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THE MUSIC 15TH JUNE 2016 • 5
Music / Music / Arts / Lifestyle / Culture
s e s a e l e R
This Week’s Releases
Things have been busy for Sydney’s progressive soul act Levingstone with the first single First Taste off their upcoming EP Modern Burials dropped and a July/August east coast tour starting at the Bello Winter Music.
Red Hot Chili Peppers The Getaway Warner
Jazz and gospel extraordinaire Gregory Porter has announced an intimate sojourn of Australia this September, where he’ll shower Sydney and Melbourne with soulful tunes from his newest record, Take Me To The Alley.
Swans The Glowing Man Mute/Create/Control
Mumford & Sons Johannesburg Dew Process/Universal
Jake Bugg On My One Virgin/EMI
He’s Coming On A Chopper Police Academy star and “Hollywood’s man of 10,000 voices” Michael Winslow has announced he’ll be returning to Australia for a string of comedy shows this July and August on his largest Aussie tour to date.
6 • THE MUSIC • 15TH JUNE 2016
The Dandy Warhols
Arts / Li Music / Arts / Lifestyle / Culture
Black To Back
Orange Is The New Black
Catch up with the Litchfield inmates this 17 Jun. Foxtel will simultaneously screen every new episode of Netflix favourite Orange Is The New Black’s fourth season as it streams in the US.
On the next... Fans can expect to see all the hits from the Grammy Award-winning outfit Arrested Development when the US hip hop group head to Australia this August for three exclusive shows in support of their Greatest Hits tour.
Just Dandy Returning just over a year after performing at last year’s Splendour In The Grass festival, US garage legends The Dandy Warhols have announced they’re heading Down Under this October in support of their latest LP, Distortland.
The Red Wining Winter is coming, so warm up with a glass of red at the fourth annual Game Of Rhones wine event, which will this year make its way to Melbourne and Sydney on 18 Jun and 19 Jun respectively.
The position Flume debuted at on the US album charts with his newie Skin.
THE MUSIC 15TH JUNE 2016 • 7
Lifestyle Music / Arts / Lifestyle / Culture
Sweet, Sweet Music
On the back of their brand new single, Pull It Together, the first taste of the band’s recent collaboration with The Preatures’ Jack Moffitt, Sydney quintet Wild Honey have announced an east coast tour through June/July.
The Blues Brother Fresh from a US co-headline tour, contemporary bluesman Corey Harris has announced his first Australian tour in 16 years. The acclaimed performer will return to our shores for a series of solo shows in August.
Office Ska-pplies Neville Staple of The Specials and FunBoy3 is back to skank east coast audiences this Jul/Aug, with a massive catalogue of classic Rudeboy hits alongside new tracks from latest album Ska Crazy. 8 • THE MUSIC • 15TH JUNE 2016
e / Cultu Music / Arts / Lifestyle / Culture
Garage-punk pioneers The Sonics have announced their return to Australia in September/ October when they will perform at Yours & Owls Festival as well as doing a run of shows â€˜round the country.
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Paper Empires Felix Riebl, the veteran Australian musician and frontman of The Cat Empire, has announced the September release of his second studio album, Paper Doors, with a national tour in support to follow.
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State Secret Melbourne singersongwriter Emma Russack is taking back the guitar reins in her third studio album In A New State and is celebrating its release with a wave of headline shows this Jul/Aug.
The number of cinemas you will be able to see Popstar: Never Stop Never Stopping in after its Australian film release was pulled after poor US box office results.
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THE MUSIC 15TH JUNE 2016 â€˘ 9
Music / Music / Arts / Lifestyle / Culture
Going On The Fridge
The Three Caballeros
The Melbourne International Animation Festival kicks of mid-June. With installations, special guest presentations, and of course a mountain of cartoons, the annual festival will once again draw Melbourne together to illustrate the importance of the medium.
Show Of The Year Packed with flying trapeze, the Chinese pole, the unicycle adagio and a jaw-dropping new 21-club group juggling act, the new show from Circus Oz – TWENTYSIXTEEN – will delight Melbourne from 15 Jun to 10 Jul.
theMusic.com.au: breaking news, up-to-the-minute reviews and streaming new releases
Just What We Knead Collingwood is going to get a little bit tastier this 18 Jun when world class Parisian Boulanger Gontran Cherrier, whose resume includes he triple Michelin-starred L’Arpège, launches his first Australian Boulangerie. 10 • THE MUSIC • 15TH JUNE 2016
Arts / Li Music / Arts / Lifestyle / Culture
Hophaus Winter Party
Celebrate the season with the Hophaus Winter Party. Get in for the customary Tapping Of The Keg and then drink free bier until it runs out. Sample Bratwurst, Schnapps and traditional German games while The Hophaus Five play live.
Three Places For Storytelling
Bet You Look Good On The Dancefloor The greatest love story ever known is coming to Melbourne. Presented The Australian Ballet, Houston Ballet’s Romeo And Juliet plays at State Theatre from 30 Jun to 9 Jul, choreographed by Stanton Welch and scored by Sergei Prokofiev.
Women Of Letters Michaela McGuire and Marieke Hardy’s monthly afternoon of letters is very intimate – the stories never leave the Thornbury Theatre (unless compiled into a Women Of Letters anthology). The next Women Of Letters is on 26 June, featuring Amie Kaufman and more penning letters to their dirty laundry. All proceeds go to animal shelter Edgar’s Mission.
Romeo And Juliet
If you want to hear people tell you true stories, or you want to tell one of your own, head along to open mic storytelling night, The Moth, the first Monday of every month at Howler. Also available as a podcast – we recommend the podcast featuring Clementine Ford.
The Wheeler Centre at The Toff In Town
Welcome to the Shakespearean Helpdesk. Press 1 if the fault is in our stars. Press 2 if the fault is in ourselves.
On Monday nights from 27 June to 25 July, The Toff In Town via the Wheeler Centre will host some of Australia’s best storytellers for nights of Erotic Fan Fiction, Show And Tell For GrownUps, the poetry of Allen Ginsberg, agony aunt-ing (on love! featuring Tim Rogers!), and Bedtime Stories.
@_RyanONeill THE MUSIC 15TH JUNE 2016 • 11
Supersized Rubens Uppy Chatterjee sits down with The Rubens to talk life after topping the triple j Hottest 100, their faces painted on a huge wall and why bands are better off moving to Melbourne. Cover and feature pics by Cole Bennetts.
his is the fucking sickest thing that has ever happened to us.” We’d say the same thing too if our faces were painted in widescreen on the side of a huge building — by the infamous Scott Marsh no less — the viral Australian artist behind the now legendary Kanye Loves Kanye mural. Yep, the same one that incensed the highly-strung rapper so much he ordered for it to be removed. “I’m worried about the big dicks that’re gonna be drawn on it. They’re gonna be huge,” Scott Baldwin admits. “I didn’t know it was [Scott Marsh] doing it until just recently. I thought it was an awesome idea and it was just really cool that we were gonna get a mural done. It’s a really insane thing that you never really think will happen. The fact that it is [by Marsh] is quite a big deal I guess! Thanks to you guys!” frontman Sam Margin says with a nod. When we suggest that Kanye might even cop a look just to make sure it’s not of him again, we’re met with ominous “oooooh”s from the rest of the band: Elliott Margin, Zaac Margin and Will Zeglis, all leaning in conspiratorially around the picnic table. It’s been nearly three months to the day since the indie rockers found out they topped the Hottest 100 this Australia Day. Hindsight is important — so does this feel like the “rise to success” that veteran rockers talk about decades into their careers? “It’s hard to digest, but we were aware of how amazing it was. I think touring and playing shows... although you have amazing experiences, I guess you probably don’t take it all in until you have that kind of hindsight. Even something like Splendour In The Grass, you walk off stage and it was amazing, and you know how big a thing that was in your career, but I guess touring and slowly growing, it’s hard to have sort of perspective,” Sam explains. Baldwin reckons it’s all about keeping the momentum going. “If you’re sitting around, it doesn’t take long for you to feel like you’re not successful, do you know what I mean? If we don’t have shows coming up, we feel like, ‘oh geez, what are we doing?’” When we ask what sort of opportunities the band have had presented to them since, the boys chatter away about the time
their hometown’s mayor wanted to give their “mayor-al thanks” in recognition of the band’s success. “Our hometown always wants us to do a gig, that’s one thing that always comes up for me. I think the major wanted to give us a key or something...” says Baldwin. “Nah, the mayor wanted to do some kind of ceremony,” pipes up Elliott. “I don’t think it was a key — I think we made that up. We didn’t do it ‘cause it sounded weird to us.” Cutting their teeth on Sydney live music staples like Candy’s, The Lansdowne Hotel and World Bar, The Rubens now find Sydney’s situation dire. As we turn the conversation to Marsh’s recent Casino Mike mural — complete with Penfolds wine, a kebab and a clock that reads 1:31am, which only half the band have seen — Sam leans forward to speak, having been quiet for a few minutes. “I live in Melbourne now and I think the contrast between Sydney and Melbourne is so stark. The attitude towards culture and music are completely different when it comes to the government,” Sam describes unhappily. “Here it seems like it’s about money, everyone’s just trying to make money, whereas in Melbourne there are so many late licenses, so many live music venues, they support it because they realise it’s so important. Here, it’s embarrassing. It’s pathetic.” His brother Elliot jumps in — “I think the grossest part is that it started because of all the alcohol-related violence, the one-punch kind of stuff, and you look at it and see what measures they’ve taken and the fact that casinos are exempt from all these laws just makes it just... gross. How dare you use that [as an excuse to make the laws]?” “It’s just sad for music,” says Sam. “Like, you guys are a music magazine, it’s sad for bars and nightlife in general but for the music scene, it sucks. I don’t know where bands are actually gonna get their break now.” “Melbourne,” Baldwin says deadpan. “Honestly. I would move to Melbourne,” Sam says, a little exasperated. “If I was in an up-and-coming band, I would not wait around in Sydney for them to get over it.” It’s good news, then, that the band is well past that stage; soon they’ll be playing their biggest shows to date nationally. They’re going for a bigger production this time, with “cool lighting, fireworks, all that stuff” in the cards. “We wanna get some special guests and stuff too, just because we did tour so recently. Our last tour wasn’t that long ago, so I think we’re gonna change a couple bits, get a couple of people in there to do some things,” Sam is tight-lipped. “We’re still trying to lock them in, but maybe a hip hop artist, maybe a female singer, we’re still talking to people.”
Here it seems like it’s about money... whereas in Melbourne... they support it because they realise it’s so important. Here, it’s embarrassing. It’s pathetic.
12 • THE MUSIC • 15TH JUNE 2016
Hittin g A Wall And if money were no object, who would they be inviting then? “Kendrick,” the band agree almost unanimously. Before the band head out though, they’ve got a few European shows to knock off as well as a slot on The Great Escape in Brighton, UK. Plus, they’ve just returned home from the US. “It’s just different, we have smaller crowds and it’s like being back at the beginning. We play a certain type of show in Australia where we don’t have to work for the crowd, I guess, then you get to America and you really gotta work,” espouses Sam. “And it’s cool, we’ve had a really good time doing it and the shows sold out and stuff. It’s just such a big country with so many radio stations and so much work to do.” Baldwin adds, “It’s weird, after the show in New York for example, I spoke to a few
people and they were blown away by the fact that they were a couple of metres away [from us]. But then there’s the complete polar opposite where they don’t really know who you are.” In terms of goals, the band has a few things in their sights: First, “Europe. Heaps more Europe dates.” “Selling out shows in the Europe and UK,” say Baldwin and Zaac. Second, “Make another record. Much more quickly this time,” Sam says. “We have a few songs written for it and we need to work harder, but we’ve got a good direction.” The world looks to be at their fingertips. But for now, The Rubens are gonna head to their personalised mural, “wait ‘til people notice us and go ‘yep, that’s still us’”, and take a shit-ton of photos before it’s defaced with dicks.
When & Where: 25 Jun, Margaret Court Arena
This was, quite literally, the biggest cover shoot undertaken by The Music. Usually we just shoot an act in a studio somewhere. Occasionally we do things on location, but nothing of this scale involving a giant mural. The Rubens artwork was painted by Scott Marsh, who you may remember from such murals as Kanye Kissing Kanye and Casino Mike. “It was a lot of fun, a pretty tight deadline but we got it all done in two days. The Rubens were a real nice bunch of guys,” Marsh says. “It’s all a matter of me drawing it all up in one day, layer by layer. I draw it and start from a pinkyorangey-yellowy background, then I build it up with spraypaint and brush it at the end.” Enter The Rubens, with the complete cover image photographed by Cole Bennetts. “We had 48 hours to do it and we had to battle rainstorms, towing a 1.8 ton scissor lift to the location,” Bennetts recalls. “We ended up having to shoot at five in the evening. Because daylight savings is over, I literally had ten minutes of light to get the shot. 48 hours of build-up – and I had ten mins to get the shot.” It took a lot of people to get us to the amazing finished product, so our thanks go to: Artist Scott Marsh scottmarsh.com.au Photographer Cole Bennetts colebennetts.photoshelter.com
Sponsors Ironlak ironlak.com AIM aim.com.au Kennards Alexandria kennards.com.au To see the whole making of video of the mural, Shazam the cover. THE MUSIC 15TH JUNE 2016 • 13
Three’s No Crowd The three distinctive voices behind new project case/lang/ veirs — Neko Case, k.d. lang and Laura Veirs — tell Steve Bell about the inherent struggles in upholding the tenets of a true democracy.
inger-songwriters Neko Case, Laura Veirs and k.d. lang had all met each other in passing over the years as their careers unfurled, but none were yet great friends when the trio’s elder statesperson lang emailed the others out of the blue, stating succinctly, “I think we should make a record together.” Fast-forward a handful of years and the three distinctive talents have more than just bonded in friendship — egos were thrown out the window entirely to unleash a creative force majeure that’s culminated in new project case/lang/veirs.
