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07.10.15 Music / Arts / Lifestyle / Culture



Brisbane / Free / Incorporating


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Publisher Street Press Australia Pty Ltd Group Managing Editor Andrew Mast National Editor – Magazines Mark Neilsen Editor Steve Bell Arts Editor Hannah Story Eat/Drink Editor Stephanie Liew Gig Guide Editor Justine Lynch Contributing Editor Bryget Chrisfield

Music Music / Arts / Lifestyle / Culture

Mother’s Visiting

Twelve albums deep, British indie-rockers The Charlatans have announced Aussie tour dates in the wake of their latest album Mother Nature. They will be hitting up Sydney, Brisbane, Melbourne, Adelaide and Perth throughout March next year.

The Charlatans

Courtney Barnett – Sometimes I Sit And Think, And Sometimes I Just Sit

Wave Racer

Contributors Alice Bopf, Anthony Carew, Baz McAlister, Ben Marnane, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Brie Jorgensen, Carley Hall, Chris Yates, Cyclone, Daniel Cribb, Daniel Johnson, Danielle O’Donohue, Dave Drayton, Guy Davis, Jake Sun, Jazmine O’Sullivan, Kane Sutton, Lochlan Watt, Madeleine Laing, Mandy McAlister, Michael Smith, Mitch Knox, Neil Griffiths, Nicholas Atkins, Paul Mulkearns, Roshan Clerke, Sam Hobson, Samuel J Fell, Sean Capel, Sky Kirkham, Sophie Blackhall-Cain, Tessa Fox, Tom Hersey, Tyler McLoughlan, Vicki Englund Interns Elijah Gall Photographers Freya Lamont, John Stubbs, John Taylor, Kane Hibberd, Markus Ravik, Rick Clifford, Sky Kirkham, Stephen Booth, Terry Soo, Tessa Fox Sales Trent Kingi Art Director Brendon Wellwood

Damn Fine Nominated for ARIA’s Fine Arts & Artisan Awards for Album Art are Courtney Barnett, Daniel Johns, Aref & Peter Salmon, Timothy Lovett (Flight Facilities) and Nathan Johnson (Gang Of Youths).

Art Dept Ben Nicol Admin & Accounts Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe, Bella Bi Distro Subscriptions Contact Us Phone: (07) 3252 9666 Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006

— Brisbane


The Wombats

More Fallin’ Fans headed to Byron Bay for this year’s Falls Music & Arts Festival will welcome 2016 with The Wombats (also appearing at Southbound). Wavves and Leon Bridges have also been added to all three Falls fests.

c / Arts / Music / Arts / Lifestyle / Culture


The BBC First British Film Festival returns in its third year with a 31-film line-up. The event will take place nationally at Palace Cinemas throughout the latter end of October into November. Head to au for the program and more info.

Kill Your Friends

Ride The Wave Future Classic’s Wave Racer has announced a tour in support of his second EP, Flash Drive, due out on 16 Oct. The national headline shows are kicking off in Sydney on 2 Nov.

60 million Six60

Sixy Times New Zealand act Six60 will be back in Oz in Nov and Dec, playing venues in Perth, Melbourne, Brisbane, the Gold Coast and Sydney. Head along to hear tunes from their self-titled second album.

The amount, is $US, that vinyl music sales brought in more than streaming in the first six months this year, according to the Recording Industry Association Of America.


Lifestyle Music / Arts / Lifestyle / Culture

Metal United

Metal United Down Under comes to Australia on 10 Oct, featuring metal acts playing 17 venues in 16 locations. Bands include Orpheus Omega, Cement Pig, Holistic, The Brutal Aftermath, and heaps more.

Orpheus Omega

Float On Ok

Floating Points

Sam Shepherd aka Londonbased DJ Floating Points has announced a nationwide tour to coincide with his Meredith Music Festival appearance. This comes after the release of new single Nespole, the opening track from his forthcoming debut, Elaenia, out early Nov.

Jimmy Carr

Moose Blood

Spruce Moose UK pop-punk act Moose Blood have been added to Soundwave’s line-up. These guys will be hitting up Aus for their first time, following their latest release I’ll Keep You In Mind From Time To Time. 10 • THE MUSIC • 7TH OCTOBER 2015

e / Cultu Music / Arts / Lifestyle / Culture

You And You

You Am I

You Am I have announced an extensive tour from Oct to Dec, coinciding the release of forthcoming album Porridge & Hotsauce. Adelaide are in for a treat, as the album release date falls on one of the city’s shows.

Matt Corby

In Ya Carr British comedian Jimmy Carr has announced a tour in Jan to support his new show Funny Business. Carr will be heading around to all capitals and some smaller towns.

Bloody Monday It’s been a while since we’ve heard from him but Matt Corby has dropped a new single, Monday, and a national tour this November to go with it. It’s the first taste from his forthcoming album, out early 2016.


Days until Christmas. Where did the year go?!


Lifestyle Music / Arts / Lifestyle / Culture

Pinot, Pi-yes

Pinot Palooza is happening in Brisbane this coming weekend, with wine-related fun and festivities going down 11 Oct at Lightspace. There’s a huge line-up of music and food plus more than 100 varieties of the best pinot noir in the southern hemisphere.

Another Amity

The Big Ass Tour featuring Amity Affliction, A Day To Remember, The Ghost Inside and Motionless In White have announced a second and final Brisbane show, to be held at Riverstage on 20 Dec.

Amity Affliction

Laneway Or The Highway The line-up for next year’s St Jerome’s Laneway Festival is out. Catch Chvrches, DIIV, Banoffee, Flume, Shamir, Health, Purity Ring, QT, Tobias Jesso Jr, Methyl Ethel, Grimes, Vince Staples and many more all in one place in Feb.



e / Cultu Music / Arts / Lifestyle / Culture

Billy Boy

William Shatner

Icon William Shatner brings his award winning Broadway show Shatner’s World… We Just Live In It to Brisbane’s QPAC on 11 Oct. Prepare yourself for stories, jokes and songs.







Brisbabes Emma Jones has founded Brisbabes, a quarterly event celebrating femaleidentifying artists. At the first Brisbabes on 9 Oct at The Foundry, see MKO SUN, Gabriella Cohen and OK Badlands. Soak up all the lady love.


The Walking Dead


Walk Don’t Run FX has recently given the first taste trailer of ‘The Story So Far’ with the premiere of The Walking Dead’s sixth season just around the corner. Don’t miss this premiere episode express from the US on 12 Oct, FX, First on Foxtel.



Music / Music / Arts / Lifestyle / Culture

The Fellowship Of The Film

Sydney Film Festival and Lexus Australia have announced the Lexus Australia Short Film Fellowship, offering $50,000 each for up to four emerging filmmakers to cover the cost of producing their next short film. Winning films will premiere at Sydney Film Festival 2017/8.

#1 Dads


Young, Caring Not-for-profit charity Youngcare is putting on their 10th Anniversary Benefit Concert, led by acclaimed Brisbane singer/ songwriter Bernard Fanning, along with Melbourne’s #1 Dads and six-piece Mosman Alder, 10 Oct at Brisbane City Hall.

Australian Ballet

Last Dinosaurs

More Fiesta Fortitude Valley’s biggest celebration of music, food and art, Valley Fiesta, has added new artists to the 60 strong line-up, along with announcing a competition for local acts to join them on stage. Last Dinosaurs, Gypsy & The Cat, Luke Million and Resin Dogs are now on the bill, with eight lucky winners scoring a set through the Live and Local band and DJ competition.


The 2016 season blends timeless classic, contemporary works and Australian premieres of internationally renowned works, including the Australian premiere of Nijinsky and the return of muchloved Australian Ballet classics such as Coppelia and Swan Lake.

Jade Wood. Pic: Justin Ridler

Arts / Li Music / Arts / Lifestyle / Culture

Am I the only one that has to slightly make a face to figure out which emoji I wanna use? Nah, @TPAIN, it’s only natural. (Google his opinions on the smiley poo emoji)

Waax On After performing at BIGSOUND, Brisbane indie rock outfit WAAX have released by surprise their debut EP Holy Sick and announced a tour. They will tour Brisbane, Melbourne, Adelaide, Sydney and a set at Festival Of The Sun.

Turn It Up The second Turn Up Sunshine Coast Music Industry Conference will inspire and provide insights from leading industry achievers including music retail legend Barry Bull, Dennis Dunstan of Front Row Management and Sunshine Coast Mayer Mark Jamieson. It’s at Nambour Civic Centre on Wednesday 14 October. Dennis Dunstan


s i s i r C

y r u t n e C r Quarte Music

Facing a “quarter-life crisis” is not something Laura Marling anticipated or wanted to experience, especially as it made her consider hanging her boots up on a very successful career. But she tells Carley Hall some experiences are meant to be had, for better or worse.


would quite like to just make music and not have anybody talk about it directly to me. That would be a nice sort of way of existing, but that’s not possible.” Forthright statements such as this are slightly at odds with the modern music world, where songs are quickly recorded and sent on their way, and a response or critique imparted almost instantly. Such, however, is the frankness of Laura Marling. Speaking on a fortuitously sunny summer morning in London, the 25-year-old singer-songwriter is ruminating on the virtues of being somewhat anonymous as a creator. Her candid remark may come as a surprise to some, given her immediate success upon the release of her Mercury Prize-nominated debut Alas I Cannot Swim at the milestone age of 18, followed by three arguably faultless albums and an obvious love of playing. But her latest release, Short Movie, and the stories that preceded its making, may hold some clues. For some years Marling had been living in LA, where people “let the light come in a bit too much to close it off again”, and the name Laura Marling didn’t carry the same gravitas as it did elsewhere. Occupied by yoga, writing, hanging with transient poetic souls and consciencerattling drives into the desert all but saw music shelved for six months, forcing Marling to look inward and ask some very big questions of herself and others, while acknowledging some sobering truths. So how much of what we hear on Short Movie can be attributed to these lifequestioning moments of Marling’s overseas jaunt? “It is based in non-fiction, so there’s elements of my personality that are more akin to the dramatisation of life experiences and that stuff,” she explains. “I’m aware of what elements of it are true and what aren’t. And I would never put out something I was not comfortable with. “The funny thing with this album is people’s own reflections

The benefit of being part of the baby boomer generation is that we’ve seen the truth of the world in [our] 20s.


on it. That seems the most interesting thing to me. It’s weirdly already the album I’m most attached to. But for some people it’s really got to them. So I think for some people it touches something that I didn’t really intend to, like a sore point or something. So sometimes that’s difficult because I get the projection of somebody else’s story in the record.” The liberty that fans felt in sharing their thoughts and reactions to Short Movie were welcome to Marling, but they were also in stark contrast to the freedom she felt while away, where the off-duty musician revelled in the freedom of no one really knowing her, and the sense of being reborn that goes with it as a traveller. That same anonymity is what eventually forced Marling to take a closer look at some truths about life as a 20-something that were bubbling away under the surface. “I think it was - as far as I can tell in my personal experience rather than my professional experience of what people’s ideas of what the record is - I live in a generation of people, of 25-year-olds, who don’t know what the fuck they’re doing, and I’m just one of them,” she admits. “It’s like the children of baby boomers are all throwing their hands up in the air, if they’ve got the time and privilege to do so.” Privilege is one thing Marling could be said to have had, if given a black and white view of things. Growing up in pastoral England as the daughter of a baronet and studio owner father and music teacher mother, forging ties with nu-folk scene-makers such as Noah & The Whale and Mumford & Sons on her move to London would seem a natural progression for the gifted musician. The quick ascension from supporting Jamie T and Adam Green from The Moldy Peaches, to playing major festivals and chalking up plenty of award nods for her impressive catalogue of albums from one so young is not to be sniffed at. But having earned the time to “just be” while living in LA gave Marling the chance to ponder the pros and cons of isolation. “I guess we’re not taught, unless you went to university - well, I don’t know because I didn’t go - unless you’re taught critical thinking all of a sudden you’re alone on the planet and you start questioning everything, and the world starts falling in on itself fucking quickly. But there’s remedies. “I also periodically need a ‘bringing back down to earth’, a kind of looking in the mirror saying your name thing, which is big in LA but hard to do if your name is also your business. So it was really important to go and not have my musical ego with me. But it’s definitely back now.” Travelling often inspires one to create, but for Marling it had the curious effect of doing the opposite. Forcing herself to look inward and elsewhere, anywhere but at her musical


(Or At Least LA)

self and what she had achieved, lumbered the chanteuse with the burden of her “quarter-life crisis”, and it wasn’t unusual for her thoughts to ponder giving up on music altogether. “I was close,” she admits. “And I think it was a really good thing for me, if you willingly step away from anything musical for eight months. And I think that was where I joined the ‘quarter-life crisis’ gang because I was with my contemporaries who also had no job. And in a weird way it was kind of uniting but really conflicting. “In a funny way my career and my job, it’s this thing that’s very rare; there’s not many people who have done that, and that’s great, but it’s a shared experience only with the people that are travelling with you. I felt really part of my time in the struggle with the other 25-year-olds also not doing anything!” Marling admits she’ll likely be deconstructing her experience for some time, but back in London things are largely back to normal. Having only recently reached the quarter mark of her life, and given these soulquestioning crossroads usually strike us down in our middle age, the dreaded “midlife crisis”, is she worried that such an experience will happen again? “I think the benefit of being part of the baby boomer generation is that we’ve seen the truth of the world in [our] 20s because you’re forced to. And I think otherwise the generation before had to wait until their 40s when their kids were old enough to walk themselves. So in a way we’re kind of saved.” Although the experience left Marling feeling at sea for a long while in approaching

work on a fifth album, the fog obviously eventually lifted. But with such a wealth of stories and clarity came a sound so unlike her previous albums. The same sweet voice is there, as is the guitar balladeering, albeit in fewer quantities, but a metallic buzz and noise fill what would normally be glorious space on a Laura Marling album. Such a change in sound mirrored the change she felt, and the difficulty in writing it. “This one was a bit more difficult to write. I think you can tell by listening to it. When I was listening back I could tell it would be difficult. Not that the content was difficult, but just because it’s not consistent with the other ones. It was very different. I haven’t listened to it for over a year. I had a lot of stuff that had been floating around my brain for like eight months. I’d been physically writing but I had to get my chops back.” Marling will be able to give those chops a good warmup as she gets ready to embark on an international tour, at the end of which she’ll pay Australia a visit. Even though her approach to writing this album may have tarried her usual process, playing her songs, all of them, is still a powerful and rewarding experience for Marling, and one that offers insights and that same chance to escape, even if her feet are now planted back in her old London. “It’s quite a powerful thing and I can see the magnitude of songs’ ability to make you feel exactly as I did when I wrote them,” she reasons. “It makes you stop and wonder if it’s worth doing it every night. But it’s also the prime example of emotional voyeurism; I literally bring a voyeuristic emotional person every night. So in some ways it’s very fulfilling, and in other ways it’s very traumatising.”

