23.11.16 Music / Arts / Lifestyle / Culture
Brisbane / Free / Incorporating
TOUR THE TALLEST MAN ON EARTH TV WHOSE LINE IS IT ANYWAY
TOUR NE OBLIVISCARIS
FROM RUSSIA WITH LOVE TO A DAY ON THE GREEN
EAGLE AND RO CK AND ROLL HALL OF FAME MEMBER
“A G R E AT NIGHT OF CLASSIC SONGS FROM AN ICONIC PERFORMER” MUSIC NEWS
SAT 18 MARCH
MT DUNEED ESTATE, SURF COAST
WITH RICHARD CLAPTON & MELODY POOL FOR ALL TICKETS, ACCOMMODATION, TRANSPORT INFO: ADAYONTHEGREEN.COM.AU
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B OYS OF SUMMER
PLAYING HITS FROM HIS ENTIRE 4 DECADE CAREER WITH SPECIAL GUEST J EWEL WED 8 MARCH ROD LAVER ARENA, MELBOURNE
WITH HIS 15 PIECE BAND
HEART OF THE MATTER
END OF THE INNOCENCE
L I F E I N T H E FA S T L A N E
+ LE GENDARY
THE MUSIC 23RD NOVEMBER 2016 • 3
JONSON STREET BYRON BAY FRI 25 NOVEMBER 24TH NOVEMBER
LIME CORDIALE 25TH NOVEMBER
MOVE D 26TH NOVEMBER See an everchanging line-up See an everof indie, pop, changing line-up folk, alternative, of indie, country and rock pop, folk, at each Sunday alternative, Livespark. country and rock each Sunday Mix it up on at Livespark. the last Sunday
BLESS: THROWING SHADE
of each month October features with Mixtape, a unique Jo Meares, collaboration LS Philosophy, between Graeme singerMoes, songwriters. Sean Sennett + more.
SUNDAYS SUNDAYS FROM 3.30PM
4 • THE MUSIC • 23RD NOVEMBER 2016
SAT 26 NOVEMBER
POLISH CLUB FRI 2 DECEMBER
BORNEO SAT 3 DECEMBER
FEAR OF MUSIC FRI 9 DECEMBER
WOLFMOTHER SAT 10 DECEMBER
THE DEAD LOVE FRI 16 DECEMBER
SAT 17 DECEMBER
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JACK RIVER 2ND DECEMBER
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THE MUSIC 23RD NOVEMBER 2016 â€¢ 5
Music / Music / Arts / Lifestyle / Culture
Lock Up Your Daughters
Having toured the country in October last year, Devin Townsend Project have announced they will return to the Antipodes in May 2017, off the back of their new album, Transcendence.
If you haven’t been able to catch it at the theatre, don’t stress, Royal Shakespeare Company’s bold new production of King Lear, by award-winning director Gregory Doran, will be broadcast in cinemas from 26 Nov.
Devin Townsend Project
Hello Following months of speculation, UK megastar Adele has finally confirmed she will be hitting Australia in 2017 for her debut tour of our country. The record-breaking artist will head to our shores next February and March.
Bluesfest sideshows The fifth Bluesfest sideshow announcement is out with news that Miles Electric Band, Nahko & Medicine For The People, Rhiannon Giddens, Max Jury, The Record Company and Trevor Hall will tour in April.
Porter Robinson & Madeon
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6 • THE MUSIC • 23RD NOVEMBER 2016
Gimme Shelter Porter Robinson and Madeon blew minds with their recent surprise collaboration Shelter. Now the long-time friends have announced an Australian single tour for the track that’ll bring the pair Down Under in February.
Arts / Li Music / Arts / Lifestyle / Culture
Go Play Outside
Moonlight Cinema have announced their December/ January summer season. This year there are a heap of advance screenings and new releases to catch while out under the stars, from Rogue One: A Star Wars Story to Fantastic Beasts And Where To Find Them.
FRI 25 NOV
TRAP & BASS NIGHT
SAT 26 NOV
Nahko & Medicine For The People
so is the entire dracula invisible in a mirror? if he had a nipple piercing would it show up? interviewer: i meant questions about the job @egg_dog
WED 30 NOV 2CELLOS
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PANIC! AT THE DISCO
FRI 10 FEB UNDEROATH
SAT 18 FEB B*WITCHED
WED 22 FEB DESCENDENTS
SAT 18 FEB
GLENN SHORROCK & BRIAN CADD
SAT 4 MAR
Struck Gold Thrice Following the earlier announcement that renowned Swedish producer Eric Prydz will headline next year’s Electric Garden, international heavyweights Basement Jaxx, Jamie Jones and Sasha have also joined the bill.
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THE MUSIC 23RD NOVEMBER 2016 • 7
Music / Music / Arts / Lifestyle / Culture
Tropfest submissions are now open! The deadline for aspiring film makers is 15 Dec and this year’s Tropfest Signature Item (TSI) is a pineapple, so make sure the pointy fruit shows up somewhere in your film.
Blue Good Bluesfest have made another ridiculously huge announcement, this time dropping that Eric Gales, Mud Morganfield, Devon Allman, Melody Angel and more have been added to the line-up.
The amount of dollars that the Federal Government is pledging to Sounds Australia over four years, backflipping on plans to axe the music industry body.
8 • THE MUSIC • 23RD NOVEMBER 2016
A Very Important Date We can’t get enough of Little Simz, the razor-sharp rapper sold venues out all over on her tour earlier in the year. Luckily she’s coming back in January for Sugar Mountain and her Welcome To Wonderland tour.
Arts / Li Music / Arts / Lifestyle / Culture
Stalwart club night Trainspotters has found a new home at Woolly Mammoth after celebrating its fourth birthday last month. For their first trot at the venue they’ve got Den, Men With Chips and more on 24 Nov.
Hart Attack Certified guitar wizard Harts has announced he will be hitting the road again in early 2017. The Smoke Fire Hope Desire run will tour the nation for nine dates in February and March.
Get Your drINK On
Young Henrys Moon Tattoos B
Young Henrys know you should never drink alone. They’ve teamed up with Sindy Sinn for a ‘Beer Mates’ tattoo flash. If you get one together with a mate, they’ll sling you a $200 tab.
THE MUSIC 23RD NOVEMBER 2016 • 9
Music / Music / Arts / Lifestyle / Culture
So Last Week
Ivey are at it again with another piece of finely crafted pop, new single Last Week. The young four-piece have also announced a single tour later this month and in early December.
0 The number of X Factor alumni in Stone Temple Pilots after the band denied reports that 2013 runner-up Jeff Gutt had joined. 10 • THE MUSIC • 23RD NOVEMBER 2016
Australian Made It’s been 30 years since the likes of INXS and Jimmy Barnes hit the road for the Australian Made tour. To celebrate, an anniversary edition of the live footage is screening at select Event and Village Cinemas on 25 Nov.
Jimmy Barnes & Michael Hutchence
Arts / Li Music / Arts / Lifestyle / Culture
Publisher Street Press Australia Pty Ltd Group Managing Editor Andrew Mast
National Editor – Magazines Mark Neilsen Editor Mitch Knox
Arts & Culture Editor Maxim Boon
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Gig Guide Editor Justine Lynch firstname.lastname@example.org Contributing Editor Bryget Chrisfield
Bonnie’s Got The Blues Given it’s a free event it’s hard to believe, but four-day blues festival Blues On Broadbeach have secured none other than seminal Welsh singer Bonnie Tyler as the event’s headliner for May 2017.
Editorial Assistant Brynn Davies, Sam Wall Senior Contributor Steve Bell Contributors Anthony Carew, Ben Preece, Benny Doyle, Brendan Crabb, Caitlin Low, Carley Hall, Chris Familton, Clare Armstrong, Cyclone, Daniel Cribb, Danielle O’Donohue, Dave Drayton, Dylan Stewart, Georgia Cope, Guy Davis, Jake Sun, Joel Lohman, Liz Giuffre, Madeleine Laing, Mark Hebblewhite, Neil Griffiths, Paul Mulkearns, Rip Nicholson, Roshan Clerke, Sam Hobson, Samuel J Fell, Sean Capel, Sean Hourigan, Tom Hersey, Tom Peasley, Tyler McLoughlan, Uppy Chatterjee Photographers Barry Schipplock, Bec Taylor, Bobby Rein, Cole Bennetts, Dave Kan, Freya Lamont, John Stubbs, Kane Hibberd, Markus Ravik, Stephen Booth, Terry Soo Sales Nicole Ferguson email@example.com Art Dept Ben Nicol, Felicity Case-Mejia Admin & Accounts Meg Burnham, Ajaz Durrani, Emma Clarke firstname.lastname@example.org Distro email@example.com Subscriptions store.themusic.com.au Contact Us Phone: (07) 3252 9666 firstname.lastname@example.org www.themusic.com.au Street: The Foundry, 228 Wickham St, Fortitude Valley QLD 4006
Hot Shots In collaboration with Melbourne Bitter, highly respected music photographer Kane Hibberd has launched an intimate, new behind-the-scenes zine called Versus. The first issue uncovers Tassie punk rockers Luca Brasi’s recent sold-out tour.
Postal: Locked Bag 4300 Fortitude Valley QLD 4006
THE MUSIC 23RD NOVEMBER 2016 • 11
GIRLAFRAID When Shirley Manson was told by her rescue dog’s trainer, “There’s no such thing as an aggressive dog; only a fearful dog,” the Garbage frontwoman had an epiphany. “I am the fearful dog. That’s why I’m an aggressive dog,” she tells Matt O’Neill.
12 • THE MUSIC • 23RD NOVEMBER 2016
rom the outset, Garbage have been a band with an explicit goal of speaking to (and for) outsiders. They championed the queerest of the queer and the strangest of the strange with one of their earliest singles (1995’s Queer) and they broke their 2000s hiatus with an album called Not Your Kind Of People in 2012. But, with time’s passing, that idea of advocacy has slowly grown to be less philosophical and increasingly political. While popular culture has in many ways gotten more liberal in the past 20 years, a surfeit of rising movements and extreme ideologies have ensured the marginalised in society continue to be especially preyed upon, which has forced Garbage to reconsider their message. “As we’ve gotten older... Or, I should say, as I’ve gotten older - I can’t speak for the rest of the band - I’ve become more and more political,” frontwoman Shirley Manson confirms. “I was not particularly political when I was young. I didn’t really understand what ‘politics’ really meant, in a way. But, ever since my sister had two children, I’ve become like a crazed tiger.” She laughs, “You know, I have to protect the young. If anything, I feel our next record might be even more political. I won’t really know until we hit the studio. But, right now, I think it’s the duty of the artist to reflect what’s going on in our culture and those who are not doing that are doing us all a disservice, in a way.” Manson is calling from Russia, where the band are touring in support of their most recent album Strange Little Birds. It’s a confronting experience for the group. For an outfit who have explored gender politics and sexuality since their inception - as well as the aforementioned Queer, there’s also been singles like 2002’s Cherry Lips (Go Baby Go!) and 2001’s Androgyny - Putin’s Russia is challenging. “It’s interesting. The first time we came to Russia was 20 years ago. We played a huge show where our security was basically the army. In riot gear. With kalashnikovs,” Manson reminisces. “People were visibly really struggling. It was a very humbling experience. People didn’t talk about politics at all. We used our eyes and saw that it was a struggling economy. “And, then, we’ve returned on this trip... And, it’s been like visiting any other international capital city. You can see progress has been made. At what cost, I don’t know,” she reflects. “But, this trip has been particularly resonating with us, because, for the first time, we’ve arrived in a country and realised that we, ourselves, will soon be going home to a government that’s equally restrictive.”
It’s an interesting position for a band like Garbage that have always walked a strange line of contradictions and complications. Founded by three producers (drummer Butch Vig produced Nirvana’s Nevermind), Garbage’s roots lie in studio experimentation and pop production. But, through Manson’s lyrical outlook, the band have always embodied a stark, human vulnerability. Strange Little Birds is a case in point. The band’s second album since their 2012 return, ...Birds found Manson and collaborators shirking the overt pop- and rock-influenced aesthetics of previous albums for something more textured, electronic and cinematic that also doubles as Manson’s most personal and political album. Yet, it’s been hailed as their best album in 15 years. “It’s always gratifying when you get a positive response, full stop. But just to be able to delve into more adult themes on this record was a relief for me,” Manson says. “You know, I work with men who are much more careful than I am. I am definitely someone who believes that I’m here for such a short time and I want to be as honest as I can be; that’s who I am and how I want to live my life. “I think it’s necessary for us all to be as honest as possible. Unfortunately in the cultures we’re currently living in, everybody’s fronting and pretending and not feeling comfortable telling the truth about how they feel or what their true intentions are - and this causes a web of chaos and deceit and distrust. If ever there was a time when our global community needed to pull together, it’s now.
“We need to try and really be as forthright with one another as we can be so that we can start to solve these incredibly big divides that currently exist between people,” the frontwoman continues. “Because, ultimately, we’re all the same. We all want the same thing. We all want peace and quiet. We want freedom for our families and we want a roof over our head. That’s a universal truth.” Manson has, over the years, become the default ambassador for Garbage’s contradictions. As an artist, she is one with contradictions. The snarling, growling, purring frontwoman above the cacophony who has frequently spoken (and sung) of her insecurities as an artist and as a musician - her effects-heavy vocal delivery initially a way of disguising her perceived flaws as a singer. “I had an incredible sort of realisation, a little while back,” she says. “I adopted a rescue dog, for the first time in my life, and I took her to doggy training class and the trainer said, ‘There’s no such thing as an aggressive dog; only a fearful dog,’ and, when she said that, the penny dropped. I am the fearful dog. That’s why I’m an aggressive dog. My dog has really helped instruct me. “I’ve always spent my life powerless. I think that’s one of the reasons why I’ve always been very aggressive, in a way. I’m definitely an aggressive musician and I’ve aggressively articulated myself throughout my career and I think one of the reasons for that is because I’ve always known I’m powerless. I’ve always known I’m at risk. I feel I’ve got a real acute, animalistic sense of the world.” But, for all their contradictions and complications, Garbage have always embodied a utopian vision of music. A world wherein rock, pop, technology, gender and the avant-garde exist on equal footing to be manipulated and subverted as suits. A world where the slightest voice can also be the loudest. To this end, their increased interest in politics is not only unsurprising, but also expected. “We’ve always been vocal about gender politics. But, on this record, we definitely got much more overtly political about the world we were living in and how we saw where the world was moving. We were really dismayed by a lot of the intolerance towards immigrants and Muslims. The prevailing ignorance about what it means to be a Muslim or to be Islamic.” Manson muses, “On Strange Little Birds, there’s a song called So We Can Stay Alive. It was almost a prediction, in a way, of where our world was heading. We were all very conscious that we were living in precarious times. I spoke about it a lot in the lead-up to the release of the record. We were all aware that it was time to be more vocal.”
... EVER SINCE MY SISTER HAD TWO CHILDREN, I’VE BECOME LIKE A CRAZED TIGER.
