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2 • THE MUSIC • 20TH MAY 2015
THE MUSIC • 20TH MAY 2015 • 3
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
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EDITOR Steve Bell
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THIS WEEK THINGS TO DO THIS WEEK • 20 MAY - 26 MAY 2015
Alice Bopf, Anthony Carew, Baz McAlister, Ben Marnane, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Brie Jorgensen, Carley Hall, Chris Yates, Cyclone, Dan Condon, Daniel Johnson, Dave Drayton, Guy Davis, Helen Stringer, Jake Sun, Jazmine O’Sullivan, Lochlan Watt, Madeleine Laing, Mandy McAlister, Michael Smith, Mitch Knox, Paul Mulkearns, Roshan Clerke, Sam Hobson, Sky Kirkham, Sophie Blackhall-Cain, Tessa Fox, Tom Hersey, Tony McMahon, Tyler McLoughlan
INTERNS Elijah Gall
PHOTOGRAPHERS Freya Lamont, John Stubbs, John Taylor, Kane Hibberd, Markus Ravik, Rick Cliﬀord, Sky Kirkham, Stephen Booth, Terry Soo, Tessa Fox
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ART DIRECTOR Brendon Wellwood
ART DEPT Ben Nicol Nick Hopkins
Party Greek style at the annual Paniyiri Greek Festival at Musgrave Park in South Brisbane this weekend (23–24 May) – food, music, dancing, colour and tradition collide in a kaleidoscope of fun and culture. Get amongst it!
Move over Kevin James, there’s a new plump, lovable bumbler in town, and it’s Melissa McCarthy in Spy, out Thursday. Spy comedy: not overly original, but done real well this time around.
ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe email@example.com
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CONTACT US Phone: (07) 3252 9666 email@example.com www.themusic.com.au Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006
Celebrate the amazing story of The Mamas & Papas at Brisbane Powerhouse this Saturday night with California Dreaming, featuring not only the music of this great group but also their contemporaries such as Dylan, The Beatles and Beach Boys. Classic fun. BRISBANE
JONSON STREET BYRONBAY FRI 22 MAY
THE BADLANDS, DROP LEGS, BAREFOOT ALLEY, DJ TAYA MILLS SAT 23 MAY
TSUN, THE JENSENSG, BASKERVILLE, DJ SIMON BIRD SAT 30 MAY
LURCH & CHIEF, TEMPURA NIGHTS, SHAG ROCK FRI 5 JUNE
WALLAPALOOZA, GLASS OCEAN, HAMMERS, REDHOOK, THESE FOUR WALLS, MASSIVE, SMOKING MARTHA, HAILMARY SAT 6 JUNE
RICHARD IN YOUR MIND FRI 12 JUNE
VERNAS KEEP SAT 13 JUNE
MARSHALL OKELL SINGLE LAUNCH FRI 19 JUNE
THE DARK HAWKS TICKETS AVAILABLE ONLINE WWW.THENORTHERN.COM.AU
THE MUSIC • 20TH MAY 2015 • 5
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FRESH OFF THE BOAT
The major American TV networks, cable networks and streaming services have rolled out their schedules for the 2015-16 season, revealing what TV titles have been commissioned, renewed or cancelled moving into the next 12 months. Among those who have been given the chop are: Parenthood, Constantine, The Mindy Project, Mulaney, The Mentalist, and Two & A Half Men. That’ll make room for shows such as: Dr Ken, Supergirl, Minority Report, Lucifer and The Frankenstein Code and more. Returning for another season will be: Agents Of SHIELD, Gotham, Fresh Oﬀ The Boat, Unbreakable Kimmy Schmidt, Daredevil, Fargo, Better Call Saul and Girls, among others. To read a more detailed list, head to theMusic.com.au.
NEW YEAR’S NIGHTWISH
...AND YOU WILL KNOW US BY THE TRAIL OF DEAD
FOLLOW THE TRAIL
...And You Will Know Us By The Trail Of Dead have announced their return to Australia in August 2015 to perform shows celebrating their 20th anniversary. Conrad Keely and Jason Reece remain the band’s only staple members since forming in late 1994, and they’re still going strong – their latest album, last year’s IX, demonstrated a renewed approach to invigorating, experimental rock. Playing a wide selection of tracks from the band’s extensive back catalogue, they’ll be making their way around the country with art-rockers The Red Paintings, kicking oﬀ 12 Aug, Rosemount Hotel, Perth; 13 Aug, Corner Hotel, Melbourne; 14 Aug, Manning Bar, Sydney; and 15 Aug, The Triﬃd, Brisbane. Proudly presented by The Music.
Last visiting these shores two years ago, Finland’s internationally renowned symphonic metal band Nightwish will be returning as 2016 dawns to present their latest album, Endless Forms Most Beautiful, and favourites from the back catalogue. Led, as always, by band leader and keyboards player Tuomas Holopainen, Nightwish play 7 Jan at The Tivoli in Brisbane, 9 Jan at Enmore Theatre in Sydney, 11 Jan at Forum Theatre in Melbourne, and 15 Jan at Metropolis in Fremantle.
She’s toured the US and Europe with all the big names, done the big international festivals with her signature high-energy DJ sets, scored a number of hits with her genre-busting singles, her All Out EP debuting Top 5 on the iTunes Dance Chart, her Pusher single Top 10 on US Shazam… and Anna Lunoe is our very own. She relocated to LA a few years ago, but she’s heading home for a national run performing 29 May at Mondo in Perth, 30 May at Oh Hello in Brisbane, 4 Jun at Waves in Wollongong, 6 Jun at Chinese Laundry in Sydney and 7 Jun at Anyway in Melbourne.
HEY @THESIMPSONS, I’LL REPLACE HARRY SHEARER FOR JUST 85% OF WHAT YOU PAID HIM. VOICE ACTOR @TODDBARRY PLEADS HIS CASE - THIS IS GONNA BE INTERESTING! 6 • THE MUSIC • 20TH MAY 2015
ELECTRO DOUBLE BLISSBOMB
Two of Australia’s foremost electronic acts have joined forces for what should be a joyous mind-melting musical celebration. Kristy Lee Peters, who travels as KLP, along with her drummer Tim Commandeur and backing singer Lana Sayah, is co-headlining with Ballarat ﬁve-piece Gold Fields on a national tour that sees them head out 19 Jun for Newtown Social Club in Sydney, 20 Jun in Transit Bar, Canberra, 27 Jun over to Ampliﬁer Bar in Perth and 28 Jun at Newport Hotel in Fremantle, then 3 Jul back down to Karova Lounge in Ballarat, 4 Jul at Howler in Melbourne, then up the Paciﬁc Highway 10 Jul to Elsewhere on Queensland’s Gold Coast and 11 Jul into The Brightside in Brisbane.
SEA OF LOVE
Produced by Evermore’s Jon Hume, Change For Love is the major label debut single for Sydney four-piece Little Sea, the teaser for an EP due a couple of weeks into June. Time to hit the road then and introduce themselves in person, and that sees Little Sea play 1 & 2 at Little & Olver in Melbourne, 8 & 9 at Oxford Art Factory, 11 Jul at Old Museum in Brisbane, and an already sold out 16 Jul in Astor Lounge in Fremantle.
TYLER THE CREATOR
TYLER BRINGS THE BOMB
You’ve seen the clip for combined tracks Fucking Young and Death Camp, from his latest album, Cherry Bomb, and now comes news that indie hip hop heavyweight Tyler, The Creator is bringing the album and all your favourites from the back catalogue to a stage near you. The Australian leg of his Cherry Bomb World Tour sees him performing 3 Sep at The Tivoli in Brisbane, 5 Sep in Big Top in Sydney, 6 Sep at Forum Theatre in Melbourne and 8 Sep at Capitol in Perth.
THE MUSIC • 20TH MAY 2015 • 7
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FRONTLASH MAX POWER
Holy shitballs, how good is Mad Max: Fury Road? Maybe reboots are okay if the original visionary gets to remake it with a bigger budget?
IN YOUR FACE So great that funding has been reinstated for the Premier’s Literary Awards, these being the first thing that Campbell Newman slashed when in power to show his absolute disdain for the arts.
DUST TO DUST Will the England cricket team actually implode before we get to smash them over there in the Ashes? At this rate the Kiwis will pummel them into the ground before we even get there, might be fun to watch though...
BACKLASH VALE BB KING
Blues legend and guitar virtuoso BB King sadly passed away last week, ending an incredible 70-year career. He lived an amazing life and will be sorely missed, but his influence shall resonate through time.
SHEARER SHED For those of us who still believe in Springfield it’s terrible news that Harry Shearer is leaving the Simpsons team. In brighter news, if you can do a halfdecent imitation of Smithers, Mr Burns, Lenny, Otto or Flanders get YouTubing...
Noosa Jazz Festival has announced its ﬁrst round of performers gracing the stage 3 – 6 Sep in the Festival Village Noosa, Lions Park during the four-day festival. Emma Pask, Darren Percival, Todd Hardy & Anita Spring, Berardi/Foran/Karlen, Jan Preston, Clayton Doley, The Lachy Doley Group, Feel The Manouche with George Washingmachine, Ingrid James & Louise Denson’s Wild Silk Strings Project, Jazz Singers Jam Session, Noosa/Buderim Concert Band, Inaburra Big Band, Sunshine Coast Grammar School and St Andrew’s Anglian College will all be performing across two stages. The event will also feature workshops, master classes, jazz river cruises, the legends lunch series, big bands and more, with tickets available from noosajazz.com.au.
MUSICAL NEPAL AID
The likelihood of ﬁnding survivors has diminished while the death toll continues to rise in the aftermath of the Nepalese earthquakes, so now it’s the survivors that need all the help they can get. Some of Brisbane’s best known Americana and folk musicians, including The Kalka Shades, Josh RennieHynes, Harmony James and Pat Tierney, are donating their time and talent 28 May at The Bearded Lady with all funds raised to be donated to Action Aid.
Melbourne heavy ﬁvepiece Ocean Grove declare themselves divested of their adolescent skin with their forthcoming EP, Black Label, recorded, mixed and mastered by drummer Sam Bassal. The second single oﬀ it, Strange Talk, is out next week, and supported by good buddies Void Of Vision and Devastator, Ocean Grove are heading out on their biggest headline tour yet, playing 23 Jul at The Brightside and an all ages show 24 Jul at The Lab.
The Dead Of Winter Festival is back, this year featuring 45 bands, ten sideshows and a short ﬁlm festival held over ﬁve stages at Jubilee Hotel on 25 Jul. The ﬁrst line-up announcement includes plenty of gems from here and interstate, with The Go Set, The Resignators, The Stiﬀys, Flangipanis, Totally Unicorn, Party Vibez, Goon On The Rocks, Horrowood Mannequins, As Paradise Falls, Cactus Dildos Reggae and more.
