the Whitsundays aside from lolling in tropical paradise, while closer to home Stereosonic brings the best of the dance and electronic worlds to Brisbane Showgrounds on 6 Dec. Kicking off on NYE Falls Festival features a cracking line-up of international and local acts and rocks until 3 Jan at North Byron Parklands, before Soundwave gets the headbangers’ hair flailing with their line-up of all things heavy hitting Brisbane Showgrounds (presumably) on 23 Jan. Barely a couple of weeks later that same precinct becomes home to some of the coolest acts that the indie realms have to offer as Laneway Festival returns on 6 Feb, and CMC Rocks brings some of the biggest names on the planet in the world of country music to Willowbank on 11-13 Mar. Sneaking all the way out to Easter brings us to Bluesfest, serving up one of their best line-ups yet (with more to come) over five days at their Tyagarah Tea Tree Farm home from 24-28 Mar.
For more info on all the festivals, head to the Festivals tab on theMusic.com.au. THE MUSIC 4TH NOVEMBER 2015 • 17
A Day on The Green Crowd Bimbagden Winery Pic: Peter Sharp
WOMEN, WINE & SONG A Day On The Green is bringing some country-tinged music to some prime country locales, and Paul Kelly and Kasey Chambers tell Steve Bell that there’s some serious history to this line-up.
or anyone with even a passing interest in countryinfluenced singer-songwriter fare the impending A Day On The Green bill of Paul Kelly, Lucinda Williams, Kasey Chambers and rising star Marlon Williams should have you absolutely salivating with anticipation. From a purely musical standpoint it’s a line-up of indubitable length and breadth, covering three countries, numerous genres and many styles of delivery and composition. Then introduce that heady mix to the gorgeous winery surrounds and picnic festival atmosphere inherent with the A Day On The Green franchise and it’s a formula for good times and great music, no matter which way you spin it. Nominal headliner Kelly is still touring on the back of his excellent project Paul Kelly presents The Merri Soul Sessions — which found him taking a vocal back seat whilst showcasing the skills of bandmates such as Vika & Linda Bull, Dan Sultan, Clairy Browne and Kira Puru — and he’s just as excited about reuniting this crew after a length sojourn as he is joining his accomplished tour mates. “I’m looking forward to it very much,” he smiles. “Firstly it will be good to get back with the Merri Soul gang again, because the first couple of times around went really well and it’s such a fun show to do. A Day On The Green is like a mini-festival really — like a day-long festival — and the Merri Soul show works really well as a festival show; we’ve only done it a couple of times at a festival, at Byron Bay [Bluesfest], so that’ll be good.”
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Chambers for her part seems even more thrilled, primarily because she’s rejoining two of her biggest inspirations on the road. “I’m so keen for this tour, I’m so excited!” she gushes. “I would have paid to be on this tour, the fact that I get paid for it is just wild. Lucinda Williams and Paul Kelly seriously are my two favourite artists of all time — Lucinda’s always been my biggest role model in music, and Paul Kelly’s always been my biggest Australian influence in music, so I’m pretty stoked. I’m like a little kid waiting for Christmas! “I’ve done a few [A Day On The Greens] over the years and they’re always great shows. It suits me really well, because there’s a real family atmosphere — even though we’re in a winery! It’s got that vibe and I love playing that sort of thing, I reckon it’s the closest you can get doing outdoor shows where you still get that real inside intimate vibe.” Given the nature of their respective music — especially Chambers and Kelly who have spent the bulk of their careers circumnavigating Australia plying their wares
It’s a really strong bill, with lots of great women singers and songwriters on the bill too. I think it’s fantastic. — it’s no surprise that they’ve crossed paths many times already. “We got to tour a little bit really early on back when he did the Uncle Bill record [1999’s Smoke], his first bluegrass album, it was awesome,” Chambers chuckles. “I got to open up some shows for him all around Australia, then we sang a bit together on a few things as well — I was just blown away, a bit star struck. I’ve been lucky enough to get to know him a bit over the years as well, so the star struck thing goes away to a certain extent, but every now and then I might be hanging out with him or something and I’ll
Paul Kelly Presents The Merri Soul Sessions
just go, ‘Holy shit! That’s Paul Kelly!’ Then I’ll be, like, ‘Just don’t think about it! Don’t think about it!’ but he also makes you forget that you’re in a room with Paul Kelly too because he’s such a normal guy, just such an easy guy to be around.” And both Kelly and Chambers are pumped to reacquaint with Lucinda Williams, whom they justifiably hold in high esteem. “I’ve been so lucky too with Lucinda because one of my first tours in America was opening up with Lucinda for five weeks, I was like, ‘Fuck, this is just the best thing that’s ever happened to me!’” Chambers giggles. “It was so awesome! It was on her [2001 album] Essence tour and she had such a great band, and it was honestly just like five weeks of free tickets to see Lucinda Williams! I was, like, ‘Fucking hell, my life cannot get any better!’ I was so stoked, I couldn’t believe it.”
When & Where: 29 Nov, Sirromet Wines, Mt Cotton
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Frontlash Made Men Tassie punks Luca Brasi all but stole the show right from under Kisschasy at The Triffid last weekend.
Taking On Manson To read the full interview head to theMusic.com.au
The Band Before Time Finland has a dinosaur-themed power-metal band for children called Hevisaurus.
The Secret Is Mom’s Spaghetti
A UK university has found new evidence to suggest that listening to Eminem songs can increase athletic performance by up to 10%. Scienced.
Megadeth frontman Dave Mustaine is standing by his decision to sack a guitar tech following the band’s Brisbane show a fortnight ago, describing the man’s work as “just not acceptable”.
It’s A No From... Well, Everyone Anyone surprised that Simon Cowell’s DJ-themed talent show — which Fatboy Slim described as a “terrible idea” – has already been given the arse? Nope.
Swift Justice After Taylor Swift filed a countersuit against a radio DJ who was suing her after losing his job for allegedly groping her, she’s now facing legal action over disputed ownership of the lyrics to her hit Shake It Off. 20 • THE MUSIC • 4TH NOVEMBER 2015
He may have had all eyes on him when he starred as Renly Baratheon in Game Of Thrones, but Gethin Anthony’s latest project has presented an entirely new set challenges. Kane Sutton gets the lowdown
t the time of Gethin Anthony’s character Renly Baratheon’s untimely death midway through Game Of Thrones season two (if you haven’t watched it by now, you obviously don’t care), the series was averaging close to four million US viewers per episode and thriving. It propelled Anthony into the spotlight and when the opportunity came to star as US criminal and cult leader Charles Manson in new TV series Aquarius, he jumped at the chance, although he was admittedly taken aback. “I got sent a script and my wonderful representatives were like, ‘I think you’re gonna like this!’ I was doing theatre in London and I was on my way to rehearsals and I kind of read the script on the train and then was like, ‘Oh, whoa, I need to read this properly!’” he laughs. “I got home and read it again and I was just really struck by it. I kind of thought, ‘Who’s going to be stupid enough to try and play Charles Manson?’” While plenty has been documented about Manson around the time and after he and the members of his “family” were convicted of several chilling murders, Aquarius takes place prior to the spree,
focusing on Sam Hodiak (David Duchovny), a homicide detective who goes undercover to track Manson and the “family”. As such, Anthony, who wasn’t born until close to two decades later, was given plenty of homework. “The basics were there - biographies I could read, which I did - especially stuff about his life before 1967; where he grew up, what his relationships were like with people, that was really important. Then there was the side of it - watching videotapes of him, but more specifically listening to his voice from around the time the show was taking place; there’s a studio recording of him speaking to the studio engineer, and that was really helpful to try and help find a dialect for our version of him.” The abundance of research Anthony had to undertake helped him come to terms with how Manson came to be so influential to his eventual “family” members. “By [Manson’s] own testimony he said he read the book How To Make Friends & Influence People, and that he listened to pimps in prison about how they managed to get people to do what they wanted them to do... You add all these things together, it helps as an actor to understand the character.” The show has been praised for its strong ‘60s vibe. For Anthony, it’s the costumes that he gets a kick out of. “Us actors, we love a good garment... and our costume designer is incredible at sourcing these incredible pieces that feel really authentic. Sometimes they were, like the denim you’d sometimes wear was definitely old. And then there was the music... We were sent music to listen to and I actually bought a vinyl player so I could listen to it on vinyl, just a small way you can get something from it, you know.”
What: Aquarius On DVD and Blu-ray
Fare Thee Well Brisbane editor Steve Bell says goodbye to The Music, but not music.
ear readers, after nearly nine years and 6.2 million beers it’s time for me to vacate the Brisbane editor’s chair at The Music and move on to fresh challenges and adventures. Although always a voracious street press reader I fell into this journey via a chain of completely random events, happenings for which I’ll be forever thankful. From getting recruited as a Time Off freelancer via my sterling work putting together the Skinnys fanzine – the little mag from the indie record store where I worked highlighting upcoming instores and releases – to being called into the boss’s office a few years later and being offered the editor’s role (when I thought I was about to get lambasted for something I wrote), it’s been one long string of surprises and happy accidents. Obviously the music press landscape has changed dramatically since I’ve been in the chair. ‘Progress’ has seen print titles go from being our primary focus to an important plank of a multi-platform media approach – certainly still imperative but no longer the be all and end all – whilst in Brisbane we’ve essentially gone from having four free weekly street press titles to none at all (only ourselves as a fortnightly and one other monthly remain). We changed our masthead from Time Off to The Music to bring us in line with the other titles in our Street Press Australia stable under the umbrella of our website theMusic.com.au, and moved from the old tabloid style to our smaller current incarnation (amongst numerous other changes in form). I oversaw some tough times as we did our best to adapt and thrive in a constantly changing media landscape, but also enjoyed the boon times as we regularly broke new records for issue size (I recall receiving a fake Oscar when we cracked 100 pages for the first time). Fortunately I leave during a period of relative stability, with great feedback abounding about the current format and content, and I’m confident the title is in great hands moving forward. Highlights? I’ve enjoyed so many great experiences, it’s hard to know where to begin. Probably becoming heavily embroiled in the (then successful) anti-lockout campaign when the Bligh government was trying to shut the pubs and clubs at ridiculously early hours, including commissioning the front cover where Bligh morphed into Joh Bjelke-Petersen (and subsequently getting close range stink eye from the premier for the full duration of a BIGSOUND opening keynote speech I was facilitating). Flying down to interview Neil Finn and Paul Kelly at Sydney Opera House was pretty great (then again most of my near 1500 interviews have been pretty great in some way). I look back fondly on having used the names of nearly every St Kilda player to have pulled on the great jumper as pseudonyms for reviews and interviews over the years
(the pinnacle being when a Saints player from the ‘80s was prominently quoted on Texas Tea’s European tour poster). All of the reportage I was lucky enough to do from overseas was pretty special too, whether it be SxSW, various ATPs, the two Weezer Cruises or the Matador At 21 bash in Las Vegas. But mainly – and in all seriousness – it’s been my absolute privilege to have spent so long immersed in documenting the amazing music scene that we have here in south-east Queensland, and I’d like to thank from the bottom of my heart the great bands and musicians of Brisbane and surrounds, plus all of the passionate music lovers and industry folks who make our scene such a great one to be a part of. We tend to still suffer from an element of cultural cringe and accept it as true when our counterparts from down south blow smoke up their own and each other’s asses, but I firmly believe that on a pound for pound basis the Brisbane scene can match it with the best of them, and given that I rank the Australian music community as one of the best and most fertile on the planet that makes Brisbane an extremely important part of the bigger picture. Be proud and support our local scene by voting with your feet – you might just be surprised at the awesome music bubbling away under your very nose. Now I look forward immensely to reading The Music with fresh eyes as a punter again (just not the bits I write in my ongoing freelance capacity). I’m taking the plunge and opening a new record store in Stones Corner called Sonic Sherpa, with my good mate and old boss from Skinnys, so the universe has taken us full circle (as it’s wont to do). Thanks to everyone at The Music, the businesses who support us, and all of the great friends I’ve made along the way, but mainly I want to offer my heartfelt gratitude to you, the reader, for putting up with my blatherings and making it all possible by your constant and ongoing support. You rule. Now get out there among it and I’ll catch you at the bar (or the counter), Yours in rock always.
Steve Bell THE MUSIC 4TH NOVEMBER 2015 • 21
In Focus The
Vern o n s Pic: Terry Soo
Answered by: Jonny Nyst Role: Singer How long have you been together? Over four years now. How did you all meet? We all met at separate times. James [Nikko, lead guitarist] and I have known each other for a while and we have picked up the others along the way. You’re on tour in the van — which band or artist is going to keep the most people happy if we throw them on the stereo? Tough call. We listen to a lot of different music. I myself have just back into the early Strokes stuff so if I get a chance I’ll probably throw that on. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? So long as we are playing music and doing what we love, nothing else really matters to us. So I guess we will go with Hank. Which Brisbane bands before you have been an inspiration (musically or otherwise)? We were all big fans of Powderfinger back in the day. Nowadays though, we see bands every week that wow and inspire us. There is so much talent going around Brisbane, it’s crazy.