I think we’re all bosses in our own rights and in our own careers.
The trio’s gorgeous eponymous debut album is an effortlessly elegant collection of heartfelt Americana where individual voices clearly take the reins on certain songs, but never at the expense of the collective, the album’s textured arrangements offset by beautiful girl group harmonies and classy instrumentation. “I wanted to do a band combination like a Travelling Wilburys kinda thing,” lang remembers, “and I’d been thinking about it for quite a few years, then when I moved up to Portland I met Neko and Laura at around the same time and one night it just kinda sunk into me and instinctually I felt that it was the right thing and I emailed them. I dunno, I just felt that we had differences but we had similarities that kinda overlapped and I thought it would make an interesting combination. Plus I’m really 14 • THE MUSIC • 15TH JUNE 2016
excited to be part of a collaborative process with just female voices because I don’t think there’s been enough of that happening in the past.” “K.d. initially thought it would be more of a girl group, a punk kind of thing, and we said, ‘Yeah, that sounds cool,’” Veirs continues. “Initially we were actually going to do a covers record but then we were like, ‘No, let’s write it, it’s going to be so much more cool if we can pull off the songs.’ But then the songwriting just didn’t turn into punk, it was way more like what we normally do, like indie-Americana-folk style. There’s a lot of girl group stuff in there with the backing vocals and stuff, but the songs dictated it. I don’t think we could just tell ourselves to do something that didn’t feel like it was going to come out.” The creative side of the project was truly collaborative for the most part, with many of the songs constructed together from the ground up. “It was really scary and weird at times to be in the same room just coming up with stuff from scratch, but most of the time it was pretty fruitful,” Veirs offers. “There were definitely fallow times where we were just, like, ‘Agh, fucking let’s go for a walk or get a bite to eat or something,’ but that’s the creative process, you can’t always get something every time.” “We ate a lot of good food,” Case laughs. “But then Laura and k.d. deserve the credit for being the rock of the project. They were like the mighty apple trees in the orchard and I was kinda like the hummingbird who would come in and pollinate some stuff, but they were the actual fruit-bearing trees.” With three such strong and distinctive songwriters in the mix was it hard to pull back and let each other be heard? “It was difficult at times, I think we’re all bosses in our own rights and in our own careers and to come in and be absolute democratic equals it took a little adjusting from all of us,” lang reflects. “But I think it was essential for all of us that we all put our stamps on the song and our hearts and souls into it.” “We ran the full gamut,” Case tells. “There were moments were people were mildly butt hurt, like, ‘But my lyrics were good there,’ but then a couple of days later you kinda go, ‘You know what, the song is actually better that way.’ Everybody kind of had those moments separately but we really stuck to our guns, we were really adamant about being honest about what was supposed to happen and serving the song, and we really stuck to that and I’m really very proud of us, because it’s really hard to do!” “I think we just all had to accept that if you’re going to collaborate then you’re not going to get your own way all the time,” Veirs ponders. “It’s easier said than done but we all agreed that we wanted to make a collaborative songwriting record, so we were all able to rise above those feelings of, ‘What the fuck?!’ when that comes up. There was no leader really, it was a true democracy which can take time and feel muddy, and we didn’t always agree but eventually it’s like the song said what it wanted and we all had to kinda agree and bow down to it.”
What: case/lang/veirs (Anti-/Warner)
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Helen Kapalos, director of hotDocs documentary A Life Of Its Own, talks to Anthony Carew about the way we are “putting profits ahead of people’s health and wellbeing”.
t sounds surprising, but A Life Of Its Own: The Truth About Medical Marijuana is one of 2016’s saddest films – there’s families suffering from terminal illnesses and degenerative diseases, proselytising cannabis’s medical potency and lamenting its marginalised status in the medical industry. “I was watching it again at 2am last night,” says Helen Kapalos, its director. “I had another good cry. Every time I watch the film, I cry. Every time I even watch the trailer, I cry. It’s terribly sad. There are [subjects] that, during the making of the documentary, passed away. It’s heartbreaking. People contact me every week asking where they can get some cannabis oil, if there are any compassionate grants available. These are desperate people, who’re not having success with other drugs. Every time I watch it I’m filled with frustration, with sadness for all this suffering that’s going untreated.” Kapalos, a 45-year-old journalist who’s worked for every major Australian TV network - including stints as newsreader and current affairs show host - is an “unlikely activist”, which suits a film that challenges stigma and stereotype. She was inspired to make it after undertaking an initial tabloid-TV report. “I didn’t expect to see the wide-
ranging applications, and that, for example, epilepsy treatments involved strains high in CBD, which is a part of the plant that isn’t even psychoactive,” she says. “Afterwards, there was such a huge response to the story, but I was disappointed that it quickly became a sensational topic, rather than a topic we were looking at seriously. That’s what really motivated me to, literally, go to the bank one day and say: ‘How much money can I get out? I need to make a documentary.’” A Life Of Its Own: The Truth About Medical Marijuana became, then, a labour of love. “I self-funded it, had to take time off work, and eventually I left Channel 7 so I could finish the documentary,” Kapalos recounts. “It became an obsession, to me, to finish it, to depict the subject it the right way. I was frustrated that people are given such misinformation about the subject. So, I wanted to shed some light on this subject. It was a bit like Medical Marijuana 101: this is how it works.” In the US, on a federal level marijuana is still legally classified as more dangerous than cocaine and methamphetamine. This, and the power of pharmaceutical lobby groups, limits research opportunities. “It seems really, really baffling that the research has been blocked, but, then, a lot of it is tied to Big Pharma,” Kapalos says. “For me, the big take-home is: Why aren’t we doing more? Why isn’t there more research? Will Big Pharma ever fund a clinical trial with the whole plant? It’s really befuddling to me that in 2016, we’re, still, putting profits ahead of people’s health and wellbeing.”
What: A Life Of Its Own: The Truth About Medical Marijuana When & Where: 18 Jun, Palace Cinema Como; 21 Jun, Palace Westgarth
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THE MUSIC 15TH JUNE 2016 • 17
Hot For Teacher Steel Panther drummer Stix Zadinia tells Bryget Chrisfield he was a dud root the first time he did it and got arrested at the airport after his drum tech put marijuana in his “drum stick bag”. To read the full interview head to theMusic.com.au
ow ridiculously awesome is the name Stix Zadinia! Did Steel Panther’s drummer dream up any other rad names that nearly made the cut? “I once thought a cool name for a drummer would be Tommy Tom Tom Thompson.” How has no one already snapped that one up? “They might after this interview,” he laughs. Steel Panther’s last release was Live From Lexxi’s Mom’s Garage, an acoustic CD/DVD taped before a live audience in LA and starring Bobbie Brown (famous from Warrant’s Cherry Pie video) as bassist Lexxi Foxx’s ‘Mom’. So who cleaned up the garage after the shoot?
other several times.” Really? “Oh, yeah, I’m not kidding; I’m not making this up to seem like this interview is super-cool. For REAL!” Then Zadinia has a flashback to a gig in Cologne, Germany: “A girl got up and proceeded to get naked, and she had a dildo and she fucked herself on the stage with a dildo. You know what? The police were called to that show and they showed up, and they came in, and we had to stop the show. And then they said, ‘If this happens - if there’s one more incident of this happening again tonight, you will get arrested.’ So that was pretty nuts. Oh! I have another ‘arrested’ story. Do ya wanna hear that? “I got arrested in Phoenix, Arizona at the airport comin’ home from a gig, because my drum tech put marijuana in my drum stick bag,” he laughs, “and I didn’t know about it.” Did they conduct a cavity search? “No, they didn’t. Not for that, no. But later that night there were several cavity searches ‘cause we played in Los Angeles.” Obviously Steel Panther get laid a lot, so we’re interested to find out about the worst sex Zadinia has
I was 15 and I was on a cruise ship and she was 24, and she thought I was 18 – I totally lied. ever had in his life. He singles out his “very first time”. “I was 15 and I was on a cruise ship and she was 24, and she thought I was 18 - I totally lied.” Post-cruise, the pair corresponded via snail mail and Zadinia shares, “She wrote me a third letter and then on the letter responding to her third letter I told ‘er. And, I never got another letter... And she was a school teacher; I’m sure she was very familiar with rules.” Is the drummer sure that David Lee Roth didn’t use this story as inspo for Van Halen’s Hot For Teacher? “He probably did, that sonofabitch,” Zadinia plays along. “He’s a nut.”
When & Where: 18 Jun, Festival Hall “Oh, Lexxi’s mom,” Zadinia claims. “I left. I’m like, ‘I’m not cleaning this mess up!’ But, you know, she’s a pretty fantastic lady and she’s just very generous with all her stuff.” Did any of the band members get lucky with Lexxi’s Mom after the gig, then? “Yeah, well, when I say ‘stuff’ I mean specifically her vagina. You know, we’ve all been there at one point or another.” Surely not Lexxi though, right? “You know what? I can’t say for sure,” Zadinia ponders. Maybe Foxx wants to keep that in the vault. “Yeah,” he laughs. “It’s kinda weird.” Sometimes the scene in a Steel Panther crowd is akin to Girls Gone Wild, so we ask Zadinia to reflect on some of the sexual behaviour he’s witnessed from the stage over the years. “Okay, so I’ve seen two separate dudes get blowjobs. I’ve seen two girls go down on each 18 • THE MUSIC • 15TH JUNE 2016
WED 15 JUNE
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WWW.THETOTEHOTEL.COM THE MUSIC 15TH JUNE 2016 • 19
Sunny Sounds Just when we were wondering whatever happened to Canyons, we learned about Venus II, which pairs Ryan Grieve (Canyons) with Jarrad Brown (Eagle & The Worm/Dorsal Fins). Their debut single Inside Your Sun may evoke The Soup Dragons, but we’re all for it. Plus they’re playing at The Tote on 16 Jun!
Berghaintrainer.com, which simulates the experience of trying to get into Berlin’s primo club destination, complete with questions from the doorman such as “Do you know who’s spinning tonight?”, “Are you drunk?” and “Have you been here before?”
Hit The Bottle
Palace Cinemas sell The Everleigh bottled cocktails (Manhattan, Negroni, Martini or Old Fashioned)! Can they also please pause the film when one needs to visit the bathroom (joking not joking)?
Your New Musical Crush: Venus II
The Orlando Club Attack Our thoughts are with those affected by the horrific Orlando shooting.
Who the eff designed the Greville St makeover? The southside shopping strip now looks like a ‘90s mini-golf course. And not in a good way.
Small Package Dinky bags that only just fit your purchase inside and have tissue paper billowing out of the top, making ‘em a pain in the arse to carry.
20 • THE MUSIC • 15TH JUNE 2016
UK rockers Swervedriver finally returned to the studio after years back in the live fray. Frontman Adam Franklin tells Steve Bell that to move forward you must relinquish the past.
hen revered UK outfit Swervedriver reformed in 2008 after an eightyear layoff, both the band and their many fans revelled in the return of their dreamy brand of shoegaze, swirling guitar music hardened by rock sensibilities and dense imagery that remained as fresh and accessible as ever. Yet after a handful of years touring the music from the four albums they recorded during their initial ‘90s tenure — including a 2013 Australian tour playing killer 1991 debut Raise in its entirety — it became clear that new music was required to sustain the resurrection. After testing the waters in 2013 with return single Deep Wound on Brisbane indie Tym Records, Swervedriver reconvened in the studio in early 2014 (firstly in Melbourne and then back in London) and last year re-emerged with their fifth album I Wasn’t Born To Lose You, a gorgeously restrained collection which balanced slightly updating the band’s aesthetic with remaining true to their signature sound. “I think we’ve been back together for some time and we hadn’t even considered writing any new material for a lot of that period,” reflects frontman and songwriter
Adam Franklin. “Then we got asked to do those Raise shows so you’re then playing the whole old album, so we just decided that it would be good to have some new stuff, some new material. It’s a bit of a shot in the arm really. “[In terms of direction] I think you as much as you can try and have an overview you just have to see where it goes really. I think loosely we sort of wanted something that reflected all sides of the band somehow, and I think we achieved that: there’s the heavier, grungier side of things and the more textural side as well. You can only go with what material you have, but we’re very happy with it.” Franklin explains that the band tried ignoring the spectre of the band’s past, although it wasn’t always easy. “We couldn’t sort of jump off and do a record that sounded completely unlike Swervedriver, but at the same time the band just has its natural sound anyway,” he offers. “The biggest fear would be doing something that ruins the legacy, but at the same time I don’t think you can really think of it in terms of a legacy, if you know what I mean? It’s a weird thing really — you can’t really think about it too much, it has to be a natural thing. “I’ve seen reviews that have said ‘For Swervedriver it’s a lot mellower’ and stuff, and it’s like, ‘Is it?’ I dunno. You can’t really sit around thinking about your sound. I don’t really ever listen to [1993 album] Mezcal Head or something, I’m sure if I listened to it I’d find it was different to how I recall. It’s weird actually because a lot of the old songs we play with more gusto and faster [these days], you listen to some of the old tracks and they sound more stately than the way we play them live now somehow anyway.”