It’s no surprise that LA is a world away from London in every sense: the climate, the history, the people and the undercurrent of personal motives. And it’s an oftacknowledged polarity that Laura Marling felt during her stay. “Living in California was like living on Mars in a lot of ways,” she explains. “Such a serious place. I had to get used to the simple differences in lifestyle. People take health a bit more seriously there, and people take drinking a bit more seriously here in London.” Whether all fact or fiction, or a melting pot of the two, the accompanying back story for Short Movie points to a time when Marling’s inner compass had lost all direction. A sense of community became vital in LA and from the sobering experience of what isolation truly feels like came the album’s insights. “When I was living in LA I got very used to the idea of emotional autonomy and taking control and power of one’s emotions and what they actually mean, because in LA that can mean overacting or emotionalising things,” she admits. “Whereas all I was desperate for in LA was someone to be genuine, of which there were many, but they’re slightly harder to come by. And so there’s a lot of emotional voyeurism in the record because of that. It’s almost like you exaggerate the avoidance so you can see it more.”

When & Where: 21 Oct, The Tivoli THE MUSIC • 7TH OCTOBER 2015 • 17


Collecting Tokens While she admits it can be frustrating, JD Samson tells Anthony Carew that sometimes people have to let themselves be tokenised for a greater cause.


D Samson, the one-time member of Le Tigre and leader of MEN, is coming to Australia to talk at the Face The Music conference, in an event co-presented by Melbourne Music Week. The 37-year-old has long been one of the music biz’s most vocal, visible figures of feminist and queer issues, but being identified solely for such is something she’s keen to put on the table. “I really want to discuss the idea of being tokenised in the industry,” says Samson, “and how it can be superimportant to allow yourself to be that token. I’ve done so many panel discussions where people have actually said: ‘we just need a woman’; ‘we need a queer person’; ‘we need

I’ve done so many panel discussions where people have actually said: ‘we just need a woman’; ‘we need a queer person’; ‘we need a lesbian’.

a lesbian’. When I hear that stuff, it’s frustrating. But it also makes me realise that it’s important, in my activist work, to be that person, to be that token. I have to appreciate that at least they stopped and thought enough to ask a woman, to ask a lesbian, to ask a gender-queer person. And often, if I don’t do it, there’s just going to be none of us on the bill.” Le Tigre were no strangers to such tokenism, especially locally. In 2005, the band toured as part of Big Day Out, one of but two token ‘female bands’ (alongside The Donnas) on a male-centric line-up. That tour became the central storyline of the 2010 documentary, Who Took The Bomp?: Le Tigre On Tour, which charted the band’s final years on the road before going on indefinite hiatus in 2006. “That was a huge part of our band at the time, and, to be honest, part of our demise,” says Samson. “That experience was really 18 • THE MUSIC • 7TH OCTOBER 2015

depressing for us, and really made us put a magnifying glass on who we were, and what the industry was doing at that time; and whether or not we wanted to travel around the world with bands we didn’t fit in with, [performing for] fans that didn’t want us to be playing, and with politics that were totally against what we stood for.” Samson joined Le Tigre in 2000, after an initial stint as visual artist and projectionist at their live shows; her role, initially, as “experimental filmmaker”, before becoming part of the performative line-up. After the demise of MEN, she’s since returned to her artistic beginnings; Samson speaking from the Headlands Center for the Arts, North of San Francisco, where she’s working on a visual/audio performance piece, and an installation for the queer/ experimental film jamboree MIX festival. This change in her career has come with a growing disillusion with the music industry and its attendant financial realities. “In Le Tigre, we got paid well enough to totally survive while we were a band, both from record sales and touring,” Samson offers. “With MEN, I saw the other side: we weren’t really making much money, and I had to subsidise my music-making with other things. It put a lot of stress into my music-making, and made me try a lot harder to succeed. And I think that once you start making music as a business, you can lose the artistic nature of what you set out to do in the first place. Once you start deciding that your music is a product, this dark cloud starts looming above you.” MEN was initially founded as a collective that included Le Tigre’s Johanna Fateman. But, soon it evolved into a Samson-centric project, based around both her public persona and the individual within. “In Le Tigre, there was definitely a lot of press about my facial hair and my gender expression,” Samson says. “It helped a lot of other people - to see someone out there who was being themself and being applauded for that - but it also created this persona for me, this character, like a dual identity. I had given my body over to science, and it was no longer my own... [In MEN], I put my heart on my sleeve, and let people in on what was happening inside of me, as opposed to just continuing the outward conversation that people have had cont about me.” abou Throughout her career, Samson has endeavoured to T “stay sincere and honest and sensitive”, but the rise of social media outrage has given her trepidation about such socia honesty. “I’ve written some articles online that’ve been hone interestingly ripped apart,” she says. “I think people now inter view political artists as if they’re politicians; and anything they say publicly can be analysed and broken down. I think th it’s created a climate where people can be afraid to speak out about things, or can feel like they’re walking on eggshells. [It] makes me more afraid to speak out, because I fear that I’ll say the wrong words. The more I read ‘call out culture’ comments, the more silenced I feel. Sometimes I feel like 50 years of feminism has been erased by people yelling at each other on the internet, refusing to listen to each other. But, ultimately, I think this new wave of communication, in 20 years we’ll look back and say: ‘We needed to go through that to get to here.’”

When & Where: 13 & 14 Nov, Face The Music, Arts Centre Melbourne




League Of Our Own

Number One Love

We smashed back the Origin mantle earlier this year and then enjoyed an all Queensland NRL final, only winners out of this scenario. Sucks to be a southerner!

VS Sexism Best Coast’s Bethany Cosentino calls out a sexist reviewer, while CHRVCHES Lauren Mayberry slapped down a punter’s proposal at a gig. The battle continues…

Kudos Gresham


Congrats to CBD locale Gresham Bar for taking home ‘bar of the year’ at last week’s Australian Bar Awards! It only seems fair that the coolest people get the coolest places to drink...

Chvrches. Pic By Peter Sharp

Backlash sh Not So Tasty

So pumped that there’s a new You Am I album about to drop, but is it really called Porridge & Hot Sauce? Surely all the nonheinous names aren’t taken already...

Just Say No

Why is there so much coverage of The Bachelorette on “news” sites? It’s an abomination made on the cheap to maximise profits when it’s watched by hordes of idiots, it’s so far from the definition of “news” that it’s not funny...

Can’t Do Incredible news from Campbell Newman’s new biography that his wife found out his ambitions to be premier when she saw it on the news. Such a trustworthy guy to lead the State, no wonder he lost support so fast... 20 • THE MUSIC • 7TH OCTOBER 2015

It took writing a play to get The Snowdroppers all fired up to cut their third album, as Jeremy Davidson (aka Johnny Wishbone) tells Jonty Czuchwicki.


here’s plenty going on for blues band The Snowdroppers. Their new release Business was recorded on the Central Coast north of Sydney, utilising both Grove Studios and Ivory Lane Studios. “It was produced by our friend and long-time live engineer Ryan Hazel,” begins Snowdroppers frontman Johnny Wishbone - real name Jeremy Davidson. “His studio is the Ivory Lane studio but he was adamant that he wanted to track some of it at the Grove just because it’s a really nice atmosphere there.” As it turns out there were certainly some benefits in tracking at Grove. “It’s just got this big live room!We had the space to shed up and really spread out, stretch our wings and fly away!” Certain elements were then taken back to Ivory Lane for over-dubbing, but the majority of the record was tracked live. “There’s one track on the album that is a completely live cut.” Davidson explains. “Hold On. It’s actually a Tom Waits cover. That was kinda last minute. We didn’t muck around with it until we went into the studio and sorted floated the idea of doing a cover. We sorted of started jamming that and it worked!” This is typically how The Snowdroppers have worked in the past; capturing the essence of their live sound

is an important element. “We were really conscious this time around. This time around we have come the closest to getting that energy than we have before.” It’s about 18 months since The Snowdroppers last toured. “I wish I could say it’s because we have all been windswept and interesting and jet setting across the globe... but we haven’t,” admits Davidson. In truth Davidson and guitarist Pauly K originally took four months off to work on a play for the Sydney Theatre Company. “It kind of made me realise how much I truly love music and love performing music!” admits Davidson with sincerity of the experience. “Music truly is my number one love. It definitely sent us back into the writing process and into the studio with sort of a new vigour.” Joining The Snowdroppers on tour for most of the dates is Food Court. “Food Court, man, they are so good! They are one of the best bands going right now. They just have that ragged, garage, pop, jangle thing going on, which is awesome!” As for other bands on the Australian scene, Davidson has nothing but good words for Royal Headache and High Tension. “I went to see Royal Headache the other night and they are just phenomenal. I also went to see High Tension the other day. They really impressed me! She [Karina Utomo] has a phenomenal voice, absolutely phenomenal frontwoman!” “I wish I could say it’s because we have all been windswept and interesting and jet setting across the globe... but we haven’t.”

What: Business (FOUR | FOUR/ABC/Universal) When & Where: 9 Oct, The Brightside; 10 Oct, The Spotted Cow, Toowoomba


True Lies Courtney Love’s attorney sent Benjamin Statler cease and desist letters after the first Soaked In Bleach trailer was released. The director tells Bryget Chrisfield that retired private investigator Tom Grant “wants her to sue him” so he “gets to put Courtney on the stand”.

To read the full interview head to

f you’ve seen Montage Of Heck, the Brett Morgen-directed Kurt Cobain documentary coexecutive produced by the late subject’s only daughter, Frances Bean Cobain, Soaked In Bleach makes for an interesting compare and contrast exercise. Soaked In Bleach’s director Benjamin Statler laughs, “More contrasting than comparing perhaps?” Statler’s docudrama is narrated by retired private investigator and former LA County Sheriff’s detective Tom Grant, who was hired by Courtney Love as a private detective to track down Cobain just days before his body was found at their Seattle home. The first time Statler “discovered Tom’s website []”, he admits, “It was really intense for me and here was this mountain of objective facts about Kurt Cobain’s death and, meanwhile, the mainstream just totally contradicted it.” Following his investigation, Grant wasn’t so sure Cobain had taken his own life and the following is posted on his website: “Courtney Love and Michael Dewitt (the male nanny who lived at the Cobain residence) were involved in a conspiracy that resulted in the murder of Kurt Cobain.” After Grant went public with his website, he felt encouraged after a girl got in touch with him to share her story. “She wrote him to tell him that she was about to commit suicide before she found his website, so it literally saved her life,” Statler tells, “and that was a key point for Tom because all he got before her was total backlash, you know - basically people attacking him - and it was really hard for him. But when he got that feedback from her, it became totally worth it; no question in his mind at that point, you know? “It was miraculous during the making of Soaked In Bleach - we were on set when the greenhouse recreation was going back up. It was a little emotional and Tom and I were talking and he was thinking, reflecting on that again: that moment, almost 20 years prior, when that girl had first written him. And I was walking around Red Studios and I got a call from Tom, who was on the other side of the lot and he said, ‘Ben, you gotta get over here. You’re not gonna


I believe beyond any shadow of a doubt the case will be reopened one way or another.

believe this.’ So I go back and Danny Roebuck who played Tom [in Soaked In Bleach] had been in a Starbucks and he was telling people about what he was doing. This girl at Starbucks randomly overheard him and approached him and said, ‘I’m sorry, excuse me, what’d you say you were doing?’ And it ended up - I’m getting chills now - it was the girl who had written Tom... Danny brought her to the set and we got a photo taken with her and then she was at the premiere of the movie. So there she was, 20 years later, alive and well. And she still is.” When asked whether there was anyone Statler contacted that he would’ve liked to feature in Soaked In Bleak, but who refused, he laughingly admits, “Courtney Love... I invited her. She didn’t respond, actually. Well, she didn’t respond until her attorney sent me cease and desist letters in 2014 after I released the first trailer.” When Soaked In Bleach was being released, Love also sent cease and desist letters to the distributors and then “to every theatre that showed the movie”. Although these largely fell on deaf ears, there was one cinema that pulled Soaked In Bleach. “It was the Hollywood Theatre in Los Angeles,” Statler clarifies. He sounds justifiably disappointed, adding, “I received some bizarre texts myself and various threats, but I’m just not [laughs] basing my life decision on cowards who have to hide and make these veiled threats; it’s just ridiculous to me. I refuse to bow to that stuff.” The director goes on to say that Grant “wants [Love] to sue him”, because her “cadre of attorneys... know that if they follow through and sue something that Tom Grant is party to he gets to put Courtney on the stand. And that’s just as powerful as reopening the case”. Soaked In Bleach presents a convincing argument for Cobain’s death to be reinvestigated. Does Statler think this is a possibility? “I do. I firmly do,” he opines. “I believe beyond any shadow of a doubt the case will be reopened one way or another. I mean, I’m watching the wall come down, brick by brick... I’m watching by the thousands, you know, fans who believed strongly in [Cobain’s] suicide and their mind has now been changed, and of course they’re telling people. So it’s only continually multiplying... I knew that it wasn’t gonna be like, ‘The movie’s released on June 11th and the case is reopened on June 18th. I knew it was gonna take a while. I knew it would be an uphill climb but, you know, we are reaching the top of the mountain very quickly.” If you or someone you know needs help, please contact Lifeline on 13 11 14.

