17.08.16 Music / Arts / Lifestyle / Culture
Brisbane / Free / Incorporating
get ting your hea d around
brisbane festival tour: de a d le t ter circ us
come dy: trevor no ah
Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council
2 • THE MUSIC • 17TH AUGUST 2016
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Music / Music / Arts / Lifestyle / Culture
Scottish heavyweights Simple Minds and US new wave outfit The B-52s have announced they’ll be heading to our country next February for a joint headline tour and a series of Day On The Green winery shows.
Hey Missy Acclaimed Aussie songwriter Missy Higgins will be hitting the road this November and December for some exclusive headline shows, which will see the artist’s live band team up with some of the country’s leading symphony orchestras.
3 The track position of Courtney Barnett’s Elevator Operator on President Obama’s 19 song Summer Playlist – Songs For The Daytime.
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Hart Burn Lauded Aussie guitarist/ singer-songwriter Harts has unveiled a string of national tour dates that will run through September and October in support of his soon-to-be-released second studio full-length, Smoke Fire Hope Desire.
Arts / Li Music / Arts / Lifestyle / Culture
Having toured Australia at least three years running, it’s a surprise Passenger hasn’t moved here. This time is different, though — the English singer-songwriter is bringing a full live band Down Under for his headline tour next January.
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Hip hop frontrunner Drapht has announced a significant run of headline shows in honour of his imminent new full-length, Seven Mirrors, hitting the road in October. Drapht is also performing several shows at the end of the month.
THE DANDY WARHOLS
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WED 30 NOV Vices This Monday the first season of the new show from Eastbound & Down creators Danny McBride and Jody Hill, Vice Principals, will premier on The Comedy Channel, exclusive to Foxtel.
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THE MUSIC 17TH AUGUST 2016 • 7
Music / Music / Arts / Lifestyle / Culture
The Ocean Party
Rest Less, Party More
The Ocean Party have announced the release of their sixth full-length album Restless. True to the name the band will take their wandering feet on a massive 24-date national tour from September through November.
Raise You Glassellls Beloved Aussie songwriter Jordie Lane is back on the scene with his first fulllength studio LP in five years, Glassellland. To celebrate the release Lane has detailed a 14-date national tour in October and November.
The Mirth Dearth Perth artist Katy Steele has dropped new single Where’s The Laughter, the first taste from her forthcoming debut solo album Human, and, to celebrate, the singer has announced a string of headline shows around the country next month. Superheist
Ox’s Eleven The excitement is palpable for the return of Superheist who have announced Ezekial Ox as their brand new frontman, along with word of and new album in October and a national tour in November.
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Arts / Li Music / Arts / Lifestyle / Culture
Just weeks after announcing the first set of artists hitting the stage for the annual Mullum Music Festival this November, a fresh set of acts have been added including Skunkhour, Yirrmal, Julia Jacklin.
Olympic commentator: Ooh she was a millimeter off. What a piece of shit garbage person. Me: (eating a stick of butter) Piece of shit. @UNTRESOR
The Graduate Following the release of her acclaimed B-Grade University EP last month, Melbourne artist Alex Lahey has announced a string of shows starting in September, in what will mark her debut national headline tour.
THE MUSIC 17TH AUGUST 2016 â€˘ 9
Lifestyle Music / Arts / Lifestyle / Culture
Twelve months on from their debut EP Holy Sick Waax have revealed This Everything, the first single from their imminent follow-up EP. The track also comes with a tour announcement, with Waax hitting the road in September.
Jungle Boogie Cult favourite boutique event Jungle Love Music & Arts Festival has announced a massive line-up for this year’s third annual installment in November. Bugs, The Jensens, and Tijuana Cartel are among the 50 artists tapped.
14 The amount of years The Maccabees, who recently announced their intentions to part ways, were a band.
Popping In Acclaimed experimental musician Julianna Barwick has announced a whirlwind visit to Australia this October, when she’ll perform two headline shows - one each in Brisbane and Sydney - along with her appearance at the impending Melbourne Festival. 10 • THE MUSIC • 17TH AUGUST 2016
e / Cultu Music / Arts / Lifestyle / Culture
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Here’s a wrap of who’s just announced a new release:
Green Day – Revolution Radio
The 12th studio album for Green Day, Revolution Radio, will be out 7 Oct on Reprise/Warner. Mi-Sex are releasing their first new album in 33 years, Not From Here, available on 9 Sep via Golden Robot Records. Melissa Etheridge is releasing her new album Memphis Rock & Soul on 7 Oct via Stax Records. Vaudeville Smash will drop their LP The Gift on 26 Aug before hitting the road on a national tour.
Dogs In Space Leftfield hip hop and future bass purveyor Moonbase Commander has announced a national headline tour for latest single Greyhound. The Sydney-based artist will perform nine shows starting at the end of the month and finishing in September.
Falls Festival have announced dates and first headline act, Childish Gambino. The festival runs in Lorne , 28 - 31 Dec, Marion Bay, 29 - 31 Dec, Byron Bay, 31 - 2 Dec and in Fremantle 7 & 8 Jan.
The Pretty Reckless are returning on 21 Oct with their third studio album Who You Selling For via Razor & Tie/ Cooking Vinyl Australia. Norwegian duo Darkthrone will drop their first release since 2013, Arctic Thunder, on 14 Oct through Peaceville/Rocket. Joyce Manor have announced that their new album Cody will arrive in stores on 7 Oct via Epitaph. The new studio album from Devin Townsend Project, Transcendence, will hit Aus on 9 Sep via Inside Out Music/ Sony Music Australia. Producer and DJ Just A Gent’s debut EP Stories To Tell will be released on 26 Aug through Universal. The first solo album from Keane’s Tom Chaplin, The Wave, will be released on 14 Oct through Universal.
THE MUSIC 17TH AUGUST 2016 • 11
, ent erp e S rt Bell m i t am Robe Dre
our picks of brisbane festival
ith over one million attending the music, arts, theatre, dance, opera and circus focused Brisbane Festival every year, there’s a tonne of events that cater to every taste. The festival has always embraced the eccentric, the unusual, the imaginative and the challenging aspects of music, art and theatre, celebrating the local Australian arts community and situating it firmly on the international stage. It’s no different this year, so here are some of our picks of the 2016 program.
Ar t From The Margins
15–18 Sep, Brisbane City Hall — Sandgate Room & Sherwood Room
13 Sep, Aurora Spiegeltent
This is the Australian premiere of this unique exhibition, featuring works from artists living with disadvantage or experiencing social isolation. Catch inspiring, creative and evocative works from creators who live with mental health issues, intellectual or physical disabilities or are homeless, with the intent of breaching the gap between worlds known and unknown to viewers. The exhibition responds to this year’s theme ‘Inside – Outside’, and is shown in partnership with Wesley Mission.
gr imm re ap ers Ahead of playing the title role in the new La Boite production of Snow White, Stephanie Pickett tells Steve Bell what it takes to be fairest of them all.
he Brothers Grimm’s classic folktale Snow White has been revisited many times in popular culture since it was first published more than two centuries ago. But while the intriguing tale covers many of the human condition’s darker impulses, very few of these revisits have been self-described as being “bloody and brutal as deer-kill”. This is precisely the vibe that the new La Boite and Opera Queensland (under the auspices of Brisbane Festival) production Snow White is setting out to capture. Focussing on the treachery, the betrayal and the blurred boundaries between good and evil rather than cute dwarves singing saccharine work songs.
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“First and foremost, don’t bring the children!” laughs Stephanie Pickett, who plays Snow White in the new production. “That’s actually the slogan of the show, so that’s probably the main difference. It’s a fairy tale in a loose sense but it’s really dark and totally reinvented - you could probably say in the vibe of Edward Scissorhands. It’s dark, it’s twisted but also really cool - there are a lot of really important themes and imagery that arise throughout the play, and it asks a lot of really important questions. I think it probably relates more to the original Grimm version of the tale rather than the Disney version, that’s for sure.
The pop princess of Sydney, Montaigne is smashing her way on to the Australian music scene with flair and her cinematic, thoughtprovoking brand of pop that challenges the boundaries of the genre. Her debut record Glorious Heights and accompanying lead single Because I Love You follows a string of sold out national tours. Montaigne was the recipient of FBi Radio’s Next Big Thing Award, triple j’s Unearthed High and she has been named by Tone Deaf as one of Australia’s most talented young musicians.
“It’s been totally reinvented: it follows the established story line to some extent, but we’ve got a brilliant playwright Suzie Miller onboard - she’s actually a librettist whose tightened all the writing and made it amazing. And it’s been totally composed with all new music as well, which is really exciting.” Naturally playing Snow White means Pickett has a pivotal role in proceedings (notwithstanding any time spent in an apple coma). “There’s only four people in the cast, so it’s really evenly split throughout the show between the four characters,” she tells. “There’s the Queen, the Mirror, the Huntsman and I, and it’s quite intense for all of us. But I guess playing the title role I want to do a good job and do the character justice - own it, I guess, so I’m just trying to do the best that I can at that.” Pickett can usually be found fronting local folk-pop outfit Ella Fence, so she’s no stranger to the stage, although this new
: ow ned ies, Bl v utto Unb yn Da w Ger
Unbut toned // A Festival O f Gender, Ar t And You 15–18 Sep, Metro Arts This mini festival spans four days — from Thursday to Sunday — in which visual art and film confront audiences with the question: “What does it mean to be in these bodies? What new ways can they lock together? How do we do gender, how do we undo gender? What hurts, what thrills, and what’s possible?” Take part in the Wank Bank Masterclass, view the world through the eyes of others in the Gender Gaze exhibition, sing until your lungs a horse at Femioke and catch new comedy.
outlet has involved a steep learning curve. “It’s been an incredible professional development exercise for me to undergo,” she enthuses. “It’s been so much fun, but there are definitely some things that I can bring back to being frontwoman of the band and that kind of thing. Being part of a production like this is incredible - we’ve got so many people onboard, there’s like
I think it probably relates more to the original Grimm version of the tale rather than the Disney version, that’s for sure.
Perspectives: Asia – “Popular Culture And The Representation Of Asian Australia” 22 Sep, GOMA Australia prides itself on being a multicultural community, one that strives for inclusiveness and diversity. This Australian premiere features a panel of speakers, including Michelle Law, Tony Ayres, Mandy Chang and Aaron Seeto, who question the representation of Asian-Australians in the media and popular culture, and whether it is up to date with their true lived experiences and histories.
In ting Wri
e ers Rev
Wilting In Reverse 20–24 Sep, Theatre Republic – QUT Creative Industries, The Loft Multi award-winning Stuart Bowden [Before Us, She Was Probably Not A Robot, The Beast] dons his blacks and a green facebeanie in this space-age, musical explosion set in the year 2085. It’s a play about a play about a life in reverse. He blends his unique DIY style with lo-fi music, playful writing and storytelling, physical comedy and some vigorous dance moves in this fifth installment of his solo works.
choreographers and a drama tech and someone who’s composing all of the music and writing all of the lyrics and words and that kind of thing. “It’s awesome to be a part of something that’s so structured like that, because you can bring skills back to your own show as well as apply new skills to this work too. It’s been a really cool learning experience.”
What: Snow White When 3 - 24 Sep, Brisbane Festival, Roundhouse Theatre tt icke ie P han p e St
THE MUSIC 17TH AUGUST 2016 • 13
Break On Through Trevor Noah chats with Guy Davis about life dedicated to stand-up and the correlation between his boxing background and comedy.
o stress” are the first words we hear from Trevor Noah, and he’s sounds surprisingly convincing uttering them. That’s not to suggest that the South African standup comedian and host of The Daily Show should be stressed personally. However, given that not just America but the world seems to be reaching new flashpoints on a regular basis, and that it’s part of The Daily Show’s — and by extension, Noah’s — job to help defuse the most incendiary of current affairs with a few well timed gags and well lobbed truth bombs, one could easily assume that Noah might be feeling a bit of pressure.
So over time I came to realise that even if I didn’t believe in myself at the time, there were other comedians who did.