What part do you think Brisbane plays in the music you make? To be honest I’m not really sure it does, but Brisbane has played a massive role in what we have been able to do and the experiences we have had to date. It is a very encouraging, tightknit community. Is your band responsible for more make-outs or break-ups? Why? It’s been just over four years and we are still going strong, so I’d have to say the former. What reality TV show would you enter as a band and why? The Biggest Loser. Watching us do temptation would make great television. If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Tough question. We are pretty big sports fans. Probably triple jump, because Hugh [Tate, bassist] was once very good at it and took it quite seriously. The rest of us will encourage and motivate, which will be an entirely new experience. What’s in the pipeline for the band in the short term? We have our tour coming up during November and then we will be heading back into the studio for some upcoming releases in the new year! 5 Nov, Miami Marketta; 6 Nov, Woolly Mammoth. Website link for more info? thevernonsband.com
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Never Giving Up Stupid Sports People are all trying to get fit for summer. We find the silliest ways in which to get that #beachbod/#summerlook. Trampolines are lots of fun. Of course, until you break your arm when it gets stuck between the metal springs and bar. But with the new child/adult proof spring-less models there is no reason not to revisit that old childhood frienemy and get jumping. It’s an Olympic sport for a reason; trampolining is great cardio, works your core and your legs and let’s face it – who doesn’t want to master a backflip? And as Todd Flanders once noted on The Simpsons, each leap on the spring-loaded canvas “brings us closer to God”. Amen. Beach volleyball is so last summer. Handless volleyball is the latest craze (according to the fitstagram people from Bondi). It uses a soccer ball instead of the traditional volleyball and requires players to kick and headbutt the ball over the net. YouTube it for some ab-crunching belly laugh bloopers. *Plays Harry Potter theme song* Quidditch isn’t just for witches and wizards, you too can look like an idiot and play the game with a broom between your legs. It’s the magical (see mutant) love child of volleyball, baseball and basketball, with a human in a morph suit playing the golden stitch. If your team is good enough you can even go to the international Quidditch World Cup!
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Despite many hardships over their career, Dave Duffy tells Matthew Tomich he can only be grateful that Ruts DC can still add to its legacy.
n another universe, The Ruts are one of the biggest bands in the punk canon. Formed in 1977, the quartet imbued razor-tight punk rhythms with a reggae sensibility and impeccable musicianship. More nuanced than The Clash and more attitudinal than Joy Division, The Ruts were shaping up to be the flagship band of the next wave of punk. Thanks to a deal with Virgin and support from legendary BBC Radio presenter John Peel, their first album, The Crack, reached #16 on the UK charts. But in July of 1980, frontman Malcolm Owen was found dead of a heroin overdose. The remaining members shifted musical direction and continued on as Ruts DC for a couple of years, but the momentum was lost, and they disbanded in 1983. And that was it for The Ruts. Another formidable frontman lost too young to drugs; another band’s potential extinguished just as they were getting started. But in July of 2007, the surviving members reunited, recruiting Henry Rollins to sing at a benefit show to raise money for the band’s cancer-stricken guitarist, Paul Fox. Though Fox would pass away only months later, the show sparked a renewed interest in The Ruts. Under the name Ruts DC, drummer Dave Ruffy and bassist “Segs” Jennings — now on vocal duties — recruited guitarist
Leigh Heggarty, and the trio have been touring steadily since 2011. Now, almost four decades after their formation and with a new record in the works, Ruts DC are set to tour Australia for the first time this November. Now in his 60s, Dave Ruffy is humbled at the opportunity to add to continue The Ruts’ storied legacy. “The thing with music, for me, I mean, music kind of saved me from the ghetto,” Ruffy says. “I’m very much a working class boy, and when I say poor, I mean really poor [laughs]. If you can avoid being cynical — and I’m lucky enough that I’ve been working ever since I started doing it — you kind of get better at it and you keep an open mind.” Yet Ruffy seems firmly against retreading old ground. After we speak, Ruts DC will open their London show with a new song — a ballsy move when the newest song audiences want to hear is from 1980. In fact, there are three new numbers in the current set, and a total of 12 in the works slated for a record that’s expected mid-next year. “I use the term rock’n’roll loosely, but it’s not going to be a dub album. It’s going to be a guitar and drums-based album. So I use the term rock’n’roll for want of a better term. I’m really, really happy with what we’re coming up with. It’s natural and quite organic. Segs really opened the Pandora’s Box and done a lot of soul searching and he’s really coming up with the goods. “I’m older than I’ve ever been, but I’ve never been busier than I am right now. And I feel really happy with what I’m doing and I’m writing well and The Ruts are writing well. It’s great. I feel extremely privileged for that. I’ve never been wealthy with it but I’ve managed to raise a family and get by, which is enough for me, because I do a job I love.”
When & Where: 17 Nov, New Globe Theatre
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A Different Page The Assassin
A MATTER OF FORM
Begin exploring the unique sights and sounds of the Asia Pacific region with the awardwinning The Coffin In The Mountain, a witty dark comedy set in the mountains of rural China, one of the films in this section showcasing the contrast of the Asia Pacific region.
THE JOURNEY IS THE THING
Films in this category push the boundaries of film convention, and Hsiao-Hsien Hou’s The Assassin, winner of Best Director at this year’s Cannes, takes martial arts films into a deeper narrative realm with a larger metaphor of humanity and nature.
THE COLOURS OF ASIA PACIFIC
Excitement builds for the Brisbane Asia Pacific Film Fest as the recent announcement of their 2015 program has enticed film-buffs with some impressive figures: 102 films from 42 countries over 11 days. With films this season split into thematic categories, here are some stand-outs for a few of the program sections:
A category focused on the transformative nature of long journeys. The President, a cautionary political drama influenced by director Mohsen Makhmalbaf’s first-hand experiences during the rise of Iranian dictator Mahmoud Ahmadinejad, is an unmissable emotional journey through the brutality and consequences of tyranny.
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It’s only been in recent years that US comedy duo Tim Heidecker and Eric Wareheim learned to embrace the limitations set by the absurdist label they unwillingly fall under. Daniel Cribb discovers the method behind the madness.
hat’s uuuuuuuppp??” shoot two high-pitched voices down the line. It’s unmistakably Tim Heidecker and Eric Wareheim, and unless this scribe treads lightly, things will spiral out of control very quickly. “Ba’hee to you too,” the pair respond when the mantra from their new ‘self-help’ book is mentioned. It’s a 317-page effort parodying religions like Scientology, and has just as many celebrities throwing their name behind it. “Zone Theory helped me to become a happier, healthier, more confident man. I recommend it to everyone I meet. Buy it now,” John C Reilly, Marilyn Manson, Ben Stiller are quoted as saying on the back of Heidecker and Warehiem’s first book, Zone Theory: 7 Easy Steps To Achieve A Perfect Life. Those are just a few of the many Hollywood names plastered on the back of the hardcovered path to enlightenment, and while Tim & Eric aren’t as popular as some of the big-time names on the back of the book, they’ve found a cult following since unleashing five seasons of Awesome Show, Great Job! on Adult Swim, and have greats like Paul Rudd, Will Ferrell itching to get in on the action.
“I think there’s a sense of freedom and creativity with what we do that is not hard - it comes naturally for these people,” Heidecker says. “If you compare that to a big movie set or a big TV show, a lot of the times those can be very stifling and boring environments to be in, because things are methodical and they take a while and when we work, it’s very fast and fun.” Translating their visual humour to the Zone Theory pages was a “frustrating” effort, and one that saw the pair enlist help from longtime collaborator/writer/editor Doug Lussenhop, who helped shape the style of Awesome Show, and Australian-born actor Gregg Turkington (Neil Hamburger), who Heidecker has worked with extensively, when it came to writing. Lussenhop opened for Heidecker and Wareheim on their last trip to Australia in 2012 as DJ Dougg Pound and will accompany them on the ‘Stralia-Zealand Experience tour. “Basically what we do a lot of time with our shows is we get a room together with people we really like and we just bounce ideas off each other and they throw ideas back, and that was kind of how they contributed - an afternoon trying to make each other laugh within the constructs of the concepts of the book,” Heidecker tells. They might be branching into different avenues individually, but it’s when they collaborate with one another, even after all these years, that things feel right. “It’s a blast. I recently did a large job and it was a lot of hard work and not that many laughs,” Wareheim says. “We got back together and made the Bedtime Stories special and we laughed together. It’s good to have that laughter.”
What: Tim And Eric ‘Strailia-Zealand Experience When & Where: 15 Dec, City Hall
didn’t know that though till we were halfway finished it,” a still somewhat bemused Ron Sexsmith admits of the “happiest” album he’s yet produced, Carousel One. “But it wasn’t until halfway through the sessions that I realised, looking at the list that was on the wall at the studio, ‘Wow, none of these seem like downers, really,’” he chuckles. “’They’re all pretty outgoing or something.’ So that was a nice surprise, especially after my last record [2013’s Forever Endeavour], which was a lot more introspective. I mean I never really know why songs turn out the way they do. The one before that [2011’s Long Player Late Bloomer] was more uptempo but was kind of grumpier lyrically. This album, there’s more humour on it and I don’t really know why but I’m happy about it. “The songs were sort of written in two different batches actually. Half the songs were written while I was waiting for Forever Endeavour to come out, and then the other half were written while I was touring that record around. I also had a few different producers that were gonna do the album originally that for whatever reason fell through. I had the hardest time trying to find
When & Where: 21 Nov, Newtown Social Club; 23 Nov, The Basement
Focusing on films about family connections, this category hits a peak with Australian drama The Daughter, a telling of Henrik Ibsen’s play The Wild Duck recontextualised to the Australian outback, starring Aussie film legend Geoffrey Rush.
THE TIES THAT BIND
Missy Higgins. Performing at folk festival songwriters circles inspired Carousel One’s Getaway Car. “That’s a true story, that line, so it was kind of fun to throw that into a song,” he chuckles. “I’m not a fan of these sorts of things. In fact I have a hard time getting gigs at folk festivals ‘cause they always insist that you do these songwriters circles and I don’t really enjoy them, and I was doing one this time at Niagara Falls that was so bad and my wife was in the audience and she could just see that I was not enjoying it, and so she went into the dressing room and gathered all our things, put them in the car and had the engine running for when it was all over so we could just run out the back door and take off. They wanted me to come out later and sing this finale with everybody, so that line was just sort of about the kind of psychic thing that happens when you’ve been with someone long enough, where they can read your mind from across the room.”
Bad Boy Bubby
Witness the high-definition restoration of A Touch Of Zen from legendary Taiwanese director King Hu, which revolutionised the martial arts film genre upon its release in 1971 and inspired the equally legendary kung fu film Crouching Tiger, Hidden Dragon.
Other songwriters, like Paul McCartney and Elvis Costello, reckon he’s the business. For his 14th album, Canadian singer-songwriter Ron Sexsmith accidentally cut his happiest yet. He chats with Michael Smith.
a producer, so by the time Jim Scott came around I had about 30 songs. Then it was just a matter of which ones feel sort of like a record.” Introduced to Sexsmith by mutual friend Kevin Hearn from Barenaked Ladies, the Valencia, California-based Jim Scott is probably best known for his work with Wilco, but his CV includes albums for the Stones, Ryan Bingham, the Dixie Chicks and even Crowded House and
The Music presents this special screening of newly-remastered, 21st anniversary version of Bad Boy Bubby. The 1993 zany black comedy cult classic by writer-director Rolf de Heer about a 30-something man who finally escapes from his abusive mother’s basement will make you squeam with laughter, disgust, or both.
Get involved with the proceedings through either one of the festival’s several Virtual Reality exhibitions, such as VR film The Perfect Hyde: Deadly Yacht, or expand your knowledge an expert panel like Photography Vs Film: Who Tells A Better Story?
VR, PANELS & SEMINARS
Dylan Van Der Riet
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Eat / Eat/Drink
Whether you’re a whisky connoisseur or new to the whisky game, you can definitely learn from a good ol’ tasting. Words by Emma Dempsey. Illustration by Brendon Wellwood.
Whisky Tastings The Brisbane Club — 241 Adelaide St, Brisbane The Scotch Malt Whisky Society is throwing a whisky bash here on 13 & 18 Nov for anyone who loves the drop. The shindig includes step-by-step instructions on how to get the most from tasting single cask, single malt whisky and what to eat with the stuff. Kicks off at 6.30pm for a 7pm start. Hit up firstname.lastname@example.org for ticket info.
Cobbler — 7 Browning St, West End The walls are library shelves, except bottles replace the books. Seriously, it’s wild how much booze these guys have. Over 400 whiskies from all over the world. That’s hard stuff from Scotland, Ireland, America and Japan. Not only do they whip up a mean cocktail with the stuff, they also hold whiskey-tasting nights every month to share what they know about their collection. Rad. 28 • THE MUSIC • 4TH NOVEMBER 2015
The Morrison’s Naked Whisky Bar — 640 Stanley St, Woolloongabba The Morrison Hotel takes their distilled spirit seriously. So seriously they created a separate space, called it the Naked Whisky Bar and tossed over 200 whiskies in its direction. If you think that’s dedication to the drop, every Friday night they get a pianist in and let you sip your liquid heaven to the sound of sultry blues.
Whisky Live Whisky Live is a massive international whisky tasting event taking place from London to Tokyo and just about everywhere in-between. More importantly it visits Australia once a year to tickle taste buds in several major cities. Their mission statement is to make learning about whisky stimulating and fun, and while the product likely does most of the work for them they also have range of food and entertainment to sweeten the pot.