FOR THE CAUSE
Due to the recent earthquake disasters that have taken place in Nepal, a beneﬁt concert named Namaste Nepal is making its way to Old Museum in Fortitude Valley, 20 May to raise funds to be donated towards the victims. The event will consist of a line-up of live music including traditional Nepalese and Tibetan music, as well as Nepalese food stalls, a silent auction of local donated artworks and a group bike ride organised by Style Over Speed riding from West End. It all takes place from 5.30pm, with multiple ticket price options available on the door, depending on how much you’d like to donate.
2015 sees acoustic blues phenomenon Lloyd Spiegel celebrate 25 years on the bandstand with the release of a new double live album and extensive national tour. Recorded over two sold out shows at The Wonderland Spiegeltent this past March, the new Double Live Set is a 25-track anthology, including blues classics from the likes of John Lee Hooker, Robert Johnson, and ‘Brownie’ McGhee. He’ll be performing 25 shows around the country, including The Old Museum, 2 Aug. More dates from theMusic.com.au.
DOG GONE Hard to work out if Johnny Depp’s method acting or if he’s actually become Jack Sparrow, hence his blatant flaunting of international customs regulation with his pooches.
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Fresh from a very successful trip to the US and Canada that included oﬃcial showcases at Canadian Music Week, Adelaide’s own Tom West is back home to launch his eight-song EP, Oncoming Clouds. Catch him 21 Jul at The Bearded Lady. Presented by The Music.
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LISA REIHANA, IN PURSUIT OF VENUS
IN PURSUIT OF VENUS
The QAGOMA Foundation Appeal aims to raise funds to acquire the remarkable moving image tableau, In Pursuit Of Venus [infected] 2015 by New Zealand artist Lisa Reihana. Reihana’s work transforms a popular 19th century panoramic wallpaper depicting particular ideas of the South Paciﬁc into an immersive world ﬁlled with living, breathing people and cultures. The work will be on display in Gallery 6 at the Queensland Art Gallery. Visit qagoma.com.au for more information.
A BIG LEAP
Having received a heap of love over the last year or so thanks to a couple of massive singles including Breathe In and Between Friends, 18 year-old Gab Strum aka Japanese Wallpaper ﬁnally has his debut EP ready to release, and he’s pretty keen to celebrate with us all. He’ll be performing a string of shows across the east coast, including Black Bear Lodge, 2 Jul.
Oﬀ the back of the recent release of their third album Kindred, sugar-poppers Passion Pit are making their way back to Oz. Their live performances will leave you well and truly buzzing with energy, so make sure you get onto tickets quick smart when they, plus special guests The Griswolds, make their way to The Tivoli, 25 Aug.
GIVE ‘EM A HAND
Sydney’s underground bruisers Hand Of Mercy are taking last year’s big release, Resolve, for another spin round the block, and they’ve invited Gold Coasters Prepared Like A Bride to coheadline, sort of a friendship farewell because, though they’ve released a new single, Soul Of The World, the Bride are calling it a day. With special guests Vices and Gloriﬁed joining the party, Hand Of Mercy play 4 Jul at The Brightside and an all ager 5 Jul at The Lab.
Supported by Mosman Alder, Something For Kate’s Paul Dempsey is heading up the Paciﬁc Highway 23 May to play Solbar, presenting a stack of new songs he wants to road-test before he heads into the studio to record his second solo album.
WHEN THE WIFI GEORGE USUALLY STEALS SUDDENLY HAS A PASSWORD, HE BECOMES ADDICTED TO TRYING TO “HACK” IN. J:“JUST GET YOUR OWN!” G:“NEVER!” WE COULD HONESTLY JUST SCROLL THROUGH @SEINFELDTODAY’S FEED ALL DAY.
The 2015 Gympie Music Muster just keeps getting bigger and bigger – just check out who and what else has been added to this year’s line-up 27 – 30 Aug. For starters Gympie Music Muster Ambassadors Adam Brand and Caitlyn Shadbolt will be singing a duet, while joining the huge roster of artists already announced are, among others, Melinda Schneider, Shane Howard, Jetty Road, Jenny Queen, Mitchell King, Stealing Lincoln and The Mercurys. Then there’s the return of the Pre-Muster Street Party 26 Aug, with buskers, songwriting sessions and more performances.
MAKE A BLURRYFACE
THIS IS GOSPEL
FULL OF HOPE
Tyler Joseph and Josh Dun are, of course, Twenty One Pilots, last in our part of the world last year, and now, to coincide with the release of their second album, Blurryface, they’re putting in a quick headlining east coast tour that’ll see the pair play American Independence Day 4 Jul at The Met.
Brisbanites just can’t get enough of The Church. Heading our way on their celebratory Further Deeper/The Blurred Crusade Tour, they’ve completely sold out their 4 Jul night at The Triﬃd, so you’ll be pleased to hear that if you missed out, a second Triﬃd show has been announced for 5 Jul.
Melbourne’s The Pretty Littles are bringing out a new mini-album Gospel next month, and will be hitting the road with Ceres and Sincerely, Grizzly to showcase everything they have to oﬀer. Grab your dumb-punk rock’n’roll ﬁx when they tear their way through Crowbar, 11 Jun.
Brisbane’s The Jensens have been steadily at it since 2013, and have released their new jam A New Hope as a preview for their debut album to be released later in the year. They’ll be taking the new single on the road, including a show at The Northern, Byron Bay, 23 May. THE MUSIC • 20TH MAY 2015 • 9
LOOKING INWARD The music of Nite Fields’ excellent debut album, Depersonalisation might seem grim on the surface, but as frontman Danny Venzin tells Steve Bell, beauty is in the eye of the beholder.
t always takes a while to become an overnight sensation. To many folks Brisbane quartet Nite Fields seemingly burst from nowhere earlier this year with their accomplished debut long-player, Depersonalisation, but as is so often the case perceptions can be wildly misleading. The band had been slaving away on the album’s nine tracks for four years, recording it themselves in bedrooms, garages and basically any empty space they could get their hands on (these being further spread across Brisbane, Sydney and Melbourne as members shifted and relocated around the country).
“I think we’re a very different band now [compared to when we started the recording]. It’s funny, because I had the record’s theme about halfway through – about two years into it. Most of these songs were written in 2011/2012; it was really the recording process which took a lot of time – it wasn’t the writing process. When I say the recording process we were doing it ourselves, so when I say we recorded a song five times it wasn’t because we went to the studio and we didn’t get it right, it was because we didn’t know how to do it. We’d play it in the room and go, ‘Ok, this sounds awesome’ – me and our bass player recorded most of it – and then
radio, and we haven’t been played on triple j or any of that sort of stuff – so there was no real reason for us to spend thousands of dollars on an expensive studio and a producer. From our first 7” we had the personnel in our band where it just made sense to do it ourselves. “I think so far with the people we’ve worked with locally they haven’t really ‘got it’, just because what we’re aspiring to is quite different. It’s hard in Brisbane for people to really get it if you’re doing something that’s not conventional. But it’s us too – with our four members we’re all really particular. I’ll hear things in a mix: I might hear a frequency and be like, ‘No, this is totally wrong’ and everyone else will be going, ‘What the fuck are you on about?’ and then I’ll spend three hours trying to get it out. It’s a very obsessive thing; we’re perfectionists and it took so long because we had to get it right, and we found that we had to do it ourselves if it was going to be right.” The Nite Fields sound is highly stylised – it’s been described as dour and morose, although Venzin himself favours “bleak and inwardlooking” – and has been variously compared to work such as The Cure’s early music or even the more downcast side of New Order. “I think the sound changes – there’s a few filters,” Venzin offers. “I think the main thing is that it needs to sound original and it needs to sound
“THERE’S JUST SO MUCH MUSIC IN THE WORLD ALREADY, IF PEOPLE ARE STRUGGLING TO CONNECT WITH OR FEEL YOUR MUSIC THEN WHY WOULD YOU EVEN BOTHER? WHY GIVE THEM SHIT? WHAT’S THE POINT?”
Once the album was completed, they decided to trek though Eastern Europe playing gigs for a few months rather than take the easy option of starting with an Australian tour, but this detour from convention ultimately mattered naught as Depersonalisation was quickly picked up by burgeoning LA indie Felte Records (also home to Aussie bands White Hex and PVT) and started accruing rave reviews in publications and blogs as diverse as Rolling Stone, Pitchfork and The Guardian. As frontman Danny Venzin explains, however, it’s all about gut feel, intuition and making music that excites them as a collective rather than any great master plan for world domination. “We just kept going until we had enough songs that we were ready to put out as an album,” he shrugs. “We never really considered ourselves to be a singles band – most of these songs I don’t really think work alone. Perhaps some of them do, but it was really just a pieced-together effort. I think of this more of a document or a diary of this period, and there was just a point at the end where maybe we had some personality changes and some different things happening in our lives where we just went, ‘Ok, this is enough.’ We could have kept going and writing songs and had 11 or 12 on there, but we probably would have broken up, I think. It was dragging on at the end so we just had to put it out. I was very pedantic with a lot of it – there’s one song on there that we recorded five times. I guess it just took a while until we were happy with it. 10 • THE MUSIC • 20TH MAY 2015
we’d go, ‘Oh, this sounds wrong’ or ‘That’s wrong,’ we just couldn’t get it right. We learned how to capture our sound along the way, so it was a learning process for us recording this album.” Venzin explains that Nite Fields’ ultra-DIY approach wasn’t preordained, just that in their minds there was no real reason for them to do it any other way. The album was predominantly mixed by HTRK’s Nigel Lee-Yang, but that was the only real outside interference. “I think it was by necessity,” he reflects. “We’re not a commercial band by any means, and we didn’t have that industry ambition – we didn’t send singles to
contemporary, and I don’t think that we’ve always managed to do that. I’ve seen some reviews where people say it sounds like ‘80s and ‘90s bands – and fair enough because those influences are there – but there’s something on every song that could only be from the now, whether it’s a piece of equipment or some instrument or some effect. That’s essential. There were some songs where we’d record them and go, ‘No, the guitar sounds too generic’ or, ‘The drum sound has been done a thousand times,’ so we’d go back and do them again. I’m after a feeling, and it’s about chasing that feeling where you go, ‘Wow, that works! That makes me feel a certain way.’ It’s not an intellectual exercise where you set out to tick certain boxes, it’s an artist’s perspective where you’re chasing a feeling. If I feel numb about something I’m not going to put it out, and that’s what took a while too – getting enough content that we were excited about.” Does it ever get frustrating chasing these intangible feelings and using intuition in search of the perfect take? “Sure, I mean we might never put another record out if that doesn’t come. We’ve got new songs now, we’re always writing. There’s probably about 40 ideas for Nite Fields songs around, it just took four years because it had to be right. I don’t see the point otherwise – there’s just so much music in the world already, if people are struggling to connect with or
EUROPEAN VACATION Not many bands embark on extensive Eastern European sojourns before their debut album has dropped, but earlier this year Nite Fields did just that and enjoyed a quite incredible adventure.
feel your music then why would you even bother? Why give them shit? What’s the point? I have to be excited about – I can’t say that it has to be good because that’s subjective, but there has to be something in it otherwise you’re just pissing in the ocean.” And while a band’s first album is always important, Venzin doesn’t necessarily believe that Depersonalisation is setting any template for future Nite Fields recordings. “I don’t think it’s a big statement – the album to me is more like a big summary of this period of the band. I guess I’m the lyricist, so more of it’s maybe a reflection of my life in those years, so once we put it out I can go, ‘Ok, that’s the book written,’ then I can close that and do something else and live something else and experience something else. Our new stuff has a really different sound, because I had to delve into the theme of this record probably for a lot longer than I would have liked to. But it wasn’t preconceived, like, ‘We’re going to have an album that sounds like this.’ It all happened pretty organically – this was just how we were feeling and the sounds we were making together. “I think the good thing about being back in Brisbane is that we still feel that nobody gives a shit. We haven’t developed egos or anything like that – we don’t feel any different – which sort of sucks because it would be nice to feel some accomplishment. [Recent events have] sort of been middling for us. It
might have been better if we’d done really well where like people were giving us heaps more money to tour or if nobody at all had given a fuck. The way it went pretty much just retains the status quo. Luckily, I think for creativity being here in Brisbane – far away from everything – is fantastic, and while we’re here it will allow us to develop on our own terms, far away from prying eyes and external expectations.” In the short term, however, Nite Fields are preparing for their local album tour as
well at marvelling at just how much positive traction has already been afforded their first long-player. “Just having the record out was what we were trying to achieve, and everything above that has been a bonus,” Venzin smiles. “It’s been crazy to be invited to play in far-flung places and written up in big publications – we could never have imagined that happening, especially given the sort of music that we make. The reception so far has been incredible, fingers crossed we can keep it going.”