Nope. No stress. Noah is even-tempered, goodhumoured, affable to the point of professional and polished. He is bringing his stand-up act to Australia in August for his “third or fourth” visit, a location he regards as “genuinely electric” when it comes to comedy punters. “Australian audiences have this unhindered joy — they’re not afraid to enjoy themselves — but they also have a real appreciation for material that is dry or even scathing,” he says. But it’s not only Australian audiences Noah holds in high regard, it’s Australian comedians. After all, a couple of them helped him muster up the courage and drive to take his act beyond the borders of South Africa and take a shot at the world stage. “I got to do a lot of shows in a
14 • THE MUSIC • 17TH AUGUST 2016
short space of time in South Africa, and I got to work with some really great comedians,” he says. “One of those comedians, who became a friend and mentor to me, was from Australia — it was Kitty Flanagan. She was one of the first people who said to me ‘You should come to Australia; you should perform in other countries.’ She was in the UK at the time and said I should do my act there, which was something I’d never thought of doing before. But once I did I never looked back. “Carl Barron said the same thing — we were doing shows together in South Africa and he said I should come perform in Australia. So over time I came to realise that even if I didn’t believe in myself at the time, there were other comedians who did. That’s how I started touring the world doing stand-up.” Even before landing The Daily Show hosting gig in 2015, Noah was already becoming well known for his comedic prowess; his understated, stealthy style, which humorously and intelligently tackled the everyday, the absurd and the provocative, won him fans worldwide. “It still feels exactly the same,” he says. “There’s a strange connection that takes place automatically between you and the people, and luckily that’s something that doesn’t go away when you’re doing a stand-up show, regardless of how big your audience has become. “The stage provides me with a space where I can communicate with people more intimately; I can communicate with people I’ve built a relationship with over time. So that’s why I love getting out and getting on stage — it’s a totally different experience [from The Daily Show] when I get to explore a different side of my comedy.” And Noah will explore yet another side of his comedy with the November release of his first book, a collection of essays about growing up in apartheid-era South Africa titled Born A Crime. “I don’t like to think of it as a memoir,” he says. “It’s just me telling my stories up to this point, stories I haven’t been able to share on stage. Stand-up for me has to have a purpose, and some stories I have may not be great for the stage but they’re good to share with people — they don’t fit in one format but they work in another.” The mechanics of Noah’s style as a stand-up have links to his youthful training as a boxer, he says. “Boxing influenced my comedy in terms of my mentality and the way I tackle things. With boxing, you learn to be calm, you approach situations holistically and you prepare yourself for your purpose. And that extends to my comedy as well — I come into a venue thinking ‘What am I trying to do? How am I trying to do it?’ and I then try to stick to that as I do my performance. “What makes comedy such a fantastic tool is the ability it has to connect people,” he says. “That’s what I’ve always seen it as. It’s a beautiful platform for sharing with people and making people feel good. I’ve had people come up to me after shows and talk about how they were suffering from sadness or having a tough time with their family and how comedy made them feel better.”
What: The Daily Show With Trevor Noah 11.25pm Tuesday to Friday on Comedy Central When & Where: 23 Aug, Brisbane Convention & Exhibition Centre
Sleep When You’re Dead Dead Letter Circus are donating some money from ticket sales, during their upcoming tour, to Sea Shepherd, which is something frontman Kim Benzie tells Carley Hall his band have always wanted to do.
hen Kim Benzie answers the phone, one can almost hear a slight sense of relief. Stepping out of the studio amid writing for a fourth Dead Letter Circus album, this interview has given the frontman a much-needed break. “I hadn’t looked at the time for a couple of hours. I needed to get out of the room,” he laughs. After a busy start to the year touring the US, and gearing up for their impending 11-date The Burning Number tour around the country, it hardly seems like the most ideal time for penning an album. But that’s how the five-piece have always worked their magic.
I think it’s because of the lack of Big Day Out and Soundwave. It feels like alternative rock is actually more alternative at the moment.
“Because we’ve been writing a new album, we kind of haven’t been in the headspace of all our songs and it’s always a bit of a shock for the first couple of days, so we dived back in,” Benzie says. “But I’m liking it. I always have a moment where I’m like, ‘Far out, we wrote a really good song!’ “This is the downtime — the writing process. It’s my favourite part. I’d say the writing is quite relaxing; hitting the studio is where the stress kind of picks up a little bit more, because you’ve got deadlines and you’re burning money every hour basically. This time right now is pretty much the most chilled thing about being in a band.” What Benzie considers the band’s downtime is something they should enjoy for now, because the Brisbane lads’ touring schedule is a wild beast, which will
rear its head again with a run of dates across Europe in October. Not that playing a veritable marathon of shows is anything new for them. Rising from the ashes of lauded Brisbane alternative bands Ochre and Melodyssey in 2008, DLC have become a well-oiled machine and figurehead for the genre, sharing stages with alt/prog-rock brethren Karnivool, Cog and The Butterfly Effect in the early 2000s and beyond. Despite the recent limelight for younger guns like sleepmakeswaves, Twelve Foot Ninja and Hands Like Houses, Benzie interestingly argues that alternative music has returned to being just that: alternative. “I feel like maybe the scene was bigger back then because there was more alternative music at touring festivals,” he admits. “I feel like because of the electronic music dominance in Australia right now, that’s what’s more [in demand] at festivals. It feels like it’s a little bit more underground at the moment, like, the size of the stages that we were going on back then were bigger; I think it’s because of the lack of Big Day Out and Soundwave. It feels like alternative rock is actually more alternative at the moment.” Fans will undoubtedly be happy to catch the band on any stage — festival or not. But Dead Letter Circus’ The Burning Numbers tour isn’t just your average moneyspinner run of shows. The five members have put their names and money behind Sea Shepherd, with $1 from every ticket sold going towards helping the crews fight whaling boats and other marine causes. For Benzie, the mission is a personal one, but it’s one shared by the band as a whole. “When our new manager took us on we said one thing we’ve always wanted to do is to incorporate our shows with some kind of cause,” he explains. “And he had a connection with the guys at Sea Shepherd Australia. It was just such a perfect, easy fit; we wanted to search out a charity where all the money wasn’t going towards setting up an office somewhere. “It’s such an amazing organisation — they don’t care about red tape, about what bureaucracy says: they just do what needs to be done. It’s It s so inspirational from an outside point of view. I’ve already supported it personally, but to be able to do this — even for someone who’s never heard of them before that jumps on the website to see what Sea Shepherd does — for us would be incredible.” With high hopes for what the tour will yield, Benzie has work to do in the meantime. Returning to the studio to keep chipping away at the shape of this new album, the inevitable questions arise before he has a chance to dash off: can you give us a taste of it? “I really can’t!” he laughs. “We never really plan the direction or anything, we just let it kind of fall out. That’s what we’re doing now and it’s pretty much a bit of everything; from stuff that we’ve been doing from right back at the start, there’s a progression but a hint of the past as well. “But it’ll be [out] next year. We’re a pretty good pressure-cooker band, we’ve set goals for the studio for the start of 2017 to have, like, a mid-year release.”
When & Where: 25 Aug, Brunswick Hotel; 26 Aug, SolBar, Maroochydoore; 27 Aug, The Triffid THE MUSIC 17TH AUGUST 2016 • 15
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16 • THE MUSIC • 17TH AUGUST 2016
Tim Morrissey of The John Steel Singers tells Liz Giuffre about his wife coining the term ‘post-yacht’ to describe their latest release Midnight At The Plutonium.
e’ve heard lots of different takes on our new album — my wife calls it ‘post-yacht’, as in ‘post-yacht rock’,” lead John Steel Singer Tim Morrissey explains of the band’s newbie, Midnight At The Plutonium. “She did say never to say that to anyone, but I love it so much, we’re going to roll with it.” The new album for the Brisbane band has been more than a few years coming, and if “post-yacht” doesn’t turn you on as a teaser, then frankly, dear listener, you need to take a good hard look at yourself. To be fair, Midnight At The Plutonium is less about getting out on deck in your chinos than about an epic ‘70s funk-styled night out, but the dreaminess vibe remains. In addition to singles Weekend Lover and Can You Feel The Future, it’s hard to go past the magic that is Luke Perry’s Lips. Ah, ‘90s fanboys and girls — it’s a moment to relive some love. “Yeah, lots of people have been drawn to that one,” says Morrissey, unsurprised. “Often when we have a jam we come up with just a placeholder name to go in the song, and I don’t know why Luke from our band [McDonald, guitar], came up with that particular name. But then when it came to writing the lyrics he was able to keep that theme in there as well, so it fit really well the
whole album’s flow.” Not only is it a draw, but the track, and the album’s “retro-futuristic” style begs a bit of research for the young ones listening, too. “Yeah, a lot of kids listening to [our] music probably weren’t even born when 90210 was in its heyday,” he continues. Scary how quickly pop culture moves. While the band stops short of calling Midnight At The Plutonium a concept album — “I think it’s a bit of a dirty word,” says Morrissey — the idea of capturing one type of event is something that appealed in terms of consistency and focus. “With concept albums it’s easy to do hits but also misses, so we’ve got a theme that’s focused, but not constricted.” The album starts at midnight, then draws the listener through “the hours of darkness in the club all the way through ‘til dawn, making the track listings run through smoothly too”. In addition to the band, Morrissey has also taken over a major venue in Brisbane, Black Bear Lodge. “It’s a pretty well known venue on the Brisbane touring scene, and you know, we’ve been touring extensively for like ten years and not doing uni or anything else, so after a while you’ve got to start thinking about what else to add,” Morrissey explains. Along with the bar, The John Steel Singers also built their studio for the new release, The Plutonium, which they recorded in as well as developed to hire out. So far Cloud Control and Tame Impala have set down sounds down there. Morrissey jokes he’d happily be the Sam Malone of the place in a Cheers-like set up, “or there’s that Louis CK series Horace And Pete, set in a bar, that kind of vibe would work too”.
When & Where: 19 Aug, The Spotted Cow, Toowoomba; 20 Aug, The Triffid
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THE MUSIC 17TH AUGUST 2016 • 17
They Grow Up So Fast The Foundry turns one year old with a massive party on Thursday night, so get along and help celebrate one of the city’s finest live music haunts with sets from Velociraptor, Straight Arrows and more.
How Do You Identify?
Conscious Uncoupling Indie-math-jazz-rock wonders Seahorse Divorce called it a day with a killer final show at the Woolly Mammoth last week, and we were there to help say goodbye – read up in the Live section!
Did you see that Jungle Love festival line-up? Fifty-three excellent acts across three stages in idyllic surrounds, with nary a triple j Legionnaires’ hat to be seen? We are here for this. Go check it out online.
At Least The Music Is Good The Suicide Squad soundtrack beat local hero Bernard Fanning to the #1 spot on this week’s ARIA chart, because apparently the filmmakers really had to get one thing right. Just a pity it wasn’t the actual movie.
Doing The Job
Billy Corgan is the new president of Impact Ventures, the parent company of TNA, aka pro-wrestling’s silver medal. Kind of fitting, since TNA was only founded in the first place to assuage the egos of fading stars.
Back In The Hole Just really quickly, can anyone explain why golf is an Olympic sport? No, really. We are legitimately curious as to what that’s all about. 18 • THE MUSIC • 17TH AUGUST 2016
Kevin Barnes may be on his 14th album with of Montreal, but he isn’t coasting. For Innocence Reaches, the maverick founder, frontman and multi-instrumentalist has embraced “EDM” - kinda. By Cyclone.
aunched in the mid-’90s, of Montreal has long been associated with the wonkier side of indiedom - Barnes traversing such styles as vintage psychedelia, glam-rock and funk. Of Montreal’s last foray, 2015’s Aureate Gloom, made amid Barnes’ (amicable) separation from bassist wife Nina Grottland, referenced New York art-rock. But, in Innocence Reaches, he’s created something more free and festive - electronic dance music. Barnes has “dabbled in” synth-pop before - initially on 2005’s The Sunlandic Twins. Yet, with Innocence Reaches - cut in Paris - he’s consciously responded to contemporary EDM, citing Jack U and techno-type Arca as inspirations. “I’ve always liked dance music and always had fun working with that style of production - doing drum programming and layering synthesisers,” Barnes says. In fact, Innocence Reaches is a sophisticated - and hybridised - nu-disco LP. Barnes deems it “an esoteric record” even for him. If in the DJ scene the term “EDM” now carries a corporate stigma, underground genres like house again dominant, then Barnes is blissfully unaware - its application to Innocence Reaches came from his label. “I don’t even know the difference between techno and house - I’m not that deeply involved in it,” he acknowledges. “I just like some electronic dance music. I’m not like a connoisseur on any level of it. I just think some of it sounds cool
- some of it sounds forward.” Equally eyebrowraising is the album’s lead single, It’s Different For Girls - Barnes’ ironic critique of female stereotypes and gender essentialism. “It’s different for girls,” he sings. “They’re not numbed by oppression.” The song might serve as his HeForShe pledge. “I have an 11-year-old daughter [Alabee], so I think on some level that influenced me and changed my perception about what the female experience is like,” Barnes explains. “I can understand how it might seem strange for someone to think of a man writing a song that could be on some level considered an attempt at writing some sort of feminist anthem. But that wasn’t really my aim. It’s really just musings, or observation, on the subject and definitely not trying to write the definitive feminist anthem. It’s just one man’s opinion about that topic.” Different again, the video celebrates inclusivity - depicting the LGBTQ ball subculture, Barnes resplendent in drag. Increasingly interested in gender identity issues, Barnes introduced his Georgie Fruit alter-ego, a black transexual funk-rock star, on 2007’s conceptual Hissing Fauna, Are You The Destroyer?. He assumes a manifestation of this fluid “persona” in of Montreal’s disruptively theatrical live shows (last seen Down Under in 2009), describing it as “a very liberated version of myself - a more extreme version.” “I’ve been doing a lot more drag recently in video shoots and photo shoots - and the next tour will be very drag-heavy,” Barnes reveals. “I think it’s a great activity for people to explore their sexuality, their gender identity, and broaden their view of themselves. Sometimes you need some sort of physical representation of that. So dressing up and getting into this character can be very therapeutic and enriching and fulfilling in a different sort of way.”
