1 .1 12 .10. 0 16 Musi Mu sic si c / Ar Arts ts / Lif ifes esty es t le ty e / Cultu ture re
L I S A M I T C H E L L
Melb Me lbou ourn rne e / Fr F ee / Incorporating
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CHECKING IN WITH HER 15Y E A R- O L D SELF
SHINING BIRD Black Opal
THE OCEAN PARTY Restless
Four years in the making. Mixed by Russell Webster & Tim Whitten (Go Betweens). Includes “Helluva Lot” & “Rivermouth”. Launch Nov 11 at The Gasometer.
Sixth album in six years. Including “Back Bar”. Touring nationally. Epic reviews! 4/5 -The Music, 4.5/5 -Beat, 4/5 -BMA, 4/5 -Ripe
HEART BEACH Kiss Your Face Tasmania scuzz pop trio. Album out Nov 11. Launch Dec 1 at The Gasometer.
2 • THE MUSIC • 12TH OCTOBER 2016
JULIEN BAKER Sprained Ankle “Sad songs that whisper & howl”- NY Times Playing 29 & 30 Nov at Northcote Social.
BIG THIEF Masterpiece “Twinkles gorgeously”- Pitchfork Including “Paul”. Touring early 2017.
Amazing Venue - Food Pairing - Festival Beers - Beer Education - Live Music
Melbourne's Best New Craft Beer Festival October 28 and 29 2016 Friday 6pm to 11pm Saturday Midday to 9pm Abbotsford Convent
Tickets Available From www.brewersfeast.com.au
CRAFT BEER Moon Dog \\ Two Birds \\ Mountain Goat \\ Prickly Moses \\ 7 Cent \\ Cavalier \\ Hawthorn Brewing Co. Watts River Brewing \\ Blackmans Brewery \\ Albatross Brewing Co. \\ Stomping Ground \\ Southern Bay Mornington Peninsula Brewery \\ Flying Brick Cider \\ Trumpeters Ice Tea
FOOD Food Pairing (Le Catering & Co. \\ Limp Brisket \\ St Kilda Burger Bar \\ Al Forno Pizza The Local TapHouse Fried Chicken
LIVE MUSIC Woodlock \\ Harrison Storm \\ Jed Rowe \\ The Hunter Express \\ Michael Moss & Bec Hoadley \\ Lorikeet Sparrow and the Spark \\ Cacartu \\ Tiana V \\ Missing Strings \\ The Party
THE MUSIC 12TH OCTOBER 2016 â€¢ 3
WITH SPECIAL GUESTS
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MON 31 OCT PALAIS THEATRE
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4 • THE MUSIC • 12TH OCTOBER 2016
Wesley Anne Bar, Restaurant, Etc.
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Mount Saint Leonard 'Blame Me' Single Launch 8.30pm, Band Room, $10
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P O T & PA R M A - $ 1 5 S P O N S O R E D BY M O U N TA I N G O AT
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Friday 14 October -------------------------------------------------------------
Roo & Wine $11.99
1 1 B U RG E R N I G H T
Selki, 6pm, Front Bar Oxjam for a Cow 8pm, Band Room, $10
Sunday 16 October --------------------------------------------------------------
Rare Child 2pm Band Room $10 / $5 students Celia Church 6pm, Front Bar
S AT 15
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THE MUSIC 12TH OCTOBER 2016 • 5
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 email@example.com
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Madman have announced The King Of Monsters will run rampant through our cinemas this Thursday when Shin Godzilla, the first in the franchise to come out of Japan in over a decade, hits Australia.
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What A Day US pop-punk giants Green Day have confirmed a string of Australian dates for next April and May in support of their latest record, Revolution Radio. This’ll be their first headline tour since 2009’s 21st Century Breakdown tour. 6 • THE MUSIC • 12TH OCTOBER 2016
c / Arts / Music / Arts / Lifestyle / Culture
Grammy Award-winning jazz, soul and gospel singer Gregory Porter has announced that as well as his Bluesfest 2017 appearance the Californian will play two sideshows when he returns to Oz in April.
Dance Dance ReRevolution The Mega 90s is bringing together four of the 1990s’ biggest international dance superstars in March. Dr Alban, Real McCoy, Technotronic and, for the first time, 2 Unlimited are all headed Down Under.
Neil Young & Promise Of The Real
Rich Harvest If you thought the Bluesfest line-up couldn’t get any better, you’re beyond wrong. The award-winning event dished up another massive artist announcement with Neil Young & Promise Of The Real confirmed for a scorching, three-hour set.
25 The number of The Rolling Stones’ studio albums once their recently announced newie Blue & Lonesome drops on 2 Dec.
THE MUSIC 12TH OCTOBER 2016 • 7
Music / Music / Arts / Lifestyle / Culture
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Rickie Lee Jones
Bluesfest keeps on giving with the announcement that Rickie Lee Jones, Gregory Porter, Laura Mvula and Jake Shimabukuro are locked in for a series of April sideshows. Also, Bonnie Raitt has added a Brisbane date.
Just A Gent
Just Getting About Teenage electronic wunderkind Just A Gent is spending the better part of October in America, but it’s been announced that the tour won’t stop when he gets back. Just A Tour will head around Oz in November/ December.
Flashback to Bigsound where I met an important label dude and put my number in his phone as “get lit or get hit”. What is wrong with me? @AlexLahey is coming for you, label dude. 8 • THE MUSIC • 12TH OCTOBER 2016
We Still Want More Indie-rock trio Even are heading out on the road this December and January for three national shows to relaunch their debut album, Less Is More, which turns 20 this year.
Arts / Li Music / Arts / Lifestyle / Culture
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BBC First British Film Festivalâ€™s Oct/Nov line-up has been released. There are heaps of Australian premieres, a focus on Ken Loach and a Local Heroes Retrospective series with films like Oasis: Supersonic.
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It has been revealed that the UKâ€™s highly acclaimed Laura Mvula, classically trained vocalist and soul singer-songwriter, will be doing sideshows in April when she visits Australia for Bluesfest 2017.
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Howdy PLGRM Their last two singles, Pieces and Fools And Their Gold, killed this last 12 months. Now PLGRMS are releasing their latest track Gemini and they are taking it on an east coast tour next month.
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THE MUSIC 12TH OCTOBER 2016 â€˘ 9
Music / Music / Arts / Lifestyle / Culture
Night After Night
Townsville’s Bree Tranter (The Middle East) has announced her first-ever solo headline run in November. The Another Night On Earth tour comes off the back of her recently released album of the same name
After recently announcing the likes Gawurra and Tash Sultana, Port Fairy Folk Festival have dropped their second round announce with the news that Suzannah Espie, Kerri Simpson, Barb Waters & Alison Ferrier and more are also performing.
Blue King Brown
Second Seed The Pleasure Garden has announced a second round of artists that will perform in December. Joining acts like The Cat Empire are Blue King Brown, Dub Pistols Sound System, The Chicken Brothers and more.
11 The number of ARIA Awards nominations received by Flume, the highest of this year’s nominees (and which also includes three artisan awards that he has already won).
10 • THE MUSIC • 12TH OCTOBER 2016
Prison Flicks It has been announced that Palace Cinemas will start development for a cinema in Pentridge Prison in Coburg next year. The site will have 15 screens and should be completed by mid-2019.
Suzannah Espie, Kerri Simpson, Barb Waters & Alison Ferrier
Arts / Li Music / Arts / Lifestyle / Culture
If you haven’t snagged a ticket yet you need to get on it now because Pinot Palooza kicks off this Saturday. Get a snifter of the southern hemisphere’s finest Pinot Noirs from more than 60 vineyards.
WED 12 OCTOBER
Show The Boogie Man What You’ve got!
THU 13 OCTOBER
THE RUBY ROGERS EXPERIENCE MATT STILLERT (SA) GARRY ALLEN FRI 14 OCTOBER
Big River Riverboats Music Festival have announced that Paul Kelly & Charlie Owen, Hoodoo Gurus, Husky and Mia Dyson are headlining a massive list of performers including Kylie Auldist and Melody Pool at the February event.
SILVERHAIR ONE 2 MANY SAT 15 OCTOBER
GAYLE CANANAGH and the
MIXED COMPANY BAND SUN 16 OCTOBER
POWERHOUSE BLUES BAND THE SIGN (TAS) THE BOOGIE MAN ALLSTARS with
OUT OF THE BLUE Aussie Issue Philly punks Sheer Mag are headed Down Under for their first-ever Australian headline tour in December. The quintet will also make appearances at Disconnect, Meredith Music and Fairgrounds festivals.
AFTER WORK HAPPY HOUR FROM 5PM
$5 DRINKS WED, THURS & FRI 160 HODDLE ST ABBOTSFORD
THE MUSIC 12TH OCTOBER 2016 • 11
M E , M Y S E L F &
Singer-songwriter Lisa Mitchell looked internally to find the inspiration for third LP Warriors. She talks communing with her inner teen and battling external forces with Anthony Carew. Cover and feature pics by Cole Bennetts.
12 • THE MUSIC • 12TH OCTOBER 2016
y younger self, she was interesting,” says Lisa Mitchell, “I’m interested in her.” The folkie singer-songwriter is now 26, and her newly released third record, Warriors, shows the signs of getting older. There’s songs about life and death and love and dancing, but the main sense is one of time passing. Its title track was inspired by a specific high school memory, still flickering bright. “I really vividly remember being on the bus home from school, in Albury, and hearing Straig Straight Lines by Silverchair for the first time, and a an n not n knowing who it was, but just yelling att th the the he bus driver to turn it up,” laughs Mitchell. ““Fo Fo F or a long time, I looked towards external “For sou urc rc of inspiration, but now I feel like I can sources loo oo ok b look back and say: ‘What about me? What abo bo out ut my own life?’” about T The song, Warriors, was an attempt to tap ap in into that old feeling, with much of the re res resul es sult ul resulting record using the optimism and aud a ud dac ac audaciousness of youth to beat back the uns u ns sur ur feelings of adulthood. “A lot of the unsure songs so son g and the attitude, are me trying to gs songs, rem emem mem e remember what I was like when I was 15,” Mit Mitch Mi itch c Mitchell offers. “It’s such a powerful age. It’s tthi h s fformative, o this transformative age. You’re n ta no not an n adult, you’re not old enough to drive or drink or dri riin yet, but you’re starting to form your o own o opinions, your own identity. At the same tim im me, e, you’re so innocent and naive. There’s a time, ma mas m ass amount of wonder you still have for massive the world. Your hopes and dreams haven’t been fully crushed yet! My dreams, when I was that age, were just massive. I was expecting so much. I’m interested in what my life was actually like at that time - just hanging out with friends, laughter, jokes, really normal stuff - [in contrast with] these wild ambitions, and this crazy imagination that you have.” Having started writing songs as a teenager, Mitchell wanted to - in working on a follow-up to her 2012 LP, Bless This Mess remember those feelings, stay true to those young dreams. “It’s like checking in: ‘Hey, 15-year-old Lisa, Is this good? Is this cool? Is this what we wanted to do?’ I still find a lot of inspiration from the role models I gravitated towards when I was 15, 16. Sarah Blasko was on my pinboard, Clare Bowditch. I think it’s so cool that my 15-year-old self wasn’t just fixated on that American pop world that we’re so saturated with when we’re kids. In the past couple of years, I’ve been so fascinated and appreciative of my childhood. I’m 26, now. I was 16 when I first came out from the umbrella of my family. That was the end of my childhood, in a lot of ways.” The end of Mitchell’s childhood came, for her, when she ended up on Australian Idol in 2006. At the time, she still felt under the “umbrella of [her] family” - “because I was 16, I was a minor. My mum was up in Sydney
with me all the time for the Idol stuff” - and, in some ways, isolated from her newfound televisual celebrity. “Which is strange, now that I think of it, because when you’re young, you care so much about what other people think of you, and just being a performer, you’re making yourself so vulnerable. But, I never really thought of how all the people who were seeing me were perceiving me.” But, Mitchell’s Australian Idol experience also gave her a window into a side of the entertainment world that she realised she didn’t want to be a part of. “I remember being freaked out, not about performing, but just about other things,” Mitchell recounts. “Like, doing medleys of these old ‘80s pop-songs, it was like my worst nightmare. I remember once bailing in a rehearsal, I just had to get out of there. I heard, later, that they spent half an hour trying to find the microphone, because I just dropped it and just bailed. Ugh. I think it just showed me that there are lots of different ways of being in the creative world, and that you have to choose the way you want to be involved, and stick to it, or else you can end up somewhere where you don’t want to be.” Through the making of her first two EPs - 2007’s Said One To The Other and 2008’s Welcome To The Afternoon - Mitchell found herself having to fight to preserve her own ideas about who she wanted to be, how she wanted her music to sound. For her debut LP, 2009’s Wonder, she had a clear vision: wanting to present the songs with honesty, in both lyric and production. “Being young, you’re really stubborn,” Mitchell laughs. “When I made [Wonder], I was so headstrong
about what I was doing. If anyone suggested something, I was just like ‘nuh!’ I was adamant about doing it my way. As you get older, you just relax a little bit more, get not so attached to things.” “But,” she continues, “creatively, it’s always going to be a fight, as soon as there’s anyone else involved. For a long time I really resented that if you have a creative idea you do have to really put effort into selling the people around you on it. The crux of what creativity is is that it’s the edge of where people feel comfortable, like you’re constantly moving away from where your comfort zone is. I’m constantly trying to get things over the line. I think that’s the reality of being an artist. So, I think it’s normal for you to make other people around you uncomfortable. You have to fight for your vision, no matter how silly or aloof or whimsical it seems.” For Mitchell, making Warriors meant finding common ground with producer Eric Dubowsky, who’s previously worked with Chet Faker, Flume, and Kimbra. “We had to work out where we intersected,” Mitchell says. “We realised we both really liked ‘90s pop, even something like Kiss Me by Sixpence None The Richer: something just super-simple, super-beautiful, really human, really romantic and really pop.” Mitchell calls the songs “little jewels of me, as a human,” yet isn’t sure how they reflect upon her. “To me, I’m just me, even on stage and in songs. But, everyone is going to have a different conception of who you are; they’re going to project on you their own personal stuff, think they know you because you’re recording under your own name,” Mitchell offers. “For me, I’m more inspired by what I’m making if I detach myself from it. Sometimes I’ll think about the person making the album as ‘her’. What is she making? What is she doing? It’s a way of getting out of it, of detaching it from your ego and your whole life. Otherwise, it can be overwhelming: wondering what your mum’s going to think, what your dad’s going to think, what your sister’s going to think, what your ex-boyfriend’s going to think. All the shit that I think about, I don’t want her to have to be burdened with that, I want her to feel free. But, at the same time, I don’t want people to think, for a second, that this isn’t just me.”