WHEN & WHERE: 30 May, Grand Central Hotel
“We started off in Russia in a city called Petrozavodsk and went all the way across to Amsterdam, so we went all through Eastern Europe,” Venzin explains. “I think the highlights were definitely places like Kiev and the Ukraine, where people (a) think you’re a really big deal because you’ve come over there, and (b) are just really excited because anybody at all has come from Australia to play there. And it was always the shows that we had little or no expectation for that ended up being the fun ones – like we played at a place called Tartu, which was basically a stop-off in Estonia, and there were 300 people there, and they all knew the words to our songs. We were just thinking, ‘How the fuck do people know about this?’ “And I think our sound seems to mesh more in some of those countries in Eastern Europe than it might elsewhere – I think that region has more of a history with bands that sound like Nite Fields. In Russia our sort of music isn’t as underground – in Moscow and Kiev we were playing in more commercial venues. They love the more bleak, inwardlooking music.” THE MUSIC • 20TH MAY 2015 • 11
which fell apart in pre-production. “George is very open-minded; he talks to everyone and listens to everyone – he’s a great leader in that way.”
Nathan Jones makes quite the meal of his role in Mad Max: Fury Road. Guy Davis talks to him about the experience.
ometimes Nathan Jones does the killing (as a bloodthirsty behemoth in the homegrown slasher movie Charlie’s Farm); sometimes Jones is the one getting killed (copping a blade in the neck from Brad Pitt in the sword-and-sandal epic Troy). But whether he’s snuffing or being snuffed, Jones – who stands at over 200cm tall weighing in at around 140kg – tends to stand out whenever he appears on screen. And even in the eye-popping visual circus that is George Miller’s post-apocalyptic Mad Max: Fury Road, the former wrestler makes quite the towering, gun-toting impression. Jones plays Rictus Erectus, son
of tyrannical Immortan Joe (Hugh KeaysByrne), who helps lead a war party across the parched, barren desert when Tom Hardy’s Max and Charlize Theron’s one-armed “badass” Imperator Furiosa make a break for freedom with five of Immortan Joe’s young wives in tow. Rictus is not one to be messed with but discussions shaped him into more than merely a blunt-force brute. “I sat down with George and talked about Rictus a lot, that he was a bit of a contradiction – he’s this huge guy who’s really a bit of a manchild.” Jones met Miller when he signed on to play “a Terminatorlike villain” in the director’s Justice League superhero adventure,
And a production like Mad Max: Fury Road definitely needed a great leader at the helm. Three decades since the last Mad Max movie, efforts to get Fury Road up and running were stymied by a variety of snags. The gruelling nine-month shoot eventually relocated to Namibia. “Things got stressful now and then,” chuckles the surprisingly soft-spoken Jones. “It would drop down to minus-two at night while you’re standing around almost naked, and then it would get up to 45 degrees in the middle of the day and people were dropping from heatstroke. But it’s all part of the business. It was a lot of fun, a rollercoaster ride.” It was a rollercoaster ride everyone involved rode at their own risk, it seems. “Everything was functional, including the flamethrowers, and when I was on the back of this monster truck, the fuel line broke and I was sprayed. I was yelling but no one could hear me over the roar of the vehicles. I finally got the attention of one of the stuntmen by banging my fist on the truck and he could see that I was covered with fuel while I was close to the engine. He pulled out his knife and cut me away pretty quick. And another time I was on top of the War Rig truck heading down this canyon, and I was attached to it by a cable, but the hydraulics and brakes failed and it jack-knifed. I was thrown in front of the vehicle, hit my head. Luckily it got stuck in the sand and slowed down before anything too bad could happen. I’ve always been a thrill-seeker, so I didn’t mind.” WHAT: Mad Max: Fury Road In cinemas now
SOUND TO VISION Lionised for his work across a variety of spheres of composition, the visual arts, installations and music production, the classically-trained Thomas Köner draws his inspiration from the unlikeliest source, as Anthony Carew learns.
laying violin at three, in youth orchestras at seven, Thomas Köner was being pushed towards a classical musical career. But he was drawn towards a different kind of sound. “Playing music at such an early age really attunes your skill of listening,” says Köner. “And, as a child, I always loved the sound of the freight cargo trains in the distance, in the night, when they were passing. It’s a very grey noise, with a very soft envelope and a very long fade in; this opaque, granular, cloudlike sonic quality. And then there was the very long fade out, an end that was imperceptible. It was impossible to say when it faded wholly into the background, joined into the sounds of the cityscape. This is something that, still, years later, plays out in my compositions, these envelopes of sound where you can’t tell when something starts and when it ends.” Köner’s approach to music-making, in turn, was always experimental. His debut album, 1990’s Nunatak Gongamur, was entirely composed from recordings of gongs, which were then electronically treated. Whilst working as a film sound designer and editor, Köner would turn out a run of ambient and experimental records.
12 • THE MUSIC • 20TH MAY 2015
But Köner’s most prolific output is scoring old silent films. After performing the collaborative piece, Alchemie, with film artist Jürgen Reble at the Louvre in 1994, Köner struck up a relationship with curator PhilippeAlain Michaud, and since being solicited for his first score (for Murnau’s Nosferatu), not a year has passed without a new commission, having performed alongside 28 films in 21 years. As part of this year’s Festival of German Films Köner will play a live score at screenings of Murnau’s 1926 film, Faust. “My hope is always to make the movie relevant again for a 21st-century
audience. So much time has passed [that] it can be hard to get beyond the change of viewing habits, of narrative, of visual storytelling, of technology. During the set, you have to navigate the expectation of an audience, your own desires as a composer presenting something in a concert-like setting and, then, the film itself needs to shine; everything needs to come together.” Köner feels his scores are more personal, more revealing. “You’re much more stuck with your history, and your personal biography, than if you were just stuck in front of a blank canvas. With this silent film presentation we are doing, it’s a one hundred-year-old movie, it’s considered a masterpiece of this and that, there is so much context that you can really see the difference between it and what you are doing. What you are bringing to bear becomes so much clearer.” WHAT: Thomas Köner Plays Faust WHEN & WHERE: 22 May, Audi Festival Of German Films, Palace Centro
OPPOSITES ATTRACT When Lance Ferguson approached Tim Rogers to collaborate with The Bamboos, the You Am I frontman was concerned. “I don’t wanna fuck up a band I love, you know?” he tells Bryget Chrisfield.
lready settled into a corner booth at rock’n’roll favourite, Yellow Bird Café in Windsor, The Bamboos bandleader Lance Ferguson and Tim Rogers are discussing how to seat their older relatives comfortably during their upcoming tour. Ferguson is dressed neatly in a chambray shirt with Don Draper hair and Rogers wears a check shirt over white t-shirt combo (probably a classic Bonds chesty, actually) with that trademark tousled quiff. There are fries on the table, the beer’s a-flowing and it’s immediately apparent these gents have formed a mutual admiration society.
The first time Rogers featured on a song by The Bamboos was 2012’s I Got Burned, which sees the legendary You Am I frontman’s foxy falsetto strutting alongside an unforgettable, hiphypnotising riff. Rogers admits he was “knocked out to be asked” to work with The Bamboos. This collaboration definitely deserved further exploration and Ferguson admits he was happy to leave the lyrical side of their resulting The Rules Of Attraction long-player to Rogers. “What Tim does with the written word is insanely great,” he extols. “But Tim didn’t
just do that, he also came in with melodic ideas and chord changes for songs as well.”
“I’ve had a jam with Keith Richards, but no one is cooler than Lance Ferguson,” Rogers gushes. “I’ll throw some lyric at him and then he’ll go [nods serenely], and then about half an hour later he’ll go, ‘I really like that lyric, Tim.’” Rogers points out this is a contrast, “‘Cause I’m so girlishly enthusiastic about everything, you know. “For a songwriter like Lance, and for the band, [to] ask you to do something, it’s intimidating, of course, but also you think, ‘You go into this deep, dark hole of thinking, ‘What am I?’ A bit self-evaluating, which is never good for a mentally ill person, and then you think, ‘Well it must be something,’ and then you go in and do your thing and Lance AutoTunes it all.” Ferguson interjects, “I did not!” To this pair of ears, the album’s title track calls to mind the wonderful Boogie Shoes by KC & The Sunshine Band. “That’s my favourite track and it should’ve been the single, Lance,” Rogers teases. After claiming he can “find a way of dancing to anything apart from electronic dance music”, Rogers adds, “I like music with pockets for people to move to and that’s what I love about The Bamboos, ‘cause it’s dance music, it’s fucking music and god forbid if I’m gonna be a singer who’s gonna step on that, you know? So it’s my job to keep out the way and let people dance or fuck. I’ll stand on the side, possibly sketching them [laughs].” WHAT: The Rules Of Attraction (Atlantic Records) WHEN & WHERE: 18 Jun, The Triffid To read the full interview head to theMusic.com.au
THE MUSIC • 20TH MAY 2015 • 13
BALANCING ACT “Everyone needs more substance,” vocalist Jake Taylor tells Brendan Crabb, as hippie-friendly heavy-hitters In Hearts Wake unleash the second half of their concept suite.
n Hearts Wake are in Texas on the Byron Bay metalcore act’s maiden US jaunt. As said run is about to conclude, singer Jake Taylor is audibly delighted regarding inroads made and his assessment of growth abroad seems appropriate. “It’s like any garden you’ll ever have. If you give it lots of love and you look after it, it’s gonna grow quicker than others.” Taylor is also eagerly awaiting new LP, Skydancer’s release, written and recorded at the same time as last year’s chart-bothering Earthwalker. “I think all the guys feel that this is probably the better of the two. It’s a little more diverse and definitely a little heavier… There’s some banger tracks on this record.”