What: Innocence Reaches (Create/Control)
The Art Of Making Yap In between fits of laughter, Alan Carr discusses sticking a selfie stick up Justin Timberlake’s trouser leg, whether or not guests have literally pissed themselves on his chat show and why there’s no such thing as “funny heckles” with Bryget Chrisfield.
n Italy “yesterd’y”, Alan Carr is back in London in time for our chat and gushes of the country shaped like a boot, “Beautiful food, beautiful wine, beautiful people - what’s not to love?” When told we’re pretty sure the beverages Carr downed while abroad would’ve tasted a lot nicer than the refreshments he offers guests on his chat show, Alan Carr: Chatty Man, Carr admits, “Oh, yes, you bet”. So whose job is it to keep that infamous “globe” stocked? “Well what we say to people is, we say, ‘Is anyone going on a holid’y? Like, a European holid’y? You’ve got to bring something [back] that’s no more than five euros.’ And someone came back from Greece once and I swear that it was like mauve with multi-coloured iron filings in. It was just so, haha, disgusting!” Now we’re wondering how often the gold foil leather sofa needs professional cleaning. “What when someone’s pissed themselves? Or vomited?” Carr jumps in before laughing hysterically. “It’s been close, it’s been close, hahahahaha.” A 16th Series of Alan Carr: Chatty Man aired this year and Carr shares, “As you go through the series you get less and less starstruck ‘cause you sorta realise that everyone’s sort of the same, really”. “When you see the guests arrive - normally I look out the window and they’ve got, like, a tracksuit on and they’re smokin’ a fag and there’s stains down their trousers,” Carr explains, before admitting, “I was [starstruck] when Justin Timberlake came on. I was a little bit, ‘Ooh, JT!’” When told this scribe prefers to call said triple threat Justin Trousersnake, Carr doesn’t miss a beat. “Ooh, have you slept with him?” We wish! Doesn’t everybody? “Well,” Carr chuckles. “No. I mean, I need proof, though. I need photographic evidence [laughs].” Photo or it didn’t happen? “Yeah, stick a selfie stick up his trouser leg or something,” Carr cracks up. He’s already penned one autobiography, Look Who It Is!: My Story, and Carr reveals, “I’m writing a new one at the minute that’s coming out this Christmas”. The follow-up to Look Who It Is!: My Story focuses on his TV career: “The troubles with TV and showbiz and stuff, you realise it is quite a nasty business as it were.” And Carr Googles himself for research purposes: “You put in ‘Chatty Man’ and press
Pointing at your crotch going, ‘Put this out’? That’s not banter.
search and you’re like, ‘Oh, god, please be kind!’ So it’s a bit like wadin’ into a sewer... I know you’re a journalist, but, you know, sometimes there’s been, ‘I never said THAT!’ And the thing is, I am such a bitch that people can put whatever and go, ‘Ooh, Alan’s on the turn, Alan’s ‘ad a few wines’. I’m like, ‘No, I didn’t say that, I think - I didn’t say it!’ hahahahahahaha.” On the subject of political correctness, Carr ponders, “Personally, I’m not a big fan of those comedians that will joke about rape. And I think [with] some of the male comedians there is a sense of, ‘Oooh, I’m being so edgy!’ And that’s not really me.” Carr then observes, “Everyone is offended now, and everyone wants to be offended, which is the interesting thing. But if a joke’s funny I’m gonna go for it, but I’m not setting out to have people crying or walking out.” Given that audiences these days want to be part of the experience, we wonder whether Carr has noticed an increased number of hecklers over time. “You don’t get funny heckles,” Carr points out. “If anything you just get, [puts on bogan voice] ‘Ugh, you’re shit!’ So, I mean, there is, like, this myth that Oscar Wilde’s in the audience... sadly, it’s more odd bods.” And quite often it can be pretty hard to decipher what punters call out. “You sound like you’ve got your head in a urinal at the best of times... I did this warm-up gig and it didn’t go that well, and the fire alarm went off halfway through. And so the fire brigade had to call, and I was trying to calm ‘em down; everyone was panicked. And this woman was absolutely paralytic; she’d been stopped drinks at the bar and then was like pointing at her crotch shouting at the fire brigade, ‘Put this out!’ And I said, ‘Look madam,’ I said, ‘We’re trying to put it out’. There wasn’t a fire as it happened, but I mean it was all pretty scary and I thought I’d stay on stage, calm everyone down; I didn’t wanna just leg it. And then on Twitter they go, ‘Oh, Alan Carr can’t handle the banter!’ And I’m like, ‘Banter? Pointing at your crotch going, “Put this out”? That’s not banter’.”
What: Alan Carr — Yap, Yap, Yap! When & Where: 23 Aug, Queensland Performing Arts Centre
THE MUSIC 17TH AUGUST 2016 • 19
Jeremy Neale (Velociraptor), Amy-Rose Lawson (Whalehouse), Tiana Khasi and Jessi Dunbar (Astro Travellers). Pic by Terry Soo.
The Foundr y
The Foundry is throwing a huge party to celebrate its first birthday, securing itself as a landmark venue with sold-out shows from Last Dinosaurs, Montaigne, The
1st Bir thday
Belligerents, Tame Impala and more. To help celebrate you can catch Velocirapotor, Golden Vessel, Straight Arrows, The Jensens, Astro Travellers, Whalehouse and YUUCA, smashed in with a bunch of special surprises from 8pm on 18 Aug.
20 â€˘ THE MUSIC â€˘ 17TH AUGUST 2016
THE MUSIC 17TH AUGUST 2016 â€¢ 21
Amity Addiction Carousing was once first priority for Aussie metalcore favourites The Amity Affliction. Bassist/ vocalist Ahren Stringer tells Brendan Crabb how recent events necessitated re-evaluation.
s stirring as their achievements are both here and abroad, even The Amity Affliction have humbling moments occasionally. Such as their recent appearance at Belgium’s Graspop Metal Meeting festival, where The Music confesses to being among the masses who eschewed their set, which clashed with main stage heavy-hitters like Iron Maiden. “I can’t fault you for that,” bassist/vocalist Ahren Stringer laughs. “We noticed we were up against someone big because it was probably the smallest festival show we’ve played.”
Playing the shows came second and getting pissed was number one priority half the time. But I think as we’ve gotten bigger as a band and older and wiser as humans that’s definitely dawned on us.
“That was honestly the only time [we’ve clashed] though, but it was still an amazing show.” Outwardly, said obstacle may seem an anomaly for an outfit whose previous record, 2014’s Let The Ocean Take Me, registered platinum sales in Australia despite the industry’s free-falling state. That LP was accompanied by extensive international touring and burgeoning popularity. However, rigours of the road were consuming screamer Joel Birch, whose grapples with depression and anxiety are well-documented. Following completion of new record This Could Be Heartbreak, Birch, 34, and now a father, began attending AA meetings. 22 • THE MUSIC • 17TH AUGUST 2016
When Birch presents his latest lyrical purging, does it take time for band-mates to process the emotional depths depicted? “He’s been giving me dark lyrics like this since day dot, so it’s nothing really new to me,” Stringer reflects. “I might even be a little bit desensitised by it. But the darker they are, the more I enjoy reading them, think they’re great lyrics full of passion. But I’m not his counsellor, so I’m not going to be like, ‘is there something you want to tell me?’ kind of thing. I think his way of letting out the demons are on paper. So once he’s written these songs he’s already, almost opened up to the world, and it helps him through whatever he’s going through in his head.” It concerned Stringer that touring was exacerbating Birch’s turmoil. “I would definitely be an enabler as well. It’s just been kind of like that since the start. We’ve always gone on tour and just got pissed every night. Eventually that does come to a head, and you’ve got to go, ‘alright, we’re getting old now. Something’s got to give’. I think definitely for him it was around the end of the recording process and it all kind of unfolded. He was, ‘enough’s enough, I’ve got to clean myself up’. We’ve all kind of taken that on board. That last tour he was completely sober and seems a lot happier. If you’re struggling with depression or clinical depression like he does, you’re just throwing gasoline on the fire by drinking... It’s just part of the lifestyle we lead, it’s hard to stay away from that. But he’s got to eventually because you can’t just get pissed every day forever or you’re going to be headed to an early grave.” Meanwhile, 30-year-old Stringer and other members have seemingly made a concerted effort to take a more measured approach to partying. “I guess now, yeah. Back in the day... Playing the shows came second and getting pissed was number one priority half the time. But I think as we’ve gotten bigger as a band and older and wiser as humans that’s definitely dawned on us. It definitely inspires you to take the job more seriously whe it hits you, ‘fuck, we’re quite big, and playing big, when imp important shows’.” There’s plenty at stake, including a new record that cou elevate them a few additional rungs up the heavy could mus ladder. This Could Be Heartbreak has massive music cros crossover potential, particularly the title track. The Music que queries if it has consciously entered Amity’s mindset c to craft a track that could introduce them to a broader aud audience. “Not on purpose, no, but me and Dan [Brown, guit are huge pop fans... Dan’s a huge pop-punk fan. guitar] It wasn’t intentional, it wasn’t our sell-out song by any means, ‘cause it’s still very heavy in the verses. I doubt we’ll get much commercial radio play out of it anyway.” What exactly entails “selling out” nowadays confounds anyway - the term seems nigh on redundant. “Who knows? When rap stars make it, they start putting out garbage and making money, everyone’s like, ‘yeah, he made it’. It’s applauded, whereas in this genre it’s definitely not.”
What: This Could Be Heartbreak (Roadrunner Warner) When & Where: 19 & 20 Aug, The Tivoli
A Kav In The Life In the lead up to the performances of Beatles Back2Back, we grabbed Kav Temperley to give us an insight into his history with and love of the Fab Four.
av Temperley of Eskimo Joe is taking part in Beatles Back2Back, where two albums widely regarded as the best of all time − Abbey Road and Sgt Pepper’s Lonely Hearts Club Band − will be performed back to back in their entirety and in orginial song order. Also performing at the show are Russell Morris, Jack Jones and Jon Allen, with all four out front of a 15-piece band. Here Temperley gives us his take on The Beatles. On when he discovered The Beatles: “I seem to have discovered each album in order, songs like Twist & Shout really appealed to me when I was very young, but by the time I was ten years old I thought Maxwell’s Silver Hammer was amazing. So from very early on I started memorising chords and melodies.” On the first Beatles record he purchased: “I remember having a lot of crappy cassette recordings but I’ve probably bought Abbey Road and The White Album about 20 times each.” On his favourite Beatle: “I’ve always loved Lennon’s songwriting, but being a songwriter myself its very hard to separate where one person’s idea begins and the other’s end. Lennon and McCartney certainly taught me a lot about collaboration.”
On Abbey Road Vs Sgt. Peppers as the greatest: “Sgt. Peppers... is inspiring and has A Day In The Life, which is one of my favourite songs of all time. I do come back to Abbey Road as it sounds so good sonically and the drums and bass at the start of Come Together is like a warm hug.” On his Beatles hidden gem: “Honey Pie on The White Album is amazing, you only need to listen to the Pixies cover version of the song to hear its true potential.” On performing true to the original vs. putting his own spin on things: “Being a total Beatles-o-phile I do try and stay quite true to the tunes, but I also have one of those strange pokey voices that sticks out like a sore thumb wherever it is, so I will probably end up somewhere in the middle.”
When & Where: 25 Aug, QPAC Lyric Theatre
THE MUSIC 17TH AUGUST 2016 • 23
Gold Coast street culture is set to explode and Shakafest — the newest skate, graff art and music festival in town — is jumping on the plunger. We spoke to some of the bands lined up to play the upcoming event taking place 27 Aug at Miami Tavern on the Gold Coast. What’s the best thing about the Gold Coast scene? Talis Letts [Trapdoor]: The Gold Coast has an underrated musical collaboration happening. Also, you often see bands that
sound completely different in the same lineups, which keeps it interesting.
by TAG. The simplicity of the model just screams old school and class.