You have to fight for your vision, no matter how silly or aloof or whimsical it seems.
war dance Between 2012’s Bless This Mess and her new album, Warriors, Mitchell took time away from songwriting, including spending a stint living in London. There, she took hip hop dance classes, and got into dancing as a form of expression. “So many things humans do are a way of expressing how they’re feeling, experiencing the catharsis of doing that, and then showing that to other people. Obviously, songwriting is one of those. As songwriter, I write songs in English, because that’s the language I speak, whereas dancing is the universal language, I have so much respect for it. I love dancing. It just makes me feel good to be around. Dancing in songs, films, stories, it’s such an incredible symbol of freedom.” Dance finds its way into the lyrics on Warriors, but chiefly in sad songs: Josephine and What Is Love finding Mitchell out on the dancefloor, hoping to transcend sadnesses; Where You Are boasting the line “show me your Michael Jackson moves”. Mitchell hopes some of the less downbeat songs - chiefly So Wild and the title track - can inspire audiences to dance too. Which leads her to one of her favourite performing memories. “I remember when we released Spiritus, I was [playing] at Falls Festival, and there was like a flash-mob,” she laughs, still giddy. “It was so cool. It’s the most amazing thing to see from on stage, it looks like synchronised dance.”
What: Warriors (Warner) When & Where: 13 & 14 Oct, Howler THE MUSIC 12TH OCTOBER 2016 • 13
Sublime Survival The Jezabels’ Hayley Mary goes in-depth with Anthony Carew about the existential questions that drove Synthia, when the band faced illness and death, but also the sublime.
ry and get as much deep existentialism in the article as you can,” suggests Hayley Mary. The 29-year-old singer of epic Sydney indie rockers The Jezabels once, infamously, told music critics to “get a real job”, and confesses that her instruction is partly motivated by the fact that she finds “music journalism a bit boring.” But, there’s also been plenty of deep existentialism in our conversation. In a coffee shop in St Peters, Mary has talked about everything from population limits (“it’s part of our evolution, our survival instinct is no longer going to be based on procreation”),
You can’t separate the time in which you made the record from the record.
to information-age overload (“sometimes I feel like I’m losing my mind”), to abandoning monogamy (“there’s something problematic about this ‘forever’ model of relationships that removes you from the moment”). But, mostly the conversation has charted the contrast between the bleakness of life - the horrors of the modern world, the dark future of the planet, the inevitable death of everyone you’ve ever known and loved - with the miracle of being alive. Given what The Jezabels have been going through during the past two years, it’s no surprise the conversation is tinged with life, death and the philosophical. During the making of 2014’s The Brink, Mary was battling a deep depression and keyboardist 14 • THE MUSIC • 12TH OCTOBER 2016
Heather Shannon was diagnosed with ovarian cancer. The latter fact remained private until earlier this year, when the band were forced to cancel tour dates in support of their third album, Synthia, due to Shannon’s ongoing treatment. “Because it came from such a negative thing, from illness, at first it felt really sad, and horrible,” says Mary. “But, because it’s such an intense situation, you’re forced to look for a silver lining. Heather’s quite good at that. You end up appreciating what you had a lot more, and then really looking forward to doing it again. That’s a big positive: I’ve looked back on the last ten years of the band, where we’ve toured the world, played to thousands of fans; it’s actually been quite a blessed life. Playing on stage is a magical experience, yet if you do it enough, you start taking it for granted. You don’t really think about how lucky you are until something shit happens.” Shannon’s recovery - “she’s currently in the clear, so it’s all as positive as it could be at this current moment” - has allowed for The Jezabels to reschedule their tour dates, undertaking their first full tour in two years. Mary is keen to return to stage, because she’s spent the past year “floating”, unsure of what to do with herself. Having wanted to be a singer her whole life, at first she didn’t know what to do with her newfound time. “It’s not like I had a back-up plan, something else I could do if this band didn’t work out,” she offers. “I did feel quite lost, like I was wandering, wondering if we were ever going to play again.” Mary has spent much of this year living in London, working on an “ideologically-driven” electronic project with two brothers that’s currently “all very under wraps, shrouded in mystery”. She also, in the time off following The Brink, travelled, including a trip across Death Valley in a Mustang convertible that inspired the single Pleasure Drive. “I sort of went a bit mad, I’ve gotta say. I love touring, I love moving, I love that nomadic lifestyle. I’m kind of addicted to it. So, I ended up travelling a lot,” Mary says. “It was kind of like a spiritual journey, but not through yoga or anything, more through partying and sex. A rock’n’roll kind of spiritual awakening.” Born in a time in which The Jezabels weren’t touring, and Shannon was undergoing treatment for her illness, Synthia captures the conflict of this period. The album’s epic sound and scope is, Mary says, representative of a band “in touch with larger questions at the time”. “You can’t separate the time in which you made the record from the record,” she offers. “Illness definitely figures into the themes of the album, but also the sublime. Which is something you definitely do ponder when you ponder illness and death, and the shortness of life: you start noticing the beauty, and the sublime, in everything.” “When you’re faced with someone close to you being in that situation, you question everything. I’d been more of a negative person in the past, but there comes a point where you realise that’s unsustainable. You need optimism to survive.”
When & Where: 14 & 15 Oct, The Croxton Bandroom; 30 Dec, Falls Festival, Lorne; 31 Dec, Falls Festival, Marion Bay
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HARD ACHES SOLD OUT SELTMANN 23/ 10 - CHEAP FAKES + ECHO DRAMA 28/ 10 - CERES SELLING FAST 29/ 10 - THE PRETTY LITTLES SELLING FAST 30/ 10 - BOB LOG III 3 1 / 1 0 - LOST RAGAS 0 1 / 1 1 -‘CUP DAY MASS’ ft. OUCH MY FACE, PALE HEADS + MORE 0 2 / 1 1 - THE BASICS PRESENT ‘THE SONGROOM’ 0 4 / 1 1 - EˆST SELLING FAST 0 5 / 1 1 -‘DAREBIN MUSIC FEAST VENUE HOP’ ft. THE ANCIENTS MATINEE 0 5 / 1 1 - ALL OUR EXES LIVE IN TEXAS 0 9 / 1 1 - THE BASICS PRESENT ‘THE SONGROOM’ 1 1 / 1 1 - LAURA JEAN 22/ 10 - SALLY
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JEN CLOHER, COURTNEY BARNETT + MORE
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WILSON PICKERS MATINEE BASICS PRESENT ‘THE SONGROOM’ 09/12 - DALLAS FRASCA 1 0 / 1 2 - MAKE THEM SUFFER 1 1 / 1 2 - AKALA UK 1 4 / 1 2 - THE BASICS PRESENT ‘THE SONGROOM’ 1 7/ 1 2 - CAMP COPE SOLD OUT 1 8 / 1 2 - ROBYN HITCHCOCK UK - MATINEE + EMMA SWIFT SYD 2 1 / 1 2 - THE BASICS PRESENT ‘THE SONGROOM’ 28/12 - THE BASICS PRESENT ‘THE SONGROOM’ 04/01 - SHURA UK - SELLING FAST 05/01 - WALLIS BIRD IRE 0 7/ 01 - RY X SELLING FAST 0 7/ 1 2 - THE
PLUS HE A PS MORE AT W W W.NORTHCOTESOCIA LCLUB.COM THE MUSIC 12TH OCTOBER 2016 • 15
Glory Days Before headlining Out On The Weekend, Marlon Williams chats with Bryget Chrisfield about writing with Don Walker, TV performances and holidaying with a lamb called Buck.
oday we find Marlon Williams in Nashville. He played a show in Chicago two nights ago. “We got to Nashville last night and went out and saw some music,” Williams tells. “Saw Steve Earle at this bar called Robert’s [Western World] and there was, like, a sort of a jam vibe... Jason Isbell got up and played a few songs, just a lot of the main faces in Nashville [were there].” This scribe last chatted with Williams at CMJ last October. “It really has been nonstop since that,” Williams observes. On how the nomadic life of a touring troubadour is treating him, Williams considers, “Um, it’s good, you know, it’s a cool job... it’s a lot of fun. This tour is a lot less intense than normal, you know, we’ve got a few days off here and there.”
It told us that it needed to go to the toilet by going to the toilet.
So does Williams still have a fixed address in Melbourne? “Not in Melbourne. I’ve given up my room at The Yarra and now I’m back in New Zealand, back in Lyttelton. So that’s where I’m at at the moment and, you know, I’m gonna be spending most of summer back home, which is good.” We’re tipping Williams has been too busy touring to write any songs, but he enlightens, “I’ve done a little - bits here and there. I’m waiting for the floodgates to open properly.” Has he had any collaborative songwriting sessions? “I did some writing with Don Walker a few weeks ago, which was amazing,” Williams enthuses. When he gets back to Lyttelton, Williams intends to “go try and really nut it out”. “But I really need to do some
16 • THE MUSIC • 12TH OCTOBER 2016
of my own sort of, you know, syphoning through what I actually wanna be doing. I just need a little bit of space,” he stresses. If you check out his Insty, there’s a really adorable video of a lamb sitting on what looks like a red beanbag chewing. Obviously we need to know more about this. When asked to please explain, Williams laughs, “I think she’s chewing a bit of bark. It’s a friend’s lamb and her name is Buck and they found her in a property next to their house, with her dead mother... She’d just been born so they took her under their wing and then she came on a holiday to the West Coast in the South Island with us. And we drove for about 11 hours with a lamb in the car, stopping for piss stops every now and again.” So how did Buck tell them when she needed to go to the toilet? “By pissing, just by pissing. It told us that it needed to go to the toilet by going to the toilet. No, eventually it stood up and sort of, you know, started to make movements and you knew that it was time.” Given that they say 64% of Americans have never left the US, Williams could probably spin a few whoppers to the people he meets during this Stateside tour. “Yeah, you can sort of, you know, play them along a little bit,” he concurs. Although if he told them about driving around with a lamb in the car they’d probably think he was pulling their legs. “That’s true, yeah, it sounds like a story.” When asked whether the locals have any interesting ideas about New Zealand, Williams reveals, “They haven’t got any ideas about New Zealand, they don’t really know that it exists at all.” In May, Williams performed on Later... With Jools Holland. “That was pretty special,” Williams allows. “He’s a really amazing little gentleman is Jools. It was just me and my guitar, you know, with all these bands; with Underworld... but, yeah! He’s been at it, what, for 25 years now.” The fact that Williams “grew up watching that show” makes his appearance on Later... With Jools Holland all the more special: “It really meant a lot to be part of what I watched as a child”. He’s had lots of pinch yourself moments this year, another was performing on Conan. “Those are the most obvious sort of keystones, but, I dunno, I really appreciate more the slower stuff and developing, you know, different ways of touring and just being better at being away from home and that kinda stuff,” Williams adds. Another pinch yourself moment would be headlining Anot the Out O On The Weekend festival, with Williams out front of fellow alt-country and Americana acts such as Robert Lindi Ortega, Joe Pug, Joshua Hedley and more. Ellis, Lind Williams was also recently announced as the support for both of Bruce Springsteen’s New Zealand dates in February 2017. “That’s gonna be pretty amazing... We’re obviously tickled with it.” When asked whether he plans to include a Springsteen cover, Williams chuckles, “Oh, that doesn’t sound like a good idea at all.” Not planning on helping the audience warm up their vocal cords? “I don’t think we should play that role,” he shares. “He’ll be able to cover most of that in his four hours on stage.”
When & Where: 15 Oct, Out On The Weekend, Seaworks
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Keep On Keepin’ On
I’m Talkin’ Here! Robert De Niro’s withering Trump takedown video. A must-see.
Blessed The Saints (feat Chris Bailey, Iain Shedden, Pat Bourke and Davey Lane) at The Gasometer Hotel were everything.
LOVING watching all the Gorillaz teasers unfold, such as The Book Of Noodle (on YouTube): “But finding a shapeshifter is like looking for a beard at an Arcade Fire concert” – all of the LOLs.
Guess Who’s Back? @Gorillaz
Backlash Brows Off Fleek
To the lady racing down the Eastern Freeway on Saturday morning while drawing on her eyebrows and stealing glances into the rear-view mirror: you are everything that’s wrong with the world.
