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# 9 3 • 17. 0 6 . 1 5 • B R I S BA N E • F R E E • I N C O R P O R AT I N G






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THE MUSIC • 17TH JUNE 2015 • 3


Street Press Australia Pty Ltd



EDITOR Steve Bell

ARTS EDITOR Hannah Story




CONTRIBUTORS 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



Freya Lamont, John Stubbs, John Taylor, Kane Hibberd, Markus Ravik, Rick Clifford, Sky Kirkham, Stephen Booth, Terry Soo, Tessa Fox

SALES Trent Kingi

ART DIRECTOR Brendon Wellwood

ART DEPT Ben Nicol

John Waters is bringing the music and story of John Lennon to life once more in Lennon: Through A Glass Onion, fresh from a massive sell out stint in New York. Kicks off at QPAC this Tuesday (23 Jun) and runs for a week.

ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe

DISTRO Anita D’Angelo



CONTACT US Phone: (07) 3252 9666 Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006

Head to Queensland University Of Technology, Garden Point, for the first Women Of The World Festival in Brisbane, Friday through Sunday. Featuring Kathy Lette, Jane Caro, pictured, and more. BRISBANE

Those wacky funsters the Harlem Globetrotters hit the Entertainment Centre this Sunday night, putting the laughs back in sport where they belong. Just don’t be like Krusty and bet against them!











THE MUSIC • 17TH JUNE 2015 • 5

national news PARKWAY DRIVE



With their second album, Hoops, due to hit the streets 7 Aug, The Rubens have booked up one of their biggest headlining tours around our great nation yet. Accompanied by Melbourne’s Saskwatch and NSW Central Coast duo Winterbourne, The Rubens play 18 Sep, Astor Theatre, Perth; 2 Oct, ANU Bar, Canberra; 9 Oct, Forum Theatre, Melbourne; 23 Oct, Max Watt’s House Of Music, Brisbane; 24 Oct, Coolangatta Hotel; and 31 Oct, Enmore Theatre, Sydney. More dates from


The clip Parkway Drive have made for the first single, Vice Grip, from their fifth album, Ire, due 25 Sep, is probably their most intense yet. It’s a good sign for their next album, which frontman Winston McColl reckons is their biggest gamble yet. Accompanied by special guests Suicide Silence, Memphis May Fire and The World Alive, Parkway Drive play 23 Sep at the Red Hill Auditorium in Perth, 26 Sep in Festival Hall in Melbourne, 2 Oct on the Riverstage in Brisbane, 3 Oct, Byron Bay High School, 9 Oct in the Hordern Pavilion in Sydney, 10 Oct in the UC Refectory, Canberra, and 11 Oct in Newcastle Panthers.


Fresh from the Reading and Leeds Festivals in the UK, The Smith Street Band are kicking straight into another huge tour across this wide brown land on their return, and they’ve invited Phoenix’s anti-folkies Andrew Jackson Jihad, Ohio’s The Sidekicks and fellow Melburnians The Sugarcanes along for the ride. Catch them 9 Sep, Manning Bar; 11 Sep, Belconnen Magpies, Canberra; 18 Sep, Metropolis, Fremantle (though without The Sugarcanes); and, just The Smith Street Band, 2 Oct, The Northern, Byron Bay. The Smith Street Band also play the Poison City Weekender in Melbourne, I Love Life in Sydney and Brisbane and the Yours & Owls Music & Arts Festival Weekender in Wollongong. More dates from


You know him from fist-pumping rock anthems like 18 & Life and Slave To The Grind. Now see the Skid Row frontman touring in his own right, just plain old Sebastian Bach, kicking and screaming in his first visit since 2009, just for you. Bach plays 22 Sep at Eatons Hill Hotel, Brisbane, 23 Sep at Metro Theatre in Sydney, 25 Sep at Forum Theatre in Melbourne and 27 Sep at Astor Theatre in Perth.


They Might Be Giants are renowned for their live shows, which has been described with the following adjectives: joyous, playful, high energy, high volume, spontaneous, whimsical. Find out for yourself why they’ve been dubbed one of today’s must-see live bands when they tour the country this November, stopping by Astor Theatre, Perth, 2 Nov; The Tivoli, Brisbane, 5 Nov; Enmore Theatre, Sydney, 6 Nov; Forum Theatre, Melbourne, 7 Nov.



Sporting their second EP, Spirit Down, once again a heady mix of guitar-based songwriting and dense, rhythmic electronica, Perth five-piece Our Man In Berlin are taking to the nation’s highways to perform it and more in person. Catch them 8 Jul, New Globe Theatre, Brisbane; 9 Jul, Beach Hotel, Byron Bay; 10 Jul, Spectrum, Sydney; 12 Jul, The Workers Club, Melbourne; and 24 Jul, Amplifier Bar, Perth.


Ben Lee has just released Love Is The Great Rebellion, and will be touring the country for a second time later this year: Woolly Mammoth, Brisbane, 3 Oct; Corner Hotel, Melbourne, 7 Oct; 11 Oct; Oxford Art Factory, Sydney, 14 Oct; and Astor Theatre, Perth, 17 Oct. More dates from



Each year, along with an always incredible line-up of bands, Splendour in the Grass, 24 – 26 Jul in North Byron Parklands, also hosts a Splendour Arts program showcasing some of the world’s innovative, genre-busting contemporary artists, from visual to installation and beyond. Alongside performance installations, handcrafted micro-universes and inflatable sculptures you get, among heaps, Hungry Castle’s Nicolas Cage In A Cage; the popular Tent Of Miracles; and, courtesy of artist Tanya Schultz, Treasure Mountain.


local news


Congrats to the Aussies for beating the Windies on their own turf, but the highlight was undoubtedly former player Brendon Julian presenting them with the “Sir Wank Forrell trophy” (apologies to Sir Frank Worrell).

BASKET CASE So funny to see Aussie players so prevalent in the NBA finals series, but mainly hilarious to see them puzzle why Dellavedova plays so “rough” all the time. Aussies just like to win at sport, no biggie.

KUDOS CHARLIE Haven’t been the biggest fan of his work in the past so was fully prepared to hate on The Weekly With Charlie Pickering when it debuted a few weeks back, but it’s quickly become mandatory weekly viewing. Well played, CP...



Pedants have been saying that The Simpsons have been old hat for a long time, but are Marge and Homer actually splitting up for Season 27? But Marge has always been so forgiving of Homer’s ‘quirks’, this can’t be happening...



They obviously had such a good time playing Bluesfest in April that JJ Grey & Mofro jumped at the chance to get back over here to deliver their contemporary take on Southern rock. So will you please make them welcome once more 5 Oct when they take to the Caloundra Music Festival stage.


One of Australia’s true masters of the songwriting craft, Don Walker, best known of course for his work in Cold Chisel, is stepping out once more, albeit briefly, with his band The Suave Fucks. Catch them 4 Sep at Bellingen’s Memorial Hall, 5 Sep at Ex-Services Club, Mullumbimby and 6 Sep at Old Museum.

TOUR OF THE EAGLE Melbourne writer, producer, musician and composer Jan Skubiszewski, recording as Way Of The Eagle, is following up the release of his debut album, KODO, 19 Jun, with a tour that’ll see him play 14 Aug at The Triffid.


27 Jun Club Greenslopes hosts the Jams’n’Beats Festival with a staggering 33 performances by emerging artists including Slacklining By The Bruise Brothers, Deena, In2nation and Omegachild. Alongside the music, there are art exhibitions, roving performers, markets, games and more.

Filming while they were recording their latest album, Blue Isla, Brisbane five-piece Young Lions are releasing three clips in the lead-up to a quick run down the east coast that, 1 Aug, sees them home again to play The Brightside.



8 • THE MUSIC • 17TH JUNE 2015


Showcasing material from their forthcoming second EP as well as favourites from their debut EP, Weird Season, Brisbane garage pop four-piece Major Leagues are headlining a tour they’ve dubbed Someone Sometime. You can catch them in action 16 Jul at Black Bear Lodge.


Singer/guitarist Warwick Hargreaves and singer/double bassist Tina Fullerton are OUT of ABINGDON, and as such have just released their third album, Small Steps. The Brisbane duo is about to take some seriously big steps as they head off to play the Edinburgh Fringe as well as dates in other Scottish spots, then Berlin and Kuala Lumpur. First, however, they play 19 Jul at Brisbane Jazz Club, so head along and wish them well.


Byron Bay hippies The Babe Rainbow have a new EP ready for release, and to celebrate they’re playing a bunch of dates along the east coast. Hear a bunch of tracks from Ash May & DrLovewisdom for the first time when the three-piece head to Black Bear Lodge, 2 Jul; Sunhouse Surf Shop, Collangatta, 4 Jul.


Brisbane rockers Good Oak release their debut album Public Service in July, and to celebrate, they’re heading out for a bunch of shows on the east coast with Sahara Beck and Josh Rennie-Hynes, performing The Triffid, 17 Jul; Currumbin Creek Tavern, Gold Coast, 18 Jul. BARO


How’s the Aussie couple who said they’d divorce if same sex marriage was allowed in Australia? Way to go, hit the press to tell the world that you’re intolerant bigots, what a wonderful world we live in.

Goddamn we should have bought those plane tickets, of course The Replacements would split up again without making it to Australia. Gah, the second phase only left us that crumby free jazz piece, what a waste.


Legendary reggae-influenced UK punk band, The Ruts, reunited in 2011 with bass player Segs Jennings taking up the lead vocal spot after the death of singer Malcolm Owen in 1980, and now, they’re coming Down Under. 17 Nov at The New Globe Theatre.


Teenager Baro has been dubbed as one of the saviours of Aussie hip hop, with his international sound piquing the interest of tastemakers from around the globe. He’s been gaining momentum ever since he dropped his debut mixtape HOWGOODISGOOD? a year ago, and was a finalist in last year’s triple j Unearthed High competition. He’s now set to release his debut EP 17/18, taking a launch tour around the country on top of his Splendour appearance. It stops off at Black Bear Lodge, 31 Jul.

local news HIGH TENSION



Nigerian Writer Chigoze Obioma, globally respected socio-political commentator Tariq Ali and best-selling author David Vann will be joining Australian writers Helen Garner, Joan London, Kate Grenville and, a recent addition to our written cultural dialogue, former Prime Minister Julia Gillard, 7 – 9 Aug at the 2015 Byron Bay Writers Festival, hosted by Elements of Byron. And they’re just the first guests among a plethora of novelists, historians, journalists, biographers, memoirists, comedians and even songwriters from across Australia, Asia and the Indian subcontinent.