Its subject matter is a companion piece to the inaugural chapter, crafting songs of substance a priority. “Earthwalker was all about the feminine world – that is the very earth we walk on – and symbolising that with Mother Earth. It’s a very important thing that we as human beings have lost our touch with. That’s partly because most children I would say, don’t really have really good relationships with their parents. And that stems from the disconnection of who they are, and what life is. “Skydancer, that’s about the masculine world… It’s very chaotic. It’s powerful; it’s got that vibe, and all the songs are much more broader
topics, in terms of racism, war, man’s disconnection with nature in terms of building cities around everything – it’s so rigid nowadays – and progression. It’s all about cities and goals, rather than sustainability of the Earth. It’s a big concept, but those are the two halves – mother and father. [The concept is] there for people that want to access it, but to those who don’t necessarily want to, or haven’t really delved into it, it’s totally still enjoyable and accessible in terms of we haven’t over-complicated it too much for those that don’t want to go there. But we always want to leave a little food for thought.” In Hearts Wake are also associated with charitable and humanitarian endeavours, supporting non-profit organisations Local Futures, dedicated to grassroots safeguarding and renewal of ecological and social well-being, and the Byron Young Residents Alliance. Partnered with Carbon Neutral, they planted 1379 trees as part of the Earthwalker campaign. They’ve thus been dubbed “hardcore hippies” in jest. “I’m happy with that. Hippies are generally pretty cool when you think about it. They’re either surfing or enjoying a free lifestyle, and I guess hippies are generally pretty in touch with the Earth. A few of them might be a bit smelly and stuff like that, but what guy on tour for nine weeks doesn’t get smelly?” he laughs. “We haven’t had showers in a few days, bro. We are from Byron Bay as well, that gets generalised as a hippie town. But I think people are just jealous of the hippie lifestyle; they’re in a nine-to-five job where they can’t enjoy themselves. I think the future of everyone is to create more leisure time and live healthier and happier.” WHAT: Skydancer (UNFD) WHEN & WHERE: 28 & 29 May, The Triffid
PUSHING BOUNDARIES The Vaccines’ Justin Young reckons rock music “isn’t the most important music happening at the moment”. He explains to Kane Sutton why.
hen The Vaccines released their debut album, What Did You Expect From The Vaccines?, in 2011, they were hailed by NME as the band that was essentially saving British indie rock. They played over 150 shows that year and were nominated for awards by MTV, the BRITs, Q and more. The band continued their run into 2012 with Coming Of Age, released about a year-anda-half after their first album, and less than a year after that, they released their Melody Calling EP. The end of 2013 saw the band take time off from touring, which would ultimately stretch out over a year long, as frontman Justin Young explains. “For the first time in our career we had a bit of time off to recharge and rediscover what we wanted to do. We’ve never had the opportunity to explore, even to re-approach or redefine our own ethos. We were constantly pushing the approach of just plugging in and playing, and it was that simple.” Twenty-fifteen has already seen some defining records make their way to the fore, with the likes of Kendrick Lamar’s To Pimp A Butterfly and more sending hip hop, for instance, down a new path. Is it harder to do that in this day and age with guitar music? Young argues in the affirmative. “I say this more objectively, but I don’t think rock music is the most important 14 • THE MUSIC • 20TH MAY 2015
music happening at the moment, and I think it’s for many reasons. I think it’s ironically restrained by more boundaries, I don’t think it’s as anarchic as–” Young pauses, searching for the right word. “It’s naïve almost, because it’s been around for so long in comparison to hip hop or certain types of electronic music, where I don’t think they follow any rules.” The Vaccines’ latest work, English Graffiti, saw the band doing their best to tackle that issue – experimenting with different sounds and ideas, thinking about how to evolve. A lot of that help moving forward can be credited to
producers Dave Fridmann (Flaming Lips, Tame Impala, MGMT) and Cole MGN (Ariel Pink, Beck, Nite Jewel), who brought plenty of experience and opinions to the table, so much so that Young felt like welcoming them in as family. “I’m a massive fan of both of theirs for years and they both had really defined roles. We felt in really safe hands. There were no rules… they wanted to make things sound as extreme as possible. Cole had this amazing focus and vision – he just about became a real member of the band, like, we’d argue about song titles and things like that. Everything was about cohesion and minimalism, it was great. We got so fried playing for two to three years non-stop, then after about two or three weeks we realised we missed it already, so it’s so exciting to be back on the road again.” WHAT: English Graffiti (Sony) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands
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WWW.RICSBAR.COM.AU THE MUSIC • 20TH MAY 2015 • 15
STILL COMMITTED He’s all grown up, but for most people, Andrew Strong is still that kid with the amazing voice out front of movie band The Commitments. Michael Smith finds there’s much more to the story.
t’s going on 24 years since an untried 17-year-old Irish singer was thrust onto the international stage courtesy a film about a fictitious Irish soul band called The Commitments. Andrew Strong had been cast by the film’s director Alan Parker the year before to play the band’s ebullient frontman Deco Cuffe, whose voice sounded much older than his years, and he carried it off perfectly.
In the intervening years, Strong has released three albums as an artist in his own right, scoring a #1 hit in Denmark, where he lived for a decade with
his girlfriend, with a version of Ain’t No Mountain High Enough, as well as forming a band, The Bone Yard Boys. After this latest Australian tour, he’ll be heading back into the studio to cut another album. This visit however recognises that, for all he’s achieved in those years between, it’s the hits from The Commitments for which Australian fans will forever remember him. Fair enough – the soundtrack album sold 12 million copies worldwide after all. As it happens, most of the film band reunited in March 2011 for a 20th anniversary four-date reunion tour of Ireland.
“It was pretty bizarre,” Strong admits, “ because that was the first time we were kind of together since we made the movie and, um, it’s just weird. You were just a bunch of kids who made a movie and, boom, it was successful and 21 years later you’re playing together. And a lot of people don’t realise that the guys who you see on the screen, they’re not even on the record. The only people from the cast who are actually on the record are me and the girls. “But it was great in terms of just seeing the fans and having people come up saying how much they appreciated seeing us all together and they loved the movie, they loved the record. I think we could have gone out and toured a little more with it but everybody has their own thing going, so to put us all together was a pretty mammoth task, just to do those shows.” Strong wrote his first song when he was 13, and like most kids in the early ‘90s, he was heavily into grunge. His original post-Commitments deal pushed for more soul stuff, so it’s been a bit of a struggle to reconcile his maturing style and the expectations of the film’s fans. “When you come to an Andrew Strong show, you’re gonna get 85 per cent of what I’ve recorded on my own records and maybe the other ten, 15 per cent you’ll get a couple of Commitment songs. But with this show I’m doing the full Monty, you know? I’m putting the suit on. I’d describe it as rock-soul, not soul-rock. I play a lot of heavy guitar on the songs – so it’s a pretty fullon show. Instead of playing Mustang Sally through a clean amp, let’s play it through a couple of Marshalls!” WHEN & WHERE: 23 May, Kedron Wavell Services Club; 24 May, Blues On Broadbeach
THROUGH THE FOG With enough smoke machines to give a firefighter nightmares and double-necked guitars that would make Bill and Ted lose their shit, the show Japanese avant-garde outfit Boris present is weird, exciting and unusual. Guitarist/ vocalist Takeshi tells Tom Hersey about the band’s quest to create something both visceral and intellectual.
he experience of seeing Boris live is something that’s as hard to explain as it is to forget. Even in the drone metal scene, where bands are prone to excursions into the esoteric, their set stands out as one of the most inscrutable. Even beyond the massive drum kits, weird instruments and smoke machines that obscure all but the silhouettes of the band while they play, there’s the band’s preternatural ability to blend doom and drone with straightforward rock’n’roll and dreamy pop numbers. But Takeshi says these shifts all occur very naturally for the prolific band. “We just do whatever we would like to do; we are just like a music addict. [So] we have never intended to change our musical styles intentionally. Even though some may feel we do, we don’t. As far as it still means ‘heavy’ for us whatever music style sounds great to us. Because there is certain signature sound and music that only three of us can play, and that will never end.” Touring on the back of last year’s album, Noise – 2014 was a slow year for Boris, only releasing two full-lengths – the band is now adding punk and hardcore sounds to their already brimming bag of tricks. “Atsuo [drummer/ 16 • THE MUSIC • 20TH MAY 2015
vocalist] and I had been heavily influenced by punk rock and hardcore music when we were young. It is pretty natural for us because those influences are like our blood so deeply and it’s pretty hard for us to resist against it. Not only a BPM or how we can play faster, that music mean a lot to us in a way of how we work on music or how distorted guitar tones are cool. I don’t know; it would be in an unconscious way. Though playing faster music is hard physically, it is still fun.” As for whether Boris, who Takeshi adds are
presently collaborating with Japanese extreme music collective Endon for another album, will continue to explore their hardcore roots, the guitarist only offers a ‘maybe’ – which means that they could pretty much play anything on their upcoming tour. Takeshi tries to explain: “Basically Boris play our latest songs for the show. This is how we do not only in Australia but also in US, Euro and Japan. Though it is pretty hard for us to decide the set-list in order to have both new and long term-fans enjoy shows at once, Boris have always tried to play enjoyable set not only for our audience but also for us.” And then the exchange turns to smoke machines, a simple stage accoutrement used with phenomenal impact by Boris. Takeshi is quick to suggest that they’ve got nothing on Sunn O))) in regards to smoking out rooms. Because they love using smoke machines, they can make a dingy club feel like a Van Halen arena show when they turn that shit up to 11. WHEN & WHERE: 27 May, Crowbar
and play a bunch of festivals – we’re all really happy with what we’ve achieved. “
Brisbane’s scurviest non-landlubbers The Good Ship are pulling up anchor for the last time, co-skipper John Meyer telling Steve Bell how they got away with murder by not being arseholes.