What: Soaked In Bleach On DVD 7 Oct THE MUSIC • 7TH OCTOBER 2015 • 21


The Real Deal


This Week’s Releases

Dan Kelly Leisure Panic ABC/Universal

The Ocean Party Light Weight Spunk

Brisbane funksters Cheap Fakes had some big name help for their third album, but frontman Hayden Andrews tells Steve Bell that they ultimately followed their gut instincts anyway.


John Grant Grey Tickles, Black Pressure Bella Union/[PIAS] Australia

Alex G Beach Music Domino/EMI


rammy-nominated US producer/ engineer John Merchant has a resume that includes big names such as Michael Jackson, Bee Gees, R Kelly and Lenny Kravitz, and now he can add upbeat Brisbane party starters Cheap Fakes to that impressive roster given that he recently flew out to Australia just to helm their accomplished third album, Modern Vintage. The strong collection of songs stands up well enough on its own, but of course it doesn’t hurt its prospects sounding absolutely pristine courtesy Merchant’s world-class production sheen. “John was over doing some production workshops, while he was on tour with Barry Gibb - he was doing some shows with Barry in Australia - and I saw online that he was doing a production workshop, so I went along to that and took a couple of CDs,” explains slightly incredulous frontman Hayden Andrews. “I just thought that I’d be cheeky and give them to him, and I didn’t really expect to hear anything back from him but a couple of months later I got this really extensive email outlining what he liked about it and what he thought we could work on. I was just really stoked that he’d taken the time to reply and thought, ‘What the hell?’ and just asked him if he’d produce our next

album - his exact words were, ‘Well I’m just finishing off Barbara Streisand’s new album and I’ve got to do another tour with Barry in North America, but there’s a three week gap in-between where I can come down to Australia’, and I was like, ‘Sweet, he’s going to fit us in between Babs and Barry!’” Andrews attests that Merchant proved more than just a big name for the credits, and had a tangible impact on Modern Vintage’s funky aesthetic. “Yeah, in the studio he’s an absolute genius,” he gushes. “He knows all the gear inside out, he knows exactly what piece of equipment does what job, and he just gets the best performance out of every band member just by making you feel so relaxed.” A family-related hiatus meant that Cheap Fakes couldn’t put the album out straight away, and they ended up adding a couple more tracks to consolidate the album’s vibe. “As soon as we’d recorded I found out [my partner and I] were having a baby - he’s 14 months old now!” Andrews laughs. “Then when we were listening to the songs it just felt that we needed a couple more tracks - it was quite an intense album, quite rocky as compared to our previous albums, and we felt that we needed a couple of pop songs to balance it out. We just wanted to lighten the mood up, so we recorded two more songs with our guitarist Scotty French producing at his studio - we did Just In Case and Baby, It’s A Good Song and they ended up being the first two singles! We just wanted it to be a bit more accessible, and I reckon we achieved that, which is great.”

What: Modern Vintage (Independent) When & Where: 9 Oct, The Triffid; 11 Oct, Miami Marketta, Gold Coast; 16 Oct, Solbar, Sunshine Coast; 19-22 Nov, Mullum Music Festival


Chris Brown’s Visa Struggles


Going Full Improv

17 Sep Chris Brown announces Australian tour in December.

23 Sep Petition calls for Immigration Minister Peter Dutton to ban Chris Brown from Australia.

24 Sep Minister For Women, Michaelia Cash, pushes for Chris Brown to be barred from Australia.

27 Sep Australian Government confirms Chris Brown will not be touring Australia.

28 Sep Competing petition is released in favour of bringing Chris Brown to Australia.

30 Sep Chris Brown speaks out about potential ban into Australia, says he would like to come to Australia to raise awareness for domestic violence.

1 Oct Activist group behind original petition apologise for the racist aspects of their campaign. Retract campaign only after Dutton issued a Notice Of Intention To Consider Refusal of Brown’s visa: “We have a migration system that unfairly targets people of colour and this is a system that we inadvertently fed into. We caused angst and grief and we are unreservedly apologising for that.” Apology goes on to say it’s damaging to society that people convicted of domestic violence are then rewarded with a celebrity status.


Dave Lombardo has recorded nine studio albums with Slayer and featured on 35 others through his work with PHILM and other projects Grip Inc, Fantomas and Testament. And he counts Bill Ward as a buddy! He talks to Jonty Czuchwicki about his forthcoming Australian drum clinics.


ubbed the “kick of the double kick”, Cuban born American drummer Dave Lombardo was a co-founding member of thrash metal giants Slayer. And he’s coming Down Under to present some drum clinics, so how does the clinic weigh up to Lombardo’s personal practice? “It doesn’t” starts Lombardo matter-of-factly. “The clinic is a completely different format. When I rehearse I rehearse with the band. I really don’t rehearse by myself unless I have something to do or I haven’t played drums in a while and I need to get physically fit... I play enough with the band that it keeps me fresh!” Instead the clinic focuses on demonstration and heavy Q&A sessions with the audience. When asked about techniques that go hand in hand with poor drumming, Lombardo thoroughly condemns playing with the heel down. “It would be impossible to achieve the speed that I have to achieve in playing thrash metal. That’s one instance right there. That’s one thing I don’t practice and I don’t see anybody capable of achieving that kind of drumming

with the heel down.” No brainer, right? Lombardo also reports there’s much to learn from branching out into different styles, as he explains his own style. “It developed by listening obviously to jazz music of all styles. It’s not just jazz music of one style. There’s many forms and there’s a lot of avant-garde music that I have listened to. In just my own development I have gravitated towards more obscure styles of music and avant-garde styles of music rather than going mainstream. I think that is just an artistic side of me.” Lombardo has a love for improvisation. He was even in Australia last year performing in an improv band called Bladerunner with John Zorn and Bill Laswell. “That is full-on improvisation. We go on stage and we don’t know what we are going to do. We just play!” In fact, Lombardo is so great at improvising that he’s confident he could play forever and still keep it fresh. Especially with the addition of percussion. “I don’t think there’s any limits! Because there are so many other instruments. For example I can play some hand percussion... in the same session I will just have something out so I can jump from the drum kit to that. So that opens up another whole level!” Having been a professional drummer for so many years one wonders which innovation in drum hardware has been most beneficial to Lombardo. “One in particular is the hi-hat stand that has only two legs. It’s the Tama swivel stand. This allowed your hihat stand to tuck in right next to your double bass drum. You know, your left bass drum. That has been very helpful.” As for whether he has personal innovations, “All of the time,” he remark. “I pass those ideas down to Tama.”

When & Where: 22 Oct, Allans Billy Hyde, Windsor


Eat / Eat/Drink

Brisbane Brewing Co – 124 Boundary St, West End A drinking den fond of craft beers, homebrews and a beaut beer garden too. If getting cozy, a bit merry and divvying up your chow with a pal sounds pretty sweet, you’ll love it here. Inhale the airy vibes, the suds and the ‘Oktoberfest-meets-New-York-Delimeets-South-American’ menu.

Pig N Whistle

Archive Beer Boutique – 100 Boundary St, West End Beer, bookshelves, comic-strip wallpaper, comfy sofas. Say no more, you quirky cool bar, you. Admittedly, it’s not the first place we think of when we want outside brewskis. But hello courtyard we forgot was there! We’re sorry Archive Beer Boutique for failing to remember just how fully awesome you are.

You wanna sink some bevvies at a place with a cool outdoor space, but you don’t want it to be super crowded? We suss out some spots for spring. Pig N Whistle – 446 Brunswick St, Fortitude Valley Fairy lights sparkle and legit fairies have sprinkled some excellent voodoo dust here. This British pub has TWO beer gardens. We’re not lying. We fully counted them using multiple fingers. One and then another one. TWO. That’s all you need to know. Pig N Whistle


The Wickham – 308 Wickham St, Fortitude Valley We love ourselves a garden bar with history. This one was first a bottle shop. Then a carpark. Now, it’s N it’ a cheeky h k sunny space for you and your mates. Order your drinks, dinner and donuts (yep) at the bar, which just so happens to be located in a shipping container. Then head back outside and let the good times come.

/ Drink Eat/Drink

on Vietnamese cuisine. From the boulevards of Paris to the grand chateaus in the Loire Valley, Nguyen unveils the heart of French food and culture with recipes, both traditional and innovative, coaxed from distant relatives and locals chefs. Released as the companion book to Nguyen’s recent SBS show of the same name, Nguyen’s France pops with beautiful photography of the food and vistas of France. It’s Nguyen’s sixth cookbook and his first foray into European cooking - not a bad effort considering the restaurant owner also recently opened a cooking school in Ho Chi Minh City.

Read ‘Em & Eat

Luke Nguyen’s France Luke Nguyen wants to take you on a gastronomic adventure with his new cookbook Luke Nguyen’s France. The book follows Nguyen’s journey through the French culinary landscape as he discovers the secrets of classic French cooking and its influence

Chilli Phill

Food Fun

Chili Philly We are loving all of this craft/food crossover we’ve been seeing lately - and Chili Philly might just be top of the list. The self-taught Melbourne artist, Phil Ferguson, makes food-based crochet headwear. His creations have earned him a cult social media following, collab offers, media attention and a few exhibitions including one at the Royal Melbourne Show. Check out his Facebook and Instagram for more amazing pics.

Jack Sotti

Drink News Jack Sotti

Jack Sotti, bartender at Melbourne’s Boiler Boi lermak maker er Hou House se, wa was s rrece ecentl ntlyy awar awarded ded third pla p ce in the Diage g o Reserve World Class Global Competition, on the strength of a numb numb umber er of his co cockt cktail ckt ail cr creat eation eat ions ion s. s. Notably, he has created the competition’s first fir st lev levita itatin ting g cock cocktai taill - it it’s s cal called led th the eS Stea tealth lth

Bomber. Badarse. We ask him some questions about his experience. What’s the secret to making a World Class Cla ss coc cockta ktail? il? Yo You u want to bring the wow fa facto ctorr. Whe Whethe therr that’s in the taste, balance and texture of the drink itself, the wayy the cocktail is served or the actual presentation itself g cocktail the like myy levitating Stealth l h Bomber b using Bulllleit Rye - tthat hat’s s how yo you u ‘wow wow’ a cr crowd owd. You have to be innovative and difffer dif ferentt, w whi hich hic h is iincr ncreas easiingl ingly ly hard year on year.

There’s obviously more to being one of the world’s best bartenders than a talent for mixing drinks. What do you need to make it to Diageo Reserve World Class finals? Two things: charisma and mise-en-place. You need nee d tto o win win ove overr the the hea hearts rts of th the e jjudg udges es as wel welll a as s their palates. Know who your judges are and tailor your presen pre sentat tation ion to th them em. Mise ise--enen-pla place ce es essen sentia tially lly me means ans preparation, no elaboration needed. Fail to prepare, prepar pre pare e tto o fail fail. What was the most difficult part of the competition for you? The stress! Our stress levels were high. Everyo y ne is stressed but the second you y step in front of the judges, it’s time to put on your game face. We’re in front of peo p ple p day-i y n, dayy-out judg ging g what we are doing g; you just have to b be confid fident in your own abil b lity.



Not The Voice Of His Generation “I’m going to hate young people when I’m older, for sure, of course. They’re so far away from death, and it would annoy you - it would just piss you off.” Please Like Me’s Josh Thomas talks to Hannah Story.


he new season] is not that thrilling to talk about because there’s no big twist,” admits star, writer, and now director of ABC’s Please Like Me, comedian Josh Thomas. “It’s not Homeland, it’s just the same stuff. The first episode really focuses in on Josh and Arnold; they left last season in a bit of limbo with Arnold saying he just wanted to be friends, so the first episode is them sort of working through that. The show’s

I want to get cheated on by Harry Styles.

never done anything of Josh really genuinely trying to make a relationship work with a guy - they’ve always been pretty half-hearted.” In Please Like Me, Thomas plays Josh, a fictionalised version of himself, and collaborator Tom Ward is Tom, Josh’s best friend. Just how much of Please Like Me’s characters’ lives come from Thomas and Ward’s actual experiences? Do they ever make bad choices just to generate story lines? “Tom doesn’t have to: Tom just makes the most awful choices just naturally. I’ve really been letting the team down - I’ve been a really happy relationship for three-anda-half years, it’s really not useful. Going forward, it’s just sort of fine, just baking nice things for my nice boyfriend in my quite nice house, [but] sort of not very creatively inspiring. Sometimes I get really jealous of Taylor Swift


and how much heartbreak she’s had, y’know? I want to get cheated on by Harry Styles. “I don’t know what we’re going to do if we go into season four, I’m going to have to really do something really awful to my boyfriend so that he breaks up with me hopefully that’ll create story.” But playing a version of yourself must have its difficulties, with people conflating Thomas with his character. He says that he doesn’t hide away the unlikeable parts of himself to save face. “I always get in trouble from networks for making myself too unlikeable, doing awful things. It’s kind of a hard thing to balance, because I could just make myself the best guy, and audiences would probably believe it, they’d probably go with it, but it just doesn’t seem like that’d be a very interesting TV show to me. We could just do an episode where I rescue lots of puppies from a fire. I could do it, I could make that happen, but I don’t know how compelling it would be. “I don’t know how good a guy we want the main character to be. But also sometimes I just think he’s being really reasonable, and then people read the script, and they tell me that he’s being really mean. And I’m like, ‘What are you talking about? That’s the right way to react to that situation.’ And they’re like, ‘No, that’s really unlikeable, you have to change that so people don’t hate you, that they keep watching the show.’” Over the past two seasons, Thomas and Ward have created a kind of Australian equivalent to Girls or Looking’s explorations of being 20-something and trying to figure it out, complete with job-searching, casual sex, truffled mac and cheese, and considered examinations of mental health. Such comparisons mean Thomas can be misrepresented him as a kind of figurehead for Gen Y (don’t you remember his time as Y’s representative on Channel Ten’s Talkin’ ‘Bout Your Generation?), and his show as an accurate depiction of the good and the bad sides of 20-somethings. “I don’t really think I talk for Gen Y, but it’s the same with anything: people want to ask me about what the gays are up to, and it’s like, I don’t really... we’re not a team, y’know what I mean? Gays aren’t a team, Gen Y is not a team, we’re all just pinned onto these artificial groups, and I don’t really understand it. I mean I went on that quiz show as the Gen Y guy, I can’t really say that I’m reluctant [to speak for Gen Y], when I did that for three or four years. “Do you think people still think we’re bad? People hate youth, don’t they? I mean I’m going to hate young people when I’m older, for sure, of course. They’re so far away from death, and it would annoy you - it would just piss you off. When I’m 40, I’m definitely going to hate 20-year-olds. I mean I already hate 20-year-olds and I’m only 28. I think it’s natural. I don’t really hate 20-year-olds. I don’t know, I don’t think so, they’re probably alright. [They have] so much energy.”