When & Where: 4 Dec, A Day On The Green, Sirromet Wines, Mt Cotton
EXPLODING DRUMMER SYNDROME? It was recently announced that Butch Vig will unfortunately be sitting out the Australian tour, but apparently the legendary drummer/producer has been sidelined for most of 2016 because of ongoing health problems. “He’s actually been on the bench all year, to be honest. He’s not been in fighting form all year,” Manson says. “He’s really sat out pretty much the entire tour. He’s had severe sinus problems that have just kept recurring. He tried coming back out with us on the west coast of the [United] States and he just got sick again almost immediately. It’s a bummer, but he’s going to have surgery and that will hopefully clear it all up once and for all. He’ll be back on the road with us next year.” It’s a genuine disappointment for long-term fans of the band. While Manson has often been the public face of the outfit, there’s no overstating Vig’s contribution to the band’s sound both as a percussionist and producer. The band’s catalogue is full of innovations pioneered by Vig and his fellow producer/instrumentalists Duke Erikson and Steve Marker. (1998’s Version 2.0, for example, features many live percussion lines recorded in an abandoned industrial complex.) When pressed, Manson reiterates Vig will be fine after surgery. “I’ve been there, done that,” she assures. “It’s no big deal.”
THE MUSIC 23RD NOVEMBER 2016 • 13
Dirty 30s From the time Paul Mac thanked ecstasy dealers for his award win, to Jessica Mauboy making her “debutt”, all the way to Missy Higgins jumping The Hoff on stage in front of the nation, Australia has pretty much seen it all thanks to the ARIA Awards. Coming up to its big milestone event tonight, ARIA CEO Dan Rosen reflects on 30 years with Neil Griffiths.
t’s very exciting,” Rosen says of the anniversary. “You look back at the history of the ARIAs over 30 years and there has been so many incredible artists and performers that have been on it and you see how our industry has grown and matured over that time. I think when the ARIAs started it was really a mark in the ground from the Australian industry to say ‘we’re an industry, we want to take ourselves seriously and we’re creating incredible artists’.
“I think we’ve been true to that form over the last three ecades.” The 2016 ceremony is set to be truly special not only because of the milestone, but because of the artists performing. Confirmed to hit the stage tonight include massive names like Flume, Violent Soho, The Veronicas and this year’s Hall Of Fame act, Crowded House alongside fellow national treasures, John Farnham and Jimmy Barnes. “This year is all about celebrating the best of the current year, but also paying homage to the artists who have been a part of our industry for the last three
14 • THE MUSIC • 23RD NOVEMBER 2016
decades,” Rosen says of the line-up. “Farnham won pretty much every award at the first ever ARIAs” (six awards in 1987, including Album and Single of the year) “and Crowded House actually won the first ever ARIA award for Best Video. Those artists are still vital and relevant today so it’s a great credit that we’ve been able to pull the best of the current with some of our legendary acts.” Though he has only served as the ARIA CEO since 2010, Rosen says he has always been a fan and watched every ARIA Awards ceremony while growing up in the suburbs of Melbourne. Asking him to list his favourite ARIAs memories proves a tough ask. “For me, I vividly remember when Silverchair played with Tim Rogers - New Race by Radio Birdman,” he recalls of the famous 1995 performance. “I actually didn’t know about Radio Birdman at the time but I did after... That was a wonderful moment for me. “Over the last few years since I’ve been involved, some of the Hall Of Fame moments have really stood out to me. When we inducted Yothu Yindi (2012) and we had Peter Garrett and Paul Kelly and Dan Sultan, Jessica Mauboy and Andrew Farriss on stage, that was a very, very special award and moment.” Though the ARIAs has produced highlight after highlight throughout the years, Rosen admits there have been a few times where some of the guests haven’t always been the easiest to work with - but don’t expect to hear about that any time soon. “Probably too many to talk about, but we try to keep that away from the public eye,” he laughs. “At the end of the day, it’s rock’n’roll and with rock’n’roll, there’s always a few missteps along the way and there’s artists who go their own way.” So what should we make of the 2016 international guest, Mr Robbie Williams? “That, I have no idea! Robbie is his own man. And some of those moments are wonderful. Like [2012 international guest] Russell Brand. When you’ve got someone supremely talented and funny... We didn’t give him much of a brief at all, but he came on stage and he was just brilliant and hilarious. “I think Robbie Williams is an incredible entertainer. He’s someone who loves Australia as well and I think this year, it’s very much about the 30-year anniversary. So if we did have someone from overseas, we wanted somebody who actually understood Australia and that understood Australian culture and humour and that liked Australian artists. I think Robbie is definitely that guy.” The 2016 ARIAs is primed to become more interactive then ever before on a national and global scale. Among the many initiatives been undertaken this year at the ceremony includes streaming the red carpet live on Facebook and, through a partnership with Apple Music, performances from the ceremony are to be screened live around the world. “I think the influence of the ARIA experience can now stretch beyond Australia’s borders which reflects the fact that our artists our now kicking goals on the world stage,” Rosen says, while pondering the ARIA Awards’ future. “Hopefully we’ll just continue to grow our influence both in the Asia pacific region, on a global basis and help more people in Australia and around the world be exposed to great Aussie music.”
THE MUSIC 23RD NOVEMBER 2016 â€¢ 15
Shits And Giggles Comedian and TV host Tommy Little isn’t afraid of a bit of swearing - and there’ll be plenty in Foxtel’s new Aussie version of improv gag-fest Whose Line Is It Anyway. By Stephen A Russell.
uch-loved comedian and occasional host of Network Ten’s The Project Tommy Little knows he’s onto a good gig fronting Foxtel’s new Australian iteration of classic British improv show Whose Line Is It Anyway? Ensconced in the presenter’s seat, he also gets to team up with the writers, crafting the deviously funny set-up scenarios hurled live at a brace of comedians that includes improv stalwarts Cal Wilson and Steen Raskopoulos, Flight
If you don’t think swear words are funny, you’re dead inside.
of the Conchords and Hunt for the Wilderpeople star Rhys Darby, Tegan Higginbotham, Susie Youssef, Bridie Connell and Tom Walker. He’s been constantly impressed by where they run to, unfazed, faced with the rapid fire of each set-up. “I can sit back, watch the best performers in the country go at it and I just get to occasionally give them shit,” Little cackles, brimming with contagious energy before a launch event at Taxi Kitchen in Melbourne’s Fed Square. “What a job. What a fantastic job. They do all the legwork, and I get on the poster and go ‘it’s my show.’ No, it’s not.” 16 • THE MUSIC • 23RD NOVEMBER 2016
Revelling in his paid heckler work, Little says the team is just the ticket for a grand return of improv to Australian television sets after the short life of Working Dog’s Thank God You’re Here, fronted by Shane Bourne, was brought to an end after four series and one channel hop, back in 2009. Little loved the British original as a kid, which started out on radio before heading to the small screen on Channel 4 where it lived until 1999. “It was one of those shows you could watch over and over again and it blew your mind,” he says. “The only thing you ever thought was that they can’t be making it up, they’re so good, there’s got to be scripts.” Though the show was resurrected Stateside, where it continues to be broadcast to this day on The CW, the format there is largely unchanged. Little says that was never an option for Australian audiences, who can expect much more of a late-night vibe and a healthy appreciation for swear words. “We’ve turned it into a party,” he says. “We have a live band, the new set looks fantastic and it’s actually filthy. We’re all live performers, so when we did this show with a live audience, we wanted to put on a fucking show. I thought it would all get cut out in the edit, but it didn’t. We’re all grown up, nobody gives a shit about swearing anymore. I work on a prime time news show and I can say shit. If you don’t think swear words are funny, you’re dead inside.” The results have been TV magic, he says. “When we recorded the show live they were about two hours long. It wasn’t like, ‘ooh, we’re going to be lucky to get a good half hour out of this,’ it’s was like, ‘we’re going to have to cut some gold’.” New Zealander Cal Wilson, a Melbourne import, is a renowned stand-up comedian and juggles TV and radio duties alongside a regular column in The Age newspaper. Easily standing out at Taxi Kitchen with her hot pink hair, she apologises for how gushing she is about the show. “It’s a much more collaborative and joyful experience than stand-up,” she says. “My comedy career started off in in improv, so it’s always been something I’ve loved, and I would have been devastated if I hadn’t been involved.” Little makes for a great ringmaster, Wilson says. “It’s so lovely having a comedian as a host because even though he doesn’t come from an improv background, he understands funny, so he learnt really quickly when to pull scenes down and where to end things. It’s nice to know that you can take the mickey out of each other and it’s all fine. He’s so funny and so great when he interacts with the audience. I’m just gushing again.” Bouncing off the team has been a real pleasure. “I admire them all so much. They’re such lovely people, there’s not one arsehole in the bunch. They really set it up for us to have the best possible experience.” Wilson hopes that camaraderie translates for audiences at home and that together they can help improve improv’s street cred. “Improv gets a bad wrap sometimes because when theatre sports or improv is bad, it’s awful, like it is horrendous, but when it’s good, it’s magnificent,” she insists. “ There’s nothing like the feeling of seeing a moment conjured from nowhere that will never happen again.”
What: Whose Line Is It Anway When & Where: Premieres 27 Nov, Comedy Channel
“Brilliantly fierce and fiercely brilliant.” THE EVENING STANDARD
THE SAT TRIFFID APR
THE SUN TRIFFID APR
“He’s a truly outrageous performer … it makes you breathless just to watch him.” INDEPENDENT.CO.UK
THE WED TRIFFID APR
tickets & info from 02 6685 8310 or go to www.bluesfesttouring.com.au THE MUSIC 23RD NOVEMBER 2016 • 17
The Special State Don’t get us wrong – the mishap in Sydney and eventual cancellation in Melbourne for De La Soul is a real shitty turn of events, but at least Brissie went off without a hitch.
The Price Is Right
Scream Of The Crop Speaking of gigs, veteran heavyweights Deftones slayed at Riverstage recently, as if that would ever be in any doubt.
Stalwart weekly live-music night Trainspotters is relocating from its historic home at the Grand Central Hotel to the Woolly Mammoth from this week. Mark it down and make the move along with it!
Deftones @ Riverstage. Pic: Markus Ravik
Backlash Scalp ‘Em All
If you’re buying up tickets to popular gigs for the express purpose of immediately hawking them at obscene prices on resale sites, you are a pretty terrible human, just FYI.
At Least It’s Almost Over It feels like not a week’s gone by in 2016 without this kind of message, but RIP Sharon Jones, Michael Bell (Lymbyc Systym), David Mancuso (The Loft), Leon Russell and, of course, the legendary Leonard Cohen.
All Our X-es Is The X Factor on the way out? After a disastrous drop for its lowest-rating finale in history, we may have seen the last gasp from the long-running program. Nice.
18 • THE MUSIC • 23RD NOVEMBER 2016
Melbourne prog-extreme metal outfit Ne Obliviscaris’ gambling on an untested industry model is paying dividends, violinist/clean vocalist Tim Charles tells Brendan Crabb.
rogressive-minded, globe-trotting metal act Ne Obliviscaris recently graduated to a status where select international acts now support them in their homeland. Violinist/clean vocalist Tim Charles admits it’s surreal that they’ll take German post-metallers The Ocean on the road. Ne Obliviscaris plan to record in early 2017, and audiences on said jaunt will get a preview. “We’re really excited to get a chance to test-drive new material live and hear what our Aussie fans think of the stuff we’re working on for album number three,” he enthuses from Italy. Their groundswell of support is attributable to much hard graft, but also risk-taking. Ne Obliviscaris previously shattered crowdfunding records to facilitate international touring. Earlier this year they launched a unique campaign via the Patreon platform, by which fans subscribe to essentially keep the band afloat. Those pledging membership receive ongoing rewards like exclusive content and merchandise. The band’s goal is a monthly total of approximately $17,488, the equivalent of Australian minimum wage when divided amongst members, to pursue the band fulltime. “We’re not there yet, but we are earning
like a part-time living from the band,” Charles explains. “It’s the reality that we’re not a bunch of 19-yearold guys just out of high school. Most of us are in our early to mid-30s. I’ve got a four-year-old girl, our guitarist Matt [Klavins’] got a wife and two kids... The way to get anywhere as a band is to tour, but at the same time if you tour as much as we are it makes it almost impossible to hold down a normal job. So you end up in this middle area where no one will hire you, or they’ll hire you and then you’ll get fired three months later, which is what happened to a couple of the guys earlier in the year. We came home for four months, a couple of the guys managed to get jobs by lying about the fact that they were in the band,” Charles chuckles. “That’s what happened to our singer Xenoyr. Once they found out that he was in a band leaving for a US tour they fired him on the spot, because they never would have hired him if they knew we toured as much as we could.” Although lambasted by some pundits, the modest wage has afforded a semblance of certainty amid the industry’s volatile state. It must be preferable to “spending 12 years never getting paid a dollar to perform in this band”, and losing tens of thousands per overseas tour. Devotees enlisting ought to be validation that the sextet has established a symbiotic relationship with their following. “It’s definitely been a learning experience. It was a new idea we had, so there wasn’t anyone else to copy and learn from. We just had to learn as we went along... Our fans have been really good at communicating with us, and been really supportive. The aim is to keep improving what we’re doing over time, and make it as worthwhile as possible for fans, so we can keep them involved and make it like a collaborative partnership.”
When & Where: 3 Dec, The Brightside
r food fros 20t%icokfeft holde until able up e Redee7mpmigonnigthht g
NOVEMBER WED 23
TRIFFID ACOUSTICS - FREE IN THE BEERGARDEN W/WILL ANDERSON THU 24
THE SMITH STREET BAND - SOLD OUT
W/THE NATION BLUE, GRIM RHYTHM & FOREVR
AFTER PARTY W/DJ BLACK AMEX - FREE IN THE BEERGARDEN FROM 11.30PM FRI 25
BRITISH INDIA - SELLING FAST W/BORN JOY DEAD & SOJA JERKS
AFTER PARTY W/DJ BLACK AMEX - FREE IN THE BEERGARDEN FROM 11.30PM SAT 26
W/I KNOW LEOPARD & ALEX L’ESTRANGE
AFTER PARTY W/DJ BLACK AMEX - FREE IN THE BEERGARDEN FROM 11.30PM SUN 27
TRIFFID STRIPPED -FREE IN THE BEERGARDEN W/JAKE & ALEX (SHAG ROCK) TUE 29
NATIONAL LIVE MUSIC AWARDS - FREE ENTRY ALL WELCOME WED 30
BAND OF SKULLS - SELLING FAST W/MORNING HARVEY
ASHER CHAPMAN (BEARFOOT) - FREE IN THE BEERGARDEN
DECEMBER FRI 2
A TRIBUTE TO THE GO-BETWEENS
W/HALFWAY, DAN KELLY, ADELE PICKVANCE & THE STRESS OF LEISURE, LEANNE TENNANT, JEREMY NEALE, BEC LAUGHTON & HANNAH MACKLIN ANNOUNCEMENT OF THE WINNER OF THE GRANT MCLENNAN FELLOWSHIP SAT 3
KINGFISHA ALBUM LAUNCH
W/BULLHORN, ONE DRAGON TWO DRAGON & 8MAN SUN 4
CHRISTIAN PATEY & MERRYN JEAN - JOINT ALBUM LAUNCH - FREE IN THE BEERGARDEN MON 5
W/SCOTT REYNOLDS (ALL) WED 7
KATATONIA - SELLING FAST
W/HAZARDS OF SWIMMING NAKED & KODIAK EMPIRE
TRIFFID ACOUSTICS W/YOUNGSMITH - FREE IN THE BEERGARDEN THU 8
BARONESS - SELLING FAST W/SPECIAL GUESTS FRI 9
DZ DEATHRAYS - SELLING FAST
W/ECCA VANDAL & WOODBOOT - LICENSED/ALL AGES SAT 10
CAPRE FINAL SHOW
W/AUSTEN, RAHMS & ZAPED SPECIALS WEDNESDAY Mates dates 2 beers + 2 burgers from 5pm THURSDAY $1 poppers and wings from 5pm
WWW.THETRIFFID.COM.AU | 7 STRATTON ST, NEWSTEAD TICKETS - WWW.OZTIX.COM.AU
THE MUSIC 23RD NOVEMBER 2016 • 19
WONDERS OF WONDERLAND Band Of Skulls bassist/ vocalist Emma Richardson tells Steve Bell about finding rock’n’roll inspiration in the most unlikely of places.