Who are you keen to check out at Shakafest? Kurt Pearce [Radolescent]: Drapht because of the hype on stage, Dune Rats because they are always good, Von Villains ‘cause they rock and Jurassic Nark because they party hard.
When’s the last time you threw up a shaka? Lachlan McGuffie [Ivey]: I think it was definitely on the Elsewhere (best place on the Gold Coast) dancefloor on Sunday night, I just chucked up a shaka at my best mate Jack as we boogied away.
If you had a tag, what would it be? Mitchell Watterson [Lotus Ship]: A penis or Tina from Bob’s Burgers (I do a mean Tina).
Ben Crichton [Peach Fur]: When mum said the surf was up. Skaka! For the full interviews go to theMusic.com.au
Jack Field [Von Villians]: A Grand Carrera, although I’m a big fan of all watches made
24 • THE MUSIC • 17TH AUGUST 2016
The Worst Break Ever Paul Reid has decided to be Drapht again. He tells Brynn Davies about being a creepy boss, waging war on Zomato and getting email addresses off a band in Byron to prevent hard feelings.
or anyone who has ever worked in hospitality, the idea of ditching a music career to take a ‘break’ by opening a restaurant would seem utterly insane. Paul Reid - who you’ll know as Drapht - found that out the hard way. “Oh my god, I don’t know what I was doing for that period of time in my life,” he laughs. “It sort of reaffirmed why I started music in the first place. I was writing constantly when I had the restaurant, writing just because I love writing music, just to get shit off my chest.” He regales The Music with tales from the kitchen, managing his cafe Solomon’s and laying down tracks simultaneously. “I would literally just be like the homeless guy mumbling with my headphones in, just
I would literally just be like the homeless guy mumbling with my headphones in, just writing on my phone. My staff would have thought I was fucking mad.
writing on my phone. My staff would have thought I was fucking mad. And I would always ask my staff ‘do you remember this pop reference?’ just to see if it was still relevant. And they’d be like ‘na’ and I’d be like ‘fuck, scrap that line.’” If running a budding hospitality business wasn’t stressful enough, he had gripes with the industry itself. “It’s so gruelling, [the] lack of appreciation. And there’s Zomato [the new Urbanspoon] that’s just a fucking waste of everyone’s time and hell on earth and shreds apart organically grown local business, but also family run business. People lose everything, and I’m so fortunate that I had an opportunity to sell when I did and not lose
a thing... But I’ve had friends within that industry that just get taken down by a bad day, and the review system and people not forming a community and just ripping to shreds an establishment without knowing details behind it. It’s a shitty, shitty industry,” he vents. This frustration ended up on Seven Mirrors in the form of Scumday (Skit), a 1:39 minute track featuring Briggs as a snobbish, troublesome reviewer. “Briggs and I just tried to amalgamate that whole idea around the Australian mentality within hospitality... The beauty with Briggs is that he can switch on wanker mode at the drop of a coin, you know? He’s really good at that if he needs to be,” Reid laughs. The ill-fated time-off allowed Reid to find his creative passion once more after quitting music off the back of his fourth record Life Of Riley. In fact, there was so much to write about that he ended up with 13 leftover songs. “I had an album previously ready to go, and I released [Dancin’] John Doe [in 2015] which was on the album. And then I was like, ‘this is not ready. I’m totally not ready,’” he explains. After acknowledging the seriousness of his demo-itis, he reached out to producer Styalz Fuego “to give me a bit of clarity... that wasn’t that constant debilitating inner dialogue that I put myself through with every record process... Like a bunch of those songs, nearly 80% of that record we wrote in a six-month period. I probably used maybe, shit, four of the songs off the original album,” he realises. Seven Mirrors “is a loosely based conceptual record that revolves around the relationships within your life... the Seven Essene Mirrors.” “Say with Rapunzel, I sorta got consent from my ex-girlfriend to release that song... [When she] realised it may not have been the most positive song, she sorta went back on it and just thought ‘holy shit, everyone knows that’s me, and you’ve ruined my life.’ It’s pretty awkward and I do feel terrible at times, but I don’t know where to draw the line. I release a lot about my personal life with my music because I believe that people relate to honesty more than anything else, and if I’m vulnerable on an album then people can understand who I am as a per person, not just an artist.” Concerning the record’s multiple collaborations, his favo favourite story is about discovering new talent 19-yearold Bradley Stone. “I was walking down the street in Byr Byron Bay in the middle of Groovin The Moo and I hear this kid’s voice. I was going for a drink with a friend of min mine and I just ignored it... Half way through I couldn’t sto stop thinking about this voice and Monsoon in particular. So I raced over and he was packing up, so I said ‘hey man, can I just grab an email off you?’. He didn’t know who I was or what I did, he had no idea and I didn’t tell him. And then he whispered in my ear ‘hey man, can you ask for my band’s email as well? So I had to ask for all these kids’ emails just like a fuckin’ pedo,” he laughs.
What: Seven Mirrors (The Ayems/Sony) When & Where: 25 Aug, Magnums Hotel; 26 Aug, Harvey Road Tavern; 27 Aug, Shakafest; 6 Oct, Wharf Tavern, Mooloolaba; 7 Oct, The Triffid; 12 Nov, Park Sounds Festival, Strathpine THE MUSIC 17TH AUGUST 2016 • 25
Eat / Drink Eat/Drink
Matcha Mylkbar’s Mushroom Latte & Blue Algae
Pic: Brock Boslema
Chaga mushrooms have a long history of being brewed into health tonics, but making them into a “frothy cuppa” is pretty fresh thinking. Inspired by “ancient Chinese medicine”, the mushroom latte blends the fungi with vanilla, brown rice malt and almond milk for a vegan treat. Blue algae is apparently one of the most nutritious, vitamin-packed and protein-dense foods to be found inside or outside ponds, so it was only a matter of time before someone tried to harness it as a tasty beverage. The Smurf is as blue as its namesake and jammed with natural anti-oxidents.
Coffee has come a long way from ‘white ‘n’ two sugars’. We have a look at a few of the alternative latte trends beginning to spread. Nut Latte
Pic: Brock Boslema
Peanut Butter Lattes aren’t uncommon, but they’re usually more liquid Reese’s Pieces than pick-me-up. Serotonin Eatery are changing that with creamy lattes made from plant-based proteins and nut butter. They also make a mean cocoa coconut latte from 70% dark chocolate and organic coconut milk.
Turmeric Latte Often dubbed the Golden Latte, this antiinflammatory immune booster is made from powdered turmeric root, ginger and cinnamon. Served with almond or soy milk, it’s a great healthy way to get your morning pep without caffeine. Pavlov’s Duck Melbourne, Bondi Wholefoods Sydney, The Silva Spoon
Serotonin Eatery Pic: Brock Boslema
Beetroot Latte Exactly what it says on the label, the Beetroot Latte gains a vivid scarlet hue from its main ingredients: a mix of fresh beetroot juice and dehydrated beetroot powder. Enjoy it with or without a shot of coffee, or maybe even some cinnamon or vanilla. Matcha Mylkbar, Folk Café Byron Bay, The Silva Spoon Pic: Brock Boslema
26 • THE MUSIC • 17TH AUGUST 2016
THE MUSIC 17TH AUGUST 2016 â€¢ 27
The Kill Devil Hills
Have You Heard
Answered by: All of Whalehouse
When did you start making music and why? The gang got together for a hootenanny back in late 2015. We started for fun and we’re still having a good time! This Whalehouse party train will never slow down because the party never stops.
he Kill Devil Hills use the dictionary to describe their sound: “Cacophony, noun. A harsh discordant mixture of sounds.” Emerging from the “Fremantle Flower Arrangement scene circa 2003, the KDH have consistently failed to heed the cries of ‘stop!’, ‘retire now!’ and ‘silence!’ and emerged intact to recently release our fourth studio album In On Under Near Water, a sonically redolent bouquet of angsty noise,” laughs singer and guitarist Brendon Humphries. “Making the new record has been my most enjoyed experience. I love the whole writing, recording, mixing process very much. As for shows, touring around Europe a couple of times rates as the most fun, exhausting, ape-pack experience for me; a Contiki tour devised by Satan.” They take their inspiration from the most unlikely places, Humphries cites “Animal field recordings — they make music too — singing gospel tunes with my girlfriend, she’s got the greatest voice, andc film soundtracks — the theme from Contempt by George Delerue is one of the most beautiful pieces of music I’ve ever heard.” He also provides a very compelling reason to see the band live: “Because we don’t come here very much, and you may get hit by a bus or an amateur skydiver tomorrow, embrace us like an old flame and you may just get lucky.”
When & Where: 26 Aug, Woolly Mammoth
Sum up your musical sound in four words? Rowdy troublemaker good-time punk. If you could only listen to one album forevermore, what would it be and why? It’s An EP Of A Time - Whalehouse. Greatest rock’n’roll moment of your career to date? When we get a room full of fresh bread lovers and convert them to haters in a matter moments.
Website link for more info? facebook.com/whalehouseband
Why should people come and see your band? Whalehouse is like your fave dessert, crunchy but sweet! See you soon! Woohoo!
Pandamic Have You Heard Answered by: Rhys Adams When did you start making music and why? I started making my own music when I was about 14. You get sick of learning covers after a bit! It’s way more fun when you can make your own sound from scratch, I reckon! Sum up your musical sound in four words? Drunk, problematic rock’n’roll. If you could only listen to one album forevermore, what would it be and why? Pink Floyd - Dark Side Of The Moon. It’s the only album I’ve heard a billion times and haven’t got sick of yet ha ha. Greatest rock’n’roll moment of your career to date? This one time at our farewell show in rocky me, Joe [Scriha] and Lyle [Hardy] all jumped in for a crowdsurf at the same time and finished our last song on top of the crowd. It was legendary. Why should people come and see your band? Joe has a third nipple that he will be more then happy to whip out, and you will love it.
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When and where for your next gig? 18 Aug, The Foundry’s first birthday. Come eat cake and dance with us!
When and where for your next gig? 19 Aug, The Bearded Lady; 20 Aug, The Northern, Byron. It’s gonna be wild as heck, bring your nanna and your first aid kit. Website link for more info? facebook.com/PandamicMusic/
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Great Expectations THE BIGSOUND BUZZ STARTS HERE Alice Ivey
And so we begin our list of notto-be-missed acts for this year’s annual BIGSOUND showcase. Remember, we are never wrong about these things.* Alice Ivey If this young Melbourne soul singer is not yet on your radar then your radar needs a tune-up. Ivey’s Almost Here jam with RaRa is already in our Best Of 2016 list. Take a listen.
West Thebarton Brothel Party A few years back Bad//Dreems made everyone at BIGSOUND take notice. Can these fellow Adelaide garage rockers repeat history? We think they should.
Allan Smithy We love Smithy. A LOT. The Melbourne singer’s indie-Australiana is timeless and we have his Four Letter Reason track on high rotation here. *Sometimes we’re wrong
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Tassie punks Luca Brasi have been pondering life’s big questions, but frontman Tyler Richardson tells Steve Bell that there’s always something cool around the corner.
f This Is All We’re Going To Be — the third album by hard working Tasmanian punk quartet Luca Brasi — is like a distillation of the sound they’ve been working towards for years: angsty yet melodic rock’n’roll with driving guitar lines, pounding drums and anthemic choruses, tied together by an innate camaraderie that can only come from years of shared toil and experience.”We’ve been fucking around with this thing for six years trying to get the formula right and it kinda felt like it clicked with this record,” smiles vocalist/bassist Tyler Richardson. “That’s the go with the title and everything, it was like, ‘This is our time to make it or break it, if no one likes this record then fuck it, we can’t do any better than that.’ But it hasn’t come to that, so we’re pretty stoked. “We just wanted more melody and to focus on the songwriting a lot more, and we took every single song apart a whole bunch of times and put them back together again. [Lead single] Aeroplane was like our yardstick, like, ‘Let’s get a cohesive record that has all of the elements of the last two albums but focus on the melody and make big songs that have big hooks.’ That was our goal, that was what we were hoping for.” The huge singalong nature of these new
songs is undeniable — evidenced on their recent run supporting good mates The Smith Street Band — but there’s also a definite depth to the lyrics being belting back at them in the live sphere. “Listening back it does seem that in the majority of my lyrics, without really meaning to, there’s a really personal feel — I don’t know how to write anything else except out of my experience,” Richardson ponders. “I guess I’m a pretty anxious sort of person and I overanalyse every single thing that happens, and this is a good way for me to get that stuff out. There’s a lot of themes of distance and not knowing exactly what I’m meant to be doing as opposed to what I am doing or want to do. “You expect yourself to be something and somebody else expects you to be something, and that whole weight of expectation — even though it may not even be real — often seems to be looming over you to conform to what you’re meant to be doing, and I don’t even know what that is.” But while Luca Brasi songs pose plenty of life questions, they’re unfailingly uplifting in the end. “I don’t think I’ve ever finished a song which didn’t resolve or didn’t somehow come the other way around — I can’t write a song that doesn’t end up vaguely upbeat,” Richardson laughs. “There’s always some vague glimmer of hope shining through and I think that’s maybe a metaphor for how I think, how life is. If you don’t have that borderline bit of sunshine coming through then it’s going to be hard to get out of bed each morning.”