High Tension are heading out on their own set of shows along the east coast to showcase their second album, Bully, which comes out in July. The band will be making their way to Crowbar, 17 Jul. Proudly presented by The Music.


Australian body art will be taken to the next level at the Australian Body Art Festival, relaunching in October. It will feature an expanded arts program and exciting guest line-up; prepare yourself for three days of body painting, fashion, street art, music, photography, beauty and street culture. Sunshine Coast’s Eumundi Amphitheatre and surrounds from 1 –18 Oct.


Signed to Above & Beyond’s deep house imprint Anjunadeep, Lane 8, aka Daniel Goldstein, has been releasing a swathe of essential game-changing records and remixes. Yet he’s never visited these shores. That changes now. His debut album, Rise, is released 17 Jul and he’s following across the world to play 1 Aug at Coco.

Breaking Orbit have unleashed their new album Transcension and will now take their epic, powerful prog/rock around the country, riding the wave of glowing reviews of the release so far. See them when they come to New Globe Theatre, 18 Jul, with special guests Bellusira and Weightless In Orbit.



Queensland’s Short + Sweet Festival is like Tropfest for theatre. See the best emerging and established artists from South East Queensland’s theatre and cabaret spheres at Brisbane Powerhouse 9–18 Jul and The Arts Centre Gold Coast, 30 Jul–8 Aug. The program features more than 60 performances and more than 250 artists presenting theatre, cabaret, and comedy.


The Black Sorrows are releasing two limited edition 12” vinyl LPs titled Endless Sleep (Chapter 46) and Endless Sleep (Chapter 47). The discs are a tribute to the likes of Lou Reed, JJ Cale, John Coltrane, Captain Beefheart, Hank Williams, Skip James and more. The group will be performing 30 Jul at the Caloundra Powerboat Club, Sunshine Coast.


Former Brisbane band Little Casino frontman Benjamin Forbes, who now travels as BANFF, has a new single, All Again, from his forthcoming EP, Future Self, he wants to introduce in person. To that end, he plays 21 Aug in Black Bear Lodge.



The time has finally come for punks Lower Class Brats to make their way Down Under, and they’ll be playing shows around the country, including Chardon’s Corner, 19 Sep; Airport Tavern, Gold Coast, 20 Sep.


Over four Fridays from 8.30pm 19 Jun, The Comedy Channel will be presenting highlights from the opening “Cracker Night” of the 11th annual Sydney Comedy Festival in bite-sized chunks. If you missed seeing Tommy Little, Stephen K Amos, Nazeem Hussain and The Umbilical Brothers among others in full flight, here’s your front row seat in the comfort of your own home, The Best Of The Sydney Comedy Fest 2015.


You’ll know him from the bent comedy series, Parks & Recreation, and maybe Kroll Show and even Dislocation. Maybe you’ve heard his album, Bitchface. Either way, the good news is LA-based comedian, actor and writer Joe Mande is heading our way to deliver the laughs in person 6 Sep at the Sit Down Comedy Club. Expect plenty of Skid Row classics alongside his newer solo stuff and his various musical collaborations.


Myon & Shane 54 will tour Australia come September. The Hungary duo have been tearing up the international dance music scene, and you can find out why when they hit up Platinum Nightclub, Broadbeach, 18 Sep. THE MUSIC • 17TH JUNE 2015 • 9


SHIFT, RETURN Oh Mercy frontman and songwriter Alexander Gow is at home in Carlton, having had a moderate sleep-in, but is fully awake for an articulate discussion with Roshan Clerke about his ever-changing creative process, the constant need to challenge himself and the journey so far.


was really young when I started playing guitar,” Oh Mercy’s Alexander Gow begins. “Dad had been gifted a guitar for his 21st birthday that sat gathering dust in the cupboard, and I discovered it when I was 12 or so. Mum and dad noticed as I started fiddling around with it. They also noticed I was playing it left-handed, so dad restrung it for me and showed me how to play a couple of chords. I bought a chord book after that

exercise in restraint. Perhaps this was due to time constraints, but it was also somewhat a stylish decision we made at the time.” However, the attention from that album wasn’t what he expected. “After that record I got pigeonholed as an earnest, white, melancholy, middle-class male with an acoustic guitar flying the flag for that slightly-annoying passé tradition. Even though it was fairly accurate, that still bothered me. I thought there was more to my creative output than some of the groups I was being lumped in with,

like Bob Dylan and Leonard Cohen, Gow decided to change things up. “I pulled the rug out from beneath myself, musically, to make my third album, Deep Heat. It was something that I really needed to do, and I may do again if I ever feel too comfortable. The album was much more colourful, and lyrically it was all fictional, written from the third person. It was a challenge and something that I really enjoyed. However, by the time I finished touring that album I found myself being almost 25 years old, and I decided once again to reinvent myself and relocate to introduce a new challenge into my life – one of isolation. That encouraged me to write personal songs again, after some serious self-introspection. I moved to the States for 15 months and wrote 45 songs, 12 of which I picked and recorded for this new record.” The resulting album combines his strengths as a songwriter with a grasp on perspective, bringing together the sweeping ambition of Deep Heat and the sincerity of his first albums. “Musically, When We Talk About Love is much more along the lines of the second record, but without that element of restraint. I wanted to make it really expansive and beautiful to encourage a passive listen, creating a


and figured the rest out for myself. Over the next three years I played a lot, but I probably haven’t become any better at playing the guitar since the age of 16. While my friends in high school were charging off ahead of me, playing Metallica and Guns N’ Roses solos at a million miles per hour, I plateaued once I had the basics for songwriting.” Things didn’t immediately fall into place. “At that point they were nonsense syllables put together, because I didn’t really have a grasp on what songwriting meant, or how to do it in a compelling way. Even the most basic form of songwriting was elusive to me. I was still learning to juggle the melody and the words with playing the guitar. Then the angsty teenage years kicked in and I had things to write about. I wrote poorly for a few years and got those songs out of the way before I was 18, when my friend from school, Tom Savage, and I began writing songs. Those songs ended up being my first album, which is called Privileged Woes.” It was his next album, Great Barrier Grief, however, that attracted attention. “A few people heard Privileged Woes and liked it, and one of those people was a producer from Los Angeles who I really admire, Mitchell Froom. I wrote this very simple, understated acoustic pop record, and I went out to Santa Monica and made my second record with him, Great Barrier Grief. In hindsight it sounds like an 10 • THE MUSIC • 17TH JUNE 2015

and I felt I was doing myself a disservice by not spreading myself out musically. I didn’t see myself making multiple versions of Great Barrier Grief. It was a record that took a very comfortable and melancholy 21-yearold to make, written in my bedroom while living in my parents’ house. It wasn’t a fair representation of what I loved about music. I’m very proud of that record, but it was just a time and a place. It was then really important for me to challenge myself, my fans and anyone else who thought they had me figured out. I think everyone that I admire has done that to a certain extent.” Following in the footsteps of musicians

sound that would wash over the listener in the ways that some of my favourite albums by The Triffids, The Church, and Echo & The Bunnymen do.” Gow is quick to point out his influence from the ‘60s orchestral pop arrangements of Hal David and Burt Bacharach. “I adored the strings arrangements on them. The first musical memory I have is of listening to Dionne Warwick singing the Bacharach catalogue at home with my mum looking after my brother and I. It was one of my first favourite records, and I listen to it fortnightly still.” While in America, he spent time reading the work of Raymond Carver, which inspired the album title. “I was in contact with someone back home and we would talk about his stories. It was a nice way of keeping in touch with my Australian friends and family, and just a really good touchstone. His writings about relationships in domestic environments, extraordinary things happening to ordinary people – arguably, ordinary things happening to ordinary people – and the way he writes about those events have such weight and are very moving to me. His books were a real companion to me throughout my travels. By the time it came for selecting a title for the record, I felt it was apt to take the second half of one of his short stories. It felt right for a few different reasons, the most obvious being that I’d written a collection of love songs.”

BRING IT BACHARACH The link to ‘60s pop music in When We Talk About Love is one that Oh Mercy’s Alexander Gow formed at an early age. “I heard Bacharach before I understood what the words meant and what music meant,” he explains. “It was something that appealed to me on a really primal sense. The melody and the quality of Dionne Warwick’s voice attracted me, I guess. As I grew up to understand it, I could hear the respect for the craft and an ambition in the songwriting that I really admire.

During this time, he would listen to Australian artists to remind himself of his identity. “Mostly, I would put on The Triffids and The Go-Betweens, who are my two favourite Australian bands. I loved listening to their music while I was away. It was really comforting to me, but also inspiring. I used them as a point of reference, and as a reminder of where I’d come from and where I belong in terms of the school of songwriting and geographically. Perhaps there’s links to be made to our landscape and that particular sound, which The Triffids are a particular great example of, with their artwork for albums like Born Sandy Devotional.” He was living in Nashville, where he wrote the majority of the album, when he found the artwork for When We Talk About Love. “I would frequent a Mexican restaurant, and at the counter there were some postcards of Harry Underwood’s up on display. I wrote them off as the work some longgone ‘60s pop artist. But I was drawn to them so much that one day I picked them up and had a look at the back and saw that they were recent. I ended up befriending some other visual artists in Nashville, and they knew him personally. I went out to his house in Springfield one day and we got to know one another. By the end of it he was happy to let me use one of his paintings. I’d seen the painting that’s now the album cover and thought it would be perfect for the record I was making, being

a series of love songs. I thought that particular image put a really optimistic spin on the whole record, a bit of sweet sentiment.” Reflecting on his journey so far, he realises his career has been unpredictable at best. “I know my curveball record, Deep Heat, confused a lot of people. Perhaps this new record will be a return for some fans. All I know is that I think I’ve written the best songs that I have

yet, I’m singing better than I have before and I gave everything I had to this record. I hope that people can hear that when they listen to it. I don’t expect to sell millions of copies, or to double or triple my fans. I have no idea what’s going to happen. My one hope is that people will listen to it and understand that a lot of integrity has gone into it, and that I really care about the process.”