What: Please Like Me 9.30pm Thursdays on ABC from 15 Oct


Indie Indie

Transvaal Diamond Syndicate

Gabriella Cohen

Danny Yau

Family Fold

Video Clip Focus

Have You Heard

Album Focus

Have You Heard

Answered by: Christian Tryhorn

When did you start making music and why? I discovered my dad’s Tascam when I was 11 and began to record songs. I can’t not make music; I think it’s a feeling that will keep coming and only needs to be relinquished through melodies.

Album title: Do You Think We’ll Live Here Forever?

Answered by: Paul Andrews

Song title: The River Director: Kim Ferguson What’s the concept behind the clip? Based on a true story, The River depicts a woman kidnapped by the local sheriff and sold down the river as a slave. The woman escapes and the sheriff gets his coup de grace. How long did it take to make? The clip took one week of planning, one day to make and one week of editing. Where did you film it? Clip was filmed in and around Yandina, QLD, in a creek, in an old abandoned shack and on a farm on the Sunshine Coast. What’s your favourite part of the clip? The heroine exacting her revenge of course! Some of those Harley riding scenes look pretty rad too though. Was anything in particular inspiring you during the making? Current media and societal events definitely inspired wanting to stand up and make some noise while helping to raise awareness. Will you be launching it? We launched the clip and single nationally this week to tie in with a six-week national tour. Website link for more info?


Sum up your musical sound in four words? Sounds like coma pop. If you could support any band in the world - past or present - who would it be? The Velvet Underground, Bob Dylan or The Strokes. If you could only listen to one album forevermore, what would it be and why? That’s a huge question. I don’t think I can give you an answer there. But perhaps I would say Loaded by The Velvet Underground, because every song has a feeling I want to feel. Greatest rock’n’roll moment of your career to date? Ha! If I catch myself thinking about rock’n’roll I don’t think it’s pure... But playing at Panama Festival in Tasmania was very cool... Why should people come and see your band? We’re about to move to Melbourne for a slow motion tour so you may not catch us for a while! When and where for your next gig? The Foundry, 9 Oct for BRISBABES. Website link for more info?

Where did the title of your new album come from? This is something I said to my partner. Getting older, and thinking about what we would do in our lives as the 20s drifted away. And it made me think about my physical world more. How many releases do you have now? First solo album. I’ve played in lots of other bands. But this is my name, for people to Google forever. How long did it take to write/ record? It was recorded over a few days, it was written over a few months. I’m always writing songs. Making a cohesive album is harder. Was anything in particular inspiring you during the making? The inner west, and where people live. But also songs that use place names. Like Rockaway Beach! What’s your favourite song on it? The Inner West Misses You. It’s funny, but it tells a story, and it mentions pubs I like. Will you do anything differently next time? Yes, I will record even faster. I want to make an album a year. Like Woody Allen or something. When and where is your launch/ next gig? 15 Oct, Junk Bar Website link for more info?

When did you start making music and why? I started playing music - the drums, first up - to avoid being left out at school and because they seemed to be the easiest to play. Wrong! Sum up your musical sound in four words? Neil Finn meets Wilco. If you could support any band in the world - past or present - who would it be? We’d probably get booed off stage and pelted with bottles, but supporting Blondie in their heyday at CBGB would have been incredible. If you could only listen to one album forevermore, what would it be and why? George Harrison’s All Things Must Pass - brilliant songs by my favourite-ever songwriter. Because it’s a triple album, there’s more of it to love in the years ahead. Greatest rock’n’roll moment of your career to date? Supporting Brian Wilson at Sydney’s Enmore Theatre with my previous band, Lazy Susan. Why should people come and see your band? I liken our approach to the British ‘70s pub scene - Nick Lowe, Elvis Costello, etc; songs without guile or artifice. When and where for your next gig? 6 Nov, Junk Bar; 7 Nov, The Milk Factory. Website link for more info?




Heavy music looks like it might just be winning the battle of the charts recently against EDM, pop, long-build-ups-anddisappointing-drops and Taylor Swift. A recent onslaught of heavy-hitting groups have hit the top of the ARIA album charts, with Parkway Drive the most recent in a long list over the past few months. A tilt towards clean vocals and pop hooks might attribute somewhat to their recent popularity, but hardcore fans are the ones who buy the records, shooting the following to the pointy end of the charts. Northlane and Lamb Of God battled it out in August for the #1 spot on the ARIA charts, with the local headbangers Northlane triumphing with their third album Node. A similar battle was repeated two weeks later when Bullet For My Valentine beat Dead Letter Circus for the #1 position with Venom, with Dead Letter’s third album Aesthesis coming in a close second. For the third time in August, a heavy band topped the ARIA charts, with US band Disturbed hitting #1 for the second time, this time with their sixth studio album Immortalized. September saw That’s The Spirit become the third #1 album for Bring Me The Horizon. In the same week, American thrash pioneers Slayer made their way into the ARIA chart at #3 with their first album in over six years, Repentless. Also in September, Five Finger Death Punch debuted at #3 and Iron Maiden picked up their second #2 album in a row with The Book Of Souls. Brynn Davies

Parkway Drive


Old Friends, New Sound

Waking up in the morning to see two of the biggest bands in metal announcing an Australian tour is a good way to start the weekend. Particularly if you’re a member of one of those bands. Simon Holland catches up with long-time Children Of Bodom bassist Henkka Seppälä.


e’re excited!” says Henkka Seppälä, bassist of Finnish metal band Children Of Bodom down the line from his home in Espoo. He has to speak up to outmatch the sound of kids playing in the background. “It’s quite recent news so I haven’t quite adapted to that thought but yeah, we’re all super- excited.” The particular morning of this interview, the country woke up the news that the two transcontinental titans had joined forces for a last minute dress rehearsal for their UK tour in November. “We’ve been there before a few times but before we’ve only ever played shows in small clubs as the headliner - which is great because you know how many fans are there just to see you but, also, I’ve always been hoping that we could come down for a festival or open for someone big. Now we get to tour with Megadeth. I’m super excited.” The tour marks the release of Children Of Bodom’s ninth full-length album, I Worship Chaos, with earlybird critics earmarking a return to form.

“Everyone is really happy with the new album.” Seppälä admits. “Everyone seems to be more excited for this album than anything we’ve done in years so that is a really good sign. Who knows what the people will like, how other people will take it - that’s usually another story but it’s a new sound that the band is super excited about.” The “new sound” is, rather, a blending of their initial blazing neoNordic thrash with their trashier modern sound. Seppälä bristles at the age-old ‘return to the old sound’ call. “We heard from a lot of people that we had changed something but we never did. We wrote the songs as we felt them at the time and we tried to keep the same energy that we always had. I remember when the first album came out it was really weird music and everyone back home was like, ‘Whoa, man! That’s some weird stuff,’ and we didn’t know if anyone would like it. We stuck with it, produced, played it live and it would seem that everyone did like it so we’ve been doing everything the same way since. We’ve manage to pick up a few fans along the way. It’s our sound.” Since their 1993 formation as Inearthed and their 1997 debut, Something Wild, Children Of Bodom have led a thunderous Finnish charge into the global metal scene, leading the league in just about every subgenre. “The thing about Finnish bands is that they don’t have anything in common, they don’t all sound the same, there are all kinds - our biggest bands. Nightwish, Amorphis, Stratovarius, Lordi, you have us, you have Sonata Arctica – all completely different... oh no, wait... maybe melody is the one thing we have in common. We must love melody.”

What: I Worship Chaos (Nuclear Blast) When & Where: 21 Oct, Eatons Hill Hotel


Lust For Life Wondering what exactly you should do at Wanderlust Festival? Dylan van der Riet has got you covered.


he next instalment of Wanderlust Festival, a global health and wellbeing event, kicks off at the Sunshine Coast’s Novotel Twin Waters Retreat later this month. A four-day retreat and cultural festival billed as an “all-out celebration of mindful living”, the Wanderlust Festival is a weekend of yoga, meditation, music, outdoor adventure and spectacular food that has been designed and curated for rookies, newcomers and experts alike. Explore or embrace your spiritual side while staying in luxurious resort accommodation at one of the Australia’s most beautiful seaside locales.

Tunes Dance and world music are the focus of Wanderlust’s extensive music line-up. Electro-dance from Sneaky Sound System, world-infused house music from Dubarray and crusty Hawaiian surf-folk from Donavon Frankenreiter are just a few of the many performances from 16 musical acts over the festival. Those feeling especially inspired by the musical experience can start their own musical journey with drumming, guitar and music-themed lessons and workshops running all across weekend.

Stand-up paddle-boarding (‘SUP’ as the Wanderlust crew loving refer to it) will be the star outdoor activity of the festival.

Yoga & Meditation Yoga and meditation are the festival’s true focus, with world class yoga instructors, enlightenment lectures and workshops on holistic living from all corners of the globe being a central component of all Wanderlust Festivals worldwide. Blend into a class of hundreds at the outdoor yoga venue, or take in an intimate indoor session featuring live musicians and DJs, creating an atmosphere and community for yogis that is unobtainable anywhere else.

Getting Outdoors Venture into the spectacular outdoor spaces of the Sunshine Coast with activities such as hiking, surfing and dance (or even circus lessons for the less adventurous attendee), with instructors and classes ready so that no atten first-timers rstwill be left out. With the venue choice of a four-star resort, there will be plenty of room for activities. four Stand-up paddle-boarding (‘SUP’ as the Wanderlust crew Stan refer to it) will be the star outdoor activity of the festival, with daily stand-up paddle-boarding yoga classes from two different expert trainers.

Food & Drink Foo Indu Indulge in the finest local foods that the Sunshine Coast has to offer, with a specialty focus on organic delicacies, llocal and sustainable produce and craft wine and beer aiming to bring all that outer-wellbeing inside as well. Whether grabbing a snack to-go from one of the many hand-picked vendors or sitting down for a feast the Farm To Table Dinner, the Wanderlust Festival will leave no stomach yearning even after a full day of SUP, yoga and dancing to the festival’s many musical guests.

When & Where: 15 - 18 Oct, Novotel Twin Waters Resort, Sunshine Coast




Late Night

Finding Your Place


The late night shows have had a bit of a schedule shake-up of late. But what impact is that going to have on Aussie viewers? We know most shows will be fast-tracked, with Friday shows airing on Mondays Down Under. So when exactly can you catch your favourites? Jimmy Kimmel Live 6.30pm Tuesday to Friday on the Comedy Channel Last Week Tonight With John Oliver 6.30pm Monday on the Comedy Channel The Nightly Show With Larry Wilmore 7pm Monday to Friday on the Comedy Channel

Trevor Noah

The Daily Show With Trevor Noah 10pm Tuesday to Friday on the Comedy Channel The Grace Helbig Show 9pm Sunday on E! The Tonight Show Staring Jimmy Fallon 10.30pm Monday to Friday on E! and 10.20pm Monday to Friday on ABC2. The Late Night Show With Stephen Colbert 11.30pm Monday to Friday on ELEVEN The Late Late Show With James Corden 12.30am Tuesday to Saturday on ELEVEN


New media and what it means to be Marc Maron: the standup comedian explains to Dave Drayton the circuitous route he took to himself.


enerally in my past I’ve felt a little out of place when I travel internationally, but I feel out of place in the United States as well, so it was just compounded, but it’s very different now when people come to see me specifically.” Marc Maron is recently returned from a UK tour and feels he has finally overcome his fear of international audiences. The popularity of his podcast, WTF With Marc Maron, and TV show, Maron (recently signed on for a third season) have helped put him at ease. “It took a long time to get here, to be a comic people wanted to see. And it’s not millions of people, it’s not hundreds of thousands of people, but it’s a specific type of person that wants to see me and I’m very grateful that they sought me out. After wanting to be a stand-up, and being a stand-up more than half of my life now, the fact that in the last five years I’m able to sell a few tickets and people want to see me do it, and that just happened four years ago, three years ago, so I waited a long time to have this opportunity as a stand-up comic, which is what I am at my core. Before this I’ve never travelled with the notoriety, or the popularity I have now, so it’s a very different experience,” Maron admits, before warning: “I’m never that comfortable; I wouldn’t overestimate me.”