What: If This Is All We’re Going To Be (Poison City) When & Where: 20 Aug, The Zoo
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Itchy Sisters THE BIGSOUND BUZZ STARTS HERE Sampa The Great
Here’s a further round-up of mustsee acts playing at this year’s annual BIGSOUND showcase. Sampa The Great If you don’t know this name yet then you really have no idea. But if you know the name and haven’t caught her live, then this is your moment to experience her truly alt.R&B stylings.
Hideous Sun Demon The buzz coming from these guys isn’t just caused by their scuzzy guitar sound, the Perth outfit are as hot-right-now as their name would indicate.
Flowertruck Our office has been flogging Sunshower so much it’s almost our anthem of 2016. If you dig The Goon Sax and Big White, we suggest you climb on board the Flowertruck next.
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Industry veteran Ella Hooper and new talent Gena Rose Bruce share some laughs with Brynn Davies as they discuss femininity and how a sisterly relationship and an itch formed the Calamine Sisters.
ou would think that industry veteran Ella Hooper — lead singer of Killing Heidi, radio presenter and TV personality — would be like a mentor to 23year-old Gena Rose Bruce. But the pair, who perform together as the Calamine Sisters, are exactly that — sisterly love issues from the speakers as the two giggle and banter about their music, the tour and the lessons they’re learning from one another. “Gena’s much more educated musically than I am,” Hooper shares. “She knows the names of all the chords and,” “Ella’s like, the sound,” interjects Bruce, “and sometimes it takes us like half an hour to get the sound and it’s like ‘ahh, that’s what you were saying!’” says Hooper, and they burst into laughter. It’s an absolute joy to hear these two having so much fun, and it’s this friendship that has breathed new life into their music. Rather than tour in a traditional ‘support’ and ‘main’ act fashion, the ladies are performing one another’s songs together. “You can really get comfortable [performing solo] and then you’re not giving your audience something that is edgy and fresh and full of emotion because you’re a bit comfortable. So making ourselves into like a little band instead of main and support really did challenge us and made sure we were on the edge of
our tippy toes,” explains Hooper. So is this going to be a permanent act? “We don’t know!” they scream. “Possibly!” The pair met when Bruce was just a wee lass of 19 “four years ago, at a [competition] I was entering,” explains Bruce. “And she won it!” shouts Hooper gleefully. “She won it and I was the host of the program and I though ‘she’s amazing, an incredible song writer’. She was so young at the time... A total baby and a total babe.” “Yeah, and I was just scared to speak to Ella at the start!” admits Bruce. “I’m so scary,” Hooper teases. They’re all about fostering talented women in the industry — “Women who work hard, they’re not necessarily the ones getting the support already from triple j or whoever” — but avoid cliquey-ness: “They don’t have to fight to get to the top. Just rise to the top, so don’t stress. Don’t be a bitch,” says Hooper. They impart a lot of wisdom concerning feminine power, summed up as: “We can all work on just being a bit more fierce in real life... but we need to be okay to be vulnerable. Own it, it’s actually really powerful to cry, it’s powerful to communicate.” Their name sounds like something from the ‘50s Golden Era, but the origins are a little less romanticised. “It was just over lunch once with our manager. I think Ella said we were ‘itching to go’ and our manager was like ‘ah, you guys are like the Calamine Sisters!’” explains Bruce. Hooper elaborates when asked who the act is that their manager was referring to, “That’s exactly what I thought, it totally sounded like a thing!” Bruce explains that, “No, it’s like the Calamine lotion that you put on when you’ve got a welt or you’re itchy and hot and covered in hives. We were like ‘we are, we are itching!’ We’re the Calamine Sisters!”
When & Where: 18 Aug, The Bearded Lady; 19 Aug, The Beach Hotel, Byron Bay; 20 Aug, Night Quarter, Gold Coast
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Sweaty Palms Erstwhile Newcastle terrible twosome The Gooch Palms have carved out a new life for themselves in the City of Angels, and guitarist/vocalist Leroy Macqueen tells Steve Bell how it all still sometimes feels like a dream.
hen Newcastle garage duo The Gooch Palms — partners-in-crime Leroy Macqueen (guitar/ vocals) and Kat Friend (drums/vocals) — announced last year that they were pulling up stumps and moving to Los Angeles there were legitimate concerns about culture shock. “Moving from Newy to one of the biggest cities in the world was definitely quite daunting, but me and Kat are so determined to do what’s best for The Gooch Palms that we don’t really care if we’re not feeling totally comfortable, if that makes any sense.” The Gooch Palms carved out this American niche using just their stripped-back gonzo aesthetic and the cache of catchy garage-influenced bubblegum rock they’re
fond of describing as “shit-pop”, plus an inherent belief in what they’re doing. “We’d signed to [booking agent] Panache and that was kind of like the point when we thought we should move over [to the States], because we thought, ‘What’s the point of having a booking agent if we’re not going back?’,” Macqueen reflects. “We’d done one tour when we’d returned back to Newcastle and it was just so expensive hiring equipment and a car and booking hotels that we kinda thought that if we’ve got a booking agent it might be worth selling everything in Newy and moving over here — that was a year ago. “We didn’t really put a time limit on it, but then last year we ended up doing about 150 shows around America.”
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If you’d told me at 12 years old that this is where I’d be now, I would have said, ‘No way. There’s no way!’ I wouldn’t have even known how to get to Sydney! Macqueen explains how the follow-up to their slow-burn 2013 debut Novo’s may have been recorded in rural Michigan, but its genesis is nearly completely homegrown. “We didn’t have the whole record done back home, but most if it,” he tells. “We’d demoed ten of the songs in Newcastle two weeks before we flew over for our first shows in America last year, so three songs were written [in the States] but the record was pretty much done a year ago. “I think Trackside Daze was released on a 7” with a different version — that song and Ask Me Why were the two songs that kinda started the album songwriting-wise: it was, like, ‘Okay, I can kinda see where it’s going to go’. That’s kind of how Novo’s worked as well, we wrote two or three songs and then I could see where it was about to head. And I’m doing that now — I’ve demoed about 16 new songs, and I can already tell that there’s about two or three songs that are definitely keepers, and they’ll definitely steer where the next record will go for sure.” And although their songs are catchy as all get out, The Gooch Palms’ oddball lyrics are also an integral part of their charm. “I’ll basically just have my guitar and hum a melody, and then we’ll sit down and basically come up with a subject,” Macqueen explains. “Like with Trackside Daze we lived next door to a train track in Newcastle, so we chose that as the subject and then just started filling in the blanks. “Pretty much every Gooch Palms song tells a weird story somehow, and that’s the only way we know what to write which is just exactly what happened. It will be interesting to see what happens now that we’re not living in Newcastle: where the next batch of lyrics will go is kinda exciting.” In the meantime, however, the pair are simply stoked about all their hard work coming to fruition. “Right now we’re able to afford to live just off the band, which is an insane thing,” he smiles. “Sometimes I look in the mirror when I’m feeling a bit shitty or whatever and then realise what we’re actually doing, and then I’m, like, ‘Holy crap! We’re just two kids from Newy now living in LA’, and if you’d told me at 12 years old that this is where I’d be now, I would have said, ‘No way. There’s no way!’ I wouldn’t have even known how to get to Sydney!”
What: Introverted Extroverts (Summer Camp Records) When & Where: 26 Aug, The Foundry; 8 Sep, BIGSOUND, Fortitude Valley
New doco Tickled looks at the world of competitive endurance tickling, but co-director David Farrier tells Steve Bell that lifting the sport’s veil is no laughing matter. ew Zealand documentary Tickled started out as a light-hearted look at competitive endurance tickling — but ended up uncovering an Americanbased online tickling empire willing to go to extreme lengths to punish even the smallest slight or scrutiny. Throughout it seems completely bizarre that a pastime so seemingly innocuous on the surface — albeit with obvious fetish overtones — could mask something so insidious, the filmmakers ultimately embroiled in an intricate web of intrigue as scary as it is surreal. “It started out as another two-minute whacky story for the end of the news,” explains journalist David Farrier. “I stumbled across [competitive endurance tickling] and saw that some New Zealanders had taken part, and Australians. So it felt very local to me, that’s why I reached out — ‘Oh my god, New Zealanders had taken part in competitive tickling in LA, and they’ve sent their audition tapes from New Zealand. Can I do a story?’ “Once they replied with such a big ‘no’ in various ways — whether through their personal emails or when they hired a lawyer in New York and a lawyer in Auckland — I just
thought, ‘There’s got to be more to this story than tickling.’” The initial emails to the openly gay Farrier from Jane O’Brien Media, the production company behind the tickling events, following his innocent inquiry were incredibly vitriolic. “It was this weird mixture of them being almost so extreme — they were so homophobic and then they went into almost weirdly racist territory — that I didn’t know whether to laugh at them or be offended by them, it was this really weird line because it was so full on.” Yet this pales into insignificance compared to the harassment campaigns unleashed on tickling participants themselves who fell from grace with the shadowy puppet-master. “Some people go on this tickling competition and they’re fine. They go and they take part and they fly home and they don’t hear anything of it,” Farrier explains. “But there’s a percentage of participants from competitive tickling who absolutely became a target of this harassment campaign.” While filming Farrier and collaborator Dylan Reeve stood firm in the face of pressure only the deepest pockets can apply, their perseverance unravelling the whole sordid affair. “There’s still lawsuits involved now so I can’t speculate on anything in particular,” Farrier tells, “but in a wider way I’d say that the film is intentionally a commentary on bullying and what it can do. It’s not like people magically turn into bullies, there’s usually a reason that they end up this way. Part of the hope is that people will walk out just thinking a little bit about bullying and the fact that it’s a big cyclical thing, and just not to start that cycle.”
“AFTER THE OLYMPICS” Vice Principals
If you’re over wall-to-wall sport or alternatively over the lack of programming against it, the networks have promised lots of content coming “After The Olympics”. Some have set dates and timeslots, others are in the ether still. Here’s just a few to look out for:
The Big Music Quiz: 28 Aug, Seven Will this panel show follow in the tradition of Spicks & Specks, or You May Be Right?
Gogglebox: 24 Aug, LifeStyle & 25 Aug, TEN Presumably they’ve filmed the participants watching the Olympics, so will be interesting to hear their take on it.
Fear The Walking Dead: 22 Aug, FX Now that Olly from Game Of Thrones is gone, will Chris from Fear The Walking Dead become the most hated character on TV?
The Block: 21 Aug, Nine Is The Block still a ratings juggernaut, or will it be knocked down by going against the local version of Survivor on TEN?
