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21.09.16 Music / Arts / Lifestyle / Culture

Melbourne / Free / Incorporating

Tour: Dan Sultan Tour: Gregory Porter Tour: Michael Franti & Spearhead

Issue

157


2 • THE MUSIC • 21ST SEPTEMBER 2016


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Credits

Publisher Street Press Australia Pty Ltd Group Managing Editor Andrew Mast National Editor – Magazines Mark Neilsen Editor Bryget Chrisfield Arts & Culture Editor Maxim Boon Gig Guide Justine Lynch gigs@themusic.com.au

Music Music / Arts / Lifestyle / Culture

Fall Out

The Falls Festivals may be selling out, but you can still catch the big names. Catfish & The Bottlemen, Modern Baseball, Jamie T, AlunaGeorge, MØ, RY X and more have all announced sideshows.

Editorial Assistants Brynn Davies, Sam Wall

Snarky Puppy

Senior Contributor Jeff Jenkins Contributors Bradley Armstrong, Annelise Ball, Paul Barbieri, Sophie Blackhall-Cain, Emma Breheny, Sean Capel, Luke Carter, Anthony Carew, Uppy Chatterjee, Daniel Cribb, Cyclone, Guy Davis, Dave Drayton, Guido Farnell, Tim Finney, Bob Baker Fish, Cameron Grace, Neil Griffiths, Kate Kingsmill, Tim Kroenert, Pete Laurie, Chris Maric, Fred Negro, Danielle O’Donohue, Obliveus, Paz, Sarah Petchell, Michael Preberg, Paul Ransom, Dylan Stewart Senior Photographer Kane Hibberd Photographers Andrew Briscoe, Cole Bennetts, Jay Hynes, Lucinda Goodwin Advertising Dept Leigh Treweek, Antony Attridge, Braden Draper, Brad Summers sales@themusic.com.au Art Dept Felicity Case-Mejia, Ben Nicol vic.art@themusic.com.au

Puppy Love Here as part of Bluesfest, Snarky Puppy, one of the world’s most respected instrumental outfits, are also sideshows. They stop at Melbourne Recital Centre 8 Apr before heading to Enmore Theatre 10 Apr.

Admin & Accounts Loretta Zoppos, Ajaz Durrani, Meg Burnham, Emma Clarke accounts@themusic.com.au Distro distro@themusic.com.au Subscriptions store.themusic.com.au Contact Us Tel 03 9421 4499 Fax 03 9421 1011 info@themusic.com.au www.themusic.com.au Level 1, 221 Kerr Street Fitzroy Vic 3057 Locked Bag 2001 Clifton Hill VIC 3068

Bonnie Raitt

Keep your friends close and your enemies closer, and then high five your friends so your enemies will be like “Woah Mr. long arms over here” @A_Frieds17

6 • THE MUSIC • 21ST SEPTEMBER 2016

Travellin’ Blues The first raft of Bluesfest sideshows have just been announced. Sydney, Melbourne, Canberra and Perth will receive visits from acts like Patti Smith, The Lumineers, Bonnie Raitt, Snarky Puppy and Andrew Bird.


c / Arts / Music / Arts / Lifestyle / Culture

Polly What A Cracker

Where and when? For more gig details go to theMusic.com.au

DZ Deathrays

Another in the long line of massive 2016 moments for DZ Deathrays, the Bundy blokes have released new single Pollyanna and announced a headline national tour in December with support from Ecca Vandal.

Grouplove

Happy Songs With people still raving about their last tour, Grouplove have just announced that apart from Falls Festival they’ll be playing the 3 & 6 Jan at Enmore Theatre and Melbourne Town Hall respectively.

Need That Scrilla Indie-pop artist EAST is set to keep the momentum going with a new Get Money! east coast tour in November and December. She’s also announced a new video for her track Screentime to celebrate.

EAST

Transparent

More Transparency The award winning story of the Pfeffermans, and the ways their lives change when paterfamilias Mort reveals himself to the world as Maura, continues this Saturday when the third season of Transparent lands on Stan. THE MUSIC 21ST SEPTEMBER 2016 • 7


Lifestyle Music / Arts / Lifestyle / Culture

Sunnyboys

Never Set

This month is the 35th anniversary of Sunnyboys’ classic self-titled debut. To celebrate, the ‘boys are hitting the road in February next year for an east coast tour of the album and other material from ‘81.

Power Flower If you can’t see electro pioneers The Avalanches at Falls, don’t stress. They’ll be performing sideshows at Melbourne Town Hall, 3 Jan, and Enmore Theatre on 5 Jan. Bonus points for bringing Bad// Dreems along.

15 The amount of Australian #1s on the ARIA Albums Chart so far in 2016 with Nick Cave heading to the top, breaking the record of 14 from 2013. The Avalanches

Puscifer

Funeral March Paul Kelly has announced a unique new album and tour – he and Charlie Owen have recorded an album of funeral songs and will be playing the record at a selection of churches and cathedrals in November/December. Paul Kelly & Charlie Owen

8 • THE MUSIC • 21ST SEPTEMBER 2016


e / Cultu Music / Arts / Lifestyle / Culture

Screamfeeder

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Brissy rockers Screamfeeder came crashing back into view with last year’s Alone In A Crowd. Now they’ve proving their not going anywhere with new single Karen Trust Me and accompanying November tour dates.

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Hot Shots Only just knocking the dust from their boots after a colossal world tour, Puscifer are headed our way again in January. The Money $hot - Round Under tour will be joined by Luchafer.

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Music / Music / Arts / Lifestyle / Culture

Lost & Found\

For a regular hit of news sign up to our daily newsletter at theMusic.com.au

The Moth

The Moth are holding Lost & Found at Arts House this Tuesday as part of Melbourne Fringe Festival. Prepare a fiveminute story about loss and redemption and explore the people, places and thoughts you’ve left behind.

Here’s The Prognosis

Caligula’s Horse

Melbourne’s premier progressive rock festival, the aptly named Progfest, is back for another year this December at the Corner Hotel. Acts include Caligula’s Horse, Alithia, Orsome Welles, Transience and We Lost The Sea.

RocKwiz Christmas

Randy

Merry WizMas The RocKwiz Live! crew are bringing their Christmas show back to town this December, with seasonal laughs a-plenty, heaps of guest and probably more than one question about Jingle Bells (maybe not). 10 • THE MUSIC • 21ST SEPTEMBER 2016

Funny Questions Award-wining comedian Tom Ballard is hosting comedy gala Australia, Who The Bloody Hell Are We? this Thursday. Eleven funny makers, from Tripod to Busty Beatz to Randy (yes, the puppet), will dissect the current Aussie identity.


Arts / Li Music / Arts / Lifestyle / Culture

You Must Be 18 To Enter

Gonzo

Pulling back the covers on teenage boys and porn, Gonzo is a jaw-droppingly open discussion of online pornography and its effects on adolescents. It opens at Malthouse Theatre this Wednesday.

BAR

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OPEN MIC

SHOW THE BOOGIE MAN WHAT YOU’VE GOT!

MV Steve Irwin

THUR 22ND SEPTEMBER

THE MAMA’S A Good Offencer The Ocean Defence tour is an essential fundraising event that enables Sea Shepherd’s work defending marine wildlife around the world. Headlining this Saturday is Killing Heidi’s Ella Hooper, with Tripod and more also performing.

And Friends FRI 23RD SEPTEMBER

EVOLUTION OF THE BLUES A tribute to the harmonica Gods

SMOKIN SAM JULIE NOBLE AARON GILLET CARGO BLUES BAND SAT 24TH SEPTEMBER

Kylie On Stage

1

MICHAEL YULE THE SLEEPERS EXP SUN 25TH SEPTEMBER

JAMES AVENT TRIO ACOUSTIC FOXX NICE SOX NIGEL

The number of days between

Spinning Around Free Arts Centre Melbourne exhibition Kylie On Stage has just been opened to the public this week (by Ms Minogue herself!). The exhibition is drawn from Minogue’s spectacular stage wardrobe.

Skepta cancelling his Australian tour and him being announced as the Mercury Prize winner. Guess we now know what the “unexpected” reason might have been for the cancellation.

AFTER WORK HAPPY HOUR FROM 5PM

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THE MUSIC 21ST SEPTEMBER 2016 • 11


Music

Civil Engineering It’s taken Bernard Fanning a while to get his head around what he wants from his post-Powderfinger career, but he tells Steve Bell that new solo album Civil Dusk is a massive step in the right direction.

I

t’s been a strange journey for singer-songwriter Bernard Fanning in the last few years as he navigates the opening stages of his still-fledgling solo career. Stepping out of the huge shadow cast by Powderfinger — the Brisbane behemoth he fronted for almost two decades and who pulled up stumps in 2010 while still at the peak of their considerable powers — hasn’t been a straightforward proposition, and nor should it be. Trying to find your own way after being synonymous with such a well-established outfit for so long is a massive double-edged sword: on one hand, the extant familiarity and awareness gives a huge head start on someone starting out from scratch. On the other, there comes a certain burden of expectation as to how you’re going to proceed. Add to that the fact that continually ploughing the same furrow can also breed contempt and as an artist you’re effectively being pulled two ways at once. Even Fanning’s hyper-successful debut solo foray Tea & Sympathy — released back in 2005 during a Powderfinger hiatus — in a way exacerbates this dilemma. That album won multiple ARIAs and went five times Platinum, but it also took a path away from the Powderfinger rock sound that many assumed he would follow automatically when that band finally called it a day. Instead he branched out with 2013’s Departures, a more rock-based affair, albeit one based upon electronic beats and loops that Fanning constructed himself. Now, with his third solo album Civil Dusk, Fanning has in effect split the difference. The album features all organic instrumentation in the vein of Tea & Sympathy, but also meets the rock quota with up-tempo tracks that wouldn’t have sounded out of place coming from his alma mater. “There’s this weird combination when you’re writing — and this happened all the way through Powderfinger as well — where the record you’re making is kind of a stepping stone to the next one, and at the same time it’s like a stop sign before the next one, like, ‘Okay, don’t do that again’,” the singer contemplates. “So there’s things that do inform it and things that don’t — I definitely wanted to go back to writing songs on guitar or piano all the way through, that were complete so that I could play them by myself and it felt like a good song. “Which was not the case for Departures, where I was more than happy to have other things happening, just little stuff like sounds coming in and out and using all the technology at my disposal. But this time I definitely wanted to go back to the more traditional way of writing

12 • THE MUSIC • 21ST SEPTEMBER 2016

— just write a song all the way through that you can play. So there’s a bit of both there in terms of responding to Departures and then kicking further along. “The thing is that Departures was really different from Tea & Sympathy obviously — and that was intentional — and I was really happy for this to be really different from Departures, more back towards what Tea & Sympathy was like. It’s not as ‘back porch’ as that and not as toe-tapping: I was really happy to have pop elbowing in on country songs on that record, while this is probably a little bit more folky. It’s folk and rock, with not as much country influence in there. “But by no stretch am I a country songwriter anyway, and I wouldn’t want to pretend for a moment that I am. For me it’s no different — it doesn’t really matter what genre it is, just whether it’s a good song or not. I’m just not very good at writing a disco song.”


What does stand out throughout Civil Dusk is the personal nature of the lyrics and narratives — many of which detail break-ups and hardships — although Fanning is quick to assure that this doesn’t relate back to his own happily married state. “It sounds really personal I guess, but most of the time actually I’m talking about things that I’ve witnessed more than really personal experience,” he reflects. “Of course whatever you experience informs what you’re going to write about and how you see other situations, but the idea of the thing was based on looking at the consequences of the decisions that you make and how they impact, not just immediately but over decades. Which you can only do when you’re an old coot like me I

The thing was based on looking at the consequences of the decisions that you make and how they impact, not just immediately but over decades.

guess — I couldn’t have written this record 20 years ago, because I wouldn’t have had the experience to do it. But I guess the personal side of it is very much about that kind of battle you have about little decisions and whether if they’re benefitting you — or the people around you like your family — that they have to harm other people, then how hard it is to make those decisions. “That makes it seems really fucking heavy, but the tone of the album isn’t like that and that’s intentional — I love doing that with music. I’ve always tended to write fairly depressing stuff lyrically, but fairly poppy music really in terms of the progressions and how things sound. And they’re quite melodic as well, really whistle-able melodies. I kinda can’t get away from that no matter how hard I try, although it’s not a terrible disease to have I guess as a songwriter so you just work with what you’ve got. But I’ve always really liked that idea of being able to kind of — without trying to sound too academic about it — juxtapose the lyric against the music, and just having that darkness in what’s being said but that lightness in what’s actually played.” And the next piece in this fascinating puzzle isn’t far away, a companion album Brutal Dawn due to follow Civil Dusk early next year. Although even Fanning’s not yet sure exactly how the two pieces are going to interact. “I’ve written a fair bit towards it so far but I haven’t completed the idea yet, but part of the reason for not completing it yet is to have a little break now and then reassess what I want to say with the last lot of songs that make up the one piece,” he tells. “For me anyway, when I’m in the middle of writing I don’t really listen to a lot of other music and I don’t even read that much a lot of the time, except for newspapers and that sort of stuff. I kinda find it hard to let other stuff in — it’s kinda like before and after that I’m able to look at it and then bring other influences in and make decisions about what it all means.”