When & Where: 23 Jun, Corner Hotel
Eleanor Friedberger is in a French hotel room in Nantes when Roshan Clerke calls to talk about coincidences, unfamiliarity and her songwriting process.
hile the release of her latest record New View signalled a change in perspective for Eleanor Friedberger, she reveals that recording the album was a more familiar process than she had anticipated. “I’d been playing with these guys who were my backing band with the last tour I did to promote my second solo album, and one of them went to college up in the countryside outside of New York City, not too far away from where I live now. He told me about his friend, who had just built this studio in a barn kind of behind the house where he lived. He thought we could get along well, so I went to go and meet him. It turned out my brother had previously lived in his house, just as a completely random coincidence. The barn that the studio was now in used to store old furniture that belonged to my family.” The friend’s name was Clemens Knieper, who produced the album. However, the coincidences didn’t stop there. “When I met him, we immediately got along very well. I had a lot of faith in him as a producer, even though he was quite young. His father was a German soundtrack composer, and one of the soundtracks he did was for this very formative film for me when I was a kid, called River’s Edge. It was one of those
movies that, for some reason, my best friend and I watched like 25 times in a row and memorised all lines. I felt a connection right away.” Recording the album with her touring band was an experience that opened up new possibilities for Friedberger’s live performances. “I was in a band for a long time and we never, ever played the songs as they were on record. At first it was out of necessity because we would have so many overdubs and such elaborate arrangements on the recordings that we couldn’t replicate them live. I think playing to backing tracks is bullshit, and I would never want to do that. I can’t believe how many bands do it. However, because I recorded this album with the band I’ve been touring with, the shows are sounding more like the record than I’ve ever done before. It’s a new thing for me.” New perspectives are vital for Friedberger’s songwriting, which is informed by experiences from her own life. Thankfully for her, the touring lifestyle brings along plenty of opportunities at each destination. She does however acknowledge that the constant change could be challenging at times. “I’ve been touring for pretty much this entire year, and sometimes people ask me if I like it. Occasionally I’ll say that I’m not sure if I do, but I mean, right now I’m in a small town in France. I just went to a cafe and had coffee. I was sitting there thinking about how much I loved it, and that it was so cool that I was in this weird place that felt like it was out of a French movie. I think I’m just kind of well suited for it.”
When & Where: 18 Jun, The Toff In Town
Here’s what’s been happening with venues around town:
SH EB EEN Will close its doors on 25 Jun due to pressure from regulatory bodies.
Pic: Paul Barbera
BAR O P EN Has recently acquired a new booker, with Dannie McKenzie of The Woohoo Revue now responsible for getting their live music.
T H E WI NDSO R ALEH O U SE Formerly known as the Pint On Punt, it’s been refurbished with live music Fri to Sun and open mic nights on Wednesdays, with 19 craft beers on tap and quality pub food.
THE MUSIC 15TH JUNE 2016 • 21
hen Michael Oechsle made a few tracks in his home town of Melbourne, he never expected it to become anything other than a small personal project. “I tentatively chose to share a few of those tracks with close mates including Max [Pamieta] and he was like ‘Wel,l let’s bloody play them live then!’ So it’s just grown from there into our little baby,” explains Oechsle, who is the lead vocalist and guitarist of two-piece Halcyon Drive. Their follow-up EP to debut Cruel Kids is Untethered, a blend of “intellectually heartfelt pop” and indie-soft-rock. “We worked with Steven Schram [San Cisco, Cat Empire] on
here must be something in the Swedish air that incites its citizens to form metal bands — Opeth, Amon Amarth, Bathory, Entombed, Soilwork and more all hail from the land of Vikings and the smorgasbord. Katatonia is one such band, dating back to 1991 when Jonas Renkse and Anders Nystrom struck up a duo. They then began “exploring black, death/doom metal, [and] have released ten albums up until now with a significant change in the sound over the years, but still rooted in the dark side of the musical spectrum,” explains vocalist and cofounder Renkse of their evolution. The tenth album in question, The Fall Of Hearts was “recorded in Studio Grondahl and Tri-Lamb
22 • THE MUSIC • 15TH JUNE 2016
this EP again, and he suggested the idea of setting up our own space to record. So we shacked up in a beautiful old mud brick in the Otways forest last year for a couple of weeks to knock it over.” “The ‘studio’ location itself was just stunning, and being immersed in that every day was particularly inspiring,” muses Oechsle. Being a two-piece, the band ran up against some creative differences while shacked up in the woods working on Untethered. “I like to think we toe the line between [perfection and vibe when recording]. Max is a very - sometimes frustratingly so - detail-oriented dude, and I tend to be more about the vibe. So we get a good balance even if that takes a few hefty arguments!”
When & Where: 18 Jun, Shadow Electric
Studios, then mixed in Fascination Street Studios.” Renkse doesn’t explain too much about the thematic concerns of the record, putting it simply: “The theme is always there, same as ever. Reflecting upon bleakness of everyday life. But it is not a concept album. “These days the idea of having a new album out is inspiring enough. Then of course any music that we listened to at the time of contemplating and writing this record.” When recording, the band aren’t fussed about being meticulous: “Some parts need perfection, but most of it sounds better if it has just got the right vibe. We go mostly for the emotional aspect in the takes rather that perfection.” The same goes for performing — tried and tested formulas work for Katatonia over improvisation. “We will try to play [our songs] as they are on the album. Maybe in a few years there will be room to give them another set of clothes,” jokes Renkse. “The theme is always there, same as ever. Reflecting upon bleakness of everyday life. But it is not a concept album.”
What: The Fall Of Hearts (Peaceville/Rocket)
he Melbourne rapper Charlie Threads, part of the 90’s RD collective, is a prime example of how life’s setbacks can often steer you on the right path. “I was into skateboarding when I was younger, but after a massive broken ankle I was forced to try something else, so I wrote my first 16 in a wheelchair,” explains Charlie Threads. He’s been working on his new album Palm Trees In Graveyards “in my bungalow, alone, smoking cigarettes in a salt lamp lit dojo,” he laughs. “The project is supposed to feel like a day dream, almost drifting in and out of a consciousness. The graveyards represents my darker music (Incognito) and the palm trees represent a new found love for brighter instrumentation and subject matter that you will get a taste of in the tape,” he explains. At the tail-end of his teen years, Threads says that he has undergone some serious growing as both a human and an artist. “Oh man, so many life lessons and journeys have been learned and taken throughout the making of the project - creatively, personally and mentally. What was most inspiring was transitioning between a rapper to an artist, and truly knowing what that meant.” This can be seen in his favourite track Sink, 100% Sink, “purely because I turned all these negatives and demons I was going through in my life at that point and turned them into a song I could be proud of. Not only was I proud, but I gained closure on shit; that’s music to me.”
When & Where: 30 Jun, Boney
Melbourne Cabaret Festival Focus
Australian Horror Story
The Rise And Fall Of Ziggy Stardust
Answered by: Karlis Z.
Answered by: James Lees.
Describe your show in a tweet: #horrorcomedymusic.
Describe your show in a tweet? Ziggy... is a spectacular celebration of Bowie’s classic 1972 album brought to life by a 12-piece superband and eight wildly diverse singers.
What happened the first time you saw a cabaret show? To be honest, I think I had a nap. But our show is skilfully designed to keep you awake, in horrified hysteria (i.e. laughter). What is your party pump up song? For us, it’d be a terrifying tune from ‘Straya... Denis Walter singing Nick Cave’s Ship Song (shudder). Who is your fave cabaret artist at the moment? The other two performers in my show, tied. Mark Jones and Aurora Kurth are geniuses. One of each sex type. When and where is your Melbourne Cabaret Festival performance? 17 — 19 Jun, 9.45pm at Chapel Off Chapel. Website link for more info? melbournecabaret.com/ australian-horror-story
What happened the first time you saw a cabaret show? I was nine years old and I saw Brecht/ Weill at La Boite Theatre in Brisbane. I was entranced by the storytelling, the darkness and the atmosphere. Later I became a rock musician and I love fusing these two loves together. What is your party pump up song? Blondie — my favourite song is Dreaming. Debbie Harry is still the coolest rock chick on this planet. Who is your fave cabaret artist at the moment? Ute Lemper from Germany — a master of works by Brecht/Weill, Nick Cave and she also worked with Scott Walker. When and where is your Melbourne Cabaret Festival performance? Wednesday 15 Jun, Chapel Off Chapel, 7pm and 9.30pm shows. Website link for more info? melbournecabaret.com/the-risefall-of-ziggy-stardust/
Emma Dean In Concert
Describe your show in a tweet? An eclectic mix of original emotive pop songs, reimagined covers and tales of love, loss and light performed with theatricality and flair! What happened the first time you saw a cabaret show? I honestly can’t remember the first cabaret show I saw, but I remember being completely blown away by iOTA in Smoke & Mirrors. I loved the myriad of emotions and the journey the show took me on. Riveting! What is your party pump up song? Elastic Heart by Sia, Empty Threat by Chvrches; and It Ain’t Easy by David Bowie currently get me dancing! Who is your fave cabaret artist at the moment? Meow Meow, Jinkx Monsoon, Lucinda Shaw and Alison St Ledger for their captivating stage presence and unwavering authenticity. When and where is your Melbourne Cabaret Festival performance? Saturday 18 Jun, 10pm at Chapel Off Chapel! I’ll be performing with my talented brother, Tony Dean.
Answered by: Lucinda Shaw Describe your show in a tweet? Entrancing, dark, gritty and poetic, with richly sensual strings, keys, percussion and an intense hauntingly emotional vocal performance. What happened the first time you saw a cabaret show? It was sexy, intelligent, mesmerising and I instantly understood how powerfully seductive and exhilarating this dark cabaret genre could be. I wanted to engulf my audiences with magic like that, and I wanted that bittersweet honey in my blood. What is your party pump up song? Get Ready for Love — Nick Cave, Moonage Daydream — David Bowie. When and where is your Melbourne Cabaret Festival performance? Thursday 16 Jun, 10pm, The Butterfly Club Website link for more info? thebutterflyclub.com/show/ silver-sircus
Website link for more info?: melbournecabaret.com/emmadean-in-concert
THE MUSIC 15TH JUNE 2016 • 23
The time of year that Australian literary enthusiasts so look forward to is here again: Emerging Writers’ Festival, which runs until 24 Jun. The 2016 festival once again offers a wide range of events including performances and talks that delve into new ideas while exploring the power of storytelling. On 22 Jun, Songs And Stories Of Home promises a night of music and poetry hosted by Jen Cloher and featuring a variety of artists such as folk singer Emily Lubitz, melodic songwriter James Teague and the more electronic sounds of Lanks. Head to emergingwritersfestival.org.au to book tickets and explore the full Emerging Writers’ Festival program.
24 • THE MUSIC • 15TH JUNE 2016
RADIOHEAD A MOON SHAPED POOL
CD & VINYL • JUNE 17
DAY OF THE DEAD
KING GIZZARD & THE LIZARD WIZARD
Eyes On The Lines
Oh Inhuman Spectacle
FUTURE OF THE LEFT
brought to you by remote control
The Peace & Truce of Future of the Left
W W W . r e m ot ec o nt ro l R ECO R D S . CO M THE MUSIC 15TH JUNE 2016 • 25
By Leaps & Bounds
Seeing Stars Deborah Conway
Here are some recent announcements from what’s happening at the Leaps & Bounds Music Festival.
Labour Of Love – Art Series 1 – 21 JUL A free, three-week exhibition featuring works from the Corner Hotel, indie label Bedroom Suck and one of Melbourne’s busiest music photographers Zo Damage, all hosted by Collingwood’s warehouse and gallery Besser Space.
Shake The Tree 3 JUL An all ages event held at Fitzroy Bowls Club featuring Breadmakers, Pink Tiles and more.
Ungus Ungus Ungus 8 JUL Psychedelic gypsy prog-rock band Ungus Ungus Ungus will launch their fourth record at Bar Open.
Heroes 9 JUL Catch five of Melbourne’s finest female musicians as they take to the stage of Melba Spiegeltent to pay tribute to the queens who came before them. Featuring Emily Ulman, Emma Donovan, Jemma Rowlands, Stella Angelico and more.
Living Legend Series 10 JUL Clare Bowditch, Vika & Linda Bull, Rebecca Barnard, Suzannah Espie, Emily Lubitz (Tinpan Orange), Richard Pleasance & Pete Farnan (Boom Crash Opera), Ali Barter and more will pay tribute to Deborah Conway at The Gasometer Hotel.
26 • THE MUSIC • 15TH JUNE 2016
When Bryget Chrisfield sits down with both halves of From Oslo — Joshua De Laurentiis and Joel Penman — they talk ice hockey, trying not to faint on stage and first radio spins.
rom Oslo’s frontman Josh De Laurentiis sports a San Jose Sharks cap in support of the ice hockey team he currently barracks for. “I am celebrating their win,” he admits, smiling widely. Referring to said cap, drummer Joel Penman laughs, “I don’t think he’s had it off!” We’re sitting at a high table, sharing a jug of Sample brew. Penman says of the duo’s impressive, recently released self-titled EP: “It just kind of happened.” “[Jez Giddings] came up to us after we played and said he [wanted] to record us for free,” De Laurentiis enthuses, “record a song just for fun ‘cause he liked it.” Fast forward to the studio. “He dialled in a sound really quick and he got Joel’s live drum sound really good and then we were just, like, ‘Obviously this is the guy!’” Providing an example of Giddings weaving his magic, the frontman remembers, “Joel had just gone, and I was finishing off my vocal takes and I was like, ‘Oh, man! If only we still had Joel to do some screams to the end of this little part’ at the end of Quick Fix, ‘cause it just needed that extra energy; and I can’t do that — Joel can... And then Jez’s like, ‘Hold up a sec,’ and then he went back and grabbed Joel’s [pre-recorded] vocals.” Penman clarifies: “From that other song.”