GRAEME OF THRONES By the old gods and the new, this send-up of the fantasy mega-hit series is a side-splitting romp through the Seven Kingdoms. Arriving Down Under following a sold-out season on London’s West End, this proudly unauthorised parody, following a bloke named Graeme in his quest to stage his favourite TV show on stage with a shoestring budget, will appeal to GoT tragics and newbies alike. When & Where: 30 Nov – 10 Dec, Brisbane Powerhouse
20 • THE MUSIC • 23RD NOVEMBER 2016
t’s been a crazy few years for Southampton indie rockers Band Of Skulls, the trio touring relentlessly to consolidate the traction their atmospheric, bluesy music has been gaining them all over the globe. So when it came time to work on what would become their fourth album, By Default, they were stoked to actually have a surplus of time at their disposal for once. “We knew we wanted to change up the place we wrote it, so we ended up looking around our hometown and we found a church which we ended up renting for a couple of months,” recalls bassist/vocalist Emma Richardson. “We were able to use the big room in that church and it had an awesome sound in there — really great reverb — and we set up all our gear and just went for it. It was a very inspiring time: a new place, new ideas and we had a longer period of writing time that we usually do so we wrote a lot of songs. I think we clocked up to about 100 [songs] by the time we left so it was a very inspiring place to be. “Then we worked with a new producer as well — Gil Norton, who we’ve all been fans of. He’s soundtracked our lives pretty much with all the music he’s produced, so it was slightly daunting but he’s a lovely guy and we got on superbly. He pushed us to the limit while we were recording it so it worked out really well.”
Instead of the band chasing the producer of their dreams, Norton — who’s worked with Pixies, Foo Fighters and even Violent Soho — actually approached the band. “We were starting to think about producers and people to work with, and then he actually got in contact with us and wondered if we’d like to work with him, and we were, like, ‘Yes, we’d love to meet you and have a chat!’” Richardson marvels. “So we went and met him in London and had a pint, and we got along really well and within two weeks we were in Rockfield [Studios] in Wales recording it. It was like quick speed-dating, but Gil had a vision and we trusted him and it worked out well.” Not being rushed during the recording process also allowed them to embrace their wide collective tastes a bit more. “Everyone listens to a lot of different styles, and a lot of different genres,” Richardson tells. “I guess for this record all of us wanted that to come through a little bit more, and experiment a bit more — there’s Latin-American rhythms appearing and even hip hop influences. Just having time to work allows all that to come through a bit more, rather than it just being a bit stilted. I think it’s important that all of those colours are a bit more obvious.”
When & Where: 30 Nov, The Triffid
THE MUSIC 23RD NOVEMBER 2016 â€¢ 21
Pic: Terry Soo
In Focus Shag Rock
Answered by: Alex Wilson (vocalist) How long have you been together? Five years. We weren’t anything serious ‘til about a year or so ago. We just did it because we were all shy-ish and liked music so we thought, ‘Why not?’ Definitely a good thing upon reflection. Which Brisbane bands before you have been an inspiration? We really like Dunies, Violent Soho, Powderfinger, Ball Park
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Music - all the classics you know. Our influences are far and wide, but Brissie has some amazing artists that are worth listening to.
release next year on 3 Mar. We also just released two singles, Roadtrip and Sunbleached Girl, which is sick.
What part do you think Brisbane plays in the music you make? I think because Brisbane is way more chill than most cities, our music is more chill. It has more of a homegrown kind of feel to it. “Suburban dreams” is how I would describe it.
When and where are your next gigs? Playing 25 Nov, The V Room, Noosa; 26 Nov, Jungle Love Festival; 2 Dec, NightQuarter, Gold Coast; 3 Dec, Woolly Mammoth. Finally getting some tours going, yewwwwww!
What’s in the pipeline for the band in the short term? We just finished up an album. There were 30-odd songs we were working on that we had to get down to 11. It’s due for
Website link for more info? shagrockmusic.com
Box Of Tricks
Cirque du Soleil return to Australia with Kooza and, as Ghislain Ramage tells Paul Ransom, this show’s about the circus.
t’s a frigid night in Santiago and Frenchborn circus performer Ghislain Ramage is waiting to go on stage. He’s been fulfilling a teenage dream and travelling the world with Cirque du Soleil, not only as a Cyr wheel specialist but as an all-rounder able to fill in where necessary. In many ways, his skill-varied base is old school carny; a bit of acrobatics, some clowning, juggling etc. It gives him an interesting perspective on the avowedly modern Cirque style. “Contemporary circus,” he explains, “can tend to be more dark because its goal sometimes is not to please the audience; it’s more about the message you want to present. But this show is not like that.” This show is Kooza and it’s about the circus. Its appeal is rooted in a kind of cultural nostalgia, a misty vision of tents, trapeze and tricksters. However, according to Ramage, the cosiness of memory does get disturbed. “Most people know about traditional circus but they don’t know much about contemporary circus; but what happens with Kooza is that even though it’s inspired by traditional circus, it’s not traditional. It’s transformed with the Cirque artistry.” Since debuting in Montreal in 2007, Kooza has toured relentlessly, clocking up close to 3,000 performances and more than six million ticket sales. Created by American-born clown David Shiner, it is most often described as “circus in a box”. Indeed, the title was inspired
by the Sanskrit ‘koza’, meaning box, chest or treasure. However, Kooza is still typical Cirque, in that it ties itself to a narrative and a few core ideas. As Ramage encapsulates it, “The whole story of the show is about life and death. Yes, you have a dark side but it’s treated in a way that’s not scary. For me, it’s not just dark because from darkness light shines again.” The show’s trajectory follows the journey of a mime called The Innocent into the beguiling and morally ambiguous world of the circus, a place where he meets such characters as The Bad Dog, The King and The Trickster. In spite of all the potential pitfalls, The Innocent survives and thrives. “Kooza is inspired by the roots of circus,” Ramage says, “so it’s much more joyful.” For Ramage, the world of Kooza reflects his own journey, an odyssey that began at the age of six. “My mother sent me to a circus school because I was already running and jumping everywhere and she thought it would be a good idea. Luckily there was a small circus school in my hometown. I started doing it as a hobby, learning all the basic skills. It only became a passion later.” The passion was fuelled by a DVD of Cirque’s Quidam, which the young Ramage watched over and over. “It was so rich and that’s how I got really passionate about it,” he recalls. “But y’know, before I was maybe 15 years old I did not even know I could really become a circus artist.” Ramage’s life on the road performing in huge tents neatly accords with the traditional childhood circus fantasy. From smalltown France to Chile (and soon to Australia), he has walked the path so spectacularly realised in Kooza. “For me, it’s not real work,” he jokes. “Y’know, I get to play every night.”
WONDERS OF WONDERLAND
SAMMY J & RANDY LAND Australia’s favourite purple puppet and his human sidekick have borrowed three million dollars to open their own theme park. What could possibly go wrong? Expect thrills, spills, songs and a velociraptor petting zoo in this hilarious musical comedy. Both halves of this duo have developed busy solo careers, so don’t miss this chance to see the pair reunite. When & Where: 8 – 10 Dec, Brisbane Powerhouse
What: Kooza When & Where: 24 Nov — 8 Jan, Under The Grand Chapiteau, Brisbane Airport THE MUSIC 23RD NOVEMBER 2016 • 23
Slow But Steady
WONDERS OF WONDERLAND Chicago post-rock veterans Tortoise waited seven years between albums, but percussionist Dan Bitney tells Steve Bell that their inherent weirdness allows them to do as they please.
UNDERTONE Technology and circus collide in this bold and beautiful fusion of the electronic and the acrobatic. Using live triggering tech to create constantly dynamic soundscapes, this experimental production showcases the possibilities on the bleeding edge of performance innovation. When & Where: 24 – 27 Nov, Brisbane Powerhouse
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or a while it seemed that the fertile career of Chicago post-rockers Tortoise might be gradually winding down, with years having passed without new music and its members spread far and wide (and many immersed in other projects). But when Chicago’s department of Cultural Affairs And Special Events commissioned them to write a collaborative suite it sparked a new rush of music, resulting eventually in their seventh studio album, The Catastrophist. “We’re part of the creative music community and the jazz community in Chicago as well as the rock community and the people from the city’s cultural department just wanted us to play with a handful of people from that community,” recalls percussionist Dan Bitney. “So we wrote what was a suite — just a concert really of new material — and it wasn’t as edited and some of it wasn’t as thought out, but it was fun and a good experiment to do. “We’d never worked like that — we’d always made these records and then learned how to play them on tour — so it was a great experiment and it gave us the base of the material, but we still really had to make it sound like us when we were working in the
studio. It was really just a little bit of a leg-up for starting a new record.” Two of The Catastrophist’s songs feature prominent vocals, a notable change for the predominantly instrumental act. “There was initially an idea of having a big vocal record but we really didn’t get as many responses from people as we were hoping,” Bitney admits. “But I love both pieces: Rock On [featuring US Maple’s Todd Rittman] is probably the weirdest one just because it’s a [David Essex] cover, but we only play that one [live] in Chicago really with [Rittman]. The other one [Yonder Blue featuring Yo La Tengo’s Georgia Hubley] is in our set as an instrumental, and it’s super fun too just because it reminds me of old R&B.” And Bitney has a fascinating theory explaining Tortoise’s longevity. “I hesitate to say it’s a democracy but it’s pretty close — it’s not like there’s a leader. [John] McEntire handles a lot of the engineering and recording and stuff, but there isn’t like the wanker frontman getting mad at somebody for being weird,” he chuckles. “Also I think that it’s just the arc of our career — we were just weirdos making weird music and then people liked it, so it wasn’t contrived in any way. If we were trying to be big we would sound like Nirvana, but instead we were, like, ‘Let’s put vibraphone with two drums and two bass players!’ That’s what I’d say: not having a frontman and always just doing what we wanted, and we were lucky that people liked it because it’s weird music. It’s strange music.”
When & Where: 6 Dec, The Zoo
Following a commercially lauded album, Perth band Birds Of Tokyo have dived back into a heavier rock sound with their latest, but it’s a change that Ian Kenny tells Carley Hall was always lurking in the band.
hen Ian Kenny phones in to chat about Birds Of Tokyo’s new album, he’s tackling the same duality he has for years as the singer of two very different but much-loved bands. Fresh from rehearsing for Karnivool’s support slot alongside US nu metal giants Deftones, the singer takes five to talk about his “other project” while soaking up the rays in his hometown of Perth. Never one to sit idle, Kenny’s Karnivool tour is hot on the heels of the release of Brace, the fifth studio album from Birds Of Tokyo. When Birds kicked off in 2004, the then four-piece swiftly gained a following with hooky, hard rock anthems on early releases Day One and the hit-riddled Universes. But a slight bend in the road led the band to a more polished sound with 2013’s March Fires, with flagship single Lanterns the band’s key to unlocking ultimately wider commercial success. With Brace there’s a decisive switch back to a sound that is heavier, riddled with low-slung, buzzing guitar riffs but still with anthems to ensnare listeners. The change is one Kenny stresses was organic, rather than a push to do so out of pressure or self consciousness.
“There’s always been a heavy sort of desire in the band,” he explains. “So I think at some point it would have come out. Most of the parts on March Fires were textural kind of layers that built up this wider scope. But this time it’s direct guitar riffs.” In order to bring about this shift, the band enlisted the help of Canadian producer David Bottrill, the man behind Tool’s Aenima, Muse’s Origin Of Symmetry and Silverchair’s Diorama, and a stack more. “We spoke to Dave at length before we committed to working with him and what we thought we had and what sort of record we wanted to make and where we wanted to take it,” Kenny says. “He’s a very intense, very aware guy. And we can really appreciate that in a producer because I can’t do that; I just don’t have the fucking capacity to.” But Kenny will have to at least stay partially focused after Karnivool’s Deftones tour, with Birds’ national tour of Brace soon kicking off. While a deviation in sound can sometimes divide fans, Kenny says the response to the new material has been “unreal”, and he’s keen to see more reactions to Brace’s darker undertones play out before him. “We knew that we had a different record on our hands and we knew that this is really going to shape a new band — whether that was going to go in the right way in the wrong way, up, down, we didn’t know,” he admits. “The band realises we’re a vehicle, we have a voice and we have something to say. We’re quite concerned about things that are happening, about things that are out of our control. The reaction is ‘well fuck this, we’re going to say something about it.’”