Dusk ‘Til Dawn With Civil Dusk’s follow-up Brutal Dawn on the horizon, Bernard Fanning has no qualms about releasing two albums in quick succession at a time when some are questioning the format’s continued viability. “It’s not fucking Use Your Illusion I & 2,” Fanning laughs, referencing Guns N’ Roses’ ill-fated 1991 dual release foray. “There’s such a big emphasis these days on going back to that ‘60s approach where it’s all just about one song, and Nick [DiDia — producer] and I are like those two belligerent grumpy old guys in The Muppets sitting up in the stalls refusing to let go of the idea of the album, going, ‘Fuck it, instead of just making one let’s make two!’” He’s even of the belief that releasing the two albums as a pair will help shine some light on what’s come before. “I guess Departures was a little bit like that, me trying to do something that didn’t sound like I was in Powderfinger, and I think the demos of that album sounded a lot more like that than the record ended up being, but that’s alright that’s just how it works. I still think it’s a really good record, and it may actually make more sense after these two come out.”

What: Civil Dusk (Dew Process/Universal) When & Where: 31 Oct, Palais Theatre; 30 Dec, Falls Festival, Lorne; 31 Dec, Falls Festival, Marion Bay

THE MUSIC 21ST SEPTEMBER 2016 • 13


Music

Break On Through Cyclone talks to jazz singer Gregory Porter about his musical progression, the jazz umbrella and the benefits of finding success later in life.

T

he dapper American jazz vocalist Gregory Porter became a surprise pop phenom with 2013’s album Liquid Spirit. Today he’s also beloved in the house music scene — collaborating with Disclosure. But Porter was a late bloomer. This month Porter is headed to Australia, with band, for now sold-out “intimate” shows in Sydney and Melbourne. He’ll then return for Bluesfest 2017. Porter already has a friend on the bill in Laura Mvula, who featured on a duet version of his Water Under Bridges. Porter has toured here previously — back in 2012, while still ‘underground’, he played Wangaratta Festival Of Jazz &

We all can’t go off the rails and off the chart and do whatever it is that we wanna do in terms of genre-leaping.

Blues and club gigs. “I remember the musical energy was actually hot at a couple of places,” Porter enthuses. “I’m not lying to you when [I say] I felt like it was like a Harlem vibe!” Porter is speaking from his hometown of Bakersfield, California — typically associated with country legends such as Merle Haggard. He’s out and about with his toddler son. “And I’m eating popcorn,” Porter says bashfully. The iconic composer Philip Glass only committed to music full-time in his 40s. Before that, he worked as a plumber and taxi driver. Porter, chuckling, can relate. He grew up singing gospel, his mother a minister. Porter secured a football scholarship to San Diego State University. But, following a debilitating injury, he turned to music — being discovered by Kamau Kenyatta. The soulful

14 • THE MUSIC • 21ST SEPTEMBER 2016

baritone cameoed on flautist Hubert Laws’ 1998 Nat King Cole tribute project. He subsequently scored a key role in the revue It Ain’t Nothin’ But The Blues, eventually appearing on Broadway. However, moving to Brooklyn, New York, in the mid-’00s, Porter found himself supplementing his income as a chef. Porter debuted with 2010’s Water on Motema Music, receiving his first Grammy nom. The singer’s incremental success saw him sign to Blue Note, airing Liquid Spirit — which, astonishingly for a jazz LP, reached the UK Top 10, going platinum. It won a Grammy for Best Jazz Vocal Album. Crucially, the mysteriously masked German DJ Claptone remixed the title track into an anthem. Porter teamed with Disclosure for Holding On, the garagey lead single from Caracal. This year he unveiled his fourth album, Take Me To The Alley, opening with an alternative recording of Holding On. Porter again offers indelible original songs — his themes relationships and protest (cue: Fan The Flames). “The evolution is just [me] being quite comfortable with who I am and my stories and what I think is in a way worthy of being put to a melody,” Porter reflects. In June the jazzer hit Glastonbury’s Pyramid Stage, recalling it as “amazing”. “I come on and I’m still doing just my thing — what I do,” he says. Ironically, Porter is more of a household name in Britain than the US — his latest album a UK #5. He prestigiously guested on the BBC’s Attenborough At 90, commemorating Sir David. “In my hometown nobody knows me like they do in the UK,” Porter notes. “It’s part of the tradition of jazz, really. But I tend to think of it in this romantic way that people can see American music culture better from a distance — you can hear it definitely better, because in the US you’re bombarded with what people think you’re supposed to listen to.” Nowadays jazz seems modishly ubiquitous — just replay those recent Kendrick Lamar and David Bowie opuses — yet, as a genre, it’s considered ‘niche’. Nonetheless, Porter is the streaming era’s inaugural jazz star. Although evidently no purist, he respects jazz “traditionalists” like Wynton Marsalis — an early supporter. “I think, under the umbrella of jazz, all of these voices are necessary,” Porter maintains. “We all can’t go off the rails and off the chart and do whatever it is that we wanna do in terms of genre-leaping and this type of thing.” Indeed, Porter is content to be embraced by dance music’s ‘in’ crowd. Even in 2011 he sang on Italian acid jazz DJ/producer Nicola Conte’s Love & Revolution. Porter recreated Claptone’s Liquid Spirit in Ibiza for Radio 1. (He’s familiar with Detroit techno, a black ‘hi-tech jazz’, too, bonding with Moodymann at a Croatian fest.) Porter’s personal listening is expansive. Impressively, his current picks are female artists like Lianne la Havas. “But I’m bouncing around,” he says, citing classical, country and “the American songbook”. If the fortysomething’s crossover triumph has required adjustments, he’s relishing them. “The adjustments are that I work a lot now — I travel a lot. Almost 300 days a year I’m on the road. But the benefit is it’s wonderful and [I have] the opportunity to do what I think I’m probably supposed to be doing — music. So to be able to do that consistently, and all the time, is a great adjustment. Also just the seasoning of life that can happen, by coming into some success when you’re older, I can handle it better, I think.”

When & Where: 30 Sep, The Croxton; 14 & 15 Apr, Bluesfest, Tyagarah Tea Tree Farm


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Music

Better Man Now that Dan Sultan has matured and feels more comfortable in his own skin, Bryget Chrisfield discovers the singer-songwriter feels more confident writing “from a personal level”.

H

e was recently up at BIGSOUND performing with AB Original, whose January 26 track he features on, and Dan Sultan enthuses, “Those boys were one of the acts that were part of the festival and they did a keynote speech. And I went up there and it was my birthday that day so that was a great day.” Of the hip hop duo’s show at The Elephant Hotel during which he made a guest appearance, Sultan enthuses, “Yeah, it went off”. A teaser of Magnetic, the lead single from Sultan’s forthcoming album, materialised last week and is currently available for your ears. It’s only a 36-second

Although I’m a serious musician and an artist and I’m a writer, I’d hate to one day think that I take myself too seriously.

taste, but up until the point where Sultan’s voice enters the arrangement you could be forgiven for anticipating a hip hop verse. There’s fluttering piano, dramatic strings and then, boom! In comes that voice with its unmistakable power and husky undertones. “There’s a lot of different elements there,” Sultan allows. “We used a lot of electronic stuff on the record and a lot of synthesisers, but electronic drums mixed with organic drums as well and, you know, sorta beats that I haven’t really gone for before as well.” Referencing his upcoming album, Sultan assures, “I still think it’s very me: there’s some ballads in there and it’s still very soulful.” Although Sultan acknowledges, “We had a lotta success with the last record, with Blackbird,” he “just wanted to change it up”. “I didn’t wanna make 16 • THE MUSIC • 21ST SEPTEMBER 2016

the same record twice,” he stresses. After admitting, “It’s scary,” Sultan states, “I’d rather be scared than bored.” Magnetic is about “change” and Sultan elaborates, “Changing the way I approach things on a pretty deep level, but also, you know, on not such a deep level as well; just sorta day to day, and taking care of myself, and I guess growing up in a lotta ways. And, you know, dare I say it: maturing, I guess.” He’s “33 now” and Sultan adds, “It’s a song about really just getting a lot more serious with myself, not just professionally but personally — that’s not to say that I’m taking myself more seriously ‘cause, you know, I’m still pretty realistic about everything and I still like to have a good time. And, you know, although I’m a serious musician and an artist and I’m a writer, I’d hate to one day think that I take myself too seriously. You know, ‘cause it’s not something that I find particularly attractive in other people, and in myself, you know what I mean? So that’s not really what I’m about.” Often Sultan answers in zigzags, as if gauging midsentence how a quote will read on the page and taking a detour to soften the edges of reader judgement. He comes across as an intensely private person and you immediately know when he’s not up for commenting on something, because he’ll tell you (“It’s not for me to say”). “I’ve always been an all or nothing type of person,” he points out, “but it’s just about what the ‘all’ is... is that the self-destructive side or is it the, you know, constructive side? And taking care of yourself and just being better to yourself and just being better in general; you know, I don’t think I had too far to go, but I think it never hurts to have a bit of a look at yourself.” Sultan says he often needs a reminder “not to be too hard on [himself]”. “I wanna cut myself a bit of slack,” he informs. When asked whether he feels more comfortable writing songs from personal experience these days, Sultan considers, “I think so,” before deciding, “Yeah, absolutely. And also I think I’ve experienced more so I’ve got more to write about from a personal level.” In the past, Sultan observes, “I’ve written a lot of songs that were based on empathy and what it would be like. I wrote my first album [Homemade Biscuits] that I did with Scott Wilson — he wrote a lot of those songs, but we wrote a bunch of songs together and I’d written a bunch of songs and, you know, they were love songs that I’d written and I hadn’t been in love at that stage so a lot of that was based on imagination. “I was pretty young. I started that record when I was 19, but I think now I’ve got more things to write about; I’ve got more of a story — I already had a bit of a story, but I think it’s a combination between having stuff to write about and, like you said, being more comfortable in my own skin and, you know, being more confident in writing about my own story where I might not have been a couple of records ago.”

When & Where: 13 Nov, 170 Russell


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THE MUSIC 21ST SEPTEMBER 2016 • 17


Music

Frontlash The Kids Are Alright

The Wolf Pack

Google “Young Kid Giving Motivational Speech”. Be a shark of the ocean, not a fish of the ocean. You’re welcome.

Breakfast Of Champions Is it bad that we baked a batch of Neapolitan Rice Krispies (yep, that’s the same product as rice bubbles) and now eat them every day for breakfast? Strawberry, hazelnut, rice – that’s healthy, right?

Lashes

Exercise Remi’s Demons

Did you hear Remi’s For Good single (feat Sampa The Great) a while back and think, ‘Woah! How’s his album gonna match that?’ Race towards Divas & Demons. Congrats all ‘round.

Remi

Backlash

Lil Orphan Emmy

They finally give an Emmy to Orphan Black’s Tatiana Maslany, but now all it does is remind us there is only one season left [insert sobbing emoji].

Pecking Order

Bloody Nora, has anyone else noticed it’s swooping season? Might have to get that cap with eyes on the back on the noggin.

Short Straws Those fold up straws they stick to juice/ coconut water boxes. They suck ‘cause they don’t let you suck.

18 • THE MUSIC • 21ST SEPTEMBER 2016

Guitarist/vocalist Alex Hermes (aka Skuewolf) talks to Bryget Chrisfield about wolf masks, polyrhythms and how Dirty Wolves wrote their latest album backwards.

G

iven that Dirty Wolves’ striking press shots feature the duo wearing wolf masks, we can’t help but wonder about the logistics of lupine performance. “We’re really trimming the masks back so we’ve got the freedom to play,” Dirty Wolves guitarist/vocalist Alex Hermes (aka Skuewolf) illuminates, before stressing it’s important for the audience to “get that visual effect of the ears”. “’Cause Dirty Wolves represents the corruption of the world... it’s supposed to be, like, a reflection of what’s going on,” he continues. “So we wanna keep the look, but it’s been really difficult to pull it off.” Dirty Wolves’ latest Creation & Chaos “took about three years” and Hermes points out, “We came up with a concept before we even wrote the album.” The album “is supposed to be [about] the beauty of creation and the chaos of man,” Hermes chuckles. He cherry-picks a couple of album tracks for further investigation: Eleven.Eleven is about “Albert Einstein’s string theory” and Leviathan explores “the Book Of Revelation, and Christianity, and the impact that religion has had on man”. After making sure “all the topics” were covered, Hermes shares, “Getting into it [writing] was really, really difficult because

we wanted to write it backwards.” “It’s written from drums first because of all the odd timings and the polyrhythms and things like that,” Hermes clarifies. This technique was something Dirty Wolves utilised to develop “a more unique sound”. Trying to find your own niche as a band is “the hardest thing”, Hermes opines. “Not saying we succeeded, but we’re trying,” he laughs. So how are they going to recreate it all live? “It’s been really, really, really hard,” he allows. “Well, as a two-piece, it’s sort of just been a big job. And we’re bringing a lot of samples in because there’s a lot of timing changes... you can’t miss a chord or a beat.” Give their album a listen and you’ll understand exactly what Hermes means. “Polyrhythms get really, really difficult, because say you’ve got two odd timings running at the same time, simultaneous. So say if you’ve got a small circle and a really big circle, and the small circle’s sorta ticking at 12 and the big circle’s ticking at 12; eventually — you know, after so many rotations — they’ll both tick at the same time. And then what that does is it gives you that [makes a sound like a distant blizzard] — it’s like a vortex effect.” Red Sea are supporting Dirty Wolves on these upcoming dates and they’ve actually utilised this band’s singer, Erica Bowron, for a couple Creation & Chaos tracks. Hermes particularly commends the “massive effort” involved for Leviathan, which required that Bowron sing in Latin.