“And he managed to put ‘em in!” De Laurentiis marvels. When asked how he recreates this section of the song live, Penman laughs, “I just scream and try not to faint.” Has he actually come close to fainting onstage? “Oh, I’ve seen stars a lot of the time, yeah.” Having previously played in a five-piece, which Penman explains “kind of fizzled out”, the pair were inspired to form From Oslo while attending Laneway in 2013. “I think we had a few beers, we weren’t too boozed-up, but I think I just turned to Josh [and] said, ‘Let’s start a band.’ We were watching Cloud Nothings at the time so we were getting pretty inspired, ‘cause they’re pretty raucous on stage.” The benefits of playing in a two-piece, with only two schedules to align, aren’t lost on De Laurentiis: “For Joel to just be able to say, ‘Hey, I’m doing nothing, come over and have a jam...” Songwriting for the pair usually starts with rough ideas hummed into phones. So do they ever listen back to these recordings and think, ‘What was I thinking? That sounds like shit!’ “They all sound like shit, I can guarantee you,” De Laurentiis confesses. “I don’t think I’d show anyone the ones that I do on my phone, ‘cause they’re really embarrassing.” Penman chuckles, “I’m sure mine are worse.” On whether they found out in advance when one of their tracks No Sound was premiered on triple j’s Home & Hosed, Penman reveals. “Dom [Alessio] emailed us that arvo or something.” De Laurentiis adds, “We were gonna see that Quentin Tarantino [movie] The Hateful Eight so we paid, like, shit-tonnes for the ticket as well ‘cause it was the 70mm one. So I was so keen for that and then this came up and I was genuinely like, ‘Errrrrr...’” Rest assured, From Oslo skipped the movie, instead celebrating “that first spin” with “a slab”.
When & Where: 18 Jun, Cherry Bar; 16 Jul, The Croxton
AUSTRALIAN HORROR STORY .... the War Against Terror begins in your own backyard
“ Witty, rude, politically incorrect. A wonderful mix of satire and black comedy. No-one is safe. **** 4 Stars “ (Theatre People)
TE , RA
CHAPEL OFF CHAPEL, 12 LITTLE CHAPEL STREET, PRAHRAN FRIDAY 17th - SUNDAY 19th JUne 9:45 PM $37 FULL $33 CONCESSION or GROUPS OF 6+ $29 FESTIVAL FRIEND PASS HOLDERS
BOOKINGS : www.melbournecabaret.com/australian-horror-story
MELBOURNE / FRI 1 JULY / THE PENNY BLACK BRISBANE / SAT 2 JULY / TRAINSPOTTERS @ GRAND CENTRAL HOTEL SYDNEY / FRI 15 JULY / TOKYO SING SONG WWW.FACEBOOK.COM/ALEXLAHEYMUSIC
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Melbourne Cabaret Festival and Electric Moon Present
M E L B O U R N E C A B A R E T F E S T I VA L & T H E B U T T E R F L Y C L U B P R E S E N T
THURS 16 JUNE 2016, 10PM THE BUTTERFLY CLUB
Chapel Off Chapel 7.00 [Sold OUT] / 9.30 PM / TICKETS ONSALE NOW FROM www.melbournecabaret.com or 03 8290 7000
Sat 18 June, 10pm Chapel Off Chapel Tickets onsale now through: melbournecabaret.com/emma-dean-in-concert or 03 8290 7000
The City of Stonnington proudly supports Melbourne Cabaret Festival
THE MUSIC 15TH JUNE 2016 • 27
In the lead-up to the election, we though we’d highlight the major parties’ stance on a few issues. Here are their feelings on community radio:
Labor Turn Up Your Radio “You’re gonna hear it now/blasting out your radio” Announced they will restore funding cuts.
Greens Guerilla Radio “Turn that shit up” Will ensure funding will continue.
Liberal Who Listens To The Radio “That’s what I’d like to know” Last budget had a $1.4 million drop in funding to the Community Broadcasting Program
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Still recovering from a gutwrenching loss, guitarist Matt Harvey of instrumental post-rockers We Lost The Sea tells Brendan Crabb about “a cathartic purge of emotions”.
e Lost The Sea axeman Matt Harvey takes The Music’s call while at home, where he undertakes freelance work in the design/motion graphics/animation field. The 35 year old insists the Sydney post-rockers are a proudly DIY band in many respects, Harvey often sacrificing his daytime hours “to do some band stuff, so I can work at night on other stuff, or vice-versa”. These duties can have occupational hazards. For instance, he admits scheduling their upcoming first headline tour of Australia entailed considerable effort. “Everyone in this band’s pretty good; when it’s time to work, we work. But essentially, a band has to be run by one or two people... You can’t have four or five head-strong leaders in the band that all want to do something. [Although] if someone’s good at something, then you give them that task to do at what they excel at normally, and that’s totally fine.” He also believes next time around they’ll likely require a manager, or someone in a similar role to assist. “But I’m a bit of a control freak. I like to make sure everything runs to a really high standard. It really stresses me out and it’s probably going to kill me one day, but I make sure everything’s done properly... Some of the time it gets too much, and the other
dudes chip in when they can. I refer to it as my second job, because essentially it is. It’s not a fulltime thing, I don’t make any money off it, but you’ve got to treat it like that.” During the aforementioned jaunt, the ambient act will perform last year’s emotionally and sonically draining Departure Songs album in its entirety. It’s a moving tribute to vocalist Chris Torpy, who took his own life in 2013. The remaining members opted to continue as an instrumental outfit. Does Harvey believe they’ve sufficiently purged Torpy’s death artistically, or could he prove an over-arching theme going forward? “Definitely with Departure Songs, the event of losing Chris was a massive thing, and a cathartic purge of emotions is exactly what it was. It’s also got some really pretty moments, which the band has never really done before. “I really hope we can be, with the next album, we can be in a really happy place and still write an album that really affects people. Because with this album we’ve had so many people writing to us, week after week, still to this day that pour their heart out and love the album and say thank you. I think regardless of what we do in the future the next album will be very special for us and a lot of our fans. I think next time, I hope, maybe the theme with Chris, I don’t think directly, and I think we need to move on. I think the next record, whatever head-space we’re in at the time is what we’re in at the time, and it might take another two years to develop that album. But it is an inspiration. It was an inspiration to do what it was, and I don’t think we could write another album like that, because the emotion behind it was just so raw, and you can’t fake that.”
When & Where: 18 Jun, The Old Bar
THE MUSIC 15TH JUNE 2016 â€¢ 29
Eat / Drink Eat/Drink
Dou ble Gi n
Archie Rose Distilling Co
This boutique distillery and bar has been running for a year in Rosebery: the first independent distillery in the City Of Sydney in over 160 years. New limited edition gin the Archie Rose Tailored Gin plays with the flavours of cassia bark, orange and Angelica root — only 900 bottles are available now at Vintage Cellars.
Poor Toms Gin Poor Toms Gin moved from cofounders Jesse Kennedy and Griffin Blumer’s kitchen table in Sydney’s Inner West to a little warehouse in Marrickville just last year. Oh, and the lads behind it named their 200-litre German copper still Jane. They handcraft small batch gin from Australian wheat spirit, featuring hints of fresh green apple, native strawberry gum-leaf and chamomile.
We were so cooked we missed World Gin Day last Saturday — probably too many gins. But that doesn’t mean today, any day, every day isn’t a great time to talk about the artisanal gin distillers coming out of Australia.
Melbourne Gin Company
Four Pillars Distillery Four Pillars were established at the end of 2013 in the Yarra Valley, starting off by making small batches of 420 bottles, each bottle numbered and hand-labelled. For World Gin Day they’ve got a Bloody Shiraz Gin arriving on shelves — yes, the product of Yarra Valley Shiraz grapes steeped in high proof Rare Dry Gin for eight weeks. 30 • THE MUSIC • 15TH JUNE 2016
Melbourne Gin Company offer up hand-crafted, batch-distilled and non chill filtered gin, made at Gembrook Hill Vineyard in the Yarra Valley. There are 11 botanicals extracted, distilled and blended into a Melbourne Dry Gin — juniper berries, coriander seed, grapefruit peel, rosemary, sandalwood, macadamia, honey lemon myrtle, navel orange, angelica root, orris root and cassia bark.
In the wake of the Paris attacks, The Events’ Catherine McClements talks to Brynn Davies about how we come to terms with “why”.
hen the news broke that Anders Behring Breivik attacked the Workers’ Youth League summer camp in Norway on 22 July 2011 - killing 77 people, many of whom were children - the entire world was rocked to its core. Now, in the wake of last month’s Paris attacks, The Events written by David Grieg holds an ever-poignant message about violence, community, and asking “why” human beings commit such atrocities. “It’s a play about a woman who has survived an attack on her choir that she runs, and it follows her in the aftermath of how she deals with living after such an event that happened in her life,” says Catherine McClements, who will play Claire in the Belvoir, Malthouse Theatre and State Theatre Company Of South Australia co-production of The Events. Our interview takes place the week before rehearsals begin, and even though McClements doesn’t know how it will all unfold, she has found herself contemplating existential questions surrounding humanity. “It just sort of opens up the questioning of how we can heal, how we can forgive... Can we forgive? And explores what a human being does in these situations. Certainly what’s happening in Paris, it’s very raw and it has changed our perception of what life is like in a big community, and I think we’ll bring that to the piece. “It’s ‘How do we stop it happening?’ That’s
the question. That’s what everyone’s trying to find the answer to,” she says. The Events is not an entirely tragic play. “There’s a great sense of humour in the play - that’s what it means to be human as well, the idea of connecting with other human beings. It’s what’s happening in Paris. It’s what happened in Brussels [during the lockdown] when they sent those cat photos. That suggests beautiful human experience of fear, and the horror of it, and it’s a way of healing and coming together as a community.” Johnny Carr, who plays ten other characters in the play - including the young shooter - will join McClements on stage. “Having one person act out all these different things is sort of like her one mind trying to find out who this boy is and all the different elements of him - it’s the same actor playing all these different parts of him,” she muses. Also appearing will be local community choirs, adding a musical dynamic that weaves itself into both the plot and the overall atmosphere of the play, evoking a Grecian chorus. “Every performance a different choir comes on stage. That’s the whole dynamic of the play - inviting the community on stage to explore these themes. They [the choir] haven’t seen the play before. They know their cues and everything, but they’re watching the play unfold as well as the audience, so it’s almost the audience reflected back to them while they watch. “In the theatre - when we hear everyone laugh, when we see a human being on stage we are in a living, breathing organism. We don’t cease to exist, we feel very much alive. And that’s exactly what the play’s about.”