WHAT: When We Talk About Love (EMI) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands;

“It’s the same when I listen to my favourite groups like The Triffids and Echo & The Bunnymen, whose use of strings was also really inspiring to me. You could probably argue that they were listening to that ‘60s sound as well. There’s a lot of similarities in the melodies that they used for those records, as they just put more of a darker mood into the overall sound. I find their songs to be really compelling and enriching for that reason, and I hope I can get even halfway there with this new record.” He complies easily when pressed for his top three favourite Bacharach songs. “There’s so many versions of his songs, but I think Dionne Warwick does my favourites. If I had to choose, they would be Anyone Who Had A Heart, Walk On By and I know it’s a little cheesy, but I adore Do You Know The Way To San Jose.”

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RAPPING UP For Seth Sentry, who waxes nostalgic on waitresses and waits impatiently for the future, his new album is retrospective while looking ahead. In the present, he tells Rip Nicholson, he’s just trying to out rap the rest.


never had any lofty goals with rap,” admits Seth Marton, who travels as Seth Sentry. “I never wanted to be famous. I never necessarily wanted money. So all really I wanted to do was just rap better than everyone else. That’s all I wanted, was that competitive drive to keep going. But, I am very aware that I’m in a good position and very lucky to be able to do shit that I was gonna do any way. So to be able to do this as a fulltime job is pretty cool.”


Prior to this interview, Marton was in a meeting where, so far, the 48th show was being tacked onto his Strange New Past national tour. All this for a Frankston, Melbourne MC with only one studio album? “Yeah, I don’t know what it is.” Despite his modest response, Australia’s love affair with him has been strong. His first EP, out in 2008, sold us on his story, 2012’s This Was Tomorrow let loose on his fantasy future and new album, Strange New Past, finds the rapper reminiscing in his own rear view.

“That’s why I called it Strange New Past. I was doing a lot of looking back in retrospect and how that developed the person that I am. If you can process it and be at peace with your past then you can look back at yourself in a different and more positive way. You can look back and say ‘Ah, shit I wish I didn’t do that’ and live a life of regret or you can be, ‘Well if I didn’t do that shit then I wouldn’t be where I’m at now.’” Right now, Marton’s only interest is in being in the competition of rap. On Nobody Like Me the MC goes to battle, pushing limits as a rapper. “I’m not in it for any other reason than to be a good rapper, to push myself and to own my craft. I’ve stepped it up a lot in terms of my rapping ability and I’ve worked hard to create new flows and be more dynamic in my delivery. “This time, maybe it’s because I’m older or something, I started to do a lot of selfevaluation and going with my first instinct, I heard the beat and just went with it. It felt really good, it felt cathartic.” Calls for Seth Sentry to stay the same are completely lost on Marton. “There’s no way I could write the same album again, doing it just for the sake of putting something out. That’s just not how I work. It’s a real competitive game you’ve got to push yourself. I feel like I was a lot more hungry on this album.” WHAT: Strange New Past (High Score/Inertia) WHEN & WHERE: 20 Jun, The Met; 21 Jun, Coolangatta Hotel

WATCHERS IN THE DARK Somehow a quartet from Little Rock, Arkansas has done the impossible and made doom metal cool. Mark Hebblewhite sat down with Pallbearer bassist Joe Rowland to find out how they did it.


ou know I really don’t know myself,” laughs Rowland, his distinctive Southern accent still strong despite now residing in NYC. “I think maybe it’s because there are other influences in our music. Sure we’re a doom metal band who plays really slow but if you listen carefully enough you’ll hear it. On the one hand there’s a prog rock influence in the structure and length of our songs. On our last album, Foundations Of Burden, there’s also a real AOR influence. People laugh when I tell them but if you listen to our music it’s definitely there.” And how does Pallbearer feel about breaking out from your typical doom audience? “To be honest with you it’s nice doing shows when the audience is more than dudes wearing Black Sabbath shirts,” Rowland admits. “Having different people come and listen to what we do is a real honour. There was a time when we never thought we’d even get to play live, let alone go to places like Australia. So to be able to tour and have a wider audience than we thought is a real honour – it makes everything worthwhile.” Pallbearer may be proud of their Southern roots but even a cursory listen reveals that sonically they’re leagues apart from other sludgy denizens 12 • THE MUSIC • 17TH JUNE 2015

of the South such as Eyehategod, Corrosion Of Conformity, Rwake and Buzzoven. Where these bands offer a jagged and dissonant sound, Pallbearer’s brand of heaviness can almost be described as clean and elegant. “Yeah we’re a different band from a lot of those guys you mention. We love the Louisiana scene and all those bands are great, but Pallbearer is its own thing. We didn’t directly set out to be different to the slow and heavy bands from the South but I guess we had some different influences and different ideas from them. I guess we’re much closer to

the classic doom sound than those bands – but overall we just do our own thing.” Talking of classic doom Rowland drops another surprise. With Pallbearer’s concrete cinder block sound The Music expected the Pallbearer to cite Ozzy classics like Volume 4 or Master Of Reality. Instead we found fulsome praise for a Ronnie James Dio-led classic. “The Mob Rules is not only my favourite Black Sabbath record, it’s my favourite metal record of all time. Everything about the record is incredible – the sense of melody, the songwriting, the heaviness. I love when heavy bands are able to do that. Personally, I’m also a fan of bands like My Dying Bride that also had that quality – particularly being able to mix really heavy sections with mellower stuff – light and shade. We try and do that in our music.” WHEN & WHERE: WHEN & WHERE: 21 Jun, Crowbar

THE MUSIC • 17TH JUNE 2015 • 13


EVERYTHING IN ITS PLACE Making a statement for yourself in the infamously saturated British indie rock scene can be a challenge – especially if you call Manchester home. With their third record set to raise the bar again, Everything Everything guitarist Alex Robertshaw chats to Cam Findlay.


ight from the beginning of Everything Everything, there’s been a mandate to provide something to the listening public that would defy expectations and solidly set them apart from their contemporaries. The original intention was to design something “with a sort of Paul Morleyinspired, poptimist aesthetic” – a kind of sound and structure that would explain them beyond the usual “bunch of white guys from Manchester with guitars.” It’s pretty hard to argue with that sentiment. Over their first two albums, Everything Everything have explored influences as diverse as Krautock, contemporary R&B, jazz and British electronica, with an intense and aggressive edge that belies the angelic voice of leadman and artistic driver Jonathan Higgs. With their upcoming third release, Get To Heaven, they want to do nothing more than throw the rules out the window again. “I just think we had to push forward,” Alex Robertshaw says of the new album. “When we did [2010 debut record] Man Alive, we really just wanted to bamboozle people and do something crazy to stand out. No one knew who we were, and we were releasing around the same time as countless other bands who were doing similar things, which was very difficult. So with Man Alive our whole kind of role was doing something that would really catch people’s attention. With [second album, 2013’s] Arc we were thinking more like, ‘Ok, let’s bring this in a bit.’ And I think we really stuck to our influences on that album and produced something that really gave an idea of where we were coming from as musicians. With Get To Heaven, I think we we’re trying to meld ideas from both of those records, but still produce something that was unique. I doubt we would have been able to make this record if it wasn’t for the… adventures we took ourselves on with the two previous ones. I think we’re finally finding our feet now.” Working with veteran producer Stuart Price (The Killers, Pet Shop Boys, Madonna), Everything Everything have stretched their sound back once again to their core influences – namely various ‘80s and ‘90s new wave and guitar-driven indie acts. But, as one would expect, there’s a whole lot of looking forward and exploration of just what constitutes the band’s aesthetic. And, in deference to the relatively safe, media14 • THE MUSIC • 17TH JUNE 2015

savvy sound of Arc, Get To Heaven isn’t afraid to get a little eclectic. “It’s a lot more energetic than it’s ever been, actually,” Robertshaw suggests. “I think when we set out to make this record and having made Arc before, that record was all of a certain tempo. It was very hip hop and R&B influenced – a lot of Rihanna-esque tempos going through it.

First single, Distant Past, has already made a significant impression here, topping the triple j charts, but there’s a whole lot more on offer, courtesy the oftmentioned organic and powerfully artistic songwriting process the band go through to produce their music. “We locked ourselves up for a year to write this album. It’s pretty hard to spend that much time on something and not come up with just a ridiculous amount of material. But I think it was the music – the beats, the melodies – that really stuck with us through all that time that allowed us to make this album, and I think that’s one of the main reasons that we’re all just so proud of how it turned out. You know, you’re trudging through thirty, forty songs trying to find stuff that works, but there’s always

“IT’S A LOT MORE ENERGETIC THAN IT’S EVER BEEN, ACTUALLY.” What we found is that when we played it live, it settled in and went really steady. We found that we really wished we had a bit more upbeat energy. We really kind of focused on moments instead that would be just like, ‘Whoa!’ Just pushing and pushing against the boundaries. Just to have that palette to choose from now, we have a lot more freedom to transform the vibe of each set and raise the energy higher than it’s ever been.”

those elements that you just cannot let go: you know it’s good. And, you know, you get rewarded by putting all of your effort into those elements, because they just grow and grow and grow. It’s a very difficult balance between being bold – moving people and having those big melodies – but without it being too cheesy and overwrought. It’s a wonderful kind of experience. It’s a littleby-little thing: pushing on every corner and teasing it out until you have something that works. It’s a slog, for sure, but we’re right in that time of looking back and just seeing how much work we poured into it, so it’s very rewarding.” WHAT: Get To Heaven (Sony) WHEN & WHERE: 24 Jul, Splendour In The Grass, North Byron Parklands



JEENIE (9:30PM) GUEST (8:30PM)











WORLDS COLLIDE Long-time friends Rammstein’s Till Lindemann and Hypocrisy’s Peter Tägtgren have birthed Lindemann. Brendan Crabb converses with the hard-hitting duo.


t’s a fucking party album,” Swedish producer/ multi-instrumentalist Peter Tägtgren (death metallers Hypocrisy, industrial metal project Pain) explains of his new venture with vocalist Till Lindemann of pyrotechnic-favouring German superstars Rammstein. Having forged a friendship 15 years ago when Rammstein’s Mutter album was being mixed in Stockholm, they pledged to at least collaborate on a song together eventually. However, respective schedules rarely meshed until a couple of years ago. The pair had no agenda, parlaying their deadline-free creativity into debut album Skills In Pills. “It was a slow process, no stress,” Tägtgren says.