Ads for the coming week of Home And Away while you’re watching the Sunday morning catch-up marathon. Not cool!
Zip It! People who tell you that you look tired, which obviously isn’t a compliment.
18 • THE MUSIC • 12TH OCTOBER 2016
Lindi Ortega is heading back to Australia for Out On The Weekend festival and her own headline shows. She fills Chris Familton in on what she’s been up to in the year since her album Faded Gloryville was released.
anadian (and Nashville resident) country singer-songwriter Lindi Ortega will make her third visit to Australia this October, this time with a guitarist and drummer and the possibility that they’ll preview some new songs she’s been working on for her next album. Over the last 12 months, writing has been a priority for Ortega. “This time I was very much writing constantly,” she explains, keen to avoid the stress of fast approaching album deadlines. “I’ve been in the position where I’m told that we have to put out a new record and I only have a month to write it. I don’t like being rushed like that and you can’t rush these things, it always makes me anxious and nervous. This time I knew that was coming and I wouldn’t let it happen that way.” Two major achievements in the last year for Ortega have been her debut at the Grand Ole Opry at the Ryman Auditorium in Nashville, plus a nomination for Roots Artist Of The Year at the Canadian Country Music Awards. After winning the two previous years it turned out she was correct in her prediction that “I’m in no way expecting to get another one this year”, instead focusing
on the experience of attending. “It’s always a lot of fun and I have a great love for my home country and hang out and see people from the local scene athere.” Her Opry debut was a more nerve-wracking affair and one that every country artist dreams of achieving in their career. “I don’t think I’ve ever been any more nervous than that in my entire life. It’s funny because when you play there they don’t tell you that you don’t get to rehearse on stage, so the first time you step on the stage is for the live performance which is overwhelming, so I was very nervous. My parents were there and it was such a beautiful moment,” recalls Ortega. In Australia there’s always been a divide between the commercial country music industry and the burgeoning alt-country scene. Ortega confirms it is the same in the US and Canada though things are definitely changing with the likes of “Chris Stapleton and Kacey Musgraves getting a foot in the door”. She remains optimistic that opportunities for greater exposure will continue to arise, even though that type of success isn’t the driving force behind her desire to make music. “We all just keep working and we don’t have too much control over what happens in the mainstream industry. We’re just growing it ourselves, the only way we know how. We’re not going to stop or give up just because we haven’t had a Billboard hit or something. That’s a whole different dream. My dream was to be a singer and make a living from music and that’s what I do, even when I struggle to pay the rent. I’m happy doing what I love and hopefully there will be more opportunities that will come.”
When & Where: 15 Oct, Out On The Weekend, Seaworks; 19 Oct, Northcote Social Club; 21 Oct, Meeniyan Town Hall
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probably Raditude by Weezer. I already hate that album. Greatest rock’n’roll moment of your career to date? Richie got hit in the head with a sharpie while we were playing. That was pretty good for me.
Have You Heard
veryone needs a little diet once in a while. No, no, your thighs are fine - we’re talking the self-titled EP of Melbourne’s jangle-filled surf rockers DIET. The band started when bassist Carlos Tinsey was living in London and got a visit from “the rest of the boys”. “Since then we’ve been recording, as well as playing gigs with bands like Slum Sociable, Big White, Alex Lahey and Wild Honey... We’re all best mates.” “We recorded a good chunk of [DIET] at a mate’s farm in Yea, and the rest at each others’ houses. We recorded in Yea because our mate Matty gives us free reign and there’s no neighbours for weeks! We recorded it ourselves, but Snowy Nasdaq (Ocean Party) mastered it,” Tinsey explains. “We are definitely more about the vibe when recording. Sometimes you want shit to sound intentionally raw and lo-fi. If we wanted perfection, our songs would sound too polite and clean. Gotta have it rough around the edges,” he jokes. “They’ve all been played live before, ‘cause we suck at keeping shit in the bank. I write them pretty mellow but once it gets passed around the band it ends up sounding pretty huge live.”
Answered by: Cameron Thomson When did you start making music and why? I hadn’t seen Richie [Hay] in years, then it turned out we were living close by. He showed me some tracks, I added some lyrics, and we both just knew we had to keep going.
Website link for more info? facebook.com/moonlightbroadc ast/?ref=bookmarks
If you could only listen to one album forevermore, what would it be and why? Well, i’d inevitably wind up hating the album, so
The Gun Barrel Straights
songs were written years ago and laboured over, some were written more recently. First prize to whoever can pick the oldest and newest songs on the album! Was anything in particular inspiring you during the making? Fear.
Album title? Front & Centaur Where did the title of your new album come from? The title came to us while badly hungover during a bizarre trip to Adelaide. As did the artwork. There’s simply nothing like making a few important decisions with a stinging headache. How many releases do you have now? This is release number two after our first single She’s Moving Home. We sound plenty different now. How long did it take to write/record? An eternity. They always taken an eternity. Some
20 • THE MUSIC • 12TH OCTOBER 2016
When and where for your next gig? 18 Oct, The Brunswick Hotel.
Sum up your musical sound in four words? Upbeat depressing, downbeat uplifting.
Answered by: Spencer Skehill When & Where: 14 Oct, Yah Yah’s
Why should people come and see your band? We play folksy songs of melancholy, cynicism and hope. If that’s your thing, check us out.
What’s your favourite song on it? The beauty of Front & Centaur is there’s something there for everyone, but for me Magnificent is the winner. Will you do anything differently next time? I’d do so much differently, but mainly I’d like to get it done a lot quicker. If you don’t look to improve with each album you should probably quit music. When and where is your launch/next gig? 16 Oct, The Gasometer Hotel. Website link for more info? facebook.com/ events/1178568952182032
Eat / Drink Eat/Drink
o, you think you know Mexican food? Hotel Jesus owner Matt Lane begs to differ. “We constantly get asked if the Mexican food thing has already been done to death, but to be honest, I think we’ve only scratched the surface in Australia,” he insists. “I go back to Mexico pretty regularly, a couple of times a year at least. But, each time I go I’m always amazed to discover something that I’ve never seen before. There’s a massive amount of Mexican food that’s never been represented in here.” Lane and business partner Nick Peters, have already proven their Mexican credentials at trendy taco and tequila joint Mamasita on Collins Street, but despite its authentically conceived menu, the dining experience of this flagship venue is still based on the tried and true formality of Western standards. With Hotel Jesus Lane and Peters wanted to go all in, south of the border. “When we opening Mamasita, we were afraid to go fully authentic, so it was an Aussie interpretation of Mexican food. Since then, there’s been a real explosion of that kind of Mexican restaurant, but we felt like no one in Melbourne was offering a truly authentic experience so at Hotel Jesus we’ve tried to capture everything we love about
Mexican food. That includes the pace of the service, the atmosphere; it’s not just about what’s on your plate.” Step over the threshold of Collingwood’s iconic post office on Smith Street and you’ll walk from a regular Melbourne street straight into the heart of a traditional Mexican tostaderia. The decor is a bright, kitsch homage to typical Mexican eateries with a fast-paced, informal atmosphere. Tiled walls, lurid neon lights, Catholic relics (including a picture of the Patron Saint of Mexico, Our Lady of Guadalupe) and retro 1960s tables and chairs show the attention to detail that has gone into crafting this truly Mexican experience. The pace of the service is headspinningly brisk, but it’s all part of capturing the Mexican way of things. Head chef Yasser Garcia, who originally hails from Guadalajara, has introduced authentic cooking methods to ensure every mouthful is a faithful homage to Mexican cuisine. The menu focuses on tostadas: a freshly toasted tortilla topped with a variety of delicious ingredients, including some combos that at first glance might appear to be a deviation from Hotel Jesus’s Mexican pedigree. However, as Lane explains, Mexico’s multicultural past is reflected in its food. “A lot of people are surprised by the number of Japanese influences there are here,” Lane says as we discuss the tuna sashimi, ponzu and wasabi tostada on the menu. “But, when you go to areas like the North West of Mexico, where a lot of Japanese immigrants went in the 1800s, you find those flavours have become part of the local food culture.” In addition to the delicious bites on offer, Hotel Jesus also boasts an impressive drinks
menu, and as you might expect, it heavily features traditional Mexican beverages including a range of Mexican made tequilas and mezcals, approved by Peters who is Australia’s only master mezcalier. “We love food and we love booze and we really didn’t want this place to be a restaurant with just an ok bar offering. We wanted all facets of Hotel Jesus to be impressive,” Lane says. “Everything about the bar has been designed for speed. In Mexico you drop into a place, you have a beer or a cocktail, a couple of tacos and then you’re off again.” The menu boasts a range of imported Mexican beers, of course served Mexican style with a salt rim and a slice of lime and six cocktails on tap so there’s no waiting around for your first Margarita of the night. Where: 174 Smith St, Collingwood
THE MUSIC 12TH OCTOBER 2016 • 21
was postponed in order to retool story lines. Turns out the hiatus was the smart play — now that it’s airing, this tale of a high tech Old West theme park staffed by lifelike robots becoming a little too lifelike has revealed itself as an incredibly intelligent, thematically rich and dramatically involving series. Now airing on Showcase, through Foxtel
Spring’s Must-See TV It’s the golden age of TV and there’s a surge of new bingeworthy watching on the way. The Music’s resident TV guru, Guy Davis, has cherry picked the shows you need to catch this Spring. Switch on the gogglebox, sit back and let the addiction take hold.
t’s been just over a year since ‘Peak TV’ — a term introduced by John Landgraf, the CEO of pay-TV network FX, as shorthand for “simply too much television” — entered the pop-culture vernacular, and it seems we are still nowhere near the mountaintop. We still have our free-to-air networks churning out material, with the occasional scripted drama or comedy interspersed with home-makeover programs and culinary comps, but the pay-TV stations are continuing to ramp up production of their own original content, as are streaming services like Netflix and Australia’s own Stan. Westworld
Now you and I both know there’s nothing — nothing — more important than watching TV.
Now you and I both know there’s nothing — nothing — more important than watching TV. But when you have so many options to choose from, it can be tough making a selection or two. Luckily, I have watched ever television program that is currently airing or scheduled to air in the near future, so you can place your trust in the following picks. Westworld: Despite its blue-chip pedigree (reboot regent JJ Abrams as executive producer, Dark Knight screenwriter Jonathan Nolan as co-creator, a cast including the esteemed likes of Anthony Hopkins and Ed Harris), the HBO sci-fi drama Westworld seemed like a bad bet for a while there, especially when production
22 • THE MUSIC • 12TH OCTOBER 2016
Gilmore Girls: A Year In The Life: Devotees of sharptongued, hyper-caffeinated Lorelei Gilmore (Lauren Graham) and her sweet, studious daughter Rory (Alexis Bledel) can rejoice, because the whole Gilmore Girls crew — including, maybe, Melissa McCarthy — are back in this four-episode reunion series premiering on Netflix this November. Details on A Year In The Life, which picks up a decade after the much-loved series left off, are being kept hush-hush but series creator Amy ShermanPalladino did state that the relationship between mother and daughter is now more equal: “What’s cool for these two is that, because it wasn’t about a high school girl and her mom, now it’s two women. Suddenly, they can have cocktails together. They can drink and sit and talk about shit.” Which is what Gilmore Girls always did best anyway, yeah? Premiering 25 Nov on Netflix Atlanta: Donald Glover is a protean and prodigious talent — that’s just a fact. And even if you’re disinclined to agree, maybe give his new TV series Atlanta (which he co-created, stars in, writes, and sometimes directs) a whirl. Based around the hip hop milieu of the titular city, it’s got a unique tone and energy, nimbly moving between moments of bracing dramatic honesty and quirkyverging-on-surreal comedy. I can’t think of anything else like it. Australian airdate to be announced Black Mirror: Sure, you can watch TV for fun, or to soothe your soul after a hard day of drudgery. But why not check out a handful of stories that’ll really rattle your cage when it comes to humanity’s own worst impulses and its increasingly complex relationship with technology? That’s what Black Mirror, penned by provocateur par excellence Charlie Brooker, has done for a couple of seasons, and now it’s back with six new stories The Hollywood Reporter has dubbed “as bracingly original and thought-provoking as ever”. Watching this show is like being around when The Twilight Zone premiered — it’s helping define science fiction as social commentary for this era. Premiering 21 Oct on Netflix No Activity: The improvised Australian comedy about the uneventful work lives (but surprisingly detailed banter) of a handful of inner-city cops is back for a second season, with all six episodes dropping (do we still say that?) October 26 on streaming video service Stan. Original cast members Patrick Brammall, Darren Gilshenan, Harriet Dyer and Genevieve Morris all reprise their role in the new season, and the show has pulled off quite the coup by securing Rose Byrne and Damon Herriman (who’s also giving one hell of a good performance in the pay-TV crime drama Quarry) in supporting roles. Premiering 26 Oct on Stan
Boy Band Crush
Hannah Crofts tells Liz Giuffre that her band All Our Exes Live In Texas are grateful to Courtney Barnett for paving the way and also admits they miss Backstreet Boys “every day”.