What: The Events When & Where: 21 Jun - 10 Jul, Merlyn Theatre, Malthouse Theatre
Film In cinemas 17 Jun ★★★★★
Finding Dory is the amazing sequel to Finding Nemo. Finding Dory is a funny, sad and touching story about Dory trying to find her parents with Marlin and Nemo, and as the title says, they lose Dory and they have to try and find her in a big aquarium/fish rescue centre. Finding Dory had amazing animation and was overall a great story, with a great choice of actors such as Ed O’Neill, Ty Burrell and Ellen DeGeneres. This movie is definitely for everyone, it might be aimed at little kids but I think it could be aimed at all audiences and everyone would think it was amazing. It was also a very suspenseful movie which I loved, you would think everything is ok and then something would happen and it would change everything. I would also suggest coming a little early to see the short at the start. The short was probably as good as the movie. Also stay a little bit after when they show the first set of credits and try and spot Hank The Octopus hiding around the place. Overall I loved this movie and you should try and get tickets as fast as you can to watch it! Sunny T is ten years old. THE MUSIC 15TH JUNE 2016 • 31
Album / E Album/EP Reviews
Album OF THE Week
The Gooch Palms Introverted Extroverts Summer Camp Records
Anyone fortunate enough to have caught The Gooch Palms live knows there is a lot more going on than the post-Ramones pastiche that a casual first listen might suggest. From the finely calibrated bogan-chic aesthetic to the casual comic banter, the Novocastrian duo proffer pop-punk as performance art: inimitable, iconoclastic, tongue-in-cheek and fun as hell. Look past the ugly hairdos and exaggerated, literally dickwagging bravado and you find that the party starts at the level of sublimely savvy songwriting. Introverted Extroverts – recorded in “butt-fuck-nowhere Michigan” during a two-week hiatus from touring the States in 2015 – picks up where its predecessor Novo’s left off, reinvigorating Gooch Palms’ lovingly lo-fi sound without reinventing it. The Ramones remain a major touchstone, but so too does melodic 1960s pop, as evidenced by the relatively downbeat Invisible Man and the demented Frankie Valli-esque “Ai-yie-yies” on the excellent Trackside Daze. Elsewhere the album sparkles with hooks and licks; every song sounds like a new anthem for revellers both too drunk and not yet drunk enough to call it a night. “It’s gonna be ok - just dance,” McQueen and Friend insist on Living Room Bop. The band claims Introverted Extroverts is “the catchiest album you’ll ever hear in your whole entire life” – that piece of hyperbole may be close to the truth. Tim Kroenert
Car Boot Sale
Really, what a wonderful idea to bring together the nonchalant vocal bravado of Neko Case, with the sublime power that is k.d. lang, and balance it out with the intricate folk of Laura Veirs. Their eponymously titled LP should probably be called Awesome Ladies of Song. They very nearly deliver on the promise of their collective powers through 14 songs that wind through wooded paths, up and down hills, and along the open roads of California and beyond. It starts out with a stunner in Atomic Number - all haunting and lush with a call out from the three voices, with Case taking the reins. It is followed by Honey And Smoke, as lang leads the languid charge. Veirs steps into the spotlight on the ode to storied songstress Judee Sill on Song For Judee, a gently rolling song. Delirium is the best
Kevin Mitchell’s fifth album as Bob Evans marks the match-point where his solo long-playing output draws even with that of Jebediah, the band he’s fronted for the last 22 years. Much like where fellow former enfant terrible Ben Lee found himself on last year’s Love Is The Great Rebellion, Mitchell now occupies a cosy campervan of domesticated folk-pop choonery. Happy Tears is his answer to Lee’s gooey and fatherly Happiness, and when on Ron Sexsmith (the title a mere McGuffin for a whimsical nod to a thirsty fan) Evans rolls “He said ‘Who?’”, he’s this close to asking you to catch his disease. From there, the suburban kid kicks it down a notch with only Matterfact adding some crunch to remind of his snotty punk history. It’s not that he can no longer jump and gurn, he simply chooses not to. Holistically then, Car Boot Sale
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song on this album, with senses ignited lyrically: “The smell upon your skin is firewood.” It is another showcase for the always emotive, always strong Case, supported by dreamy backing harmonies from her colleagues. Where the album comes up short is in the songs that veer from a sort of cool smooth jazz (1000 Miles Away) or layered folk (Supermoon) into something, well, a bit sleepy. There is no doubt that the awesome ladies have awesome range (especially Case and lang), but they play it a bit too restrained when we so know they can do bigger, bolder singing. Perhaps they are saving more of that for the sequel. Tara Johnston
coalesces Kevin ‘16 - the family man/tour-bus troubadour. There’s no snarls of getting wasted, just bouncy banjos (Old News) and a twinkling piano and subtly glistening string section on Race To The Bottom. He certainly seems troubled by the world his children will inherit, but not so much as to want to scare the crap out of them just yet. With each release, Mitchell seems more comfortable as Bob Evans, perhaps even ready to retire the persona that was ‘the singer from Jebediah’. Car Boot Sale still finds him standing ten foot tall and truly on his own two feet. Mac McNaughton
EP Reviews Album/EP Reviews
You Will Never Be One Of Us
Emotions And Math ATO/[PIAS] Australia
Let’s Eat Grandma
Not sure why Nail frontman Todd Jones is so pissed off, but if he keeps churning out this gloriously inhuman noise you hope to hell he never finds inner peace. You Will Never Be One Of Us takes everything good from their previous Unsilent Death and Abandon All Life LPs and distils it down further into a 21-minute unrelenting fist to the face. A series of quickfire powerviolence missives culminates in an eight-minute sprawling nightmare (They Come Crawling Back), whose malevolence just leaves the listener wanting more. Unless something pretty special comes along, this will be the finest heavy album of 2016.
This is one of those records that could soundtrack almost any moment of your day - the final half hour of work, a late night drive, a pile of dirty dishes or a filthy hangover. Margaret Glaspy’s voice combines the tenderness of Regina Spektor with the gravel of Melissa Etheridge, and Emotions And Math is sure to impress new fans and solidify her position in the new guard of female singer-songwriters. Within each song is a twist, a turn or a simple pivot that will force you to stop what you’re doing, prick your ears up and say, “Yes, I’ll have some more.”
While their name sounds like some upstart, snotty-nosed punk band, the music created by British duo Let’s Eat Grandma is instead ethereal, at times haunting gothic pop. It’s almost mystifying how the teenage duo Rosa Walton and Jenny Hollingworth, 16 and 17 years old respectively, could even be aware this type of music exists, let alone create it themselves, but that’s what they have done on their debut, I, Gemini. At times pulsating (Eat Shiitake Mushrooms), at others downright terrifying (Rapunzel), the recording quality of I, Gemini doesn’t always hit the mark, but it’s worth challenging yourself with.
Gojira’s sizeable reputation is such that the French progmetallers seem almost beyond reproach or criticism in many quarters. The hysteria is largely warranted, though. Song lengths are somewhat reined in and although harsh vocals still resonate, a tastefully executed, greater focus on clean singing occurs within the heavily syncopated attack. Riffs more scathing than the review of a new Adam Sandler flick (Stranded) mesh with ambient flourishes, which on the likes of the effects-infused title track take increasingly intriguing detours. Meanwhile, Pray’s monstrous grooves retain visceral appeal.
More Reviews Online Scorpion Child Acid Roulette
Jambinai A Hermitage
Swans The Glowing Man
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Album / E Album/EP Reviews
Mumford & Sons Plutonic Lab
Deep Above The Noise Wax Museum Records
Martin Craft has created a holistic and moving third album. Borne from time spent on the edge of the Mojave Desert, these piano-based meditations on time, space and nature feel both intimate and expansive with hushed, dreamy vocals that blossom into much larger orchestrated sections. There are all manner of ambient environmental sounds in the mix, lurking below the surface of the recordings and adding to the album’s haunting and sometimes pagan mystic vibe. Craft hasn’t eschewed songs for atmosphere though. Tracks such as Chemical Trails emerge from the desert haze with rich melodies, choruses and verses like Mercury Rev in a sad and beautiful dream-state.
A promising effort from solo New Yorker Mitski Miyawaki, Puberty 2 is replete with off-beat, subtly clever songs. Mitski deftly tackles issues such as identity on Your Best American Girl, but you may occasionally feel like shouting “first world problems” at some of her bourgeois beefs, as she’s the only artist we can think of who complains about happiness. Nonetheless, her individuality and sense of melody threads its way through an impressive breadth of styles, from Neutral Milk Hotel’s passionate folk racket to elegiac synth-pop.
South Africa is a country that rarely sees major international bands spend any extensive time there. Mumford & Sons recently bucked this trend, spending weeks there earlier in 2016. During their tour they holed up in a recording studio in Johannesburg to record five tracks with some of the country’s best musical minds. While Baaba Maal’s distinctive voice is a drawcard on this EP, The Very Best and Beatenberg are bands that most Australians would not recognise, yet their ability to bring different approaches to these songs ensures that Johannesburg barely feels like a Mumford & Sons release at all.
For some, instrumental hip hop is where we, as a musical nation, put our best foot forward. Plutonic Lab is doing his bit to strengthen the argument. Leigh Ryan came up over a decade ago. Here he shows that he can pull of his old tricks (like straight up banger Sliced Bread) at the same time as showing us new ones (like the sparse brutality of Pushin). Sirens is not about police brutality as it would have been in 2005. It is a seductive sea serenade; moody and deadly. We came to know Plutonic Lab as a maker of beats for rappers; his works being defined by the voices put on top of them. This record shows he is vastly more than that.
Christopher H James
More Reviews Online Rage The Devil Strikes Again
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Laura Mvula The Dreaming Room
Listen to our This Week’s Releases playlist on
ZOE RYAN FR I DA Y S IN JULY
6- 8PM FRONT BAR TH E WESLEY ANNE
THE MUSIC 15TH JUNE 2016 â€¢ 35
Business Music When Your Club Needs A Boss With Paz
OG F l ava s Urban And R&B News With Cyclone
talians DJ Khalab and DJ Hendrix teamed up for 6TH PRLL, the soundtrack for the Asics X Slam Jam (Italy) 2016 Gel-Lyte III release. I caught up with Khalab via email, where I found out the Hendrix/Khalab collaboration was born of friendship “...I’m working with Hendrix since long time. We share the console many times, we spent many nights playing records and many days
messing around. We produced it in two different studios: mine, Snob Studio, in Rome and his in Ferrara, were he lives.” Khalab proves he has a no limits approach to production and used a variety of hardware to complete 6TH PRLL. “Crumar, Juno-106, Ableton, SP-404SX, Roland Juno-60, Minimoog Voyager, Yamaha DX7-808... I play with the sampler, SP, I play machine or live, analog synth and percussion... I don’t want have any kind of limits, I just want
ead all about it... maybe. Emeli Sande should finally follow 2012’s UK chartbuster Our Version Of Events this year. The Heaven singer (wisely) delayed her second album because she didn’t want to go up against Adele’s 25. Sande is yet to make an impact outside the UK. In fact, avant-soul connoisseurs will be more exhilarated by Laura Mvula’s The Dreaming Room — the sequel to 2013’s Sing To The Moon. Mvula is surely Britain’s most underrated soul singer. (The folksy R&B singer Lianne la Havas, admittedly patronised by the late Prince, has garnered greater mainstream attention.) In 2013, on the back of the sublime Green Garden, this Birmingham chorister-cum-auteur formally inaugurated her post-dubstep synthesis of baroque, choral, gospel, symphonic, pastoral, prog, jazz and soul genres with Sing To The Moon. Mvula was nominated for the Mercury Prize, losing to James Blake with his possibly peerless Overgrown. She re-recorded her debut with the Netherlands’ Metropole Orkest. What is so extraordinary about Mvula is that, like Blake, she’s cultivated such a distinctive sonic aesthetic — one comparable to Kate Bush and Grimes as much as Janelle Monae. The Dreaming Room signifies a continuation of Sing To The Moon. Still, Mvula introduces more orchestral, Afro and club elements (Let Me Fall verges on breakbeat). The first single, Overcome, has Chic legend Nile Rodgers’ funky guitar — his worthiest collab in ages (let’s forget his track with Keith Urban and Pitbull!). People, a compelling song emanating from the African diaspora, has a spectacular cameo by grime MC Wretch 32. Laura Mvula Mvula’s newest single, Show Me Love, is a celestial ballad.
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to let my creativity free to explore every field. But I prefer to play live without computer, it’s my way to stay concentrated on what I’m doing without looking at the screen. The master was made in the Neel’s studio, one of my best techno and experimental electronic producer ever.” And what’s in the future for Italian, afrocentric music and the production? “I’ve been always working on this sound, as a DJ and as researcher, and as a producer in the late years... In terms of innovation, audience and insider feedback Clap! Clap! (aka Cristiano Crisci) is at a superior level. Today he’s the producer i have more fun to work with, we have several projects for our future.”
Dance Moves New Currents With Tim Finney
ost European techhouse of note these days is difficult to carbon-date, sounding like it could have emerged at any time in the last 15 years or so. A pessimist would say this reflects a lack of genuinely new ideas, but a more forgiving interpretation paints a scene in an ongoing process of refinement. It’s not surprising then that the debut album of Swedish producer Alexander Berg (under the moniker Dorisburg) feels so much in dialogue with that which has come before. Specifically, with Irrbloss, Berg joins the ranks of John Talabot, Mano Le Tough and Young Marco in offering electronic music of
unabashed prettiness, his becalmed techhouse grooves buffed to a sumptuous, high gloss sheen. Talabot has in fact put out Irrbloss through his label Hivern Discs, and you can sense his influence and guiding hand at work here: more than any other point of comparison, Irrbloss strongly recalls Talabot’s debut album Fin both in mood and sound design, in its interplay of melancholy and wistfulness, and the way his grooves spool out like rippling satin. Both the rhythms and melodies pirouette with pointillist grace, uniting both impulses, Berg frequently draws for arpeggios that seem to mutate and deliquesce both tonally and percussively, acting as both refrain and rhythmic counterpoint. Where Irrbloss departs from Fin is in the lack of any gestures towards populism or songfulness: while the tunes are beguiling enough, Berg doesn’t attempt to make them particularly nagging, and there are no vocal
contributions whatsoever. The effect is to make the album seem more reserved than it really is, more woven into fabric into everyday existence. Fabric metaphors keep on occurring to me, perhaps because of the strong sense of warp and weft at work in Dorisburg’s production approach. On the title track, a lonely woodwind wanders through the groove with the same detached air of searching as Jon Hassell’s trumpet. Throughout Insvept, a synth riff bubbles up endlessly and desperately, only to fall back again each time, like a fish looking for a hole in the net of the groove. On Kassiopeia, the arrangement becoming increasingly elaborate and ornate with synthesiser melodies seeming to lash out in arcs, as if a spirallogram was being used to trace a web of riffs around the central groove. Meanwhile, Gloson contrasts a moody, burbling bass line and sharply pinging synth riffs; they dart around each other like flies on the surface of a swamp. Perhaps my favourite inclusion is Sagofabrik, whose combination of stuttering heartbeat rhythm, trebly woodblock percussion and compressed, squiggly arpeggios sounds at once like floating around an alien’s bloodstream and being in the centre of a menagerie. As with much of Talabot’s album, Irrbloss’s advances through new emotional and (seemingly) geographic terrain mostly come at the expense of dancefloor dominance, as he uses his ear-tickling rhythms and iridescent riffs to convey a sense of isolation within the natural world. The album cover’s wood carving depiction of an explorer staring out over a forested ravine is almost too fitting, as if Dorisburg risks making too Dorisburg explicit the vibes and sensations his exquisitely textured and topographical arrangements are intended to evoke. Irrbloss’s dedication to a more mysterious air makes it easily one of the most gorgeous homelistening techno albums this year.
MEOW MEOW • DAVID HOBSON & COLIN LANE • TRIPOD • NGAIIRE ABBE MAY • JAMIE MACDOWELL & TOM THUM • SVEN RATZKE • CARLOTTA LADY SINGS IT BETTER • MODERN MĀORI QUARTET + MANY MORE!