“We didn’t want to do it like we do with the other bands, with labels and bullshit. So we just took it easy and when we had ten songs, then we sent my manager out on scouting. We didn’t think about anything, we just took it easy and making one song here, one song there. It just turned out to be a full album without even realising it.” Sitting in a restaurant overlooking Sydney Harbour, the singer weighs in. “I never had something (entirely) in English going before, so it was the first time. He’d never composed a thing like this before, because I pushed him to the limit in everything,” Lindemann laughs. “He always came in with the guitars; he


comes from the metal section, I’m more gothic. So we collide a little bit, and then we try to blend it in. We have a good mélange of both our tastes in music. “He’s a metal-head. It starts with the guitars, there’s the guitar in the middle and there’s no space for words. It’s the heavy metal world. That’s a different thing than in my book. I need an intro and then I need – you have to tell a story. You need space and silence for it, and then when it comes to the hook and to the riffs, then you can jump in with a chorus line or something. To tell a story, you need space so people are attracted to listen to it. Otherwise it’s a big mess.” Tägtgren concurs. “And I’ve got an open ear, so I listen to him and see, then I change some stuff and then we’re on the right track… For me, it was a unique situation to have someone that I can share ideas with. It doesn’t really happen that often.” The LP is littered with provocative humour. One attention-grabbing track is the colourful Praise Abort (view the bizarre, NSFW video online), which the jovial vocalist emphasises is in jest. “It’s black humour, sarcasm, ironic,” Lindemann says. “It’s a simple story. It takes place in the history of a friend of ours. He’s even younger than me and he’s got seven kids. He earns good money, he’s an actor, but he’s always broke because the kids, they eat him alive.” Although contemplating touring the project, Rammstein beginning pre-production on a new album in September will temporarily scupper such ambitions. “Our plan is not to go into a bar with an acoustic guitar and him with maracas,” Tägtgren jokes. “If we do this, we have to do it good.” WHAT: Skills In Pills (Warner)

SURPRISE SURPRISE Named after a girl raised by wolves, a fictional character from an Angela Carter story, Wolf Alice have grown into their name, guitarist Joff Oddie tells Kate Kingsmill.


o begin with,” London’s Wolf Alice guitarist Joff Oddie explains, “literally we picked (the band’s name) for semantic reasons because we thought it looked nice and it sounded nice. But that kind of meaning and those kinds of Jekyll and Hyde side to that name if you know what I mean, the music is something that’s come later.” A relatively new band, Wolf Alice began life as a duo, with Oddie and singer Ellie Rowsell playing what they’ve described as London’s ‘toilet circuit’ back in 2011. “Me and Ellie were playing kind of acoustic-y, duo-y kind of stuff, and it’s pretty hard to get listened to doing that kind of thing. So after about two years of playing to no one in local pubs and things like that, we kind of went, ‘Fuck this, we need to make it loud, really fast!’” They enlisted drummer Joel Amey and bass player Theo Ellis and in 2012 released their first single, Leaving You, a gently gorgeous country-tinged folk song. Then Wolf Alice exploded in the UK. “There was a period to begin with where we had a bit of buzz in the industry and we played shows to more A&R men to more normal fans and things like that, and that was kind of weird.” Far from being overwhelmed by the attention, the band, says Oddie, were just “super happy” that people were starting to notice them. “I think we

16 • THE MUSIC • 17TH JUNE 2015

kind of thought, like most bands do in that situation, you know, ‘We’re rock stars! Yeah, yeah, yeah!’ All that crap, all that absolute bollocks.” Their second single, Fluffy, was a much fatter, grungier proposition, and Wolf Alice continue to prove that rampant variety is the way they roll. “We have no interest in making the same song 12 times and putting it on a record,” Oddie emphasises. The band has two EPs under its belt – Blush, released in 2013, and Creature Songs, released last year – and their debut album, My Love Is Cool, is out now. Their sonic diversity, says Oddie, is a symptom both of having broad tastes within the

band and that “we kind of grew up digesting music on the internet and being able to listen to whatever we want when we want without the restraints of having to go out and buy a CD, and dedicate yourself to one genre because you could only buy one CD a week or whatever. So I think it’s down to that really.” Last year the band played the Glastonbury festival, the biggest crowd they’d played to that point. Probably not their best gig, Oddie admits, because the band was shitting it with nerves, completely overwhelmed by the enormity of the experience; playing the John Peel stage at Glastonbury is “the kind of stuff dreams are made of.” Most of the time, says Oddie, Wolf Alice gigs are “high energy, a lot of fun hopefully. We like to play hard, fast and jump around for as long as we can.” WHAT: My Love Is Cool (Dirty Hit/Sony) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands

WRITE, PLAY, TOUR For Trevor Strnad it’s not hard to love his job, as The Black Dahlia Murder frontman admits to Jonty Czuchwicki.


etal, I’m just still obsessed with it man,” The Black Dahlia Murder’s Trevor Strnad admits. The band has only now taken their first break since first hitting the road in 2003. Some of his favourite moments from each album cycle, he tells The Music, have been touring with King Diamond and Behemoth, Ozzfest, headlining Summer Slaughter festival and sharing a stage with friends on the Mayhem festival. Hitting China is one of the most recent achievements. “We’re still pushing,” Strnad continues, “we’re still trying to play as many shows as we can and get out as much as we can. We

still have goals and a lot we want to accomplish. We’re just forwardthinking, always!” The Black Dahlia Murder’s highly anticipated seventh record will be out through Metal Blade in September, but Strnad is mostly tight lipped for the time being. “It’s definitely a more raw sounding album than we have done in a long time and I would say it’s the most natural sounding thing since Unhallowed that we’ve done. We kept it raw and really live sounding.” As for having six records under the belt, “It seemed to come out of us pretty fast, man – in a matter of months, really. We got off tour, used a little bit of time to

relax and then we got to work, man, using Pro Tools to cook up some demos and patching the songs around.”


While the band has definitely needed these past few months to recharge the batteries Strnad hails the usefulness of Pro Tools on the songwriting process. “Ryan [Knight] and Brian [Eschbach] are the two songwriters and they usually write the songs by themselves into Pro Tools, and by the time I hear it I’ll usually hear like a quarter and it always sounds great. They’ll have both guitars, they’ll have harmonies, they’ll have programmed drums that sound realistic so entering the Pro Tools world has definitely been a good route for us!” With members of the band living all over the United States you can see why this is such a benefit. “It’s all done by email… by the time I hear the demos I just sit around with it and write lyrics, you know… in my underwear!” adds a cheeky Strnad. The Black Dahlia Murder have just released the first single from that upcoming record and will slowly drop each track to increase excitement in the lead up to release. That said, personally Strnad is glad to have given up collecting rare CDs. “Some of the old stuff that I wanted was $300 bucks for one CD where, you kinda gotta just go, ‘No, I’ll just wait for the re-press!’” As for the band’s legendary pre-show marijuana intake, “Alan [Cassidy, drummer], he can smoke weed but just not too close to when he plays, as opposed to Brian who will furiously smoke a huge strong one right as he walks on stage. I myself can’t be going up there looking through a fish-eye lens! You don’t wanna have dry mouth either as a singer. That makes it even harder to try and do your thing!” WHEN & WHERE: 17 & 28 Jun, Crowbar



Writer/director Penelope Spheeris still possesses the same passion and angst she had when she released her seminal documentaries in the ‘80s, but Daniel Cribb discovers changing laws have stunted her creativity.


enelope Spheeris not only changed filmmaking with her iconic The Decline Of Western Civilization punk and metal documentaries in the ‘80s, but also left a permanent mark on the scene, so it’s not surprising she’d rather be known for them than her efforts on Wayne’s World. “I think the first one definitely affected the development of MTV,” Spheeris begins from her Laurel Canyon residence. “I did that first one before MTV happened and I always hear, ‘How come you copied the shooting and editing feel of the MTV videos?’ And I’m like, ‘Wait a minute... it’s the other way around.’” Though it’s been 34 years since the first Decline film dropped, it’s still an important piece of film history and social commentary, which is why a box-set release of all three is well overdue. “I guess they just struck a nerve, in the same way actually that Wayne’s World struck a nerve. I think they just captured a time where a lot of other filmmakers just weren’t making movies. I was fortunate that I was observant enough to make a movie about subjects that other people weren’t making movies about.” It’s her passion that makes Spheeris’ work so engaging, but times have changed and even the Decline films would have been “watered down” had they been made today. “As a documentarian, my problem is the privacy

laws right now,” she reveals. “I can’t make a documentary film. I would make a film about mental health in the United States right now, because it sucks. Right now, none of the government is supporting it, and people are locked away forever and it’s horrible… can I make a documentary on it? No, because of the privacy laws here. There’s no documentary I would make because I can’t do it.” A large part of her pride in the Decline… films stems from how involved in them she was. Wayne’s World might have been more commercially successful, but that’s not something she’s as


connected to. “When we did Wayne’s World, we had no idea that it was going to have the success that it did – none of us did. Mike [Myers] didn’t, Lorne Michaels [producer] didn’t, Paramount didn’t, and nobody knew. It was just kind of a fluke of nature and actually so were the Decline movies. I didn’t know that they would be significant 30 years later. “I get scripts all the time from people, saying, ‘Here’s the new Wayne’s World,’ and I’m like, ‘Send them to Paramount care of Lorne Michaels – it ain’t me.’ If they did it right it would work; there are so many fans out there, but it’s so hard to do something like that right. They wouldn’t hire me, because they wouldn’t hire me for Wayne’s World 2, so screw them.” WHAT: The Decline Of Western Civilization Collection On DVD and Blu-ray 8 Jul THE MUSIC • 17TH JUNE 2015 • 17



album/ep reviews



My Love Is Cool

Dirty Hit Records/Sony North Londoners Wolf Alice had all but arrived when they dropped their first two EPs, Blush in 2013 and Creature Smiles in 2014, the latter blasting their edgy and attitude-charged single Moaning Lisa Smile further afield than into the heads of initial followers. Ellie Rowsell’s bipolar folk-child to woman-of-fury vocal is arguably responsible for that immediate intrigue and many kudos since. What becomes more apparent over the course of this more lengthy insight, however, is that there’s much, much more to this band than its compelling frontwoman. My Love Is Cool is all about the build-up; the catch-andrelease mood these guys set from opening to end is one that seems to belie their young years. Every song has a purpose and earns its rightful place on the album; not one has the air of being there just to fill the gaps. Turn To Dust takes on its own transporting journey, the lilts in Rowsell’s eerie voice taking a