WONDERS OF WONDERLAND
S M O OT H C R I M I N A L S : THE SONGS OF MICHAEL JACKSON Jacko may be gone, but he’s definitely not forgotten. The Voice runner-up Luke Kennedy and world champion beatboxer Joel Turner make an unlikely-but-surprisingly successful collaboration, as they combine their different styles to celebrate the music of The King Of Pop. When & Where: 4 Dec, Brisbane Powerhouse
What: Brace (EMI) When & Where: 25 Nov, The Tivoli
THE MUSIC 23RD NOVEMBER 2016 • 25
Damage Control Jimmy Barnes invites readers to learn about his traumatic upbringing, which he’d never even discussed with his wife and kids before, through his first memoir. By Bryget Chrisfield.
y parents didn’t beat us, right... But every time they hit each other — every time my dad punched my mum in the face, he might as well have been throwing us across the room or hittin’ us with a baseball bat, because it did as much damage.” Working Class Boy by Jimmy Barnes is a heavy read. “It was certainly cathartic,” Barnes admits of the writing process, “but, I mean, literally every time I wrote a paragraph I’d feel as if a weight had been lifted off my shoulders, you know?... But you’ve gotta remember... most of the stuff in this book I had never spoken to
The book is as much as I could let out at the moment, but there is more.
anybody about. Anybody. [Not] my siblings, certainly not my wife or my kids. And then, on top of that, there was stuff in this book that I’d completely wiped from my memory... And I honestly believe there’s still stuff that’s blocked there.” We wonder whether he’s considered hypnotherapy. “I see a therapist once a week,” Barnes reveals, “and I’ve spoken to him and he said, ‘Look, dude, I think there’s something more still there.’ But, you know, he said it comes out when you’re ready to deal with it.” Barnes laughs, as if demonstrating how instrumental humour has been to him over the years as a coping mechanism. “And I guess I was ready to deal with all this stuff right now. And literally I do feel like a better person for getting 26 • THE MUSIC • 23RD NOVEMBER 2016
it out and I do feel like, you know, better prepared to deal with the issues around it at this point in my life.” Barnes chose not to consult with his siblings while writing this book, because he “didn’t want to be influenced by other people’s interpretations”. “My brothers and sisters and I were in the same room while mum and dad fought and we’ve all seen it differently,” he points out. “This had to be the book from my perspective and it had to be from my experience.” After Barnes finished writing Working Class Boy, however, his publishers recommended he check in with his siblings to let them know they feature quite heavily throughout its pages. “I remember I rang, like, John [Swan], my brother, who’d been very supportive and who’s like my hero, you know? I rang up John and I said, ‘Hey, John, I’ve put this in the book,’ and he went, ‘It never happened.’ And I went, ‘What are you taking about? I was there!’ And he was like, ‘Yeah, it never happened,’ and this was an incident about him and my sister fightin’ when they were 12 or something and he’s going, ‘I’ve never raised my hands to a woman.’ And I’m going, ‘John, you were kids!’... and he’s going, ‘Nope, never happened.’ I went, ‘Alright, John, I’ll take that out then. Okay? Okay?’ Then I said, ‘Okay, what about when we were in gangs when we were teenagers,’ he said, ‘I was never in a gang.’” Barnes then stresses, “He’s since read it and he’s sort of come around a bit more, but basically it was confronting for him to read this stuff about himself... because it’s so against his principles as an adult now, you know?” Another of his siblings who features throughout his memoir is Linda, one of his older sisters. “So I ring Linda, you know — I’m in a bad mood by this point, I’m thinkin’, ‘Oh, it’s gonna be like John, she’s gonna say nothin’ happened,’ and I ring Linda and I told her some of these horrible bits that were written about what we went through and she went, ‘Absolutely, that was right,’ and I said, ‘Oh, good, really?’ and I told her more and she went, ‘Well actually, it’s worse than that!’ [laughs]. And in the end, she’s read the book now and she said to me, she said, ‘Jim, I’ve wanted to write this book for, you know, 50 years.’ And she said, ‘It has been killing me’. My sister she’s in a wheelchair, she’s had drug problems and alcohol problems... She was damaged, you know, from day one, the poor thing. She’s wanted to write this and then she said, ‘Everything that you’ve written in the book, I think you’re being nice. I think it’s actually worse than it was’.” Of those family members who have read the book, Barnes tells, “My wife and, like, my kids and that all read it and said, ‘Oh, we’re so sorry it was so bad,’ and I said, ‘Look, guys, I have sugarcoated it a bit, because I didn’t want people to think I was makin’ it up.’... So I think the reality of the book is as much as I could let out at the moment, but there is more.”
When & Where: 1 Dec, Brisbane City Hall; 2 Dec, Jupiters
03–04 FEB AN EVENING WITH
Provocative, irreverent, controversial and wildly creative, don‘t miss this intimate and exclusive solo concert experience with Amanda Palmer. Performing two shows only as part of MELT Festival.
IMAGE: SHERVIN LAINEZ
THE MUSIC 23RD NOVEMBER 2016 • 27
Tall Stories Dark Days In America during the recent Presidential election, Kristian Matsson attended a marquee event that quickly became memorable for all the wrong reasons. “I was actually at Hillary [Clinton]’s event on election night, the night it all turned around,” he recalls. “It was pretty dark. Friends back home were texting me, going, ‘Come home! Don’t be in America anymore, don’t bother with those people.’ But I feel that we’re doing the same thing [in Sweden] — we have a racist party in the Parliament, and [Sweden Democrat leader] Jimmie Akesson is probably going to be Prime Minister next year so it’s very dark and very bothering here too. “I actually started on election night thinking about my own music and what I’m doing. I write music all the time but I feel like I shouldn’t be whining about break-ups and divorces right now, there are bigger things happening. Although I’m not dark when I think about all the people out there — playing 150 shows since last summer has been so amazing, there are so many great people out there and you have to remember that. We just have to do something to help spread love
28 • THE MUSIC • 23RD NOVEMBER 2016
Swedish singer-songwriter Kristian Matsson tells Steve Bell that even being The Tallest Man On Earth is no fun without friends to share the heights with.
or years now Kristian Matsson — under the guise of The Tallest Man On Earth — has been concocting riveting music using primarily just his voice and an acoustic guitar, so it surprised many when his intensely personal fourth album Dark Bird Is Home (2015) arrived rife with synth loops, strings and prominent backing vocals. He explains that this move away from sparsity was more by accident than design. “I didn’t really have a plan,” Matsson reflects. “I’d just come out of a divorce and I ran straight into the studio and let things just happen. It came from the heart — I didn’t treat it like a career move or anything like that, I just needed to make music so I went in there and just did it. It needed to come out in that way, and it’s how it ended up and I’m happy for that.” Matsson even censored himself at some junctures for being too personal. “At one point I realised that I was writing stuff that was not what I should be singing about in public — it just got too graphic of my personal life,” he admits. “I don’t think I need to do that, because it’s a pretty common thing to sing about on a record and I had friends at the time who were also going through separations and stuff like
that, so I erased the really super personal stuff.” Matsson attests that this creative process was helpful, but perhaps not in the way he was expecting. “It was helpful that it took up time,” he laughs. “It diverted me from thinking about it, though I don’t think that songs heal. I talked about this with my ex-wife [Amanda Bergman] because we’re still great friends and she’s one of the best artists I know, and she agreed that the songs don’t really help to heal, they’re not really therapeutic in that way. “But for sure it’s great to just get it out of you — that’s what I’ve been doing since I was a teenager and I had anxieties and weird energy that I needed to steer towards music and creating things, and when I did that the energy turned into good energy. In that sense it makes good use of that pent-up energy that arrives during times of turmoil to channel that into making music.” And with Matsson now touring with a full band he can’t wait to revisit Australia, particularly the Sydney Opera House. “I was so excited after the show last time but there was no one there to celebrate it with,” he smiles. “In the green room there’s a panoramic window where you can look out over the Harbour Bridge and there’s a massive Steinway piano but I was in there by myself! To go there with the guys so I don’t have to high five myself in the mirror is going to be great.”
When & Where: 7 Dec, QPAC
Wild Life Touring nonstop for the past 20 years, there’s one thing keeping British funnyman Bill Bailey sane as the world slowly unravels. He takes a break from juggling projects to chat with Daniel Cribb.
t’s a warm and muggy morning in London when Bill Bailey picks up the phone at his Glassbox Productions office, and while a hot cup of coffee might not sound like an enticing pick-me-up in such conditions, it’s necessary when you consider just how many projects he’s juggling. “I’ve written a book on British birds,” a fittingly chirpy Bailey begins on his October Bill Bailey’s Remarkable Guide To British Birds release. “I’ve written a sitcom pilot for the BBC and they accepted it so we’re doing pre-production for that,” he quickly adds — but it doesn’t stop there. “And I’m curating a Museum Of Curiosity in a maritime museum in the north of England; just usual sort of things.” Anyone who has seen Bailey in action during his 20 years as a touring comic will know his definition of ‘usual’ differs to the conventional means. His unique brand of humour was first introduced to many Australians in the early 2000s during his stint as Manny Bianco in UK hit Black Books and quiz show Never Mind The Buzzcocks, so the prospect of seeing Bailey back on TV with his own show is an exciting one. “It’s based around a wildlife park, and I’m the aristocratic, slightly baffled curator and owner of the park. It’s set in the West of England,” he reveals. “It’s probably not a huge stretch for me. You have a lot of shenanigans with the animals; I think that’s a lot of the fun we’re going to have with it, a lot of the animals comment on all the humans in a slightly philosophical way so we’re just figuring out how to shoot that and it’s looking good.” The theme of wildlife is front and centre, which is something the 52-year-old has been passionate about most of his life, stemming from trips to wildlife and bird reserves with his parents while growing up. Spending the past two decades taking his comedy to every corner of the planet, he’ll often spend his free time checking out the local scenery. “It’s kind of reassuring — you realise, almost on another level, how interconnected the world is and how artificial the borders that we’ve imposed on ourselves are,” he explains. “When I was in Indonesia earlier this year, I was on a dive trip and I was looking out over a rocky shore at these little wailing birds, sandpipers, and
The politicians are still just as dodgy as ever.
these are the same birds that I see in my local reserve here in West London... you do get a sense of a wider view of the world.” Wildlife is one of the constants Bailey has noticed during his travels, but he’s also noted some drastic changes. “The biggest change I think is development; I mean, we’re constantly encroaching on the natural world, that’s something I’ve noticed hugely. I’ve noticed an increase in population and the way that impacts on the environment in terms of building and traffic and people in general using resources, but some things don’t change, the politicians are still just as dodgy as ever,” he laughs. Politicians (among others) took a beating during his last Aussie tour, Limboland, which fused music and more into one of the more engaging and diverse comedy sets going around. Bailey brings his new set Larks In Transit Down Under this time — almost a live, comedic memoir of sorts; a way for him to mark the impressive milestone that is 20 years of touring. “I think it’s quite important to do that along the way,” he says. “It also struck me that when I first came to Australia I’d only just started doing stand-up — I mean, I’d probably been doing it maybe a year or less. I’d done comedy before in a double act and sketch comedy, I’d been an actor and a musician but just doing my own thing was a relatively new adventure and so the time playing in Australia really encompasses virtually my entire standup career. “It’s partly a retrospective of all of that travel tales, stuff that you learn along the way, a bit of philosophy you’ve picked up, some stories and a lot of music. I’ve thought, ‘Okay, here’s a good point to collect a bunch of thoughts and stories and we’ll have music and lights and stick it in one show.’”
What: Larks In Transit When & Where: 23 – 25 Nov, Queensland Performing Arts Centre
THE MUSIC 23RD NOVEMBER 2016 • 29
Eat / Drink Eat/Drink
The Burger Bar
i could murder a burger
Thomas St, Noosaville & Brisbane Rd, Mooloolaba The Burger Bar are masters of the hallowed art of slapping meat in bread. Every drop of sauce and chunk of relish is made in-house under owner Richard Tan’s discerning eye and their buns are locally baked at the Essential Grain Bakery. In the past they’ve snagged the top prize from both the Lifestyle Food and I Love Food Awards and when your burger comes out with a big blue ribbon on it, you know it’s going to be good. Personally, we’re all about the Top Bun — lamb, brie, lime slaw, piccalilli sauce, lettuce and mayo — but it’s a long menu and you’re going to want to try everything.
Picture it: a beautifully set table complete crisp white table cloth, gleaming silver cutlery, an attentive waiter to do that weird decrumbing thing after a basket of artisanal breads, plate after dainty plate of exquisitely crafted haute cuisine, prepared with incredible skill and microscopic attention to detail. What could be better than fine dining at a top class, swanky-pants restaurant? A massive, juicy, grab-it-with-both-handsand-get-it-in-ya-face burger, that’s what. When that glorious marriage of bread, meat, salad and condiments is just right, nothing beats it. Here are some of the best to sink your teeth into in Queensland.
Several locations If you’ve got the need for feed, Burger Urge has got your buns. They only use premium, free-range produce sourced from local Aussie farmers and their most recent creation, the Mad Mac, combines two of humanity’s greatest achievements — mac ‘n’ cheese and burgers — then adds War Boy bacon jam, BBQ sauce, aioli and salad. They even stock Burleigh-based brews Big Head and 28 Pale. Think globally, drink locally.
Pic: Felicity Case-Mejia
Longboards Laidback Eatery & Bar Northcliffe terrace, Surfers Paradise The menu at Longboards Laidback Eatery & Bar is as thick and juicy as the items on it, with choices like The Budgie Smuggler, The Fat Ninja and The G-Banger (for the vegos). If you’re a proper connoisseur though, it’s pretty hard to go past The Phat Bastard. Watching someone try to wrap their mouth around 600 grams of grilled Wagyu stacked with bacon, cheddar cheese, pulled pork, battered onion rings and all of the salad, couched in a brioche bun and soaked in Longboards’ house made Phat Ass sauce might be the best show in town.
Miss Kay’s George St, Brisbane We are suckers for themed meals here at The Music, so knowing we can head down to Miss Kay’s for a Ludakrisp (crispy chicken), or an Austin Flowers (spiced tempura cauliflower) makes us very happy campers. The Mac Daddy is a particular triumph in burger engineering, balancing a beef patty, maple bacon, onion rings, American cheese, lettuce and fries in one jaw-unhinging tower. Wash it down with one of their creamy milkshakes: we highly recommend The James Brownie or The Elvis, which you can even get with a shot of giggyup. Somewhere out there Vince Vega just shed a tear.
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He may be starring as Mr Wormwood in the Australian production of Roald Dahl’s Matilda, but Daniel Frederiksen tells Steve Bell not to make a song and dance about it.
ou’d imagine that having a leading role in a high profile musical would by design entail a lot of singing and dancing, but it ain’t necessarily so. NIDAtrained Daniel Frederiksen has substantial experience to his name on both stage and screen — receiving both Logie and AFI nominations along the journey — but he’s found his role as Mr Wormwood in the impending production of Roald Dahl’s Matilda cruisy so far to say the least. “I haven’t found the lead-in very taxing to be honest, because I have absolutely zero ability when it comes to singing and very, very little when it comes to moving, let alone dancing, I have a lot of time off in the rehearsal process,” he laughs. “I’ve got one song, but it’s what they call a character song so it’s basically for meat puppets — for actors like myself who can’t sing — and you just have to put on a character and you’re done. It’s basically keeping time with the rhythm and you’re done. And it’s still considered a lead part so it’s great — you get all of the ego boost with half of the work.” Frederiksen — who admits being a Dahl fan growing up — says that he’s stoked to be adding Matilda to his CV. “I was in rehearsals [for Matilda] the other day watching it, and what I found fascinating
was watching the dance moves and how all of the dancing that people are doing is telling a story,” he enthuses. “It doesn’t look like traditional dance that I would understand from seeing musical theatre — you know how kids will walk along and they’re scratching their faces and rubbing their arm on their nose and then rubbing the snot on their pants, like kids do? All of that’s been incorporated into the moves in this beautifully crafted observational and artistic manner. I think that’s something different to your standard musical.” And while Matilda might have ostensibly been a book for kids, the musical version is for folks of all ages and persuasions. “I guess it’s like The Simpsons or similar aspects of culture where kids can get it on a level — and will, because it’s about a child, it’s about Matilda — but the humour’s really dark, and the stuff it’s talking about is really risque at times,” Frederiksen smiles. “So adults won’t just be able to come along and passively enjoy it as well, it’s more like, ‘Oh my God, what an amazing experience!’ That’s what my friends who’ve seen it overseas tell me anyway.” Does the fact that Matilda — which opened in the UK in 2010 and features songs by Tim Minchin — has done so well on West End and Broadway add pressure or alleviate stress because you know the production is a winner? “I think it alleviates it,” Frederiksen tells. “[Matthew Warchus] who’s directing it has been involved with it for four years and seen it something like 700 times, so if he says that something is the best way to interpret it at this moment you can trust he’s on the money.”