Tıckets on sale now F E S T I VA L O F V O I C E S .C O M
THE MUSIC 15TH JUNE 2016 • 37
Live Re Live Reviews
Culture Club @ Rod Laver Arena. Pic: Lucinda Goodwin
Culture Club, Kids In The Kitchen Rod Laver Arena 10 Jun
Culture Club @ Rod Laver Arena. Pic: Lucinda Goodwin
Kids In The Kitchen @ Rod Laver Arena. Pic: Lucinda Goodwin
DMA’S @ Corner Hotel. Pic: Paul Johnstone
DMA’S @ Corner Hotel. Pic: Paul Johnstone
DMA’S @ Corner Hotel. Pic: Paul Johnstone
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Kids In The Kitchen tea towels are genius merch item for tonight’s demographic. With a 6.30pm start time, there were always also gonna be more Kids In The Kitchen than in the audience. The blown-up promo shot, which acts as the band’s backdrop, crops keyboard player Alastair Coia out of the picture (although we can still see his blonde mullet and brown leather jacket edging into the shot). The band could use a photoshop tutorial. During opener Bitter Desire, frontman Scott Carne bounds across the large stage, gingerly throwing the mic from one hand to the other. Backing vocalist Susie Aherne sports Game Of Thrones-inspired attire and adds a wonderful texture to their sound. Song two, Revolution Love, is a bewildering inclusion that we can’t really remember. Carne’s banter incorporates way too many jokes about getting old and there’s a false start during Shine, after Carne announces, “I’ve forgotten where I was in the song... Wanna hear it again?” At least we get to hear guitarist Claude Carranza shining twice on that intro, but Craig Harnath noticeably takes some aggression out on that slap bass. Out Of Control stands up amazingly well even with the backing-tape brass. Aherne’s feature spots take our breath away, particularly during Place To Go. Carne wanders back out on stage, nodding in time to the music and misses his cue. He then tells us that even though the band didn’t make it into Molly Meldrum’s book, said legend (who’s in the house tonight) produced the band’s excellent Something That You Said single. The singer is also obviously a Nashville fan given all the “y’alls” he incorporates into banter. The
spoken word interlude during closer Change In Mood and the song’s urgent, escalating tempo leave us simultaneously delighted and knackered. It appears both the Maria George factory and the Rose Chong Costumiers have exploded in Rod Laver Arena’s foyers and landed all over punters’ bods: a people-watching paradise. Watching Culture Club’s pre-show video collage makes us realise, instantly, just how important this band were, celebrating diversity and challenging the norm in the image-obsessed ‘80s. A brass trio elevates Church Of The Poison Mind, but even three backing vocalists can’t replace Culture Club’s OG BV provider, Helen Terry. Boy George’s pastel pink bondage-inspired get-up with matching puffy cap is offset by a macho goatee, and his husky, soulful timbre is
If you grew up with Culture Club on your walls, you’re probably a bit more openminded. impressive as the hits keep on coming with It’s A Miracle and I’ll Tumble 4 Ya. “If you grew up with Culture Club on your walls, you’re probably a bit more openminded,” George commends. His cover of Bread’s Everything I Own is a bit of a downer, but the R&B-tinged Black Money quickly restores our excitement levels. We definitely have George’s tumultuous relationship with drummer Jon Moss (who looks a lot like a mini-cab driver these days) to thank for Culture Club’s
eviews Live Reviews
heartbreaking lyrics. “Jon’s a snob. He’s from Hampstead,” George quips. Victims speaks volumes this evening; lyrical content we were probably too young to fully comprehend rings true. (Do You Really Want To Hurt Me? has the same impact later in the set - an unofficial antibullying anthem). George tells us he’s enjoyed revisiting, “songs you’ve forgotten you’ve written”. He then points out Culture Club were all about being “authentic”. Introducing a song that “fell flat last night”, George coaxes, “Pretend you’re at a Queen concert or something, ‘cause you are”. Rather than material from the band’s still-unreleased Tribes album, we really would prefer to just hear the hits. Finally, Karma Chameleon is ushered in with its cheeky harmonica intro. During this song, George’s gospelly vocal tone is perfectly showcased. Meldrum is led out to the stage to wish George a Happy Birthday (and lead a singalong even though the singer’s birthday’s not ‘til Tuesday) and we can barely decipher a single word, which is upsetting. A nod to a couple of George’s late heroes comes via Get It On (Marc Bolan) and Starman (Bowie) covers. “I’m George!” he announces, apparently outgrowing the “Boy”. Choosing not to close with a Culture Club hit seems odd. Still, we’re rapt this isn’t a farewell tour with George insisting Culture Club are “far too young” to retire. Bryget Chrisfield
DMA’S, Green Buzzard, Ray Borner Corner Hotel 11 Jun There is method to Ray Borner’s madness. His perfectly feelgood DJ set includes a smattering of happy, dancey tracks from the likes of Tame Impala and Talking
Its extended instrumental slowly builds to a level fo intensity that is almost suffocating.
Heads, alongside classics from The Strokes, The Rapture and The Smashing Pumpkins. We can feel him coaxing our ids back towards the rocking ‘90s; priming us for the excellent post-Britpop reconstruction that is DMA’S. First there’s a welcome detour via 1970s-inflected psych-rock courtesy Sydney’s Green Buzzard. Like tonight’s headliners they ply their trade with equal doses of professionalism and bravado. And like DMA’S they excel by doing the basics well; strong melodies, infectious guitar licks, a cacophonous and well-drilled rhythm contingent, likeable pop hooks that occasionally devolve into a din of feedback. Singer Paddy Harrowsmith sums it up: “We’re just two rock bands rocking out.” Speaking of rocking out, DMA’S launch into full-tilt rocker Timeless before we’ve barely registered that they’ve arrived on stage. The core three-piece of Matt Mason, Tommy O’Dell and Johnny Took has been expanded to a six-man live line-up, finding strength (and volume) in numbers. Too Soon gets us jumping in time to the barrage of blue lights. The acoustic guitar-led Straight Dimensions is an unlikely candidate for crowdsurfing, and the fact that it elicits just that is testament to how exciting DMA’S really are. The unmistakable lick and explosion of red lights that
announces Feels Like 37 sets off a veritable frenzy. DMA’S charisma is undeniable and understated. They go about their business in workmanlike fashion, and the banter is minimal and routine: “Thanks for having us,” O’Dell says. We are captivated nonetheless. “This song’s called ...” O’Dell begins, but the title is lost in a torrent of screams. Somehow we already know it’s So We Know, and we sing along so loudly that O’Dell is almost drowned out; in a set that favours the rowdier tracks from this year’s debut album Hills End, this acoustic ballad is a welcome change of pace. By now the levels of love in the room are almost palpable. Mega-popular single Delete is predictably well-received (and you get the sense that DMA’S still genuinely enjoys playing it), but older song Laced goes down just as well. The unassuming Play It Out seems like an unusual choice to close such a hardrocking set, but its extended instrumental coda slowly builds to a level of intensity that is almost suffocating, and leaves us panting for an encore. Sadly we don’t get one. Tim Kroenert
Blanck Mass, Habits The Curtin 9 Jun Outside, a rumble can be heard coming from the walls as Habits - after a run of notable local headline performances - take the sole supporting slot. Habits is one of Melbourne’s best live electronic bands at the moment, the volume is deliciously high and this duo become more elite with each performance. Their stage presence radiates confidence and draws the audience into this dark wave-fuelled, ubersexualised, pop culture-endorsed
world that lacks any real hope. The vocoder-driven grime of Veins and industrial-tinged closer Reverend Mother perfectly showcase the duo’s sound. Musically, the performance is predominantly well executed, although there are a few issues with levels and the odd sample fumble. The Habits machine shows no signs of slowing down, nor does it need any fucking gas. Blanck Mass begins and sound consumes all. In the country to head up Dark Mofo this weekend, Benjamin John Power (day job: half of Fuck Buttons) delivers a mishmash of sound art and also tries to keep things traditional. It’s at its best when Power is taking chances, using sound like paint on a canvas. The experimental side of his music not only causes intrigue, but also creates an immersive experience that warrants no other emotion except awe. It’s at its worst, however, when Power approaches sound as more of a functional tool. Beats and samples are used as backbones for some sections and feature just because of their aesthetics in the foreground as Power juggles the rest of what he is trying to do in the back. The
It’s at its best when Power is taking chances, using sound like paint on a canvas. mindset feels like: ‘If this kick beat sounds electro, then people will dance.’ This also leads to a number of sections becoming quite repetitive. The attention span of the (oddly diverse)
THE MUSIC 15TH JUNE 2016 • 39
Live Re Live Reviews
More Reviews Online theMusic.com.au/ music/live-reviews
Air Supply @ Palais Theatre Thelma Plum @ Northcote Social Club Snarky Puppy @ Forum Theatre The Harlots @ Cherry Bar Tomasz Stanko Band @ Malthouse Theatre Eddie Palmieri Latin Jazz Septet @ Hamer Hall Jose James @ Hamer Hall Tex Perkins @ Northcote Social Club
40 • THE MUSIC • 15TH JUNE 2016
audience wanders to the point where there’s attempted conversation over the roaring PA. Power also rarely takes the spotlight as a performer, his only real crowd interaction being the point when he discovers the laptop running the projections has a Java update available. Last full-length album Dumb Flesh gets quite a lashing. It would have been nice to hear some of the material from their self-titled debut, though. The set ends with a feedback bass drone with other scattered noise mixed in while the ‘logo’ from the Dead Format video endlessly rotates in the background. It’s a real, ‘Hey, there’s an encore coming,’ vibe, but everyone eventually files out after ten-odd minutes. And for those who remain? Alas, no more.
to how the evening will unfold. Byron Bay’s finest, In Hearts Wake, grace the stage next and bring added urgency along with their trademark alternating unclean/clean vocals. Vocalist Jake Taylor’s presence impresses while chugging riffs rev up the crowd and incite the mosh.
thrashes his big hair around and the band’s dense sound completely fills this vast space. Most of the material Northlane play this evening can be found on their Singularity set. (Relax, long-time fan-favourites Rot and Quantum Flux are also included.) Before we get into the Equinox stage of the evening,
Northlane, In Hearts Wake, Hands Like Houses Festival Hall 12 Jun As soon as doors open, fans rush as close to the barrier as they can possibly get and then sit on the ground to guard their spots. There’s always a completely different vibe when Festival Hall hosts gigs that cater for all ages and not being able to drink a beer while watching the bands sucks for those among us who are used to doing so. Canberra group Hands Like Houses present a set that comprises a lot of songs from their latest and third Dissonants album. Frontman Trenton Woodley stumbles over his words a fair bit and could work on his banter, but their sound is well-honed and memorable. It’s aggro, but not devoid of melody. These Equinox shows are such an interesting concept and there’s added suspense as
DMA’s @ Corner Hotel. Pic: Paul Johnstone
Then enter Northlane. Bass rumbles up through the venue’s floorboards and we wonder whether these interspersed sets engage the bands in a healthy competition for best crowd
Both bands blend into something even greater: a merciless sonic beast. reaction of the night. Lights are directed toward the audience and resemble accusatory fingers pointing out our way, demanding that we get involved. Relatively new frontman Marcus Bridge
In Hearts Wake and Northlane return the stage for one more bout each. Then, as soon as the Equinox EP artwork drops in as backdrop, we know what’s coming. But nothing could really prepare us for the overwhelming experience of seeing Northlane and In Hearts Wake literally sharing the stage and combining forces. It’s beautifully brutal as demonstrated through Hologram and both bands blend into something even greater: a merciless sonic beast. And after confetti cannons detonate, our celebration of these heavyweights on the worldwide heavy scene is complete. It just had to be said that UNFD are owning it at the moment with their artist roster. Bryget Chrisfield
Arts Reviews Arts Reviews
Swan Lake. Pic: Daniel Boud
Film In cinemas 16 Jun
Swan Lake Dance State Theatre, Arts Centre to 18 Jun
★★★½ As the curtain rises on The Australian Ballet’s revival of Stephen Baynes’ Swan Lake, a confusing prelude unfolds. Prince Ziegfried (Adam Bull) is haunted by the memories of his father’s funeral, but this scene seems rushed and our eyes are too busy admiring the fairytale universe created via Hugh Colman’s breathtaking design. Once we’re transported to the palace gardens, Baynes’ intricate choreography speaks to every nuance of Tchaikovsky’s sublime score. As potential fiancees are paraded before the Prince, awkward arrivals from The Bachelor spring to mind. But Swan Lake is all about the swans and we eagerly anticipate the ‘white acts’ (two and four). The shimmering lake doesn’t disappoint and visuals of a swan flying towards us bring the cyclorama to life. Amber Scott is exquisite as Odette. Her undulating port de bras? Mesmerising. The flock of swans are perfect mirror images, but one cygnet is a fraction out tonight. Moving formations would look spectacular from the dress circle. During Act III, the Russian Princess dance — which effortlessly incorporates a floaty piece of fabric — is the perfect vehicle for dancer-to-watch Valerie Tereshchenko. While this visually stunning production showcases the technical virtuosity of this world-class company, the performances don’t demand one’s total emotional investment.