Get To Heaven Sony

step back in time to soft folk, but the surrounding guitar sections keep it well in the now. Then that ‘90s grunge vibe kicks in on You’re A Germ, with whispered lyrics between a punchy offbeat and gang vocals. And so it goes on, an irresistible ebb and flow between buzzing, squealing bangers (Giant Peach, Fluffy) and taut, quiet-in-the-chaos moments (Lisbon, Swallowtail). It’s this alternating tone and texture that threads interesting lines throughout this album. Fuzzy shoegaze in Soapy Water, light and bright poppy beats in Freazy and Rowsell’s razoredged vocal in The Wonderwhy make it just plain mesmerising. Carley Hall


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There are moments like the five and a half-minute The Wheel (Is

Turning Now) that are a struggle, but they’re few and far between. The only other fault (granted, it’s a substantial one) is that Everything Everything have their roots in dance music, so by aiming for the bigger venues they’ve taken their eye off the ball somewhat. It’s a bold move, and has worked for bands like Bloc Party and The Presets, but – while fun and totally danceable – Get To Heaven comes up just a little short. No doubt this record will be delivered with vigour on stage; hopefully they’re club stages and not expansive stadiums though, because that’s where Get To Heaven belongs. Dylan Stewart




“I wanted to make it really expansive and beautiful, creating a sound that would wash over the listener” Gow told The Music recently, citing The Triffids, The Church and Burt Bacharach as his touchstones in making this album. The opener, Without You, soars with strings from its first moments, enveloping the listener and lifting them higher, before dropping back into the spacious backing arrangements to make room for Gow’s melodic singing, which has grown in both its

On the flip side, songs like lead single Distant Past and the excellently claustrophobic verses of Blast Doors feature a sweet, sweet club vibe that coaxes your feet into your best pair of dancing shoes and ditches any inhibitions you might have into the nearest gutter.



When We Talk About Love Alexander Gow’s fourth album sees him changing direction once again, this time delivering a slice of pure pop perfection inspired by the lush and detailed music of the ‘60s. Melding the personal songwriting of his first two albums with the confidence and ambition he gained from his recent curveball, he’s made a record that is simultaneously introspective and elegant.

To whom it may concern at the various clubs and/or arenas of Australia; Everything Everything want to be in you. With a foot in both camps, their third record, Get To Heaven, is built to transition the band to ‘real deal’ status. It’s filled with soaring vocals, blistering guitar lines and scintillating synths built for the masses of people that fill stadiums. Opening track, To The Blade is a perfect example of this, a huge track best accompanied by a huge light show in front of a heaving mass of sweaty bodies.

★★★★ passion and its sincerity. The album’s appeal stretches beyond aesthetics, with the songwriting on When We Talk About Love the result of a 15-month period of selfimposed isolation in America. The title is taken from one of American author Raymond Carver’s short stories. He once described himself as “inclined towards brevity and intensity,” and these are two values Gow seems to have an inherent understanding for in his work. The result is a distinctly Australian body of acoustic pop music that reaches for the decades rather than the years. Roshan Clerke

Thirteen years after dropping their debut album, 2002’s Read Music/Speak Spanish, Nebraskan indie-punk collective Desaparecidos are back with their second effort, Payola. While that first album found the politically-charged band – fronted by Conor Oberst, of Bright Eyes fame – railing chiefly against the mundanity of everyday life in the suburbs, on Payola they’ve expanded the scope of their scorn to a more global level and unearthed plenty to be incensed about. Six of the record’s 14 tracks were released on a string of 7” singles as the band kicked back into life in 2012 following a lengthy break – including strong numbers MariKKKopa, The Left Is Right and The Underground Man – yet the sound remains pretty cohesive across the board, raw and urgent and possessing plenty of organic hooks. But it’s a predominantly lyric-driven affair, and of the new songs

★★★½ the punchy City On The Hill looks at class divides, Golden Parachutes eviscerates the corporate landscape, Radicalized examines the centuries-old but currently-escalating east/ west schism whilst Slacktivist is concerned with the quest to take change beyond the internet and into the real world. Rest assured, these boys are committed to presenting serious issues – Payola may be unrelentingly bleak and earnest on the surface, but it’s saved by the band’s unquestionable conviction and the edgy punk-tinged rock they conjure in which to house these sprawling concerns. Steve Bell

album/ep reviews









Transgressive/[PIAS] Australia


Matt Walker has been a stalwart of the roots music scene for more than two decades now and with Lost Ragas may have found his perfect musical marriage. The quartet truly embodies the phrase ‘cosmic country’, serving up a sound that mixes classic country, light psychedelia, ‘70s singer/songwriter and rock’n’roll. It’s like Sturgill Simpson and Beck jamming with the ghost of Harry Nilsson as they effortlessly meld clever songwriting with exceptional playing that always conveys just the right feel. Lost Ragas have created an album of timeless quality, full of dark and graceful beauty.

These Canadian anarchists balance punk and pop on a knife’s edge on Everything Is A Mess – and while it’s raucous and fun, they don’t get away with it unscathed. The secret ingredients – the swathe of shoegaze fuzz that clouds certain tracks like Rats (one of the standouts), and the skewed humour taking barbed aim at subject material like brutal police (Fuck Cops) and controversial Toronto ex-mayor Rob Ford (Hey Little Sister) – are countered by repetition, five interludes and a distinct over-familiarity. It’s fun but lacks a knockout punch.

The Blackeyed Susans’ singer offers an album of fan-chosen (mostly) covers delivered with his smoky croon unadorned, except for some subtle textures provided by much-credentialed producer/ guitarist Shane O’Mara. The effect is a set of confessional/ conspiratorial little conversations. There are songs from some of the usual suspects you might expect – Joni Mitchell, Jimmy Webb, Elton John’s Tiny Dancer – but some interestingly stripped-back curiosities and tangents too, like Spiritualized’s You Lie, You Cheat and Pulp’s Babies made more intimate. Find a comfy chair in a dimly lit room and let this wash over you.

The Cali doom/metal giants return with seventh album, Luminiferous, a decent effort that looks at the sinister stringpullers popular with conspiracy nuts, and comes out swinging. Kurt Ballou’s (Converge) production pushes everything up front and frontman Matt Pike’s mouth-full-of-rocks growl is tempered a little in favour of bigger guitars. Slave The Hive and the title track are HoF at their thrashy best, but sludgier psychedelic efforts like The Falconist and The Cave don’t quite land any punches. It probably won’t win new fans, but it’s another great throwback record from the guys who do it best.

Chris Familton

Brendan Telford

Ross Clelland

Matt MacMaster

Trans Atlantic Highway

Everything Is A Mess

Low Fidelity (Songs By Request Volume 1)


Luminiferous eOne Music/Shock



KEN MODE Success

Season Of Mist/Rocket Having gradually snowballed a cult following with sludgy metallic hardcore, KEN Mode (that’s Kill Everyone Now Mode folks) seem to be cleaning up their act. Sucking out some of the adrenaline and shaving off much of the fuzz that engulfed their previous assaults, Success is evidence of their increasingly resourceful lyrical missives against a lurching Jesus Lizard-esque clatter produced by anti-rock Svengali Steve Albini. Some fans may miss joyfully spreadeagling themselves in the audio muck of old, but it’s an evolution of sorts. Christopher H James



Breathe In. Breathe Out RCA/Sony Dancey beats straight off the pop production line combine with irritatingly catchy choruses to produce a result barren of creativity but one that will nevertheless stick firmly in the listener’s head. While on her previous album, Duff admonished her exes for treating her poorly, here she offers herself up to potential lovers with the vaguely sinister line in My Kind: “Won’t you just take me down, for you I’m the perfect target.” It’s troubling to think young girls may soon be screeching these words into pretend hairbrush microphones. Unfortunately Duff ’s microphone was all too real.


WAY OF THE EAGLE Kodo Sony Jan Skubiszewski is one of the busiest producers, songwriters, musicians and composers in Australia. He’s scored films and produced countless bands, but this is his debut album as his own artistic entity. This project, Way Of The Eagle, sees him collaborating with a host of different singers across ten digestible tracks. He was once half of Jackson Jackson with Harry James Angus, who features here on Shadows. Plenty of eclectic and alternative pop showcases his talents well as a producer, but the songwriting itself isn’t always as impressive.