/ Drink Eat/Drink
If so, then rejoice. Julie Goodwin, bestseller and winner of Masterchef Australia 2009, is back with her fourth book, Homemade Takeaway, a cookbook that shows you how to add that little je ne sais quoi to your home cooking. With over 150 beautifully illustrated recipes Goodwin reveals a cheaper, healthier and even quicker way to enjoy your guilty pleasures. Covering meals from local bakeries and corner stores to Thai and Indian cuisine, Homemade Takeaway is the essential guide to creating comfort food from scratch in the comfort of your own home.
Read ‘Em & Eat
Julie Goodwin — Homemade Takeaway Have you ever tried to make the signature Pad Thai from your favourite takeaway joint and found it was missing a certain something? Or maybe you were experimenting with lamb shank pie, or prawn and pumpkin pizza, with results that didn’t quite melt in your mouth?
Morning After 57 Vulture St, West End
Applejacks It’s a Kiwi cider - but the twist is that it’s been cut with 42BELOW vodka. Dun-dunn. So what you get is a not fizzy, less sweet cider with a kick (that’s the vodka part; there’s about half a shot in each bottle). This is not a mixed drink for babies (note: we are aware that no mixed drinks are suitable for actual babies). It’s a daytime drink, a nighttime drink, a spring and summer drink. The killer combo bevo is available from all good bottle shops in two dry apple flavours: the Pippin Dry and, for the real ginger lovers out there (if your feelings towards ginger are negative or indifferent just stay away; this one will have you feeling like ginger spice is coursing through your veins), the Ginger Jive.
There’s a hot new cafe on the Brisbane map — and it’s attracting the hungry and hungover. Run by the Passaris family, Morning After is located on West End’s iconic Vulture Street and is the new haven for naughty and healthy food (the menu is 40% the former and 60% the latter — gotta have balance!) served with delicious coffee. The bright, polished, natural interior incorporates plenty of plants, power points and USB ports for anyone who wants to do a spot of work or study in the cafe, and a large communal table. Check out their breakfast menu, including their signature deconstructed breakfast carbonara with a 63-degree hen’s egg (considered an amazing hangover cure), or explore their tasty lunch options such as salt and pepper squid with Asian slaw or slow roasted lamb salad with charred radicchio. With coffee beans sourced locally, and skilled baristas providing espresso through a Synesso Hydra machine from Seattle USA, it’s no doubt that the Passaris family take their coffee and food very seriously. The cafe has plans to put on cooking classes, nutritional workshops, pop-up events and even host Sunday sessions with a live DJ, so keep an eye out. Lillie Siegenthaler
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Album title? Glass Fool
Answered by: Adam Cooper
Album title? Splinters
Album title: And So It Goes...
Where did the title of your new album come from? I guess the title somehow stemmed from the feeling of vulnerability I felt from sharing the topics of these songs while also inspired by the glass mosaic artwork which was created for the cover art.
EP title? Crawling Machine Edition
Where did the title of your new album come from? Well I always aim to put little bits of myself in songs — shave off little splinters of your soul or life. Songwriting is excavation of our lives and world — our hearts...
Where did the title of your new album come from? The journey for this record has been long and challenging. I felt like I was just part of a much bigger musical picture so I had to give in and go with the flow!
How long did it take to write/ record? The writings are a collection from over two years, chosen as the songs I felt best worked cohesively as an album. Two weeks of pre-production and the album was tracked and mixed over two weeks.
Was anything in particular inspiring you during the making? Just life, the world around us. What we love, hate, feelings on a page. Political climate. We were also reading a lot of Carlos Castaneda at the time if I remember correctly.
How many releases do you have now? Four all up including the DRAG album and EP.
How many releases do you have now? This is my fifth solo release.
Was anything in particular inspiring you during the making? My last two records I have recorded in Byron Bay as I’ve always loved the easygoing environment at the industrial estate, being so close to the ocean and surrounded by other magnificent creatives.
What’s your favourite song on it? Personally I love Toma Esto Es... It still gives me goosebumps.
What’s your favourite song on it? Lay Your Letters Down and The Kind Of Woman I Need. Will you do anything differently next time? I would have loved to extend some of the themes with further tracks but we were quite limited with time so had to leave it at ten for the album. Website link for more info? facebook.com/kaurnacronin
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How many releases do you have now? We have four releases, Deeper Vision, Primrose Path, Cell and now Crawling Machine Edition.
We’ll like this EP if we like... Rollins Band, Soundgarden, Tumbleweed, Faith No More. Website link for more info? facebook.com/suicietyoz
How long did it take to write/ record? I wrote over the course of a year or so. The recording took place over two sessions, with the aim that the first half would help inform what was needed in the second half. Was anything in particular inspiring you during the making? Space and beauty. When I was in Italy last, a local told me that whenever you build something, make it beautiful and build it to last… that became my ethos from that point onwards. What’s your favourite song on it? Hmm, that changes but the one I’m quite proud of is called Lions And Tigers. Will you do anything differently next time? Yes, I think I will record in a house somewhere... a different space with its own characteristics and just call people to join me at various stages.
How long did it take to write/ record? It’s hard to say exactly, but approximately three years. I recorded the guitars, bass and keys at my studio and the drums were by David Atkins and Glenn Collie at Hydrofunk HQ, Mullumbimby. Was anything in particular inspiring you during the making? Always searching and chasing sounds to make music is inspired by many things. Life experiences, dreams and being out in the elements. It’s cathartic and I wanted to make a cinematic instrumental musical getaway. What’s your favourite song on it? If pressed, it would be Looking For The Sun and And So It Goes... Will you do anything differently next time? Yes! I would block out a few months where I could totally lose myself in the process of recording and creating.
When and where is your launch/ next gig? The Triffid on 7 Nov!
When and where is your launch/ next gig? Dual CD launch with Tom Combes, 12 Nov, The Triffid. The Toby Wren Trio will open.
Website link for more info? darrenmiddleton.com
Website link for more info? simongardnerguitarist.com.au
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Welcome To The Jungle
Still Got It
Four things you absolutely must experience at the Jungle Love Festival, 27 & 28 Nov at Borumba Deer Park.
The Music So. Many. Excellent. Bands. From Ayla, Baskervillain and The Belligerents to The Cairos, Galapagos and Moses Gunn Collective, to Nonsemble, Northeast Party House and Resin Dogs – there is seriously something for everyone at Jungle Love.
The Art Jungle Love’s spread of artistic offerings transcends single forms and encompasses street performance, slam poetry, filmmaking and interactive experiences, ensuring your senses are engaged across the entirety of the event.
The Panels This year’s Jungle Love festival is stacked with thoughtful discussion on everything from professional development and music/technology to Indigenous identity and feminist theory; if you walk out without learning something, you’ve done it wrong.
The Costumes You can never really have too many opportunities to get drunk and play dressups, right?
BONUS: The Bikes What other festival do you know that comes with its own on-site (hot pink) twowheeled transportation fleet? BYO helmet and ferry yourself around the fest in style.
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Graham Gouldman of ‘70s soft rock legends 10cc doesn’t overthink about the formula that’s kept the show on the road. As Paul Ransom discovers, there’s still plenty of ‘things we do for [the] love’ of it.
t always makes me laugh when you see books about how to write a hit song,” states Graham Gouldman. It’s a levity underpinned by a half century of hit writing and recording, Gouldman having penned hits for The Yardbirds (Heart Full Of Soul), The Hollies (Bus Stop) and latterly as part of the band that truly made his bacon: 10cc. “First thing you do is look who wrote the book and how many hits they’ve had,” he continues. “Generally they haven’t had any. But y’know, there are people who try to explain songwriting. One of the greatest songwriters in the world, [famed American composer] Jimmy Webb, wrote this book which goes into great detail about the writing process; but really no one can teach you how to do it. You’ve either got it or you ain’t.” Though the personnel have changed, 10cc have continued as a live outfit since the early ‘90s with Gouldman out front, and their latest antipodean jaunt will once again feature the band’s veritable trove of hits. Despite the songs being decades old now, and Gouldman having played them countless times, the crush of repetition and boredom
appears not to be an issue for the 69year-old veteran. “I don’t have to combat it because I don’t feel it. I mean, if I didn’t want to do it, I don’t have to do it; so that’s one of the main things,” he drily notes. “The other thing is that it’s not the only thing I do. Y’know, I’m always writing and recording for other projects, so my life doesn’t depend on it.” In fact, Gouldman could well be living in superannuated comfort on any balmy island of his choice, which makes you wonder why a man on the brink of 70 bothers with the grind of touring. “The easiest bit is the playing,” he confesses. “The travelling can be tiring but it depends on your attitude. Y’know, if you’re with people you like and you’re travelling in quite a comfortable way and not sitting on an amplifier — we don’t do that anymore — then most of the time it’s quite fun. Plus the fact that you get to places that you would not normally see.” On the upcoming Oz tour those places will include venues like Bendigo, Airlie Beach and Wollongong, in addition to the more traditional capital city gigs. As Gouldman says, “I have this thing in my head wherever I’m playing, where I’m imagining what it’s like for someone who hasn’t seen us or heard us before. Part of my head is always in the audience.” None of which truly explains why 10cc’s songs have endured. “We could talk about this for hours but clearly there’s no answer to it. It’s all instinct, really. Y’know, one tiny change can make the world of difference. Ultimately, what pleases me I hope pleases you enough to buy it, or download or stream it. Y’know, to hear it again.” And again and again, and so on.
When & Where: 7 Nov, Twin Towns, Tweed Heads; 8 Nov, Airlie Beach Festival Of Music
Hendrix House At His London Home
What: Songs To Play (EMI) When & Where: 21 Nov, The Triffid; 22 Nov, Mullum Music Festival
Coming off the recent announcement Jimi Hendrix’s former London home is to be permanently open to the public from February 2016 – for the past two years it has been renovated to its original state, and is next door to where composer Handel lived in the 1700s – here are three more musical homes worth a geez if you want to have a sneaky peak into the medicine cabinets of some other rock royalty. Elvis has left the building, but his home Graceland has actually won awards as a musical tourist attraction in the US. You can stay in the Graceland Hotel, buy his personal items at auction, have your wedding in the grounds and even attend themed events such as ‘Christmas With The King’. A little cringe-worthy if you’re a musical purist, but it sounds like it would be interesting to see the toilet he died on.
Can’t buy me love, but can buy me a two for one tour of the Beatles childhood homes in Liverpool. ‘Mendips’ and 20 Forthlin Rd are the old time haunts of young John Lennon and Sir Paul McCartney. You can stand in the spot where they composed I Saw Her Standing There, together! Louis Armstrong is one of the great jazz legends unlike any of today’s superstars, he was known for simple tastes. His modest house in an ordinary Queens neighbourhood is apparently one of the best preserved vintage fit-outs you will ever see. You half expect to see Don Draper walk through the door any minute.
t’s been a fair while between drinks for inveterate Brisbane singer-songwriter Robert Forster, whose new solo album Songs To Play trails seven years behind his previous long-player, The Evangelist (2008). It’s a bright and breezy album, utilising the skills of young Brisbane musicians Scott Bromiley and Luke McDonald (of The John Steel Singers) in both band and production roles, which is all quite reminiscent of when Forster first returned to Brisbane in the early ‘90s after years spent living abroad and hooked up with the Custard cabal to work on 1993’s Calling From A Country Phone. “Yeah it is, it reminded me of that of course,” Forster smiles. “Both albums were done in Brisbane. I like working with younger musicians - they think they’re getting the experience and all the benefits of working with an older musician and they don’t see that I’m pinching ideas from them. I get as much of an exchange out of working with Dave McCormack, Glenn Thompson, Robert Moore those musicians I was working with on Calling From A Country Phone - I got as much from working with them as I did with Scott and Luke. “And I like being around them, I produced the first John Steel Singers album [Tangalooma (2010)] and I got as much out of working with them just seeing how young people work. Suddenly they’re in the practice
Hendrix In The House
Legendary singer-songwriter Robert Forster tells Steve Bell about the importance of “borrowing” ideas from his younger peers.
room and they’re starting to record things with their phones - I don’t even have a mobile phone! It’s all interesting, and you’ve got to keep yourself open to fresh ideas and fresh blood.” Songs To Play’s upbeat tone is almost the polar opposite of the sombre The Evangelist, which arrived in the aftermath of the sad passing of Forster’s long-term partner in The Go-Betweens, Grant McLennan. “It’s the songs and the feelings that bounced out of The Evangelist,” Forster tells. “I really came out of that record - which was a very intense and at times sad record with its own atmosphere, which I totally stand by and like - but as soon as we went on tour with that I found myself writing these songs and starting to work on these songs, and it was almost as if unconsciously they were a lot more upbeat and a lot more playful. I was really happy that these types of songs were coming to me, they really feel like the songs I needed after The Evangelist and after Grant’s passing; there was an initial sense of shock and grief, and then a couple of years went by and then I could feel that a new phase in my career - a whole new phase in my life - was coming along, and these songs were the product of it. “I really love the lightness of some of it, and they’re a group of Brisbane songs too. There’s a sort of lightness to Brisbane as well - we’re not living in Berlin, we’re not living in Warsaw, we’re not in Brooklyn. It’s not that type of music that inspires me here, it’s more of a melodic, poppy feel that I get here at times. It’s like driving through [inner-city Brisbane suburb] Bardon - that’s what the album’s like.”