Vice Principals: 22 Aug, The Comedy Channel
If it’s by Eastbound & Down creators Danny McBride and Jody Hill, you know it’s gotta be good. THE MUSIC 17TH AUGUST 2016 • 35
Album / E Album/EP Reviews
Ball Park Music
Every Night The Same Dream Stop Start/Inertia
Album OF THE Week
Ball Park Music have always been consistent with their songwriting. While the band are increasingly distancing themselves from their earlier sound, their knack for writing kinetic rock songs has kept the Brisbane five-piece in good stead with fans as they switch between styles. Their fourth record is then somewhat of statement of identity from the band, recorded analogue to tape on a four-track recording machine in an attempt to replicate the sound and energy of their live shows. The first half of the album is loaded with gritty riffs, full of heavily distorted instruments and bustling with ambition. The cowbell during the percussive breakdown of Pariah recalls the type of monolithic dance jam you’d expect from a band headlining the rave tent at a music festival, which only lasts for a few ecstatic moments before the song changes gears again, as chugging guitars sneak back in and stray synthesiser notes start flying through the atmosphere. It’s the type of electric energy that can only come from people playing together in the same room. The second half is a mellower affair, although no less stubborn in its commitment to experimentation. The melodic sounds of Leef usher in a slew of songs that unwind into hypnotic guitar lines and breathtaking harmonies. A string section is employed at one point. Once the album nears its strikingly unsentimental finish, it just itches to be played again. Roshan Clerke
Considering the often fractious nature of Crystal Castles’ music, the end of the Alice Glass era shouldn’t have been a surprise to anyone. But focus on the grubby details, TMZ-style, The Music shall not, for this new album — underlined by a rebooted numeric subtitle — reins in a new vocalist, Edith Frances, and back-barges over old territories. Shove the volume up to 11 and Frances easily passes for Glass. This could be Ethan Kath’s most effective ‘fuck you’ to his former partner as he takes ownership of the brand, reducing Glass to being replaceable. But, as listeners, we are sold short by an opportunity to see what else he can do (and indeed, what powers Frances possesses). Distortion and overloading all frequencies is a bewitching technique masterfully executed (again) in the magnificently
When you’re this deep into your second decade of releasing Australian rap music, the question rings in your fans’ ears: “what does Drapht have to say that we haven’t heard already?” Monsoon answers eloquently. It’s packed with evidence of the further progression of Paul Reid’s delivery and his mastery of melody and pacing. Raindrops is illuminating. Midnight At The Hospice — a moving moment for fellow West Australian rap legend Hunter — is more than an interlude; a look to the future with the past firmly in mind. Funky closer Odds is arguably the album’s brightest spot; reflective, engaging and also fun. Monday Monday might be the clearest reflection of Reid’s progress. The Drapht of yesteryear would have treated this treatise on the under-appreciated as an opportunity to make a big, light-
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claustrophobic Concrete and psychotic Fleece. Frances could be calling for the canonisation of Tony Abbott or reciting a killer maple-bacon donut recipe for all we know, but these ghoulish parlour tricks have been heard before on records by both Crystal Castles and The Knife. Indeed, Char borrows liberally from Silent Shout’s terror calypso, evoking an 8-bit sun-kissed beach where the Dreijer siblings mix cocktails with a smack of formaldehyde. When Sadist takes off from O Superman’s (Laurie Anderson) exit ramp, Amnesty (I) feels all the more like a placeholder while the new Crystal Castles discover and redefine themselves. Mac McNaughton
hearted, self-deprecating joke. Indeed, he may have adopted a character as a protagonist for the story. The new Drapht is more considered, and more easily able to come to grips with the points of view of those around him when they might differ from his own. There’s still fun to be had with this record — after all, growing up is as much about embracing your past as it is about letting it go — but this is the most adult we’ve seen Reid on record, notwithstanding the heavy subject matter he has confronted throughout his career. A reinvigorating listen. This veteran clearly still has a few tricks up his sleeve. James d’Apice
EP Reviews Album/EP Reviews
Victim Or The Heroine Hit The Ceiling
After a five-year break between albums, due to her struggles writing new material while moving to London, Lisa Hannigan is back with a majestic album. Slow. mesmerising ballads Prayer For The Dying and Funeral Suit showcase Hannigan’s beautiful swooning vocals. Anahorish is a layered, a cappella masterpiece; so simple yet so gorgeous. We The Drowned is a bit dark but still astounding vocally. Her sound is very alternative, with hints of folk-rock along the way, and every song is so different from what’s come before. Beautiful and graceful, At Swim is like a delicate flower.
Katie Brianna makes a masterpiece of an album where Americana tunes are mixed with country and roots to create a unique sound that pleases the ears. Birmingham has very strong Fleetwood Mac Dreams vibes, with similar guitar chords accompanied by Brianna’s beautiful, relaxed vocals. At times, the album’s rhythm guitar sounds a little country (Other Side Of The Road and Chemical Lies) — even the vocals have a hint of a country accent. Nobody tones down the album, with its slow graceful piano melody about love and heartbreak while Thorn In Your Side is perfect for slow dancing.
Indie-rock, with a hit of blues and roots, gives Mickey Cooper’s album a refreshing sound as heartfelt lyrics fill the air. John Curtin Hotel Freakout and Hangin’ On The Worry Tree are beautiful with their strippedback raw feel, with acoustic guitars and heart-on-sleeve lyrics that cut through the nonsense. The album has major Paul Dempsey vibes with Cooper’s roughed vocals and chilled out filling. However, with most of the album being very bare, after a while it feels a bit boring and sad, with no upbeat moments to keep the listener drawn in.
Geez it’s good to hear the familiar rock swagger of Perth trio Sugar Army again after nearly four years between records. Opening single Battles wails moodily from the get-go, settling into a slow groove around guitar tones of immeasurable fuzz. Moving into The Storm It Comes as frontman Pat McLaughlin’s high harmony sits shiny and wonderfully at odds with fat bass undertones, their third record BEAST indeed owns the meaty title. Plenty of great moments follow (particularly McLaughlin’s vocal vs the psych riff choruses of Gold Touch and Razor Heart), though as an album, well, whittled down it’s a bloody cracking EP.
More Reviews Online Faith No More We Care A Lot (Deluxe Band Edition)
Scott Walker The Childhood Of A Leader Soundtrack
Sharon Jones & The Dap-Kings Miss Sharon Jones! Soundtrack
THE MUSIC 17TH AUGUST 2016 • 37
Album / E Album/EP Reviews
Golden Sings That Have Been Sung
Michelle Zauner’s debut as Japanese Breakfast is a brief and beautiful thing, sharp at a distance, like a photo of a knife. At times it’s coated in sun-drenched synths like in The Woman That Loves You, at others it’s distant and despairing, hiding beneath the rocky guitars of Rugged Country. Whether lingering like they got there by accident, piercing and pleading, or popping with energy, her vocals are magnetically ungraspable and draw you steadily through the album. The gorgeous shoegazing instrumental shifts make thoughtful and necessary breathers between material that forces engagement everywhere else.
Do you believe the apocalypse is imminent? Well here’s some essential listening supplies for your reinforced bunker. Gonjasufi’s debut made waves thanks in no small part to producer Gaslamp Killer’s mad hatter psych-folk samples and Gonjasufi’s uniquely tortured vocals. For his second album, the singer has turned producer, with seriously disturbing effects. Just witness the ragged guitar meltdown of Manic Depressant or the feedback wash of Carolyn Shadows. Meanwhile the unearthly vocals of Prints Of Sin would be ideal for exorcising the guilt once the nukes start flying. Winter is surely coming.
Just as you think you’ve worked out what Ryley Walker is about, he moves the goalposts — sometimes only slightly, but enough so you can’t quite pin him down. There’s the currently fashionable indie-folk and pastoral-towards-hippie of I Will Ask You Twice, while the quietly stately piano of Funny Thing She Said adds an old school pop sensibility. Then the unspooling words and rich meanderings of The Halfwit In Me or The Roundabout head toward a kind of acoustic psychedelia. One plus point is having former Wilco multi-instrumentalist Leroy Bach directing these sometimes expansive conversations, so you end up with an album in which to lose yourself.
London duo Factory Floor splashed out on a stack of new gear for their second album, although you’d struggle to tell given its similarities to their debut. The formula remains pretty much the same; sparse, shuddering rhythm tracks that lock your body in with their compelling economy. The progress is found in subtle details, such as the palpating bass line to Meet Me At The End which might be there sexiest to date. While the layered hooks are a match for those of their debut, the lack of innovation may disappoint some.
Christopher H James
Christopher H James
More Reviews Online Soilwork Death Resonance
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David Brent & Foregone Conclusion Life On The Road
Listen to our This Week’s Releases playlist on
JOSHUA REDMAN/ BRAD MEHLDAU DUO The world’s hottest jazz duo makes their long awaited debut at QPAC SUNDAY 23 OCTOBER 2016, 6.30PM CONCERT HALL, QPAC BOOK NOW 136 246 | QPAC.COM.AU THE MUSIC 17TH AUGUST 2016 • 39
Live Re Live Reviews
sleepmakeswaves @ The Triffid. Pic: Terry Soo
sleepmakeswaves, The Contortionist, Tangled Thoughts Of Leaving The Triffid 13 Aug
sleepmakeswaves @ The Triffid. Pic: Terry Soo
sleepmakeswaves @ The Triffid. Pic: Terry Soo
sleepmakeswaves @ The Triffid. Pic: Terry Soo
sleepmakeswaves @ The Triffid. Pic: Terry Soo
40 • THE MUSIC • 17TH AUGUST 2016
sleepmakeswaves @ The Triffid. Pic: Terry Soo
The Triffid arguably has some of the best acoustics in Brisbane — a viewpoint never more apparent than when considering the kinds of sounds that tend to come from the predominantly instrumental bands of tonight’s hefty line-up. Getting things under way tonight are the gargantuan sounds of west coast fly-ins Tangled Thoughts Of Leaving. Wielding the dynamic spectrum like a paintbrush, they deliver strokes of controlled chaos that touche delicate highs and bone-shaking lows, often within the same song. A standout effort tonight is the epic, wideranging The Albanian Sleepover, Pt 1, which undulates between Mogwai-esque devastation and twinkling piano. Yield To Despair proves a similarly massive prospect, building on dainty piano and atmospheric noises before making room for gigantic, droning chunk. The Contortionist lull the crowd into a false sense of comfort with the atmospheric Language I: Intuition as frontman Mike Lessard brings in drawn out, polished vocal melody. There’s barely time to take it all in, though, before the angular and spasmodic discord of Language II: Conspire kicks in and Lessard switches it up to full-on beast mode. Lessard is a joy to watch, his metronomic bodily movements providing at least one point of rhythm to latch onto amid the swirling changes and time shifts. It’s a triumphant showing for the US visitors, and leaves us both solidly drained and yet thoroughly pumped for the night’s final performance. This show has been a long time coming for sleepmakeswaves; the Sydney post-rockers have been on the road in some form or another since early July, still championing
their excellent second album Love Of Cartography. To watch them in action, though, you’d never know the four-piece had been slogging away for any length of time at all. Each of the band’s members step up to put on a pitch-perfect and infectiously energetic performance of gut-punching,
A pitch-perfect and infectiously energetic performance of gut-punching, face-fucking, earhugging postrock excellence. face-fucking, ear-hugging postrock excellence. Those who witnessed them in this venue just over a month ago are treated to a somewhat revised set-list rife with high points — from the sudden explosion of opener Perfect Detonator, to the enduring favourite/standout A Gaze Blank & Pitiless As The Sun. Steering and swaying through the set’s diverse movements and emotions, it’s obvious that sleepmakeswaves have well and truly taken hold of their place at the forefront of Australia’s instrumental-rock scene. It’s a position they have more than earned through their work as prodigious songwriters and earnest, incredible performers. Come back any time. Mitch Knox
Paul Dempsey, Olympia The Triffid 12 Aug The punters doing bicep curls in the beer garden don’t know what they’re missing. Olympia is absolute dynamite, with
eviews Live Reviews
mastermind Olivia Bartley letting her voice sail. A twin microphone attack allows her to vocalise colourful stories and emotions in a really dynamic fashion. Her inventive guitar work is pushing St Vincent levels and, like her American counterpart, she manages to take off-kilter nodes and shape them to create weird pop bliss — like the tropical This Is Why We Can’t Have Nice Things. The trio stretch their set out a little longer than expected, much to our delight, and are utterly magnetic during their last stanza. Blue Light Disco features far more weight than the studio version, while the vox looping during Tourists creates grandeur — putting four, five, six Bartleys on stage. Olympia close with the undeniable Smoke Signals, immediately giving the feeling they’ll be back headlining this venue sooner rather than later. Depending on the way you hear him, Paul Dempsey could come across as a wise oracle, an honest lover or your introspective friend. Pretty much, the bloke can’t write a bad song, and tonight he’s strengthening the live experience for us with some fresh talent from his Melbourne locale. By the time Dempsey and his touring crew have taken their positions, the hangar contingent has swollen dramatically — the only Queensland date on his Strange Loop album tour is a sellout. Olympia pair Bartley and Pat Bourke are in tow as part of the four-piece backing band, and by the time Dempsey is questioning us, “What’s so good, about being understood?”, it’s clear this collective are working as one. A flick of the hair, a rub of his canary yellow shirt, the Something For Kate frontman has quickly got us smitten. Dempsey doesn’t hold back with his songbook either — gifting us with stunning renditions of Idiot Oracle, Blindspot and The Great Optimist. He’s always been an affable gent, but tonight he’s on form, cracking jokes about burnt festival feet and pedestrian stage banter, before jolting back to reality with the
wistful Volunteers. Some spicy guitar work at the end of Fast Friends adjusts the intensity of the set, before the brooding, left-of-centre Lifetime Supply captivates the room. Dempsey points fingers during the rollicking We’ll Never Work In This Town Again, before turning those fingers on himself when he forgets a line during Out The Airlock — “a nightmare scenario”, he laughs. Covers of Television’s Elevation and Pixies’ Dig For Fire are clearly as good for the band as they are for the listener — Dempsey and Bartley revelling in the songs’ technicalities. Fan favourites Ramona Was A Waitress and Bats are received with outstretched arms and swaying torsos.