he Good Ship’s unique brand of self-professed ‘porno country folk cabaret’ has built them a strong following over their six-year tenure together, but all good things must eventually pass. The crew’s pulling out their ever-theatrical show for one last bawdy singalong, and founding member and co-songwriter John Meyer explains that while it’s bound to be a sad occasion, they’re collectively proud of what they’ve accomplished over the journey. “We’re all pretty happy about how everything’s been progressing musically. We’ve pretty much written an
entire new album’s worth of material, and we all feel like it’s the best stuff we’ve ever done – and we’ve played a few of those live and were really happy with the reaction – but it just didn’t feel like we had it in us to keep going for another album. We could have decided to stay together and just play the occasional show, but we figured it was just better making a clean cut and giving it some closure. “It’s been an amazing ride. The three albums we did were all really different, especially the third one [2013’s The Seven Seas] and the big theatre show that we put together – that was an amazing experience. We got to tour Canada
This is all the more remarkable given The Good Ship wasn’t ever planned as a long-term proposition. “It was definitely a side-project,” Meyer admits. “I think it’s pretty common that side-projects develop a better energy, perhaps because there’s less pressure. When I started the band with the other main songwriter we both had our own things in the indie-pop world, and this was something for us to have a bit of fun with and not take so seriously, and then it took over. We did work really hard and take it seriously, but the primary motivation was to just hang out with our friends and make some great music and not really worry too much about all the other crap.” And, naturally, it’s always fun creating with a less serious mindset, as even a cursory listen to The Good Ship’s ribald tunes would attest. “Absolutely, it opens up different sides of your personality in your songwriting, and this in particular was heaps of fun,” Meyer smiles. “We had this little collection of songs which were a little dirty and bawdy, so we decided to run with it. We crossed the line many times, although weirdly we would have expected more people taking offence – I think it’s about how it’s delivered. We’d use pretty foul language and what could be perceived as awful concepts, but it was delivered in a friendly and lighthearted and almost loving way. If we wrote a song about a prostitute it wasn’t anything horrible or judgmental about their life, it was more of a loving ode. It’s the spin you put on it – we’re nice people and we’re not assholes and not out to rip anyone down, and I think that always shone through.” WHEN & WHERE: 23 May, The Zoo
THE MUSIC • 20TH MAY 2015 • 17
TIM ROGERS & THE BAMBOOS
DANIEL JOHNS Talk EMI
The Rules Of Attraction
ALBUM OF THE WEEK
Warner Don’t worry, folks, You Am I aren’t ‘over’ and this isn’t Tim Rogers’ new band. In fact, for those who don’t know, Melbourne collective The Bamboos have been making powerful funk and soul for a good 14 years or so. Their 2012 collaborative single, I Got Burned proved a great synchronicity, so further studio exploration was inevitable. It’s a great fit. Rogers’ cigarettes-and-alcoholseasoned larynx lends itself spectacularly to a big band. The devilishly funky S.U.C.C.E.S.S is so immediately motivating, it should be sound-chipped into a Timmy ‘bobblehead’ alarm clock and sold at Thingz for $40. Bandleader Lance Ferguson knows exactly when to tighten or loosen the reins – a challenge with nine (admittedly fantastic) musicians all vying for airspace – so Easy, Me And A Devil and
the horny horns of On Time all have a chaotic harmony, while You Can’t Kill A Man Twice and closer, Walk Away, Keep Talking are more controlled yet smooth. And then there’s Did I Wake You?, in which Rogers delivers his most swooning vocal ever, placing a bittersweet kiss to the forehead of his backstabbing lover on the deck of a ‘70s cruise liner heading into the sunset. It’s a beautiful sparring with Kylie Auldist, who once again sparkles as the band’s regular lead. This is a collaboration that’s brought out the best in both Tim Rogers and The Bamboos, proving the old adage that opposites attract. Mac McNaughton
THE VACCINES Sony
18 • THE MUSIC • 20TH MAY 2015
What makes Talk worthy of all the, well, talk, is Johns’ chameleon tendencies that weave a shimmering trail within it. Always one to move with the times, Johns takes the best aspects of his pop songwriting nous and dips it
★★★★ in dark, glitchy electro (We Are Golden), smooth urban beats (By Your Side, Too Many), imploring balladry (Chained) and, as expected, a good dose of dramatic high art rock (New York, Good Luck). His voice is pristine on singles Aerial Love and Cool On Fire, while guest artists M Phazes and Styalz, along with guest creative talents the Presets’ Julian Hamilton and Joel Little (Broods/Lorde) help push the envelope to capture the grand vision of this ambitious album. Talk will live up to its moniker; plenty will be said, but good or bad it’ll play right into Johns’ hands. Carley Hall
UNKNOWN MORTAL ORCHESTRA
English Graff iti
Seemingly everyone became fast friends with The Vaccines when we first met the English rockers back in 2011. A couple of albums later and they take a giant step forward to embrace a big, brash and bright sound that maintains a little of that guitar roughness around the edges but comes off sounding decidedly more polished and pop. The amusingly ironic swagger of Handsome has been reeling listeners in with its hooks for some weeks now. The influence of Mercury Rev and The Flaming Lips producer Dave Fridmann is evident as he guides the band towards deploying a broader palette of sounds awash with instantly likeable synthesised psychedelics. None of this detracts from the unashamedly pop ambitions of this record. Cuts like Dream Lover and Minimal Affection seamlessly introduce synths, the latter strangely washing up sounding like The Strokes. The breathless urgency of break-up
Ears twitched at the rumour of Daniel Johns releasing some solo material. When it turned out the former Silverchair frontman had taken Talk down the path of suave electronic pop, it’s also quite likely many owners of said ears turned away. Changes in sound, style, genre, direction are generally met with an expected degree of outcry and derision – and Johns is certain to brush up against them with his latest. However, if the doubters choose to close themselves off, the assured hands at the helm of this stylish production have made almost certain that there’ll be plenty who remain that’ll love and laud it.
★★★★ tune 20/20 delivers furious beats and angsty guitars all rolled into what’s sure to be one of those instantly anthemic classics that has fans bouncing at gigs. The second half of the record slips into love song reverie with the dreamy Beatlesque (All Afternoon) In Love and the sexy grind of Want You So Bad. The Vaccines exhibit protean tendencies with Give Me A Sign exploring boy band territory with indie edge. It seems so fitting that they once teasingly asked us “What did you expect?” Throwing us a curveball, English Graffiti suggests a rethink that has The Vaccines ripe for crossover and global domination. Guido Farnell
The lone publicity photo that adorns Multi-Love’s press release is of a bedroom studio crammed with recording gear and lit by what looks like a giant pink marshmallow; maybe the 21st century version of a lava lamp. With the out-of-the-blue success of the first two UMO albums, Ruban Nielson has splashed out on a serious studio upgrade and, as before, recorded almost everything himself, only this time with a hi-tech arsenal. If the first two albums were all natural herbs, then MultiLove is something a bit more synthetic. Highlights include the contagiously fidgety, introverted disco of Can’t Keep Checking My Phone and mope-y dramas such as The World Is Crowded. Nielson follows up II’s theme of dealing with loneliness with a plethora of reflections on the frustrations
★★★ and complexities of being in a relationship. After all, why find a happy balance when problems can be used as songwriting inspiration? Elsewhere, he ponders a newfound interest in biocentric astrophysics, where questions such as ‘is the universe a hologram?’ are thrown up. Multi-Love is like switching to a new operating system. Sure, the technology’s superior, but it’s missing those quirks we’d become accustomed to. One can’t help thinking it would’ve been a better record if Nielson, as well as filling his bedroom with gizmos, had invited a few friends ‘round too. Even with all the latest science, you can’t replace the human touch. Christopher H James
ADRIAN DUFFY & THE MAYO BROTHERS
United We Fall
Championed by Swedish compatriot Robyn, Zhala drops her debut album, experimenting with electro pop, combining synthesised arrangements with her ghostly vocals. She doesn’t manage the kind of dancefloor kicks Robyn delivers but moves in altogether more dreamy and abstract tangents. I’m In Love offers instantly likeable pop confection, while Aerobic Lambada feels like Grimes surreally warping obvious blond ambition into ominous rave undercurrents. Holy Bubbles pays obvious homage to Bollywood and many cuts on this album reflect Zhala’s Middle Eastern heritage. Brimming with positive vibes, Zhala leans toward the euphoric, making this album a completely joyous listen.
Symphony Ray Records
Everytime The Love Strikes and Someone Like You are upbeat acoustic guitar songs, with the rest of the album more mellow and serious. Adrian Duffy’s lyrics are refreshingly authentic, delivered by his remarkable voice, especially in United We Fall. The album is beautifully crafted with a rootsy sound and acoustic guitars.
On packing away the fishnets and eyeliner in 2003, Coal Chamber were creatively redundant and fodder for the press. Few mourned their one-dimensional nu-metal’s demise. Nostalgia subverts such sentiments though, and with growler Dez Fafara’s DevilDriver on hiatus, Bad Blood Between Us’ simple, yet catchy riffs should become a metal club staple. The title track emanates a pseudogothic edge. A few memorable tunes are contrasted by rehashed riffs, and genre clichés (The Bridges You Burn’s intro) induce sniggers, but punchy production affords a heavier sheen. Overall, Rivals isn’t as dire as could’ve been forecast.
Ella Thompson seems a busy person. The Melbourne singer flits between projects like a musical fairy godmother, sprinkling her brand of soulful vocals over songs from various bands including The Bamboos and Dorsal Fins. As her debut solo album, Janus is, then, not a complete stylistic surprise. However, she does manage to maintain an ethereal sense of mystery with her elegant electro-melancholy. She steers clear of traditional dance music, choosing instead to run with more of the stargazing sounds that feel nostalgic for the future. Janus was the Roman god of beginnings, and this album is a flying start.
The Irish lads have produced an impressive country folk-rock album, all simple infectious melodies that melt one’s heart with delightful lyrics. Having It All is just charming, while The Innocence Of Love is elegant enough to slow dance to.
Shimmer Through The Night
Laughing Outlaw Records Thomson’s debut album was an introduction to a songwriter already sounding beyond his years in terms of his songs and their lived-in delivery. That promise has been refined and stylistically expanded on this exceptional follow-up. Thomson imbues its themes of affairs of the heart, both good and bad, the way a city can wear you down and the desire to escape to the country, with convincing emotional vulnerability and weight, drawing from the blue/country/ folk traditions. The resonant balance of melody, emotion and authenticity makes this one of the finest local Americana albums of recent years. Chris Familton
MADISEN WARD & THE MAMA BEAR Skeleton Crew Glassnote/Liberator
This Melbourne five-piece make chilled-out music with an anxious, lovelorn core, at their best when they stick with the lowkey, melancholy sadness, with languid synth, drums that seem to hit just a bit behind the beat and simple lyrics that cut right to the centre of the heartbreak rippling throughout this EP. The more Americana guitar riffs work on single, Pippa’s In The Highlands, the twangy repetitiveness adding to the mood, but don’t so much in Seahorse, where they’re wackier, distracting from the essential sparse loneliness the rest of the EP does so well.
A mother-son duo from Kansas City with modern soulful folk music, the chemistry is remarkable, their vocals intertwining magically to the sound of acoustic guitars. Live By The Water and Sorrows And Woes are both deep and touching, while Daisy Jane is an upbeat dance to song. Fight On showcases Ruth Ward’s winsome vocals, while Madisen’s vocals are captivating. Across the whole album the lyrics are mind-blowing but also have deep meaning behind them – one can feel the connection between mother and son. Full of love and soul, this album is just beautiful.