THE MUSIC 4TH NOVEMBER 2015 • 33
Comments On Social Media? Cowardly Outraged by the shocking abuse that retired AFL player Adam Goodes received following the announcement of him becoming the new David Jones ambassador, Aussie singer and fellow ambassador Tim Rogers has hit back at the haters as the You Am I frontman speaks exclusively to The Music.
hen the discussion and opinions around Adam started up and there was the inference that it was racially based. To continue to boo, or start it up in ‘deference’ to political correctness… well, my little tiny opinion is that you’re a fucking idiot,” Rogers said. “No, it is NOT the same as booing other players or that Adam’s sublime playing style douses him as a ‘flog’. By participating in the derision of a player who has spoken about years of verbal abuse based on his culture… well, I bloody well believe him. “I’ve had things shouted at me for years about my voice, my ponciness, my face, but nothing that digs up heritage, history, culture. So how the HELL could I pass comment on what Adam’s derision made he and his family feel? When he said it cut deep, I believe him. And want to learn. And stay the frig away from social media because that shit is toxic.” As a passionate AFL fan his whole life, Rogers recalled watching Goodes when he first competed in the sport. “I’ve watched Adam play since he first started, and my only reticence to unlock a tirade of love to the man was that he played for Sydney and not North Melbourne. His grace and sleek power was akin to my favourite ever sportspeople. A mix of almost balletic poise and perpetual forward motion (forgive me, I’m no journalist). His extraordinary gait whilst surging forward appeared at times mocking to an opposition supporter. Making a twenty yard power run in the forward flank appear effortless. His style brought out in me, as an opposition supporter, a rare mix of dread, anticipation, and awe. His celebration of goal in the game vs Carlton was one of the times I felt that footy has not lost its way in the ‘big
My little tiny opinion is that you’re a fucking idiot.
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game’. It was beauty, rage, culture, history and future. Many fans who did boo Goodes during the back end of the 2015 season claim they did so simply because he played on a rival team and that it wasn’t a racial action. However, Rogers believes those who continued to boo after Goodes publicly expressed he was hurt are enabling the problem. “Wilfully stirring a pot with no recognition of the recipe is hopelessly ignorant,” he said. “Again, as a middle class convict whose history is mercifully free of oppression, conflict, widespread massacre, abandonment and displacement, what the bloody hell would I know. So when Adam — or others of far higher intelligence and candour than me — declare a belief, I’m gonna listen, and think, and then keep listening.” Rogers went on to call out those who sent a tirade of abuse online. “’Comments’ are reactions. I trust the word spoken as I trust the flame from wood burning. There are those who sit near the fire and complain of its heat, others warm in it. But while those come and go, the fire ebbs in its own time. The Australia I know is of Barry Humphries, Uncle Jack Charles, Sidney Nolan, Ray Ahn, Percy Grainger, Jim Krackouer, Richard Flanagan, Waleed Aly, Trevor Jamieson, Wayne Schimmelbusch, Helen Razer, Chrissie Amphlett, Emma Donovan, Rennie Ellis, Marieke Hardy and Breaker Morant. And a long bar tab of other heroes of mine. Comments on social media? Cowardly.” When asked what it meant for Rogers to stand alongside Goodes as a DJ ambassador he quipped, “I didn’t think I was an ambassador, I was asked to model.” He added, “And as it had nothing to do with my music, I’m very happy to get work and contribute to my family. “However, if I am an ambassador, I would take that badge off and stand beside Adam as a man, as a person. I am not fit to tie his bootlaces (until he joins North and I resume as their strapper...) but I have a recurring dream of having a kick-to-kick with him. At this particular time in this absurd life, the truth is I only said yes to doing the ad when they said Adam was in it. I knew then I was safe. He’s that kinda’ man.”
THE MUSIC 4TH NOVEMBER 2015 • 35
Food For Thought When Bryget Chrisfield sits down with You Am I’s Tim Rogers and Rusty Hopkinson she hears they’re friends with Rocket From The Crypt, they’ve shared Ryan Adams’ “great coke” and were distracted by “how handsome” Wayne Gordon is while recording their new album at Daptone Records.
heir sound check finished early. Tim Rogers and drummer Rusty Hopkinson are relaxing on a couch inside The Croxton’s band room. Hopkinson is empty-handed, but Rogers nurses a stubbie. “We’re pretty notorious for quick rehearsals as well,” Rogers observes. Bassist Andy Kent comes in, smiles, looks in the fridge and then leaves the room. You Am I are performing at tonight’s relaunch of The Croxton and Hopkinson recalls
Ryan Adams did have some great coke that night, but then he started to talk...
a brag-worthy gig experience from this venue pre-renos: “I came here when I was living in Melbourne in the early ‘80s, about 1984 I think, and saw Sweet or Suzi Quatro — one of the two. I saw both of them that year, one of them was at The Croxton. I was a little punk rocker at the time, too, so I remember thinking I was gonna get my head punched in, basically [laughs].” You Am I’s tenth album, Porridge & Hotsauce, was recorded at Daptone Records in Brooklyn and Hopkinson casually explains, “I’ve sorta worked for them for a while and, yeah! The studio’s just there and they’ve always said, ‘If you ever wanna use it, come use it.’” Rogers admits that prior to booking in studio time at Daptone, You Am I’s “impetus started going” when they found themselves “socialising with each other and forgetting about making 36 • THE MUSIC • 4TH NOVEMBER 2015
records”. “And then Russ said, ‘Hey, look, there’s a weekend [available] at the studio and how about it?’” Hopkinson swoons over “a nice old 8-track tape machine” they recorded on at Daptone, adding, “It was really just cool to stand in that room and make music.” The band started recording the day after they landed and Rogers enlightens, “You know, traditionally, we went out and smashed it a bit when we arrived, and we felt really, really intimidated. And then as soon as you’re in a room, and you’re plugged in and you look at each other, and you think, ‘Ah, we’ve been doing this for 23 years, that’s right. One, two, three, four — bang’...” “It’s kind of a long way to go for it not to work,” Hopkinson admits, which cracks Rogers up. The drummer continues, “So we were sweating on it a little bit at the start and it sort of all came together, and it was a lot of fun and quite successful, in the end.” Hopkinson singles out some of the guests You Am I recruited for this album: “Stevie [Hesketh] our fifth member you could say — our keyboard player, fifth member of just about every band in town, ha ha — played some keys and then some of The Wolfgramm Sisters sang on it so it’s nice that there was all these friends.” “Not one stranger, I think,” Rogers stresses. “Just within the kind of extended family.” He attributes this to the fact that You Am I have “25 years of playing” under their belts before clarifying, “But it’s not really that extended, because they’re probably 30 people around the world that are in the gang and now that Russ and Andy are looking at overseas stuff and releases; it’s people that we’ve been dealing with from ten or 20 years ago and I’m not quite sure we’ve been lovely to everyone, but I think we’ve been ok with most people we had relationships with.” This scribe’s often wondered: Do bands get warned, before they hit the stage, that they may not be about to perform to a full house? “I refuse to listen,” Rogers illuminates, “but you get a feeling; you know, when you’re going to a club in the country and the car park’s pretty empty. “If you’re gonna let crowd numbers get to you to that point where you’re not going to enjoy yourself — it’s a wasted opportunity to have a good time. I think the best show we’ve ever played in our lives was at this joint, a ballroom in Cleveland; it’s the one I feel the most affectionate about. We had a big gig the night before in Philadelphia with The Strokes — a big ol’ night — and we’re all driving to the gig feeling shithouse... The point is: We had more fun than we did in Philadelphia the night before. Ryan Adams did have some great coke that night, but then he started to talk... If you worry about whether there’s gonna be a full house in New York or not, it’s sort of missing the point of it.”
What: Porridge & Hotsauce (You Am I Records/Inertia) When & Where: 19 Nov, Villa Noosa Hotel; 20 Nov, The Triffid; 21 Nov, Parkwood Tavern, Gold Coast; 22 Nov, The Spotted Cow, Toowoomba; 25 Nov, Magnums Hotel, Airlie Beach
Heavy As Ever
It was as much about the ebbs and flows as it was about being heavy on Drowning Horse’s second record. Drummer James Wills chats to Kane Sutton.
n the surface, Drowning Horse’s second album Sheltering Sky is a monster, and one of the heaviest records you’ll hear this year. Get over the sheer surprise of the album’s force, however, and you’ll find it to be complex, refined, and an evolution from their debut, while still maintaining those elements of dread, rust and an uneasy sense of dark sparsity. After realising he has a fan on the line Wills sounds thrilled, and fair enough — Sheltering Sky is an album that took a long time to craft. “I think when we started writing this, I mean, it was ages [ago], the start of 2012, we kind of sat down and thought about what we want this record to be... Obviously the first record we did was a straight-up doom metal record, it was super heavy and really raw and in your face. With this record, we really wanted to push ourselves. We wanted to play around with riffs and song structures and we really wanted to create a record that was a cohesive album from start to finish. That meant not just writing the heaviest, loudest thing we could; it meant letting some of the songs breathe a bit — making sure it ebbed and flowed.”
Eight songs all up, Sheltering Sky spans over an hour, the shortest track clocking in at just under five minutes, while the longest ends just shy of 18. With long, sprawling riffs playing a big part in the style of music performed on this album, it begs the question: how do you know when to stop? “That’s something we’re quite mindful of when we write these songs, because we do have a tendency to write pretty long songs... We had to be really hard on ourselves and go, look, this is a 15-minute song, and we really want to add this bit to it which sounds sick, but it doesn’t really fit within the context of the song or what’s happening on the record... I think, especially playing doom metal, you have a tendency to let riffs go on way longer than they should, and although some of our songs are pushing 15, 16, 17 minutes, we don’t want it to be too much of a drain to listen to.” And that in itself is why listeners around the world are latching onto this record, building the hype before it has even hit the shelves — there’s an exciting element to it, despite its somewhat grim nature. “We wanted to be confident that there was enough going on and it was tight enough to warrant it being that long. It’s a long record, but the last thing you want to do is bore people, and bore yourself.” That extends to being on stage as well. “We knew we were writing a record that was probably going to be an hour long at least; every time we get up and play it we have to enjoy it, you don’t want to be playing a riff for ten minutes, and thinking about whether or not to get a kebab after the show.”
What: Sheltering Sky (Art As Catharsis/FALSExIDOL Records) When & Where: 5 Nov, Crowbar
CB On CBS The Music’s Bryget Chrisfield went over to New York and managed to be backstage in The Green Room of the CBS Television Network as Courtney Barnett filmed a live performance at CBS This Morning. Here are a few snaps of what ensued and for the full article, head to theMusic.com.au.
Outside CBS S
THE MUSIC 4TH NOVEMBER 2015 • 37
Whole New World Anton Newcombe of The Brian Jonestown Massacre has a big vision for the future — playing music, even if he is diagnosed with “Stephen Hawking’s condition”, motor neurone disease. He speaks candidly to Hannah Story.
used to think about [getting older] when I was a little kid,” Anton Newcombe begins, talking about how he never expected to make it to 25 years old, let alone the Silver Jubilee for The Brian Jonestown Massacre. “I could never see myself being 18 when I was six years old. I could never see myself being an adult and I didn’t wanna be an adult, not because I wanted to be a kid but because I didn’t like adults. “Sometimes I reflect on [BJM’s career], and you realise a lot of your fans weren’t born when you started
I want to pretend like I have a fatal disease and that I want to do as much as I can with my life as long as I have it.”
or something, and that some people have just grown out of things, or there were people who were 20 years older than me who were going to the shows where The Beatles were playing or something, and they were kids. It’s just crazy. “And I’m really thankful that our personal fans stay the whole thing, and people bring their kids too, and people who like ‘60s music or whatever, that they know what’s going on, what kind of show it is, so that’s really cool to me that it’s not based on millenials or some BS, some corporate brat-backed radio or something.” He attributes BJM’s longevity to their dedication to the music — not every band makes it to 25, so you’ve got to be in the industry for the right reasons. “You have to really want to do something. You have to know what 38 • THE MUSIC • 4TH NOVEMBER 2015
you’re doing, basically, you have to know what you want. I got the impression some of my peers just wanted to screw supermodels and see their face in magazines, and this is before Instagram, but they were really looking forward to getting invited to the cocaine party and the A-list with some actresses or whatever. They were interested in paying for their house or whatever it was, and then they didn’t care about playing, and they can’t play music. “And you see a lot of bands where they’re my peers and they’re go and they’ll do their Jubilee or whatever it is, their 20 years, and they’re just playing that record that came out way back when or whenever it was, and they’ll tour that. I never wanted to be retro, I never wanted to be pegged as a ‘60s revivalist when I started, or a specific thing, and I certainly don’t want to be painted as that now. I want to make music and I want to pretend like I have a fatal disease and that I want to do as much as I can with my life as long as I have it. And I’m gonna work with other people and I wanna grow in every direction somehow.” The plan for the Australian tour is to play some songs they’ve never performed live, or that have only been performed once. They’ll be playing the songs that they made despite the ‘potential pitfalls’, and discouragement from major labels. “I never went into the studio and said, ‘Let’s do this like Radiohead,’ to this level, do you know what I’m talking about, of audio perfection or something — that was never my goal. My goal was like, ‘Ok, I’m going to make up some ideas and then live will be the medium that it lives or dies in,’ and [to] record any way possible.” Newcombe says if he were to retire the BJM moniker, he “wouldn’t say anything”. “It would just cease to be active in some way maybe. I wouldn’t make some big drama about it. I’ll be keen to make music as long as I can. I don’t see why even arthritis or anything would stop me, even to the level of Stephen Hawking, I think I would do interesting things with synthesisers or something if I had his condition.” That dedication means he is rarely idle, always looking towards the next project. He says he records every day “except Sunday — there’s something to that, I’m telling you”. “I always just want to move forward. I’m doing a remix for this ‘90s band Ride of this song Seagull, and it’s nuts, so I have a lot on my plate right now. I’m starting to score this movie Moon Dogs for Philip John, he’s the director of Downton Abbey. It’s my first fulllength movie, so I’m in the deep end of the black pool so to speak.”