Strapped for cash? Bit of a perv? Know your way around a sex shop? Then the Lovehoney sex toy design competition might be just the opportunity you’ve been waiting for. Last year’s winner, Trevor Murphy, claims to have made more than $300,000 in royalties from his intimate invention, the Sqweel, which according to its marketing bumph “simulates oral sex with a rotating wheel of ten teasing tongues.” Yup, that made us feel pretty grossed out too. But we’re not the judgey types here at The Music, so if you’ve got an winning idea... don’t tell us, tell Lovehoney.
What: Matilda The Musical When & Where: 25 Nov - 12 Feb, Lyric Theatre
THE MUSIC 23RD NOVEMBER 2016 • 31
Ghost In The Shell
It’s been a bumper week for new film trailers. Here are three which have us super stoked for next year’s Autumn blockbusters.
Ghost In The Shell The upcoming live-action adaptation of the Manga masterpiece has copped some flack for whitewashing, with the conspicuously non-Japanese actress Scarlett Johansson in the leading role. Nonetheless, the first trailer appears to be an incredibly faithful homage to the original’s look and feel.
Kong: Skull Island This latest Hollywood outing for the world’s most famous giant gorilla looks to be a more original take than previous films, weaving in a military aspect. Think Predator meets Jurassic Park, but with a 500ft ape in the mix! Tom Hiddleston and Samuel L Jackson star, so you know it’s going to be bad ass.
Beauty And The Beast The live-action remake of the Disney classic, starring Emma Watson and Dan Stevens, looks bloody beautiful in our humble opinion. The latest trailer for the tale as old as time has offered the first glimpse at the enchanted servants, Lumiere, voiced by Ewan McGregor, and Cogsworth, voiced by Ian McKellen.
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Nick Lythall from The Iron Eye tells Brynn Davies about his destructive tendencies, satanic messages about Trump in their songs and that one time they decided to oneup Violent Soho.
ever, ever, ever let The Iron Eye borrow/hire/use or... well... breathe around pretty much anything you own. In making their five-track EP Foreign Bodies, vocalist/guitarist Nick Lythall proudly announces that he managed to blow up not one, but three amps. Oh, and they also managed to simultaneously trash their bass player’s boss’ shop and turn it pink. “I’m a bit like a hurricane,” Lythall announces. “I just came in and destroyed — well, I didn’t destroy them, they were sorta on their last legs.” Yeah, we’re not buying it, and neither did their engineer John Grace. Lythall was metaphorically plonked in the naughty corner and given “a tiny amp that is half the size of a lunchbox” instead. The Brisbane three-piece have clocked up an impressive log of support slots with the likes of Harts, DZ Deathrays, Grenadiers, King Of The North, Jericco, and more, but the ultimate notch on their belt was punched by The Iron Eye’s “childhood heroes I guess, [a] band we looked up to — Shihad — I remember watching their videos on Rage on Saturday mornings when I was younger,” smiles Lythall. Tom Larkin from Shihad ended up producing Foreign Bodies. “Honestly he’s very to the point; he doesn’t talk shit... But
when we met him he was just the most humblest, sweetest dude, incredibly intelligent guy as well, just his insights not only to the music industry but just life as a musician and life in general,” Lythall enthuses. “It was pretty daunting, not gonna lie. We may or may not have just been practicing like 24 hours a day just to hide the fact that we’re pretty ordinary at our instruments!” As selfdeprecating as Lythall is about the band’s musical prowess, they made an extraordinary music video to accompany single Just Started in which they play the track in reverse amidst total chaos. “We basically made a mini backing track that we learned to play the song to — you try to listen to the song backwards and it just doesn’t make sense... Satanic messages coming out telling you to vote Trump or whatever,” he jokes. “You’ve got powder and cake and water and flour and all this shit getting thrown at you — stuff in my mouth when I’m trying to sing it!” Directed by bassist David Webster, the idea was conceived after he “saw a Violent Soho video and they’re playing in this rundown house and it was semi destroyed, and he thought they were going to destroy the house more in the video, but they didn’t. So he’s like ‘cool, how about we do that and just destroy something and do it backwards’.” “[Webster’s] boss was kind enough to lend us the space for the weekend... We didn’t tell him that the walls were going to be dyed pink after. It took us a good ten hours on the Sunday night to clean the floors and then obviously we had to go back in the next weekend and paint the walls!”
What: Foreign Bodies (Independent) When & Where: 24 Nov, Crowbar
although in 2017 we do have plans to release a larger body of work. What was inspiring you during the song’s writing and recording? A lot of things really, mainly my emotive state at the time, however I was also looking heavily into other people’s relationships and using that as a story telling device too.
onnelle Brooks’ folky EP Poppies flows as “a diary of sorts” — “I had a pretty bad relationship at the time that I wrote most of the songs. That’s always equally inspiring and frustrating,” she explains. “I wish there was a theme! They are just a collection of songs. The writing process is not something I can control, it sort of just comes out depending on how I’m eeling.” Leaving school to work on a farm in Laidley, Brooks laughs that it was “pretty shit, so I quit my job and started studying music.” She released an EP as a solo artist in 2012 before gather her band Don & The Mobsters, before settling down again for a solo writing adventure with Poppies. Recording at Hunting Ground Studios in Moorooka, she was on familiar ground. “I’ve worked there before recording a song for the charity group Make The Homeless Smile. The drums were tracked by my friend Dustin.” Recording was far from smooth: “The recording process was a mess, interrupted by discovering I had vocal fold polyps last year,” she reveals. The track closest to her heart is “The title track Poppies. I wrote it for my brother who went to serve in Afghanistan. It’s funny ‘cause we haven’t always see eye to eye, but when he went away it made me feel grateful for our relationship and has brought us closer.”
Answered by: Lachlan McGuffie Single title: Last Week What’s the song about? Last Week is about falling in love quickly, scarily and beautifully. How long did it take to write/record? This song took twenty minutes to write, but we really focused in on the recording, implementing a live feel to the song but trying to keep that Ivey sound our fans are familiar with. Is this track from a forthcoming release/ existing release? The track for now is a single,
Deep Sea Arcade
Single Focus Answered by: Nick Weaver
When & Where: 4 Dec, The Bearded Lady
Single title? Learning To Fly What’s the song about? The lyrics are Nic McKenzie’s department, but for me it’s a triumphant song about not taking no guff from nobody. How long did it take to write/record? It was around a year between writing and final recording. Then we workshopped it a bit with producer Eric J Dubowsky (Flume, Chet Faker, Weezer) and then recorded with drummer Matt Johnson (Jeff Buckley).
We’ll like this song if we like... You’ll like this song if you ever fallen in love, if you like Ivey, and if you like Britpop. Do you play it differently live? Not at all, and that was exactly our point with this song. We wanted to create and record a song that sounded like our live show. When and where is your launch/ next gig? Our next show is in Sydney on 25 Nov, from there we head to Wollongong, Brisbane and then a hometown show on the Gold Coast to finish. Website link for more info? http:// www.iveytheband.com
Is this track from a forthcoming release/existing release? It is the lead single from our second album, which is due for release in 2017. What was inspiring you during the song’s writing and recording? Nic initially wrote the song for a film, and fortunately it was rejected which meant we could use it. The idea was to create something beautiful and floaty but with Shuggie Otis swagger for days. We’ll like this song if we like... ELO! Do you play it differently live? At first it was a tricky one to tackle live. It requires our keyboard player Brendan “Brandylion” O’Mahony juggling a lot of different sounds and working up a massive sweat. When and where is your launch/next gig? 2 Dec, Woolly Mammoth Website link for more info? deepseaarcade.com.au THE MUSIC 23RD NOVEMBER 2016 • 33
The Manniversary As they prepare for the ten-year anniversary of their doublebill shows, Josh Pyke and Bob Evans admit to Carley Hall that there’s a fair bit of man love between the duo.
music industry meet-up, adult sleepovers in a childhood home, sage words of wisdom, a bevvy of beverages — these are the ties that bound two of the country’s most loved troubadours a decade ago and set them off on a well-received national tour. And now, ten years on, Josh Pyke and Bob Evans are packing their bags to do it all again. Off the back of a busy year — new albums and associated touring for each of them — Pyke and Evans, aka Kevin Mitchell, have found time to line up a commemoration of sorts to mark their first outing as a duo with Another Evening With Josh Pyke and Bob Evans. They even found an uncanny way to work out who got top billing.
“Josh was still pulling fucking Jebediah posters off his bedroom walls!
“It was like one of those traditional Turkish oil wrestling matches,” Mitchell deadpans. “Josh just overpowered me and he got the top billing, once again. Twice out of two tours.””It’s just how I roll,” Pyke admits. And at the suggestion of a compromise, a fusion of the two names into a Brangelina-like moniker — ‘Bosh’ or ‘Job’ are proffered suggestions- tongues remain firmly planted in cheeks. “The last thing I need in my life is another fucking band name, or any name at all,” Mitchell laughs. “That’s true, isn’t it? At least they’re all one syllable — Bob, Kev, Jeb,” Pyke offers.
34 • THE MUSIC • 23RD NOVEMBER 2016
Meeting ten years ago when Pyke’s star was on the rise and Mitchell’s transition from Jebediah frontman to Bob Evans was well on its way with a celebrated second album just released, the pair found a cohort in each other. With Pyke a massive Jebediah fan and with an insight into the offbeat way in which this union kicked off, it’s clear from the start there were no egos but plenty of good times. “My parents were overseas and Kev came and lived there as well,” Pyke explains. “I had to slowly admit to him that I was a huge Jebediah fan in a way that wouldn’t make him feel like I was a creepy stalker who was trying to manipulate the situation to have him stay in my childhood home!” “Josh was still pulling fucking Jebediah posters off his bedroom walls!” Mitchell interjects. “So we were literally living together for the first five days before the tour doing our final rehearsals.” Fan love aside, for Mitchell the tour was a chance to keep the momentum of something positive rolling along, as the duo were both at the time pushing their respective projects into the then growing indie dandy-man scene. “I’d been overseas for six months and was away when Josh was becoming this musical icon,” Mitchell recalls. “So we were doing this tour and everyone was singing along to Josh’s songs and he had this really great thing going on. I think I was just happy to be rolling along and to be part of something that’s so positive.” And if it allowed Mitchell a chance to play the ‘Dad’ card and offer some advice to an up and coming Pyke, so be it. “He really did say this to me and he’s always denied it,” Pyke explains. “I was stressing about something and he literally said to me ‘less thinking more drinking’.” There’s no doubt the drinks will be flowing when the pair reunite for their double billing. While there’s collectively now a bunch more albums to pluck set list songs from, Mitchell said the fundamentals of the pair’s chemistry remain. “Josh and I are almost exactly the same age, we’ve shared the same generational experiences, we’ve both gone through loss, changes, at very similar times,” Mitchell explains. “It’s pretty rare. I don’t have any other friends that I have that broad amount of things in com common with.””I think both of us are ambitious people but I’m not particularly competitive,” Pyke adds. “That’s the o only time I could see things being bad, but that’s not how either of us roll.” With an equal amount of admiration, similarities and genuine enjoyment of each other’s company, the door is wide open for yet another Josh Pyke and Bob Evans evening down the track — like, way down the track. “We’ll be doing a tour of old people homes in 2026,” Mitchell confirms. “No that’s too soon, 2036 maybe, 2026 will just be hitting up the RSLs.” “Aw dude, can you imagine when we’re like 65 or 70 you and I just get in our golf buggy and just hit the RSLs and the nursing homes, playing our songs and like Harpoon?” Pyke enthuses.”Yeah people would literally be rolling in the aisles!” Mitchell agrees. “They would have to have some fucking extra meds to keep the crowd under control.”
When & Where: 2 Dec, Brisbane Powerhouse; 3 Dec, Solbar; 4 Dec, Soundlounge
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Rise And Fall Celebrated as a visionary director, vilified as an alleged sex offender, the life and work of Roman Polanski occupies a difficult duality. With the opening of a major survey of the filmmaker’s work, Anthony Carew takes a look at Polanski’s contentious talent..
n Marina Zenovich’s 2008 documentary Roman Polanski: Wanted And Desired, the infamous director’s 1977 court case, where he was tried for the sexual assault of a 13-year-old girl, is chronicled in fastidious detail. She doesn’t, however, speak to the subject himself, but that becomes the film’s angle: Polanski’s effective (and ongoing) trial in absentia and the simultaneous trialby-media, with the muckrakers of the gossip mill hooked on a case thick with celebrity obsession. In the documentary, Richard Brenneman, an LAbased reporter who covered the hearing, says of the press coverage at the time: “How can this same man be The Fearless Vampire Killers
European reporters looked on Polanski as this tragic, brilliant, historic figure... the American press tended to look at him as this malignant, twisted dwarf.
two different things to two different sets of press? The European reporters looked on Polanski as this tragic, brilliant, historic figure... who had survived the Holocaust, who had survived the gassing of his mother, and then had come [to America] and maintained his integrity against the power of the Hollywood machine. And the American press tended to look at him as this malignant, twisted dwarf.” Four decades on and the divisive opinions about the director persist. At a time in which social media has conflated art with the artist and has empowered Twitter mobs in piques of (self-) righteous protest, the -let’s use the word- ‘problematic’ nature of Polanski’s filmography has never been more apparent. 36 • THE MUSIC • 23RD NOVEMBER 2016
So, it’s notable that the cinematic retrospective Roman: 10 x Polanski doesn’t just feature his films, but Wanted And Desired, too. Even when celebrating his own works, it seems imperative to screen a documentary about Polanski. Whilst his run of classic ‘60s and ‘70s films long ago meant that the filmmaker ascended into the ranks of auteurs known mononymically by their surnames, evoking his name is never so simple. If we’re to go just by his films, Polanski is one of cinema’s definitive directors: a filmmaker who remains influential to this day. Born in Paris in 1933, he survived the Holocaust in Poland and was inspired to make films after seeing Snow White. Where other mid-20th-century filmmakers took a while to find their feet, Polanski’s genius was apparent early. His 1958 short, Two Men And A Wardrobe, is a work of invention and delight, and his debut feature, the unsettling 1962 thriller Knife In The Water, was nominated for an Academy Award (and, years later, rippedoff wholesale in Phillip Noyce’s Dead Calm). Knife In The Water screens as part of 10 x Polanski, and its tale -a young husband and wife invite a charismatic drifter onto their boat, sexual power games and paranoia blossom- sets the tenor for the program. An accompanying visual essay by Adrian Martin calls Polanski’s work the ‘Cinema Of Invasion’. In so many of his films, a bourgeois life falls apart as outside forces enter enclosed spaces -boats (as with 1992’s Bitter Moon, too), houses, theatres, or, most famously, tenements- that grow to feel increasingly like prisons. This includes -and is defined by- Polanski’s run of legendary paranoia thrillers, especially his ‘apartment trilogy’: 1965’s Repulsion, 1968’s iconic Rosemary’s Baby, and 1976’s The Tenant. Each of them finds a figure (Catherine Deneuve, Mia Farrow, and Polanski himself, respectively) becoming increasingly unhinged, spooked, and delirious; and these films are unsettling when contrasted with the real-life death of his second wife, Sharon Tate, who was infamously murdered, whilst pregnant, by the Manson Family in the Hollywood Hills in 1969. Polanski’s 1974 film, Chinatown, in turn, depicted Los Angeles as a cesspool of toxic corruption; the film a clas classic noir-movie in which a PI sinks slowly into the mire and justice remains unserved. 10 x Polanski touches on other elements of Polanski’s oeuv oeuvre, from his early knockabout UK comedies (1966’s CulCul-de-sac, 1967’s The Fearless Vampire Killers) to his later Hitc Hitchcockian thrillers (1988’s Frantic, 2010’s The Ghost Writ Writer). With only one film from the past quarter-century, the program is built around ‘classic’ Polanski, but the filmmaker is still active. However, at 83, it’s unlikely the director has many more movies left in him. As 10 X Polanski shows, his status as a cinematic legend was long ago consecrated. Of course, so, too, was his place in infamy. The debate between these two sides of Polanski will be stirred up by this program, come into the mass consciousness with his eventual death, and continue on long into the future.