He’s touring a show called Maronation, 90 minutes of material a year and a half in the making that he believes to be his best yet. “Why I got into stand-up was that was my place to do whatever the hell I chose to do; there’s a freedom in that. It’s a rebellious freedom I think initially, but certainly a lot of stand-ups want to get into it so they can get TV series, or a job, or millions of people to love them - there’s a lot of different reasons, but I think the reason I did it was primarily to find my own way and my own place. “I’m a stand-up comic, that’s all I ever wanted to be, and as opportunities alluded me or were not offered to me, you know, I turned to the podcast in an act of desperation,” says Maron, candid. “But all I really wanted to be was a comic, and once the podcast became popular and afforded me these other opportunities I took them with a certain amount of spite and a certain amount of aggravated entitlement; these things that I set out to do early on that I could not make happen, given the opportunity now they were certainly less loaded. “Everything feeds the other thing: my life experience feeds my comedy and the TV show, and my stream of conscious around the life I’m living that I’m able to explore in the monologues of the podcast will ultimately lead to stand-up; it all seems to be part of the same thing. There are different variations of how I approach things, but all I ever wanted to be was me, and I seem to be being that in a lot of different mediums now.”

What: Marc Maron: The Maronation Tour When & Where: 17 Oct, City Hall


Together Apart They’re quintessentially Australian and they’re back with Beautiful You. Tyler McLoughlan enjoys a yarn with Josh Cunningham of The Waifs.


wenty-three years after sisters Donna Simpson and Vikki Thorn left Albany on the first of many musical road trips, teaming up with Josh Cunningham along the way, The Waifs’ seventh studio album Beautiful You debuted at #5 on the ARIA charts. Strangely enough, the tight-knit trio who spent over a decade touring the nation in a Kombi had never actually written collaboratively, and after a fruitless attempt, perhaps never will. “We’ve all been individual songwriters. Even though we’ve been collectively in the band we’ve always written that way - it’s always been a personal, individual thing,” says guitarist Josh Cunningham who shares vocal duties with the sisters. “And I think probably in the early days because we lived in very close quarters, it was like a bit of a respite - you could sneak off somewhere quiet with a guitar and spend a few hours and write a song... Vikki had this idea [for the writing process of the new album] - we’re all songwriters, we should be able to sit down and write some songs together and see what we come up with. It might be a new sound that becomes our definitive record or something, but it proved to not be that successful. We’ve actually reverted back to our old habits and all went off on our own.” Simpson broke first - went off for a walk and came back with a song. The album came rolling out after that and eventually her heart-wrenching folk ballad Beautiful You was chosen as the title track. “The song’s a very personal song,” Cunningham explains quietly. “Donna actually wrote it about a family member who kind of got mixed up with meth, and really devastated his own life and the family kind of got a bit torn apart. The song is a very emotive personal plea to him to kind of see the mess that he’s

Whatever you’re doing in life, you should get the most out of it.

in and turn back the other way - in spite of the mess, you’re still beautiful. It felt like an important message and I think it applies to a lot of people’s lives... It might not be as extreme as meth amphetamine [addiction], but in a lot of ways we all need to stop, take stock, turn around and go the other way.” It wouldn’t be a Waifs record without such deeply personal insights, many of which centre around one of their most enduring themes: home. With Cunningham and Thorn heading back from their homes in the States for a 25-date national tour to celebrate Beautiful You, the guitarist is still more than happy to dish out the back catalogue yearning-forhome favourites. “I love it every time!” he exclaims when quizzed on whether 2003 breakthrough track London Still has become a chore to play. “I guess some musicians get bored of that kind of stuff but for me, every time you play a song it’s good to just re-experience what the song is. Whatever you’re doing in life, you should get the most out of it and enjoy it as much as you can - the old songs I find just as enjoyable as the new ones.”

What: Beautiful You (Jarrah Records/MGM) When & where: 14 Oct, The Triffid; 21 Oct, A& I Hall, Bangalow; 22 Oct, Miami Marketta



Ask Yahoo We scoured Yahoo Answers for the most depressingly naïve music questions, and this is what we found.

Driving Forward

What ever happened to good music?

Tagged for his previous profession as a tram driver, Jaakko Eino Kalevi is enjoying a budding music career. He chats to Anthony Carew. Isn’t katy perry NOT country?

Is willie nelson dead?

Can you smoke a cigarette and sing at the same time?

Am i allowed to say ***** if it’s part of a rap song?



aakko Eino Kalevi is the most famous Finnish tram driver this side of the lead character of Aki Kaurismaki’s Drifting Clouds. “A lot of people know that movie, but I don’t think that’s where this fascination people have with [me being a tram driver] comes from,” smiles Kalevi. The 31-year-old songwriter and producer - whose groovy music is synth-driven, spaced-out, psychedelic, and sad - is speaking from Manchester, the morning after another show supporting Unknown Mortal Orchestra. With the recent release of his fifth album, a self-titled set issued on Domino-pimped imprint Weird World, Kalevi’s music has taken him far and wide, including imminent tour dates in Australia. And, wherever he’s travelled, so has the story of the job he’s left behind: tram driver. “When I moved to Helsinki from my hometown, I applied for all the jobs, and it was the only one that would have me,” Kalevi laughs. “I guess it’s kind of rare, and I think it’s romantic to some people, driving a tram, in the same way that being a train driver seems kind of old-fashioned. But in Helsinki, trams are a big part of daily life.” Kalevi’s hometown is tiny Tiituspohja, in Central Finland, the birthplace of his musicmaking. “I remember the exact moment when I decided to start to make music,” Kalevi recounts. “It was 1994. I was 10. We were at my friend’s place listening to Guns N’ Roses

and Aerosmith, and we decided to form a band where we would both play guitar. I didn’t know how to play at all, at that point, but that was the moment I decided to learn.” Into his adolescence, an obsession with progressive metal granted him serious chops (“it feels like a good way to get better at guitar, because it’s so challenging”), before a radical left-turn lead him to making hip hop beats, then experimenting with computers, sequencers, and synths. Kalevi moved to Helsinki in 2006 (“that’s basically how it goes; all the young people from my hometown moved to Helsinki”), started playing regularly, and then issued his debut album, Dragonquest, in 2007. That kicked off a string of LPs - with 2010’s Modern Life a minor ‘breakout’ - and an array of EPs and 12-inches. 2013’s Dreamzone EP, his first for Weird World, found Kalevi introduced to a wider audience. But, even still, he continues to sing songs in both English and Finnish, never catering musical ideas to a wider audience. “When lyrical ideas will come up, sometimes they’re in Finnish, sometimes they’re in English,” he says. “And I just go with it, with whatever idea works. I know that, now, my audience is more international, and if I sing in Finnish, they’re going to have no idea what I’m singing about.” Kalevi has been confronted with that fact plenty in 2015, where the confessed “studio person” has lived on the road, getting used to the grind of constant performing. “Even though I play the same songs - and, after this album, I’ve been playing them a lot - what I like is that it’s never the same,” says Kalevi. “It’s the venue, it’s the sound, it’s the mix, it’s my emotions as I’m playing, it’s the crowd, it’s their reaction to it; the feeling is always different. And, of course, some shows are better than others...”

When & Where: 11 Oct, The Zoo

In Focus Osaka Punch Pic: Terry Soo

Member’s name/role: Jack Venables (singer) How long have you been together? Nearly a decade. As The Kidney Thieves we were around for about six years. Then a potential lawsuit against an American band of the same name caused us to become Osaka Punch. How did you all meet? Chrispy and I went to high school together. Mick, Dane and Brenton have all played in rad bands over the decade that we admired, and were slightly jealous of. So we did what any self-respecting musicians would do... we poached them.

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? Our last tour in the UK saw Kimbra’s latest release, The Golden Echo, played on repeat. It’s hard to get sick of an album like that, clever pop melodies, insane production, and some even more insane guest artists. Which Brisbane bands before you have been an inspiration (musically or otherwise)? In terms of musical ethos, I think we align ourselves mostly with Regurgitator. They were always willing to experiment, and push their musical abilities to the max. And they’re still killing it to this day!

What part do you think Brisbane plays in the music you make? Brisbane is an awesome little melting pot of music and creativity. The scene isn’t as cutthroat and competitive here as it was in the UK, so our music has had a chance to evolve in a nonrestrictive environment. What’s in the pipeline for the band in the short term? We have some massive shows booked and big news coming soon. It’s going to be a good twelve months. Osaka Punch play The Zoo on Saturday 17 October.



The Big Tease London pop duo Oh Wonder decided the traditional album release just wouldn’t cut it for their debut. Instead, as Josephine Vander Gucht tells Carley Hall, they decided to publish one song, once a month, over the course of a year.


he slow reveal. It works on the most basic human psychological level - give a little and you’ll get a lot in return. The teasing way Oh Wonder, aka Josephine Vander Gucht and Anthony West, released singles off their self-titled debut album boasts a sense of conviction that can only be admired. The London pop duo’s curious decision to publish one song, once a month, over the course of the past

“We put the song out and by the time I had finished my tea I think we’d had, like, 50 plays.”

year reeled fans in hook, line and sinker, with the pair watching the play count climb with each release. With only a handful of singles from their self-proclaimed “creative project” released beforehand, there was an almost immediate response from lovers of their emotion-charged, piano-driven ballads. Was this the happy outcome they were expecting? “Not at all, particularly because this was intended to be an artist project; we never had the idea of playing live for example, it was all about the songs,” Vander Gucht admits. “That people are listening and have bought tickets for our forthcoming shows is just crazy and such a surprise. And we were a bit anxious because you can have a million SoundCloud plays, but that 38 • THE MUSIC • 7TH OCTOBER 2015

translating to people wanting to come see you live and buy your record is not necessarily a given. “I vividly remember when we released the first song, we were in this lovely place on the high street sipping peppermint tea, and we put the song out and by the time I had finished my tea I think we’d had, like, 50 plays. The last song we put up was 100,000 plays at the end of the day.” What started as a mission merely to craft a portfolio of songs after signing with sleek label Island soon became a seemingly naff idea to tantalise fans with songs once a month. But far from wanting to tease, Vander Gucht says the release was the ideal way to feed the duo’s creative urges. However, she admits there was some pressure to create and publish a new song every month, with only an intuitive sense of where the album was headed, and no considered direction. “It came from wanting and craving structure and routine, and as a musician you don’t really get structure when you’re writing, you know. You have a release campaign but the actual writing process is really a ‘write an album and see you when it’s done’ kind of thing. “Releasing [a song] each month and having people responding and enjoying it takes the pressure off creatively because you think, ‘Oh people like it, I’m doing something right’. But equally I think it builds pressure because we were writing and recording each song each month. It started out and we had no idea of what the album was, and I think it was halfway in and we weren’t anticipating anyone actually listening to our songs but seeing they’d had millions of plays we were kind of a bit bemused. So it kind of does put a little bit of pressure on you because you realise there are actually people waiting to hear our songs, and that’s something we never thought would happen!”

When & Where: 1 Jan, Falls Festival, North Byron Parklands


All Natural The invitation to come to Australia to perform at the 2016 Bluesfest will see blues artist Janiva Magness visiting for the first time, but as Michael Smith discovers, she already has an Australian connection.


irst of all, I just want to say how super excited I am to be comin’ to Byron Bay,” Magness gushes, on the line from her home where she’s working on songs for the next record. As it happens, though this will be her first visit, Magness has already experienced something of Australia in the form of Australian songwriters Lauren Bliss and Andrew Lowden, who co-wrote When You Were My King and Standing with Magness for her most recent album, 2014’s Original. “Lauren and Andrew actually just got a song of the year award, which is very exciting, so, yeah, it’s very, very, very exciting that I get to come to their home country and play some music. Hopefully they won’t be on tour and we’ll be able to have a little hang time. We’ve written a couple of tunes for the new record as well. This time around, I think this record is gonna probably have a happier byline,” she laughs. “A little bit more joy, a little bit more happiness on it, because that’s what’s happening in my life these days, and I’m very grateful for that.” It was actually her bass player/MD/producer, David Darling, who brought the Australian songwriting team into the mix when Magness was recording Original, though he didn’t tell her they’d be there before she arrived for the session. “He completely bushwacked me! And what a happy surprise it turned out to be. Once we started working together it was just the most bizarre and beautiful experience - I felt like they’d been reading my mail or spying on me or something,” she laughs again. “They hadn’t but it felt like that. It was very natural, very symbiotic, you know what I mean? It was lovely.” While she’d co-written a couple of songs for the album before Original, 2012’s Stronger For It, Magness is still fairly new to the whole songwriting side of things. Born in Detroit, Michigan, she started out as a

I felt like they’d been reading my mail or spying on me or something.

backing singer in Phoenix, Arizona before moving to Los Angeles in 1986 to try and establish herself as a solo artist, and until Stronger For It was principally an interpreter rather than a songwriter. After all, for many years she was married to a songwriter, Jeff Turmes. It was their separation in 2010 that really kick-started the songwriting, and Original was her first fully original album, though she only co-wrote seven of the 12 songs. “I’m very open and not terribly fixed in the process of songwriting,” she explains, “although I am much more of a lyricist than I am anything. So, sometimes I’ll get a melody, sometimes I’ll get a cadence, but mostly it is definitely the lyric, the story, the heart of the song that tends to come from me more than anything. With Lauren and Andrew it was wonderful because they had a couple of ideas melodically and a little bit of lyric and then we just basically finished the lyric together over the course of a couple of days on both the songs. What a delightful writing experience it was for me with both of them.”