his time last year All Our Exes Live In Texas played Small World Festival, taking the stage after an AC/DC cover band. Hannah Crofts of All Our Exes Live In Texas recalls a punter describing their sound and style as being “like a spongecake after a bag full of drugs”. Take that, iTunes genre categories! Don’t be deceived, though, the awesome lady foursome are not all sugar. All Our Exes Live In Texas have such a smooth effect because they are also wicked, hilarious and damn fine musicians. Taking the murder ballad genre back from Nick Cave and co for new single The Devil’s Part from debut album When We Fall, the group has finally got their firecracker essence down in long form. “When we started this band, we picked up our instruments - well, we bought instruments and we learned how to play them for the band. Because we didn’t expect it, as a band, to keep going,” begins Hannah Crofts, vocals and ukulele. “Singing, we all went to university and did that so we were all really on top of that, but instrument-wise... we compensated a bit for our playing with our banter, having a really good time on stage. And then over the last three years we’ve all had heaps of lessons in our instruments - and writing a lot specifically for them and together - so for us this record is something we’re really musically
proud of. Hopefully the energy and our personalities will really come through, but we’re really proud of what’s down musically on this record too.” Crofts’ modesty about the band’s process of learning their craft is endearing, but far from an uncommon story in popular music. Artists like Paul Kelly still admit, decades into their careers, to learning more as they go. What makes All Our Exes Live In Texas particularly interesting is their scope and breadth of musical style and influences. While sounding indie-folk on the surface (think the McGarrigle sisters times two), their indie-rock and contemporary pop influence is not far away, either. Crofts praises Courtney Barnett, who she says “has paved the way for everybody, she’s so good”. As part of their journey to debut album status, All Our Exes Live In Texas also supported ‘90s bubblegum greats, Backstreet Boys. “We miss them, we miss them every day. What’s Howie D thinking right now and is he thinking of me? Because I’m thinking of him,” laughs Crofts. On how they secured this support slot, Crofts says, “We just got an email from the promoter, and we had emailed them and told them that we’d love to do it... and we do that for all tours, actually. When we saw Taylor Swift we’re saying to our booking agent, ‘Please put us forward [for support], singing with Tay Tay would be sick’.” While All Our Exes Live In Texas are more than worthy headliners in their own right, their willingness to be unlikely-but-awesome supports does open up new possibilities. Have they contacted the Guns N’ Roses crew to offer a little sonic spongecake for their 2017 tour? “That’s awesome, Exes and Guns N’ Roses - it’s a good combo!” Crofts swoons. Are you reading this, Axl?
Crazy For Gin
Who doesn’t love a nice Gin and Tonic? So refined, so refreshing, so sophisticated... so psycho? According to Austrian scientists at the University of Innsbruck, people who like bitter flavours, like coffee, dark chocolate and the oh so innocent GnT, are more likely to possess tendencies of “Machiavellianism, psychopathy, narcissism and everyday sadism.” So next time you’re knocking back a few summer drinks with your squad, keep an eye open for those batshit gin drinkers.
When & Where: 15 Oct, Out On The Weekend; 3 Nov, Caravan Music Club; 4 Nov, Music On The Hill; 5 Nov, Northcote Social Club THE MUSIC 12TH OCTOBER 2016 • 23
Get ready to star in your own personal Inception scene, thanks to a Kickstarter project that sounds like a dream come true. iBand+ is a head-mounted device that claims to induce lucid dreams – dreams in which you are consciously aware – while also promoting better, more restful sleep. “Dreams are the best and most authentic VR experience; a world with no rules and no consequences,” the inventors of the tech say. “Shut up and take our money,” we say.
24 • THE MUSIC • 12TH OCTOBER 2016
Five years since their last album, The Panics return with Hole In Your Pocket — more in control than ever, but just enjoying what they do. Singer Jae Laffer ponders life experiences and the creative process with Ross Clelland.
ou get the feeling The Panics are the kind of band who’d sit around the kitchen table with a few glasses of red, and discuss the meaning of life — among other things. Back through their catalogue, along with songs dealing with the usual matters of the heart and mind, there are less likely subjects covered — Majesty’s musing on the republican debate, the pros and cons of anti-depressant use in Cruel Guards, the new album’s lead single Weatherman and its global warming philosophising. Jae Laffer conditionally agrees: “Yeah, we can be those guys, but maybe it’s that couple of bottles of red in a studio — or at least somewhere with our instruments plugged in.” During the between album downtime, members indulged in a range of projects, musical and otherwise. Laffer did the seemingly obligatory lead singer’s solo record. “I think we’d just run that part of our creative course,” he explains. “I wasn’t coming up with stuff that I’d go running to in the morning to get excited by. Some bands will break up at that point, but I just went for something different — to do something just out of love again. And collaborate with some
of those people I’d met along the way. Just to do things differently.” Suitably recharged, The Panics reconvened. But didn’t hurry into anything. Thus, Hole In Your Pocket emerges self-produced by the band, mostly from a shed in the back lanes of Melbourne’s inner-north. It was a determinedly relaxed process. “Some of the guys in the band have become really good with the computer stuff. You just accumulate things, and knowledge — it made the environment more comfortable,” Laffer explains. “You’re not on the clock, and when we felt a song coming on we’d just get together and hang out — which we do semi-regularly anyway — so set up a space, and just started recording things.” “We all live fairly close, and it was not far off Brunswick Street — so we’d work a bit, go have a meal, walk for a coffee — it was all very natural.” The process recalled their early days when the band relocated from their native Perth and ended up sharing a rambling Collingwood terrace. “We lived together — not knowing anyone, not having any money. You know, doing what every group of 20something boys out on their own should do.” The new record also shows the band perhaps embracing technology a bit more, or maybe not. “It was more we were in a very confined space and would just get a drum machine going — then jumped onto different instruments, and we kept a lot of that — so no, this is not really ‘The Panics Go SynthPop’,” Laffer laughs. “We really just want to make music from the heart. Aching to be credible? Nah, we like the idea of just getting our songs on the radio — whatever radio station — for people to hear. No, we’re not making big Beach Boys pop — but I’ve got nothing against it.”
What: Hole In Your Pocket (Dew Process/Universal) When & Where: 15 Oct, Howler
Eat / Drink Eat/Drink
Slow down guys, you need to save room for dessert especially since Manny’s Donuts will be hanging around. One look at their churros and donuts, Nutella and hot jam, is enough to convince you that beach bods are for chumps and you’ll regret it if you’ve already done your dash.
King Of Spuds What’s better than fish and chips on the shoreline? How about straight-cut potato chips with pulled beef, mozzarella cheese and pepper gravy? Or sweet potato fries with paprika, bacon and ranch dressing? We never thought we’d say this, but chicken salt just isn’t going to cut it.
Sea Board From Wednesday 12 Oct to Sunday 16 Oct The Food Truck Park is rolling down to the Frankston Waterfront for The Seaside Street Food Festival. The sun is out and the gateway to the Morning Peninsula is going global, with more than 40 culturally eclectic vendors showcasing the best street food, craft beer, cider and wine in Australia. Here’s a few choice picks to get you started.
The Real Jerk Normally if you jerk it at the beach you’re looking at an ankle bracelet, but when The Real Jerk bring the street cuisine of the Caribbean to the shore the people line right up. Items like the traditional jerk chicken with rice, peas and Caribbean gravy or their baby back jerk smoky BBQ pork ribs, made with traditional Jamaican spices and marinades, will leave you drooling.
Boho Blends Paella? Yes pa-lease. You’ll be able to pick out Boho Blends from their classic ‘70s Franklin caravan and the head swinging smells coming from within. Although best known their mixed Classic Paella with San Jose chorizo, chicken breast, prawns and roasted capsicum, they also do vegetarian and vegan mixes of the quintessential Valencian dish.
THE MUSIC 12TH OCTOBER 2016 • 25
Bye Bye Gun Emoji
More than three decades in, Michael Wilton, guitarist for Seattle prog-metallers Queensryche tells Brendan Crabb about their new lease on life. Unless you’ve been living under a rock/have been avoiding the new iOS update like the bubonic plague, you should have heard about the new water pistol emoji. Snaps to Apple for replacing the realistic pistol with a lime-green water squirter in their mass re-design of over 100 emojis. (Though, we must say, the toy does look a little odd sitting among the unchanged weaponry, from bombs to swords – because they’re okay, right?) Naturally, Twitter had a minor meltdown.
26 • THE MUSIC • 12TH OCTOBER 2016
ven many years removed, Queensryche’s chart-topping peak — platinum certifications, Grammy nominations and MTV exposure included — remains somewhat surreal for guitarist Michael Wilton. Besides, this was a band sufficiently sophisticated to craft lyrics like “There’s no raison d’etre” during glam’s heyday. “I think the albums that collided with public taste in the ‘90s, I think those are definitely our most popular albums,” the axeman recalls. “When a band like Queensryche hit the mainstream, that kind of shocked us.” The melodic metallers subsequently experienced a downturn in fortunes, both commercially and creatively. An acrimonious split with original singer Geoff Tate, and ensuing legal settlement resulted in founding members Wilton, Eddie Jackson (bass) and Scott Rockenfield (drums) retaining use of the Queensryche moniker. Meanwhile, Tate formed Operation: Mindcrime (derived from Queensryche’s classic 1988 Orwellian concept opus), and gained exclusive rights to perform the titular record and its 2006 sequel in their entirety. “I think that’s beat to death,” Wilton remarks of playing said releases start to finish, seemingly a dig at his estranged
former bandmate. “Our fans really want to hear a variety of songs. So we tend to play a few songs from Mindcrime, but as well as [1986’s] Rage For Order, [1984’s] The Warning, the EP [selftitled, from 1983]. We haven’t really had any complaints; ‘Play the whole damn Mindcrime album, please,’” he laughs. They also focus on fresh material. Queensryche’s current line-up, completed by frontman Todd La Torre and guitarist Parker Lundgren has released two LPs, including last year’s Condition Human. “They’re younger than we are, and so it’s a shot of adrenaline in the arm,” Wilton gushes. Although aforementioned legalities were aired publicly, not all fans are aware of these developments. Do many attend shows who don’t realise they’ve changed vocalists, or even mistake La Torre for Tate? “All the time, and you know what? It’s one show at a time, and sometimes there’s the curiosity factor from the person that hasn’t seen us since 1995, coming out to see how the band’s going, and usually it’s great,” Wilton enthuses. “We blow people away. But unfortunately that’s the way it is, when you make such a big change in the band you’ve got to go out there and prove it, and we prove it every night. The funny thing is, half the time, people in the back of the venue, they’re having a great time and they didn’t even know it was somebody different,” he chuckles. “They thought everybody was the original people. I think the fans just want to hear the energy, the communication and the vibe, the chemistry of the band on stage again. That’s what we’ve been doing, and it’s working.”
When & Where: 14 Oct, The Prince
In Focus Kinky
It’s a story we’ve all heard many times before. Boy meets drag queen. Drag queen challenges boy’s prejudices. Boy and drag queen make a line of high-heeled boots together in boy’s dead dad’s shoe factory. Classic. It might sound far-fetched, but truth is often stranger than fiction. The story of this 2005 film, that became a 2006 Broadway musical by highcamp funnyman Harvey Fierstein and ‘80s pop royalty Cyndi Lauper, is based on real events.
This heart-melting show about Lola the drag queen’s unlikely business partnership with Charlie, a working class shoe manufacture, has enjoyed massive success all over the world, and now it’s receiving its Australian premiere in Melbourne this week. But these boots are made for walking, and will only be in town, at Her Majesty’s Theatre, for a limited season until 11 Dec.
THE MUSIC 12TH OCTOBER 2016 • 27
Meinen damen und herren, it’s time to break out the lederhosen and practice your yodelling skills as Oktoberfest is here! You can go crazy Deutschland style at a range of events taking place across the city courtesy of the Bavarian Bier Café and Munich Brauhaus.
Bottoms Up There are a range of authentically Bavarian brews on offer. We suggest you try a stein or two of Spaten, with sweet hints of honey and a herbal, malty tang, Hofbrau, a full-flavoured, rich and indulgent flavour, or the perfectly balanced blend of Lowenbrau.
Chow Down Oktoberfest is nothing without a sausage or two, and at the Bavarian Bier Café and Munich Brauhaus, their wurst is the best. Try one of a range of speciality haus-made Haute Sausages including smokey bourbon BBQ Kielbasa, the Pimenton Bratwurst or the cheese, beef and pork Kransky. For full details of events near you visit munichbrauhaus.com and bavarianbiercafe.com
28 • THE MUSIC • 12TH OCTOBER 2016
Frontman Caleb Karvountzis and guitarist Sean Mullins tell Bryget Chrisfield that sometimes being in Tiny Little Houses is “just like having three girlfriends”.
he first Tiny Little Houses band member to arrive for our interview is guitarist Sean Mullins who wears a forest green cardigan with a large key dangling around his neck (about which his bandmate later jokes: “It’s the key to his heart”). We discuss how the band found playing BIGSOUND this year (for the second time) and Mullins points out, “It was sort of like, ‘Well, have they got better in 12 months?’... [We] can’t sort of rest on being a beginner band, you know? It was like we had to put a good show and I think we did that. It was a great show, actually; I think it’s one of my favourites we’ve played.” Caleb Karvountzis, the band’s frontman, enters the breezy outdoor area of this Collingwood eatery sporting a brown corduroy jacket and orders a latte. Tiny Little Houses started off as a solo bedroom project for Karvountzis and Mullins shares, “The single that we just put out, Song Despite Apathy, is probably about four years old or something”. The guitarist remembers the pair wrote this song “in Caleb’s basement before the other guys were even in the band, before we had a band”. This song’s accompanying video clip has a karaoke theme, so we can’t help but wonder whether either of the boys has a go-to karaoke song. “Yeah, Teenage Dirtbag,” Karvountzis answers immediately, “that is my jam... We cover it sometimes.”