What: Creation & Chaos (MGM) When & Where: 23 Sep, Evelyn Hotel


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THE MUSIC 21ST SEPTEMBER 2016 • 19


Indie Indie

Vaudrey

R

ichard Vaudrey has been taken on a journey with his music, moving to New York seven years ago to write in Brooklyn and study as a classical cellist. He found himself in the thick of the performance art and indie-pop scenes, and his self-titled EP VAUDREY came to fruition from the plethora of tracks he laid down during that time. “The songs are handpicked from a much larger catalogue of songs I’d written in the US,” he explains. “If there’s an overall theme, it’s a real appreciation for the things that really matter in life that we can’t quantify — friendship, love, personal and artistic. I have a really clear perspective in

Uone

M

elbourne-based producer and DJ Uone, born Ewan Scott, draws from a very deep well. He cites everything from exotic tribal cultures and urban swing to ‘60s psychedelia and funkfuelled tech house as free game. Over the last decade, it’s one of the things that has made his sound so unique. “I’m always pushing the boundaries in my production,” says Scott. “Trying to find new ways to make sounds always leaves the theme of the track to happen organically. I never enter the studio trying to make a certain sound, I just make music that feels good and I would like to dance to.” His latest release Mr Plastik, which is being launched

20 • THE MUSIC • 21ST SEPTEMBER 2016

what I want in the studio, though I’m super aware of preserving happy accidents/ fragile moments, for example one of the solos is from a bedroom recording of the first conception of one of the songs — you couldn’t replicate that feel, ever,” Vaudrey enthuses. Mixed in “a tiny space of a divy Greenpoint rehearsal studio” with Andry Wright [Just Blaze, Eminem, Kanye West, Jay Z] “was a great experience” for the Melbournian. “I think what’s more important is to be recording when you’re not intending to — early ideas and inflections can be so valuable, so if you’re set up always and can capture these you’re winning.”

Big Creature

EP Focus Answered by: Michael Best, singersongwriter and guitarist EP Title: Talk Label: Independent

When & Where: 24 Sep, Melbourne Recital Centre

at psychedelic concept party Acid Hounds, is just that. “The EP was recorded at my ranch studio on the Mornington Peninsula with Niko Schwind from Berlin. It was a hot summer’s day and the Roland Jupiter-6 was melting our ears with psychedelic plastic sounds... and Mr Plastik was born!” The EP was inspired by the pure joy of experimentation, which Scott describes as, “The wonderful feeling you get from mucking around in a studio full of analog gear”. “All of sudden there is this most incredible random and uncontrollable sound happening. “The beauty of working with Ableton is being able to record live jams using multiple synthesisers, and then going back over the recording to cut out the sections you find most interesting and organic.”

What: Mr Plastik (Stil Vor Talent) When & Where: 24 Sep, 303

In ten words or less, describe your sound. Bright, bombastic synth-pop. Give us a brief history of the band (or you if a solo artist) to this point. We released our debut EP in 2013. In 2015, the original line-up disbanded and I began working on Talk solo. I’ve since recruited Dan, Zeke and Lachy. Is there an overall theme to the songs on the EP, or did you just use whatever songs you had to make up the tracklisting? The writing and production of the EP coincided with some relationships around me breaking down, including my parents splitting up, so I ended up working through a lot of these issues through these songs. Do you aim for perfection in the studio, or more feeling or vibe when deciding to use a take? Modern recording technology means that almost anything can be fixed in a performance, but one thing that can’t be faked is vibe. If the performance isn’t 100% committed, there’s no plugin that will save it. What’s your favourite track on the EP and why? I feel most proud of the song Arteries. I spent quite a lot of time on those lyrics trying to get across exactly what I wanted to say. How will you recreate the tracks live? Stay true to them or is there room to mix it up? We try to stay true, but there are a lot of things in the songs that we can’t recreate. Sometimes the ‘approximated’ versions of those parts can end up being better than the originals. Are you launching it with a gig? If so, what are the details?: 28 Sep, The Gasometer Hotel. Website link for more info? bigcreature.com.au


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THE MUSIC 21ST SEPTEMBER 2016 • 21


Music

Sweet Revolt Michael Franti know his music has as much power to soothe as it does to spark. He tells Rip Nicholson that Spearhead needn’t always be a weapon.

“E

specially in light of the current political climate in America, music can work as a balm when at times it gets super painful,” Michael Franti states. “It is also like fire at other times when we really need to get out and raise our voices.” Michael Franti has started a lot of fires. Before the 1994 album Home established Spearhead on the frontier of socially conscious black music, Franti walked onto the San Franciscan scene with The Beatnigs. Resembling an avant-garde jazz collective, the band combined aspects of hardcore punk, hip hop and industrial noise — traits Franti would refine in The Disposable

Music works on both levels. There is a time to rage against the machine and there is also a time to help people move through their sadness and into the light.

Heroes Of Hiphoprisy alongside producer Rono Tse. Together Franti and Tse stabbed at racism, misogyny, homophobia and mass media with their 1992 debut Hypocrisy Is The Greatest Luxury. Despite the release’s critical success, and a follow-up album featuring William S Burroughs, their tenure was short lived. In ‘94 Franti formed Spearhead, moving closer to roots-down rap and alternative rock. It isn’t just his sound that’s changed over the years. Although Franti’s message and purpose are still clear in his music, the delivery has evolved. “What I have found is that when I was doing music at that time there was the same group of angry young men showing up who were ready to pound their fists, and they already believed in the things that I said. I find it much more challenging to 22 • THE MUSIC • 21ST SEPTEMBER 2016

try to reach people who don’t, or those who are on the fence, and that’s why I don’t endorse political candidates, I want people to find their own way to whatever it is that they believe in. “I never endorse political candidates but I do endorse political ideas,” he continues. “Everyone should be happy, healthy and equal... it will be hard for someone to be happy if they don’t have jobs or decent schools, or if there’s intense policing in a neighbourhood that is unjust. And it’s hard for people to be healthy if they don’t have adequate healthcare and opportunities to thrive and be physically fit on their own, and if people don’t have laws on the books that create equality. So I try to just keep presenting that message over and over again to people in the most humorous and compassionate way that I can, in the hope that people will come up with their own decisions about who best to vote for.” Its a more tempered approach, but it can be very effective — and Franti has discovered that aggressively communicated messages, however well-intentioned, can be misplaced. In 2005 Spearhead played Folsom State Prison, and Franti learnt that prisoners don’t want to hear protest songs about how useless the prison system is — they already know. He had a similar reaction in Iraq. “When I was in Iraq in 2004, I thought Iraqi civilians on the street would wanna hear songs like ‘fuck the war, fuck bombing’, and they were like, ‘how dare you sing songs like that to us when your nation is bombing us’. They said, ‘we wanna hear songs that make us laugh and dance and cry and sing and move through this time that we’re in’. So, music works on both levels. There is a time to rage against the machine and there is also a time to help people move through their sadness and into the light.” Spearhead’s new album Soulrocker works toward the latter. It was recorded in Jamaica and produced by Supa Dups [Dwayne Chin-Quee] and Di Genius [Stephen McGregor], son of reggae legend Freddie McGregor, and speaks to a troubled world. “My message stays the same wherever I go, you know, it’s written into the songs. And I believe in compassion and I believe in the people in the planet that we can get through any challenges that we face. With so much anxiety people have about the election, this new record really speaks to what’s happening in the state of the world right now. It’s been a really good experience just being out on the road and trying to bring some musical therapy to the craziness that we’re living in right now.”

When & Where: 28 Sep, The Croxton


Music

Strings Of Life

Oliver Downes credits his collaborators — especially The String Contingent’s “strange melange of different styles” — for breathing new life into his songs, he tells Bryget Chrisfield.

H

e’s a classically trained pianist and cellist, but Oliver Downes confesses, “I don’t think of myself as a singer”. After agreeing that there are way too many singers out there who sound exactly the same, Downes admits he does like the way his voice sounds. “I think I’ve got a lot I can still explore vocally and that’s gonna be a fun, ongoing project for me.” Sitting across the table inside an airy Fitzroy cafe taking occasional sips from his coffee, Downes has a very calm, measured way of speaking. He moved to Melbourne from the Blue Mountains about 18 months ago now and his latest album comes to you thanks to a very successful Pozible campaign. “I think I exceeded my target by a bit over $1500,” he enthuses. Given that Ultraviolet is his debut album, Downes points out, “Some of these songs are five years old”. “Continuing to explore different musical combinations is a good way of breathing new life into songs that I’m otherwise sick of,” he suggests. As such, Downes utilised The String Contingent (which comprises his double bassist sister Holly and violinist brother-in-law Chris Stone as well as guitarist Graham McLeod) plus Stone’s metal drummer brother Robin to help create Ultraviolet. “Musically this is so much more

interesting than I could’ve done on my own and I’m really grateful for that,” he praises. “They have very different backgrounds, The String Contingent,” he continues, “like, folk and classical and jazz and bluegrass, and this strange melange of different styles. And they brought all that to my stuff, and just started to bring out all these different kind of details and ideas that I would never have thought of.” Aligning schedules proved “impossible”, so Downes recorded Ultraviolet in several stages and geographical locations. “Me and Harvey [O’Sullivan, engineer] and Rob spent the weekend in Sydney recording drums,” Downes tells, commending the drummer who “made up his parts just with piano demos, in isolation, in a caravan”. His parts were recorded “basically in one take”. “The man’s a machine!” Downes extols. For The String Contingent’s contributions, Downes “went up to Holly and Chris’ place”. “I say their place, they have a strawbale house... an hour and a half outside of Canberra,” he tells. After spending a week up there “making up parts”, another week was spent recording at Ginger Studios in Richmond with Jimi Wyatt, “which was a really fun process”. When asked whether he’d work with this same ensemble again, Downes ponders, “I think next time, and I am thinking about next time [laughs] — this is all me playing a Yamaha Grand, but I’d really like to do a synthier album.” Gary Numan’s Cars fittingly plays over the cafe’s sound system. “With saxophone,” he adds. Now that Ultraviolet is out, Downes reveals, “I’m very keen to write some more things at the moment.” Contemplating the art of songwriting, Downes offers, “I think the best songs leave large chunks of whatever the situation or imagery is up to the listener’s imagination.”

Art Gone Rogue

Inflatable Moon

A giant inflatable Moon was set loose in the Chinese town of Fuzhou last week, Indiana Jones style, when typhoon Meranti tore the blow-up sculpture from its moorings. It’s not the first public sculpture fail…

For Duck’s Sake Dutch sculptor Florentijn Hofman’s giant inflatable Rubber Duck has been popping up on waterways around the world since 2007, but in 2013 it turned into a damp squib on Hong Kong Harbour when it sprung a leak.

Banged Up Acclaimed British artist Thomas Heatherwick had a lawsuit on his hands after his sculpture, B of the Bang, started dropping huge metal spikes on passers-by.

The Wrong Shlong Transit Cloud, a $190,000 public sculpture commissioned by Auckland Council didn’t go down well with locals when it was unveiled last year, principally because it resembles a massive penis.

What: Ultraviolet (Independent) When & Where: 22 Sep, Wonthaggi Band Room; 23 Sep, Wesley Anne THE MUSIC 21ST SEPTEMBER 2016 • 23


Secret Sounds Presents


buy tickets! secretsoundstouring.com


Eat / Drink Eat/Drink

Oprah Winfrey said it best in her Weight Watchers testimonial: “I love bread. I love bread... I don’t deny myself bread; I have bread every single day!” You bread our minds, Oprah. The American queen of chat’s love affair with crusty carbs won’t have had anything to do with a pre-sliced supermarket loaf, and just like Oprah, we want naan of that! The humble bap, roll and bloomer have been elevated to the highest culinary echelons by genius-level bakers — a fair few of them right here in Melbourne. These are the bready delights you knead in your life.

La Madre Bakery 18 Milton Street, Bell Park, 3215 La Madre is leading the way for sustainable bakeries, with a green philosophy that has risen up over the past ten years. Check out their carbon neutral hot cross buns for a guilt-free Easter — they’re the first of their kind in Australia. Delectable twists also include shallot and garlic sourdough cob or an olive sourdough made with kalamata olives from the Grampians.

Noisette84 Bay Street, Port Melbourne, 3207 Bakery founder David Menard is a fifth generation baker whose great-grandfather started making homemade bread in 1825. His family tree is laden with patissiers and pastry chefs, so you can crust he knows what he’s doing. With shops in Port Melbourne and Bentleigh, plus a regular stall at Prahran Market, there’s no excuse not to try their modern twists on old classics, such as the chia loaf or a raisin baguette.

Loafer Bread 146 Scotchmer Street, Fitzroy North, 3068 Andrea Brabazon has been making quality products at Loafer Bread since 2007. This bakery prides itself on its use of local and seasonal ingredients, sourced from sustainable suppliers, as well as organic, biodynamic and free range produce whenever possible. Everything they make is small batch, so come early or baguette ready to be disappointed!

Fatto a Mano Organic Bakery 228 Gertrude Street, Fitzroy, 3065 Since 2007, Fatto a Mano has been blocking up the sidewalks of Fitzroy with lunch lines. Husband and wife team Mario and Sandra Cucuzza have over 50 years of experience between them. One-hundred percent of their ingredients are organic so ciabatta believe these bakes are top shelf. Hand made on site, push and shove your way to buy anything from their gluten free loafs to brie-filled seeded baguettes or raisin-pumped brioche. 26 • THE MUSIC • 21ST SEPTEMBER 2016


Pic: Daniel Ogilvie

This lady channels all of the important musical reference points you’ll ever need and then mixes them into her own brand of gooey sumptuousness. Cohen’s guitar work is inspired; she coaxes the sweetest of sounds from the instrument, but is also capable of beating it into submission with a cranking solo. And if Cohen looks familiar, that’s because she also fronts The Furrs. You’d be a damn fool to miss her show at The Curtin on Sat 24 Sep.