What: Roman: 10 x Polanski When & Where: 1-7 Dec, Palace Centro
Sharon Jones 1956 – 2016
egendary soul singer Sharon Jones has passed away aged Sharon Jones @ Sydney Town Hall. Pic: Rohan Anderson 60 following a battle with cancer. A post on Jones’ website confirmed the news. It read: St Vincent “We are deeply saddened to announce that Sharon “Sharon Jones. Thank you for everything.” Jones has passed away after a heroic battle against pancreatic cancer. She was surrounded by her loved ones, including The Dap-Kings. Thank you for your prayers and thoughts during this difficult time.” Jones revealed she had been diagnosed with cancer in 2013 and, after beating it, the cancer returned in 2015, the same year that saw the release of Miss Sharon Jones!, a film detailing her original battle with cancer and return to music. Fans are being urged to make donations to either The Lustgarten Foundation, James Brown Family Foundation or Little Kids Rock in lieu of flowers. Memorial details were still to be confirmed at the time of writing. Social media praise As with most high-profile deaths, fellow musicians and entertainers took to social media to offer commiserations, memories and praise for Jones. Here’s just a selection: Mark Ronson “Sharon Jones had one of the most magnificent, gutwrenching voices of anyone in recent times. She’ll be so missed. Too sad x.”
The Budos Band “Heartbroken by the loss of our sister. She made the family around her that we are lucky to be apart of. Rest in power Queen.” Hayley Williams (Paramore) “My heart is broken. This year is so sad. Sharon Jones, thx for inspiring me for so long. Your voice/energy will echo in my heart forever.” Leon Bridges “Rest In Peace to the beautiful black queen Sharon Jones.” Maggie Rogers “If goosebumps were stars, she gave me the galaxy. RIP Sharon Jones.” Jason Isbell “So very sad to hear of Sharon Jones’ passing. An incredibly strong person and a magical performer. Heartbreaking.” Dave Hause (The Loved Ones) “Goddamnit. The world is a little less shiny without Sharon Jones in it. Thank god we had her for a little while. “ Victoria Justice “RIP Sharon Jones. If you don’t know who she is, I urge you to watch Miss Sharon Jones!, her fiery spirit & amazing talent inspires.”
Sharon Jones @ Sydney Town Hall. Pic: Rohan Anderson
The Family Crest “Sharon Jones was a light that shined brighter than most. Broken-hearted.”
Sharon Jones @ Sydney Town Hall. Pic: Rohan Anderson
THE MUSIC 23RD NOVEMBER 2016 • 37
Album / E Album/EP Reviews
Album OF THE Week
Reclaim Australia Golden Era Records
There doesn’t seem to be a more relevant time for this release. Even the tongue-in-cheek album title is taking a good dig at one group in the Australian community intent on further dividing our already fractious nation. Reclaim Australia is not only bursting with sassy guest vocalists, snappy beats and archival audio, it is the angry voice able to commentate the ills felt by Indigenous people who feel they have none. Audio of Archie Roach’s friendly tones open the album like a storybook — but in many of these tracks a happy ending is still out of reach, if indeed it is ever achievable. Single 2 Black 2 Strong sets this tone from the start, the two wordsmiths forcefully calling out injustice. January 26 follow suit with Dan Sultan’s smooth croon offering a stark juxtaposition to the condemnation of annual Australia Day celebrations. Caiti Baker’s layered vocals in Sorry have an eerie quality on top of R&B-like keys, Thelma Plum slides her gentle, breathy lilt into the sombre I C U perfectly, and Gurrumul’s voice is stirring amid Briggs and Trials’ determination for change in Take Me Home. If some listeners feel uncomfortable being called to witness our forbearers’ past atrocities then so be it. Reclaim Australia is an album that couldn’t not be made in this regard, but it’s also a stand-up flag bearer for polished Australian hip hop. Carley Hall
In The Fog
Farmer and The Owl/Inertia
Bec Sandridge has a great sense of style. From the rich, echoing vocals and colourful synths to the danceable rhythms and little flourishes of musical eccentricity, Sandridge has really mastered her chosen hybrid of ‘80s pop and post-punk. To her considerable credit, her latest EP manages to explore several distinct explorations on that theme. There’s no mistaking the percolating grooves of You’re A Fucking Joke or the cool punk rush of In The Fog, In The Flame or the swaggering heartbreak of High Tide. Sandridge’s songwriting and sound are both strong enough that they can be contorted into many different permutations without even coming close to breaking. But, one can’t help but long for something a little more distinctive or vulnerable. As it stands, In The Fog feels like a
It’s a shame that despite Tame Impala’s tireless support, Dungen haven’t gained the wider audience they deserve. Our local heroes toured the US with these retro psychedeliasaturated Swedes and even asked them to mix their first EP, although main man Gustav Ejstes’ preference for singing in Swedish probably hasn’t encouraged hits. Haxan (meaning “The Witch”) is Dungen’s first foray into soundtracks, having been asked to score the 1926 seminal The Adventures Of Prince Achmed, the oldest surviving full-length animated feature film. The lack of vocals on Haxan is largely inconsequential as to non-Swedish speakers Ejates’ voice is more of an additional instrument than anything else. From the opening onwards, it’s clear that this project has given
38 • THE MUSIC • 23RD NOVEMBER 2016
beautifully packaged product, but the songs don’t really have the hooks or humanity to really affect a listener. There are hints, of course. The spiralling acoustic guitars of closer I Keep Running Back, for instance, provide a brief glimpse of something that is as genuinely evocative as it is colourfully impressive. The aforementioned High Tide strikes similar notes, at times. However, the record still feels mostly like a wellcrafted tribute. It’s undoubtedly enjoyable. One just hopes Sandridge digs a little deeper into her own creative expression on future releases. The potential is definitely there. Matt O’Neill
Ejstes good reason to explore new territories, as Dungen’s sound palette has never been broader. From the playful ghosthouse shenanigans of Trollkarlen Och Fageldrakten — which reeks with suspicion and intrigue — to the mystical church organ that reoccurs like an echo of Pink Floyd at various times, Haxan is playful and gothic in a Hans Christian Andersen kind of way. In amongst the frivolity are some of Dungen’s heaviest cuts to date, including the title track and Andarnas Krig, a grisly jig of impending doom. There are no anthems here, but Haxan is a journey full of colour and adventure. Christopher H James
EP Reviews Album/EP Reviews
Letherette Last Night On The Planet Ninja Tune/Inertia
Nightmares On Wax Ground Floor Warp/Inertia
This Girl’s In Love (A Bacharach & David Songbook)
I Want In Your Head Independent
Album number two for Londonbased duo Letherette, who are finding it increasingly hard to stand out in the current climate of dancefloor open-mindedness. An LP built on a foundation of chunky house bass lines with some chopped up vocal snippets, a token rap spot and a few downbeat moments isn’t going to raise eyebrows nowadays, nor other body parts. Although the ambition of the title track stands out, Letherette get the individual elements right but lack vision on this slick, wellproduced and largely inspirationfree release.
Having spent the last 25 years in the chillout tent, George “Nightmares On Wax” Evelyn has staggered back to the dancefloor with this EP. Like 1991’s A Word Of Science, Ground Floor is replete with minimal grooves, although time has taught Evelyn a production trick or two. There’s a wooziness to the drums that will make tracks like Dirty Triumph and Reclaim The Balcony an oddity to most dancefloors, but there are charming qualities such as the strange but satisfying deep house ride through inner-space that is World Inside.
There have been many covers of Burt Bacharach And Hal David’s now-classic pop songs made famous by some truly legendary singers. Rumer’s respectful approach to this material, if perhaps a little serious and reverential, understands the emotional content of these love songs and the soft and subtle way in which they pull at the heartstrings. Channelling the sweetness of Karen Carpenter and the presence of Dusty Springfield, this album is buoyed by breezy, groovy vibes that take us back to the optimism of the ‘60s and ‘70s. A delightful collection of saccharine love songs of the best sort.
This is a little bit special. Melbournites Frida operate in a psychedelic space not entirely removed from mid-’00s The Flaming Lips or recent Tame Impala, but with something ever so slightly darker and more cinematic thrown into the mix. In a strange way, it’s reminiscent of a psychedelic version of Nancy Sinatra’s work with Lee Hazlewood. The various songs on the EP overflow with melody, texture and colour but, through both their writing and delivery, seem to maintain a streak of indefatigable cool. Highly recommended.
Christopher H James
Christopher H James
More Reviews Online Omar Rodriguez-Lopez Zapopan
Gum Flash In The Pan
Listen to our This Week’s Releases playlist on
THE MUSIC 23RD NOVEMBER 2016 • 39
Live Re Live Reviews
Crowd @ Mullum Festival. Pic: Michelle Padovan
Mullum Music Festival Mullumbimby 17 — 20 Nov Friday
Crowd @ Mullum Festival. Pic: Michelle Padovan
Deftones @ Riverstage. Pic: Markus Ravik
Deftones @ Riverstage. Pic: Markus Ravik
Deftones @ Riverstage. Pic: Markus Ravik
Deftones @ Riverstage. Pic: Markus Ravik
40 • THE MUSIC • 23RD NOVEMBER 2016
With seven venues scattered throughout the township — all within walking distance and accessible with a single wristband — we open proceedings in Village Vanguard, which is located inside the Mullumbimby RSL, a slightly incongruous place to see The Drones’ frontman Gareth Liddiard in solo mode given the nature of his foreboding and brutal narratives, but such is Mullum. In between songs, he belies the intensity of his performance by bantering good-naturedly with wags in the crowd, throwing in covers amid his own chestnuts like Shark Fin Blues and a vehement take on recent single Taman Shud that bubbles with a fierce new energy in this strippedback format. We wander up the road to the high school — eschewing for now the Magic Bus offering free rides and a mobile party — and find a massive crowd enthralled by the soaring majesty of young Melbourne dynamo Tash Sultana. All of the songs begin in a slow build as she captures sounds and assembles the aural components that she constructs with loops into the skeletal structures, exuding a wild charisma as she dances around and swaps between guitars, synth, panpipes and numerous other instruments with equal dexterity. Back down at the Bowlo stage, Riverina singer-songwriter William Crighton is staving off illness (which will later manifest as pneumonia and sadly make him miss later festival commitments), but with the help of his band and an adoring crowd he soldiers on manfully and delivers a strong set of passionate, visceral Australiana. When he leaves the stage and comes down into the semi-
It’s just one massive explosion of joy in the streets
darkness of the dancefloor to deliver an unamplified solo rendition of Woman Like You — with some subtle harp backing from his drummer — you could hear a pin drop, transfixed punters hanging on every syllable. We head back down to Civic Hall, which seems the nucleus of the Mullum experience, to find Henry Wagons & The Only Children in full flight, the typically bombastic Wagons rocking his trademark gold jacket, whipping up the crowd to get involved with tunes like the heavily countrified Head Or Heart and the powerful cover of Elvis Presley’s Never Been To Spain that he long ago made his own. They finish the frivolities with country music party anthem Willie Nelson, a fitting end to Friday’s festivities. Saturday After a wonderfully lazy morning we’re soon back into the music, picking up proceedings at Courthouse Hotel where Melbourne Americana artist Suzannah Espie — the Mullum festival veteran privileged to be this year’s official patron — is in full flight to a packed pub throng. At one point she gets six local female singer-songwriters to join her on stage to run through Woody Guthrie’s Ramblin’ Round, and the seven meshed voices and lightly picked acoustic guitar intertwine to give a wonderful, old-world feel. Back in Village Vanguard, Blue Mountains-bred, Sydneybased indie-folk artist Julia Jacklin opens with the fragile and heartfelt Leadlight, setting the tone for the rest of her sultry and beguiling set. Fronting her four-piece band, Jacklin mines
eviews Live Reviews
affairs of the heart for their full emotional heft in songs like Coming Of Age and Motherland, before taking a turn in solo mode for the unabashed sincerity of LA Dream. At the end of Jacklin’s set, Byron Bay’s ‘80s-themed flash mob The Cassettes burst into the room wearing camouflage army fatigues and sporting supersoakers, their portable PA soon pumping out Pat Benatar’s Love Is A Battlefield as choreographed mayhem envelops the dancefloor. With a sudden flurry, the army gear is removed en masse at the track’s conclusion to reveal a sea of DayGlo outfits and legwarmers and the party continues with wild routines set to Madonna’s Express Yourself. It’s like the ‘80s never ended, and you can’t help but laugh at their enthusiasm and absurdity as much as anything else. Star-studded bluegrass ensemble The Wilson Pickers bring old-world charm to proceedings with their amalgam of voice, strings and harp. The five friends display a well-worn simpatico and take turn to drive proceedings, songs like Cold River, Graves Or Gold and Turn To Stone all seeming like they could have emanated generations ago. We finish our night by wandering over to Civic Hall once more to catch Idahoan singer-songwriter Eilen Jewell hold court and, although she’s far away from home, she seems completely at ease in this most rustic environment. Her old-timey band offer the perfect accompaniment for her dusty brand of Americana, the imagery of songs like Boundary County just as evocative here as in her native northwest. Her appeal lies as much in her open, welcoming nature as it does in her strong songs and adroit musicianship. She finishes with Otis Rush cover You Know My Love and has people dancing joyously, hooting and hollering in appreciation. A great way to end a scintillating day of music.