Adam Lambert – The Original High Four Year Strong – Four Year Strong Dub Pistols – Return Of The Pistoleros Boxed In – Boxed In A$AP Rocky – At.Long.Last. A$AP Barenaked Ladies – Silverball Salvadarlings – Soda

Roshan Clerke

Nick Atkins THE MUSIC • 17TH JUNE 2015 • 19

live reviews

TV ON THE RADIO, KIRIN J CALLINAN The Tivoli 10 Jun Unable to decide which Kirin J Callinan money shot to take home from the merch stand, we instead settle on the genuine article. Things get frightening almost immediately; Embracism and Come On USA are sharp off the tongue and troubling to the soul. He’s a funny cunt though, ol’ Callinan, winning the room over with his coy volatility. We use our imagination to introduce final stand The Toddler, and take in a shirtless Callinan as he swings in lyrics like, “When I drop my guts/You can see it in my face.”

assures us it’s the truth. Careful You unloads a thick bass groove upon us; however, the six-piece fuck with the finish, delivering a conclusion that lacks the beauty of the Seeds version. No one minds though when the riffs rain down during Winter and transcendant powerhouse Wolf Like Me – the freakouts then mellowed by the considered and majestic Trouble, a ballad dripping in melancholy that somehow manages to avoid irony when offering lines from Bobby McFerrin. The gregarious, free-flowing movements of frontman Adebimpe have slowed slightly with the passing of time, but he’s no less a spectacle to witness centre stage. Perpetually in-the-moment guitarist Dave Sitek is happy to reside back near the drum kit, just to give


Like tonight’s support act, headliners TV On The Radio have also earned recognition by sidestepping the status quo. Not that we’re worried about our Brooklyn visitors smearing food over their naked bodies when they walk out on stage – we simply know that we’re going to get anything but your standard indie-rock show. Latest album, Seeds, immediately shines bright among select gems from their back catalogue. Lazerray guarantees our hearts are pumping almost from the outset, Golden Age is joyous and Happy Idiot is one big wave of terminal fuzz – Tunde Adebimpe’s voice strong and driven at the core of the sound. Silver-bearded guitarist Kyp Malone says he felt Brisbane’s positive vibes as soon as he touched down this morning. Many laugh, almost embarrassed by the compliment, but he 20 • THE MUSIC • 17TH JUNE 2015

specifically, it’s a nice night to don a faded band tee and stagger like you’re back in a steamy, dim, sticky-carpeted venue circa mid-‘90s Australia. Brisbane indie-rock royalty Screamfeeder could not have been a more appropriate choice to plunge punters back in time to those good old days of jeans with scuffed knees, lo-fi scuzz and slacker mentality. And Tim Steward, Kellie Lloyd and Dean Shwereb, along with their bonus guitarist, are the best people to do it. Despite very busy times with projects outside of Screamfeeder, the trio seems to have lost nothing in terms of energy and zest for playing. Steward’s voice in particular is as level yet full of rasping urgency as it ever was, even when he jumps around in Dart. Massive hit, Hi Cs, gets an equally


the lanky vocalist ample space to conduct energy between the skies and ourselves. He yelps through the hyperactive Repetition, before leading the band out for an encore which sees all sorts of freak stirred into the pot with some ragavibed take on the Game Of Thrones theme music. Ride clears the haze from our minds before we’re struck with one last bolt of electricity in the form of Staring At The Sun, the song building at speed before bursting in full view. Benny Doyle

JEBEDIAH, SCREAMFEEDER The Tivoli 12 Jun It’s a nice night for a stroll down memory lane. Or more

still commands up back. Mostly, they’re still having fun. There’s no contrived sentimentality, it’s just about playing what they know and love and sharing it with an insatiable crowd. It’s a nice touch when they close their first set with a montage of old photos from Slightly Odway’s recording sessions, but it’s not long before they’re back and things really get crazy. It’s all on for young and old as soon as Leaving Home rings out. Bodies get airborne, someone rushes the stage and massive sing-alongs to anthems Harpoon, Blame, Lino, Teflon and La Di Da Da really do bring those old days flooding back. They give us parting shots in Monument and Star Machine before a curtainclosing bow and a promise that we’ll “see them at their 21st”. Carley Hall


massive response, but, distortion galore, drawn-out riffs and Lloyd’s soft but on-song vocals and bass noodling in Stopless make it a hard-to-beat closer. The celebratory vibe is high when suburban Perth rock stalwarts Jebediah emerge, ready to honour their 20 years in existence. It seems only fitting that a front-to-back run-through of first album, Slightly Odway should follow. But Kevin Mitchell and co have other ideas. First they warm things up by single-hopping through the rest of their catalogue, with Did You Really, N.D.C., She’s Like A Comet and Animal highlights. Not much seems to have changed for the four-piece – the banter still flows from Chris Daymond and Kev, Vanessa Thornton still smiles away and busts out her infectious offbeat bass moves, and drummer Brett Mitchell



British India @ The Zoo We All Want To @ Woolly Mammoth

arts reviews



King George Square to 28 Jun

★★★ ½

Walking into any form of Spiegeltent always feels like a window into yesteryear – a world where travelling carnies would take their skills from village to village, setting up shop wherever would accept them – but such illusion is broken early during Absinthe, as the lights go down and a voice states, “If you are offended by words like ‘fuck’ or ‘shit’ you

might just be at the wrong fucking show” (so far, so Ice-T). But as far as tone goes the warning is entirely appropriate, as Absinthe is indeed a raunchy and occasionally debauched take on the modern tent circus, like a sexy, risqué Cirque Du Soleil (at whom they take many barely concealed potshots) featuring no animals but plenty of animal magnetism. Ringleader The Gazillionaire and his perky but twisted sidekick Penny Pibbets bring the fun (and occasionally the filth), their comedic routines interspersed between incredible displays of acrobatic and gymnastic prowess that take place in the tiny space left in the centre of the rows of seats. It’s 90 minutes of strength, agility, balance, coordination and innuendo in equal doses, with smatterings of smut and near nudity and plenty of laughs. A circus experience that’s certainly not for the faint of heart in more ways than one. Steve Bell


In cinemas 18 Jun

★★★ ½

In the past, Pixar has done a pretty great job of exploring complex emotions that are part of growing up. Inside Out seems to fit neatly into the Disney/Pixar canon, however it delves deeper than its predecessors into the evolving mind of an 11-year-old girl. The film follows Riley in a pretty unconventional way. We see her life from inside her own head, from the perspectives of five main emotions: fear, joy, disgust, anger and sadness. Among other talented voices, Amy Poehler, Bill Hader and Mindy Kaling lend theirs to the mix, really adding to the engaging, funny and emotional story. Visually, Inside Out is stunning. The intricate depictions of both people and the otherworldly landscapes inside Riley’s mind are not only beautiful, but

also highly detailed and well developed. Riley’s consciousness is made up of different dreams and fears: forests of French fries, creepy clowns, castles of glitter and giant broccoli forests. If you’re looking for laughs, Inside Out won’t disappoint, with Pixar’s classic approach to family-friendly humour (that’s actually still funny). But be warned, like Up, this one has a moments that are guaranteed to make you tear up. Overall, it’s a beautiful film that uses humour and honesty to explore the challenges of growing up. Hattie O’Donnell


THE MUSIC • 17TH JUNE 2015 • 21

22 • THE MUSIC • 17TH JUNE 2015

the guide

NINTH OF MAY Members answering/roles: Matt and Ian (guitarists) How long have you been together? Going on four years or so now but a lot more in previous projects. How did you all meet? Mostly through Cleveland High School. PD went to Alex Hills but knew us all through music and bands. 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? At the moment it’s Faith No More’s new album... Deftones definitely wouldn’t be shunned either... Kanye would keep Matt happy. Don’t hate him... Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? We wouldn’t be too worried if thousands were downloading our stuff off Napster... Which Brisbane bands before you have been an inspiration (musically or otherwise)? Regurgitator was definitely influential. Violent Soho, they did their latest album where we’ve been tracking for years with Daz at The Shed in Albion – awesome album that one. Pangaea. Emporium. What part do you think Brisbane plays in the music you make? We think our influences stem from our surroundings... What reality TV show would you enter as a band and why? MKR or Iron Chef for sure... If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Bikini NFL and/or beach volleyball. Our ‘can do’ attitude would get us across the line... What’s in the pipeline for the band in the short term? Launch for our Ramen single 27 Jun at the Zoo, few more clips and singles in the works followed by a US tour in November! Ninth Of May play The Zoo on Saturday 27 June.

PIC: Terry Soo THE MUSIC • 17TH JUNE 2015 • 23



HEAL ME What are the supposed healing properties of ginger anyway?*

The healing herb is popping up in all sorts of foods this winter. You might have noticed it’s been popping up more on menus in some of the following incarnations.

ALL ITS FORMS Know how to use the stuff properly.

Waffles Namely, gingerbread waffles. Served with cream, ice cream, labne or mascarpone, possibly a light syrup, honey or rich butterscotch/ caramel sauce, and berries, banana or stone fruit. And nuts! Yeahhh. Crumbles Like rhubarb, apple, orange and ginger. Biscuits And not just gingerbread. Add ground and fresh ginger to your biscotti recipe. Cake Add to your carrot cake, or if you’re feeling more adventurous, your chocolate cake. Other sweets Candies. Panna cotta. Ice cream. Soup Ginger is a staple of many Asian soups and broths; chuck a few thick slices in there and it’ll zest it nicely without being too overbearing. Meat stews Whether it’s with chicken made in a crockpot or a slow24 • THE MUSIC • 17TH JUNE 2015

cooked beef dish with veggies, the ginger will gloriously infuse its flavour into everything it shares a pot with. Stir fries Obviously. Ginger and chilli and garlic is all you need to pep up a stir fry. Dumplings At many places, when you order xiao long bao (Shanghai soup dumplings) you’ll be given a small dish of vinegar and a small dish of ginger strips. This is because it’s just a perfect accompaniment to dumplings. Prawn and ginger dumplings? Pork and ginger? All the ginger dumplings pls. Fish Wrap a firm white fish in a little aluminium foil parcel with soy sauce, chopped chilli, minced garlic and think sticks of ginger (marinate like this or don’t) and pop it in the oven for 15 minutes for a delicious and warming dinner. Curries More spice! Goes great with chicken or Thai basil or Indian spices or yoghurt or a coconut base or a tomato base!

Treats nausea caused by seasickness, morning sickness and chemotherapy

Speeds up recovery for the common cold

Suppresses coughs

As a preventative measure for heat cramps

Relieves stomach aches

Treats inflammation

*We ain’t doctors here so take this all with a pinch of salt, so to speak.

Fresh: Well, you all know what this one is. The knobbly things. You know the ones. Versatile and can be used for anything, but you’d wanna use fresh ginger for stuff like soups and dumplings where the flavour needs to be freshhhh and comforting. Powder: Also known as ground ginger. This one is good for stir fries and curries, but perhaps better for cakes, cookies and drinks. Candied ginger: Even better for sweets. Or like... by itself. Ginger paste: More fragrant – a good one for meat dishes where you really want to taste the ginger, and also curries.