In Focus Gabriella Cohen

THE MUSIC 21ST SEPTEMBER 2016 • 27


Music

Along For The Ride

Here’s a wrap of who’s just announced a new release:

Lady Gaga – Joanne

Six-time Grammy winner Lady Gaga is dropping her fifth studio album Joanne on 21 Oct. Seasick Steve’s new album Keepin’ The Horse Between Me & The Ground drops via his own label There’s A Dead Skunk Records on 7 Oct. Psychobilly trio Nekromantix have announced their new album A Symphony Of Wolf Tones & Ghost Notes to be released on 21 Oct through Hellcat Records. The new album from Luke Temple A Hand Through The Cellar Door will be released on 11 Nov through Secretly Canadian via Inertia Music. The second album from Highly Suspect The Boy Who Died Wolf is out 18 Nov via 300 Entertainment.

28 • THE MUSIC • 21ST SEPTEMBER 2016

Passenger, real name Mike Rosenberg, is one of those frustratingly genuine people who seems to prefer talking about others. He speaks to Roshan Clerke about the focus of his new album, and tells the story of someone he met along the way. ike Rosenberg’s new record Young As The Morning, Old As The Sea is somewhat of a departure from his previous style of writing. Recorded partially in Auckland, it’s an album inspired by the mountainous panoramas of New Zealand and Iceland. “It was a much more collaborative recording process with the band this time,” he says. “We tracked it live, and as a result it feels bigger and more natural.” However, the influence of location goes beyond the album’s expansive sound. “There’s a new theme of landscapes and nature occurring throughout these songs,” he says. “I’ve always talked about people before, and their very specific stories. With this record, there seems to be this really new and exciting geographical theme.” It’s part of Rosenberg’s increasing attempts to universalise his songwriting. “I think after years of writing, you learn how to do it. It’s not possible with every song. I think Let Her Go is possibly my best example of it. The song about a break-up, which is something very specific that I was going through at the time, but it can relate

M

to everyone. It’s very broad, to the point where it’s not just concerning relationships or break-ups, but people hear that song and think about people they’ve lost. There’s so many ways of interpreting that song, yet everybody hears it and can relate to it in some way. It’s a very fine line to balance, I think.” His years spent busking around the world have helped lend him this perspective for the universal, as he’s been able to gather the stories and experiences of people he’s met. He comes alive for the first time in our interview when telling the story behind Travelling Song, off his previous album, about an Australian he met in Denmark. “I was busking, and it was going really badly. No one was listening, but this man came and sat and listened for an hour. He was probably in his 70s, I would say. We had a chat afterwards, and he told me this tragic story about how he and his wife had always planned to go off travelling. They’d never been out of Australia before, and had agreed that when the kids grew up they would go around the world together. They were putting money aside and saving every month, and eventually, after years, and years, and years, they booked this huge trip around the world. Before they left, she suddenly passed away. And this guy still decided to go travelling on his own, out of respect for her. Having a conversation like that with a stranger was incredible. That’s the kind of interaction that, somehow, from playing music on the street, you can evoke from people. It’s amazing.”

What: Young As The Morning, Old As The Sea (Black Crow Records/Warner) When & Where: 25 Jan, Sidney Myer Music Bowl


Music

Maintaining Their Cool

There’s no resting on their laurels for ‘60s garage progenitors The Sonics, and founding saxophonist Rob Lind tells Steve Bell that their high energy aesthetic is a state of mind.

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orthwest garage-rock pioneers The Sonics never made much commercial headway during their initial stint in the ‘60s, but their uncompromising brand of three-chord rock’n’roll influenced generations of artists to follow, with everyone from Nirvana to The Stooges to The White Stripes to Bruce Springsteen citing them as a sonic touchstone. In 2007 they reunited for the Cavestomp garage festival in Brooklyn and have been thrilling new waves of fans with their vigorous live show and timeless tunes ever since. Then last year they upped the ante by releasing This Is The Sonics - their first album of new material in almost 50 years and the big surprise wasn’t that it happened, but how raw and vital these new songs and recordings sounded. “It’s a direct reflection on Jim Diamond who produced it,” offers founding saxophonist Rob Lind. “We’d never used a producer before so you get in the studio and everyone’s got their own idea and egos start happening, and people are saying, ‘I think we should do this’, ‘No, I think it would be better if we bring in a string section’. He’d done The White Stripes and he knew us

quite well, and he was recommended to us, and so he came up to Seattle a week before we were going to go into the studio, and we rehearsed every night and he came to the rehearsals with a legal pad and just took notes. “We put up something like 20 songs at the end of that and he said, ‘These are the ones we’re going to do, and these are the ones we’re not going to do’, and when we went in the studio his idea was - he verbalised it - ‘I don’t want to copy the old days, but I want to try to get the energy and the fire that you guys had on those first two albums back in the ‘60s’. So it was nice because we didn’t have to think, and he was always right! We played the songs on the album but he was the film director. “Although we always play with energy, no matter the age of the people in the band like me, we always play hard. So when we went in there it wasn’t like we were looking at each other going, ‘Okay guys, let’s play with energy!’ That’s just the way we do it, so that kind of came naturally.” And after years touring the old hits, Lind says it’s great to have new Sonics tunes in the repertoire again. “Actually, that’s why we did it,” he smiles. “I didn’t want to be an oldies but goodies band - I didn’t want to be a retro band, [adopts carny voice] ‘Here they are, The Sonics, playing the hits of the ‘60s!’ I didn’t want to do that. We’re always going to do Psycho and Strychnine and The Witch and Shot Down and Boss Hoss - those’ll always be in there - but now we have all of these songs off the new album and it’s so much fun having those in there too.”

Trolling Trolls

Trolls

We’ve got nothing against Troll dolls – the pencil toppers were cute AF – but the upcoming DreamWorks picture, starring Justin Timberlake and Anna Kendrick, inspired by the big-haired critters, looks like it might not be pitch perfect. Hollywood has raided the toy chest plenty of times before, with mixed results.

Toy Story Without a doubt, it’s one of the most successful franchises in animation history. Pixar barely put a foot wrong throughout the trilogy following the adventures of Woody, Buzz and the gang.

The Lego Movie Everything is awesome in this ingenious homage to the little plastic bricks. In fact, we’d go so far as to say The Lego Movie transcended the glaring product placement.

Battleship The less said about this unwatchable sci-fi fail, inspired by the Hasbro board game, the better. Even RiRi and Liam Neeson couldn’t polish this lacklustre blockbuster turd.

When & Where: 24 Sep, Max Watts

THE MUSIC 21ST SEPTEMBER 2016 • 29


Film

Picture This

Trump Dump America

When Anthony Carew meets Robert Mapplethorpe: Look At The Pictures documentary makers, Fenton Bailey and Randy Barbato, they tell him how to find the best fisting pictures.

A new artwork at New York’s Guggenheim Museum is giving new meaning to the term “shit art”. America by Maurizio Cattelan is an 18-karat, solid-gold, fully plumbed-in toilet that visitors will be able to use for exactly the purpose you’d expect a toilet to be used for. The artist has said that it was inspired by a certain billionaire Presidential candidate; potentially the only American politician to personally own a golden (bathroom) throne.

30 • THE MUSIC • 21ST SEPTEMBER 2016

“H

ere’s a really useful exercise: look up fisting pictures on the internet, and look at as many as you can,” says Fenton Bailey. “Once you look at all these other fisting pictures, you realise how great his pictures are. You’ll definitely see the difference between a regular fisting picture and a Mapplethorpe fisting picture. You really do!” Bailey, 56, and his partner Randy Barbato have found wild success as the producers behind the RuPaul’s Drag Race reality-TV empire, but the pair are documentarians at heart. Having made films like Inside Deep Throat, Party Monster, and The Eyes Of Tammy Faye, their latest is Mapplethorpe: Look At The Pictures, an exploration of the life and work of infamous New York photographer Robert Mapplethorpe. His X Portfolio pictures — of leatherware, pissing and various things inserted in various orifices — found infamy in 1989. Mere months after his death, they showed as part of his The Perfect Moment retrospective, which lead to Cincinnati’s Contemporary Arts Center being put on trial for obscenity. “It’s taken a full generation — 25 years — for us to be able to forget the scandal and to actually just look at his work for what it

is,” Bailey observes. “Rather than just looking at it through the lens of scandal and outrage, of filth and pornography; all this extraneous stuff that has nothing to do with the work.” Look At The Pictures is a portrait of the artist at work; Mapplethorpe’s “tragically-short” life filled with work made at a maniacal, drug-aided pace. He was a hustler, with a savvy publicrelations mind; a daily documentarian long before this pics-or-it-didn’t-happen era. “He said that the life he was leading was a work of art, and the pictures were the documentation of that,” says Bailey. “The interviews he gave were a part of his work. The things he kept were a part of his work. He had a sense of his own role as an artist, and therefore kept a lot of material that for a museum curator is absolutely essential in presenting an artist to the public. Everything in his life was about his art. He was someone who was very open, transparent. He didn’t hide things, he wasn’t ashamed, he didn’t apologise, he didn’t edit himself.” Mapplethorpe’s love of documentation meant that Bailey and Barbato had a “cache of material” from which to draw; the subject of the film being on screen so much he essentially serves as the narrator. There’s other talking heads, too, but not Mapplethorpe’s most famous friend. “Patti Smith, we couldn’t persuade to sit down for an interview,” Bailey says. “In the end, she’s in the [archival footage], but it’s also important for people to understand that Mapplethorpe’s story is his own story. She’s a part of it, but only a part. Just Kids is a fantastic book, but I think people can come away from it thinking that the Mapplethorpe story is the Patti Smith story, when it’s really not.”

What: Robert Mapplethorpe: Look At The Pictures When & Where: 22 Sep — 11 Oct, ACMI


Music

Heat Wave

Psychobilly legends Reverend Horton Heat have been marching to the beat of their own drum for decades, and frontman Jim Heath tells Steve Bell that they have no intention of toeing the line now.

W

hen you’ve been at the forefront of a movement for decades — as Texan outfit Reverend Horton Heat have been with the good-time psychobilly since the mid-’80s — you have to think outside the box sometimes to keep things fresh. In Reverend Horton Heat’s case this happened recently when founding frontman Jim Heath — aka the band’s titular Reverend — built a studio in his Dallas abode and self-recorded their 11th studio album REV, and looking back he couldn’t be happier with the rocking collection. “I’m actually happier than I was when we first finished it, because when I listen back to it I got really lucky — I got really lucky on that one,” he chuckles. “It was the first album that was basically all me recording it — I’ve done parts of other recordings, but basically this was all me in our studio, except about three songs have parts that we did in a regular commercial studio. I learned a lot — there’s some stuff that I might have changed, but most of that was technical BS rather than music.” And in keeping with this new DIY ethos the band have been putting on their own

festival in Austin for the last three years, Horton’s Hayride combining the music they love with classic custom cars and burlesque. “It’s super exciting to run your own event, and I’m really trying to make it something different musically,” Heath tells. “It’s something really different that you don’t get from too many other places, and it’s a lot of fun. “What we’ve done all three years is instead of just having bands play, we got several frontmen and we’d just fly ‘em in and learn their songs. So our set is like three hours long, because we play four songs and then we bring on a guest for three songs, then we’ll play a couple or a few more songs and then bring another guest back. We have like four guests, and it’s really interesting and fun. One of our guests this year is a guy from Australia called Pat Capocci, he’s a great guitar player who plays rockabilly in a roots style. And then we’re having El Vez come and play, he’s like the Mexican Elvis, and one of our guests is Eddie Spaghetti who’s the lead singer of Supersuckers. It’s going to be a blast. “We’ve been doing this so much over the last number of years, and not necessarily just at the Hayride where it’s everybody at once, but we’ve been doing a lot of tours where we’ll take a guest frontman with us, on the road. We’ve done it with Lemmy, Jello Biafra from the Dead Kennedys, and a guy called Unknown Hinson, Deke Dickerson — there’s so many I forget. Between that and the Hayride guests it seems like all we’re doing lately is learning people’s songs!”

Cosby and Trump Together At Last Bill Cosby

Donald Trump

Alongside the list of winners, the touching speeches and the serratededged critiques on who wore what best, no awards ceremony worth its salt would be complete without some good ol’ fashioned celebrity roasting. The 68th Emmys took aim at tried and true award gag favourite, disgraced comedian Bill Cosby, and a new punchline magnet, Donald J Trump. The audience was seen to be visibly uncomfortable as a voice-over announced that the former star of The Cosby Show would be presenting an award, before presenter Jimmy Kimmel interjected: “He’s not really here, I just wanted to see what you guys would do.” Lampooning the Presidential hopeful in his intro, Kimmel asked: “Would Donald Trump be running for President without television? No. Donald Trump would be at home, rubbing up against his wife while she pretends to be asleep.”