When & Where: 24 - 28 Mar, Bluesfest, Tyagarah Tea Tree Farm


Album / E Album/EP Reviews

Album OF THE Week

Little May For The Company Dew Process/ Universal


In the space of just a few short years, Sydney three-piece Little May have come leaps and bounds into not just the Australian indie-folk scene, but the world’s. For The Company sees all that hard work climax in the band’s finest moment so far. Their debut LP is an impressive piece of work that seems as effortless the first time you hear it as it does the tenth. Recalling Clare Bowditch’s intelligent and crisp lyrics on opening track Cicadas, and the driven, dark delivery of Sharon Van Etten on Bow & Arrow, Little May make the most of their added advantage: three vocal lines that criss-cross the album. Seven Hours is an example of the unbridled pop they throw into the mix, with beautiful vocal melodies belying the drama of the words they sing. The National’s Aaron Dessner produced the album, and the comparisons between the two bands’ sounds is obvious. Listening to The Shine Is Brighter At Night alongside The National’s Terrible Love, in fact, could result in a serious case of deja vu. The brooding undercurrents of the track prove a perfect counterpoint to the harmonies - “Rest my eyes, I don’t wanna see you/Rest my brain, I don’t wanna know” - that soar above. Dylan Stewart

Boy & Bear

City & Colour

Limit Of Love

If I Should Go Before You


★★★½ Sydney band Boy & Bear’s third album finds them sounding leaner than ever. The five-piece recorded much of Limit Of Love straight to tape, letting their power as a live outfit translate into their musicmaking process with their most refined effort to date. Gone is much of the sweeping folk-rock instrumentation that suggested they might fall into the category of being another acoustic-leaning band that failed to move with the trends. Instead, the group have stripped back their soundscape and increasingly introduced more electric instruments. One needs to look no further than the metronomic cowbell beat of the opening title track to recognise there’s a fresh sense of inspiration about this album. Only one song later, Killian Gavin busts out a Lindsey Buckingham guitar solo on the synth-driven Walk The Wire. The big, harmonised choruses are still here, but the added attention paid to the small


Dine Alone/Cooking Vinyl


details on this record has fleshed out their music. While there’s no denying the chemistry of their playing together as a group, this record is also heavily indebted to the production work of esteemed English musician Ethan Johns, who further contributes some synth playing on a few tracks. His part in encouraging the boys to write collaboratively after frontman and lyricist Dave Hosking failed to find time to write enough songs during their recent touring schedule was a key influence on the album’s cohesive atmosphere. While this creates an enjoyable listening experience for the most part, the band still seem as harmlessly pleasant as they’ve always sounded. Roshan Clerke

Dallas Green’s rebirth from raucous post-hardcore band guitarist into warbling, mysterious bluesman is something that needs to be heard to believed. From album to album - he’s now on his fifth - Green has become a more confident troubadour, his voice aching for days past in Killing Time, rejoicing his connection for the land in Americana-driven Runaway (despite his Canadian roots) and pining for his lost heart in Lover Come Back. If I Should Go Before You feels more of a band effort than his previous records: you’re getting a fuller sound and more warmth here, pedal steel swells aplenty, though it’s somehow part and parcel that you get more grittiness, too. Nine-minute lead single Woman is a great example of this you can almost feel the desert sun beating down on your perspiring neck, the dust swirling around your feet as you head to your car, dazed,

to get your lady back. Green’s voice sounds better than ever, encompassing a tone that’s hard to forget and easy to get sucked into. The album also clutches at more blues-rock sensibilities, optimistic but with a hint of wistfulness, rather than the solemn country flavour 2013’s The Hurry And The Harm brought to our lips. There’s a dirty blues club solo paired with a groovy li’l bassline in Mizzy C, while balladic Map Of The World offers a jauntiness that’s refreshing to hear from Green. Green is continuously honing his craft and the maturity shows. If they aren’t already, City & Colour are fast becomes a blues rock mainstay. Uppy Chatterjee

EP Reviews Album/EP Reviews

John Grant

Art Vs Science

Dan Kelly

The Ocean Party

Grey Tickles, Black Pressure

Off The Edge Of The Earth And Into Forever, Forever

Leisure Panic!

Light Weight



Bella Union/[PIAS Australia]






John Grant’s oddly titled third album coming wrapped in an even odder cover opens the door to the disco-inflected folktronica that appears to becoming his signature sound. The moody and pugnacious Grant of yore sounds like he’s having fun on this record embracing ‘80s electro-funk and trash. This album isn’t the usual emotional rollercoaster ride to hell and back. Aided and abetted by Tracey Thorn and the Banshees’ Budgie, Grant offers more bounce than usual, however, this album shines when Grant isn’t trying to be Bobby O and that winsome baritone accompanied by sweeping arrangements hits home with truly heartfelt introspection.

Four years is a long time when following up a debut, but a more mature Art Vs Science try defying the sophomore slump with Off The Edge Of The Earth And Into Forever, Forever. The band don’t toy with their electrodance-rock formula too much, but an added emphasis on ‘rock’ delivers one absolute belter in Tired Of Pretending, easily one of the year’s best songs. It’s a tough act matching this but the well structured throb of Unity and smooth Stars Pt II almost do the trick, despite corny moments like Bongo Plan detracting a little from the whole.

Dan Kelly has hit his finest streak of songwriting on his latest solo album. There’s a sense of pop wonderment about these songs as they diversify into all kinds of colourful shapes. Sometimes it’s dripping with sweet soul (Haters), drifting on a cloud of dream-pop (National Park And Wildlife) or hitting interstellar overdrive on the epic, pulsing krautrock of On The Run. The psychedelic flavour of Kelly’s music shares a sonic footprint with Beck, The Clean, Pavement and The Phoenix Foundation. The sweet effervescent melodies are backed with incisive and often humorous lyrics, a combo that makes this a kaleidoscopic listening experience.

Light Weight is Melbourne-based band The Ocean Party’s fifth album in the last three years, and is their first professionally recorded effort to date. It’s a testament to the band that this record doesn’t sound too dissimilar to what they’ve produced before, although the sharper sounds distance the six-piece from the charming qualities of last year’s Soft Focus. Aesthetics aside, there’s a new sense of experimentation to their songwriting on this record. The band’s horizons seem to be broadening, as Curtis Wakeling sings from the perspective of an insistent boss on Greedy, while album opener, Black Blood, introduces some of the most surreal imagery we’ve heard on an Ocean Party album so far.

Paul Barbieri

Guido Farnell

Chris Familton

Roshan Clerke

More Reviews Online Summer Flake Time Rolls By

Marshall Okell Sipping On Rocket Fuel

The Dead Weather Dodge And Burn


Album / E Album/EP Reviews

Tiny Little Houses

Cheap Fakes

Reece Mastin

Slum Sociable

Modern Vintage

Change Colours


You Tore Out My Heart


Social Family Records






For an EP with such a depressing title, the four tracks on Melbourne quartet Tiny Little Houses’ debut release are impressively upbeat. It’s a pleasure to sit back in the sun and let the shining sounds in. The brainchild of frontman Caleb Karvountzis, the band have spent the past couple of years working on their sound, and have found their groove in the lo-fi pop sphere. It’s a world shaped by ‘90s and early ‘00s heroes Neutral Milk Hotel, Bright Eyes and even some of the poppier Modular acts of the mid’00s like Softlightes. Watch out for more from these guys.

Cheap Fakes’ Modern Vintage incorporates a mix of funk, ska, rock, with a hint of reggae, and they do it well. Beginning with the short but sweet instrumental Is Golden, giving the listener an exciting taste of what follows. Strong horn sections found in Just In Case shows off the ska influence prominent in the band. The guitars in Citylights integrate the funk elements flawlessly, while a heavier, rock build-up to powerful horn solos really shows Cheap Fakes have mastered their elements. The suave vocals gives this album the perfect balance of energy for any situation.

Reece Mastin was reborn with his EP Rebel & The Reason; now his new record has left rock’n’roll fans high and dry with a mushy, sad album. Drum beat with guitar rifts Lockdown is an energetic opener. I Don’t Love You Anymore and Heartache Blues showcase Mastin’s raw feelings, possibly inspired by his real-life break-up with Rhiannon Fish. Mastin’s sound is more soul-blues rock with acoustic guitars and soft vocals in Even Angels Cry while Right Out Of Me has a country vibe to it. Where did that rock go Mastin? Maybe next time.

Melbourne is about to get a new sound that will begin the next surge of upcoming artists. TQ is the first EP from Melbourne duo Slum Sociable. With sounds from lo-fi to trip hop, this record doesn’t miss a beat. From opener All Night all the way through to the finale Luck So Far there isn’t a moment in this record that people will not love. It’s a rare first release in that you want to listen to every moment and every word, then go out and buy a ticket and see them live.

Dylan Stewart

Braden Draper


Aneta Grulichova

More Reviews Online Kelela Hallucinogen


Brad Summers

Kinky Friedman The Loneliest Man I’ve Ever Met

Dan Lethbridge Inner Western


Live Re Live Reviews

Parkway Drive @ Riverstage. Pic: James Bolin

The Jungle Giants, Art Of Sleeping, Hockey Dad The Triffid 3 Oct

After a string of sold-out shows around the country in celebration of the release of their single Every Kind Of Way, as well as the release of another hot single Kooky Eyes, Brisbane quartet The Jungle Giants are jet-setting yet again to show off their muchanticipated sophomore album Speakerzoid. This national tour

Reel Big Fish @ Max Watt’s. Pic: Terry Soo

Less Than Jake @ Max Watt’s. Pic: Terry Soo

Art Of Sleeping @ The Triffid. Pic: Bobby Rein


The Jungle Giants play a fun and energetic set and continue to wow fans with their catchy and charming tracks.

see’s them accompanied by other Brisbane beauties Art Of Sleeping and Wollongong’s Hockey Dad. Brisbane is the second-last show before The Jungle Giants head off on their North American tour this month. First up and opening proceedings are Hockey Dad, a surf-rock two-piece made up by Zach Stephenson on guitar/ vocals and Billy Fleming on drums. After an impressive set at this year’s BIGSOUND showcase and with upcoming shows at this year’s CMJ showcase in NYC, Hockey Dad have set themselves aside from other local guitar-drum duos and are no doubt destined

eviews Live Reviews

for greater achievements. The guys play a relatively short set and, although Stephenson is losing his voice, their tunes still pack a punch. A fan even helps Stephenson out on the set closer Seaweed, giving the show that classic house-party vibe that the surf-rock genre embodies. Art Of Sleeping unsurprisingly start playing to an almost-packed-out room. After a successful year releasing a string of lovable singles, a sold-out Crazy tour and the recent release of their debut album Shake Shiver, the quintet have little to prove to their local music scene tonight. They back up the onpoint sounds of their album, with singer Caleb Hodges nailing every note and the band replicate that perfect, spacious, rocky atmosphere Art Of Sleeping have made their own. They even throw in a cover of Frank Ocean’s Lost, putting their own spin on the sexy track. Last but obviously not least are fellow Brisbane favourites and headliners The Jungle Giants. With a stage covered in disco balls, it is obvious that tonight’s set is going to be full of danceable tracks and happy vibes. The band open up with the popular Skin To Bone, which has almost everyone in the room bouncing. The Jungle Giants play a variety of old favourites, such as Domesticated Man, She’s A Riot and Anywhere Else, balancing it out with some new tracks. The Jungle Giants’ fresh Speakerzoid sound exemplifies the band’s progression from teen, indie-pop boppers into a mature and more simplistic sound. This is most notably demonstrated by Every Kind Of Way which is oddly reminiscent of Cake’s early-noughties track Short Skirt/Long Jacket, complete with cowbell. All up, The Jungle Giants play a fun

and energetic set and continue to wow fans with their catchy and charming tracks. Georgia Corpe

Parkway Drive, Thy Art Is Murder, Memphis May Fire Riverstage 2 Oct

Coming from Texas, Memphis May Fire trot out a very tried and tested combination of screams and breakdowns followed by cleans and choruses sure to please the misunderstood teenage girls swooning over the emotionally accessible crew. Compared to what’s to follow, these guys just seem like The Wiggles. As smoke spills out onto the stage and distorted dissonance ricochets around a quickly growing crowd, Blacktown deathcore royalty Thy Art Is Murder enter to a crowd that’s after blood. Thy Art’s sound is really something to behold, the monstrous, guttural vocal growls in combination with brown-note guitars and crushing drum lines complete with bass booms producing a spectacle that commands attention. Vocalist Chris McMahon keeps a paradoxical steady stream of humour in what is a mostly misanthropic display by encouraging a “twerkle pit”, telling off Soundwave organiser AJ Maddah and requesting “more marijuana smoke” - it’s great to see a band being so outrageously heavy but not taking themselves too seriously at the same time. Byron Bay hardcore legends Parkway Drive have their silhouettes projected onto the stage banner before confetti cannons explode over the crowd and the light show illuminates the stage. As frontman Winston McCall

and co charge through a breakdown-laden show of aggression with full force and trademark ferocity, something doesn’t seem quite right. The light show that can be seen

There’s an overall extravagance that simply doesn’t align with Parkway preconceptions.

from space, and the cascading fireworks and the confetti cannons (epic as they may be), are a far cry from the Parkway that most people know and love. The boardies and thongs have been replaced by all-black threads, the once humble stage set-up now has a pyramid-like riser plonked in the middle of it and there’s an overall extravagance that simply doesn’t align with Parkway preconceptions. That’s not to say this new upscale set-up detracts from the show by any means - it simply makes for a very different ‘hardcore’ experience. As the band ploughs through a set full of classics like Romance Is Dead and Carrion - as well as newbies like Vice Grip - with unlimited energy, the pit stays a warzone. There’s little doubt that these guys are still kings of the Aussie hardcore scene, but those who came expecting the same kind of band they saw a decade ago at their local PCYC Hall are in for a shock. Thomas Peasley