When & Where: 12 Nov, The Northern, Byron Bay; 13 Nov, The Triffid
THE MUSIC 4TH NOVEMBER 2015 • 39
Switching It Up While Sam Cromack is well known as the frontman of Ball Park Music, the Brisbane-based singer-songwriter explains to Roshan Clerke that he’s explored a more vulnerable side with new solo project My Own Pet Radio.
t felt like a big achievement that I was even going to tackle trying it,” he confesses. “I felt quite fearful to do it, because I wanted this to feel more personal than anything I’d done before with the band. I had so many evenings when my fiancee would come home and I’d be consulting her about work on it, and it felt like a really close thing between us.”
I definitely still feel like an outsider. I’m a bit of a nerd and a goody-twoshoes, which is hard to come to terms with when everyone around me isn’t like that.
Lead single No Great Mystery is emblematic of a lot of the reflective themes found throughout the album. Inspired by the careers of the early beat poets, it’s an ode to Cromack’s own insignificance. “I felt my own personal narrative really lacked depth, and instead of feeling at a loss about that I just accepted that it is what it is. It’s better to declare that you don’t have anything interesting necessarily happening in your life than to go out and try to fake it, conning everyone into believing there is some sense of mystery surrounding your life. As much as that might enrich my story or generate interest in what I do, it’s just not there.” Cromack enjoys describing the album itself as a self-portrait in every respect. “It’s the first time I’ve not taken a leaf out of another artist’s book in designing the record cover,” he says. “My girlfriend took those photographs, which she shot on film. She’s quite self conscious and doesn’t have a lot of confidence about her photography with no training, but I think she has a really artistic eye. There is a soft and vulnerable human element to it all. Inside there’s lots of handwritten lyrics, which might seem trivial, but I was trying to make it a really direct representation of me in every way.” Goodlum is then a record that reflects the complexity of his own identity. “I know the album is probably annoyingly eclectic, but I wanted to try everything I wanted to do and not make any compromises,” he explains. “I wasn’t necessarily thinking ‘this feels really eclectic’ when I was making it, but just trying to do what felt natural, putting myself and my character into it. I’m definitely hoping that I can be the key ingredient that gives it a sense of cohesion instead of just what’s going on stylistically. There is a real sense of personality that ties it all together.”
What: Goodlum (Stop Start/Inertia) When & Where: 14 Nov, Black Bear Lodge
His new record is called Goodlum, defined as the term for a good kid from the hood. Cromack thought of the pun for the title before realising it was an established term, but decided it was nonetheless a fitting description of his place in the music industry. “While I’m not from the hood exactly, I did feel a connection to the sentiment of that word. I exist in this rock and roll world, and have for a number of years, but I definitely still feel like an outsider. I’m a bit of a nerd and a goody-two-shoes, which is hard to come to terms with when everyone around me isn’t like that.” 40 • THE MUSIC • 4TH NOVEMBER 2015
US comedian Duncan Trussell talks to Baz McAlister about one of the most powerful psychedelics available to the modern world: podcasting.
uncan Trussell’s journey into comedy was a trip. A naturally funny and smart lad from North Carolina, he moved to Los Angeles with some inheritance money that he “blew on raves and acid”, needed a job, and thought the legendary Comedy Store on Sunset would be a cool place to work. He never had a yearning to be a standup. Sure, he was into comedy — “I was into Bill Cosby, prior to everyone understanding he was a rampaging, hell-flinging rapist, before he was tainted” — but never did it occur to him he could do what those guys were doing. But one of the perks of working in this “Hogwarts for comedians” was three minutes of stage time which his colleagues urged him not to waste. “I tried it, I got off stage, and one of the waitresses was like, ‘I don’t know what I just saw, but it wasn’t stand-up,’” he says. “That’s the environment of the Comedy Store, a university that teaches through loving rejection, and that’s where I got the bug.” Now, the LA-based comic has found a way to reach a global audience from his own home with his The Duncan Trussell Family Hour podcast, where he indulges his interest in philosophy, spirituality and psychedelics and interviews diverse guests. He’s been called an “information DJ”, pulling out choice
cuts of obscure facts to share with fans. “Prior to podcasting the only avenue to let people know you exist is getting a part on a TV show or a big comedy special or a spot on a late-night show,” he says. “It’s amazing to me that I managed to skip that step, it’s just glorious for a comedian like me. The filtration mechanism put in place by network television can really water down the comedy they’re trying to put out there.” Trussell’s podcast metadata has also shown him where pockets of ready-made audiences exist, and he’s put that to work for his debut Australian tour, starting this week. But in the process of doing 170-something episodes, he says he’s transformed. “One of the problems with LSD distribution networks is the LSD starts warping the network itself and after a while, the LSD dealer just turns into someone who gives LSD away because they don’t want money anymore!” he says. “In the same way, with the podcast — you start off thinking, ‘Man, I’m going to be able to have conversations with some of the smartest or funniest people I can get to talk to me’ and then over the course of 170 conversations like that, you realise, ‘Shit, I’m changed. This has changed my outlook on the world, the way I live, and it’s certainly changed the way I perform on stage and the things I choose to talk about.’ “Timothy Leary said the internet was going to be this generation’s LSD and I see what he meant. What’s more psychedelic than being able to sit in a house with a witch or shaman, talk to them for an hour about ayahuasca ceremonies or communicating with the moon, and then pressing a button and sending that information to over 100,000 people around the world simultaneously?”
This Week’s Releases
A Trippy Time
Birds Of Tokyo Playlist EMI
Grimes Art Angels 4AD/Remote Control
You Am I Porridge & Hotsauce You Am I Records/ Inertia
City Calm Down In A Restless House I Oh You
When & Where: 11 Nov, The Triffid THE MUSIC 4TH NOVEMBER 2015 • 41
Album / E Album/EP Reviews
Album OF THE Week
Sarah Blasko Eternal Return EMI
Eternal Return is a portrait of the artist as a pop love songwriter, complete with the range of feels that one little word tries to capture. Opener I Am Ready draws a listener in while I Wanna Be Your Man is gender bending at its best. When she snarls, “I wanna be your...” and trails, well, it’s more than a little bit fabulous — Annie Lennox, David Bowie and Gaga would all be proud. Single I’d Be Lost is catchy as, while Maybe This Time claims victory from the jaws of relationship failure’s defeat. There’s something abstractly Peter Allen about this album too; maybe a love of melody and direct lyrics. It’s an attitude that doesn’t quite fit into one place but is somehow still really relatable (Only One with its glorious synth and happy declaration “I’m gonna show off my love” is perhaps what does it — just a musical expression of gentle but pure joy). Luxurious is a slow and direct ode to the right one (whoever they are), while Say What You Want has a bit more spark and, in a retro-styled record, could easily be the big hair and big crowd moment. Final track Without is a rare solo Blasko offering for this album, and the solo songwriting and delivery style brings home a clear rejection of too much time alone. Her declaration, “If you have not love, you have nothing at all” is a direct piece of life advice from Aunty Sarah — dear listener, get your priorities straight! Liz Giuffre
City Calm Down
You Am I
In A Restless House
Porridge And Hotsauce
I Oh You
★★★½ In A Restless House is the anticipated debut album from new wave style band City Calm Down. The effort is a sonically calculated, varied and well produced release. The band’s direction is concise and meditated, something most other bands cannot boast about their debut record. It’s a great picture of who the band are, as those who have seen City Calm Down on stage would know they are a formidable live band. In A Restless House captures the same emotions, and this is translated well on this release. Just take for instance the synth line in Border On Control, which comes in at just the right moment over the trundling bass line and unwavering drum beat. Catchy hooks are also within reach of the band, as one just needs to listen to Son to concur.
You Am I Records
The new wave sentiments of City Calm Down are unmissable, and certainly hammered home with tracks such as Rabbit Run. The double stroke high hat beat, rising synths and lazy guitar lines say it all, held together by the throaty vocal tones of Jack Bourke, who possesses a stark resemblance to Nick Cave and Ian Curtis. The ever present dithyrambic melancholy is one of the greatest strengths of the album, effortlessly tapping into the disenfranchised nature of youth in their 20s. Tracks such as Nowhere To Start even have an inkling of Radiohead infused within the sounds. There’s no doubt that in due time City Calm Down will achieve great things. Jonty Czuchwicki
42 • THE MUSIC • 4TH NOVEMBER 2015
Let’s be clear: Tim Rogers is not going to write you Berlin Chair again. But let the musical and lyrical nods and winks of this band that now can just enjoy being wash over you a few times, and you’ll likely find the satisfaction you crave. Conversely, Porridge And Hotsauce might be the most ‘You Am I-sounding’ album of their last few. The previous self-titled, and moreso the reflective moments of Dilettantes sometimes sounded like Rogers solo songs — as played by the band. Not necessarily a bad thing, but here in One Drink At A Time’s louche swing or the ‘70s chop of Buzz The Boss — as Rogers’ and Davey Lane’s guitars bump into and across each other — you’ll remember the scruffy swagger that made you love them in the first place.
Other voices are allowed cameos, but no-one can deliver a bittersweet bon mot like Beehive’s “As romantic as the first time I see you cry...” like Timmy in full wilted-flowerson-the-doorstep mode, or as a sentimental organ note underpins the stumbling brass of Two Hands’ “...All that’s left from the plans I made”. Ten albums in, You Am I will take your Good Advices, but then drop the clutch and take off in the direction they choose, over the bedrock of Andy Kent’s bass and Rusty Hopkinson’s simply fucking joyous drumming. Sure, keep loving getting lost in your Hourly Daily reissues — but know that You Am I have still got the goods. Ross Clelland
EP Reviews Album/EP Reviews
West Kirby County Primary
Come Back, All Is Forgiven
He sounds proper posh but Bill Ryder-Jones is one of UK music’s hardest workers. A teenage guitarist with The Coral, Ryder-Jones left the band following anxiety issues and now has plenty of solo/film work up his sleeve. On West Kirby County Primary he’s produced a solo rocker that’s really good in parts but lacks in variety. The acoustic Tell Me You Don’t Love Me Watching is seriously sinister while Two To Birkenhead has a nice slacker rock vibe and Let’s Get Away From Here is a belting ballad. Satellites delivers big at the end, but the middle plods a little.
This reimagining of Vulnicura supported only by a 15-piece orchestra of strings and the amazingly quirky viola organista sees Bjork losing the electronics and going acoustic. Vulnicura succeeded as a break-up album that harnessed emotions that didn’t need lyrical abstraction and too many metaphors to more directly express exactly what she was feeling. The swoon-worthy shimmer and sheen of these arrangements supports this intimate and loving dissection of a relationship to sweetly dreamy effect. Mesmerising instrumental versions of Family and Black Lake are highlights, providing compelling immersive listening experiences that touchingly weave through bleak moments of sadness.
Brisbane’s arch funsters Custard return with their first album in 16 years (sixth overall) and deliver a lesson on comebacks. All of their beloved traits remain — laidback music, wry lyrics and that overarching playfulness — yet the results seem timeless. From the lilting country opener Orchids In Water to the cruisy indie of We Are The Parents (Our Parents Warned Us About) and the catchy melodicism of Warren Rd and Rice & Beans it all seems like proto-Custard, only the reminiscing throughout 1990’s and Queensland University betray the passing of time at all. Welcome home.
Taking his cues from other prominent local singersongwriters of the past decade — think Carus Thompson, Angus Stone and Josh Pyke — Powderfinger guitarist Darren Middleton’s second album is a diverse offering. It won’t see his star shoot to any new heights, but it’s a solid record amplified by a number of guest appearances from the likes of Missy Higgins and Guy Pearce. Comparisons with Powderfinger’s back catalogue are inevitable, but rather than competing with the arsenal of that band’s iconic anthems, tracks like Our Road and Hold On indicate where much of Powderfinger’s success came from. For that, Splinters is worth a listen or two.
More Reviews Online Eulogy Eternal Worth
Jackson Firebird Shake The Breakdown
Beach House Thank Your Lucky Stars
THE MUSIC 4TH NOVEMBER 2015 • 43
Album / E Album/EP Reviews
Devil You Know
They Bleed Red
These metalcore bruisers have evaded being a haphazard, star-studded collective, instead morphing into a fully-fledged band within a relatively brief period. Arriving 18 months after their debut, this tighter, more coherent effort opens with purpose. Consume The Damned enhances the speed and aggression, The Way We Die bristles with incisive hooks that screamer/ crooner Howard Jones’ former outfit Killswitch Engage would approve of. Said momentum is largely maintained. Let The Pain Take Hold features hungry-again Jones pushing himself vocally. Guitarist Francesco Artusato flaunts his virtuosity while still serving the songs, and John Sankey’s (Devolved) brutal blasts and busy fills help ensure there’s no sophomore slump.