Action/violent romantic comedies are nothing new, particularly when they involve professional killers/ gangsters/spies. For every great one (Grosse Pointe Blank), there are numerous bad ones (Killers, Knight & Day, Gigli). Where will the newest entry, Mr Right, fit into this specific subgenre. The film follows Martha (Anna Kendrick), a woman that’s lost direction after recently being cheated on, who meets the seemingly perfect guy (Sam Rockwell), who is really a quirky professional hitman that kills his
contractors instead of his targets. Unsurprisingly, the film brings limited freshness to the genre. Not only do the characters lack depth, the story is muddled, predictable and thin — recycling from better films. However, the film partially makes up for this in its entertaining popcorn focus, never taking itself seriously. This is helped by snappy dialogue from Max Landis (son of filmmaker John Landis and writer of Chronicle, American Ultra), goofy action and the cast having their tongues pushed firmly in their cheek.Of the cast, it’s Sam Rockwell who shines most in a role tailored for his endless charisma, comedic timing and amazing dance moves (fantastically incorporated into his fighting style). Anna Kendrick also relishes in her live-wire role. While undeserved, Tim Roth works well in another multi-accented role and RZA is a fun cameo. Mr Right may be recycled and forgettable, but it’s a fun ride. Sean Capel
EX MACHINA + SERENITY
WED 15 JUN 7:30PM
THU 16 JUN 7:30PM
FRI 17 JUN 7:30PM
STAR TREK + STAR TREK: INTO DARKNESS THE MUSIC 15TH JUNE 2016 • 41
Local Music By Jeff Jenkins Great Brittain In 2014, Hobart musician Nick Balcombe died after suffering a stroke. He was just 31. His death had a profound effect on his music mate Sam Brittain. “I felt like the boat we had been rowing together suddenly lay dead in the water,” Sam says, “like the oars had fallen off and shoreline we had been aiming for together was growing faint.” Sam and Nick would often talk about their music plans. “It took his passing to remind me that time was not guaranteed and it could be taken away without warning or reason.” A theme of Sam’s new single, Stab In The Dark, and album, Signal Lights, is enjoying what you have. “Slowing down and enjoying the simpler things in life is something I have a better grasp on now. The music industry is incredibly competitive and for a while I found myself feeling that if I wasn’t constantly doing something to build on my career I felt like I was completely stagnant. Slowing down and enjoying what you have is one thing, relentlessly working towards a dream is another. For me, the album is a reminder
42 • THE MUSIC • 15TH JUNE 2016
to keep a healthy balance between both.” Sam - who’s been compared to John Denver and Neil Young - is Adelaide-based but grew up in the Barossa Valley and his dream rider would include “Peter Lehmann’s Black Queen Sparkling Shiraz, Barossa Pickle, any of the glorious products from the Barossa Valley Cheese Company in Angaston and most certainly a few ales from Barossa Valley Brewing”. Sam was on a train when he chatted to Howzat!, entertaining passengers travelling from Sydney to Perth on the Indian Pacific. He’s also done a gig on the 112 tram, as part of Melbourne’s “Tram Sessions”, but admits that a motorbike is his preferred mode of transport. Sam is heading to Melbourne next week to launch Signal Lights at The Toff in Town on 23 Jun.
Jim Lives On We remember the great Jim Keays, who died of pneumonia, due to complications resulting from multiple myeloma, aged 67, two years ago this week. An exhibition of Jim’s art will be at the Hawthorn Studio & Gallery from 14 Jul to 6 Aug. Hot Line “I’m not claiming to be an expert, I don’t even know where to start, but I know that I’ve been searching for a way to heal this heart” - Sam Brittain, Slainte.
All gig and music news at your fingertips.
Search for ‘The Music App’ on THE MUSI MUSIC C 15TH 15TH JUNE JUNE 2016 • 43 43
Comedy / G The Guide
Bohjass: 303, Northcote
The Crookeds + Geo + Dr Moth: Bar Open, Fitzroy
The Very Round Robin with Aine Tyrrell + Roesy + Gallie: Bella Union, Carlton South The Rubens
Tim Neal Hammond Thang: Bird’s Basement, Melbourne Mellow Dias Thump: Boney, Melbourne
The Music Presents Elizabeth Rose: 17 Jun Howler The Rubens: 25 Jun Margaret Court Arena The High Learys: 8 Jul Korova Lounge, 9 Jul Ding Dong Lounge Jack The Stripper: 16 Jul The Workers Club, 17 Jul Wrangler Studios Jack Garratt: 20 Jul 170 Russell Mark Lanegan Band: 22 Jul The Croxton Beach Slang & Spring King: 24 Jul Corner Hotel James Blake: 27 Jul Margaret Court Arena
Muddy’s Blues Roulette with Nicole Nehemia: Catfish, Fitzroy Skronkadoodledoo: Cherry Bar, Melbourne Big Country + Busy Kingdom: Corner Hotel, Richmond Mrs Smith’s Trivia: Edinburgh Castle Hotel, Brunswick Dada Ono + The Submarines + Masco Sound System: Evelyn Hotel, Fitzroy Archipelago: Ferdydurke, Melbourne Quang Dinh + Space Mission: Grace Darling Hotel (Basement), Collingwood Lomond Acoustica feat. Miss Jones + Adi Sappir + Rocky & the Two Bob Millionaires: Lomond Hotel, Brunswick East Lucie Thorne: Retreat Hotel, Brunswick
sleepmakewaves: 6 Aug Max Watt’s, 7 Aug Corner Hotel
Revolver Wednesdays with Agent 86 + Dan San: Revolver Upstairs, Prahran
Dead Letter Circus: 19 Aug 170 Russell
Andy Phillips: Seaford Hotel, Seaford
Gregory Porter: 30 Sep The Croxton
The Cotton Club with Andrea Marr Band: Spotted Mallard, Brunswick Wine, Whiskey, Women feat. Jemma
Rose To The Occasion With the success of her new single Playing With Fire, Elizabeth Rose is bringing her Intra Tour to Howler this Friday. Along with Melbourne’s Baro as support, this is sure to be one for the books. Leon Spencer Kaleidoscope + Liam “The Monk” Monkhouse + Allysha Joy + more: The Toff In Town, Melbourne Russia + The Peeks + Chev Rise: The Tote (Bandroom), Collingwood Ruby Tuesday Records Launch with Gonzo Dog + The String Theory + The Cooks + Cousin Tom: The Tote (Band Room), Collingwood Jacky Winter + Venus II + more: The Tote (Upstairs), Collingwood Woody Pitney + Ariela Jacobs + Angie McMahon: The Workers Club, Fitzroy Trivia: Wesley Anne, Northcote
Gin Lane, Belgrave Customer + Peter Lubulwa + Synthetics: Grace Darling Hotel (Basement), Collingwood The Smith Street Band + Luca Brasi + Joelistics + Jess Locke Band: Max Watt’s, Melbourne Mr Wolf + The Strangers in Town + Demonic Cowboys + Rhino Dive: Reverence Hotel (Front Bar), Footscray Kalacoma + Karli White + Aeora + Uncle Bobby: Shebeen Bandroom, Melbourne
Thu 16 Speakeasy + The Upstanding Members: 303, Northcote Kalacoma
Sned + Zol Balint + Joe Op: Bar Open, Fitzroy Kozmik County: Bar Oussou, Brunswick
Rugcutters feat. Michael McQuaid’s Po Boys: Bella Union, Carlton South
Melbourne alt-poppers Kalacoma are launching the first single from their second EP this Thursday at Shebeen Bandroom. Support comes from Karli White, Aeora and Uncle Bobby, with the single Kaleidoscoper out now.
Barb Jungr: Bird’s Basement, Melbourne Record Fundraiser for Babicka with Baby Bjorn + Grant Camov + Midnight Tenderness + Rory McPike: Boney, Melbourne Music Jamboree: Charles Weston Hotel, Brunswick Soul In The Basement with Fulton Street: Cherry Bar, Melbourne
How Low Can You Go? DIET are hosting the launch of their brand new single Life Limbo at Shebeen Bandroom this Friday. With support from Hideous Towns and Lachlan Duthie, the indie-rockers will not disappoint.
Trivia: Compass Pizza Bar, Brunswick East Rowlands + Kate Alexander: The Drunken Poet, West Melbourne Mike Noga + Thee Gravy Train Four + Matt Green: The Gasometer Hotel, Collingwood Laura Jean + Golden Syrup: The Old Bar, Fitzroy
44 • THE MUSIC • 15TH JUNE 2016
Ziggy Alberts: Corner Hotel, Richmond David Cosma: Edinburgh Castle Hotel (Front Bar), Brunswick
Jon Brooks + Cat Canteri: Spotted Mallard, Brunswick
Emergenza Festival: Evelyn Hotel, Fitzroy
Las Mar + DXheaven + The Knob Twiddlers: The Gasometer Hotel, Collingwood
Captain Gino’s Jam Nights with Julian Clarke + Ethan Leversha:
Alex Gow + Dan Kelly + Emma Russack: The Grand Hotel, Mornington
Gigs / Live The Guide
Hypno Sex Ray: The Inkerman Hotel, Balaclava
The Sugarcanes + La Bastard + The Villenettes: The Luwow, Fitzroy
Roller One + Ravenswood + Mightiest Of Guns + Liam John Daley: The Old Bar, Fitzroy
Cosmic Kahuna + Stay Sharp + Little Lamb & The Rosemarys + Green Tin: The Old Bar, Fitzroy
Karise Eden + Dean Ray: The Prince, St Kilda
Jimeoin: The Palms at Crown, Southbank Dirt River Radio: The Prince, St Kilda
Hills Hoist + Gymnastics In The Seventies + Maverick + Jesters For Kings: The Toff In Town, Melbourne
Sleazy Listening with Arks + Richard Kelly + Hysteric + K. Hoop: The Toff In Town (Carriage Room), Melbourne
Midnight Express with DJ Prequel & Edd Fisher + DJ Camov: The Toff In Town (Carriage Room), Melbourne
Poprocks At The Toff with Dr Phil Smith: The Toff In Town (Ballroom), Melbourne
Wake Up Melbourne with Pjenne + Mr Pitiful + Barry Sunset: The Toff In Town, Melbourne
The Rolling Blackouts + Loose Tooth + Cable Ties + Indented Head: The Tote (Band Room), Collingwood
Trimester 2 Study Party with Sugar Fed Leopards + Dany Elsafin: The Workers Club, Fitzroy
Enemies Alike + Disclaimer + Rick & The Dippers: The Tote (Upstairs), Collingwood
Halcyon Drive + Canary + Alchemy Inc: The Workers Club Geelong, Geelong
Steph Brett: Wesley Anne (Front Bar), Northcote
Northcote Social Club will play host to Gabriella Cohen when she tours for her debut album, Full Closure And No Details, this Friday. She’ll be joined by special guests Crepes, Hearing and The Carpark Choir.
Barb Jungr: Bird’s Basement, Melbourne
The Yearlings + Mel Parsons: Wesley Anne (Band Room), Northcote
Speed Dating feat. Urban Problems + Cocoa Noire + more: Boney, Melbourne Drop Frame + Dance Mission DJs: Brown Alley, Melbourne DYLANesque: Burrinja Cafe & Bar, Lysterfield Alex Gow + Dan Kelly + Emma Russack: Caravan Music Club, Oakleigh Rolling Blackouts Coastal Fever
Blackout Punk Rolling Blackouts Coastal Fever are hosting a huge night of punk power this Friday at The Tote. Launching their Record Day limited edition single, they’ll be joined by Indented Head, Cable Ties and Loose Tooth.
Chris Wilson: Cherry Bar, Melbourne Prince Celebration with Computer Blue + Paisley Mark + more: Cherry Bar, Melbourne Girl Friday: Compass Pizza Bar (Front Bar), Brunswick East Ziggy Alberts: Corner Hotel, Richmond Matt Borg Trio + Andy Phillips & The Cadillac Walk: Eddies Poolroom & Bar, Moorabbin Anthony Winnick: Edinburgh Castle Hotel (Front Bar), Brunswick The Knave: Edinburgh Castle Hotel (Beer Garden), Brunswick
British India + IV League + The Neighbourhood Youth: 170 Russell, Melbourne
The Electric I + Munro Melano + Dreamcoat + Cecil Turbine: Evelyn Hotel, Fitzroy
Dumbsaint + Half/Cut + Enlight + more: 303, Northcote
Jeff Lang + Mike Elrington: Flying Saucer Club, Elsternwick
Th’Fika: Baha Tacos, Rye
Rigidy Rourke & The Love Dogs + Andy McGarvie: Forester’s Hall, Collingwood
Brothers3: Ballarat Regent Multiplex, Ballarat Chook Race + Empat Lima + Suss Cunts: Bar Open, Fitzroy Tinpan Orange: Basement Discs (In-Store/12.45pm), Melbourne Jump Devils: Big Huey’s Diner, South Melbourne
Behind The Red Door feat. Various Artists: Gin Lane, Belgrave Elizabeth Rose + Baro + Batts: Howler, Brunswick Kelly Auty + Max Teacle: Lomond Hotel, Brunswick East Ragnarok with DJ Bambi + Donna Mackenzie: Loop, Melbourne
The Smith Street Band + Luca Brasi + Joelistics + Jess Locke Band: Max Watt’s, Melbourne Mental As Anything + Joe Matera: Memo Music Hall, St Kilda Star Dog + Snakeskin Alley + Massive Annie: Mr Boogie Man Bar, Abbotsford Gabriella Cohen + Crepes + Hearing: Northcote Social Club, Northcote Henry Manetta + Adam Rudegeair: Paris Cat Jazz Club, Melbourne La Dance Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy Mr Ruckman + Manaz Ill + Tolls & Aerows + Gzutek + Sadiva: Reverence Hotel (Band Room), Footscray
Drown This City + Autumn In Alaska + Capone + Danger! Earthquake!: The Workers Club, Fitzroy The Kite Machine: The Workers Club Geelong, Geelong The Willie Wagtails: Wesley Anne (Front Bar), Northcote Dog Whistle Politics: Wesley Anne (Band Room), Northcote Doug Parkinson Honours Joe Cocker: York on Lilydale, Mt Evelyn
Sat 18 James Morrison + Anthony Callea + Sarah McKenzie: Arts Centre Melbourne, Melbourne Immortal Horns + Copperhead Brass Band + Manny Fox: Bar Open, Fitzroy Entropy Quartet: Belleville, Melbourne Deborah Conway + Willy Zygier: Bird’s Basement, Melbourne Lost Weekend feat. Jnett + Rambl + Disco Harry: Boney, Melbourne
DJ Joel Hamlin: Reverence Hotel (Front Bar), Footscray Halcyon Drive: Saloon Bar, Traralgon
DIET + Hideous Towns + Lachlan Duthie: Shebeen Bandroom, Melbourne Palace Of The King: Sound City Live, Spotswood Justin Yap Band: Spotted Mallard, Brunswick Powerstryde: The B.East, Brunswick East Glaciers + The Newsletters + Wedding Bell Rings: The Curtin, Carlton Luke Austen: The Drunken Poet, West Melbourne The Sand Dollars + The Moody Spooks + Tali Mahoney + Ricci: The Gasometer Hotel, Collingwood YAK + Friends: The Gasometer Hotel (Upstairs), Collingwood The Detonators + Greg Dodd & The Hoodoo Men: The Grand Hotel, Mornington
British Winter British India’s 11-date Winter tour carries them through 170 Russell this Friday. Special guests IV League and Neighbourhood Youth will play support for the four-piece whose recent album shows a band constantly evolving.