“We did it at The [Gasometer Hotel] residency,” Mullins reveals. “It was the night we played with Alex Lahey... And actually Alex came up and sang with us as well.” Did she do the Mena Suvari part? “Yeah,” the guitarist confirms with a smile. “Lonely People is the first song that I ever pretty much did as Tiny Little Houses,” Karvountzis enlightens of another song on the band’s latest EP, “and it’s changed so much since I recorded that originally.” Karvountzis admits that going from writing songs solo to working collaboratively has been “a learning process”. “As you take a song that you’ve got in your head and give it to the band, it just changes,” he explains. On how they approach some of the more difficult conversations that are necessary during songwriting sessions, Mullins offers, “It is a type of conversation that you don’t have in real life, so it’s hard sometimes to communicate those kind of ideas.” “It’s just like having three girlfriends,” Karvountzis chuckles. Or family members, perhaps? “Nah, girlfriends,” Mullins stresses then his bandmate continues, “Family members you can tell really straight... Say I write something, the first person I show is my sister and she just tells me if she likes it... And if she thinks it’s no good, it doesn’t go anywhere. It’s good to have someone that you really trust that can cut you down.” Now that Tiny Little Houses has expanded into a four-piece, rounded out by drummer Clancy Bond and bassist Al Yamin, Karvountzis notes the material they’ve “all written as a band” is “bigger-sounding”. “I’m really looking forward to doing the album,” he enthuses. “We’ve got maybe a third of the album recorded,” Mullins adds excitedly.
What: Snow Globe (Ivy League When & Where: 24 Nov, Regent Theatre; 25 Nov, Howler; 26 Nov, The Workers Club Geelong
THE MUSIC 12TH OCTOBER 2016 â€¢ 29
LAST CHANCE SALOOON
The Full Monty
All good things must come to an end but we’re here to protect you from the FOMO. Catch these must-see shows from the Melbourne Festival before they close this week.
Backstage In Biscuit Land Jess Thom has a condition uniquely challenging: Tourette’s Syndrome. She’s turned this burden into a blessing in this life affirming comedy show celebrating diversity via a uniquely quirky prism. When & Where: until 16 Oct, Malthouse
Backstage At Biscuitland
Matthew Ford of Thigh Master takes Anthony Carew through the first legs of the band’s history, and regales him with tales of their DIY tour of Japan.
David Bowie: Nothing Has Changed Few musicians have had as radical an influence as the late, great David Bowie. Celebrate the life of the original Star Man in epic style with the Melbourne Symphony Orchestra and special guests. When & Where: 15 – 17 Oct, Hamer Hall
The Dark Chorus Australian choreographer Lucy Guerin presents a brand new work exploring the ages old duality of light and shadow. Stark polarities meet extraordinary movement by one of the country’s most exciting artists. When & Where: until 12 Oct, Meat Market
30 • THE MUSIC • 12TH OCTOBER 2016
n 2015, Brisbane indie combo Thigh Master toured Japan in the most DIY fashion possible. Thigh Master leader Matthew Ford and his brother Daniel were on a family holiday in Japan. So, the other two members of Thigh Master flew over, and an ad-hoc tour was born. While they did play a show supporting Guitar Wolf in Tokyo, and “at venues with a proper sound set-up”, most of their shows were in tiny spaces where they usually missed themselves. “We played a Mexican restaurant that turned into a punk venue at night,” Ford recalls. “Another venue was so small it was probably only 30 capacity, but there were 90 payers on the door. It took me half-an-hour to get from one side of the room to the stage, because the bodies were so crammed in.” Ford, Thigh Master’s frontman (and label boss of cult local imprint Tenth Court), was born in Toowoomba, but spent a decade living in Memphis, before moving back to the Sunshine Coast at 14, where he “got the whole Australian version of high school bullying” for having a slight American accent. The Ford brothers had started their first band back in Memphis at 13, and at 17, Matthew was playing in Luke’s outfit Black Vacation. “That was when I started coming into
Brisbane, going to shows, discovering this whole new world of house shows and DIY.” Ford would eventually founded his own band, Thigh Master, in 2011 with Daniel (and, later, Dag’s Dusty Anastassiou) among its members. “I was pretty obsessed with the whole Flying Nun catalogue, as being influenced by Memphis and San Fran garage music,” Matthew recalls of those beginnings. The first songs Thigh Master put online “got lots of random blog action”, their first single Head Of The Witch got single-of-the-week on iconic New York station WFMU; and their 2014 split cassette with Martyr Privates sold out swiftly. But, putting an album out didn’t come so swiftly. They began recording — with Luke Walsh of Blank Realm — in 2012; and the process ended up taking over three-and-ahalf years, with the membership changing around Ford and drummer Patrick Byron as they’ve gone. Early Times’ title evokes that long, slow process; the way it captures a band coming together, and a period of its songwriter’s life that’s, otherwise, a little hazy. “It’s strange to listen to, for me,” says Ford. “It’s a pretty nostalgic thing, in parts, because a lot of these were songs I wrote four or five years ago. A lot of the lyrical content was from a very different point of time in my life. I wasn’t stable emotionally, was dealing with a lot of mental health issues. I had a pretty contorted view on reality. I was having a lot of trouble with pharmaceutical medications and alcohol, I had a pretty blurry sense of the world around me. Through that time, the band was definitely a help. It was an outlet that made me feel a little more stable; while I was doing it, I felt in control.”
What: Early Times (Coolin’ By Sound) When & Where: 15 Oct, The Post Office Hotel
Defending Carol The Peep Tempel’s Blake Scott on defending Carol’s honour, proudly wearing aqua Lycra bike shorts and not being shy about “the old self-Google every now and again”.
I wanted to wear my Fitzroy jumper and somehow I ended up in the fucking bike shorts.
f you were lucky enough to be at The Age Music Victoria Awards last year (yes, it was open to the public), you would’ve seen Blake Scott performing Carol, sans guitar, backed by The EG Allstars (Pete Luscombe, Ash Naylor, Bill McDonald and James Black). Scott spat out lyrics with trademark venom, The EG Allstars had mad grins plastered across their faces while performing this track and we thrashed around, glowing with pride about our local music scene. Scott acknowledges he was “very nervous that night”, adding, “Especially when I was looking at Stewey [Rayner], the bass player, and he just had this look on his face: ‘Don’t fuck it up!’” he laughs. A dude in our office even has a Carol ringtone; people are obsessed over that song! On Carol, Scott reveals, “There was people who were really misconstruing the sentiment and the lyrics of that song, which was disturbing for a while, but... that seems to have passed.” Scott recalls “one particular gig” where shit got completely outta hand. “We were getting a lot of people yelling out, ‘Ah, fuck Carol! Carol’s a slut!’ or something like that... We stopped and it was like, ‘Look, there’s absolutely nowhere in the song - that’s not the sentiment of the song at all. It’s actually probably more about you than Carol!’ You know?” he laughs. Many fans that are ridiculously attached to Tales will probably reach a little tentatively for the play button when preparing to digest its follow-up, Joy. “It’s a very different-sounding record,” Scott offers, “Yeah, look, I prefer it [laughs]. I find myself listening to this one whereas I probably struggled with Tales a bit - it’s not one that I listen to myself - whereas, with this one, I’ve found it a lot easier to sit down and reflect on the album.” The Peep Tempel recorded “this one” around Easter and Scott observes, “I’ve had a bit more time to, yeah! Not be forced to listen to it. So it’s been good to do it in my own time and go, ‘Actually, you know what? That’s pretty cool.’ And now I actually feel like a listener as opposed to, you know, someone who’s in the band.” Joy’s lead single Rayguns should go some way toward convincing you that you’re gonna love it. We do need to know whether the aqua bike pants that Scott sports in the clip were ‘model’s own’, though. “Um, no they weren’t,” he chuckles before giving “Savers Cheltenham” a plug. “But I really was planning for Steve [Carter, drummer] to wear those,” he laments, “and, yeah! I wanted to wear my Fitzroy jumper and somehow I ended up in the fucking bike shorts, and Steve got to wear the cool Fitzroy jumper! Yeah, bit of
a bummer; I think I got stitched a little bit on that one. But, look, I haven’t thrown ‘em out so, you know, I do actually intend to wear them again... I’m actually at Elwood beach right now thinking, ‘Yeah, next time I’m down and it’s warm enough I’m gettin’ out in the bike shorts.’” Although Scott found the experience of shooting this music video “fun”, he admits it was also “very, very strange”; especially when they were watching it back and the director was asking, “What about this? What about this?” Scott says, “And you’re like, ‘Do you hate us? Why have you made me dance around in bike shorts?” Constable is another standout track on Joy and it features the sound of an engine purring. “I had an old diesel van that I’d done about 4,000 ks in or something and I was getting close to the point of selling it, and I just always liked the way the engine sounded,” Scott explains of how these sounds wound up on the track. “So I just went out there one day and had a couple of beers and turned the car on in my ProTools and put a mic in there like a fuckin’ nerd [laughs].” After previously trying to incorporate the engine samples on a couple of songs, Scott thought to try it on Constable since “they’re talking about going out to Keith in that song, in South Australia”. “The long drive” can make one “introspective”, Scott posits (“you’re alone with your thoughts and the engine and a bit of radio”). Given that a lot of The Peep Tempel’s songs are so character-driven, we have a mental picture of him lurking near people, eavesdropping and taking notes. “I guess I just absorb,” he ponders, “I’m always sorta watching what’s going on around me. I could never walk down the street wearing headphones,” he shares, “I don’t understand how people can do that. I just always need to sorta know what’s going on and who’s around and what’s happening so, yeah!... a bit of a voyeur.” After confessing, “I’m not shy about the old self-Google every now and again,” Scott tells us he’s well aware that he shares his name with a fashion blogger. So would he consider blogging? “I dunno about a blog, I dunno,” he hesitates, “maybe a cooking show or something, ha ha, you know, a homemade povo one in the bike shorts.”
What: Joy (Wing Sing) When & Where: 19 Nov, Corner Hotel THE MUSIC 12TH OCTOBER 2016 • 31
Album / E Album/EP Reviews
Album OF THE Week
The Peep Tempel Joy
Wing Sing Records
It’s easy to over-simplify when it comes to The Peep Tempel. Often, their work is discussed in terms of bracing, noisy punkrock. This isn’t an unfair categorisation. However, it does somewhat sell them short. Without deviating too much from the economical craftsmanship that’s been the foundation of the band’s career, third album Joy makes it a little bit harder for casual listeners to ignore the intellect and idiosyncrasies that have always sat at the heart of the band’s work. It’s a little bit sharper. A little bit more accessible. A little bit (read: marginally) shinier. Frontman Blake Scott’s exceptional lyrics and character-driven vocal delivery have been pushed a bit further into the spotlight - making it easier for newcomers to appreciate the torrent of minutiae-driven poetry and gnarled humour that is his lyrical stock-in-trade. But, rather than simply shove Scott forward, the band as a whole have tightened their style and songwriting. Rayguns and Don’t Race boast some of the best earworms that the band have ever produced. Throughout, there’s more light and shade in the band’s dynamics. It is, all in all, a decisive improvement on an alreadyoutstanding formula. Matt O’Neill
Every Now & Then
Lisa Mitchell has always had an ear for a good melody and a good line. On Warriors, with the help of US producer Eric J (Flume, Chet Faker), she largely abandons the comfort zone of her piano and acoustic guitar in favour of arrangements that are sparer and with more gloomy corners to offset her, at times, sugary pastel impulses. The result is her best release to date. The Boys points the way. Its percussive plinks and jitter and the distorted murmur shadowing Mitchell’s vocals lend a dark quality to an otherwise bright sounding song. It’s an example of production aligned precisely to theme, setting the tone for a track that finds fragile reassurance in collective grief. Then the title track turns out to be not an anthem of empowerment, but a bleak lament for the passing of youth:
Jagwar Ma’s second release has been a long time coming (since 2013’s seriously popular Howlin’). Perhaps too long. In 2016 they have traded in their jangly psycho-pop and wry silliness for a lot more production and a bit too much seriousness. The album kicks off with a soundscape that builds into an epic crescendo. It’s full of promise and introspection, but it doesn’t really go anywhere. The album as a whole feels like it is about this very problem - a failure to launch - but it goes too far in making its point. “Your lips match your toe nails... what a creep for me to notice,” coos vocalist Gabriel Winterfield on the album’s high point, Loose Ends, over an appropriately awkward kaleidoscope of tumbling horns and hi-hats. (The track also gives
32 • THE MUSIC • 12TH OCTOBER 2016
“We were the kids from the country, keeping it real in the suburbs,” Mitchell sings amid an elegiac fog of synth and gasps. She’s clearly taken a leaf out of Lorde’s book - sonically and thematically - and it has elevated her as both songwriter and performer. There are tinges of Beth Gibbons-like desolation on standout I Remember Love, and Mitchell, momentarily back in acoustic-folk mode, channels Martha Wainwright’s sorrowful luminescence on torch song What Is Love. Her trademark wispy head-voice is still her goto, but here the cutesiness gives way to something richer, and surely more enduring. Tim Kroenert
the album its name - “Every now and then I gotta get up... can you tell that I need this?”). The tracks that follow, however, are repetitive (albeit well- and cleverly-produced) Afro house-infused shoegaze. Tracks begins with a few lyrics, the vocals get mixed into one of Jono Ma’s soundscapes, then the rhythm is turned up and the track ends. At first this is interesting, but by track five you really want it launch into something more. There are a few catchy songs that people will bob their heads to in the car and a few more that are waiting for a late-night dancefloor. But it doesn’t quite work as an album. Samantha Jonscher
EP Reviews Album/EP Reviews
Building A Beginning
The Dillinger Escape Plan Dissociation Party Smasher Inc/Cooking Vinyl
On Ruminations, Conor Oberst eschews the elaborate production of recent Bright Eyes and solo albums. Holing up in his hometown of Omaha with just a guitar, piano and harmonica, Oberst does what he does best weaving his personal, political and social ruminations into vivid lyric narratives. A Little Uncanny name-drops an eclectic cast of influencers Ronald Reagan, Robin Williams, Sylvia Plath - who in their own way helped him “admit to things I knew were never true”. The spare arrangements illuminate the direct yet sophisticated lyrics, delivered in that distinctive lisping lilt, which oozes pathos with every syllable.