Save for Intro (Delirium), from start to finish Ellie Goulding has laid a golden egg of undeniably catchy chart-topping hits, seemingly for that sole purpose. From the annoying earworm whistle of Keep On Dancin’, which will undoubtedly grace a dozen DJs’ setlists, to the similarly repetitive On My Mind, most songs on this 16-track album are carefully constructed to weasel their way onto radios, TVs and brains. Regardless, she does explore genres like gospel and dancehall with Holding On For Life and We Can’t Move To This. The problem is, we don’t really see any heart; it’s a solid album, but not for the right reasons.
After seven years in the game having amassed an attractive string of EPs, braindance whizkid Sam “Floating Points” Shepherd finally releases his debut album, and a bewitching little affair it is too. Eerily minimal in places, it’s not easy to get your head around at first. But repeated listens open doors to strange new zones where space is revered and silence is an important instrument. Given the next-level gorgeousness of Silhouettes (I, II & III), Shepherd may soon find himself enjoying similar success to that of his good friend Four Tet.
The second full-length from the NZ alt-rockers plunges strong songcraft into mediocrity with an unimaginative sonic palette. Vocalist Neill Fraser’s lyrics are purposeful and merciless, both through substance and delivery, most obviously so on quasi-political first single Syria. An expectedly thick yet lifeless guitar/bass swamp gives way on occasion to some left-of-centre sounds, but a lacklustre vocal treatment sterilises any of the grit the instrumentation and lyrics work tirelessly to achieve. Dedicated fans of the style will find their desires met but casual observers may suffer a from a little too much sonic deja vu, stifling the record’s glimpses of true potential in escaping genre conventions.
Christopher H James
Dylan Van Der Riet
More Reviews Online 5 Seconds Of Summer Sounds Good Feels Good
44 • THE MUSIC • 4TH NOVEMBER 2015
Dave Gahan & Soulsaves Angels & Ghosts
Listen to our This Week’s Releases playlist on
THE MUSIC 4TH NOVEMBER 2015 • 45
Live Re Live Reviews
Laura Marling, DD Dumbo The Tivoli 21 Oct
Laura Marling @ The Tivoli. Pic: Bobby Rein
Laura Marling @ The Tivoli. Pic: Bobby Rein
DD Dumbo @ The Tivoli. Pic: Bobby Rein
Violent Soho @ The Zoo. Pic: Andrew Wade
46 • THE MUSIC • 4TH NOVEMBER 2015
DD Dumbo opens up tonight’s proceedings with a simple looped drum beat and his signature twangy guitar tones to present punters with something a little different before headliner. After a huge couple of years shooting himself into the limelight with the great success of his Tropical Oceans EP, DD Dumbo (real name Oliver Hugh Perry) is currently undertaking the task of putting together his debut album, and tonight’s set is a delightful insight into what this record will offer. The set presents an array of tracks suitable to his mash-up genre of blues, psychedelia and indie-pop, which often leaves listeners intrigued as to how on earth this music sounds so good. Although the set is made up of a lot of unreleased tracks, Perry still manages to throw in his ever-so catchy track Tropical Oceans early on. Laura Marling graces the stage to a room full of her devoted and loving fans at The Tivoli, accompanied simply by her steel guitar, a percussionist and bass player. She opens up with slow burn of Take The Night Off, which flawlessly transitions into I Was An Eagle, You Know and Breathe; a real delight for fans of Marling’s 2014 release Once I Was An Eagle which presents most songs as if they interwoven with each other. Marling then drifts and dabbles among songs released under records I Speak Because I Can, A Creature I Don’t Know, and her most recent release, Short Movie. It is a true testament to the singer-songwriter who, at a mere age of 25, has managed to build up a huge back-catalogue of charming and brooding folk songs. Although Marling seems dedicated to playing only recent
material, she throws in a slightly ‘shaky’ rendition of her beloved track Ghosts, written by the songstress at the tender age of 17 and one which she had to relearn for the occasion by watching old YouTube videos of herself. Marling’s charm
“Marling’s charm and exceptional storytelling talents manage to keep the packed out Tivoli in silence for just over an hour.” and exceptional storytelling talents manage to keep the packed out Tivoli in silence for just over an hour; evidence of a magical and wondrous set. Georgia Corpe
Palms, Violent Soho, Palms, BUDD The Zoo 22 Oct For the unacquainted, tonight’s nominal openers Budd are no boring first-cab-off-the-rank show starters, this being the reformed original line-up of one of Brisbane’s most prominent heavy bands from the ‘90s. Their sludgy music is still piercingly loud — volume long being one of their stock weapons — and there are touches of proto-stoner rock, swampy grunge and even metal amidst the unrelentingly brutal maelstrom. At one point someone onstage quips, “Is it loud enough?” so they’re fully cognisant of the aural assault they’re unleashing, probably the loudest set witnessed
eviews Live Reviews
at The Zoo since the last time Budd set up shop here. They’ve just re-released 1993’s seminal Yakfat EP, so tracks from it such as Cheesecake, Chopsumfuckinwood and Fuckhead all get jubilant airings, and it’s great to see these seasoned campaigners back in action and giving the growing throng of suburban youngsters a much-needed ear massage. Next up, Sydney four-piece Palms offer a far less scabrous but equally palatable offering of catchy garage nuggets, the songs vaguely punky but always imbued with an infectious warmth. Affable frontman Al Grigg commands centre stage, flanked on his right by a guitarist who looks suspiciously like Charles Sale from Babaganouj (who does a sterling job of filling in), and they pound through a slew of catchy tracks from their impending second album, Crazy Rack. A couple of early numbers (including This Summer Is Done With Us) and newie In My Mind find Grigg channeling his inner Rivers Cuomo (we all have one), but for the most part songs like Beatdown, Sleep Too Much (which is far too catchy to support that premise) and Dinosaur Jr-gone-pop closer Bad Apple are blink-and-you’ll-missit thrash garage gems rife with hooks, melody and a tangible laid-back charm. There’s a barely concealed sense of excitement and anticipation for the return of Mansfield’s finest Violent Soho, who have been busy squirreled away of late working on the follow-up to their 2014 breakthrough opus Hungry Ghost. They recently dropped the first taste from this impending offering — catchy earworm Like Soda — and they waste no time with pleasantries before bursting into that very song, the floor in front of them seeming to instantaneously transform into a sweaty, writhing mass of pulsing skin, sweat and hair like
some grotesquely ecstatic living entity. The response when they kick into Neighbour Neighbour — a standalone single not even on one of their albums — is overwhelming and you quickly start to get a handle on the devotion we’re dealing with here. There’s mass singalongs and even some rad air guitar on offer as they move onto the crowdunifying Lowbrow. Frontman Luke Boerdam is in fine fettle and the band’s massive stoner skull logo overlooks proceedings from behind the stage as guitarist James Tidswell and bassist Luke Henery thrash around with complete abandon, the way they seem to love these songs as much as anyone in the room completely endearing and adding to the band’s massive appeal. At this juncture they choose to throw another new song into the mix, How To Taste, and it’s epic and engrossing from the very first listen as Boerdam pleads and cajoles and bares his soul in the most convincing of fashions. In The Aisle is next to be uncaged and as ever it’s driving and upbeat with its inherently positive message and impossibly catchy chorus, Tidswell giving mad props to Budd in an extended shout-out before they drop the pace but not the intensity, highlighting some nuance with the cruisy double of Saramona Said and Fur Eyes, in the process showcasing this band’s brilliant duality and ability to switch from brute force to velvet caress without skipping a beat. Skinsman Michael Richards flails away with his usual soulful precision and enthusiasm behind his bandmates, another potent new track, Evergreen, being unveiled to the throng of fervent acolytes below them before a furious rendition of Love Is A Heavy Word returns us to more familiar propulsive parallels. Suddenly, the familiar intro to Covered In Chrome kicks in
and every conversation in the room halts simultaneously as all eyes and minds turn to the tsunami of flailing hair and wall of mountainous rock’n’roll pouring from the stage, the ‘Hell fuck yeah!’ refrain belted with fervent gusto by hundreds of people at once like some strange human art installation. The Soho boys have become so adulated yet remain so unaffected, like some perfect rock’n’roll fantasy of the little band that could, and they finish a brilliant hometown showing with the lazily anthemic Dope Calypso, the perfect end to the triumphant set proper. For a brief moment recorded music comes over the PA and it seems the unthinkable might happen and there will be no encore, but soon enough the crowd whips itself into a frenzy which can’t be ignored and four familiar figures re-enter the fray, Boerdam offering a choice of Tinderbox or Jesus Stole My Girlfriend before deigning to play both when unable to split the crowd’s ecstatic reaction to each proffered option. They tear
The Soho boys have become so adulated yet remain so unaffected, like some perfect rock’n’roll fantasy. Jesus... a new one despite their protestations of not having played it in ages, then demolish Tinderbox as well (despite some guitar troubles which Tidswell rectifies while leading the crowd in the ‘4122’ chant that’s become this band’s calling card). All in all, it’s just one of
those nights where the ludicrous amount of love in the room is only surpassed by the brilliant rock’n’roll thrown forth to fan the flames of desire, a heady mix of pride and passion. Hell fuck yeah indeed. Steve Bell
Kisschasy, Luca Brasi, Beth Lucas The Triffid 30 Oct Tonight marks the realisation of a decade-long dream for local acoustic emo-pop songstress Beth Lucas. As a budding musician 10 years ago, she sent a demo to a then-just-hittingtheir-prime Kisschasy, and told them she’d love to play with them someday, she tells us. It’s bittersweet, then, that she’d get to do so at last on their final tour. And if there’s a word that best describes tonight, it’s “bittersweet” — an evening that sees a crowd of mostly late 20-somethings and early 30-somethings come together to farewell a band that, for the majority of those in attendance, provided the partial soundtrack to some of their best years. Certainly, Lucas makes an occasion of it; she starts out joined by husband Elliott on guitar for the first three songs while she belts out heartfelt, on-point vocals, culminating with love song State Lines and a sweet moment where she asks people who are “here with someone you love” to hold hands (aww, nice). She plays it solo from here, strumming her way through an enjoyable set of acoustic-based ‘diary’-style heart-on-sleeve songs of the kind you’d find at about track eight or nine on most early2000s emo-pop-punk albums, including a Neck Deep cover and Situations, the first single from her upcoming EP. All up, though, Lucas puts on an endearing, commendable performance, especially having to contend THE MUSIC 4TH NOVEMBER 2015 • 47
Live Re Live Reviews
More Reviews Online theMusic.com.au/ music/live-reviews
The Paper Kites @ Woolly Mammoth Earthless @ Crowbar Devin Townsend @ Max Watt’s
with the remarkably audible audience chatter. The chatter dwindles to a whisper as the lights dim to herald Luca Brasi’s arrival, the band emerging on stage to the strains of Chumbawumba’s Tubthumping over the PA, whipping the audience into an instantly energised mass as they launch into their set. The Tassie
Cue a sea of adults reverting to their 2005 selves singing along and screeching at the mere notion of the song’s opening riff. punks have more than earned their reputation as one of the tightest, most energetic live bands on the circuit, their lilting, tumbling lead guitar lines, stopstart flourishes and technical wanderings all held together on a loose — though controlled — leash all conspire to imbue their performance with an inescapable aura of infectious glee. This is a band who clearly love what they do, and it pays off early in the form of old favourite Like A Charm, demonstrating as well as any of their other songs that drummer Danny Flood is the meticulous glue keeping it all together, alternating between hold-the-fort driving punk-rock beats and nuanced, fill-happy technicality. It’s a set full of high points — the anthemic Theme Song From HQ marks a particular standout, as does the angular, artful Benthos — and, to be honest, if this evening didn’t have
48 • THE MUSIC • 4TH NOVEMBER 2015
a specific reason for being in tonight’s headliners, Luca Brasi would have absolutely stolen the show in every regard, credibly delivering an unassailable showing of intelligent, wellexecuted melodic punk that leaves the crowd clamouring for more. It’s fortunate for Kisschasy, then, that everyone here is now on tenterhooks for this, the band’s final show in Brisbane and one of their last ever as part of their farewell United Paper People tour. The Melburnian mainstays stride out on-stage to The Rembrandts’ I’ll Be There For You, aka the theme from Friends (yes, pretty much the whole audience does the four-clap), and proceed to make
The band wrap the album with additional acoustic coda piece Black Dress, coming out for a weakly masked “totally unplanned” seven-song encore that kicks off with Dinosaur and includes The Perfect Way To Meet and Strings & Drums before Cordeux puts the vote to the audience, who, despite the option of early track Darkside, choose Resolution Wednesday — as the band apparently expected, given the song is printed on their set list at the sound desk alongside six other “surprise” encore picks — with Kisschasy making their final marks with an emotional Opinions Won’t Keep You Warm At Night. Nostalgia hangs heavy in the air across the
Violent Soho @ The Zoo. Pic: Andrew Wade
their way through their debut album in order from opener and one of the band’s first hit singles, Do-Do’s & Woah-Oh’s — cue a sea of adults reverting to their 2005 selves, singing along and screeching at the mere notion of the song’s opening riff — into With Friends Like You Who Needs Friends? before frontman Darren Cordeux goes solo-acoustic mode for the introspective Morning, picking up the pace again with the full-band, driven This Bed... You’ve heard the album, and the band have had ten years with these songs, so it’s no surprise that they pull off a heartfelt showing that barely puts a foot wrong.