It’s a tradition that on the Sunday local musicians of all persuasions grab their weapon of choice and participate in a New Orleans-style Street Parade to kick off the last day of the shindig, a multitude of brass players leading the charge as the eclectic and colourful ragtag bunch wander through the town’s main drag belting out standards such as When The Saints Go Marching In and Down By The Riverside, interspersed with more left-field classics such as the ever-vibrant ‘50s Latin lurch of Tequila. It’s just one massive explosion of joy in the streets, where for 20-odd minutes, music is everyone’s sole priority or concern; there should be more of it. At midday, Village Vanguard becomes home to some meta melding of musical minds in the form of The Sonic Lab’s Bread & Butter sessions, which finds often disparate artists from the festival’s fertile bill joining forces for a one-off foray to see where their shared vision may take them. It begins with Yirrmal — the Indigenous singer-songwriter from North East Arnhem Land — leading the ‘all star choir’ (basically everyone else involved in the sessions) through an amazing version of Neil Murray’s My Island Home, his voice massive and ultra-expressive whether singing in English or his native tongue. Yirrmal and Aine Tyrrell then team up on Shane Howard co-write The Bridge, and the next hour continues in this revolving-door fashion: among many highlights, we’re treated to Claire Anne Taylor and JoJo Smith nailing Neil Young’s Comes A Time, Andrew Morris and Suzannah Espie doing their best Kenny and Dolly impressions on Islands In The Stream. Too much fun.
Itinerant songwriting machine Jordie Lane has been the busiest person in Mullum this weekend — performing with his full band, in duo mode and as a solo act at different stages of the party — and it’s in this latter form that we find him playing to a full house at Village Vanguard. He is abetted by partner-in-crime Clare Reynolds throughout, the pair feeding off each other vocally with Reynolds bashing on things sporadically for percussive effect and, although their stream of originals go down a treat, the most memorable part of the set occurs when they offer a gorgeously hushed rendition of You Are My Sunshine, getting the crowd to sing a melancholic version of the refrain before segueing it briefly into Dylan’s All Along The Watchtower and back again. Weird but wonderful. Our festival comes to a close at Civic Hall where young Memphis talent Julien Baker is wringing notes out of her electric guitar as she offers beautiful tales of loss, redemption, heartbreak and solitude to a hushed and respectful audience. Between songs, Baker seems reticent, almost shy, but once into a number she inhabits it completely, and fills the hall with her anguish, her heart-wrenching visions completely mesmeric. And while our specific Mullum Music Festival experience may be done and dusted for another year, the party rages on into the night, people still amongst the action trying to fit in one last magical moment before reality returns tomorrow with all of its attendant rules and responsibilities. But, for now, that’s still a long way off.
More Reviews Online theMusic.com.au/ music/live-reviews
Deftones @ Riverstage Bad Pony @ The Milk Factory De La Soul @ Oh Hello Rodriguez @ BCEC PLGMS @ Woolly Mammoth
Steve Bell To read the full review, head to theMusic.com.au
THE MUSIC 23RD NOVEMBER 2016 • 41
Arts Reviews Arts Reviews
or stirring (where are the explosions?), but Arrival is so enthralled and excited and inspired by the ideas it raises that viewers may find themselves under the spell it subtly but surely casts. As the film begins, a dozen alien spacecraft are hovering above various parts of the world. Their reason for being here is unknown, but the American military — represented by Weber (Forest Whitaker) — believes language expert Louise Banks (Amy Adams) has the best chance of finding out. Every 18 hours, he explains, the vessel hovering over Montana opens up. The next time it does, Banks will go in and begin the long, complex process of learning an alien race’s way of communicating while trying to teach our own. It’s a process that will basically require a rewiring of the way humanity thinks, Banks comes to understand. It’s also a race against time, because some of the other nations trying to communicate are getting more and more anxious as they fail to grasp what the visitors are trying to say. And the consequences could be dire. It’s easy to understand why Arrival introduces this plot line — it’s credible enough, and it adds some necessary dramatic tension. But it also distracts from the true heart and soul of the film; that looking at everything around us with a wider, broader sense of perspective enriches us all, even if that different perspective reveals the bad as well as the good in life. Director Denis Villeneuve keeps the movie vibrating with a sense of imminent discovery — fear walks hand in hand with wonder here. But he doesn’t overplay either sensation, instead giving the movie a modest, understated but assured feel. Being present is a term that has become close to cliched through recent overuse, but in many of her performances — and especially here — Amy Adams embodies the best of it. In keeping with Arrival’s message, it’s a beautiful act of translation. Arrival
Arrival Film In cinemas now
★★★★ It’s one of the most important questions we can ask: How do we best communicate with one another? To do so, we need to understand what we are saying to each other, even if it means learning a different language from our own. We need to understand the meaning of what is being said, which can be difficult when each language comes with its own set of quirks and nuances. The new science fiction drama Arrival goes one step beyond that — when alien beings come to our planet, understanding them and making ourselves understood by them will require patience, open-mindedness and cooperation. It may not sound like subject matter that’s particularly riveting
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Fantastic Beasts And Where To Find Them
Fantastic Beasts And Where To Find Them Film In cinemas now
★★★★ Riding on the coat-tails of the Harry Potter film franchise, Fantastic Beasts And Where To Find Them attempts to capture the lightning scar in a bottle of the most successful fantasy saga in cinematic history and, while some of the magic is lost in translation, JK Rowling’s first foray into screenwriting, bolstered by seasoned Potter direction by David Yates, has ensured the spirit and authenticity of this universe is faithfully honoured. Set some 70 years before The Boy Who Lived first toddled off to Hogwarts, the most significant departure is geographical. British wizard and dedicated keeper of a magical menagerie, Newt Scamander, arrives in New York and meets a bewitched culture very different to the one we’re familiar with. For bash-us-over-the-head clarity, the counterpoint between Newt and his wizarding cousins from across the pond is built on some pretty hokey stereotypes: charmingly befuddled Brit meets boorish and brassy, straight-talking New Yorkers, albeit with the trademark wands and idiosyncratic dress sense. While it may not be subtle, it’s actually a remarkably refreshing new take on Rowling’s world of wizards and there’s plenty of unapologetic escapism to absorb. Eddie Redmayne is a tried and true master of a quintessential Britishness but while this may be catnip to American audiences, it is, on occasion, frustratingly monotone. Other performances fare better, especially Katherine Waterston’s tomboy ex-Auror Tina, who brings a level of emotional credibility to this film that was all too often absent from the Potter octalogy. Perhaps most surprising, is the extraordinary chemistry found between hapless non-wizard and aspiring baker, Jacob Kowalski (Dan Fogler) and ironically air-headed telepathic witch and sister to Tina, Queenie (Alison Sudol). Their gentle romance delivers the most beautiful (and for this soppy scribe, most tear-jerking) moment of the film; touching, simple and masterfully shot for maximum emotional impact. Maxim Boon
25 JAN –05 FEB
A CELEBRATION OF
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BRISBANEPOWERHOUSE.ORG THE MUSIC 23RD NOVEMBER 2016 • 43
Comedy / G The Guide
The Cult + The Art: Eatons Hill Hotel, Eatons Hill
Lucie Thorne + Claire Anne Taylor: Junk Bar, Ashgrove
The Songs of Leonard Cohen: New Globe Theatre, Fortitude Valley Bill Bailey: Queensland Performing Arts Centre (QPAC), South Brisbane
The Music Presents
Mark Sheils: Runcorn Tavern, Runcorn
Ne Obliviscaris: 3 Dec The Brightside
Open Mic Night+Various Artists: Solbar, Maroochydore
Festival Of The Sun: 8 – 10 Dec, Port Macquarie Parcels: 10 Dec Solbar; 22 Dec Black Bear Lodge The Golden Age Of Ballooning: 30 Dec Bloodhound Corner Bar Twelve Foot Ninja: 16 Feb Miami Tavern; 17 Feb Villa Noosa Hotel Noosaville; 18 Feb The Zoo CW Stoneking & Nathaniel Rateliff: 8 Mar The Tivoli
Homegrown Battle of the Bands feat. Cedarsmoke + UTB + Therapist + Salty Lix: The Brightside, Fortitude Valley Mercury Sun: The Foundry, Fortitude Valley Shed + Caroline: The Milk Factory Kitchen & Bar, South Brisbane Triffid Acoustics with Will Anderson: The Triffid, Newstead Owen Campbell: Villa Noosa Hotel (The V Room), Noosaville
Bluesfest: 13 – 17 Apr, Tyagarah Tea Tree Farm
Laura Mvula: 15 Apr The Triffid
Son Little + Caiti Baker: Black Bear Lodge, Fortitude Valley David Flower Duo: Black Bunny Kitchen, Alexandra Heads OzManouche with Cigany Weaver: Brisbane Jazz Club, Kangaroo Point Silk n Oak: Cafe Le Monde, Noosa Heads
Continuing on their impressive year and after the massive tour for their latest single I Thought We Knew Each Other, British India will pull into The Triffid, 25 Nov. The single follows up last year’s Nothing Touches Me. 18+ Show with Lime Cordiale: The Foundry, Fortitude Valley Nicole Cross + Sam Wright: The Milk Factory Kitchen & Bar, South Brisbane The Smith Street Band + The Nation Blue + Grim Rhythm + Forevr: The Triffid, Newstead Wildlife feat. Stonefox + Sleep Club: The Zoo, Fortitude Valley
The Iron Eye + Street Pieces + Modern Strangers + Elko Fields: Crowbar, Fortitude Valley
Kingswood + Pop Cult + Mary Handsome: Woolly Mammoth, Fortitude Valley
Lime Cordiale: Foundry Records, Fortitude Valley
Den + Men with Chips + Pleasure Symbols + Clever: Grand Central Hotel, Brisbane Holy Holy + I Know Leopard + Alex L’Estrange: Miami Marketta, Miami Rochelle Pitt + Chrislyn Hamilton: Old Museum, Fortitude Valley Bill Bailey: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane Ben Harper & The Innocent Criminals + Pierce Brothers: Riverstage, Brisbane Brodie Graham: Solbar (Lounge Bar), Maroochydore Lazy Eye: Sonny’s House of Blues, Brisbane Joel Creasey: The Arts Centre Gold Coast, Surfers Paradise Glitoris + Bazooka Fist + Bad Bangers: The Bearded Lady, West End Liam Gerner & The Sunset Pushers: The Bison Bar, Nambour Trivia: The Brightside, Fortitude Valley Under 18’s Only Matinee Show with Lime Cordiale: The Foundry, Fortitude Valley
44 • THE MUSIC • 23RD NOVEMBER 2016
It’s Who You Know
Polish Club + Hound + San Mei: Black Bear Lodge, Fortitude Valley Jungle Love Festival feat. Tijuana Cartel + The Jensens + Clea + Mid Ayr + Pop Cult + Sahara Beck + Aquila Young + Austen + Beneb + The Brains Trust + Bugs + Captain Dreamboat + Chaika + Cheap Fakes + The Con & The Liar + The Confidence Man + Dreamtime + Dubarray + Electrified Fooling Machine + The Family Jordan + Fieu + The Francis Wolves + The Halls + Hazards of Swimming Naked + HHAARRPP + HRBRT + The Keepaways + Kudos + Lastlings + Magenta Voyeur + Malo Zima + Meredith + Michelle Xen + Monster Zoku Onsomb + Native Spirit + Neighbour + OKA + Omegachild + Papperbok + Shag Rock + Simi Lacroix + Sovereign + Toisoc + Tsun + Twin Haus + Vaudeville Smash + White Blanks + Yoste + Zefereli + more: Borumba Deer Park, Imbil Ian Date + George Washing Machine + Mimosa Duo: Brisbane Jazz Club, Kangaroo Point Gizzfest feat. King Gizzard & The Lizard Wizard + Pond + more: Brisbane Showgrounds (The Marquee), Bowen Hills T Ray: Cafe Le Monde, Noosa Heads Matthias Tanzmann: Capulet, Fortitude Valley
The Angry Anderson Band + Deadweight Express + Shandy: Crowbar, Fortitude Valley Zed Charles + The Miserichorde: Crowbar (Crowbar Black), Fortitude Valley Trap & Bass Night with AmyJaneBrand + Arcane Echo + Benibee + Jakey J + more: Eatons Hill Hotel, Eatons Hill Darkc3ll + Chelsea Rockwells: Elsewhere, Surfers Paradise Diesel: Hamilton Hotel, Hamilton Garret Kato: Junk Bar, Ashgrove A Tribute to Prince feat. Andrew De Silva: Jupiters (Jupiters Theatre), Broadbeach Liam Gerner & The Sunset Pushers: Lefty’s Old Time Music Hall, Brisbane Ham: Lock ‘n’ Load Bistro, West End
Just Another Night Dream-pop songstress and multi-instrumentalist Bree Tranter is out on her first headline tour for acclaimed debut album Another Night On Earth. Catch her at The Foundry on 27 Nov.
Gigs / Live The Guide
I Know Leopard
British India + Born Joy Dead + Soda Jerks: The Triffid, Newstead
Flow Wars 2 feat. Master Wolf + Emph n Treats: Villa Noosa Hotel (The V Room), Noosaville
Sat 26 Jungle Love Festival: Borumba Deer Park, Imbil
Changing Spots Having only just released their own new single, Rather Be Lonely, I Know Leopard are headed to The Triffid on 26 Nov with Alex L’Estrange to support Holy Holy as part of their Darwinism tour.
OzManouche with +Sebastian Giniaux: Brisbane Jazz Club, Kangaroo Point Lazy Eye: Burleigh Underground Drummers, Burleigh Heads DJ Nixd + Massroom: Cafe Le Monde, Noosa Heads Sadie & Jay + Suzanne Hibbs: Cardigan Bar, Sandgate 28 Days + Driven Fear + Darkc3ll + The Black Catapult: Crowbar, Fortitude Valley John Williamson : Eatons Hill Hotel, Eatons Hill
Absolutekly 80’s with Scott Carne + Dale Ryder + Paul Gray: Lonestar Tavern, Mermaid Waters
Shannon Sol: El Capitano, Noosa Heads
Freddie + Nelipot: Miami Marketta, Miami
Purple Revolution - A Tribute to Prince with Andrew De Silva: Hamilton Hotel, Hamilton
Thundamentals + Pez + Mallrat: Miami Tavern, Miami Udder Ubductees + The Flangipanis + Ringpull + Without Myth: New Globe Theatre, Fortitude Valley NightQuarter 1st Birthday feat. Vaudeville Smash + Jacob Lee + Josh Lovegrove: Night Quarter, Helensvale Bill Bailey: Queensland Performing Arts Centre (QPAC) (Concert Hall), South Brisbane
Aaron West Trio: Greaser Bar, Brisbane
Ol’ 55: Jupiters, Broadbeach
Boy & Bear: Tanks Arts Centre, Edge Hill Black Sun + Buck Puffin + Rick Studentt + Rhyece O’Neill: The Bearded Lady, West End Liam Gerner & The Sunset Pushers: The Bison Bar, Nambour Ivan Ooze + Lyall Moloney: The Brightside, Fortitude Valley Move D + Hakan Henry + DJ Mumbles: The Foundry, Fortitude Valley Tenderfoot + Milo Green: The Milk Factory Kitchen & Bar, South Brisbane Birds Of Tokyo + Strangers + Introvert: The Tivoli, Fortitude Valley
Daryl James: Solbar (Lounge Bar), Maroochydore
Vaudeville Smash + Matt Henry: Lefty’s Old Time Music Hall, Brisbane Chris Poulsen Trio: Lock ‘n’ Load Bistro, West End
William Singe + Dylan Ross: Max Watt’s, West End
End of Year Prom feat. Masketta Fall: The Brightside, Fortitude Valley
Manoa + Khan: Solbar (Lounge Bar), Maroochydore
Holy Holy + I Know Leopard + Alex L’Estrange: The Foundry, Fortitude Valley
Scuba: TBC Club (The Bowler Club), Fortitude Valley
Danielle Deckard: The Milk Factory Kitchen & Bar, South Brisbane
Denise Harris Trio: The Bison Bar, Nambour
Thundamentals + Pez + Mallrat: The Tivoli, Fortitude Valley Songs You Know & Love with Pete Cullen: The Triffid, Newstead
Matt Stillert: Solbar (Lounge Bar), Maroochydore
Darren J Ray: Souths Sports Club, Acacia Ridge
Dubarray + Kudos: Solbar, Maroochydore
Infest The Nation #7 feat. Z.Lewis + Velcro Raptor + Hedron Collective + Nasteski + Ape Man: The Bearded Lady, West End
Holy Holy + I Know Leopard + Alex L’Estrange: Solbar, Maroochydore
Round Mountain Girls: Southport Sharks, Southport
Bootleg Rascal have been hot property since releasing their debut LP early this year, touring nationally and abroad. They’re going to be at The Northern on 25 Nov for the Oz tour of their latest single.