When & Where: 24 Sep, Corner Hotel; 28 Sep, Caravan Music Club

THE MUSIC 21ST SEPTEMBER 2016 • 31


Album / E Album/EP Reviews

Album OF THE Week

Every Time I Die Low Teens Epitaph/Warner

★★★★

Buffalo hardcore act Every Time I Die may be closing in on two decades of writing and recording with this eighth and latest studio album, but converse to the typical mellowing of bands with age, they’re more ferocious now than ever before. Low Teens has no qualms with taking the band to some of their heaviest sounds, immediately kicking speakers under Fear & Trembling with the demented, scattering sounds of guitarists Jordan Buckley and Andy Williams before giving us the first album taste of new drummer Daniel Davison. The instrumental combination the group now brings is teaming with energy and thrash riffs, frequently sweeping through breakneck pace before giving just enough breathing room for a throbbing melodic breakdown such as with The Coin Has A Say. Vocalist Keith Buckley is pure savagery across nearly all tracks with his vocal approach, filthy and guttural and lyrically still remaining largely rooted in a frustrated sense of mind. Strangely it’s the slower paced moments that stretch Buckley to a new and intriguing sound such as the groovy harmonies performing alongside guest vocalist Brendon Urie on It Remembers, or the straight rock underbelly of Two Summers. Low Teens is the most complete Every Time I Die record that we’ve heard so far and undoubtedly their best release to date. Mark Beresford

Devendra Banhart

Beach Slang

Ape In Pink Marble

A Loud Bash Of Teenage Feelings

Nonesuch/Warner

★★★ The problem with making your definitive album is how to follow it up? Devendra Banhart threw everything into 2005’s Cripple Crow; a 22-song saga with big production that spawned most of his best-known work. The meandering Smokey Rolls Down Thunder Canyon‘s gratuitous orchestral arrangements tanked, while What Will We Be featured down-to-earth but not memorable songs. Overall, Ape In Pink Marble is Banhart’s most relaxed opus to date. The delicately sung opener, Middle Names, is pleasantly hazy, but it’s hard to see it dominating the airwaves. But like his ink drawings, which have appeared in various galleries across the world, much of Ape In Pink Marble seems like it was thrown together quite spontaneously, revealing

32 • THE MUSIC • 21ST SEPTEMBER 2016

Cooking Vinyl

★★★½

Banhart’s idiosyncrasies and quirky charms. Modern technology seems to have slowly crept up on Banhart, as the subtle electronic details that began with previous album Mala continue here, as background noises blur the overall sound of Mourner’s Dance and Saturday Night in ways that might appeal to anyone who’s made friends with the new Frank Ocean record. An artist who never stays in one space for long, it will be interesting to see whether Banhart journeys further into this quietly unassuming, dreamy sound or bamboozle us all with another u-turn. Christopher H James

Beach Slang’s second album is one of those rare pieces that fully reflects its title. The music is a loud bash of teenage feelings. It promises, it delivers. Firstly, brownie points must be given for the thematic song titles: with names like Future Mixtape For The Art Kids and Punks In A Disco Bar, we’re promised, on first glance, a few short minutes of angsty, bashy skater-punk. While the genre itself doesn’t lend itself to many musical dynamics or particular shifts in style, Beach Slang do it well. Atom Bomb deserves a special mention with the lo-fi vocals and scuzzy guitar riffs. The Philadelphia outfit’s catchy riffs continue into Spin The Dial, a definite highlight of the album in its potential to become a festival anthem. The album reaches its crescendo with Hot Tramps, before toning down the angst (slightly) and rounding off the

lyrical content with broken hearts, sex, drugs and rock’n’roll. Young Hearts is a sunset in song form, the melancholic guitar riffs complementing the growly vocals and driving drumbeat. It transforms into The Perfect High, an ode to completely fucking yourself up on illicit substances and sharing your otherworldly experiences with your one true love. Perhaps most importantly, there’s definite potential for those feelings of teen angst to develop and mature into more complex commentaries on the world as a whole. Beach Slang have done what they do best, and paved themselves a yellow brick road into the future. Tash Loh


EP Reviews Album/EP Reviews

Giraffe Tongue Orchestra

The Ocean Party

Passenger

Restless

Broken Lines

Spunk/Caroline

Young As The Morning Old As The Sea

Party Smasher Inc/Cooking Vinyl

Black Crow/Warner

Billy Bragg & Joe Henry Shine A Light: Field Recordings From The Great American Railroad Cooking Vinyl

★★

★★★★

★★★

★★★½

Being the side project from members of some of the finest heavy acts currently playing, and one that’s been dropping tidbits since 2012, it’s disappointing to find their debut Broken Lines so lacklustre. The merging of style from the immensely talented band members sticks well enough with ascending ‘80s metal melodies, dense prog breakdowns and a groovy slickness throughout. Disappointingly, these elements simply don’t translate to any tracks that grab hold and shake you like this record really should. Cuts like Adapt Or Die, Crucifixion or Thieves And Whores can all be singled out as interesting, but ultimately unmemorable.

Restless is a well-curated collection of Oceania, with sounds reminiscent of waves crashing on a shore. As cliched and corny as that sounds, the record is a well-polished homage to lazy beach days. Twangy guitars in tracks like Decent Living are almost Fleetwood Mac-esque, slightly mystical. Teachers takes you on a summer road trip, so much so that you can almost taste the salty dry air on your tongue and feel the leather seats burning your thighs. The Ocean Party have been incredibly successful in their smooth, synthy summer soundtrack, taking listeners to their own private beach and melting all their worries away.

The famously ‘found busking on the street’ one-man powerhouse, Passenger’s newbie is more of the same in terms of genre, but if it’s your bag, then it won’t disappoint. Sweet additions like Beautiful Birds (feat. Birdy) are nice asides, while the gentle rumble of The Long Road comforts nicely. First single Somebody’s Love as well as When We Were Young are a bit of a departure texture-wise, but their extra bells and whistles are nice additions. Passenger − for all your indie, folk (with a little alt-country), echoey, slow burn needs.

Travelin’ songs should be a genre of their own − a problem Billy Bragg and Joe Henry have sought to address here with this collection of songbook covers. Think Hank Williams and keep going. These songs were recorded while Bragg and Henry rode the railroad across America and the occasional rumble of tracks or passengers can be heard if you listen hard. The character of their harmonic voices (which also rumble around) and the simple, jangled guitars draws you in. It’s hard to pick a favourite (The Midnight Special and Lonesome Whistle, if one must), so just turn on, tune out and drift away.

Mark Beresford

Tash Loh

Liz Giuffre

Liz Giuffre

More Reviews Online Bruce Springsteen Chapter And Verse

theMusic.com.au

Mac Miller The Divine Feminine

Hamilton Leithauser & Rostam I Had A Dream That You Were Mine

THE MUSIC 21ST SEPTEMBER 2016 • 33


Album / E Album/EP Reviews

Airbourne

Jason Walker

Unity Floors

Warpaint

Breakin’ Outta Hell

All-Night Ghost Town

Life Admin

Heads Up

Spinefarm/Caroline

Lost Highway/Universal

Popfrenzy

Rough Trade/Remote Control

★★★½

★★★★

★★★½

★★★½

Possessing a lived-in sound but boasting a modern vitality, Airbourne’s modus operandi since forming has been to clobber all and sundry with nofrills, no-pretensions, strictly-noballads hard rock. Album number four’s sufficiently self-assured to even present cliched song titles a la It’s Never Too Loud For Me sans nudge and wink. Lascivious swagger of Down On You, Lemmy tribute It’s All For Rock N’ Roll and hard-living ode When I Drink I Go Crazy reiterate that authentic, earnest delivery remains a primary strength. Although the tack’s indicating faint signs of weariness on record, here’s a white-knuckled ride best experienced live for the full effect.

It comes down to the simple honesty that comes through in Jason Walker’s songs. His voice can be deceptively sweet at times, but there’s nearly always a truthful ache in it. Lived-in, a little worn, sometimes even weary. His renowned pedalsteel often comes like a second personality − like a separate sadness reinforcing the point that he’s really lived this shit. But it’s not entirely tears-inthe-beer country melancholy. Even while telling you Love Is A Lie, you get the feeling he’s got enough hope to keep looking for it. He knows they might be Borrowed Tunes, but that’s because they’re of a sturdy tradition. And Walker honours it.

Sydney guitar-drum duo Unity Floors achieve so much in their humble capacity. A lone strum and a simple beat alongside spoken word drawls and musings nearly always requires a certain degree of patience and lowered expectations for an album as a whole. But Life Admin is just far too likeable in its self-deprecation and stark composition for this to ever be a problem across its ten tracks. Moving To Melbourne’s backseat escapism, Young Professionals’ ‘90s garage band vibes and Cost Of Living’s incessant chorus are highlights in an intensely charming album that just has you wanting more for this band on the rise.

The third album from the LA group, Heads Up is less of a warning than a statement of confidence, charismatic and full of delicate conviction. There are some moments that’ll make you wonder if they’ve exchanged their ponderous electro-folk for something altogether fizzier, but thankfully the band’s indulgence in lengthier tracks means each song has time to play its ideas right to the end. Each fully embraces its own motifs, a trait that sets the album as a string of insular pieces that still tell a whole story, like abandoned pearls on a hotel dresser.

Ross Clelland

Nic Addenbrooke

Carley Hall

Brendan Crabb

More Reviews Online Boxed In Melt

34 • THE MUSIC • 21ST SEPTEMBER 2016

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THE MUSIC 21ST SEPTEMBER 2016 â&#x20AC;¢ 35


OPINION Opinion

Moderately Highbrow

Matt Groening

Visual Art Wank And Theatre Foyers With Dave Drayton

I

In which we eat our shorts, have cows, request that someone take our D’oh, and break out the crab juice to celebrate the imminent arrival of Matt Groening. The recently revealed program for the sixth GRAPHIC in Sydney offers plenty to get excited about, but one name in particular stood out like Andy Williams on a marquee in Branson, Missouri: Matt Groening.

OG Flavas Urban And R&B News With Cyclone

As part of his visit, he’ll be in conversation with Eisner Hall of Famer behind Ernie Pook’s Comeek, Lynda Barry, reflecting on a life in illustration. Groening will also be presenting Secrets Of The Simpsons, which promises behind the scene stories of the making of the show, archival footage, rarely seen animation, and my personal highlight, uncensored Itchy & Scratchy cartoons. If that wasn’t already exciting enough, I’ve heard rumours circulating that

ravis Scott’s latest album, Birds In The Trap Sing McKnight, has topped the US charts just as he prepares for his first Australian tour. Texas’ “professional anarchy maestro” – born Jacques Webster – will join this year’s otherwise low-key Listen Out. Webster aspires to be a visionary. As a producer, the Houstonian is down with Kanye West’s GOOD Music (he was credited alongside Yeezy on Madonna’s Rebel Heart). Then he’s signed to TI’s Grand Hustle as a post-rapper/singer. He’s prolific, too. Although Webster’s auspicious avant-trap debut Rodeo only aired last September, Birds In The Trap Sing McKnight (an Apple streaming exclusive) was actually expected sooner. The Birds In The Trap Sing McKnight artwork depicts Webster as a fallen angel – very gothic. Unfortunately, the album isn’t fully realised. The title – and concept – comes from Quavo’s eccentric verse in pick up the phone (also featuring Young Thug). ‘Trap’ may be Southern slang for drug-dealing turf, yet Webster uses it to signify his reaching adolescence and confronting Travis Scott social and cultural limitations. Still, he primarily writes about partying, drugs, women and being a rock star. But, while Webster remains big on mood, he doesn’t deliver musically, with Birds In The Trap Sing McKnight revealing little variation. It’s almost somnolent. Nothing here rivals DJ Dahi’s audacious suite 90210 on Rodeo. Webster, relying heavily on Auto-Tune, is accompanied by cred guests – his hero Kid Cudi, Andre 3000 (rapping about an infamous serial killer of juveniles on the ominous intro the ends), Kendrick Lamar, and the trap soulster Bryson Tiller – but even they seem stuporous. The album’s most dramatic track arrives late – and the single Wonderful (with The Weeknd) provides a sonic wake-up and antidote.

36 • THE MUSIC • 21ST SEPTEMBER 2016

T

some of the email hacks Trump has been encouraging turned up info about a similar presentation given by Groening at a private party hosted by a high-ranking Russian minister. New Russian broadcasting laws introduced in 2012 forced the removal of Itchy & Scratchy cartoons from within Simpsons episodes, but the aforementioned hacks suggest Groening made up for the loss of the prohibited material by screening some uncensored episodes of Рабочий И Паразит [The Worker & Parasite Show].

The Heavy Shit Metal And Hard Rock With Chris Maric

S

o they are thinking of extending the Sydney lockout laws by 30 minutes to let people into places up to 2am. ‘Cause half an hour makes all the difference from a person being a reasonable, responsible adult to a raging psychopath. Uh huh. You just have to sit back in resigned disbelief at pretty much everything the people in power do these days. I’m 40 next year, I was told as a kid who never shut up that I should go into politics and I’m still told I should, but I don’t have the patience or resolve


NION OPINION Opinion

to play the game. My maiden speech would probably include telling them all what a bunch of dicks they are and that they have lost touch ages ago with the people they are supposed to represent, and that jobs for the boys shouldn’t be a thing and the transport minister should be an ex truck driver and all that stuff, so they’d just kick me out. Maybe there is a generation under me who can steer the ship back to where a level of common sense is used in decision making. I saw an old black and white video the other day from the ‘50s discussing Sydney’s emerging traffic problems. If only they knew. The same video showed a ferry pulling into the Quay and dozens of men in suits and hats leaping off its edge onto the wharf a full metre or two before it docked! No OHS guy on site fining

them, no guy in a fluoro vest having a heart attack at the mass exodus; people just did shit and took responsibility for it. Fall off and break your leg, well, tough shit, you shouldn’t be doing dumb things in the first place! But still, the onus is on the individual. A column totally devoid of metal at this point I know, but still, the way this city is run very much affects how your plan your night. I was recently talking to a promoter who was tossing around the idea of starting their gigs much earlier and finishing earlier (like 6 or 7pm till 11pm) so that people did have a couple of hours to kick on afterwards either in the venue they are at or elsewhere, without flying out the door at midnight and trying to get somewhere else and cram in a few drinks in the few hours they have left like the 6 o’clock swill. Not a bad idea. I see many gigs finish at or beyond midnight and most people just disappear into the night and go home. There’s no real sense of energy. I remember as a teenager going to big shows at the Entertainment Centre and there was a total sense of anticipation around China Town before hand. The atmosphere was electric, especially when it was Pantera, Slayer or Metallica playing. People went nuts. It continued inside and then well into the night afterwards. They’ve made us docile. Show’s over, go home, and we abide like good lemmings. I’m not advocating that people leave a venue and start throwing garbage bins through shop windows to release whatever angst they’ve got left, but that electricity is definitely a thing of the past among not only our crowd but the city as a whole. Of course we have the clubs I mentioned a few columns back to kick on to and you should definitely be checking them out, but if you’re not right in the CBD there’s not much time to Pic: Josh Groom get there and enjoy if the show you’re at doesn’t end ‘til 12.30am. Maybe shows ending a bit earlier are worth investigating? I feel like watching The Decline Of Western Civilisation now.