entire performance; it’s almost a pity they’re calling it a day, because — certainly tonight — they’ve proven they’re in close to the sharpest live form they’ve ever managed... But then, what better way to ensure you go out with not a whimper, but a resounding bang? From the bottom of our hearts, then and now — thanks for everything, Kisschasy. Mitch Knox
Arts Reviews Arts Reviews
Hunger Makes Me A Modern Girl
The Confidence Man Pic: Skye Sobejko
Confidence Man Hunger Makes Me A Modern Girl Lit In Stores
★★★★ Carrie Brownstein has long been considered something of a Renaissance woman — leading the vanguard of the politically-infused Riot Grrrl movement with SleaterKinney, then later writing and starring in much-loved TV sketch satire Portlandia — and she now proves a dab hand at prose with her memoir Hunger Makes Me A Modern Girl (the title taken from Sleater-Kinney track Modern Girl). The book focuses on her music career, given insightful context through the lens of her Pacific Northwest childhood, school years and fledgling romantic steps. After a comfortable (albeit slightly unorthodox) upbringing the rudderless Brownstein’s life blossoms amidst her first discordant forays with Sleater-Kinney, the band providing much-needed clarity and purpose. Going against the grain introduced plenty of challenges as they fought for acceptance amidst the male-dominated hegemony they were railing against, and ultimately the most touching moments come as the internally dysfunctional band crumbles under the pressures of constant touring, which erode not only the individuals’ health and willpower but also the group dynamic itself. Brownstein proves insightful, witty, self-deprecating and fiercely intelligent, happily placing her neuroses and insecurities front-and-centre, but it’s an overwhelmingly endearing read which focuses on humanity rather than issues (without denouncing those causes’ importance). A fascinating insight into a great person of our time.
Theatre Powerhouse Theatre, Brisbane Powerhouse (finished)
★★★★ It’s a novel way of putting on a play: co-opt six of your audience members to star in it. Hidden behind huge cartoonish masks, six bold members of Joe Public star in this innovative play while the rest sit around the edges of a suburban house, mapped out in white tape and filled with furniture.
It begins with Sam, who’s involved in a hit-and-run and comes to the family home of his mate Pete in search of an alibi. Pete’s daughter, Anita, discovers a wad of money in Sam’s bag, and they’re set on an irrevocable course towards hard-man Alex and his coked-up drug dealer girlfriend Maria. The “actors” are guided by headsets explaining what to do, encouraging them to make exaggerated gestures, while the audience — equipped with headphones — can flip between six audio channels as the characters interact with each other or muse in their internal monologues. You can follow any one at any time, forming a bond with one character or skipping around all six trying to piece together all the strands of the story. The audio work is first-class, with slight tonal shifts and music utterly changing perceptions of the same scene as you flip between characters. It’s fascinating to glimpse the same story from six different viewpoints — this is a winning format that could run and run, with infinite stories to explore. Finn Kirkman
THE MUSIC 4TH NOVEMBER 2015 • 49
Comedy / G The Guide
Burt Bacharach: Jupiters, Broadbeach Raw Sugar: Ric’s Bar, Fortitude Valley
Thu 05 Bully: 12 Dec Woolly Mammoth
The Music Presents Mumford & Sons: 7 Nov Brisbane Riverstage Mullum Music Festival: 19-22 Nov Mullumbimby Corona Sunsets ft The Preatures: 22 Nov (arvo) Coolangatta Hotel, 22 Nov (evening) Hotel Brunswick Lachlan Bryan & The Wildes: 28 Nov The Milk Factory A Day On The Green – Paul Kelly’s Merri Soul Sessions: 29 Nov Sirromet Winery Mew: 4 Dec Max Watt’s Father John Misty: 6 Dec Max Watt’s The Rumjacks: 6 Dec Jubilee Hotel Festival Of The Sun: 11-12 Dec Port Macquarie Bully: 12 Dec Woolly Mammoth Woodford Folk Festival: 27 Dec-1 Jan Wodfordia
Michael David Thomas: Black Bear Lodge, Fortitude Valley Jazz Singers Jam Night: Brisbane Jazz Club, Kangaroo Point Fallen Order + Malakyte + Asylum + Rockettrain: Chardons Corner Hotel, Annerley Drowning Horse: Crowbar, Fortitude Valley Baartzy’s Brew + Andrew Garton: JMI Live, Bowen Hills Laura Skye + Leopold’s Treat + Lachy Lyne + Isabel + Pepper Jane: Johnny Brown’s, Fortitude Valley The Casuarinas: Junk Bar, Ashgrove Des Reid: Loving Hut, Mount Gravatt
After a roll of big events, like playing Splendour In The Grass and releasing Life Death Time Eternal, Tuka is hitting up the nation with a tour, and playing Woolly Mammoth on 7 Nov with B-Wise and Left.
The Vernons: Miami Marketta, Miami Lizzie O’Keefe: Solbar (Lounge Bar), Maroochydore The Murlocs + Orb: The Brightside, Fortitude Valley Yowie feat. Post Dream + Pynes + McKisko + DJ Sezzo: The Foundry, Fortitude Valley They Might Be Giants + Tempura Nights: The Tivoli, Fortitude Valley Punk Poets In The Beer Garden with
Sea N’ Beats: 5-8 Mar Mystery Island Cruise A Day On The Green – Hoodoo Gurus: 6 Mar Sirromet Winery
Life, Death And The Rest
Hozier + Rhodes: Riverstage, Brisbane
Paradise City - Guns N’ Roses Show: Albany Creek Tavern, Albany Creek
The Jimmy Watts Band: Royal Mail Hotel, Goodna
Skinpin: Beetle Bar, Brisbane
Twin Haus + Tea Society + Yes Sir Noceur: Solbar (Main Stage), Maroochydore
Malo Zima + Mid Ayr: Black Bear Lodge, Fortitude Valley Andrew Jolly: Blackwater Trading Co, Moffat Beach Kelsey Giarola: Brisbane Jazz Club, Kangaroo Point Lawrence Mooney: Brisbane Powerhouse, New Farm
Nahko & Medicine For The People: 24 Mar Max Watt’s
Um, Yep + Those Acid Dudes + Me From The Future + Electric Postman + Cam: Brunswick & Ann, Fortitude Valley
St. Paul & The Broken Bones: 25 Mar The Triffid
Mick Daley: Cardigan Bar, Sandgate
Bluesfest 2016: 24-28 Mar Tyagarah Tea Tree Farm
Metal of Honor feat. Decryptus + Kaustic Attack + Tensions Arise + Deathgrip + Cry Havoc: Chardons Corner Hotel, Annerley
‘Loc It In The Murlocs are embarking on a tour around the country in support of their new single Rolling On. You can catch them 5 Nov at The Brightside, with Orb in tow.
Jud Campbell: The Triffid, Newstead Jam & Open Mic Night: Town & Country Restuarant & Motel, Nerang EDO-G + N.B.S + DJ Illegal: Woolly Mammoth, Fortitude Valley
Timber Bones + Baskervillain + The Vultures: Soundlounge, Currumbin Royal Croquet Club with Kilter + Porsches: Southbank (Cultural Forecourt), South Brisbane
Claws & Organs
Lord + Kaerulean + Amicable Treason + Weightless In Orbit: Crowbar, Fortitude Valley Stereosonic Launch Party with Dzeko + Torres: Eatons Hill Hotel, Eatons Hill
No Teeth No Pizza
Alan Boyle: Habitat Restaurant & Bar, South Brisbane
Melbourne grungy shoegaze three-piece Claws & Organs are will be stopping at Grand Central Hotel on 7 Nov on the national tour of their new single No Teeth No Stamina. Supporting are Gazar Strips and The Bear Hunt and MessMess.
Family Fold + Virginia Sook: Junk Bar, Ashgrove Tea Society: Lock ‘n’ Load Bistro, West End One Sound: Logan Diggers Club, Logan Central 2nd Birthday Party with Mosman Alder + Little Aztec + Mudshadows + The Dominiques + Mecha Mecha + Cheezel Dust + All Strings Attached: New Globe Theatre, Fortitude Valley Laura Skye + Bamford Cook: Ric’s Bar, Fortitude Valley
50 • THE MUSIC • 4TH NOVEMBER 2015
Brodie Graham: Solbar (Lounge Bar), Maroochydore
Purling Brook: Statler & Waldorf, Brisbane Steve Blaik: Story Bridge Hotel (The Corner Bar), Kangaroo Point
Gigs / Live The Guide
Zac Gunthorpe: Cardigan Bar, Sandgate Laura Skye + Demetry Malahoff + Saskia + Jeremy Newell: Chardons Corner Hotel (Back Room), Annerley Captain Cleanoff + Shackles + Coffin Birth + Wall Collapse + Puke: Crowbar, Fortitude Valley
Arj Barker: Empire Theatre, Toowoomba The Superjesus. Pic: Kerrie Geier
Classic Resurrection ARIA Award winners The Superjesus are finishing off a busy year with a tour of their first single in over a decade, The Setting Sun. They’ll stop at The Zoo on 7 Nov.
Kronic: Family Nightclub, Fortitude Valley Claws & Organs + Gazar Strips + The Bear Hunt + MessMess: Grand Central Hotel, Brisbane 80s Nightclub Reunion - Pop Muzik with Les-Boss + Darren James: Hamilton Hotel, Hamilton The Herbs (acoustic) + Paua: Jubilee Hotel, Fortitude Valley
Ed & Eddy: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Panda: Story Bridge Hotel (The Shelter Bar), Kangaroo Point Going Swimming: The Bearded Lady, West End Soul Mechanics + Master Wolf: The Boundary Hotel, West End
Summer Fling Party with Call The Shots + Stateside + Set The Record + Glory Days: The Brightside, Fortitude Valley Multiple Man + Vaccuum + Deep Red + Scraps + 100% + Simi Lacroix: The Foundry, Fortitude Valley
Brisbane Big Band: Brisbane Jazz Club, Kangaroo Point
Crazy Spirit + Dawn of Humans: Crowbar, Fortitude Valley Live Wire: Greaser Bar, Brisbane
Ben Ely + Adam Toole (Mexico City) + Bobby Weatherall: Junk Bar, Ashgrove The Herbs (acoustic) + Paua: Miami Marketta, Miami The Johnson Stompers: Queen Street Mall, Brisbane Crane + Harry Kemp: Solbar (Lounge Bar), Maroochydore
The John Steel Singers
Dan Parsons: Junk Bar, Ashgrove Inkaza: Lock ‘n’ Load Bistro, West End
DJ Graham Fisher: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Majestique: Logan Diggers Club, Logan Central
Ben Pearce: TBC Club (The Bowler Club), Fortitude Valley
The Biscuit Factory feat. Habstrakt + Oski + Doctor Werewolf: Max Watt’s (formerly The Hi-Fi Brisbane), West End
Coffin Birth + Pleasure Symbols + Black Deity + X in O: The Bearded Lady, West End
The Wet Fish: Old Museum, Fortitude Valley
Hello Afro: West End Soul Session #2 feat. Afrogalactic + DJ Black Amex: The Boundary Hotel, West End Loon Lake: The Brightside, Fortitude Valley Arj Barker: The Events Centre, Caloundra Hard-Ons + Hound + The Ron Swansons: The Foundry, Fortitude Valley Outside the Academy: The Milk Factory Kitchen & Bar, South Brisbane The Stress Of Leisure: The Spotted Cow, Toowoomba
Ewan Mackenzie + Swing Dynamique: Queensland Multicultural Centre (QMC), Kangaroo Point Mumford & Sons + The Vaccines + Meg Mac: Riverstage, Brisbane Andrew Baxter Band: Royal Mail Hotel, Goodna Davy Simony: Solbar (Lounge Bar), Maroochydore
Family Fold + Creature Kind + Georgia Mae: The Milk Factory Kitchen & Bar, South Brisbane
The John Steel Singers + Jonathan Boulet + Mt Warning + Good Boy: The Triffid, Newstead
Empire Strips Back: A Star Wars Burlesque Parody: The Tivoli, Fortitude Valley
Former Angels + Swamp Gully Howlers + Taken By Wolves + Scotch & Cider: The Zoo, Fortitude Valley
Sat 07 Rockaoke: Benowa Tavern, Benowa Young Franco: Black Bear Lodge, Fortitude Valley Chris Flaskas: Black Bunny Kitchen, Alexandra Heads Matt Johnstone: Blackwater Trading Co, Moffat Beach
The John Steel Singers are bringing their full ten-piece band to The Triffid to celebrate the venue’s first birthday. This will be taking place 6 Nov, with guests Jonathon Boulet and Mt Warning.