He’s always been an affable gent, but tonight he’s on form. The high point of the night, however, comes in the form of The True Sea — the seven-minute lead track from Strange Loop. Dempsey loses himself in the passages, the band follows him down the rabbit hole. We get the privilege of riding musical waves generated by one of Australia’s great songwriters. Simply brilliant. Benny Doyle
Seahorse Divorce, Big Dead, Raw Sugar Woolly Mammoth 4 Aug The line to upstairs’ Japanese Wallpaper show is snaking out the door and down the street, but the Woolly Mammoth’s Alehouse is filled out nicely in its own right for tonight’s bittersweet final showing from Seahorse Divorce, who have spent the past four years earning a reputation as one
of the city’s finest, most frenetic and downright fun bands. Opening the proceedings for the evening are the enchanting tones of Raw Sugar, who expertly straddle the realm between elegant, restrained sweetness and rough-hewn Aussie-chanteuse lyrical indie-rock — the kind most notably polished and peddled by Courtney Barnett, Camp Cope, Alex Lahey and their ilk. The instrumental set-up features the usual dual guitars and kit, but forgoes the typical four-string bass in favour of a synth-driven bottom end instead. The quartet unleash a finely tuned and capably delivered set of introspection that hits a real sweet spot with Hurricane, dedicated to one of the members’ mothers, who has made a rare appearance at her daughter’s show tonight. It’s a confident and captivating performance, and leaves the crowd palpably buzzed about the prospect of future dalliances with these talented up-and comers. Big Dead are looking a bit depleted tonight — downsized from their usually larger line-up, just three members grace the stage to provide an experimental, electronic interlude on the way to the night’s headliners. Coming off the strength of their absolutely sublime EP Shell, it’s a little jarring to be greeted with a half-hour of aimless, glitchy cacophony in place of their usual degree of eclectic excellence, especially since none of it is particularly abrasive or otherwise attentiongrabbing. Nearby conversations
All of it conspires to create an unforgettable send-off that reads like one big highlight.
continue apace, leading one punter to comment that this could pass for a performance from “the world’s politest noise band” on account of all the timid pseudointrusions. To be fair, a later re-reading of the gig poster does indeed advertise an “electronic set” from Big Dead, the whole thing coming off more ill-advised than actually bad, but that doesn’t help it land. Fortunately, Seahorse Divorce follow not long after, doing more than enough to coursecorrect the evening’s energy. The band provide an explosive and wonderfully erratic set that draws predominantly from their just-released new full-length, Now. The meticulousness of the band’s performance — its stop-start sonic spasms and on-a-dime change-ups, the boundless ebullience and angular dance moves from frontman Josh Coxon — all of it conspires to create an unforgettable send-off that reads like one big highlight. From the driving shifts of Existence Is Enough to the velvety smoothness of No Dialectic, the unbridled joy of mid-set throwback and fan-favourite Long Term Loan and beyond. Watching the set, the notion is reinforced that it’s often the most challenging bands that burn the brightest and fastest through their careers together. It’s exhausting enough simply trying to keep up with it all as a punter, much less a performer. It makes it no less painful an acknowledgment for us in the crowd when the final notes of Nostalgia Creeps ring out. Thank you for the memories, Seahorse Divorce. You were too beautiful to remain for long. Mitch Knox
THE MUSIC 17TH AUGUST 2016 • 41
Arts Reviews Arts Reviews
Endgame. Pic: Dylan Evans
Party Film In Cinemas
Endgame Theatre Cremorne Theatre, QPAC to 20 Aug
★★★½ Endgame is an uncomfortable play. Beginning in pitchblack darkness this evening, the stage lights slowly fade in, revealing the bleak backdrop for Beckett’s absurdist classic. The staging is sparse and grey, a fitting representation of the character’s inner lives. Each of them suffer from some form of movement impairment, either shuffling around the stage or leaning inside a pair of metal garbage bins. This is a world where nothing changes, the ideas of yesterday and tomorrow made redundant by the endless repetition of today. “You cry for the night. It falls. Now cry in darkness,” the character Hamm says at one point, played by British actor Robert Coleby. Beckett’s strict staging restrictions emphasise the futility of the story world his characters inhabit, although they can feel stifling at times. Thankfully, the cast of this production bring life to the script, illuminating the play’s central conceit that nothing is funnier than unhappiness. In particular, Leon Cain’s Clov is equally hilarious and compassionate, as the young servant grapples with the temptation to presume meaning in a meaningless world. Ultimately, there is comfort to be found in this representation of the absurd repetition of being alive and it is hard not to feel at least slightly liberated after the stage lights fade out, returning the audience to the darkness. Roshan Clerke
Here are two pieces of advice regarding the new animated comedy Sausage Party.Firstly, leave the kids at home. Because even though it is an animated comedy, it is one that bears the names Seth Rogen and Evan Goldberg — they’re a couple of chaps who enjoy taking the F-word out for a spin. Secondly, maybe enjoy a bite to eat before the movie. Because after seeing what the walking, talking foodstuffs of Sausage Party get up to, you may not have much of an appetite. Sausage Party is a tasty treat, albeit one with an extremely salty and spicy sense of humour. What appears at first glance to be yet another wacky cartoon romp featuring objects that don’t
appear to have much of an inner life, if any at all (think anything from Toy Story to the upcoming Secret Life Of Pets), is actually a pretty clever look at the belief systems that divide and unite us. One that is brimming with rude, raunchy gags involving sex, drugs and stereotypes about race, religion and ideology. Regarding the last part: Sausage Party is not terribly subtle when it comes to such depictions. But the stereotyping is so full-on and so across the board — and eventually helps illustrate the story’s main point — that it earns a pass. Plus, without it we probably wouldn’t have Edward Norton doing a deadon and decidedly hilarious Woody Allen impression as neurotic nosh Sammy Bagel, Jr. Norton is just one member of all-star cast voicing the various groceries lining the shelves of the local supermarket. For hot dog Frank (voiced by Rogen) and bun Brenda (Ghostbusters’ Kristen Wiig), being plucked from the shelf at the same time holds even more significance — they’ll finally join together and become one, ending a prolonged period of sexual frustration. Like many a satisfying meal, Sausage Party sneakily slips in its healthier ingredients — in this case, a thoughtful message about tolerance in a variety of forms. This movie is deliciously dirty enough to have you come back for seconds. Guy Davis
42 • THE MUSIC • 17TH AUGUST 2016
THE MUSIC 17TH AUGUST 2016 â€¢ 43
Comedy / G The Guide
BJC Club Nite: Brisbane Jazz Club, Kangaroo Point
Music Theatre Jam: Bithday Bash!: New Globe Theatre, Fortitude Valley Acoustics With Attitude with Hanny J: The Triffid, Newstead
Pic: The Rumjacks
The Music Presents
The Lampreys: Black Bear Lodge, Fortitude Valley
Dead Letter Circus: 26 Aug Solbar; 27 Aug The Triffid
The Kitty Kats: Brisbane German Club, East Brisbane
Liz Stringer: 1 Sep Junk Bar
John Reeves Trio: Brisbane Jazz Club, Kangaroo Point
Emma Louise: 20 Oct Miami Marketta; 21 Oct Solbar Maroochydore; 22 Oct The Triffid
Katia Demeester: Cafe Le Monde, Noosa Heads
A Day On The Green: 6 Nov Sirromet Wines
Acoustic Session with Smoking Martha + Connor Brooker: Crowbar, Fortitude Valley
Mullum Music Festival: 17 - 20 Nov Mullumbimby
Rico & The Fortuners: Greaser Bar, Brisbane
Drapht: 6 Oct Wharf Tavern Mooloolaba; 7 Oct The Triffid The Rumjacks: 2 Feb The Spotted Cow Toowoomba; 3 Feb Helm Bar; 4 Feb The Foundry; 5 Feb Currumbin Creek Tavern Currumbin Waters
Hip Hop Showcase +Various Artists: New Globe Theatre, Fortitude Valley Ben Folds + yMusic: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane Ben Smith Band: Solbar (Lounge Bar), Maroochydore Ella Hooper + Gena Rose Bruce: The Bearded Lady, West End APATE + Misguided + Undermine The Supremacy + Enslaver + Outlive: The Brightside, Fortitude Valley
The John Steel Singers
Cheap Thrills With a slew of festivals already lined up, Cheap Fakes are also set to grace the stage of Woolly Mammoth on 19 Aug. The six-piece will be in great company with Hot Potato Band set to support.
Fri 19 Blink - A Tribute to Blink 182: Albany Creek Tavern, Albany Creek Go Van Go + Electric Suede + Dangerpenny: Black Bear Lodge, Fortitude Valley Dr Jawbone & the Restless Souls: Brisbane Jazz Club, Kangaroo Point Akmal + Joel Ozborn: Brisbane Powerhouse, New Farm Byron Short & The Sunset Junkies + Devil’s Kiosk: Burleigh Underground Drummers, Burleigh Heads
Comedy In The Basement with Cam Knight: The Arts Centre Gold Coast, Surfers Paradise The Pinheads + Amyl & The Sniffers: The Bearded Lady, West End Girl Thing with Natnoiz + Cunningpants + Sullivan + Sezzo Snot + Sophie Luna + Keith Sullivan Band + Roxy Burt + more: The Brightside, Fortitude Valley Cub Sport + Clea: The Foundry, Fortitude Valley Electric Shock! feat. Hannakisst +
Nato: Cafe Le Monde, Noosa Heads Weightless In Orbit + The Stranger + The Cilikis + Therein: Crowbar, Fortitude Valley Deja Vudu + Stone Witches + UverseU + Leaving: Currumbin Creek Tavern, Currumbin Waters Free The Genie: Elsewhere, Surfers Paradise
Steel Your Heart Away Brisbane six-piece The John Steel Singers have just released their third album Midnight At The Plutonium, and are joined by Alex Lahey in bringing their summer-pop sound to The Triffid on 20 Aug.
Phil Barlow: Hard Rock Cafe, Surfers Paradise Jen Mize + Dana Gerhman + Matthew Collin: Junk Bar, Ashgrove Cigany Weaver: Lock ‘n’ Load Bistro, West End Family Affair: Logan Diggers Club, Logan Central Karl S Williams: Miami Marketta, Miami Damage Control with Red On Red + Stayclose + Vertigo + The Gastons + more: New Globe Theatre, Fortitude Valley
The Foundry’s 1st Birthday Party with Velociraptor + Straight Arrows + Whalehouse + Astro Travellers + Golden Vessel + Yuuca + The Jensens DJs: The Foundry, Fortitude Valley
Ivey + Peach Fur + Lotus Ship: Night Quarter, Helensvale
Down The Kings + The Stray Selection + The Reprints: The Zoo, Fortitude Valley
Heads, Hands & Feet: Royal Mail Hotel, Goodna
Ball Park Music: Queen Street Mall (Upper Stage), Brisbane
SoLar: Solbar (Lounge Bar), Maroochydore Wolver + Soviet X-Ray Record Club + The Rizlas: Solbar, Maroochydore
44 • THE MUSIC • 17TH AUGUST 2016
Golden Age Of Ballooning
Make Love & War After the release of Love & War, the first of four singles to be released throughout the year, Golden Age Of Ballooning are set to support fellow Brisbane band Swamp Gulley Howlers at Peregian Originals on 28 Aug.
The Songs of Tom Smith + Baron Field + Whoopee-Do Crew + Banana Claws + The Dandy Apocalypse: The Little Prince, Woolloongabba Bearfoot: The Motor Room, West End The Amity Affliction: The Tivoli, Fortitude Valley
Gigs / Live The Guide
In Store with Ball Park Music: Sonic Sherpa, Greenslopes
Bub-Kiss: Solbar (Lounge Bar), Maroochydore
Round Mountain Girls: The Arts Centre Gold Coast (The Basement), Surfers Paradise
The Trophy Brides + Ben Hale + Mike Errol Jnr: The Bearded Lady, West End
Lazy Colts + Suicide Swans: The Bearded Lady, West End
Hello Afro + DJ Paprika: The End, West End
Spag Heddy + Loadstar: The Biscuit Factory, Fortitude Valley
Drugged Up Dolphins Dorsal Fins will be stopping by The Northern in support of their most recent single, Sedated. Fans will be treated to the Melbourne band’s most recent effort when they hit the stage on 26 Aug.