It’s not what you know, it’s who you know.

And we know everyone.

On sale now. Go to store. themusic.com.au to get your copy today.

THE MUSIC 21ST SEPTEMBER 2016 • 37


Live Re Live Reviews

Foy Vance @ Corner Hotel. Pic: Lucinda Goodwin

Foy Vance, Kyle Lionhart Corner Hotel 12 Sep

Kyle Lionhart @ Corner Hotel. Pic: Lucinda Goodwin

Foy Vance @ Corner Hotel. Pic: Lucinda Goodwin

Simple Plan @ The Prince. Pic: Yana Amur

Simple Plan @ The Prince. Pic: Yana Amur

Simple Plan @ The Prince. Pic: Yana Amur

38 • THE MUSIC • 21ST SEPTEMBER 2016

There’s a monstrous queue snaking right around the corner past the stage door, which is impressive for a Monday night old-farts gig; it’s kind of a Port Fairy demographic. “Thank you for clapping,” Kyle Lionhart says. Lionhart then introduces a song called Compromise, which he explains is actually about not compromising. He wears a battered brown hat and denim shirt to offset scruffy facial hair and really looks the part. A bit of a tanned, surfie version of Matt Corby. There’s a melancholy tinge to his vibrato. “Is there anyone here who’s actually heard of me, ever?” he inquires. Ladies giggle in the front rows as crushes are established. We spy Foy Vance’s trademark Salvador Dali-esque ‘tache emblazoned across T-shirts at the merch before he graces the stage. Vance takes his position, perched on a piano stool — tan flat cap angled jauntily to slant down over his right eye — and thunders into Noam Chomsky Is A Soft Revolution. He’d make a terrific extra if they rebooted The Sullivans, without requiring any assistance from the costume department. Vance’s vocal is as powerful as Farnsey with a touch of gravelly Barnsey. “How the fuck are ya, Melbourne?” doesn’t even sound sweary with Vance’s Irish lilt. Vance introduces a song about his hometown, Bangor Town, joking that the song’s original title was ‘Shithole’. A few move their hips around to Casanova, for which Vance straps on a guitar. He’s accompanied by percussionist/ vocalist Paul Hammy Hamilton. During one song Hamilton stands up to tap the side of a

mic’d-up bass drum, which is elevated and positioned on its side, with a ringed finger and the resulting percussion is sharp as a whip. After a few punters shout out their requests, Vance takes a sip from his clear beverage and retorts (with a cheeky glint in his eye), “You’ll get what you’re given!” He then plays us a song that didn’t make the cut for his last album The Wild Swan and we immediately wonder, ‘Why the hell not?’ Never Tear Us Apart by INXS is a surprising inclusion and we bask in the beauty of Hutchence’s lyrics afresh before Vance segues smoothly into his own Feel For Me. After returning to his piano station, Vance conjures some audience-supplied “ooh-oohooh” BVs and expertly conducts us during Shed A Little Light. “Thanks for coming out in such numbers,” Vance commends before remarking Justin Bieber has a face that you could never get tired of slapping, even if your hand was red raw. Many take their phones out to record ‘their song’, Guiding Light. He tells us they’re not gonna bother leaving the stage, but will give us an encore anyway. Playing his guitar with a violin bow during

How the fuck are ya, Melbourne?” doesn’t even sound sweary with Vance’s Irish lilt. The Wild Swans On The Lake, Vance summonses our singing voices once more, to harmonise with his own, before wandering off stage singing all the way. Music for the whole family (except for that song in which Vance sings the word “pussy”


eviews Live Reviews

and made the crowd whoop). Bryget Chrisfield

Simple Plan The Prince 13 Sep

“Are you ready to party with Simple Plan tonight?” frontman Pierre Bouvier shouts. Every single person in the room jumps as high as they possibly can in response to the commanding call on Jump. And we’re already breaking out in hot sweats by the third song. Simple Plan then take us back to 2002 with the first song off their debut album No Pads, No Helmets... Just Balls. After hearing some old favourites, we’re all reminded why we fell in love with this band from the very beginning. An unexpected medley of covers including Mark Ronson’s Uptown Funk and The Weeknd’s Can’t Feel My Face mixes things up from Simple Plan’s usual style, but shows us a different side of their spontaneous musical personalities. As they launch into Summer Paradise, inflatable beach balls are thrown into the audience to bounce around to the reggae-tinged anthem. As Bouvier admires the ball play, he tries to grasp the idea of an Australian summer that’s far from Canada, which they call home. Just like the significant message in This Song Saved My Life, Bouvier suggests, “Music can make a real difference in your life and sometimes it really speaks to you.” These words resonate with many who have continued to support Simple Plan throughout their lives. It’s clear that the pop punk community is still alive and strong Down Under. Michael Prebeg

Bouvier suggests, ‘Music can make a real difference in your life and sometimes it really speaks to you.’ The Whitlams, Lepers & Crooks Corner Hotel 16 Sep

The sounds from Corner Hotel’s bandroom emanate like a pre-recorded album such is the power of Lepers. From Led Zeppelin to Pond with a bit of Rage Against The Machine thrown in, these guys have bitten down hard on a wholly unique sound. Vocalist Sam Baker is a powerhouse of infectious energy, raucously jumping around while still hitting each note with absolute perfection. The stage, and the bar, is well and truly set. An unfamiliar boom of instruments signals the start of the usually subdued Blow Up The Pokies. It’s been a while, but The Whitlams are ready from the outset. While frontman Tim Freedman remains the sole original member, the current line-up have been together for 15 years now. Despite this, there is an overwhelming breath of new life and youthful exuberance to the performance. The sound is fuller and more rounded than what might have expected from the alt-rockers, but the crowdfavourite quirks and standards are as present as ever. Drummer Terepai Richmond is a beast on Royal In The Afternoon, and the iconic bass line in You Sound Like Louis Burdett brings all eyes on bassist Warwick Hornby. The

two have an impish relationship, eyeing each other as Freedman and guitarist Jak Housden flaunt their double-act motif. The NSW quartet have taken incredible care in their setlist selection, with the two-hour long show spanning the 20-plus years of Freedman’s songwriting career. Mainstays like No Aphrodisiac and the ‘Charlie’ trilogy are flooded by singalongs, and resurrected lost gems like Start My Cellar Again have the select diehards clutching onto a memory in the making. Even a cheeky Bowie cover sneaks its way into the mix as Housden takes the lead with his distinct falsetto timbre. Freedman is given plenty of opportunity to shine in his own right, providing raw vulnerability

More Reviews Online theMusic.com.au/ music/live-reviews

Two Steps On The Water @ Northcote Social Club Allday @ 170 Russell

... resurrected lost gems like Start My Cellar Again have the select diehards clutching onto a memory in the making.

Rat & Co @ Corner Hotel

in a solo rendition of The Curse Stops Here before asking the crowd, “Have any of youse guys ever had a fancy luvah?” It is a joy to watch the long-time friends taking pride in their work and even falling prey to a couple of self-inflicted glitches. I Will Not Go Quietly (Duffy’s Song) perfectly encapsulates the boisterous sound that The Whitlams have adopted for the evening. A double encore finish with all the trimmings; there’s definitely a lot of gas left in the tank. Joe Dolan

THE MUSIC 21ST SEPTEMBER 2016 • 39


Arts Reviews Arts Reviews

to make good on the subject matter’s dramatic potential. Danni Ray as Cyrus is consistently too contrived to make the subtle intelligence of this show communicate. Being enigmatic is a perfectly legitimate stage device when it’s intentional, but this production seems to hopelessly grope for some kind of resolution without ever managing to grasp one.

A Prudent Man

Sediment Theatre Gasworks to 1 Oct

Melbourne Fringe Festival

★★★ A Prudent Man Theatre Arts House to 1 Oct

★★★★★ “Fringe” can sometimes be a euphemism for “low rent”. Not so for Lab Kelpie, which in my humble opinion is one of Australia’s most exciting independent theatre companies on the rise. This latest production – a new text by award-winning playwright Katy Warner – is as assured as it is incisive. Pitched as a television interview from a high ranking conservative, it’s a portrait of a career politician in full damage control mode. There’s an element of candid honesty that suggests we might be tapped into an internal monologue, which makes the curdling rationalisations and chauvinism even more intriguing. Bullish, inflexible newspeak is parroted by a well-trained disciple of the far right, albeit carefully coached and packaged to appeal to less polarised demographics. Warner’s masterstroke is to make this unlikable protagonist vulnerable enough to provoke our pity. He may be a mouthpiece for the contemptible conservative elite, but this fate is positioned as an inevitability of his unhappy upbringing. Lyall Brooks gives a performance deserving a far grander stage then the diminutive Rehearsal Room

of North Melbourne’s Arts House. He orates with Hitler-esque fervour and yet is able to muddle this political grandstanding with moments of thinly veiled desperation and even heartbreaking frailty. Every atom of his account is precisely judged, without a single falter or misstep in this brutally exposed hour-long performance. This is theatre at the very top of its game: complex, enlightening and thoroughly accomplished.

Can’t Be Tamed Theatre Arts House to 23 Sept.

★½ Mylie Cyrus: feminist icon or a disgrace to womanhood? This is the conundrum under investigation in Justin Nott and Danni Ray’s Can’t Be Tamed. To give it its dues, there’s a surprisingly ample amount of dramatic meat on the bones of this concept. To the casual observer, Cyrus comes across as a celebrity brat whose hedonism, gratuitous pelvic grinding and fuck-you attitude is nothing but a bad influence on impressionable tweens. Take a closer look, and Cyrus makes some pretty insightful observations about the relevance of her personal brand of femininity. While I was won over on the premise, the execution of this show never quite manages

WED 21 SEP 7:30PM

ALL THAT JAZZ + COVER GIRL

In recent years the old-fashioned circus archetypes - the big top, clown cars, elephants balancing on giant beach balls - have been replaced by far more earnest sensibilities. Contemporary circus has evolved into a medium as provocative as its more respected cousins, theatre and dance. In fact, on some occasions, the physical hyperbole of acrobats and contortionists has been used to explore emotional extremes that other performance methods struggle to reach. Company 2’s Sediment is a production in this vein; taking its inspiration from Dostoyevsky’s existentialist tome, Notes From The Underground, it wears its ivory towered aspirations on its sleeve. While the execution is high quality, this production is sorely missing any cohesive dramaturgy. Largely, this lack of theatrical logic makes the connection to the source material somewhat obscure, but at times there are more significant issues, when the dynamic between the two performers, Alice Muntz and David Carberry, takes on an inexplicable undercurrent of physical abuse. That’s not to say that depictions of violence have no place on stage, but it seems clear that this implied dynamic isn’t invoked to serve the storytelling. Instead of the profundity this show clearly hopes to illicit, it’s all just fun and games until somebody gets hurt. Maxim Boon

THU 22 SEP 7:30PM

DEAD RINGERS + BAD TIMING

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40 • THE MUSIC • 21ST SEPTEMBER 2016

FRI 23 SEP 7:30PM

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THE MUSIC 21ST SEPTEMBER 2016 â&#x20AC;¢ 41


OPINION Opinion

Howzat!

Local Music By Jeff Jenkins Vaudeville Smash A SMASHING GIFT

The title of Vaudeville Smash’s second album is The Gift. “It’s called The Gift because no one really buys music anymore, so it’s a gift to the world,” smiles lead singer Marc Lucchesi. Indeed, it is. It’s a fabulously funky, partystarting record. “We wanted to make a really great funk album, our interpretation of that wonderful funk/boogie/ disco scene of the early ‘80s,” Marc explains. Vaudeville Smash - featuring the brothers Lucchesi: Marc, Dan and Luca - is gloriously cheesy. Does the band have a cheese monitor, someone who says, “Nah, we can’t do that, it’s too cheesy”? “Sort of,” Marc laughs. “But we pretty much just do what we like... and my idea of cheese compared to the next guy is probably quite different. For example: We Are The World: most people - cheesy. Vaudeville Smash - no way!” The Gift follows the band’s debut, Dancing For The Girl, and their soccer celebration, Zinedine Zidane, which has had more than four million YouTube views. Did the French star get to hear the song? “If he did, he never told us!” So what’s the best gift Marc has got? “A Kingswood.

42 • THE MUSIC • 21ST SEPTEMBER 2016

It was my first ever car and my parents gave it to me for my 17th birthday. Bench seat, three on the tree... heaven!” And what about the best gift you’ve given? “Probably letting my half-Dutch, half-Sri Lankan, tromboneplaying, fellow Adelaide Uni alumni Jayan Nandagopan sleep on my couch for two months after he rocked up to a gig and reintroduced himself: ‘Remember me?’ It ended up being a two-way gift, though. He’s now a big part of my life.” If you’re a Vaudeville Smash fan, make sure you introduce yourself at their album launch at The Gasometer on Saturday, 24 Sep.