THE MUSIC 15TH JUNE 2016 • 45
Comedy / G The Guide
The Very Round Robin with Aine Tyrrell + Gallie + Rosey : Caravan Music Club, Oakleigh
Prognosis feat. Dylan Griffin + Trevor Rose + Dave Hutton + Various DJs: Loop, Melbourne
Jarryn Phegan: Charles Weston Hotel (Front Bar), Brunswick
The Smith Street Band + Luca Brasi + Joelistics + Jess Locke Band: Max Watt’s, Melbourne
From Oslo + Going Swimming + Jurassic Nark + Foley: Cherry Bar, Melbourne
Leave Your Hat On - Songs of Joe Cocker: Memo Music Hall, St Kilda
Palace Of The King: The Black Hatt, Geelong
New Lease feat. Primitive Calculators + Symbolic Order: The Curtin, Carlton Waz E James + Ciaran Boyle: The Drunken Poet, West Melbourne
A Night of Chamber Music with Allison Wright: Church of All Nations, Carlton
Jimeoin: Milanos Tavern, Brighton
Jamaica Jump Up with The Majestics + The Jump-Up All-Stars: The Gasometer Hotel, Collingwood
Hugh McGinlay: Compass Pizza Bar (Front Bar), Brunswick East
Backbeat + Feat Ya: Mr Boogie Man Bar, Abbotsford
We Lost The Sea + Have/Hold + Cut + Omahara: The Old Bar, Fitzroy Cape Tribulation + Spider Goat Canyon: The Old Bar, Fitzroy Bjorn Again: The Palms at Crown, Southbank
Dylan Joel: The Prince, St Kilda Champagne Internet + Phil Para: The Prince (Public Bar), St Kilda Eleanor Friedberger + Good Morning + The Grand Magoozi: The Toff In Town, Melbourne In The Carriage with Jnett + Nick Jamieson: The Toff In Town (Carriage Room), Melbourne
Everything’s Bretter With Steph Singer-songwriter Steph Brett has been rocking Melbourne’s socks for a decade, most recently with Sugar Fed Leopards and Empat Lima. She has some new finger-picking solo material, which you can hear at Wesley Anne on Thursday.
Olympia + Sarah Belkner + Saatsuma: Northcote Social Club, Northcote
DJ Dustin McClean: Edinburgh Castle Hotel (Beer Garden), Brunswick
Ben Smith Band: Rainbow Hotel, Fitzroy
Paul Conrad + Th’Fika: Evelyn Hotel, Fitzroy
DJ Joel Hamlin: Reverence Hotel (Front Bar), Footscray
Steel Panther + Black Stone Cherry: Festival Hall, West Melbourne Heads Of Charm + Zeahorse + TV Haze + DJ Fee B-Squared: Fitzroy Victoria Bowls Club, Fitzroy North Sammy Owens + Wayne Jury: Forester’s Hall, Collingwood
Def Repllica + Metal Daze: Rockstar Bar, Frankston
Doug Parkinson Honours Joe Cocker: Frankston Arts Centre, Frankston
Bang feat. Paraless + The Beautiful Monument + Terra: Royal Melbourne Hotel, Melbourne
Lantern Parade Celebrations with DJ Francis With Wolves: Gin Lane, Belgrave Self Talk + Vallee + The Football Club + Max Quinn’s Onomatopenis: Grace Darling Hotel (Band Room), Collingwood Swamp + Hollow Hounds + Sun Bazel: Grace Darling Hotel (Basement), Collingwood Backwood Creatures: Labour In Vain, Fitzroy John Dowler’s Vanity Project: Lomond Hotel, Brunswick East
46 • THE MUSIC • 15TH JUNE 2016
Halcyon Drive + I Know The Chief + Manor: Shadow Electric, Abbotsford Mitsunami: Shebeen Bandroom, Melbourne The Weeping Willows + Sarah Carroll + Ukulele Carnivale: Spotted Mallard, Brunswick The Sugarcanes + Deluxe: Tanswells Commercial Hotel, Beechworth Dane Blacklock & The Preachers Daughter + Erik Parker & The Chapters: The B.East, Brunswick East
Get to Charles Weston Hotel Saturday for a soul-driven performance of blues-infused acoustic folk music from Jarryn Phegan. The Wagga-born Melbourne-based musician inspires the same earthy connectedness as the greats of the genre. Mel Taylor & The Sun Chasers: Wesley Anne (Band Room), Northcote
Product + Taipan Tiger Girls + Leather Lickers + Priors: The Tote (Front Bar), Collingwood
Brothers3: Wesley Performing Arts Centre, Horsham
Myridian + Scaphis + Catacombs + Hexreign + Aeonian: The Tote (Band Room), Collingwood
The Elliotts + Josh Johnstone + Running Young + Sophie Officer: The Workers Club, Fitzroy
Shadows Of Hyenas + Guillotyne + Obscurum: Bar Open, Fitzroy
Mal Webb + Kylie Morrigan: 303, Northcote
Billy & Eddy Miller: Big Huey’s Diner, South Melbourne Albare’s Urban Grooves Project: Bird’s Basement, Melbourne The Russell Morris Band: Caravan Music Club, Oakleigh Chris Russell’s Chicken Walk: Cherry Bar, Melbourne Oscar Galt & The Eventual Somethings + Redro Redriguez & His Inner Demons: Cherry Bar, Melbourne
Iconic Vivisect + Future Corpse + Shark Puncher + Space Cadet: Reverence Hotel (Band Room), Footscray Renelophus: Revolver Upstairs, Prahran
The House deFrost with Andee Frost: The Toff In Town (Ballroom/11pm), Melbourne
Dylan Joel Supernaut: Ding Dong Lounge, Melbourne
Savages: Corner Hotel, Richmond
Sippin’ n Spittin After recently killing it on sold out tours with Illy and Seth Sentry, Dylan Joel is headlining his own road trip once again on the Still Sippin’ tour. Head to The Prince to see him Saturday.
Momentum feat. The Coretet: Evelyn Hotel, Fitzroy Aqueous Transmissions: Ferdydurke, Melbourne Half Slash Cut + Swank + Peak Debbie: Grace Darling Hotel (Basement), Collingwood Patrizio Buanne: Hamer Hall, Melbourne The JVG Guitar Method: Labour In Vain, Fitzroy
Alex Gow + Dan Kelly + Emma Russack: The Workers Club Geelong, Geelong Michael & the Organisation: Town Hall Hotel, North Melbourne Alison Ferrier: Union Hotel, Brunswick Abbey Howlett: Wesley Anne (Front Bar), Northcote
Ken Maher & Tony Hargreaves + Power & Grieg: Lomond Hotel, Brunswick East Fete de la Musique feat. Ali Barter + Penny Ikinger + Baro + The Seven Ups + Edd Fisher: Memo Music Hall (Winnebago Lounge), St Kilda The Rebelles: Memo Music Hall (Winnebago Lounge), St Kilda
Gigs / Live The Guide
Olympia + Sarah Belkner + Saatsuma: Northcote Social Club, Northcote
Midnight Creep: Rainbow Hotel, Fitzroy
Disco Multiverse feat. Clogged + Langlo Paniflax + Cop Date + Ciaran Geoghegan + Tina Douglas: The Tote (Upstairs), Collingwood
Jamie Hay + Donnie Dureau: Reverence Hotel (Front Bar), Footscray
Shaun Kirk: The Westernport Hotel, Phillip Island
Shaun Black + Julz Evans + Luminous: The Workers Club, Fitzroy Busy Kingdom
Tough Uncle + Rad Island + The Byzantines: The Workers Club, Fitzroy The Flaming Mongrels: Tramway Hotel, North Fitzroy Moreland City Soul Revue + Roz Girvan + Greg Field: Union Hotel, Brunswick
Make It Up Club: Bar Open, Fitzroy Pharoah Sanders: Bird’s Basement, Melbourne Kahn + Blood Orange: Cherry Bar, Melbourne
Rambutan Jam Band + The Moody Spooks + Deadpan: Evelyn Hotel, Fitzroy Brandy: Hamer Hall, Melbourne
Murdena: Wesley Anne (Front Bar), Northcote
Big n’ Busy
Mon 20 Yarra Banks Jam Night: 303, Northcote
Melbourne’s own Busy Kingdom have been killing it lately, they’ve dropped new single Temptation, toured up a storm, and this Wednesday they are supporting ‘80s juggernauts Big Country at Corner Hotel.
Revolver Sundays with Late Nite Tuff Guy: Revolver Upstairs, Prahran Andy Phillips & The Cadillac Walk: Rose GPO Hotel, Rosebud
The Australian Jazz Bell Awards: Bird’s Basement, Melbourne The Bone Machine with T-Rek: Boney, Melbourne Cherry Jam: Cherry Bar, Melbourne Savages: Corner Hotel, Richmond Slim Jeffries + Left Egg + Cosmic Kahuna: Evelyn Hotel, Fitzroy Monday Night Mass feat. Mya Gomez + Brainbeau + Jonny Telafone + Vacuum + Paraphilia: Northcote Social Club, Northcote Jazz Party: Spotted Mallard, Brunswick
Farmer & The Owl Records feat. Hockey Dad + Bec Sandridge + The Pinheads + Tees: Shadow Electric, Abbotsford
360/303 Head to 303 Friday for an entirely unique experience from Dumbsaint. They’ll be playing Panorama in full in tandem with a screening of the feature-length filmic adaptation of the album. Half/ Cut, Enlight and more support.
Swing Sundays with Virus: Spotted Mallard, Brunswick The Sugarcanes + Hot Wings: The Bridge Hotel, Castlemaine
Irish Session: Lomond Hotel, Brunswick East
Starman - A Show with the Music of David Bowie feat. Sven Ratzke: The Capital, Bendigo Performing Arts Centre, Bendigo
Trivia: Spotted Mallard, Brunswick
David Comsa + The Dusty Millers: The Drunken Poet, West Melbourne Jim Lawrie + Ali E + Lincoln Le Fevre & The Insiders: The Old Bar, Fitzroy Elwood Blues Club All Stars: The Prince (Public Bar), St Kilda For Fanny’s Sake Fanniversary with Geryon + Crystal Myth + Brooke Powers + Callan + Spike Fuck + Coral Ceto + more: The Toff In Town, Melbourne The Sunday Set with DJ Andyblack + Haggis: The Toff In Town (Carriage Room), Melbourne
Two Steps on the Water + Kira Puru + KT Spit + Callan: The Gasometer Hotel, Collingwood Rat Hammock + Anchovies + King Cnut & The Waves + Ghost Songs: The Old Bar, Fitzroy
Carriage 252 feat. Raudie: The Toff In Town (Carriage Room), Melbourne
Let Bar Open cure your hump day blues this Wednesday night when local reggae rockers The Crookeds, Geo and Dr Moth take the venue over with in a wave of alt/prog-rock stylings.
Jeffers Limit + Mount Defiance + King Puppy & The Carnivore: The Workers Club, Fitzroy Harry Jakamarra + Greta Ziller: Tramway Hotel, North Fitzroy
Down The Rabbit Hole with Nigel Last: The Toff In Town (Carriage Room), Melbourne See Saw + Polo + Meter Men: The Tote (Front Bar), Collingwood
Siberian Eyes + Snakeskin Alley + Ten Gallon Head: The Old Bar, Fitzroy
Clive Luca + Jimmy Chang + Roxy Lavish & The Suicide Cult: The Tote (Band Room), Collingwood
Call It In with Instant Peterson + Dylan Michel: The Toff In Town, Melbourne Tommy Castles + Bones & Jones + Special Guests: The Workers Club, Fitzroy
THE MUSIC 15TH JUNE 2016 • 47
The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...
Published on Jun 15, 2016
The Music is a free, weekly magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, lifestyl...