Back in his own Nashville studio, Lidell’s seventh studio album is a familiar mix of blueeyed, 21st century soul and confessional ballads. Building A Beginning is some relief after his uninspiring eponymous 2013 release, particularly the sensationally gorgeous I Live To Make You Smile; one of his most touching moments to date with just a touch of Stevie Wonder creeping through in his vocal inflections. Building A Beginning features decent songwriting backed by some lush arrangements, but without much innovation or exploration, diminishing returns are inevitable.
Nils Bech’s fourth LP finds the tremulous Norwegian warbler working with producer Drippin. Bech’s falsetto deals plaintive love songs exploring merciless, tortured break-ups, unrequited love and irrational jealousy. The layered vocals are a little wispy, folksy and fluid, giving these songs an almost androgynous perspective. Meanwhile, Drippin rolls out robust beats, danceable rhythms and gauzy synth textures that seemingly have a brash personality of their own. The emotions tend toward melodrama but Drippin’s production - shifting from aggressive tech to dreamy layers of sound - softens the focus on Bech’s somewhat over the top emotional outpourings.
Having spent almost their entire career two steps or so ahead of the pack, the news that time has finally caught with The Dillinger Escape Plan is not only painful, it’s excruciating given how good Dissociation is. As a culmination of every skill they’ve mastered, Dissociation is arguably their definitive album. From the relentless tide of self-destructive loathing that is Limerent Death, to the passive-aggressive fury of Wanting Not So Much As To, to the jazz-prog interludes of Honeysuckle, the devastating brilliance of Dissociation makes their split not just sad; it’s barely comprehensible.
Christopher H James
Christopher H James
More Reviews Online Departe Failure, Subside
Omar RodriguezLopez Cell Phone Bikini
The Nation Blue Blue
THE MUSIC 12TH OCTOBER 2016 • 33
Album / E Album/EP Reviews
The Nation Blue
Fire On The Floor
Poison City Records
Rice Is Nice
Provogue/Mascot Label Group/ Warner
Black, the twin to Melbourne punks The Nation Blue’s Blue release, is indeed the darker of the two. Where Blue is far more upbeat musically and lyrically, if not spiked with the band’s cynicism here and there, Black paints things in a more bleak, political light. From the angry spoken word opening in I Have No Representatives, to Erectile Dysfunction’s sinister guitar drone, to lead man Tom Lyngcoln’s spits at prejudice, power and inequality in Australia Day, Negative Space, Mansion Family and across the board really, Black’s 15 tracks have indulgent musings and hooky motifs going on to make it Blue’s perfect counterpart.
There’s a lot of writing floating around linking The Laurels to shoegaze and Ride and My Bloody Valentine (this writer is not exempt). Their live act emphasises might over matter, lending credibility to the theory. This is not so on record. Sonicology is a trip - heavy on groove but far less dominant in terms of volume and texture. Second single Hit & Miss is bright and accessible, while the other tracks (especially during the back half) dive down a rabbit hole of psychedelic Amen drum breaks and woozy riffing. Syrupy funk and smoky production come together for a laid-back late night rock record.
One of Norway’s most revered exports, Darkthrone’s music over the years has evolved through numerous extreme metal genres. On Arctic Thunder there are occasional nods to old school, proto-metal influences, particularly on the urgent, elemental riffs of the title track. But no matter how many divergent strains of Darkthrone’s past come together on Arctic Thunder, they’ve rarely sounded as inimitably Darkthronian as they do here. It may not be their boldest, or most extreme album, but as an overview of the different guises they’ve mastered, it could be their definitive one.
LA blues pop-rocker Beth Hart’s latest sees the singer largely let go of some of the jaunty genre bends she’s thrown in on previous albums. Jazz Man has the expected silky ivory tinkles and Love Is A Lie’s pouts are sultry, old-skool highlights in the mix of more pop-rock tracks (Fat Man, Love Gangster, Let’s Get Together). Her voice amazes, nonetheless, and it’s kept au naturel for the most part - you can hear her slight pitch dips in No Place Like Home, which just sits perfectly with who she is and makes for another absorbing, accessible album for fans of big, welltrained vocals.
Christopher H James
More Reviews Online Suzanne Vega Lover, Beloved: Songs from An Evening With Carson McCullers
34 • THE MUSIC • 12TH OCTOBER 2016
Two Door Cinema Club Gameshow
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chestergroup.org THE MUSIC 12TH OCTOBER 2016 • 35
Trai ler Trash
Wa ke The Dead Punk And
he annual Melbourne Music Week festivities are usually a time for us all to celebrate the diversity of music that Hardcore gets produced in this music-friendly, lockout free town. But I’m pissed off. With Sarah I’m pissed off because I feel that the line-up this year does not celebrate the diversity of the Melbourne music scene due Petchell pretty much to the complete absence of anything resembling a heavy music act, let alone a punk or ardcore act. In my last column I said I moved to Melbourne from Sydney four years ago. A lot of my favourite bands at the time were from Melbourne. I mean, this is the city that produced Carpathian, The Smith Street Band, Outright, Mindsnare. So I feel it does a complete disservice to the punk and hardcore scene - let alone the entire heavy music scene as a whole - that the only act that ‘might’ fall in this category is Shihad. If this is supposed to be a celebration of music in Melbourne, then all parts of the city’s extensive music scene need to be celebrated. There could be an argument that underground music scenes don’t need the recognition or exposure of an establishment, but to just ignore it completely really makes me sad. Melbourne is better than that. If a local government-supported music festival can feature numerous guitarists playing Enter Sandman simultaneously, then surely the entire City Of Melbourne can also do something to highlight an important part of Melbourne’s music culture.
The Get Down Funky Shit With Obliveus
fter a lengthy recovery from another Groove Penguin Records Battle 8 win, it was with great anticipation that I opened the promo link for the upcoming Tom Showtime 45 that they’re dropping soon. A-side Birds Of Paradise, featuring MC 1/6 on the flow and Class A on a very sultry chorus, is one smooth ride and B-side Why Game has some sick double bass and neo-soul keys with one of the catchiest choruses I’ve
36 • THE MUSIC • 12TH OCTOBER 2016
ever heard in a while, so get onto this quick like. Also getting some serious playtime in my 45 sets is a bomb from the Dusty Donuts label released earlier in the year. If you’re after serious party funk jams, than look no further than The Get Down because Mark Hype and Naughty NMX have turned James Brown’s The Boss into a slice of laid-back, good times music for those who know. On the flip they’ve looped the Froggy Mix version of I Got Ants In My Pants and tweaked it for maximum dancefloor dominance. If you love to get crowds moving, then you need this in your life. Also needed is the new album from the Thunder Soul Orchestra (formerly Kashmere Stage Band). Having returned to the public spotlight after their documentary Thunder Soul went huge a few years back, they’ve now released a proper album of instant go-go funk and new boogie classics called 528-0728. Lead track What You Need will have you swerving in no time and with that, I am out of here.
NION OPINION Opinion
Dives Into Your
he new season of Screens South Park is currently airing And Idiot Boxes on SBS, which I consider good news With Guy Davis (it’s funny!) but other people may well consider old news. I say this because I’m still recovering from the burn I suffered when I recently asked a friend if she’d seen a recent episode and she replied: “No because it’s 2016 now”. Terrific burn, to be honest, but enough about that - I bring up the animated comedy because this season’s early episodes have focused on a supporting character’s side hustle as a belligerent internet troll who runs rampant through chat rooms (still a thing, right?) and social media posts, tossing around vile insults for shits and giggles. In their everyday life, this person seems well-adjusted and content, and when the topic of internet trolling is raised, they suggest that whoever is doing it simply wants to see everyone freak out. Furore, they believe, is fun. I’m pretty sure South Park will eventually call bullshit on this line of thinking (for all its irreverence, the show has long been sympathetic and empathetic), so I’m probably taking entirely the wrong lesson from the show at this stage when I think about the online response - and the online response to that response - to the new Netflix/Marvel series Luke Cage. Before we get into that, here’s my nutshell review of Luke Cage, which may have something to do with my thoughts on the current to-and-fro about the show: it’s fine. Fine in the sense that it has terrific texture in terms of many of its locations, some of its characters and the bulk of its milieu. But it’s nowhere near compelling enough story-wise to have kept me stuck to the screen beyond three episodes so far. I’ll get back to it because I’m determined to see it through, but obligation is hardly a good reason to stick with a show, is it? And here’s the other thing: Luke Cage’s lack of narrative momentum makes it kinda dull, dull enough for me to happily switch off after three episodes. (I’m hearing reports it gets good seven episodes in, but seven hours of so-so is too much of a trudge for a possibly decent payoff.) All of this means I’m probably unqualified to talk about the spate of think pieces and hot takes that have sprung
up surrounding a different kind of reaction to Luke Cage, but what the hell, let’s do it anyway. Ever eager to board the controversy express, certain writers (probably acting under the aegis of certain editors) have found a handful of Twitter nonsense claiming that the show is racist because of its dearth of white people. And they’ve gleefully come up with ledes like “A bulletproof black man is making White Twitter crap its pants”. Look, there are legit reasons to give Luke Cage the high hat but its lack of white faces isn’t one. To quote series creator Cheo Hodari Coker: “We throw viewers into the deep end of the pool of black culture, but don’t thrash. Relax. You’ll float if you allow it.” Any semi-smart person knows the deal and goes along for the ride in that regard. And anyone taking to social media to decry the show’s racial mix is either (a) fucking braindamaged, or (b) a shit-stirring troll in the South Park tradition. Either way, don’t swallow what they’re shovelling.
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 12TH OCTOBER 2016 • 37
Live Re Live Reviews
Ball Park Music, Sahara Beck, The Creases Corner Hotel 4 Oct
Ball Park Music @ Corner Hotel. Pic: Andrew Briscoe
Ball Park Music @ Corner Hotel. Pic: Andrew Briscoe
Ball Park Music @ Corner Hotel. Pic: Andrew Briscoe
Ball Park Music @ Corner Hotel. Pic: Andrew Briscoe
Black Mountain @ Corner Howler. Xavier Fennell
38 • THE MUSIC • 12TH OCTOBER 2016
Black Mountain @ Corner Howler. Xavier Fennell
Sahara Beck marries her shortlived set with interludes of surprisingly comfortable silence. Playing just a handful of songs to the incoming Corner Hotel crowd, the performance is both lilting and haunting with sublime vocal riffs and subdued guitar. Spinning Time is mesmerising, holding all the poise and maturity of a lifelong performer — it’s easy to forget she’s just 20. The most disappointing thing about The Creases show tonight is that it is disappointing at all. On paper the whole thing should work perfectly: the production level on the band’s sound is arena-worthy and vocalist Joe Agius sprawls like a ‘70s punk poet. Somehow, though, these things come together to make something overtly dissonant and internally unbalanced. There is much to enjoy here individually, but together it just doesn’t work tonight. As soon as the opening chords of Literally Baby hit the crowd, it’s clear that Ball Park Music have brought something special to Melbourne. Through the lashings of dry ice and party lights, it’s difficult to see anyone on stage past vocalist Sam Cromack. However, when the fog clears, the rest of the band are undoubtedly in top form. Screeching hard into Everything Is Shit Except My Friendship With You and Blushing, the crowd instantly turn the night into a massive karaoke party. It’s slightly tacky but unashamedly entertaining — quintessential BPM. There’s plenty of love given to the new tracks and songs from the debut Happiness And Surrounding Suburbs, but it’s the appearances from the seminal Museum that make the night. Harmonies between Cromack and bassist Jennifer Boyce
during Surrender are phenomenal, and drummer Daniel Hanson wins MVP for his unbelievable work in Fence Sitter. When the piano of Coming Down slowly breathes in, so to does an almost religious experience. The band is drowned out by audience participation, and it’s perfect. Cromack treats the crowd to a solo rendition of It’s Nice To Be Alive while declaring, “I’ve never done this on my own before.” By the end of the perfect performance, the crowd finds this
It’s slightly tacky but unashamedly entertaining — quintessential BPM. very hard to believe. It’s a night of popstar cliches and easy goals for the band, but in the absolute best possible way. Joe Dolan
Cate Le Bon, Ella Thompson The Toff In Town 7 Oct Ella Thompson has all the talent necessary to be absolutely fabulous, but she needs to learn how to project out into the audience to draw us in. She’s such a brilliant singer, but it’s hard to connect with an artist performing with her eyes shut for 80% of the time. Maybe she’s getting used to having a buddy up on stage with her while in duo guise with GL, but Thompson certainly needs to start owning it and believing in herself to be fully noticed. When Cate Le Bon and co arrive on stage it’s clear they got the memo to wear black outfits (although her drummer rebels a tad by wearing blue denim
eviews Live Reviews
jeans). Le Bon’s lilting Love Is Not Love chorus complements the plaintive guitar tone. An extended live version of Wonderful features unhinged guitar squalls. To play in Le Bon’s backing band demands full concentration and multi-instrumental skills (the drummer even simultaneously playing bass and bass drum from his position perched on the drum stool at one point). Le Bon’s quirky lyrics entertain, particularly during I’m A Dirty Attic (“This night drives me wild”). After Le Bon informs us this is their “first rodeo in Melbourne”, a punter appropriately hollers “YEEhar!” Le Bon demonstrates an impressively meandering fretting technique. These songs have complex structures that demand meticulous counting. We Might Revolve calls to mind the metronomic precision of Battles. Le Bon turns her back on the audience and absolutely unleashes on guitar to close out What’s Not Mine and her bandmates play along, exhilarated. We applaud each band member as they exit the stage, one by one, leaving just Le Bon and one of her keyboardist/ guitarists to play the song out. As a fan reaches for the setlist, we notice there’s one last song written on there punctuated by a question mark (“Time?”). We cheer loudly for an encore and it’s granted, the band appearing delighted by the reception. Bryget Chrisfield
Black Mountain, Medicine Voice, Miles Brown Corner Hotel 5 Oct The noise from tonight’s opening act Medicine Voice feels ritualistic. The Sydney group led by Sar Friedman rolls around in dark shuddering feedback for the first 15 minutes before Friedman, like some sort of deity, transitions into the more straightforward
After Le Bon informs us this is their “first rodeo in Melbourne”, a punter appropriately hollers “YEE har!”