ABBY’S ROAD

Abby Dobson possesses one of the finest voices in Australia. She’s just launched a Pozible campaign to record her second solo album. Abby’s planning to head to Nashville to record with producer Brad Jones, who has worked with a stack of great Aussie acts including Melody Pool, Skipping Girl Vinegar and Missy Higgins. HIP HIP

AC/DC released their third album, Dirty Deeds Done Dirt Cheap, 40 years ago this week. And celebrating birthdays this week: Tim Rogers (47 on 20 Sep), Nick Cave (59 on 22 Sep), and Sarah Blasko (40 on 23 Sep). HOT LINE

“I need your love like an ugly child” - Vaudeville Smash, Potion.


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THE MUSIC 21ST SEPTEMBER 2016 • 43


Comedy / G The Guide

Wed 21

Holy Serpent

Julien Wilson ‘B For Chicken’ Quartet: 303, Northcote

Liz Stringer + Claire Anne Taylor: Ararat Live (Red Room), Ararat

Anne Of The Wolves + Sneaky Shit System + Hello Tut Tut: Bar Open, Fitzroy Kylie Auldist

Jeff Lorber Fusion: Bird’s Basement, Melbourne

The Music Presents

Josh Earl: Comic’s Lounge, North Melbourne

Liz Stringer: 21 Sep Ararat Live; 22 Sep Sooki Lounge Belgrave; 25 Sep Caravan Music Club

The Midwayers + The Baudelaires + Jude Perl + The Brilliant Dance: Evelyn Hotel, Fitzroy

The Sand Dollars: 23 Sep Yah Yah’s

Lomond Acoustica feat. + Nick Charles + Marty Kelly + Jodie Moran: Lomond Hotel, Brunswick East

Michael Franti & Spearhead: 28 Sep The Croxton Gregory Porter: 30 Sep The Croxton Emma Louise: 7 Oct The Workers Club Geelong; 8 Oct Corner Hotel Drapht: 14 Oct 170 Russell Lisa Mitchell: 14 Oct Howler Kylie Auldist: 31 Oct Max Watt’s; 4 Nov Suttons House of Music Ballarat; 17 Nov Sooki Lounge Belgrave Taasha Coates & The Melancholy Sweethearts: 12 Nov Northcote Social Club

Open Mic Night+Various Artists: Mr Boogie Man Bar, Abbotsford National Campus Band Competition Final with + Various Artists: Northcote Social Club, Northcote

Heavy psych rockers Holy Serpent have a new album called Temples coming out at the end of September. Before then they’re getting back to gigging shape with a show at Bar Open on Friday.

Victoriana Gaye: Retreat Hotel, Brunswick Open Mic Night with + Various Artists: The Brunswick Hotel, Brunswick The Bombay Royale: The Curtin, Carlton Shepparton Airplane + Shit Sex + Ute Root: The Gasometer Hotel (Upstairs), Collingwood

A Day On The Green: 12 & 13 Nov Mt Duneed Estate Drysdale

Spencer Street Soul + Strong Dose + The Hip Streets: The Gasometer Hotel, Collingwood

Dan Sultan: 13 Nov 170 Russell

Yffer + Lucy Roleff + Saint

Bell X1: 2 Dec The Prince The Avalanches: 3 Jan Melbourne Town Hall

Slither Hither

King Of The North

Thu 22 Deborah Conway + Willy Zygier: Arts Centre Melbourne (Playhouse), Melbourne Swamp + Hugh Fuchsen & The Sauce Sauce Sauce + Weird Weather: Bar Open, Fitzroy Mr Alford: Charles Weston Hotel (Front Bar), Brunswick Soul In The Basement with + Soulfeat: Cherry Bar, Melbourne

Ayleen O’Hanlon + Rich Davies and the Low Road: The Drunken Poet, West Melbourne Water Bear + Trillionayers + Interstellar Collective: The Gasometer Hotel (Upstairs), Collingwood Harmony Byrne + Jane McArthur + Sugar Teeth: The Gasometer Hotel, Collingwood Baby Blue + Tall Shores + Hollie Joyce: The Old Bar, Fitzroy Spike Fuck + Crystal Myth: The Post Office Hotel, Coburg

Josh Earl: Comic’s Lounge, North Melbourne

Grouplove: 6 Jan Melbourne Town Hall

Ben Mitchell: Edinburgh Castle Hotel (Front Bar), Brunswick

Snarky Puppy: 8 Apr Melbourne Recital Centre

Masco Sound System + Castilles: Evelyn Hotel, Fitzroy

The Lumineers: 19 Apr Arts Centre Melbourne

Dal Santo: Grace Darling Hotel (Basement), Collingwood

Pagan

The Houndlings: Lomond Hotel, Brunswick East

King Of Your World Rock duo King Of The North are on their Get Out Of Your World tour, supporting their second album. For those who prefer the ‘burbs to country VIC, you can catch them at The Tote on Saturday.

Bring Me The Horizon: Melbourne Park (Margaret Court Arena), Melbourne Emillia & The Scarlettes + The Big Mamas: Mr Boogie Man Bar, Abbotsford The Railway Gang: Railway Hotel, Windsor Sun God Replica + Grindhouse: Retreat Hotel, Brunswick Stoned To Death + Liquor Snatch + Jason Lives + Ding Dong Death Hole: Reverence Hotel, Footscray Liz Stringer + Claire Anne Taylor: Sooki Lounge, Belgrave

Hill: The Old Bar, Fitzroy Rolling Stone Live Lodge feat. Flyying Colours + Contrast + Yes Sir Noceur: The Workers Club, Fitzroy Trivia: Wesley Anne, Northcote

Punk practitioners Pagan have chucked out some Wine & Lace in the form of a new single and are supporting Totally Unicorn on their Dream Life tour. Get mesmerised at Northcote Social Club on Friday.

Animal Hands + The Mansized Roosters + High Finance: The Bendigo, Collingwood Who’s This? + Human Rites + Lewis Reidy Crofts + Dave McKinlay: The Brunswick Hotel, Brunswick Love Migrate + Baptism Of Uzi + Way Dynamic + Emma Russack: The Curtin, Carlton

44 • THE MUSIC • 21ST SEPTEMBER 2016

Wine & Lace… With Mike

Darlow: The Prince (Public Bar), St Kilda Nothinge + MCUK + Human Pesticide: The Tote (Upstairs), Collingwood Rolling Stone Live Lodge feat. Stonefield: The Workers Club, Fitzroy


Gigs / Live The Guide

Emilia & The Scarlettes

The Braves + Disco Puppets + Fuzzsucker + Cybernetix: Grace Darling Hotel, Collingwood

Pleasure Model + Super-X + Pussy Juice: Grace Darling Hotel (Basement), Collingwood

Jai Wolf + Dugong Jr: Howler, Brunswick

The Mojo Corner: Spotted Mallard, Brunswick

Club Miami feat. + Various DJs: Trak Lounge Bar, Toorak

Whoopie Cat + The Grogans + The Deja Vus + Kurt Gentle: The Barn, Bayswater

Oliver Downes + Jess Locke: Wesley Anne, Northcote

Silverlight Shadows + Sun God Replica + Swidgen + Rathead: The Bendigo, Collingwood

DJ Dustin McClean: Wesley Anne (Beer Garden), Northcote

Indie Rock Night with+Mikey & The Alignment + Mantis & The Prayer + Hounds To Houses + The Hedonistic Pleasures: Kay St, Traralgon

Molasses: The Brunswick Hotel, Brunswick

The Red Heading

Junior Fiction + Weatherboards: Labour In Vain, Fitzroy

The Drunken Poachers: The Drunken Poet, West Melbourne

Up-and-coming six-piece Emilia & The Scarlettes play a smooth meld of jazz, soul and funk .They will be ding their thing at Mr Boogie Man Bar on Thursday night with The Big Mammas.

Cat Canteri + Max Teakle: Lomond Hotel, Brunswick East

Wolf & Willow + The Run + Luke Biscan: The Workers Club Geelong, Geelong

Evolution of the Blues with + Smokin Sam & The Cargo Blues Band + Julie Noble + Aaron Gillet: Mr Boogie Man Bar, Abbotsford

In The Mood: Wangaratta Performing Arts Centre, Wangaratta Mandy Connell: Wesley Anne (Front Bar), Northcote General Men: Yarra Hotel, Abbotsford

Fri 23 A$AP Ferg: 170 Russell, Melbourne Allan Browne Memorial & Benefit with + Paul Grabowsky + Barney McAll + Bob Sedergreen + Andrea Keller + Julien Wilson + Eugene Ball + Tamara Murphy + more: Athenaeum Theatre, Melbourne

Broadway Sounds + Donny Benet + Gonzo Jones: The Curtin, Carlton

The Sand Dollars: Yah Yah’s, Fitzroy Figurehead + Truly Holy + CL Pleasure + Dave O’Connor: Yarra Hotel, Abbotsford

Sat 24

Straight Arrows

Vinyl Vixens: Disco Lips!+Various DJs: Loop, Melbourne Bring Me The Horizon: Margaret Court Arena, Melbourne Immolation + Astriaal + Nocturnal Graves + Ignivomous: Max Watt’s, Melbourne

Totally Unicorn + Pagan + Jack The Stripper + No Haven: Northcote Social Club, Northcote Papa Chango: Open Studio, Northcote Flowertruck: Penny Black, Brunswick She Cries Wolf + Void Of Vision + Justice For The Damned: Phoenix Youth Centre, Footscray Rebekah: Railway Hotel, Brunswick La Danse Macabre with + Brunswick Massive: Rainbow Hotel, Fitzroy

Straight Shooters Mysterious mischief makers Straight Arrows are tackling Max Watt’s on Saturday in support of Washington’s The Sonics. Check out these two generations of garage punk rockers tearing the place down.

Holy Serpent + Grim Rhythm + Jack Harlon & The Dead Crows: Bar Open, Fitzroy King Of The North: Barwon Club, South Geelong

Pat Capocci

Even + Thee Gravy Train Four + J Scot McKenzie + Ten Gallon Head: Bella Union, Carlton South

Louie & The Pride: Compass Pizza Bar, Brunswick East Ana Popovic + Chris Wilson + The Kite Machine + Blue Eyes Cry: Corner Hotel, Richmond Mellvins: Ding Dong Lounge, Melbourne Alexis Nicole: Edinburgh Castle Hotel (Front Bar), Brunswick Figures + Acolyte + Dirty Wolves + Red Sea: Evelyn Hotel, Fitzroy

Slow Grind Fever feat. + Richie 1250 + Mohair Slim + Pierre Baroni + DJ Ken Eavel: Bar Open, Fitzroy

Chelsea Bleach + Transpixies + Qwerty: The Post Office Hotel, Coburg

Diddy Reyes: Catfish, Fitzroy

Josh Earl: Comic’s Lounge, North Melbourne

Nhatty Man + Gara: The Gasometer Hotel (Upstairs), Collingwood

Hightime + Foley + Self Talk + The Burning Roaches + Face Face: The Old Bar, Fitzroy

Buoy: Boney, Melbourne

1am Slot feat. + Box Crunch: Cherry Bar (Jenni Bar), Melbourne

Lawrence Mooney: Arts Centre Melbourne (Playhouse Theatre), Melbourne

Basenji: The Hawthorn Hotel, Hawthorn

Jeff Lorber Fusion: Bird’s Basement, Melbourne

The Cherry Dolls + Jurassic Nark + Birdhouse + Batz: Cherry Bar, Melbourne

Skyscraper Stan & The Commission Flats: The Gasometer Hotel, Collingwood

Rev Heads Rockabilly roots rocker Pat Capocci is back from the US of A with the one and only Reverend Horton Heat. You can catch them playing Corner Hotel on Saturday night.

Shadows Of Hyenas + Katana Cartel + Stronger Than All + Chase The Ace: Reverence Hotel, Footscray Revolver Fridays feat. + David Mayer + Various DJs: Revolver Upstairs, Prahran Fulton Street: Sooki Lounge, Belgrave

Apocalyptica: The Prince, St Kilda Sleazy Listening with + Arks + Richard Kelly + Hysteric + K. Hoop: The Toff In Town (Carriage Room), Melbourne Poprocks At The Toff with + Dr Phil Smith: The Toff In Town (Toff Ballroom), Melbourne Isaiah Mitchell + Seedy Jeezus + A Basket Of Mammoths + The Black Heart Death Cult: The Tote (Band Room), Collingwood Crop Top + Shit Sex + Avoid + Latreenagers: The Tote, Collingwood

The Teskey Brothers: Bella Union, Carlton South Listen Out 2016 feat. + Rufus + A$AP Ferg + Jauz + Stormzy + Travis Scott + Tchami + Baauer + Claptone + Gordon City + Yung Lean + Anderson .Paak & The Free Nationals + LDRU + Cosmos Midnight + Ngaiire + Joy. + Tash Sultana + Willow Beats + Sui Zhen + more: Catani Gardens, St Kilda West High Nights + Clusterfunk + Minicoop: Catfish, Fitzroy Georgia State Line Duo: Charles Weston Hotel (Front Bar), Brunswick Nirvana - Nevermind 25th Anniversary Celebration with + Dave Fazza & The Side Effects: Cherry Bar, Melbourne The Moonee Valley Drifters: Coburg RSL, Coburg

Rolling Stone Live Lodge feat.+Ecca Vandal + Mose & The Fmly: The Workers Club, Fitzroy

Josh Earl: Comic’s Lounge, North Melbourne

Harts: The Workers Club Geelong, Geelong

Zoe Ryan: Compass Pizza Bar, Brunswick East

THE MUSIC 21ST SEPTEMBER 2016 • 45


Comedy / G The Guide

Reverend Horton Heat + Pat Capocci + The Rechords: Corner Hotel, Richmond

Gypsy & The Cat

Max Fotheringham: Wesley Anne (Front Bar), Northcote

Gavin James: Ding Dong Lounge, Melbourne

Dan Krochmal: Wesley Anne (Band Room), Northcote

Mondo Loco: Edinburgh Castle Hotel (Beer Garden), Brunswick

2AM Slot with + Straight Arrows: Yah Yah’s, Fitzroy

Rambutan Jam Band + The Deadpans + Hills Hoist + Slim Jeffries: Evelyn Hotel, Fitzroy

The Primary + Claws & Organs + Spike Fuck + Romy Vager: Yarra Hotel, Abbotsford

Utopia feat. + Bake: Ferdydurke, Melbourne Ronnie Charles & The Slick Lix Band: Flying Saucer Club, Elsternwick

Let Yourself Go - David Bowie Celebration with + Ashley Naylor & The Diamond Dogs + DJ Max Crawdaddy: Yarraville Club, Yarraville

Zevon Hiltz with his Midnight Express: Forester’s Hall, Collingwood

Sun 25

Them High Spirits: Gin Lane, Belgrave

Jeff Lorber Fusion: Bird’s Basement, Melbourne

Rowena Wise + Anna Cordell: Grace Darling Hotel, Collingwood Juxtpose + Rahbin + AATM: Grace Darling Hotel (Basement), Collingwood Pacific Blues Union: Hotel Shamrock (Gold Dust Lounge), Bendigo

Sundance with + Various DJs: Brown Alley, Melbourne

Catastr-sea Virtual Islands is the latest release from indie-pop duo Gypsy & The Cat and the perfect chance to see this new material for yourself is coming up at Howler on Saturday.