It’s not just the solids that are gingery this season. Tea: Hot water, lemon and honey. Splash of bourbon? Beer: we’re seeing more brands and bottles of both the alcoholic and nonalcoholic kinds, particular in the organic soft drink ranges. They’re super gingery. Wine: Stone’s Ginger Wine… is that still a thing? What about Crabbie’s? Lassi: the savoury kind, made from blended cumin seeds, yoghurt, water, ice, grated fresh ginger, salt. If you want it sweet, swap the cumin for ground cardamom and sweeten with honey or brown sugar. Juices: Apple, carrot and ginger. Beetroot, cucumber and ginger. Kale, lemon, carrot, orange and ginger. The combinations are endless! Bust that flu.

the guide






The Brightside is hosting a themed party based on the films you love. This Thursday it’s Clueless. Enjoy ‘90s tunes in the beer garden and performances from Far Away Stables, The Comfort, pictured, Worse For Wear, and Inside The Whale.

Brisbanites Heather Cheketri and Sonja Ter Horst are dark popsters Love Like Hate, who will be heading off to headline a UK tour later this year, are warming up for that playing Sunday at Brisbane Powerhouse.

Melbourne underground fourpiece Pale Heads have released a debut album, Headless, and they’re bringing themselves up the Pacific Highway to launch it in person Saturday at Trainspotters.




Fast emerging as one of Australia’s finest Australiana meets Americana artists, Sal Kimber & The Rollin’ Wheel showcase new single, Stumble In The Dark Thursday at Black Bear Lodge.

CC The Cat’s the name, roots reggae’s the game, and Claire and the band bring that all Friday at Wickham Hotel’s Roots in the Garden, and 26 Jun in the Gold Coast’s Soundlounge.

Fourteen years after 9/11, former LA now Brisbanite Ken Kunin has finally revived his musical career and is launching an album, The Life Of Goodbye, Sunday at The Milk Factory.


For a third straight week Aussie electro act Hermitude have taken out the top spot for albums on the Carlton Dry Independent Music Charts, but they’ve gone one further this week. Not only have the Blue Mountains duo clinched the #1 spot again with their album, Dark Night Sweet Light, but they’ve also taken out top honours for the Singles chart with their track, The Buzz, featuring Mataya & Young Tapz. After debuting in the charts six weeks ago, the track sat at #3 last week but has surprisingly jumped the pack to come in at #1.




Hip hop duo Coda Conduct released a debut EP, Butter Side Up, and are finally taking it for a spin along the east coast, playing Saturday at Black Bear Lodge.

They’ve organised a warehouse festival Saturday at Psych Night featuring a dozen bands to help Magenta Voyeur launch debut EP, Eventide. Be there to see who joins them.

After their last single In My Way was lauded on triple j, The Belligerents are touring around the country to showcase their new single, Voices, and this week they come to Woolly Mammoth on Saturday.




Showcasing emerging local hip hop talent, the second Infest The Nation event Thursday at Beetle Bar is also a 4ZZZ fundraiser featuring Louzeik, Travy P, Kret’n & Krisie B, Nasteski, Donny Casper and Kingwolf.

Not long ago, The Pigs released an album titled Home Brew on which they “re-imagined” 13 classic Aussie rock/pop hits. Catch them Friday at Solbar and Saturday at Broadbeach Country Music Festival.

America’s Pallbearer have invited local dread-vendors Lizzard Wizzard and Hobo Magic as their supporting guests Sunday when they play Crowbar.

Meanwhile, fellow electro producer Flume’s track Some Minds has had an excellent debut this week, taking out the #2 spot, while Sia’s Big Girls Cry has been pushed from the top spot down to #3. The song, which also features Miike Snow frontman Andrew Wyatt, made a comfortable debut on last week’s ARIA charts and has done even better here. Otherwise, over on the Albums Chart, there’s been little change since last week, with the only notable movement seeing Courtney Barnett’s Sometimes I Sit And Think, And Sometimes I Just Sit move from third spot to second, switching with Sia’s highly acclaimed album, 1000 Forms Of Fear.


the guide


SINGLE FOCUS What was inspiring you during the song’s writing and recording? I believe that coal seam gas mining is another symptom of a wider problem which is our government being bought out by multinational corporations and refusing to prioritise the people it purports to represent.

three years; a lot of that time was spent on production too.

MIAMI HORROR Answered by: Ben Plant Album title? All Possible Futures Where did the title of your new album come from? During the writing process we had to think a lot about all the possible different directions we could go and this led to thinking about life in the same way. It just seemed very appropriate. How many releases do you have now? Besides the singles, this is the third Miami Horror release but only the second album.

Was anything in particular inspiring you during the making? Colour, and a lot of new musical influences. We were more inspired by post punk/disco than disco on this album. We were also inspired a lot more by classic songwriting. What’s your favourite song on it? We all have a different personal one, but I think Out Of Sight is probably the band favorite! Will you do anything differently next time? I think I would focus less on straight up song writing and be a little more experimental with structure. I also like the idea of keeping it simpler. Website link for more info?

ASH GRUNWALD What’s the song about? The song is about by my experiences working to try and stop coal seam gas mining in Australia. How long did it take to write/ record? River took two days to record. The whole album was recorded with Nick Didia (Rage Against The Machine, Pearl Jam, Stone Temple Pilots) at Studios301 Byron Bay.

What’s the history of the venue? Built as a boat club in the 1930s, the club nestles on the Brisbane River. In 1972, the Adventurers Club rowed Lord Mayor Clem Jones across the River in a canoe. So began the club’s adventurous life, always seeking expression.

What’s the capacity? 170

What is your venue doing to help the local music scene? Monthly musos and jazz singers jam nights, talking jazz student jams and performance workshops run by local musos and singers.

Why should punters visit you? “Forgive me if I don’t have the words. Maybe I can sing it and you’ll understand.” Ella Fitzgerald, First Lady of Song.

What are some of the highlights? Defying both major floods in ‘74 and ‘11, the BJC has risen twice from the mangroves, dusting off her skirt.

What’s the best thing about the venue? A cross between our million dollar deck views of the city and the laid-back ambience of the club’s local and international jazz musos.

Website link for more info?

Address: 1 Annie St, Kangaroo Point

26 • THE MUSIC • 17TH JUNE 2015

When and where is your launch/next gig? 19 Jun, The Triffid; Byron Cultural & Community Centre, 2 & 3 Jul; Bello Winter Music Festival, Bellingen, 4 Jul. Website link for more info?



Answered by: Clemency Cartillier

Do you play it differently live? No, unless I’m playing it solo. When we play River as a band Ian Perez (Wolfmother) provides the heavy synth lines!

Is this track from a forthcoming release/existing release? Yes, from my album out September 2015, titled NOW.

How long did it take to write/ record? I would say just under


We’ll like this song if we like... The Black Keys on a musical level and fans of ethical music will connect on a lyrical level.

Single title? River


Where did you write most of the piece? I wrote it in the UK. I make a lot of my work based on clinical research and interviews so I buzz about all over the place, but when it came to the actual sitting down and writing... in a shed at the bottom of my garden in Oxfordshire!

FAKE IT ‘TIL YOU MAKE IT Answered by: Bryony Kimmings Describe your show in a tweet? Awesome performance artist @bryonykimmings has made a show about depression, love and being a man with her real world non-art boyf! SEE IT! What inspired the work? I make work about the stigmas that still surround us. Previous work has seen me retracing an STI, getting drunk with scientists and being a pop star. This show is about my real world partner’s depression. Because we don’t talk about this subject enough and it affects many of us! I N D E P E N D E N T

What excites you about Australian theatre? I haven’t been to Australia for more than three weeks and that was only last year at a Live Art festival in Melbourne. I also did the Comedy Festival there and loved everything I saw. We get loads of Aussie comedy in the UK but not much theatre. So what I am excited about is actually getting to see some! When and where is your show? 24 – 27 Jun, Visy Theatre, Brisbane Powerhouse



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the guide

THE MUSIC PRESENTS Tom West: The Bearded Lady 2 July

High Tension: Crowbar 17 Jul

The Church: The Triffid 4 Jul

Rubber Soul Revolver: 30 Jul QPAC Concert Hall

Youth Group: Black Bear Lodge 4 Jul

The Bellrays: 7 Aug, The Zoo

Ben Salter: The Spotted Cow 16 Jul, Black Bear Lodge 17 Jul

An Evening With Kevin Smith: 19 Sep, The Tivoli

WED 17

Members Club Night: Brisbane Jazz Club, Kangaroo Point The Black Dahlia Murder + Aversions Crown + Kyzer Soze: Crowbar, Fortitude Valley Stealing Lincoln: Kamel Bar (KB’s), Noosa Heads Betty Smokes & the Forgetaboudits: Lefty’s Old Time Music Hall, Brisbane James Scott Music: Mick O’Malley’s, Brisbane Open Mic Night: Solbar, Maroochydore Jason Castle: Sonny’s House of Blues, Brisbane Hunter Douglas Craig: The Bearded Lady, West End Urban Sounds: The Beer Garden, Surfers Paradise

THU 18

Infest The Nation: A 4ZZZ Fundraiser feat. Louzeik + Travy P + Krisie B & Kret’n + more: Beetle Bar, Brisbane Sal Kimber & The Rollin’ Wheel + Jove + Sian Evans: Black Bear Lodge, Fortitude Valley Para Voce: Brisbane Jazz Club, Kangaroo Point Battle of the Bands: Centenary Tavern, Middle Park Blues & Roots Open Mic Night: Chardons Corner Hotel, Annerley Cheech & Chong: Eatons Hill Hotel, Eatons Hill Richie Langford: Lefty’s Old Time Music Hall, Brisbane Des Reid: Loving Hut, Mount Gravatt Quazi-Smith + These Guys: Ric’s Bar, Fortitude Valley