part of their set. A contrast exists between Friedman’s pure vocals, which cut through fuzzed-out, ambling guitars until each song is built enough to crash down heavily. Local man Miles Brown offers a slightly leftward step to the night. Over six feet tall and draped in a long, sheer cloak, Brown blazes along on a theremin and synth combo that’d leave many techno heads dumbfounded. He smiles cheekily as he constructs what sounds like a female voice through meticulous theremin technique. The room responds delightedly to his high-tempo electro. Brown is a master of beats. Breaking a seven-year hiatus from touring the Southern lands, Canadian psychonauts Black Mountain return to Australian shores in the wake of their aptly named fourth album IV. It’s clear from the recognisable intermittent beep of Mothers Of The Sun that the band will delve all the way into IV for this show. Stephen McBean provides all the amplitude on guitar while Amber Webber’s voice soars. The two have a harmonious chemistry when they join vocally, something attributable to Black Mountain’s space-changing ilk. Stormy High is a trudging, classically doom-styled song; Webber’s voice fades in and out with ghostly presence. Jeremy Schmidt brings the church-style
organ through with a flourish, as the entire track explodes with one final iteration of the delightfully hooky bass line. Although the group’s output is certainly heavy enough for a moshpit to emerge, many seem content enough to bop along, which is testament to the variety of listeners that the Canadians appeal to. Black Mountain easily transcend the stoner-rock label slapped on them in earlier years. McBean and Webber’s vocal duets are glorious as the band work through a repetitive thudding, turning the set into something seriously ceremonious. Schmidt rocks in with some delicious Rick Wakeman Journey To The Centre Of The Earth-style keys, except it’s the band that take us all into deep space. Space To Bakersfield indicates the end of the night — the closing track from IV — featuring a wondrous chorale from Webber that pitches straight into a wailing solo from
Black Mountain easily transcend the stoner-rock label slapped on them in earlier years.
More Reviews Online theMusic.com.au/ music/live-reviews
The Belligerents @ Northcote Social Club The Saints @ The Gasometer Hotel Ella Hooper @ The Workers Club Exek @ The Tote Ellie Goulding @ Rod Laver Arena Mayday Parade @ 170 Russell
McBean. The set ends and the room is left basking in the soft reflection of disco balls spinning slowly above. Xavier Fennell
THE MUSIC 12TH OCTOBER 2016 • 39
Arts Reviews Arts Reviews
The Art Of Banksy
Deepwater Horizon Fim In cinemas
The Art Of Banksy Visual Arts Federation Square to 22 Jan
★ Last August, the doors to Dismaland creaked open on a dingy, abandoned lido in the British seaside town of Weston-super-Mare. The “bemusement park” was a mind-bending, immersive art installation featuring the work of 58 artists united under the satirical vision of mythic street artist Banksy. Its power was locked in its wry, political audacity and the complete absence of giving even the smallest fraction of a fuck. It was the very essence of what has made Banksy such a revered and popular phenomenon and the polar opposite of the clueless curatorial misfires found in Steve Lazarides’ Art Of Banksy exhibition. It’s clear to see the ambition of this exhibition, as it desperately tries to replicate the same rebellious, disaffected character of Banksy’s installations, but for all that is show brazenly plagiarises from Banksy, a startling number of aspects are so cack-handedly wrong that it seems almost deliberately disrespectful. Made up largely of privately owned on-paper prints on loan, with a handful of sculptures thrown in, very little of what’s on display is less than a decade old, and only a relatively small number are unique. Multiples of the same design appear cheek-by-jowl, and like a joke being repeated over and over, this utterly crushes the power of their punchline. But the greatest betrayal of this toothless exhibition is how brazenly it’s geared towards wringing as many dollars as possible from the Banksy-loving public. A massive gift shop peddling caps and T-shirts branded with Banksy designs, next to a trendy, entirely un-ironic wine-bar, are the first things attendees see. It’s blatantly clear that because Banksy’s identity is anonymous, Lazarides believes he can make him a faceless brand, to be packaged and sold. Lazarides himself has been rumoured to be the artist for several years; if this exhibition achieves anything, it’s in proving once and for all that this is way off the mark. Maxim Boon 40 • THE MUSIC • 12TH OCTOBER 2016
If you admired Sully’s tribute to the competence and can-do spirit of everyday people doing their jobs, but thought Clint Eastwood’s movie would have benefited from many, many more explosions, you’ll happily hand over your hardearned dough for Deepwater Horizon. Part pyrotechnic disaster movie, part tribute to the blue-collar heroes who manned the offshore drilling rig of the movie’s title, Deepwater Horizon — based on actual events — walks a fine line between enthusiastically and respectfully depicting the 2010 ‘blowout’ that killed 11 people and led to the worst oil spill in American history. The Lone Survivor team of director Peter Berg and leading man Mark Wahlberg reunite for a film that, like their previous collaboration, aims for a documentarylike realism
and authenticity (and often succeeds) but can’t help but succumb to a few Hollywood conventions. Still, this combination of styles and tones isn’t a deal-breaker in Deepwater Horizon’s case — for the most part, there’s good, solid integrity to the storytelling and the performance. A well-cast Wahlberg plays Mike Williams, a chief technician on Deepwater Horizon, which doesn’t pump oil but instead digs the wells and lays the pipes that will bring the oil to the surface. With all the pressure under the earth, it’s a hazardous job for Mike, crew chief Mr Jimmy (Kurt Russell, every inch the bloke you can trust) and the many staff members working 21-day shifts off the coast of Louisiana. And it’s made even harder by oil company BP, represented here by reptilian executive Don Vidrine (John Malkovich, with a Cajun accent so thick it crawled out of the bayou itself), insisting on cutting corners and cutting costs. When the pressure gets too much, the result is an outright catastrophe that causes quite a bit of damage. And then quite a lot of damage. After a first half that gradually ramps up the tension and gets us invested in the well-being of a handful of rig personnel, the second half of Deepwater Horizon is a descent into hell as Mother Nature’s mean streak results in an offshore inferno that sets the water surrounding the platform ablaze. Berg is in his element here, keeping the action coherent in the midst of the chaos and keeping the audience hoping that Wahlberg’s Williams and his colleagues are able to escape intact. Guy Davis
Arts Reviews Arts Reviews
Lady Eats Apple
Our Ladies Of Perpetual Succour
Theatre Hamer Hall, to 12 Oct
Melbourne Festival Triptyque (Les 7 Doigts De La Main) Theatre Melbourne Playhouse (finished)
a fantastical dreamscape of levitating beds, fish-headed minions and mesmeric movement. Here, the jaw dropping and the narrative are expertly in sync, offering something unashamedly fun yet also touching.
When circus wants to get serious it has often turned to dance theatre. Channelling acrobatic physicality through a lexicon of choreographed movement can yield astonishing results - Circa’s devastatingly powerful Il Ritorno being an excellent case in point - but that’s not to say this creative hybrid is foolproof. Canadian circus troupe Les 7 Doigts De La Main recruited three choreographers to mount Triptyque, and the results highlight both the perks and pitfalls of danced circus. Marie Chouinard’s Anne And Samuel is a sexually provocative duet and the most conspicuous departure from the expected circus norms. Using crutches as extensions of their limbs, the two bodies on stage (Samuel Tetreault and Sara Harton) move with a mixture of animalistic muscularity and impaired frailty. Their interactions become led from the torso or the pelvis via gyrating thrusts or tender nuzzles. There’s a current of erotic danger coursing through this movement but at times it becomes almost wincingly explicit, as if this display were aping the tantric positions of the Karma Sutra. Victor Quijada’s Variations 9.81 is a pendulum swing to the other extreme with barely any tangible aspects of dance or theatre at all. Feats of strength and balance make for some genuinely gasp-worthy moments, but from a theatrical perspective, this work is disappointingly inert. Marcos Morau’s Nocturnes conjures
Our Ladies Of Perpetual Succour Theatre Arts Centre Melbourne, to 22 Oct
★★★½ National Theatre Of Scotland’s adaptation of Alan Warner’s novel The Sopranos transforms the titular ladies from wee angels into uncouth yobs conversing about hand jobs, accidental threesomes and magic mushroom lager. The girls regularly discuss the amount of unwanted teenage pregnancies at their school (which is cheekily referred to as “Virgin Megastore”) and, while the cast’s thick Scottish accents take some getting used to, their singing and harmonies are flawless. Vicky Featherstone effortlessly directs the audience’s attention toward specific characters as their personalities unfold and we learn what they’ve already endured in their relatively short lives. Transitions from songs into scenes are seamless, but sometimes humour from the previous scene leaks into the next; when our hearts should be breaking we’re still grinning post-guffaw. All of the performances are outstanding, but Dawn Sievewright (Fionnula) has us in stitches when she takes on male roles. Embodying male physicality, her naturally husky voice easily translates to butch and we eagerly await the return of these parody characters.
In the beginning, the stage was without form and void. Taking on the metaphysical mythology of creation, this isn’t a bad place for Back to Back Theatre’s latest production, Lady Eats Apple, to start. The cavernous space that stretches out before the audience, making Melbourne’s Hamer Hall unrecognisable, may be empty, but it is also full of possibilities. Back To Back’s ensemble of actors with perceived intellectual disabilities has excellent form going toe to toe with profound existential conundrums, but despite the narrative opportunities, the provocative subject matter and the calibre of its previous triumphs, Lady Eats Apple promises much but under delivers. The first part imagines God, played with confidence by Scott Price, as a frustrated and insecure stagehand. The act of creation is something to alleviate boredom, with the quaking doom of God’s wrath merely a sound effect thrown in for shits and giggles. A reassuring mentor (Australian theatre stalwart Brian Lipson) tries to steady the anxious young deity, neatly setting up an interesting observation about the frustrations that people living with perceived disabilities experience every day. From here, however, things become less easily to absorb. The show’s astonishing coup de theatre dazzles the audience for the briefest of moments only for the audience to be plunged into darkness. Fortunately, Mark Cuthbertson’s audacious set has one more breathtaking trick up its sleeve and this final reveal is genuinely jaw-dropping. Suddenly, we are returned to the real world and once again we are offered a study of how the desires and ambitions of the disabled are all too often dismissed. This final act provides some much needed emotional gravity to pull the vagaries of this production towards a clearer message, but despite some touching moments, there’s simply not enough material developed to make for a satisfying conclusion. Maxim Boon
THE MUSIC 12TH OCTOBER 2016 • 41
Local Music By Jeff Jenkins Folk Yeah! They wear it well. Back in the early 2000s, they were the main members of a stylish pop band called The Suits. Now they have returned as The Barebones, an apt name because this outfit is looser and more informal than The Suits. Not that their debut album, Where Have All The Good Folk Gone?, is without its pop charms. Co-produced by Dave Rogers, The Barebones are a more rock version of Icecream Hands, and a less rock version of You Am I. If you need another reference point, think Crowded House’s rollicking Locked Out. The Barebones are both familiar and familial, featuring three brothers — Matt, Mike and Danna Simmons. And Luke, on keys, is their brother-in-law. “We’re trying to see if we can legally make [bass player] Glenn a brother,” Matt jokes. Matt’s vocal reminds of Charles Jenkins (no relation to Howzat!). “Thanks,” he says. “I’m a big fan of Chuck’s voice, especially his meter, how he can chew and spit out a line with the right phrasing to keep you on the edge of a lyric. After years of listening to Icecream Hands and his solo
42 • THE MUSIC • 12TH OCTOBER 2016
stuff, I guess it makes sense he’s an influence, though it’s not something I was conscious of.” The Barebones are launching Where Have All The Good Folk Gone? at the Northcote Social Club on Saturday afternoon, 15 Oct, with D Rogers and Queensland. The songs pack a punch. Matt wrote the title track when Tony Abbott was in power. “After you get upset, you get angry. I realised if I didn’t act to change the culture I was effectively agreeing to keep things how they are.” It’s great to hear a songwriter not afraid to say something. “I got sick of writing songs and hearing songs that said nothing. They don’t last.” In the opening cut, Holding On, Matt asks: “Are you holding on to something worth saving?” Indeed, he is. Good songs will never go out of style.