Louie Shelton + The Damian Black Band + Brendan Leggatt: The Triffid, Newstead The Seefelds + Belligerent Goat + Outside the Academy + Low Dive + Chesterfield: The Zoo, Fortitude Valley Cheap Fakes + The Hot Potato Band: Woolly Mammoth, Fortitude Valley
Zac Gunthorpe: The Bison Bar, Nambour Jimi Beavis + David Orr: The Boundary Hotel, West End The Amity Affliction UnOfficial Afterparty: The Brightside, Fortitude Valley The Four Horsemen + Wartooth: The Brightside, Fortitude Valley
Sun 21 The Funk Factory: Brisbane Jazz Club, Kangaroo Point
The Montgomery Brothers: Lock ‘n’ Load Bistro, West End
The Evening Son + Scott Dalton: Royal Mail Hotel, Goodna AlfanAnt: Solbar (Lounge Bar), Maroochydore PLTS + The Delicates + Life Boat: Solbar, Maroochydore
Alan Carr: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane
High School Musical
Jimmy Barnes: Jupiters, Broadbeach
Ella Hooper + Gena Rose Bruce: Night Quarter, Helensvale
The dark and yet ethereal Quintessential Doll might just be our very own home-grown Banks. The multi-instrumental writer, singer and producer will be breaking hearts at The Triffid on 28 Aug.
New Mojave Trio: Lock ‘n’ Load Bistro, West End
The Columbus Collective: Greaser Bar, Brisbane
Akova: Miami Marketta, Miami
A Doll’s Life
Trevor Noah: Brisbane Convention & Exhibition Centre, South Bank
Aversions Crown + Sukkuth + My Friend The Betrayer: Crowbar, Fortitude Valley
High Noon: Logan Diggers Club, Logan Central
Luca Brasi + Moose Blood + The Hard Aches + Deafcult: The Zoo, Fortitude Valley
The Disgruntled Taxpayers + Broken Leg + Myrtle Place + Dangerous Folk + Goatzilla + Plan Of Attack + more: Chardons Corner Hotel (The Back Room), Annerley
Pauly P: Lock ‘n’ Load Bistro, West End
Nick Cunningham: Cafe Le Monde, Noosa Heads
The John Steel Singers + Alex Lahey: The Triffid, Newstead
Adriatic + Skeleton Quay + Wornaway + more: Chardons Corner Hotel (The Back Room), Annerley
We Want More: Hamilton Hotel, Hamilton
Drumscene Live: The Triffid, Newstead
The Alley + Solange Lipcin: Brisbane Jazz Club, Kangaroo Point
The Amity Affliction: The Tivoli, Fortitude Valley
The Wet Fish: Bloodhound Corner Bar, Fortitude Valley
DJ Jasti + DJ Solafreq: Cafe Le Monde, Noosa Heads
Steel Pulse: Soundlounge, Currumbin
Aeora + RKDA: The Milk Factory Kitchen & Bar, South Brisbane
Touch + Emily Marguerite + DJ Solafreq: Cafe Le Monde, Noosa Heads
Akmal + Joel Ozborn: Brisbane Powerhouse, New Farm
Arpier + Yeaman Shore: Black Bear Lodge, Fortitude Valley
The Confidence Man + Ivey + LEO + Nice Biscuit: The Foundry, Fortitude Valley
Mark Pradella Band: Brisbane Jazz Club, Kangaroo Point
Triffid Stripped feat. Christian Patey: The Triffid, Newstead
+ Charlie A’Court + Adam Harvey + O’Shea + Corey Harris + Christie Lamb + Harry Hookey + John Stone + The Pigs + Kaylee Bell + Marshall Okell + Sara Storer + Warren H Williams + Dani Young + Caitlyn Shadbolt + Drew McAlister + Tori Darke + Jade Hurley + Mike McClellan + Tim Gaze + more: Amamoor State Forest Park, Amamoor Creek
Ross Wilson will be reinforcing his Hall of Fame status at the 97.3FM High School Reunion on 26 Aug. Eatons Hill will be hosting Wilson, as well as an array of other music legends, for one massive night of nostalgia.
Wed 24 Gordi + Xavier Dunn + Daggy Man: Black Bear Lodge, Fortitude Valley The Hi Boys: Bloodhound Corner Bar, Fortitude Valley Dan & Phil: Queensland Performing Arts Centre (QPAC), South Brisbane Acoustics With Attitude with Bryce Schneider: The Triffid, Newstead Rittz: Woolly Mammoth, Fortitude Valley
Scott Aukerman: City Hall, Brisbane Rico & The Fortuners: Greaser Bar, Brisbane Nick Watson & the Bawdy Dicks + Peter Wilson Green: Junk Bar, Ashgrove The Beatles Back2Back: Sgt. Pepper’s Lonely Hearts Club Band & Abbey Road feat. Russell Morris + Kav Temperley + Jack Jones + Jon Allen: Queensland Performing Arts Centre (QPAC) (Lyric Theatre), South Brisbane Dan & Phil: Queensland Performing Arts Centre (QPAC), South Brisbane Phil & Trudy Edgeley: Solbar (Lounge Bar), Maroochydore Dom Kelly + Walking Bird + Black Mountain: The Bearded Lady, West End Cute Is What We Aim For: The Brightside, Fortitude Valley Andrew Samuel + Kahlo + Georgia Rose: The End, West End Lakyn: The Foundry, Fortitude Valley
Dave Dobbyn: Miami Marketta, Miami Jimmy Barnes: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane
Andy Black: The Met, Fortitude Valley
Gympie Music Muster feat. Kasey Chambers + John Williamson + Beccy Cole + Troy Cassar-Daley + The McClymonts + Rodney Carrington + Gord Bamford + Shane Nicholson + The Wolfe Brothers
THE MUSIC 17TH AUGUST 2016 • 45
Comedy / G The Guide
The Rolling Stones ‘Sticky Fingers’ played by Tim Rogers + Ben Salter + The Honeysliders: The Zoo, Fortitude Valley
Cute Is What We Aim For: 38 Berwick Street (All Ages), Fortitude Valley
Amy Winehouse 10th Anniversary of Back to Black with Atlanta Coogan: Villa Noosa Hotel, Noosaville
Gympie Music Muster: Amamoor State Forest Park, Amamoor Creek Tora + Yates: Black Bear Lodge, Fortitude Valley
Charlotte McLean: Brisbane Jazz Club, Kangaroo Point
Gympie Music Muster: Amamoor State Forest Park, Amamoor Creek
DJ Yagi: Cafe Le Monde, Noosa Heads
Brunch with Karen Anderson Trio: Brisbane Jazz Club, Kangaroo Point
Cookies & Cream with Monsters of the Midnight Sun + Ravens Lair + The Killing Stroke + Therapist + The Disgruntled Taxpayers: Chardons Corner Hotel, Annerley
The UQ Big Band: Brisbane Jazz Club, Kangaroo Point
Kyzer Soze + Daemon Pyre: Crowbar, Fortitude Valley 97.3’s High School Reunion with Ross Wilson + 1927 + Rose Tattoo + Eurogliders + Steve Kilbey + Kids In The Kitchen + Sean Kelly + Chocolate Starfish + Pseudo Echo + Dale Ryder: Eatons Hill Hotel, Eatons Hill Band From The Club: Hard Rock Cafe, Surfers Paradise
Christian Patey + Gian + DJ NuCache: Cafe Le Monde, Noosa Heads
Leanne Tennant: Currumbin RSL, Currumbin
Rodney Carrington: Great Western Hotel, Rockhampton
Cub Sport are still riding high off the release of their first dreamy album-length work This Is Our Vice. They’re playing at The Foundry on 19 Aug, and $1 from every ticket will go to a QLD animal shelter. Swick: TBC Club (The Bowler Club), Fortitude Valley
Discovery (Daft Punk Tribute Show): Eatons Hill Hotel, Eatons Hill
Comedy In The Basement with Al Del Bene: The Arts Centre Gold Coast, Surfers Paradise
Trainspotters feat. Two Steps on the Water + Virginia Sook + Raw Sugar + Kate Woodhouse: Grand Central Hotel, Brisbane
Feuds + Wolver + Beneb + Acid On Andy: The Bearded Lady, West End
Crescent City Players: Greaser Bar, Brisbane
Vaudeville Smash: The Boundary Hotel, West End Moses Gunn Collective + Mid Ayr: The Brightside, Fortitude Valley
I Wanna Be Amyllionaire Almost a year after the release of their I Wanna Be A Girl EP, The Pinheads will be playing at The Northern for what is sure to be a loose experience. The Wollongong locals will grace the stage on 20 Aug with Amyl & The Sniffers.
Inkaza: Lock ‘n’ Load Bistro, West End Seductive Soul: Logan Diggers Club, Logan Central Amy Winehouse 10th Anniversary of Back to Black with Atlanta Coogan: Lonestar Tavern, Mermaid Waters Cheap Fakes: Miami Marketta, Miami Moonbase Commander: Oh Hello!, Fortitude Valley Dead Letter Circus + Clint Boge + Rival Fire: Solbar, Maroochydore Nicole Brophy: Solbar (Lounge Bar), Maroochydore
46 • THE MUSIC • 17TH AUGUST 2016
Hunting Jade: Lock ‘n’ Load Bistro, West End Hear & Say Fundraiser feat. Barry Bull + more: Mooloolaba Surf Club, Mooloolaba
Drapht: Harvey Road Tavern, Clinton DMC DJ Championships State Heats: Hot Gossip Nightclub, Fortitude Valley
Distant Fingers + Emotional Hoon: Junk Bar, Ashgrove
Vaudeville Smash: Junction Alley, Noosa Heads Kim Salmon: Junk Bar, Ashgrove Ham: Lock ‘n’ Load Bistro, West End
The Gooch Palms + Tempura Nights + Woodboot: The Foundry, Fortitude Valley
Black Satin: Logan Diggers Club, Logan Central
Hayden James + Dena Amy: The Triffid, Newstead
Mescalito Blues: Miami Marketta, Miami
The Kill Devil Hills: Woolly Mammoth, Fortitude Valley
Shakafest feat. Drapht + Dune Rats + Spit Syndicate + The Vanns + Von Villains + Ivey + White Blanks + Peach Fur + Planet + Jurassic Nark + Lotus Ship + Trapdoor + Bleach Girls + Radolescent: Miami Tavern, Miami
Bad Pharmer + Steve Towson + Toxic Bears + The Formaldehydes: New Globe Theatre, Fortitude Valley
Rodney Carrington: The Ville Hotel & Casino, Townsville
Gympie Music Muster: Amamoor State Forest Park, Amamoor Creek ROI + Big Strong Brute: Black Bear Lodge, Fortitude Valley Mojo Webb Band: Bloodhound Corner Bar, Fortitude Valley Matt Baker Trio: Brisbane Jazz Club, Kangaroo Point Massroom + DJ Jasti: Cafe Le Monde, Noosa Heads Shredfest feat. Darker Half + Taberah + Lavidius + Deraign + In Malice’s Wake + Hidden Intent + Daemon Pyre + Nescient + Snake Mountain + Brazen Bull + Dragonsmead + Kaustic Attack + Valhalore + The Abducted + more: Chardons Corner Hotel (The Back Room), Annerley
Amy Winehouse 10th Anniversary of Back to Black with Atlanta Coogan: Redland Bay Hotel, Redland Bay Whiskey & Me + A Man Called Son: Solbar (Lounge Bar), Maroochydore The Rolling Stones ‘Sticky Fingers’ played by Tim Rogers + Ben Salter + The Honeysliders: Soundlounge, Currumbin Soweto Gospel Choir: The Arts Centre Gold Coast (Arts Theatre), Surfers Paradise Washers feat. White Blanks + Feeling Dave + White Lodge + Surfin Bird: The Foundry, Fortitude Valley Triffid Stripped feat. Quintessential Doll: The Triffid, Newstead
Tue 30 Play Jam: Lock ‘n’ Load Bistro, West End
Harbours + Our Past Days + Vitals + Satellites + The Comfort: Phoenix Arts Theatre (All Ages/ Matinee Show), Woolloongabba Never the Sane + Pick It Up + Preston: Pineapple Hotel, Kangaroo Point Buzz & The Blues Band + Caiti Baker: Royal Mail Hotel, Goodna Cheap Fakes: Solbar, Maroochydore Maxime Cassady: Solbar (Lounge Bar), Maroochydore Lozer-Palooza feat. Troubled Shooters + King Kongo + The Plastic Fangs + Church of Christ: The Bearded Lady, West End Casual Party with Boss Fight: The Brightside, Fortitude Valley
Old Music for Old People: Crowbar, Fortitude Valley
Dorsal Fins + Pop Cult + These Guy: The Foundry, Fortitude Valley
The Wet Fish: Eat Street Markets, Hamilton
Dead Letter Circus + Clint Boge + Rival Fire: The Triffid, Newstead
Moses Gunn Collective
Gunns & Girls The Brightside will play host to Moses Gunn Collective as they celebrate the release of their latest single, Dream Girls. Mid Ayr will be supporting the neopsych rockers when they play on 26 Aug.
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Published on Aug 17, 2016
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