Ben Salter – The Stars My Destination Holy Serpent – Holy Serpent Transience – Temple Built From Sticks – Return To Underwater Breathing Pjaro – Soft Core Shag Rock – Shag Rock Jeff Beck – Live + Superheaven – Ours Is Chrome Twenty One Pilots – Blurryface
THE MUSIC • 20TH MAY 2015 • 19
RED FANG, KING OF THE NORTH, HOBO MAGIC Crowbar 13 May The second gig of Red Fang’s two-night residency at Crowbar has attracted a sizeable crowd. Hobo Magic kick things off with the meaty grooves from the self-titled record they put out last year. The crowd is more than happy to bang their heads to them. Hobo Magic have sprinkled some fairy dust or something over their riffs because they all hit home. NB: the fairy dust is probably marijuana. Doom and roll duo King Of The North are one of the most
get down to business. They work through cuts off their three full-length albums rather indiscriminately, the obviousness of the material from their selftitled record sitting alongside the more nuanced stoner rock of Hank Is Dead, from Murder The Mountains, and Blood Like Cream, from 2013’s Whales & Leeches very well. One of the as-of-yet-untitled joints they try out is one of the strongest cuts in their set. As bassist Aaron Beam handles all the doomy bellows, the rest of the band jams like they’re trying to re-welcome everybody to Sky Valley. It’s this ability to offer up equal parts cool and crude that’s liable to permanently consign Red Fang to the fringes of the metal scene. They’ll never be the hesher heroes or the hipster villains, but if you
RED FANG @ CROWBAR. PIC: LUKE HENERY
exciting live acts on Australia’s live scene right now. With very little fuss and even fewer frills, the pair whip up an unholy racket that rivals much fuller bands. A lot of that can be attributed to the thundering power with which drummer Danny Leo beats the shit out of his kit; watching him on stage, he looks like an animal. Their set tonight is indicative that we’ll be seeing a lot more from King Of The North, and that’s a good thing. As they walk onto Crowbar’s stage, Red Fang look like a weird hybrid of Bumfights and Portlandia. Then the fourpiece start to hit their stride, managing to embody all the gnarliness of the former with the radness of the latter. Big, tasty guitar jams are the order of the evening, and with very little fanfare the four-piece 20 • THE MUSIC • 20TH MAY 2015
possessed, the air filled with a sinister foreboding as the gnarled narratives of lives gone off-track bounce around the dark corners of the venue. Getting’ On By is the signal for the throng up front to ratchet things up another level and the band seems to feed further off the furore, so by the time they work though Vicki The Butcher and Big Fish and onto bona fide banger Carol the entire place loses their collective shit in an ecstatic celebration of rock’s power. When Scott hurls himself into the crowd to surf around the room it seems perfectly natural because the division between crowd and band was eroded long ago. Ferocious and fun, a winning combination.
heyday filtered though a local lens of bands such as DZ and Soho. Tunes like My Friends Are Machines and Float are huge and tuneful with hooks to burn – unconventional, but one to keep an eye on. Fellow Brisbanites Tape/Off have undertaken a gradual sonic transformation in recent times and the evolution has paid handsome dividends, their slacker indie of yore having mutated into rich cinematic soundscapes that sound fantastic live. Frontman Nathan Pickels has ratcheted up the intensity but everything seems uncontrived and completely apposite, the dense diatribes and fraught wigouts augmenting their latent melody and frantic chops. Numbers like Different Order seem immense and powerful,
RED FANG @ CROWBAR. PIC: LUKE HENERY
THE PEEP TEMPEL @ THE BRIGHTSIDE. PIC: MARKUS RAVIK
want a slab of unpretentious rock’n’roll that pairs well with beer drinking, look no further.
and it’s a blast watching a band have fun themselves as they take things to the next level.
Finally it’s Melbourne trio The Peep Tempel’s turn to step up to the plate and they take no prisoners from the get-go, their primal music energetic and scabrous in equal doses. The floor before them turns into a heaving mass of dancing, grinning flesh as they start punishing the room with their thick as thieves gang mentality and rabblerousing rock. Frontman Blake Scott dominates the vista with his caustic worldview and scathing lyrics, but he’s backed superbly by his rhythm section of Steven Carter (drums) and Stewart Rayner (bass) who lay down the solid base from which he launches his vicious excursions. Scott spits the lyrics to songs like Dark Beach like a man
THE PEEP TEMPEL, TAPE/ OFF, WALKEN The Brightside 16 May It’s not often that you get your socks blown off by the opening band, but tonight local duo Walken tear early-comers a new one with their massive, brash version of firebrand rock’n’roll. Frontman Matt Jamez punishes his pedals as he concocts a noise to equal his massive stature while Joe Daley positively demolishes his kit, the pair reminiscent of US two-piece Local H in their ‘90s
GANG OF YOUTHS @ WOOLLY MAMMOTH. PIC: DAVE KAN
Gang Of Youths @ Woolly Mammoth Miles Away @ The Brightside QSO & Tim Shiel @ The Edge
MAD MAX: FURY ROAD
MAD MAX: FURY ROAD Film
★★★★★ In 1979, director George Miller changed cinema with his actionpacked apocalyptic vision of the future in Mad Max. Thirty years after going Beyond Thunderdome, Miller returns with Mad Max: Fury Road. Fury Road returns us to the harsh apocalyptic future with Max Rockatansky (Tom Hardy)
becoming embroiled with the rebellious Imperator Furiosa (Charlize Theron) and several female slaves on the run across the wasteland from their tyrannical former ruler, Immortan Joe (Hugh Keays-Byrne). Miller has truly set another cinematic benchmark with this high-octane extravaganza formed around one astonishing car chase. He expands the Mad Max world/mythology epically in scale/scope. It’s visually amazing, with impeccable design, cinematography, editing and music and effortlessly balances exhilarating action with surprisingly deep character moments. Tom Hardy fills Mel Gibson’s shoes excellently with great stoicism, physicality and innertorment. He’s different from Gibson yet pure Max. The supports are also great. The ever-engaging Theron creates a strong, layered female figure, Nicholas Hoult has a ball and Keays-Byrne is a striking villain. Fury Road is masterful cinema from a master filmmaker. Sean Capel
In cinemas 21 May
★★ ½ Spy is the latest film from director Paul Fieg, who brought us Bridesmaids. Although having a female protagonist in a comedy/ action film is refreshing, some of the humour in Spy is well-trodden territory. The moment Melissa McCarthy finally flies off the handle and starts verbally abusing everyone in sight is when this film starts to get going. McCarthy plays agent Susan Cooper from the CIA, right-hand woman to the effortlessly good-looking, conniving and soulless spy, Bradley Fine ( Jude Law).
fat people and stupid people is, also, predictably funny. The comedic flair of McCarthy is what sets the film apart; her script reads like a well-crafted stand-up show. Jason Statham (In Bruges) brings in some humorous interludes as a rogue spy with a reputation so good he can’t stop talking about it. There’s also a cameo by 50 Cent in a Budapest nightclub scene, and a dig at Kanye West, both kind of strange. The witty repartee between McCarthy and British comedian/actress Miranda Hart (Miranda, Call The Midwives) is at the heart of this film’s appeal. Sarah Barratt
Australian Rose Byrne plays the beautiful, explosive, selfcentred Raina Boyanov, who plans to sell a bomb to terrorists. The double-crossing, the plot twists and expensive BMW car crashes are what you’d expect from a 20th Century Fox film. The degrading of goodlooking people, ugly people,
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22 • THE MUSIC • 20TH MAY 2015
SLEEPY TEA Member answering/role: Tom Wearne – vocals/guitars/keys How long have you been together? It’s getting on two years now. Sheesh. How did you all meet? We’ve known each other for years, playing and touring in various projects. Sleepy Tea came to be as a response to the music that we were all making at the time. We needed an outlet for those down-tempo moments you have in life. You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? Our go-to driving music is nearly always instrumental; Bibio, Teebs, Jonsi & Alex, Locil. It helps you float above the rage. Which Brisbane bands before you have been an inspiration (musically or otherwise)? There are countless Brisbane artists who inspire me creatively. I feel lucky to know so many talented people. It’s inspiring to see people you know from around the traps start to kick goals and do good things on a national and international level – bands like Violent Soho, Emma Louise, Airling, Yeo, Art Of Sleeping and Holy Holy. It keeps you looking up and gives you that energy to keep working at it. What part do you think Brisbane plays in the music you make? Brisbane life is generally tits. It’s hard to fault wearing shorts 11 months of the year. Perhaps living in paradise doesn’t give you an outlet for the angst so it finds its way out in the songs. What reality TV show would you enter as a band and why? I saw a Japanese game show where two girls were playing a sort of tug-owar blowing a cockroach back and forth inside a length of clear tube, trying to get it into the other’s mouth. I played trumpet for years, so it would be roach-town to anyone who dared oppose me. What’s in the pipeline in the short term? Launching a music video, playing some shows and then heading back into the studio in the next two months! Happy days. Sleepy Tea play The Bearded Lady on Thursday 21 May.
PIC: Terry Soo THE MUSIC • 20TH MAY 2015 • 23
Here for a good time, not a long time. Words Sarah Barrett
Eat Street Markets – Hamilton Wharf, Brisbane Around 80 shipping containers have been converted into makeshift pop-up bars, restaurants, cafes and shops for Eat Street Markets, celebrating international cuisine and cultures. There are live performers, too. Fridays and Saturdays, 4–10pm. Street Burrito – Brunswick Street Mall, Brisbane A pop-up from the people behind Tuckeria. This burrito bar is housed in a converted
shipping container (seems to be all the rage these days), with preparation being done at the Stones Corner Tuckeria and brought to the pop-up fresh every morning. Caxton Street Seafood & Wine Festival – Caxton St, Brisbane This food and wine festival celebrates its 20th anniversary, showcasing the best produce for one day and night only. 7 Jun from midday, with performances from Wolfmother, Slim Jim Phantom, Ella Hooper, Sheppard and more.
BOOK ‘EM THE APPEAL OF POP-UPS The less time a popup is open for, the more exclusive and special it feels. If you manage to get to a hyped pop-up, you’ve got more cool cred than someone who missed out. Then when the pop-up is gone, you can say you were one of the few to check it out. It’s sometimes a testing ground for something more permanent. Again, if you go to the popup, you can say you discovered something awesome first, back before it was a proper shop. And your opinion feels valuable; the pop-up will make its future decisions based on what kind of response it gets. A lot of the time a pop-up will really have to think creatively to work with the temporary or small space they have, so it’ll have a really cute or minimal or DIY kinda feel to it.
THE ULTIMATE SANDWICH
Divided into sections titled Morning, Noon, Night and After Dark, Turkish Fire takes us through the street food culture in the heart of Turkey. Sevtap Yuce shares recipes that will help you recreate authentic street food and barbecue in your own kitchen – from kaygana (eggs cooked in milk and spring onion) or kandil simit (sesame rings) for breakfast, ispanakli gözleme (bread stuffed with spinach) or börülce salatası (black-eyed bean salad) for lunch, sütlü mercimek çorbası (red lentil soup with milk), beef köfte or eggplant moussaka for dinner, and pistachio and rose petal cake or cherry bread pudding for dessert. The stunning, vibrant photography will whet your appetite, and Yuce’s intimate turn of phrase gives meaning to each recipe, as she invites you to take part in her culture and heritage.