Reel Big Fish, Less Than Jake Max Watt’s 3 Oct

By the time five-piece ska-punk band Less Than Jake hit the stage Max Watt’s is already packed to the rafters. Kicking things off with Good Enough the audience goes mental and even the crowd at the back start skanking. The banter and jokes between songs have the audience laughing and jeering. As well as this, some balloons get thrown out during Overrated (Everything Is) and stay alive for most of the night; possibly to keep everyone happy with what are pretty depressing lyrics. Buddy Schaub even bounces a balloon off his trombone a few times. At one point the boys get a couple of strangers up on stage to kiss each other for some reason. Their tunes, much like a lot of the ‘90s ska-punk from the States, are bright and bubbly and they can say a lot without losing the happy vibes, for example during All My Best Friends Are Metalheads. Less Than Jake head deeper into the ska sounds for Give Me Something To Believe In. And they remain there for the last few songs The Science of Selling Yourself Short, which gets a proper singalong as one might expect. They finish their set off aptly with Look What Happened. The crowd ebbs and flows before Reel Big Fish are on, but whether anyone actually leaves is doubtful. Expecting to see mostly old songs, this reviewer is surprised when they open with Everyone Else Is An Asshole, but everyone else appears to have expected it, chanting along. They stay within the realm of hate with Another FU Song and The Kids Don’t Like It before going more positive with Party Down. In


Live Re Live Reviews

More Reviews Online music/live-reviews Vallis Alps @ Oxford Art Factory Wiz Khalifa @ Big Top Martha Wainwright @ The Basement

Less Than Jake @ Max Watt’s. Pic: Terry Soo

As It Is @ The Evelyn Code Orange @ Reverence Hotel For The Jumper: AFL Songs By Your Favourite Musicians @ The Gasometer Hotel

It’s no wonder their setlists read like greatest hits compilations, but we can’t imagine it would be better any other way.

between tunes they throw riffs from bands like AC/DC and even The Imperial March (aka Darth Vader’s Theme). Trendy gets everyone doing the fish, at least singing the fish, and it’s funny to note there’s a lot more singing coming from the 46 • THE MUSIC • 7TH OCTOBER 2015

audience than when Less Than Jake were on. Also the banter between tunes is kept to a minimum, leaving more time for playing songs than anything else, which is most excellent. Other songs that get everyone skanking include Your Guts (I Hate ‘Em), Where Have You Been? and their cover of Monkey Man by The Specials. The Horn solo in She Has A Girlfriend Now gets whistles and cheers, and it seems nobody minds two guys performing the duet. Before Reel Big Fish play their breakthrough hit Sell Out they play about a minute of Smells Like Teen Spirit by Nirvana and this gets everyone properly riled up. As an encore they play Beer, noting it’s the same song as Self Esteem by Offspring. They finish with their brilliant version of Take On Me by A-ha. It’s been a few years between albums for both these bands so it’s no

wonder their setlists read like greatest hits compilations, but we can’t imagine it would be better any other way. Paul Mulkearns


Arts Reviews Arts Reviews

Learning To Drive


Film In cinemas 8 Oct


Learning To Drive Film In cinemas 8 Oct

★★★ In 1982, Ben Kingsley channelled his Indian roots in his Oscar-winning turn as Gandhi in the film of the same name. This year he brings his immaculate character acting skills to a different Indian character in Learning To Drive.Based on a New Yorker article, the film follows Darwan Singh Tur (Ben Kingsley), an Indian migrant cab driver and driving teacher in New York who enters the world of Wendy Shields (Patricia Clarkson) after her husband dumps her in his cab. From this moment an unlikely bond forms as Darwan is employed to teach Wendy to drive.This small, independent comedy/ drama is charming yet predictable. Despite its plodding pace, there are solid themes of diversity, culture/racial difference and relationships in New York. All these themes are easily interwoven into the act of learning to drive a car to very nice effect. The film stays afloat due to its actors, namely Kingsley and Clarkson. Kingsley shows his strong ability to become immersed in character, giving a layered and focused performance. Clarkson, one of the most underrated actresses of the last quarter century gives a likeable, plucky, nuanced portrayal of a woman struggling to move forward in life.Learning To Drive is a pleasant film that, while not great, has much to offer in performance alone. Sean Capel


Legend is a biopic based on the true, gruesome story of two of east-London gangsters and brothers, Ronald and Reginald Kray. The film is set in ‘50s and ‘60s London, in the rougher parts of town, director Brian Helgeland bringing together the allure, excitement and heartache that come with the life of a gangster. Tom Hardy plays both Reggie - the handsome, golden boy married to Frances (Emily Browning) - as well as his paranoid schizophrenic


brother Ronnie. The two build their empire in London; starting with one nightclub, then move into the West End. They use intimidation, violent threats and extortion, and enlist the help of their shifty banker Lesley Payne (David Thewlis). The character of Ronnie is the most intriguing. His bisexuality, cavorts with members of parliament and scathing verbal attacks on people provide entertainment as well as much needed depth to the film. At one point he picks up a microphone and yells at a room full of aristocrats, “Look at you, grinning in your synthetic opulence.” Ronnie’s reactions in social situations are discordant, blatantly honest, almost jarring, but usually leave you in stitches, making you wish more people spoke like this. It is a shame Browning is given such a limited character when she is capable of much more. The backstory for Frances Shea is literally only of a ‘sensitive’ girl, which is imaginably boring to watch. Collectively, the film is captivating for its whole two hours, provides a digestible commentary on morality, and is definitely not just another gangster film to add to the pile. Sarah Barratt




Comedy / G The Guide

Wed 07

Junior Arcade + The Con & The Liar + Future Haunts: Black Bear Lodge, Fortitude Valley James Scott Music: Mick O’Malley’s, Brisbane

Dan Kelly

Steve Poltz: Old Museum, Fortitude Valley Joan Baez: QPAC Concert Hall, South Brisbane

The Music Presents

Slacksmiths + The Dickersons + Belligerent Goat: Sonny’s House of Blues, Brisbane

Bad//Dreems: Woolly Mammoth 16 Oct, Miami Shark Bar 17 Oct

Jack Bratt: The Bearded Lady, West End

Laura Marling: The Tivoli 21 Oct The Phoenix Foundation: Woolly Mammoth 23 Oct Dan Kelly: Black Bear Lodge 23 Oct Mumford & Sons: Brisbane Riverstage 7 Nov Lachlan Bryan & The Wildes: The Milk Factory 28 Nov A Day On The Green – Paul Kelly: Sirromet Winery 29 Nov Mew: Max Watt’s 4 Dec Father John Misty: Max Watt’s 6 Dec Bully: Woolly Mammoth 12 Dec Bluesfest 2016: Tyagarah Tea Tree Farm 24-28 Mar

Shameem: The Menagerie, Kelvin Grove Day Ravies

O’ Little Sister: The Triffid (Front Bar), Newstead

A Beautiful Day

Thu 08 Ry Duo + Elbury + Josh Lovegrove: Beetle Bar, Brisbane Hannah Cameron + Kate Golding + Inigo: Black Bear Lodge, Fortitude Valley Devils Kiosk: Brisbane Jazz Club, Kangaroo Point

Riding off the release of their album Liminal Zones, Day Ravies will be filling up The Bearded Lady with their experimental indie pop music, kicking off the weekend on 9 Oct. Ger Fennelly: Mick O’Malley’s, Brisbane

Toxic Holocaust + Bullet Belt: Crowbar, Fortitude Valley Open Mic Comedy Night + Various Artists: Dog & Parrot Tavern, Robina Boyz II Men: Eatons Hill Hotel, Eatons Hill Wood & Wire + Louise Denson: JMI Live, Bowen Hills

Jimi Beavis

BB & The Kings: Solbar (Lounge Bar), Maroochydore Fait Accompli: The Bearded Lady, West End Vallis Alps + Banff + Golden Vessel: The Brightside, Fortitude Valley Yowie feat. Air Max ‘97 + Simo Soo + Madboots + Scraps: The Foundry, Fortitude Valley Mike Waters + Robbie Miller + Neighbour: The Milk Factory Kitchen & Bar, South Brisbane

Purling Brook: Habitat Restaurant & Bar, South Brisbane Jabba + Locky: Irish Murphy’s, Brisbane A Tribute to Nebraska feat. Chris Dale + Ben Ely + Adam Toole (Mexico City) + Matt Somers + Seja + more: Junk Bar, Ashgrove Boyz II Men: Jupiters, Broadbeach Tea Society: Lock ‘n’ Load Bistro, West End One Sound: Logan Diggers Club, Logan Central

Jai Ray Sparks: The Triffid (Beer Garden), Newstead

Go Van Go

Fri 09 Alby Carter + Nathan Bruen + Tyrone Noonan + The Drafts + Venus Envy: Albany Creek Tavern, Albany Creek Inhuman Remnants: Beetle Bar, Brisbane

Dammit Abbott The Milk Factory will be hosting Jimi Beavis on 9 Oct, as he commentates his fascination with Abbott’s political journey through singles Python Squeeze, Cobra Strike and The Butcher, supported by Suicide Swans and The Mighty Kind.

Breve + Shady Bliss + Full Flower Moon Band + Pawrisol: Black Bear Lodge, Fortitude Valley Go Van Go: Boardriders Coolangatta, Coolangatta Jason Derulo + T.I. + Austin Mahone + Pia Mia: Brisbane Entertainment Centre, Boondall Song Fwaa: Brisbane Jazz Club, Kangaroo Point

Des Reid: Loving Hut, Mount Gravatt


Rock’n’rolling their way down the east coast, Go Van Go are stopping over at The Bearded Lady on 10 Oct with Electric Suede to for their Kill City: Switchblade EP launch.

King Louie + Uke Pete: Burleigh Brewing, Burleigh Heads Danny Widdicombe: Cardigan Bar, Sandgate

Jackie Marshall + Robin Waters + Edward Guglielmino + Shem Allen + Rob Joblin + Charlie & Tony + Sian Evans: Junk Bar, Ashgrove

Before You Go-Go

Blind Man Death Stare + Spitfireliar + The Flangipanis + Crookes Face + Friends With The Enemy: Crowbar, Fortitude Valley CKNU + Rumblefish: Eat Street Markets, Hamilton

Andrew Mackey Duo: Mick O’Malley’s, Brisbane Pete Murray + Garrett Kato: Racehorse Hotel, Booval Peter McFarlane + Sidewinder: Royal Mail Hotel, Goodna

Gigs / Live The Guide

Hands Like Houses

Houses Of The Holy After the spring release of Dissonants, Hands Like Houses are getting ready to hit the shores of the UK and US. See them before they jet off at The Brightside on 15 Oct with Lower Than Atlantis and Far Away Stables.

Sat 10

Metal United Down Under with Silent Knight: New Globe Theatre, Fortitude Valley

Death Rides A Horse + Suicide Country Hour: Crowbar, Fortitude Valley

Trophy Eyes + Apart From This + Raccoon City Police Department: 38 Berwick Street, Fortitude Valley

Metal United Down Under: Railway Hotel, Bundaberg North

Progressive Tan: Lock ‘n’ Load Bistro, West End

The Pro Tools + BMX Ray + Big Bongin Baby + Punktilious: Beetle Bar, Brisbane

Brendan Leggatt + Matt Stillert: Royal Mail Hotel, Goodna

Cheap Fakes + The Mouldy Lovers + Fat Picnic: Miami Marketta, Miami

Silent Feature Era: Black Bear Lodge, Fortitude Valley

The Delta Riggs + The Vanns: Solbar, Maroochydore

Ger Fennelly: Mick O’Malley’s, Brisbane

Brisbane Contemporary Jazz Orchestra + Ingrid James: Brisbane Jazz Club, Kangaroo Point The Spirit of Bundaberg Festival feat. Antipodean Rock Collective + Eden Mulholland + Zefereli + Young Dingoes: Bundaberg Rum Distillery, Bundaberg East 2015 Youngcare Benefit Concert feat. Bernard Fanning + #1 Dads + Mosman Alder + Julian Morrow + more: City Hall, Brisbane Metal United Down Under with Afterlight + I Met The Maker + Frayed & The Fallen + Daywalker + Undermine The Supremacy + Nescient + Misguided + Gutter Tactic + Exiled In Eden: Commercial Hotel, Nambour

The Brains Trust + Esese + Walrii (Dark Morass): Solbar (Main Stage), Maroochydore

The Bon Scotts + Hemingway: Eat Street Markets, Hamilton

Nights On Ocean: Solbar, Maroochydore

Vulture St Tape Gang + Esese: Greaser Bar, Brisbane

Speakeasy: Solbar (Lounge Bar), Maroochydore

Berst + Locky: Irish Murphy’s, Brisbane

Jesse Morris: Statler & Waldorf, Brisbane

The Lost Cause + Blind Man Death Stare + Why The Face + Common Enemy: Kirra Sports Club, Coolangatta

Ed & Eddy: Story Bridge Hotel (Corner Bar), Kangaroo Point DJ Graham Fisher: Story Bridge Hotel (Shelter Bar), Kangaroo Point Benedek & Moon: TBC Club (The Bowler Club), Fortitude Valley Diamonds Of Swing: The Arts Centre Gold Coast, Surfers Paradise

Musique: Logan Diggers Club, Logan Central

Diva Demolition

Jimi Beavis + Suicide Swans + The Mighty Kind: The Milk Factory Kitchen & Bar, South Brisbane Neel Kolhatkar: The Tivoli, Fortitude Valley

Basenji: Woolly Mammoth, Fortitude Valley

William Shatner: QPAC (Concert Hall), South Brisbane

Cameron Milford: Statler & Waldorf, Brisbane

David Garnham & The Reasons To Live + Dan Horne: Solbar, Maroochydore

Go Van Go: The Bearded Lady, West End

DJ Jamez Brown: Story Bridge Hotel (Shelter Bar), Kangaroo Point Khan Harrison: Sunhouse, Coolangatta


Khan Harrison + Mid Ayr + Angharad Drake: The Milk Factory Kitchen & Bar, South Brisbane

Zombie Demolition Diva Demolition start off the Home Dirt Tour after their wild European adventures. Get into the Halloween spirit early with their new release Rock The Zombie, at Ric’s Bar on 15 Oct alongside Being Jane Lane.