Empire Strips Back: A Star Wars Burlesque Parody: The Tivoli, Fortitude Valley
The Vernons: Woolly Mammoth, Fortitude Valley
Darren Middleton + Ian Haug + Mark Wilson + Marty Brown + Sahara Beck + Karl S Williams + more: The Triffid, Newstead
Happy Happy Joy To celebrate her recently dropped debut EP Ode, JOY. will be playing at The Foundry on 13 Nov, alongside Owen Rabbit and Joe Mungovan.
Dream Team with DJ Black Amex + Dean Joseph: The Triffid (3pm), Newstead The Superjesus + Blonde on Blonde + Trails: The Zoo, Fortitude Valley Tuka + B Wise + Left.: Woolly Mammoth, Fortitude Valley
Sun 08 Laura Skye + Tesla Coil + Timber Bones: Beetle Bar, Brisbane
Loon Lake + Polish Club: Solbar (Main Stage), Maroochydore
Demonfire + Smoking Martha + Planet Fiction + Speed Racer: Boggo Road Gaol, Dutton Park
Hussy Hicks: State Library of Queensland, South Brisbane
Liam Burrows: Brisbane Jazz Club, Kangaroo Point
Danny Widdicombe: Statler & Waldorf, Brisbane
Ziggy Alberts: Black Bear Lodge, Fortitude Valley The Jimmy Watts Band : Black Bunny Kitchen, Alexandra Heads Emily Wenham: Blackwater Trading Co, Moffat Beach
Plagiarhythm + Amos Pella: Story Bridge Hotel (The Outback Bar), Kangaroo Point DJ James Brown: Story Bridge Hotel (Shelter Bar), Kangaroo Point Live Wire: The Foundry, Fortitude Valley The Counterfeit Umbrellas: The Milk Factory Kitchen & Bar, South Brisbane The Darkness: The Tivoli, Fortitude Valley The Vaccines + The Belligerents + The Jensens: The Triffid, Newstead Triffid Roots feat. Luke Peacock + Jackie Marshall: The Triffid (2pm), Newstead Men of Letters: The Zoo (3pm), Fortitude Valley
Tue 10 Fleetwood Mac: Brisbane Entertainment Centre, Boondall The Elliots + Dennis Jaculli: Ric’s Bar, Fortitude Valley Mark Sheils: Samford Valley Hotel, Samford Village
THE MUSIC 4TH NOVEMBER 2015 • 51
Comedy / G The Guide
Bicep: TBC Club (The Bowler Club), Fortitude Valley
Pat Chow: The Bearded Lady, West End
Tea Society + The Embers + Josh Swan: The Bearded Lady, West End
Duncan Trussell + Johnny Pemberton: The Triffid, Newstead
Joy. + Owen Rabbit + Joe Mungovan: The Foundry, Fortitude Valley
Maribou State: Woolly Mammoth, Fortitude Valley
Sea Shepherd Fundraiser feat. She Cries Wolf + Stepson + Sensaii + Vitals + Wildheart + DREGG: The Lab, Brisbane
I Know Leopard + Blonde Tongues: The Milk Factory Kitchen & Bar, South Brisbane
Port Royal + The Jumpkicks + Concrete Surfers: Beetle Bar, Brisbane
The Brian Jonestown Massacre + Martyr Privates: The Triffid, Newstead
Youth Allowance + Sans Parents + Dinosaur Dreams: Black Bear Lodge, Fortitude Valley
Sydonia + Villainy + Jericco + Flynn Effect + Balloons Kill Babies: The Zoo, Fortitude Valley
Kallidad: Black Bunny Kitchen, Alexandra Heads
Kingswood + Columbus: Wharf Tavern, Mooloolaba
Fleetwood Mac: Brisbane Entertainment Centre, Boondall
Rick Price: Brisbane Jazz Club, Kangaroo Point
New Globe Theatre are turning two years old, and they’ve invited Mosman Alder with Little Aztec, Mudshadows, The Dominiques, All Strings Attached, and more to help them celebrate, 6 Nov.
Jon English + Peter Cupples: Caloundra Power Boat Club, Golden Beach Good Bait Trio + Charlotte McLean: JMI Live, Bowen Hills
Baby In The Cornerstone The atmospheric alt-rock group, Malo Zima, have a new debut EP Cornerstone to show off, and are headed to Black Bear Lodge with Mid Ayr and Hipsta Barista, 6 Nov to launch it.
Des Reid: Loving Hut, Mount Gravatt AC/DC + The Hives + Kingswood: QSAC, Nathan Marlon Williams & The Yarra Benders + Ben Salter: Solbar, Maroochydore Terrible Truths + Thigh Master + 100% + Tempura Nights: The Brightside, Fortitude Valley Simon Gardner + Thomas Combes: The Triffid, Newstead Timber Bones + Ella Fence + The Bassethounds: The Zoo, Fortitude Valley Jam & Open Mic Night: Town & Country Restuarant & Motel, Nerang
Stanthorpe Rocks 2015 feat. Jon Stevens + Daryl Braithwaite + Ross Wilson + Taxiride + Eurogliders + Jon English + Peter Cupples + Whisky Gully: Ballandean Estate Wines, Balandean
Squeak Lemaire + The Moon Bears: Ric’s Bar, Fortitude Valley
Painters & Dockers + FAT + The Flangipanis: Beetle Bar, Brisbane
James Southwell: Royal Mail Hotel, Goodna
Painters & Dockers + Spike City + Goldstool + Dirty Liars: Beetle Bar, Brisbane
Citizen Kay + Coda Conduct + B-Syde: Black Bear Lodge, Fortitude Valley
British India + Drawcard: Solbar, Maroochydore
My Own Pet Radio + Mid Ayr + Machine Age: Black Bear Lodge, Fortitude Valley
Hayden Hack: Blackwater Trading Co, Moffat Beach
The Flumes: Solbar (Lounge Bar), Maroochydore
Katie Who: Black Bunny Kitchen, Alexandra Heads
Matt Stillert: Boardriders Coolangatta, Coolangatta
Marlon Williams & The Yarra Benders + Ben Salter: Soundlounge, Currumbin
Viv Middleton + Irene Bartlett + Peter Uppman: Brisbane Jazz Club, Kangaroo Point
Caxton Street Jazz Band: Brisbane Jazz Club, Kangaroo Point
Paul Kiren: Story Bridge Hotel (The Corner Bar), Kangaroo Point
Wizardsfire Medieval Music Festival
Jazzgroove Mothership Orchestra + James Muller: Brisbane Powerhouse (5pm), New Farm
Hard-Ons. Pic: Terro Soo
Jazzgroove Mothership Orchestra + James Muller: Brisbane Powerhouse, New Farm Angus Oastler: Burleigh Brewing, Burleigh Heads Moondog Blues: Cardigan Bar, Sandgate Rock The Reef feat. Trigger Warning + Dreamkillers + The Knock Backs + Myrtle Place + Andy Paine + Those Rat Bastards + Tokyo Beef + Paychecks To Pawnshops + Dan Simmons: Chardons Corner Hotel, Annerley Jon Toogood: Crowbar, Fortitude Valley Flannelette + The Charge: Currumbin Creek Tavern, Currumbin Waters Steve Grady: Habitat Restaurant & Bar, South Brisbane Daryl Braithwaite: Hamilton Hotel, Hamilton Hemingway: Lock ‘n’ Load Bistro, West End Family Affair: Logan Diggers Club, Logan Central The Wrath: New Globe Theatre, Fortitude Valley
Easy Decision To Go Hard If you like metal, punk and rock, like, at all, then you might find yourself buying a ticket to see Hard-Ons at The Foundry, 6 Nov. Just a suggestion.
DJ James Brown: Story Bridge Hotel (Shelter Bar), Kangaroo Point Screamfeeder: Studio 188, Ipswich
52 • THE MUSIC • 4TH NOVEMBER 2015
feat. Maiden Australia + Dragonsmead + Elkenwood + Trollgasm + Fenrir + Rum Runners + Darklore + Seraphic + more: Chardons Corner Hotel, Annerley
Gigs / Live The Guide
THE MUSIC 4TH NOVEMBER 2015 • 53
Comedy / G The Guide
British India + Drawcard: Coolangatta Hotel, Coolangatta
The Porkers + Toe To Toe + Nancy Vandal + Alla Spina + Ebolagoldfish + The Neptune Power Federation + Larange Bucket + The Dirty 8’s + Driverside Airbag: Crowbar, Fortitude Valley Who Killed Mickey + Mike Metro + Nukewood: Family Nightclub, Fortitude Valley
Progressive Tan: Lock ‘n’ Load Bistro, West End Radio Flyer: Logan Diggers Club, Logan Central Naughty By Nature: Max Watt’s (formerly The Hi-Fi Brisbane), West End Tea Society + The Embers: Miami Marketta, Miami
Like Moths To Flames + Buried In Verona + Ocean Grove: The Triffid (All Ages), Newstead
Dream Team with DJ Black Amex + Dean Joseph: The Triffid (3pm), Newstead
Triffid Roots feat. Olly Friend + Raychel Stone: The Triffid (2pm), Newstead
Worse For Wear + Skies Collide + Columbia Buffet + Sleepwell: The Zoo, Fortitude Valley
Marlon Williams & The Yarra Benders + Ben Salter: Woolly Mammoth, Fortitude Valley
Nick Skitz: Hamilton Hotel, Hamilton Rock The Reef Music Festival feat. Kingston Stompers + The Dirty F Holes + Speedball + Antichrists Anonymous + Trinatyde + Plan Of Attack + Secondhand Toothbrush + more: Hotel Metropole, Ipswich
Northlane + August Burns Red + Like Moths To Flames + Buried In Verona + Ocean Grove: The Triffid, Newstead
He’s Our Man Recently releasing his third, and most emotionally charged album, Valleywood, Dan Parsons is dot to dotting around the nation, stopping in at Junk Bar, 7 Nov.
DJ Graham Fisher: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Future Islands + Curse Ov Dialect: The Triffid, Newstead
Stanthorpe Rocks 2015: Ballandean Estate Wines, Balandean
The D.O.C.: JMC Academy, South Brisbane
Phil Barlow & The Wolf: Black Bunny Kitchen, Alexandra Heads
The Beach Boys + John Paul Young & the Allstar Band: Jupiters, Broadbeach
Mettaphor: Blackwater Trading Co, Moffat Beach Brass Roots Big Band: Brisbane Jazz Club, Kangaroo Point
Ed & Eddy: Story Bridge Hotel (The Corner Bar), Kangaroo Point
The Tea Party: The Tivoli, Fortitude Valley
I Know Leopard
Moon + Drohtnung + Trandscendental Warlords + Lustration: Crowbar, Fortitude Valley Crescent City Players: Lock ‘n’ Load Bistro, West End UB40: Miami Marketta, Miami
Citizen Kay. Pic: Karen Lowe
Drewboy + Fugitive & the Vagabond + Winter Solstice + Ellie James & The Forces of Destiny: New Globe Theatre, Fortitude Valley The Beach Boys + Busby Marou + Kim Churchill + Sahara Beck + Good Oak: Sandstone Point Hotel, Sandstone Point Jake Whittaker + Pepper Jane: Solbar (Lounge Bar), Maroochydore
Leopt At The Chance After scoring a spot at Mountain Sounds Festival, and now on their national Another Life tour, I Know Leopard have slipped in a date for the sunshine state at The Milk Factory, 13 Nov.
Young Franco Ruts DC + Spike City + Kingston Stompers: New Globe Theatre, Fortitude Valley Comedy with The Architects of Sound: The Bearded Lady, West End
Where The People Citizen Kay has been kicking goals since DEMOKRACY, and now he’s on the album-titled With The People tour. His recent song, Wax On Wax Off was plucked from the upcoming album, and it’s a solid indication you’ll have a good time at Black Bear Lodge, 13 Nov.
Flannelette + The Charge: New Globe Theatre, Fortitude Valley
Rick Price + Casey Barnes: The Arts Centre Gold Coast, Surfers Paradise
Lecia Louise: Paper Moon Cafe, Annerley
Phil Barlow & The Wolf + Go Van Go + Quazi-Smith: The Bearded Lady, West End
AC/DC + The Hives + Kingswood: QSAC, Nathan James Southwell Band + Tim Gaze: Royal Mail Hotel, Goodna Citizen Kay + Coda Conduct + B-Syde: Solbar, Maroochydore Ben Cummiskey: Solbar (Lounge Bar), Maroochydore Coast & Ocean: Statler & Waldorf, Brisbane
54 • THE MUSIC • 4TH NOVEMBER 2015
Loaded feat. Hideous Towns + Rinse + Noire: The Foundry, Fortitude Valley The Stray Selection + Down The Kings + Me Minus You + The Drafts: The Milk Factory Kitchen & Bar, South Brisbane Kallidad + Katia Demeester: The Motor Room, West End UB40: The Tivoli, Fortitude Valley
Young And Fun Brissy’s own Young Franco has just recently returned from his UK tour, and having released Franco & Friends, he’s hitting up his hometown, playing at Black Bear Lodge, 7 Nov.
DJ Panda: Story Bridge Hotel (Shelter Bar), Kangaroo Point Jon Toogood: The Beer Garden, Surfers Paradise Northlane + August Burns Red +
THE MUSIC 4TH NOVEMBER 2015 • 55
56 • THE MUSIC • 4TH NOVEMBER 2015
Published on Nov 4, 2015
The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...