Ah, the sandwich. The perfect food at functions, parties, school, work and picnics. They can have three ingredients, or ten. But if you seem to be always stuck for ideas, maybe this can help you out. In Jonas Cramby’s new book, The Ultimate Sandwich, you can peruse a hundred classic sandwich recipes: there’s the Reuben, the Po’Boy, the Club Sanga, BLT, and everything in between. It even takes you through making your own bread, cheese and cured meats. Not merely a recipe book, it also delves into sandwich history and philosophy, as well as which accessories and kitchen equipment every sambo enthusiast should own. Available for purchase from 20 Jul.
Available for purchase from 2 Jul.
FOOD OR ART? In NSW’s Broadway Shopping Centre, there are 3D portraits of Michael Jackson, Kiss, Elvis, Jimi Hendrix (pictured), Amy Winehouse and Madonna, all made of fresh and dry food produce. Some of them are 1.8m high! This edible icons exhibition is part of the Pyrmont Festival and will run until 24 May, so if you’re visiting this weekend for VIVID festival or whatever reason, go check it out!
24 • THE MUSIC • 20TH MAY 2015
THE MUSIC • 20TH MAY 2015 • 25
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KING GIZZARD & THE LIZARD WIZARD
Melburnian workhorses King Gizzard & The Lizard Wizard will have an extra-wide smile on their faces following news that their sixth LP, Quarters, stepped comfortably inside the top 10 on this week’s Carlton Dry Independent Music Charts. The psychedelic garage legends actually earn the week’s secondhighest new entry point with their debut at #8, albeit with fledgling Victorian hardcore outfit Earth Caller storming out ahead with their new fulllength, Degenerate, which tops the debut pile this week at #6. Also freshly ranked this week are Aussie stage star Patrice Tipoki, who steps out at #12 with A Musical Heart, while mononymous hip hop upstart Ry isn’t far behind with Ivory Coast at #16. Interestingly, every new album on the chart this week placed higher than any debut over in the Singles stakes, with Melissa Tkautz’s Gotta Let You Go picking up top honours at #17, ahead of other new face John Butler and Ocean, at #18. With respect to incumbents, Sia maintains her place in top spot across both Albums and Singles charts with 1000 Forms Of Fear and Big Girls Cry, respectively, and also occupying spots #3 (Elastic Heart), #6 (Chandelier) and #16 (Fire Meet Gasoline) on the latter ladder. Meanwhile, the Albums chart is all about the movers and shakers — Flight Facilities’ Down To Earth jumps three spots to #3, while Thundamentals see So We Can Remember lift four places to #5 (San Cisco stay put at #4 with Gracetown). Most impressively, however, we see The Delta Riggs clamber up a whopping 13 spots from the top-20 borderline to #7 with their full-length, Dipz Zebazios. 26 • THE MUSIC • 20TH MAY 2015
A TASTE OF JUNGLE
A BOOZY AFFAIR
It’s mad to think the dapper Just A Gent has only just turned 18. He’s celebrating in style, touring around the country to celebrate his birthday, and he makes his way to The TBC Club this Friday night.
Having recently unveiled their new single Every Kind Of Way, the ﬁrst taste from their as-yetuntitled second album, The Jungle Giants are making their way around the country, hitting up The Brightside, Friday.
Perth-bred scallywag Peter Bibby makes his way to Black Bear Lodge this Thursday as part of his tour for his album Butcher/Hairstylist/Beautician. He’ll be joined by The Good Sports and Donny Love.
Griﬀ and Bumble are teaming up for a big show at Woolly Mammoth this Saturday night to celebrate their next chapters of sonic craftsmanship. They’ll be supported on the evening by Itsu, Bardo River, and Daheen.
Metal powerhouse A Breach Of Silence will be hitting a hometown stage this Friday, oﬀ the back of a national tour for latest release, The Darkest Road. Reud Mood, Weightless In Orbit and Freethought support.
Grizzly Adams have your cheeky midweek mosh sorted – they’re launching their EP Tooth & Nail at The Brightside tonight (20 May), bringing Promises, Wretched and Vitals along for the ride.
Sydney’s high-intensity altﬂamenco act Kallidad are all set to tour the east coast for latest single and album of the same name, Death Fiesta. See them Friday and Saturday, Sonny’s House of Blues.
Melbourne four-piece Raised By Eagles launch their second album, Diamonds In The Bloodstream, 22 May at Black Bear Lodge alongside Ruby Boots.
Raising money for a Malaysian master music named Rozi, born without eyes, who lost his home in ﬂoods late last year, Nick Saxon plays Saturday at Solbar, Maroochydore, and Sunday at The End.
SWITCH TO THE GLOBE
Indie rock’n’roll takes over Beetle Bar this Saturday night as Mermaid Avenue, Fire & Whistle Theory, Leichardt and Cody Jones & The Lost Company take to the stage.
The Art are touring oﬀ the back of their latest single, Dead Inside. The group play Friday at Coolangatta Hotel and Saturday at Sonny’s House of Blues.
If you’ve never experience “brutal jazz” then you need to head to New Globe Theatre on Friday. Some Can’t open things, then it’s the jazz/metal Valtozash Bigband, followed by AUNTS playing Sun Ra.
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NICKY NIGHT TIME Answered by: Nicky Routledge Single title? Gonna Get Better What’s the song about? Young family in the project towers in London and a story of dark hope but still hope I guess. How long did it take to write/ record? Four hours for the song then another day on the track. Is this track from a forthcoming release/existing release? It just got released under the One Love imprint.
but with a new take on it so I can play in the clubs along with the rest of my set.
What’s your favourite song on it? Probably Stinkin’ Rich, maybe No More Sleepovers.
Album title? Butcher/ Hairstylist/Beautician
We’ll like this song if we like... I guess maybe Gorgon City or Duke Dumont? Do you play it differently live? I have a different edit, I DJ sometimes and Nat comes out to sing it if she is in town. Website link for more info? soundcloud.com/nickynighttime
Will you do anything differently next time? No I think this first album is so good I’ll just do it again.
Where did the title of your new album come from? It’s the name of a real shop in Brookton, WA. How many releases do you have now? About ten, but this is the first as Peter Bibby. How long did it take to write/ record? We recorded it in five days. I wrote those songs over the last ten years of my life. Was anything in particular inspiring you during the making? Mostly whiskey and sushi rolls.
What was inspiring you during the song’s writing and recording? I guess ‘90s piano house... I wanted that feeling
SINGLE FOCUS recorded all the songs, we’ll probably decide what’s going on the LP. Thought it was time to come out of exile.
SACRED SHRINES Answered by: Dorian Shrines Single title? The Badge & The Gun What’s the song about? Taking back control. We’ve made it one of our mantras. How long did it take to write/ record? The song was written and recorded in a whirlwind. We had to wait a bit longer to get it mixed ‘cause we used Brett Orrison (The Black Angels). Is this track from a forthcoming release/existing release? Maybe? We’re in the middle of recording and mixing our first record. Once we’ve
Website link for more info? spinningtopmusic.com.au
Art. This is scheduled for release in October 2015.
What was inspiring you during the song’s writing and recording? During the writing process there was a significant amount of change happening around us. Shaping new projects from piles of dust. The recording was quick and helped us to continue carving out our sound. We’ll like this song if we like... It’s definitely a jumble of all our influences. Wah-driven, reverb-laden, psychedelic, garage rock’n’roll.
10 Jul, The Zoo. Website link for more info? sacredshrines.net S U P P O R T I N G
THE ART Answered by: Kara Jayne Single title? Dead Inside What’s the song about? Dead Inside is a reaction to the highs and lows from touring life. It is a retrospective comedown song.
Do you play it differently live? It’s always a bit different live. We tend to drift from the road map as much as possible. When and where is your launch/next gig?
What was inspiring you during the song’s writing and recording? It was inspiring to not be touring constantly, and have the time to be reflective and actually be creative. Staying in one country and focusing on our experiences, we had time to write and record.