Gypsy & The Cat: Howler, Brunswick Crepes + Loose Tooth + Robot Fox: Karova Lounge, Ballarat

An Evening with + Models + Ron Peno + Cam Butler: Northcote Social Club, Northcote Ben Christensen: Open Studio, Northcote Centre & The South: Penny Black, Brunswick Shannon Bourne: Rainbow Hotel, Fitzroy Sans Parents + Louis Spoils: Retreat Hotel, Brunswick

Flyying Colours

Have U Got 4 Bucks? Local gravy wavers Flyying Colours are their previewing their debut LP Mindfullness in full with a show at The Workers Club on Wednesday. Special guests Contrast and Yes Sir Noceur to support.

Matinee Show with + The Bona Fide Travelers: Retreat Hotel, Brunswick Flyball Gov’nor + Cheetstreet + Russia + Yukumbabe: Reverence Hotel, Footscray Kids In Control + Stuck Out + Distance + Fear of Flying Objects: Reverence Hotel, Footscray The Late Show feat.+Various DJs: Revolver Upstairs, Prahran Bang feat. + Various Artists: Royal Melbourne Hotel, Melbourne Status Quo’s 12 Gold Bars with + Raw Brit: Satellite Lounge, Wheelers Hill Full Tilt Janis - The Australian Janis Joplin Tribute Show: Spotted Mallard, Brunswick

Backwood Creatures + Ivy: Labour In Vain, Fitzroy

Skyscraper Stan & The Commission Flats: Suttons House of Music, Ballarat

Alex Burns Trio: Lomond Hotel, Brunswick East

Darlow: The B.East, Brunswick East

Tom Ambroz: Loop, Melbourne The Sonics + Straight Arrows + Thee Wylde Oscars: Max Watt’s, Melbourne

Dreadnaught + The Mercy Kills + Heaven The Axe + Sons of the Ionian Sea + Earth + Birdcage + Broozer + Blunt Shovel: The Bendigo, Collingwood

Vaudrey: Melbourne Recital Centre, Southbank

Colytons + Australian Kingswood Factory + Admiral Ackbar’s Dishonourable Discharge + Liquor Snatch + Wing Attack Plan R: The Brunswick Hotel, Brunswick

Taylor Henderson: Memo Music Hall, St Kilda

Afternoon Show with + Shane Diiorio Band: The Brunswick Hotel, Brunswick

Michael Yule + The Sleepers + EXP: Mr Boogie Man Bar, Abbotsford

Gabriella Cohen: The Curtin, Carlton New Lease feat. + Rhysics + Scout + Culte: The Curtin, Carlton

46 • THE MUSIC • 21ST SEPTEMBER 2016

Chris Wilson: The Drunken Poet, West Melbourne Happy Trails feat. + Matt Malone + Onion Engine Band + Tammy Haider + Trappist Afterland + Green Mules + A Miner + Deep Water Orchestra + more: The Eastern, Ballarat East Vaudeville Smash + Au Dre + Chris Gill: The Gasometer Hotel, Collingwood Near Myth: The Gasometer Hotel, Collingwood The Stiffys: The Loft, Warrnambool

Liz Stringer + Claire Anne Taylor: Caravan Music Club, Oakleigh Jules Boult: Catfish (Front Bar), Fitzroy Acid King + Peeping Tom + Watchtower + Weedy Gonzalez: Cherry Bar, Melbourne Cherry Blues 5th Birthday with + Chris Wilson’s Crown of Thorns + Emma Gardner Band + DJ Max Crawdaddy: Cherry Bar, Melbourne Suzanne Kinsella: Compass Pizza Bar, Brunswick East Yeo + Saatsuma + Take Your Time: Corner Hotel, Richmond Louis Theroux: Hamer Hall, Melbourne Matinee Show with + Louis Theroux: Hamer Hall, Melbourne

The Controllers: The Old Bar, Fitzroy

Cecil B Fardoulli & The Big Boo: Hotel Shamrock (Yardbird Bar), Bendigo

Afternoon Show with + Harry FL Vincent + Hannah Blackburn: The Old Bar, Fitzroy

Ghost Towns of The Midwest: Labour In Vain, Fitzroy

Love Migrate + Rough River: The Post Office Hotel, Coburg

BYO Vinyl Night+Various DJs: Littlefoot Bar, Footscray

Phil Para: The Prince (Public Bar), St Kilda

Kelly Auty : Lomond Hotel, Brunswick East

Papa G & The Starcats + That Gold Street Sound + BitterFruitt: The Toff In Town, Melbourne

The Situation

In The Carriage with + Dan Dare: The Toff In Town (Carriage Room), Melbourne The House deFrost with+Andee Frost: The Toff In Town (Toff Ballroom), Melbourne King Of The North: The Tote (Band Room), Collingwood Straddlepuss + Woo Who + Thee Cha Cha Chas: The Tote (Upstairs), Collingwood Rat Catcher + No Wave + The Bakers Digest: The Tote (Front Bar), Collingwood

Here’s The Situation

Rolling Stone Live Lodge feat.+Remi + Man Made Mountain + Hau: The Workers Club, Fitzroy

The Situation are a five-piece band that blend a melange of musical genres — from 1940s jazz to contemporary jazz, rock and roll to soul and R&B, and disco to funk. See them at Wesley Anne this Sunday.

Patrick James: The Workers Club Geelong, Geelong In The Mood: Ulumbarra Theatre, Bendigo Cult Music + The Bell St Delays: Union Hotel, Brunswick


Gigs / Live The Guide

Andy Phillips + The Catalyst Rock: Lucky Coq, Prahran

Shrimpwitch + Straddlepuss + Pleather Purrs: The Old Bar, Fitzroy

James Avent + Acoustic Foxx + Nice Sox Nigel: Mr Boogie Man Bar, Abbotsford

Afternoon Show with + Joe Guiton + David Crimson + Jo Neugebauer + Simon Guitar Low: The Old Bar, Fitzroy

Matinee Show with + Carus Thompson + Rob Sawyer: Northcote Social Club, Northcote

Elwood Blues Club All Stars: The Prince (Public Bar), St Kilda

Chris Wilson: Rainbow Hotel, Fitzroy

Kim Volkman & The Whisky Priests: The Standard Hotel, Fitzroy

Georgia State Line Duo

The Sunday Set with+DJ Andyblack + Mr Weir: The Toff In Town (Carriage Room), Melbourne Down The Rabbit Hole with + Nigel Last: The Toff In Town (Carriage Room), Melbourne Shaun Kirk: The Westernport Hotel, Phillip Island Rolling Stone Lodge: An Intimate Evening with + Jon Toogood: The Workers Club, Fitzroy

Down The Line The Georgia State Line Duo have been getting cosy at Charles Weston every Saturday of September, but this week is your last chance to catch them and their small town altcountry rhythms.

Move Yoasses Things are going to get real dark and sticky at The Brunswick Hotel on Friday when Molasses and friends ooze up on stage. Joining the three-piece are Ding Dong Death Hole, Kyrum and Inloeman.

Drown This City + Blklst + Caution: Thieves: The Workers Club, Fitzroy

Cherry Jam: Cherry Bar, Melbourne

Women of Letters feat. + Various Artists: Thornbury Theatre, Thornbury

Mel Parsons + Anika Moa: Ding Dong Lounge, Melbourne

The Band Who Knew Too Much + Ian Collard: Union Hotel, Brunswick

Biddlewood + Chitra + The Sand Dollars + Woody Pitney: Evelyn Hotel, Fitzroy

The Situation: Wesley Anne (Band Room), Northcote

Behind The Red Door feat. + Various Artists: Gin Lane, Belgrave

Josh Kelly Trash Trio: Wesley Anne (Front Bar), Northcote

Monday Night Mass feat.+Suss Cunts + Lalic + Shag Planet: Northcote Social Club, Northcote

Old Time Sweethearts: Yarra Hotel, Abbotsford

Dear Monday feat. + HIghway Beauty + Iris + more: Open Studio, Northcote Paul Williamson’s Hammond Combo: Rainbow Hotel, Fitzroy

Allan Browne

The Daryl McKenzie Jazz Orchestra + Tamara Kuldin: The Apartment, Melbourne

Revolver Sundays+Various DJs: Revolver Upstairs, Prahran

Let’s Get Funny at the Brunny+Various Artists: The Brunswick Hotel, Brunswick

Joe Conroy: Rochester Castle Hotel (Front Bar), Fitzroy

Tue 27 Travis Scott: 170 Russell, Melbourne

The Nudgels: Royal Oak Hotel, Fitzroy North

Mike Stern: Bird’s Basement, Melbourne

Patrick James: Sooki Lounge, Belgrave Andrew Nolte & his Orchestra: Spotted Mallard, Brunswick

Allan Browne Memorial

Rachel Caddy + The Ligian Mode Trio: The Bendigo, Collingwood

Head to Athenaeum Theatre on Friday for the Allan Browne Memorial Benefit, a event that honours a pivotal and muchmissed figure in Melbourne jazz. Nearly 30 amazing artists including Paul Grabowsky and Andrea Keller will perform.

Music Mamas with + Kat O & The Collectables + Cadwyn & Co + Sarah Eida + Bec Hannan: The Brunswick Hotel (Beer Garden), Brunswick Valcrow + The Megahertz + Lot 56: The Brunswick Hotel, Brunswick Foxblood + Pridelands + Death In Bloom + The Advocates: The Curtin, Carlton 10th Birthday with + The Cajun Chiefs + The Stragglers + Jimmy Dowling + Catfish Voodoo + Van Walker + Sam Gunn: The Drunken Poet, West Melbourne Pickpocket + Lake Minnetonka + Yarra Banks: The Gasometer Hotel (Upstairs), Collingwood

Contrast + Hideous Towns: Evelyn Hotel, Fitzroy Irish Session: Lomond Hotel, Brunswick East Richie Sambora + Orianthi: Margaret Court Arena, Melbourne The Heights + Ariela Jacobs: Open Studio, Northcote Never Cheer Before You Know Who’s Winning: Revolver Upstairs, Prahran 130 + Bonewoman + Plural + Customer + Glen Virus: The Brunswick Hotel, Brunswick Trivia: The Drunken Poet, West Melbourne The Fabric + Arthur Penn & The Funky Ten: The Gasometer Hotel, Collingwood

Mon 26 Bird’s Big Band + Priscilla Gardner: Bird’s Basement, Melbourne The Monday Bone Machine feat. + T-Rek: Boney, Melbourne

Now.Here.This with + Karate Boogaloo + Chicken Wishbone + Coco Brown + Logo: The Toff In Town, Melbourne Rolling Stone Live Lodge: In Conversation with + Jimmy Barnes: The Workers Club, Fitzroy

Indie

Wayward Breed + Alison Ferrier: Retreat Hotel, Brunswick

Olivier Martin

Rick Hart & The Sweet Addictions: The Post Office Hotel, Coburg

Don Hillman’s Secret Beach: Panton Hill Hotel, Panton Hill

Matinee Show with + Danny Stain: Retreat Hotel, Brunswick

Molasses

Real Songwriters Live Focus

Answered by: Olivier Martin

When did you start songwriting and why? When I was a kid and things used to get rough I’d pick up my guitar and try to write a song about what had just happened. I write to know what I feel. Sum up your musical sound in four words? Indie-folk and soul.

Is songwriting something that comes easy to you or do you have to work at it? As a solo artist I’m always looking for progression, which is sometimes hard to reach without a band. Some songs certainly take way longer than others. Surprisingly, Blind Love took me two hours to write. In what ways does it help having The Real Songwriters of Melbourne helping to showcase you? They help artists to get their names out there and play alongside other great musicians, which is always heaps of fun. What is it that makes Melbourne a good place to write songs? I’m from a small city in the north of Spain where sometimes there’s not much going on. It’s good to come here and let the chaos kind of influence your music for a bit When and where is your Real Songwriters Live gig? 1 Oct, Wesley Anne. Website link for more info? facebook.com/ oliviermartinmusic

THE MUSIC 21ST SEPTEMBER 2016 • 47


The Music (Melbourne) Issue #157  

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