Cheap Fakes + The Mouldy Lovers + Fat Picnic: The Triffid, Newstead Weightless In Orbit + Therein + Kodiak Empire + Indica: The Zoo, Fortitude Valley

Ben Cummiskey: Solbar (Lounge Bar), Maroochydore

Woodboot + Martyr Privates + Sydney 2000: The Foundry, Fortitude Valley

The Snowdroppers + Food Court + The Eagle Junction: The Brightside, Fortitude Valley

Shameem + Tiarni Cane + Danae Patrice: The Loft, Surfers Paradise

Woodlock are hitting up venues around the country to share the release of new EP Sirens, stopping over at Woolly Mammoth on 17 Oct with Young Vincent and Neighbour.

Trophy Eyes + Apart From This + Racoon City Police Department: The Brightside, Fortitude Valley

Brewers Cricket Club 2015 Fundraiser feat. Goldstool + Bloodgin + Jack Judson Campbell Corpse + Punktilious: The Boundary Hotel, West End

Far Away Stables: The Lab, Brisbane

Knock On Wood

Katia Demeester: Lock ‘n’ Load Bistro, West End

Day Ravies: The Bearded Lady, West End

Brisbabes #1 feat. MKO Sun + Gabriella Cohen + OK Badlands: The Foundry, Fortitude Valley


The Snowdroppers + Food Court + The Strums: The Spotted Cow, Toowoomba John McLaughlin + The 4th Dimension: The Tivoli, Fortitude Valley Pete Murray + Garrett Kato: The Triffid, Newstead Shameem: The UpFront Club, Maleny Street Pieces + The Kinetics + The Common Deers + The Drafts: The Zoo, Fortitude Valley World’s End Press: Woolly Mammoth, Fortitude Valley

Tropkillaz + Bar 9 + Trumpdisco: Max Watt’s (formerly The Hi-Fi Brisbane), West End Alter Egos + Murphy’s Pigs + Ger Fennelly: Mick O’Malley’s, Brisbane

Sun 11 Brisbane Big Band: Brisbane Jazz Club, Kangaroo Point

Dreeming Of Dogs Adelaide guitar rockers Bad// Dreems are coming to Brisbane as part of the tour for their debut LP Dogs At Bay. Catch their aggressive live show at Woolly Mammoth 16 Oct and Miami Tavern 17 Oct. Support from Green Buzzard.


Comedy / G The Guide

These Guys: The Bearded Lady, West End Sick Of It All: The Brightside, Fortitude Valley

Club, Logan Central

The Creases

Ardijah: Max Watt’s (formerly The Hi-Fi Brisbane), West End

Hannah Rosa + Post Dusk + Jeremy Hunter: The Foundry, Fortitude Valley

Candice Bliss: Mick O’Malley’s, Brisbane Evol Walks: New Globe Theatre, Fortitude Valley

Shameem + Astrid: The Milk Factory Kitchen & Bar, South Brisbane

The Paul Kelly Experience: A Celebration of Songs & Stories with Johnny Porta: Redcliffe Cultural Centre, Redcliffe

Raising Phoenix Fundraiser feat. Mick Medew & The Rumours + The Predators + Sabrina Lawrie & The Hunting Party + The 52 Pickups + Weezal + Some Jerks + Lovejoy Surf + DJ Earthling + more + Raising Phoenix: The Triffid, Newstead

Crescent City Players: Royal Mail Hotel, Goodna Cheap Fakes + Fat Picnic: Solbar, Maroochydore

Triffid Roots feat. Andrea Kirwin + Micka Scene: The Triffid (2pm), Newstead

Harlem Gray: Statler & Waldorf, Brisbane

Jaakko Eino Kalevi + Ben Ely + Seja: The Zoo, Fortitude Valley

DJ Jamez Brown: Story Bridge Hotel (Shelter Bar), Kangaroo Point

Iron Your Shirt

Tue 13 KISS: Brisbane Entertainment Centre, Boondall Open Mic Comedy Night: Cecil Hotel, Southport (Hed)p.e. + Snot + Vessel Born: Woolly Mammoth, Fortitude Valley

Jad & The Ladyboy: TBC Club (The Bowler Club), Fortitude Valley

Thu 15

Des Reid: Loving Hut, Mount Gravatt

Airling + Lanks: The Foundry, Fortitude Valley

Euphony + Reud Mood + Faux Bandit: Beetle Bar, Brisbane

Abbath: Max Watt’s (formerly The Hi-Fi Brisbane), West End

Dylan Joel: Black Bear Lodge, Fortitude Valley

Aquila Young + Creature Kind + The Ruins: Miami Marketta (Studio 56), Miami

James Whiting Quintet: Brisbane Jazz Club, Kangaroo Point

Ger Fennelly: Mick O’Malley’s, Brisbane

The Ocean Party + Go Van Go: The Spotted Cow, Toowoomba

The Waifs + Mia Dyson: Nambour Civic Centre, Nambour

Rufus: The Tivoli, Fortitude Valley

Open Mic Comedy Night + Various Artists: Dog & Parrot Tavern, Robina Osaka Punch

Wed 14 Gavin Roche: Mick O’Malley’s, Brisbane Levingstone: Ric’s Bar, Fortitude Valley Cheers G’day + Caroline + Journeaux: Sonny’s House of Blues, Brisbane

Yowie feat. Simi Lacroix + Corporate Vibes: The Foundry, Fortitude Valley The Scrimshaw Four + Greshka + Pete Cullen: The Milk Factory Kitchen & Bar, South Brisbane

Tesseract + Caligula’s Horse + Plini: The Zoo, Fortitude Valley (Hed)p.e. + Snot + Vessel Born: Woolly Mammoth, Fortitude Valley


Columbus + Stone Hearts + Columbia Buffet + Sleepwell: The Brightside, Fortitude Valley

Conchillia + Sian Evans + Rob Longstaff: The Milk Factory Kitchen & Bar, South Brisbane

Ash Grunwald + Karl S Williams: The Triffid, Newstead Bad//Dreems + Green Buzzard: Woolly Mammoth, Fortitude Valley

Sat 17 Columbus: 38 Berwick Street, Fortitude Valley The Go Set + Topnovil + Army Of

Rufus: The Tivoli, Fortitude Valley The Ocean Party

Party On If cute jangle-pop is your thing then stroll over to The Spotted Cow, Toowoomba, 16 Oct and Black Bear Lodge, 17 Oct. You’ll find the guys from The Ocean Party playing tunes from their new album Light Weight.

Lifehouse: The Tivoli, Fortitude Valley The Waifs + Mia Dyson: The Triffid, Newstead

Diva Demolition + Alla Spina: Ric’s Bar, Fortitude Valley Hands Like Houses + Lower Than Atlantis + Far Away Stables: The Brightside, Fortitude Valley

Zoo Brawl Osaka Punch celebrate their homecoming at The Zoo on 17 Oct with Shanghai and RVLR. Expect tunes from their debut Voodoo Love Machine and a live film clip recording for an upcoming release.

The Rubens: Tanks Arts Centre, Edge Hill

The release of single Point sees The Creases hit the road for the first time in forever. With a mix of old and new tunes, they’ll be supported by The Good Sports and Donny Love at The Foundry on 17 Oct.

Fri 16 Nick Barker & The Heartache State + Leichhardt + Mermaid Avenue: Beetle Bar, Brisbane Aquila Young: Black Bear Lodge, Fortitude Valley Step It Up: Brisbane Jazz Club, Kangaroo Point Gabrielle Lambe: Burleigh Brewing, Burleigh Heads

Breeder’s Choice

Jesse Morris: Cardigan Bar, Sandgate

Sydney-bred electronica artist Basenji is playing at Woolly Mammoth on 9 Oct as a part of his Trackpad EP tour. Mutual Friend DJs, Darwin Steeze and Polba will join in on the explosive night of dance music.

The Go Set: Coolangatta Hotel, Coolangatta Boney M feat. Maizie Williams: Eatons Hill Hotel, Eatons Hill Conchillia: Lefty’s Old Time Music Hall, Brisbane

Basenji. Pic: Munya Chawora

Purling Brook: Habitat Restaurant & Bar, South Brisbane Berst + Locky: Irish Murphy’s, Brisbane Dan Brodie: Junk Bar, Ashgrove Mantra Trio: Logan Diggers


Comedy / G The Guide

Champions + Crooked Face + Rogue Scholars: Beetle Bar, Brisbane

Helloween: Max Watt’s (formerly The Hi-Fi Brisbane), West End

The Ocean Party + Cool Sounds + Martyr Privates + Keep On Dancin’s + Dag: Black Bear Lodge, Fortitude Valley

Bad//Dreems + Green Buzzard: Miami Tavern (Shark Bar), Miami

Robbie Williams + Lawson: Brisbane Entertainment Centre, Boondall Mal Jennings Jazz Giants: Brisbane Jazz Club, Kangaroo Point Diva Demolition: Brothers Ipswich, Raceview Marc Maron: City Hall, Brisbane Bertie Page Clinic: Coolangatta Hotel, Coolangatta



Bootleg Flyers + Ger Fennelly: Mick O’Malley’s, Brisbane New Empire: Old Museum (All Ages), Fortitude Valley

Bakosfield Honky Tonkin’ Band + Mojo Webb: Royal Mail Hotel, Goodna Masters Of Rock Show: Souths Sports Club, Acacia Ridge

Bree De Rome: Statler & Waldorf, Brisbane Ed & Eddy: Story Bridge Hotel (Corner Bar), Kangaroo Point DJ Panda: Story Bridge Hotel (Shelter Bar), Kangaroo Point

Solo Soul Sista

Dead Shades + Vulture Circus + Acid On Andy: The Bearded Lady, West End I Killed The Prom Queen + A Breach Of Silence + In Ashes We Lie + Avarice’s Fall: The Brightside, Fortitude Valley

Movin’ Velvet-voiced Airling is adding to an already stellar year with a national tour of her fierce new track Stallin’. See the R&B songstress in action, along with Lanks at The Foundry, 16 Oct.

The Paul Kelly Experience: A Celebration of Songs & Stories with Johnny Porta: The Events Centre, Caloundra The Creases + The Good Sports + Donny Love: The Foundry, Fortitude Valley

Broadbeach Tavern, Broadbeach Ger Fennelly: Mick O’Malley’s, Brisbane

Buddy In Concert with Scott Cameron: The Tivoli, Fortitude Valley The Basics + William Crighton: The Triffid, Newstead

Woodlock: Woolly Mammoth, Fortitude Valley

The Waifs + Mia Dyson: Tanks Arts Centre, Edge Hill Jimi Beavis + The Hi-Boys: The Bison Bar, Nambour Alekka: The Milk Factory Kitchen & Bar, South Brisbane

First Pr-eyes

Smackdown Improvised Comedy: The Milk Factory Kitchen & Bar, South Brisbane

Punk-rocking quintet Trophy Eyes will be tearing through Brisbane on their current national tour. It’s one of their last appearances before visiting Europe and the UK, so get down to The Brightside, 10 Oct.

The Ocean Party: The Time Machine, Nambour

Conchillia: Eat Street Markets, Hamilton Rocktoberfest: Irish Murphy’s, Brisbane

Sun 18

Montaigne: Lake Kawana Community Centre, Ingham

Valtozash Big Band: Brisbane Jazz Club, Kangaroo Point

Silk: Logan Diggers Club, Logan Central

Sounds On Sunday with Bad Pony + Jakarta Criers + Benny D Williams:

Triffid Roots feat. Luke Morris + The Genes: The Triffid (2pm), Newstead Thy Art Is Murder + Aversions Crown + Feed Her To The Sharks + Colossvs: Woolly Mammoth, Fortitude Valley

Tue 20 Rufus

Mary J Blige + Jill Scott: Brisbane Convention & Exhibition Centre, South Bank Conchillia: Brooklyn Standard, Brisbane Open Mic Comedy Night: Cecil Hotel, Southport Topology + The Kransky Sisters: Ipswich Civic Centre, Ipswich John Bishop: The Tivoli, Fortitude Valley The Fall: The Zoo, Fortitude Valley

The Right Way Rufus return from the US festival season with a new record on the horizon. Come celebrate new single You Were Right with the anticipation of new tunes at The Tivoli on 15 & 16 Oct.


Trophy Eyes

DJ Graham Fisher: Story Bridge Hotel (Shelter Bar), Kangaroo Point

Kate Heart + Ella Fence + Lauren Napier: The Milk Factory Kitchen & Bar, South Brisbane

The Waifs + Mia Dyson: Townsville Civic Theatre, Railway Estate Born Free + Time Crisis + Broken + Hurricane Death: Crowbar, Fortitude Valley

Shameem is currently on tour, bringing her intimate soul performances to venues around the nation. She comes to The Menagerie 7 Oct, The Loft in Surfers Paradise 9 Oct, The UpFront Club 10 Oct, and The Milk Factory 11 Oct.


The Music (Brisbane) Issue #103  
The Music (Brisbane) Issue #103  

The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...