Age Champion: Lock ‘n’ Load Bistro, West End
Lazy Eye: Royal Mail Hotel, Goodna
Wild Marmalade with Paul George + Trio Mandala: Soundlounge, Currumbin
Mothers Honey + Tim Sparks Fire + Chasing Closure + Roadhouse: The Zoo, Fortitude Valley
Mallee Boy John Williamson is one of Australia’s undisputed musical icons. The ARIA Hall Of Famer has been spinning folk and country yarns for decades and on 26 Nov you can see him do it live at Eatons Hill Hotel
BB Factory + Tay Oskee: Miami Marketta, Miami NightQuarter 1st Birthday feat. Cheap Fakes + Electrik Lemonade + Colt Seavers & The Rockabilly Road Band: Night Quarter, Helensvale Buzz & The Blues Band + Crashing Tomorrow: Royal Mail Hotel, Goodna
Boombox Cartel: Wharf Tavern, Mooloolaba Bootleg Rascal: Woolly Mammoth, Fortitude Valley
NightQuarter 1st Birthday feat. Sovereign + Bluescorp: Night Quarter, Helensvale
Bree Tranter + Alex Henriksson + RL Jones: The Foundry, Fortitude Valley The Dolan Twins: The Tivoli, Fortitude Valley Triffid Stripped feat. Jake & Alex: The Triffid, Newstead
Mon 28 Bombs Away: The Beer Garden, Surfers Paradise Mark Sheils: Windaroo Tavern, Windaroo
Sun 27 Crescent City: Bloodhound Corner Bar, Fortitude Valley
Tue 29 Play Jam: Lock ‘n’ Load Bistro, West End
OzManouche with Jon Delaney: Brisbane Jazz Club (9am), Kangaroo Point
Mark Sheils: Samford Valley Hotel, Samford Village
OzManouche with The Date Brothers: Brisbane Jazz Club, Kangaroo Point
National Live Music Awards feat. Sahara Beck + Clea + Banff + Hana Makk + more: The Triffid, Newstead
T Ray: Cafe Le Monde, Noosa Heads Nothing: Crowbar, Fortitude Valley
Fatty & The Beard + Mike Errol Jnr + Chip Gaydon: Crowbar (Crowbar Black), Fortitude Valley
Mel Parsons + Anika Moa + Aine Tyrrell: Black Bear Lodge, Fortitude Valley
Broads + Ben Ely: Junk Bar, Ashgrove
Ellen Reed: Brisbane Powerhouse, New Farm 2Cellos: Eatons Hill Hotel, Eatons Hill
THE MUSIC 23RD NOVEMBER 2016 • 45
Comedy / G The Guide
Dom Dolla + Latour + Kinloch + Noah: Elsewhere, Surfers Paradise
Unwritten Law + Mixtape For The Drive + Runaway Kids: Wharf Tavern, Mooloolaba
Caroline No: Junk Bar, Ashgrove
Deep Sea Arcade: Woolly Mammoth, Fortitude Valley
Mark Sheils: Runcorn Tavern, Runcorn
Homegrown Battle of the Bands feat. The Shills + Found In Trees + Crimson Nights + Uncle Buck: The Brightside, Fortitude Valley
Allan Kelly: Black Bunny Kitchen, Alexandra Heads
Band Of Skulls + Morning Harvey: The Triffid, Newstead
The Columbus Collective: Bloodhound Corner Bar, Fortitude Valley
Triffid Acoustics with Asher Chapman: The Triffid, Newstead
Step It Up with +Various Artists: Brisbane Jazz Club, Kangaroo Point
Jeremy Loops: Woolly Mammoth, Fortitude Valley
Knock ‘Em Out Festival with Elm Street + British Steel + Australia + Desecrator + Malakyte + Pegazus + Deraign + Kaustic Attack + Wartooth: Crowbar, Fortitude Valley
Thu 01 Allan Smithy: Barbara Bar, Fortitude Valley Hailey Calvert + Pat Tierney: Black Bear Lodge, Fortitude Valley Brisbane Contemporary Jazz Orchestra: Brisbane Jazz Club, Kangaroo Point
West Texas Crude: Greaser Bar, Brisbane
Tickets to Melbourne trio Kingswood’s tour have been selling out shows left, right and centre, but there are still a few tickets left for their Woolly Mammoth show with The Vanns and Twin Fires, 24 Nov.
Jimmy Barnes: City Hall, Brisbane Christmas & Guitars with The Bear Hunt + Magnus + Old Fashion + Chelsea Rockwells + more: Crowbar, Fortitude Valley
Shout Out Groovesome twosome Slum Sociable are bringing their unique brand of soul, hip hop and electronica to The Foundry on 1 Dec as part of their Name Call single tour. They’ll also be joined by tour mate Mossy.
Bleach Girls: Greaser Bar, Brisbane Small World Experience + Relaunch: Junk Bar, Ashgrove Unwritten Law + Mixtape For The Drive + Runaway Kids: Max Watt’s, West End Maja: New Globe Theatre, Fortitude Valley Soul of Summer with Sundown Jury + Graham Moes + Maja + The Mulberry Collective + Georgia Rose: New Globe Theatre, Fortitude Valley Flume + Vince Staples + Sophie: Riverstage, Brisbane Hayden Hack Trio: Solbar (Lounge Bar), Maroochydore
46 • THE MUSIC • 23RD NOVEMBER 2016
Slumberhaze + Elliot The Bull: The Bearded Lady, West End
Mexico City: Lefty’s Old Time Music Hall, Brisbane
Graves + Kublai Khan + Justice For The Damned + Cursed Earth: The Brightside, Fortitude Valley
British India: Magnums Hotel, Airlie Beach
Jack River + Brightness + Seavera: The Foundry, Fortitude Valley
Bleach Girls: Miami Tavern (Shark Bar), Miami
Slum Sociable + Mossy: The Foundry, Fortitude Valley
Shag Rock + Phil Barlow & The Wolf: Night Quarter, Helensvale
My Nightingale: The Milk Factory Kitchen & Bar, South Brisbane
Corona SunSets feat. The Rubens: Noosa Heads Surf Club, Noosa Heads
Wildlife feat. Jouk Mistrow + Landings: The Zoo, Fortitude Valley Anika Moa + Mel Parsons: Villa Noosa Hotel, Noosaville
Five Raves In Five Days ft. DJ Sets From: Matt & Alex + Amy Shark + Ball Park Music + The Jungle Giants + Confidence Man + Feki ft. Gill Bates: Oh Hello!, Fortitude Valley
Generik: Wharf Tavern (The Helm), Mooloolaba
The Monkees: Queensland Performing Arts Centre (QPAC), South Brisbane
Flume + Vince Staples + Sophie: Riverstage, Brisbane
These New South Whales: Black Bear Lodge, Fortitude Valley Caxton Street Jazz Band: Brisbane Jazz Club, Kangaroo Point
The Ninth Chapter: Miami Marketta, Miami
Hell & Whiskey + Snakes & Daggers + Nowhere Else + Up The Anti: Kirra Sports Club, Coolangatta Mescalito Blues + Tay Oskee: Miami Marketta, Miami Unwritten Law + Mixtape For The Drive + Runaway Kids: Miami Tavern (Shark Bar), Miami Gold FM Live feat. Ross Wilson + Shannon Noll + Glenn Shorrock + 1927 + Rose Tattoo + Eurogliders + The Radiators + Richard Clapton + Wendy Matthews + Steve Kilbey: Night Quarter, Helensvale Inventions + Blossom: Phoenix Arts Theatre, Woolloongabba Dezzie D & The Stingrayz + Darren Jack: Royal Mail Hotel, Goodna Bob Evans + Josh Pyke: Solbar, Maroochydore
Tash Sultana: Solbar, Maroochydore Nick Cunningham: Solbar (Lounge Bar), Maroochydore Some Jerks: The Bearded Lady, West End
House of Shem: Chardons Corner Hotel (The Back Room), Annerley
Angel Olsen + Jack Ladder: The Brightside (Outdoor Stage), Fortitude Valley
Gramecy + Stone Witches + Straays + Temperance: Currumbin Creek Tavern, Currumbin Waters
Jakarta Criers + The Wandering Lost + Dave Is A Spy: The Milk Factory Kitchen & Bar, South Brisbane
The Wet Fish: Eat Street Markets, Hamilton
Maja: The Nook & Cranny, Nambour
Basshunter + Luciana + Groove Coverage + Guru Project + Lasgo + DHT feat. Edmee + more: Eatons Hill Hotel, Eatons Hill
Streets of Your Town: A Tribute to the Go-Betweens feat. Halfway + Dan Kelly + Adele Pickvance + The Stress Of Leisure: The Triffid, Newstead
Jimmy Barnes: Jupiters, Broadbeach
Julio Iglesias: Jupiters, Broadbeach
The Free Loves: Royal Mail Hotel, Goodna
Bob Evans + Josh Pyke: Brisbane Powerhouse, New Farm
Mick Thomas & Roving Commission: Junk Bar, Ashgrove
Mick Thomas & Roving Commission: Junk Bar, Ashgrove
Down The Kings + Silver Citizen + The Cilikis + The Stray Selection: The Zoo, Fortitude Valley
Roadtrippers Shag Rock have been busy bees, recently dropped two new singles in Roadtrip and Sunbleached Girl, which they are also touring. Head over to Woolly Mammoth on 3 Dec to catch the surfy five-piece.
Gigs / Live The Guide
Taylor Payne: Solbar (Lounge Bar), Maroochydore
Ne Obliviscaris + The Ocean + The Stranger: The Brightside, Fortitude Valley All Ages Matinee Show with Tyne James Organ + Dylan Joel: The Foundry, Fortitude Valley Husky: The Foundry, Fortitude Valley
Boombox Cartel: The Met, Fortitude Valley Glades: The Milk Factory Kitchen & Bar, South Brisbane
A Day On The Green feat. Garbage + The Temper Trap + The Preatures + Tash Sultana + Adalita: Sirromet Winery, Mount Cotton
In2nation + Tom Dibb: Solbar (Lounge Bar), Maroochydore Bob Evans + Josh Pyke: Soundlounge, Currumbin Poppies: The Bearded Lady, West End Mick Thomas & Roving Commission + Ayleen O’Hanlon: The Bison Bar, Nambour
Club Beats Sydney two-piece Novak and John-Henry, better known as Polish Club, are performing at The Northern (with guests) on 26 Nov. The show is part their national tour for new single Beat Up.
Tue 06 Culture Club: Jupiters, Broadbeach Mark Sheils: Samford Valley Hotel, Samford Village Coldplay + Lianne La Havas + Jess Kent: Suncorp Stadium, Milton Tortoise + Big Dead + Nature Trails: The Zoo, Fortitude Valley
Since releasing Offered It Up back in September Brisbane dub and reggae crew Kingfisha have been hard at work touring. There’s a couple shows left though, one of which is at The Triffid, 3 Dec.
Shag Rock: Woolly Mammoth, Fortitude Valley
Sun 04 The Vernons: Black Bear Lodge, Fortitude Valley Katie Who: Black Bunny Kitchen, Alexandra Heads
Mon 05 Hannibal Buress: The Tivoli, Fortitude Valley Anti-Flag + Scott Reynolds + Shutup Shutup Shutup: The Triffid, Newstead
Dungen + The Golden Age of Ballooning: The Zoo, Fortitude Valley
Corona SunSets feat. The Rubens: Fishermans Wharf Tavern, Main Beach Corona SunSets feat. The Rubens: Islander Resort Hotel, Surfers Paradise Raised Fist + Provoke + She Cries Wolf: Max Watt’s, West End
Answered by: Mark Lizotte Song Title: Fire & Rain
Director: Brian Purnell
What’s the concept behind the clip? ‘In the studio’ was what we were going for, having just completed the album we thought we’d ‘roll tape’ again and film. How long did it take to make? Under ten minutes to roll a few passes, but ultimately a few hours with editing.
What’s your favourite part of the clip? I like the back end of this track a lot. It gets to ‘un-ravel’ with the vocal ad-libs and guitar, I remember not knowing what was happening when recording then wham! It was done.
Was anything in particular inspiring you during the making? Al Green and The Staple Singers was what I was going for.
Mark Sheils: Windaroo Tavern, Windaroo
Anna Kho-tet: Brisbane Jazz Club, Kangaroo Point Hard 2016 feat. Zeds Dead + GTA + Destructo + Ghastly + Rezz + Chris Lorenzo + more: Brisbane Showgrounds, Bowen Hills
Video Clip Focus
Where did you film it? We filmed it at my recently finished studio Tremland. I’ve had quite a few home studios over the years but not since the space I occupied in NYC have I had a purpose built studio.
Chairlift + The Harpoons + The Confidence Man: The Zoo, Fortitude Valley
Kingfisha + Bullhorn + One Dragon Two Dragon + 8 Man: The Triffid, Newstead
ROO: New Globe Theatre, Fortitude Valley
Lime Time After selling out all of the original dates for their single run, Lime Cordiale have added 12 dates to the extended Waking Up Easy tour. One of the new shows is at The Foundry, 24 Nov.
Will you be launching it? We have been touring the Americana album since July and more dates are being added now, check our website. Website link for more info? dieselmusic.com.au
Ivey: Miami Tavern (Shark Bar), Miami Good Will Remedy + Violets in Damascus + THE MUSIC 23RD NOVEMBER 2016 • 47
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ENROL TODAY sae.edu.au INFO NIGHT . BRISBANE CAMPUS . THURS 01 DEC 6:00PM - 8:00PM.
Published on Nov 23, 2016
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