How long did it take to write/ record? It was something that we sat on and developed over a period of time and then went into the studios and put in down in a day. Recorded at Electric Sun with Stevie Knight. Is this track from a forthcoming release/existing release? It is from the forthcoming album release from The
I N D E P E N D E N T
We’ll like this song if we like... If you like a cross between The Cure and The Pixies, The Jesus & Mary Chain, Suede and ‘80s rock. Do you play it differently live? The Art perform their songs as close to recordings as possible, but there is always the live sweat and grit thrown in. When and where is your launch/next gig? 22 May, Coolangatta Hotel; 23 May, Sonny’s House Of Blues. Website link for more info? followtheart.com
A U S S I E
M U STHEI MUSIC C • 20TH MAY 2015 • 27
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THE MUSIC PRESENTS Ben Howard: The Tivoli 28 May Ruby Boots: Black Bear Lodge 29 May Jebediah: The Tivoli 12 Jun Tom West: The Bearded Lady 2 July The Church: The Triffid 4 Jul
Ben Salter: The Spotted Cow 16 Jul, Black Bear Lodge 17 Jul Rubber Soul Revolver: QPAC Concert Hall 30 Jul ...And You Will Know Us By The Trail Of Dead: The Triffid 15 Aug
Youth Group: Black Bear Lodge 4 Jul
Nickelback + Monster Truck: Brisbane Entertainment Centre, Boondall The Bootleg Beatles: Eatons Hill Hotel, Eatons Hill Andrew Strong - The Commitments Tour: Gladstone Entertainment Centre, Gladstone Michael Bolton + 1927: Jupiters, Broadbeach Betty Smokes & the Forgetaboudits: Lefty’s Old Time Music Hall, Brisbane Open Mic Night: Mick O’Malley’s, Brisbane Namaste Nepal: A Benefit Gig feat. Tenzin Choegyal + Afro Dizzi Act + Dheeraj Shrestha + Golden Sound + MKO + Sleepy Tea + The View From Madeleine’s Couch: Old Museum, Fortitude Valley
Blues On Broadbeach Music Festival feat. Andrew Strong The Commitments Tour + Ash Grunwald + James Morrison + The Black Sorrows + Jeff Lang + Backsliders + Tijuana Cartel + Fiona Boyes + Ray Beadle + Blue Shaddy + Phil Emmanuel + Kevin Borich + Old Gray Mule + Juzzie Smith + Hat Fitz & Cara Robinson + Mason Rack Band + Asa Broomhall + more: Broadbeach, Broadbeach Zac Gunthorpe: Cafe Le Monde, Noosa Heads Blues & Roots Open Mic Night: Chardons Corner Hotel, Annerley The Valley Rumble - Heat 3 feat. The Confederacy + Soul Solitude + Hooligang + Tall Poppy: Crowbar, Fortitude Valley Karaoke: Glenmore Tavern, Norman Gardens
GIG OF THE WEEK PAUL DEMPSEY: 22 MAY, SOUNDLOUNGE
Slacksmiths + Tentacool + Makeout Creek: The Milk Factory Kitchen & Bar, South Brisbane Singer Songwriter Demo Series feat. Jack Paterson + Paper Lanterns + Jessica Sarah + Clea: The Zoo, Fortitude Valley Onra: Woolly Mammoth, Fortitude Valley
BNS + Styli$$h: Deception Bay Tavern, Deception Bay
Brisbane Jimmy: SkyPoint, Surfers Paradise
The Bon Scotts + Pacha Mamma: Eat Street Markets, Hamilton
The Cherry Dolls + Pop Cult + Roof Draggers: Solbar, Maroochydore
Joel Fletcher + Arcane Echo + Tooshoes + Benibee: Eatons Hill Hotel, Eatons Hill
Kallidad + Tooth & Nail: Sonny’s House of Blues, Brisbane
Christine Anu: Empire Theatre (Armitage Centre), Toowoomba
Paul Dempsey + Mosman Alder: Soundlounge, Currumbin
Lynch by Night feat. Skyneedle + McKisko + Caitlin Franzmann: Gallery Of Modern Art (GOMA), South Brisbane
The Count Basie Orchestra: QPAC (Concert Hall), South Brisbane
Trainspotters feat. Scattered Purgatory + Frown + Special Guests: Grand Central Hotel, Brisbane
Tom Bedlam + Liam Griffin: Ric’s Bar, Fortitude Valley
Jabba: Irish Murphy’s, Brisbane
Crypt + Deadweight Express + Fear The Setting Sun + Indica: Beetle Bar, Brisbane
Warwick Alder: JMI Live, Bowen Hills
The Moose: Black Bear Lodge, Fortitude Valley
Lazy Eye: Lefty’s Old Time Music Hall, Brisbane
James Johnston: Breakfast Creek Hotel, Albion
The Smooth End of the Pineapple: Lock ‘n’ Load Bistro, West End
Louise Isackson + Friends: Brisbane Jazz Club, Kangaroo Point
Ladi 6 + Tipene + Israel Starr + DJ Jayrasik + DJ Truce Lee + Sienna & the Remix + Judah: Hamilton Hotel, Hamilton
Des Reid: Loving Hut, Mount Gravatt
Christine Anu: Brisbane Powerhouse (Powerhouse Theatre), New Farm
The Screamin’ Stevie’s: Heya Bar, Fortitude Valley
Jason Castle: Sonny’s House of Blues, Brisbane Double Yolk Launch Party feat. Jouk Mistrow + Big Bad Echo + Ashosan + Jetson: The Bearded Lady, West End Promises + Grizzly Adams + Vitals + Wretched: The Brightside, Fortitude Valley
Lambda - Superhero Party: Alhambra Lounge, Fortitude Valley Brisbane Jimmy: Beach House Bar & Grill, Brisbane Peter Bibby + The Good Sports + Donny Love: Black Bear Lodge, Fortitude Valley EMO Big Band + QYO Big Band: Brisbane Jazz Club, Kangaroo Point
Motorway Ends + Marville: Ric’s Bar, Fortitude Valley The Orphans of Swing: Solbar (Lounge Bar), Maroochydore Mojo Webb: Sonny’s House of Blues, Brisbane Sleepy Tea + Jove + Michael Josephson: The Bearded Lady, West End Mean Girls Party feat. Set The Record + Double Lined Minority + One Last Thing: The Brightside, Fortitude Valley Anh Do: The Events Centre, Caloundra
Blues On Broadbeach Music Festival: Broadbeach, Broadbeach Andrew Strong - The Commitments Tour: Brothers Sports Club, Kensington Akova: Cardigan Bar, Sandgate The Art: Coolangatta Hotel, Coolangatta
Mark Lowndes: Habitat Restaurant & Bar, South Brisbane Two Way Street: Hamilton Hotel, Hamilton
DJ Steve Smith: Story Bridge Hotel (Shelter Bar), Kangaroo Point Strictly Ballroom: Taps Australia, Mooloolaba Just A Gent: TBC Club (The Bowler Club), Fortitude Valley Infinity Broke + Tape/ Off + Ghost Notes: The Bearded Lady, West End
Locky + Jabba: Irish Murphy’s, Brisbane
The Jungle Giants + The Moses Gunn Collective + Foreign/National: The Brightside, Fortitude Valley
Sian Evans + Mamachair + The Bon Scotts: Lefty’s Old Time Music Hall, Brisbane
DJ Nick One: The Milk Factory Kitchen & Bar, South Brisbane
The Cornermen: Lock ‘n’ Load Bistro, West End
Isabel: The Milk Factory Kitchen & Bar, South Brisbane
Majestique: Logan Diggers Club, Logan Central
Chocolate Strings + DJ Rainman: The Motor Room, West End
Stevenson St: Coolum Beach Hotel, Coolum
AUNTS + Valtozash Big Band + Some Can’t: New Globe Theatre, Fortitude Valley
Decimatus + Envenomed + Amicable Treason: Crowbar, Fortitude Valley
Jazz Lounge: Queensland Multicultural Centre (QMC), Kangaroo Point
Acoustic Fridays with Emmy Hour + Ash McIntyre: Crowbar, Fortitude Valley
Rumblefish: Royal Mail Hotel, Goodna
S U P P O R T I N G
Amos Pella: Story Bridge Hotel (The Corner Bar), Kangaroo Point
I N D E P E N D E N T
A Breach Of Silence + Free Thought + Weightless In Orbit + Reud Mood: The Triffid, Newstead Andy The Kid + The Koffin Rockers: The Venue, Townsville City
A U S S I E
M U S I C
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ENTER SHIKARI: 24 MAY, THE TIVOLI
Neon Tiger + Micropsia + Her Affinity + Faux Bandit: The Zoo, Fortitude Valley At Last: The Etta James Story with Vika Bull: Townsville Civic Theatre, Railway Estate
DJ Indy Andy: Albany Creek Tavern, Albany Creek Mermaid Avenue + Fire & Whistle Theory + Leichhardt + Cody Jones & the Lost Company: Beetle Bar, Brisbane Watch Your Step with Various DJs: Black Bear Lodge, Fortitude Valley Dagsville: Breakfast Creek Hotel, Albion Death Valley DJs + DJ Mikey + DJ Wolvie Trash + DJ Ben Ely: Brew, Brisbane Steve Russell Quartet: Brisbane Jazz Club, Kangaroo Point
Brisbane Jimmy: Embassy Bar, Brisbane
DJ Panda: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Valentino Khan: Family Nightclub, Fortitude Valley
Clint Boge: Taps Australia, Mooloolaba
Trainspotters feat. Heart Beach + Big Strong Brute + Kitchens Floor: Grand Central Hotel, Brisbane
100% + Multiple Man + Teva + DeadShred: The Bearded Lady, West End
Jeff Carter Duo + Stewart Fairhurst: Hamilton Hotel, Hamilton The Cherry Dolls: Heya Bar, Fortitude Valley
Pack Animals + Big Bad Echo + In Caves: The Milk Factory Kitchen & Bar, South Brisbane
Locky + Berst: Irish Murphy’s, Brisbane
DJ Black Amex: The Triffid, Newstead
Andrew Strong - The Commitments Tour: Kedron Wavell Services Club, Chermside
My Fiction + Eden Mulholland + The Screamin’ Stevie’s: The Triffid, Newstead
The Empresarios: Lefty’s Old Time Music Hall, Brisbane Wandering Eyes: Lock ‘n’ Load Bistro, West End Mantra: Logan Diggers Club, Logan Central
California Dreaming: The Music of the Mamas and the Papas: Brisbane Powerhouse (Powerhouse Theatre), New Farm
Hot Dub Time Machine: Max Watt’s House Of Music, West End
Blues On Broadbeach Music Festival: Broadbeach, Broadbeach
Akova: Rabbit And Cocoon, Miami
Ger Fennelly: Mick O’Malley’s, Brisbane
The Wet Fish: Brooklyn Standard, Brisbane
Royal Chant + The Skinnie Finches: Ric’s Bar, Fortitude Valley
Stoner Doom Jam Session feat. Various Artists: Crowbar, Fortitude Valley
Lazy Eye Band + John Malcolm: Royal Mail Hotel, Goodna
Phil Hancock + Holly Terrens: Currumbin Creek Tavern, Currumbin Waters
Paul Dempsey + Mosman Alder: Solbar, Maroochydore
Fox & Fowl + Jesse Morris: Eat Street Markets, Hamilton
Dance Gavin Dance + Acrasia + Saints Alight + Deadlights: The Brightside, Fortitude Valley
Kallidad + The Art: Sonny’s House of Blues, Brisbane
Daryl Braithwaite: The Venue, Townsville City The Good Ship + Nick Watson & the Bawdy Dicks + The Bon Scotts: The Zoo, Fortitude Valley Just A Gent: Wharf Tavern (The Helm), Mooloolaba griff + Bumble: Woolly Mammoth, Fortitude Valley
Geeves & Wooster: Breakfast Creek Hotel, Albion Mitch King: Brewski, Brisbane Blues On Broadbeach Music Festival: Broadbeach, Broadbeach Sunday Unplugged: Burleigh Heads Hotel, Burleigh Heads Sunday Session: Capalaba Tavern, Capalaba
S U P P O R T I N G
Wax Warriors feat. Tim Rix: Crowbar (3pm), Fortitude Valley Danny Widdicombe & The Good Old Boys: Eat Street Markets, Hamilton Sunday Session with Spike: Hamilton Hotel (3pm), Hamilton Craic’n Cider Sundays with Mick McHugh + Ramjet: Irish Murphy’s, Brisbane
Mayhem For Mary + I Met The Maker + Rogyapas: The Underdog Pub Co, Fortitude Valley Open Mic Hosted By Shortymain: The Underdog Pub Co, Fortitude Valley
Trivia: Mick O’Malley’s, Brisbane
Cattleprod: Lefty’s Old Time Music Hall, Brisbane Progressive Tan: Lock ‘n’ Load Bistro, West End Ger Fennelly: Mick O’Malley’s, Brisbane Iris Dement + Pieta Brown + Mark Sholtez + The Weeping Willows: Old Museum, Fortitude Valley Decked Out Sundays: Royal Exchange Hotel, Toowong The Short Fall + Tom Bedlam: Solbar (Lounge Bar), Maroochydore The Wet Fish: Southbank, South Brisbane DJ Jamez Brown: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Ask No Questions Of The Moth feat. Judith Lucy: Brisbane Powerhouse (Powerhouse Theatre), New Farm Bobby Brown + Treach & KayGee (Naughty By Nature) + Master D + Dezastar + MC Mr Jayson: Jupiters, Broadbeach Chick Corea + Herbie Hancock: QPAC (Concert Hall), South Brisbane Mark Sheils: Samford Valley Hotel, Samford Village Brazilian-BackpackerUni Night: The Beer Garden, Surfers Paradise
Black Limousine + Meat, Metal and Wood: The Milk Factory Kitchen & Bar, South Brisbane Enter Shikari + Hands Like Houses + Hellions: The Tivoli, Fortitude Valley Triffid Roots feat. Josh Rennie-Hynes + Rowena Wise: The Triffid (Beer Garden), Newstead
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THE MUSIC • 20TH MAY 2015 • 31
32 • THE MUSIC • 20TH MAY 2015
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...
Published on May 20, 2015
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...