Matt Stillert: Solbar (Lounge Bar), Maroochydore Dean Ray: Solbar (Main Stage), Maroochydore The Bearded Gypsy Band: Sonny’s House of Blues, Brisbane Hein Cooper + Kyle Lionheart: Soundlounge, Currumbin Seth Sentry + Dylan Joel + Ivan Ooze: Sugarland Tavern, Avoca Wait + El Monstro + The Scrapes: The Bearded Lady, West End Clueless Party feat. Far Away Stables + The Comfort + Worse For Wear + Inside The Whale: The Brightside, Fortitude Valley The Sinner: The End, West End Astro Travellers: The Grid, Toowoomba Louis Baker + Mark Lowndes: The Milk Factory Kitchen & Bar, South Brisbane

GIG OF THE WEEK TITLE FIGHT: 19 JUN, THE BRIGHTSIDE Broadbeach Country Music Festival feat. The McClymonts + Beccy Cole + The Wolfe Brothers + Catherine Britt + James Blundell + The Wolverines + Travis Collins + Harry Hookey + The Pigs + Casey Barnes + Chelsea Basham + Ben Ransom: Broadbeach, Broadbeach

The Beatles Forever: Redcliffe Cultural Centre, Redcliffe

Nice Verdes: Cardigan Bar, Sandgate

Mojo Webb: Sonny’s House of Blues, Brisbane

For The Animals + 10 Days Notice + Whinebar + Return To Sirius + Through The Looking Glass: Chardons Corner Hotel, Annerley

Dean Ray: Soundlounge, Currumbin

Seth Sentry + Dylan Joel + Ivan Ooze: Villa Noosa Hotel, Noosaville

Drawcard + Dollarosa + The Common Deers: Studio 188, Ipswich

Art Vs Science + East: Woolly Mammoth, Fortitude Valley

Backroom Vegas: Coolum Beach Hotel, Coolum BNS + Styli$$h: Deception Bay Tavern, Deception Bay

Hussy Hicks: Royal Mail Hotel, Goodna The Pigs: Solbar (Main Stage), Maroochydore Richie Langford: Solbar (Lounge Bar), Maroochydore

Toxic Garden Gnomes + Trashqueen + Homeless Yellow: The Underdog Pub Co, Fortitude Valley Roots in the Garden with +CC The Cat: The Wickham Hotel, Fortitude Valley Junkyard Diamonds + Heavy Roller + Go Van Go + The Orchard: The Zoo, Fortitude Valley

Command Q: TBC Club (The Bowler Club), Fortitude Valley

SAT 20

DJ Indy Andy: Albany Creek Tavern, Albany Creek

Tim Rogers & The Bamboos: The Triffid, Newstead

Phil Barlow & The Wolf + Rumblefish: Eat Street Markets, Hamilton

Statler & Waldorf + Ultra Material + The Mosaics + Hooray For Everything: The Bearded Lady, West End

Demo Series with Black Rainbow + Bad Pharmer + Ultra Ego: The Zoo, Fortitude Valley

The Screamin’ Stevie’s: Greaser Bar, Brisbane

James Scott Music: The Boundary Hotel, West End

Two Way Street: Breakfast Creek Hotel, Albion

Pete Cullen: Habitat Restaurant & Bar, South Brisbane

Title Fight + Paper Arms + The Gifthorse: The Brightside, Fortitude Valley

Step It Up: Brisbane Jazz Club, Kangaroo Point

Tuffy: Hamilton Hotel (Public Bar), Hamilton Berst + Locky: Irish Murphy’s, Brisbane

Jouk Mistrow + White Lodge + In Caves: The Milk Factory Kitchen & Bar, South Brisbane

Marshall Okell: Joe’s Waterhole, Eumundi

We All Want To: The Spotted Cow, Toowoomba

Bearded Gypsy Band: Lefty’s Old Time Music Hall, Brisbane

Peace Train - The Cat Stevens Story: The Tivoli, Fortitude Valley

Crescent City Players: Lock ‘n’ Load Bistro, West End

Ash Grunwald + Hein Cooper + Sahara Beck: The Triffid, Newstead

Musique: Logan Diggers Club, Logan Central

Big & The Bangs + Soupy LaRue + The Stone Fox + Fooligans: The Underdog Pub Co, Fortitude Valley

FRI 19

Buzzkillers + DarkLab + Cheezal Dust: Beetle Bar, Brisbane Jeremy Neale + Sans Parents + Youth Allowance: Black Bear Lodge, Fortitude Valley Various Artists: Blue Pacific Hotel, Woorim James Johnston: Breakfast Creek Hotel, Albion

Locky: Mick O’Malley’s, Brisbane



Coda Conduct: Black Bear Lodge, Fortitude Valley

Broadbeach Country Music Festival: Broadbeach, Broadbeach The Wet Fish: Brooklyn Standard, Brisbane Lachy Lyne + Nikolaine Martin + Port Paradise + Katie Who + Zach Almond: Chardons Corner Hotel, Annerley Drawcard + In Ashes We Lie + Sensaii + The Comfort: Coolangatta Hotel, Coolangatta Make Them Suffer: Crowbar, Fortitude Valley Alphabet Street + CKNU: Eat Street Markets, Hamilton



THE MUSIC • 17TH JUNE 2015 • 29

the guide


Steam Train Blues feat. Mojo Webb Band + Dave Martyn + Irresolute + Jimi Beavis + Jimmy Watts + Moondog Blues + Ben Eaton: Glasshouse Mountains Tavern, Glasshouse Mountains Trainspotters feat. The Pale Heads + Tiny Migrants + DeadShred + Deafcult: Grand Central Hotel, Brisbane System 6 Reboot feat. DJ Brisk + DJ Thief + DJ BJ + Miss Tracy + DJ Dizzy + Scott Walker + Barking Boy + MC NO3 + MC Twhizz + Secret MC + MC Splitboy: Hamilton Hotel (H-Lounge), Hamilton Stewart Fairhurst + Brooksy & Co: Hamilton Hotel (Public Bar), Hamilton The Beatles Forever: Ipswich Civic Centre, Ipswich Jabba + Locky: Irish Murphy’s, Brisbane Roy Orbison & The Everly Brothers Tribute: Jupiters, Broadbeach Big Kitty + The Scaredy Cats + The Empresarios: Lefty’s Old Time Music Hall, Brisbane The Montgomery Brothers: Lock ‘n’ Load Bistro, West End

Who Remembers the 80s: Logan Diggers Club, Logan Central

Title Fight + Paper Arms + Stone Hearts: The Lab, Brisbane

The David Bentley Trio + Paul Cheeseman: Brisbane Jazz Club, Kangaroo Point

Murphy’s Pigs: Mick O’Malley’s, Brisbane

The Kitty Kats: The Majestic Theatre, Pomona

Love Like Hate: Brisbane Powerhouse, New Farm

Andres Cepeda-Moksha Band Tribute: Mick O’Malley’s, Brisbane

Seth Sentry + Dylan Joel + Ivan Ooze: The Met, Fortitude Valley

Broadbeach Country Music Festival: Broadbeach, Broadbeach

Firechild + Rockettrain: Ric’s Bar, Fortitude Valley

Vernas Keep: The Milk Factory Kitchen & Bar, South Brisbane

James Scott Music: Bungalow Bar & Restaurant, Paddington

The Francis Wolves + Master Wolf + DJ Paprika: The Motor Room, West End

Seth Sentry + Dylan Joel + Ivan Ooze: Coolangatta Hotel, Coolangatta

Caitlyn Shadbolt: Royal Hotel, Gympie Marshall Okell + John Malcolm: Royal Mail Hotel, Goodna Jeremy Neale + Sans Parents + Bugs: Solbar (Main Stage), Maroochydore Alf n Ant: Solbar (Lounge Bar), Maroochydore Marshall Okell: Sonny’s House of Blues, Brisbane Berst: Springwood Hotel, Springwood JuneTunes Festival feat. The Dynosaurs + Asa Broomhall + more: Stradbroke Hotel, Point Lookout Smoking Martha + The Dark Hawks + Jeremy Newell: The Bearded Lady, West End Last Dinosaurs + I Know Leopard + The Jensens: The Brightside, Fortitude Valley

Richie Langford: The Nook & Cranny, Nambour

Pallbearer + Lizzard Wizzard + Hobo Magic: Crowbar, Fortitude Valley

The Wolfe Brothers: The Spotted Cow, Toowoomba

The Baton Jukes: Eat Street Markets, Hamilton

The Kite String Tangle + Dustin Tebbutt + Joy.: The Triffid, Newstead

The Front: Hamilton Hotel (Public Bar), Hamilton

Dean Ray + Electric Suede: The Zoo, Fortitude Valley The Belligerents + Timberwolf: Woolly Mammoth, Fortitude Valley

SUN 21

Marshall Okell: Advancetown Hotel, Advancetown

MKO + Superfeather + Big Dead: Black Bear Lodge, Fortitude Valley Rob Hackwood Duo: Breakfast Creek Hotel, Albion


Jabba + Johnny Jump Up + Ragdoll: Irish Murphy’s, Brisbane

The Eagle Junction + The Plastic Fangs + Switchblade Suzie: The Brightside, Fortitude Valley Ken Kunin + Dan Challis: The Milk Factory Kitchen & Bar, South Brisbane Smackdown Improvised Comedy: The Milk Factory Kitchen & Bar, South Brisbane Triffid Roots feat. Garrett Kato + The Sunburys: The Triffid (2pm), Newstead

MON 22

Richie Langford: Ric’s Bar, Fortitude Valley State Champs: The Brightside, Fortitude Valley

TUE 23

Hans Solo Band: Kamel Bar (KB’s), Noosa Heads

5 Seconds of Summer + State Champs: Brisbane Entertainment Centre, Boondall

The Bearded Gypsy Band: Lefty’s Old Time Music Hall, Brisbane

Brazilian-BackpackerUni Night: The Beer Garden, Surfers Paradise

Inkaza: Lock ‘n’ Load Bistro, West End

Will Sparks: The Venue, Townsville City

Sasta: Mick O’Malley’s, Brisbane Andrea Kirwin + Pepper Jane: Solbar (Lounge Bar) , Maroochydore Birdlesque: The Bearded Lady, West End




THE MUSIC • 17TH JUNE 2015 • 31

32 • THE MUSIC • 17TH JUNE 2015

Profile for

The music (Brisbane) issue #93  

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

The music (Brisbane) issue #93  

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