Band Of Brothers Aussie bands featuring three brothers: INXS (Tim, Andrew and Jon Farriss), Bee Gees (Barry, Robin and Maurice Gibb), The Rubens (Sam, Zaac, and Elliott Margin), Marcus Hook Roll Band (George, Malcolm and Angus Young), Evermore (Jon, Peter and Dann Hume), The Robertson Brothers (Geoff, Ben and Stuart Robertson).
Hot Line “Tell me I’m winning” — The Barebones, Strangely Alone.
THE MUSIC 12TH OCTOBER 2016 â€¢ 43
Comedy / G The Guide
L7 + Cosmic Psychos: 170 Russell, Melbourne
Frnkiero & The Patience + Walter Schreifels: Arrow On Swanston, Carlton
Kaz Garaz + Donald Dank & The Naughty Boys + Easy Browns Truckstop Chicken Jam Band: Bar Open, Fitzroy Muddy’s Blues Roulette with Isaiah B Brunt: Catfish (Front Bar), Fitzroy
The Music Presents Drapht: 14 Oct 170 Russell
Dave Callan: Comic’s Lounge, North Melbourne
Lisa Mitchell: 14 Oct Howler
Diamonds Of Neptune + Wire Bird + The Beauforts: Evelyn Hotel, Fitzroy
Kylie Auldist: 31 Oct Max Watt’s; 4 Nov Suttons House of Music Ballarat; 17 Nov Sooki Lounge Belgrave
Buried Country - The Story of Aboriginal Country Music Live: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank
Taasha Coates & The Melancholy Sweethearts: 12 Nov Northcote Social Club
Open Mic Night: Mr Boogie Man Bar, Abbotsford
A Day On The Green: 12 & 13 Nov Mt Duneed Estate Drysdale Dan Sultan: 13 Nov 170 Russell Ben Lee: 18 Nov Caravan Music Club Oakleigh Ne Obliviscaris: 25 Nov 170 Russell The Calling: 25 Nov Max Watt’s Bell X1: 2 Dec The Prince
North City: Open Studio, Northcote The Dire Straits Experience: Palais Theatre, St Kilda Jake Amy & The Groove Hunters: Paris Cat Jazz Club, Melbourne Brad Gillies: Retreat Hotel, Brunswick Revolver Wednesdays with Danielsan + JMCEE: Revolver Upstairs, Prahran Andy Phillips + The Catalyst Rock: Seaford Hotel, Seaford
Gimme Some Space Aussie pub rockers Cosmic Psychos are going to be at 170 Russell this Wednesday night to support legendary late ‘80s early ‘90s punks L7. The LA ladies are Down Under for a national tour. The Marquis + Tropical Snakes + Weird Weather: The Old Bar, Fitzroy Melbourne Festival feat. Julianna Barwick + Laura Jean: The Toff In Town, Melbourne Jarrow + Rhysics + Fuzzsucker: The Tote (Front Bar), Collingwood
The Avalanches: 3 & 4 Jan Melbourne Town Hall
The Burning Roaches + Dozeys + Dog Cuntz: The Tote (Band Room), Collingwood
Grouplove: 6 Jan Melbourne Town Hall
The Football Club + Chelsea Bleach + The Girl Fridas + Max Quinn: The Workers Club, Fitzroy
The Lumineers: 19 Apr Arts Centre Melbourne
Trivia: Wesley Anne, Northcote
Buried Country - The Story of Aboriginal Country Music Live: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank Saatsuma + Alice Ivy: Monash University Museum of Art (MUMA) (Courtyard), Caulfield East Akmal: Morwell Hotel , Morwell The Ruby Rogers Experience + Matt Stillert + Garry Allen: Mr Boogie Man Bar, Abbotsford Lime Cordiale + Hey Geronimo: Northcote Social Club, Northcote Lucie Thorne: Retreat Hotel, Brunswick
Thu 13 Drown This City
Heavy Rain Local heavies Drown This City are headed to Max Watt’s on Thursday to open the show for the godfathers of Italian metal, Lacuna Coil. National tour supports Orpheus Omega are performing too.
Tash Sultana + Josh Cashman: Baha Tacos, Rye The Kujo Kings + Streetlight Manifesto + Maverick + The Bean Project: Bar Open, Fitzroy NLV Records Pop Up Party with Air Max ‘97 + Lewis CanCut + Nina Las Vegas + Swick + Strict Face: Collarts, Fitzroy Dave Callan: Comic’s Lounge, North Melbourne Montaigne + Bec Sandridge + Woodes: Corner Hotel, Richmond
Open Mic Night: The Brunswick Hotel, Brunswick
44 • THE MUSIC • 12TH OCTOBER 2016
Vanderlay: Edinburgh Castle Hotel (Front Bar), Brunswick Good Nature feat. Rita Revell + Dorado + Isabella Mason: Evelyn Hotel, Fitzroy
Cosmic Kahuna + Late Nights + Bear Kick + Maxwell’s Dream Tide: The Bendigo, Collingwood
Hexis + Whitehorse + Siberian Hell Hounds + Diploid + Ash Mouth: The Bendigo, Collingwood
Vinyl Vixens: Ferdydurke, Melbourne Lilly Kane + Bodies + MCUK: Grace Darling Hotel, Collingwood
The Bombay Royale: The Curtin, Carlton
Lisa Mitchell + Buoy + Dean Lewis: Howler, Brunswick
Wine, Whiskey, Women feat. Kylie C + Mel Pollard: The Drunken Poet, West Melbourne
Isaiah B Brunt: Lomond Hotel, Brunswick East
1700 Fundraiser with Tali Mahoney + Blyolk + Sandy Hsu: The Gasometer Hotel, Collingwood
Lacuna Coil + Orpheus Omega + Drown This City: Max Watt’s, Melbourne
Don’t Mess With The Bohan Melbourne-based Peny Bohan is an urban songstress whose jazzy folk vocal stylings will make you want to stay and wrap yourself up in her melodies. She’s playing Compass Pizza on Sunday.
Gigs / Live The Guide
Soul Cupcake: Catfish (Upstairs), Fitzroy Akmal: Chelsea Heights Hotel, Aspendale Gardens
Rare Folk Drawing together disparate influences from Neko Case to Jeff Lang to The Chieftains, Rare Child’s melt-your-face woodsy folk fascinates and delights audiences. You can see them at Wesley Anne this Sunday.
Revolver Fridays with Max Chapman: Revolver Upstairs, Prahran
Steph Brett: Compass Pizza Bar, Brunswick East
Lazy Eye: Rose GPO Hotel, Rosebud
The Superjesus + The Art + Moon: Corner Hotel, Richmond
The Knave: Edinburgh Castle Hotel (Beer Garden), Brunswick Dubmarine + Bullhorn + Chelsea Wilson : Evelyn Hotel, Fitzroy Tam Vantage + Way Dynamic + Weatherboards: Grace Darling Hotel (Band Room), Collingwood
Isaiah B Brunt: Labour In Vain, Fitzroy
Colourdazed + The Bond Street Vandals + Saint Henry + Bill: The Old Bar, Fitzroy
Fitzroy Idol + Max Teakle & his Honky-Tonky Friends: Lomond Hotel, Brunswick East
Hyde + Wayte: The Post Office Hotel, Coburg
Silverhair + One 2 Many: Mr Boogie Man Bar, Abbotsford
Kodiak Galaxy + Sex Pills + Castilles + Time Robb: The Tote (Bandroom), Collingwood
Nicole Millar + Tigerilla + Zuri Akoko: Northcote Social Club, Northcote Moreland City Soul Revue: Open Studio, Northcote Brian McKnight + Nathaniel: Palais Theatre, St Kilda The Run: Penny Black, Brunswick La Dance Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy
Summer Weather Summer Flake, Well Known, Bitch Diesel, Dog Box, see them all and more at The Tote Sunday when they all support All The Weathers who have just landed after a trip to Perth.
Into The Mystic - The Songs of Van Morrison with Joe Creighton: Satellite Lounge, Wheelers Hill Andy Phillips & The Cadillac Walk: Seaford Hotel, Seaford Alleged Associates: Spottiswoode Hotel, Spotswood John Dowler’s Vanity Project + Black Beer White Lies: Tago Mago, Thornbury
ThursGay with Karen From Finance + Various DJs: Yah Yah’s, Fitzroy
Labjacd: The B.East, Brunswick East
Astral Skulls + Tuff Whippet + Shrimpwitch + Overtime: Yarra Hotel, Abbotsford
The Ramshackle Army + more: The Bendigo, Collingwood
Me-Graines + Swhat + The Shock Waves + The Second Sex + Sarge & The Nuked: The Brunswick Hotel, Brunswick
Gordon Holland + Luke Seymoup + Joe Guiton & The Suicide Tuesdays + Marley Wynn + JMS Harrison: 303, Northcote El Moth + Kenta Hayashi + Rambutan Jam Band: Bar Open, Fitzroy Leah Flanagan: Basement Discs (Instore/12.45pm), Melbourne Global Safari with Eddie Mac: Belleville, Melbourne Baby Dance with DJ J’Nett + 6AM at The Garage + Total Cure DJs + more: Boney, Melbourne
Fleetmac Wood: The Prince (Public Bar), St Kilda
Louie & The Pride: Edinburgh Castle Hotel (Front Bar), Brunswick
Felicity Cripps + Coda Chroma: The Gasometer Hotel (Upstairs), Collingwood
Drapht + Dylan Joel + Marksman Lloyd: 170 Russell, Melbourne
Queensryche + Vanishing Point + Teramaze: The Prince, St Kilda
Songs & Stories with Art Alexakis: Ding Dong Lounge, Melbourne
Sons Of The East + Demi Louise: Karova Lounge, Ballarat
Mount Saint Leonard: Wesley Anne (Band Room), Northcote
Showtime Quintet: The Post Office Hotel, Coburg
Dave Callan: Comic’s Lounge, North Melbourne
Sons Of The East: The Gasometer Hotel, Collingwood
David Bramble: Wesley Anne (Front Bar), Northcote
Tired Breeds: Reverence Hotel, Footscray Oslow + Hannahband: Reverence Hotel, Footscray
Lisa Mitchell + Buoy + Dean Lewis: Howler, Brunswick
Melody Pool + Peter Bibby: The Workers Club Geelong, Geelong
Batpiss + Horsehunter + Wicked City + Fuzzsucker: The Old Bar, Fitzroy
The Vendettas + The Balls + Dark Wolf + DJ Max Crawdaddy: Cherry Bar, Melbourne
Palace Of The King + Creeks + Carl Johnston: The Brunswick Hotel, Brunswick
Kudos: The Workers Club, Fitzroy
Spacejunk + Tropical Deadbeats: Retreat Hotel, Brunswick
The Buoys BUOY has just wrapped her own first tour around Australia, now she’s joining Lisa Mitchell on the national run for her third album Warriors. Catch the two at Howler on Thursday night.
The Jezabels + Ali Barter: The Croxton, Thornbury Listen Conference 2016 with Ouch My Face + The Pink Tiles + Wet Lips + Hi-Tec Emotions + Crystal Myth: The Curtin, Carlton The Snowdroppers + Persian Drugs + Uptown Ace: The Gasometer Hotel, Collingwood
Melbourne Festival feat. Julianna Barwick + Leah Senior: The Toff In Town, Melbourne 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 Gold Class + Time For Dreams + Basket Crase + Geryon: The Tote (Band Room), Collingwood Perfect Whip + Dead Planet 1964 + The Classroom + Primm: The Tote (Upstairs), Collingwood Mitch King: The Westernport Hotel, Phillip Island Dreamcoat + Frida + James Teague: The Workers Club, Fitzroy Montaigne: The Workers Club Geelong, Geelong Hayes Carll + Eagle & The Wolf: Thornbury Theatre, Thornbury Tash Sultana + Josh Cashman: Torquay Hotel, Torquay
Terminal Sound System + Go Tsushima + Lara & Jem: The Gasometer Hotel (Upstairs), Collingwood
Creature Fear: Wesley Anne (Band Room), Northcote
The Glorious North: The Gem, Collingwood
The Bean Project: Wesley Anne (Front Bar), Northcote
Shannon Noll: The Grand Hotel, Mornington
THE MUSIC 12TH OCTOBER 2016 • 45
Comedy / G The Guide
Breakaway + Stansbury: Wrangler Studios (All Ages), West Footscray
Thigh Master + Lower Plenty + The Stroppies: The Post Office Hotel, Coburg
DIET + Slowcoaching + Tram Cops + Doona Waves + Lovejoy: Yah Yah’s, Fitzroy
Phil Para: The Prince (Public Bar), St Kilda
2AM Show with Bitch Diesel: Yah Yah’s, Fitzroy
Melbourne Festival feat. The Benoit Charest Group + Peter Knight: The Toff In Town, Melbourne
The Luke Brennan Trip + Caroline No + The Quivers: Yarra Hotel, Abbotsford
In The Carriage with Dan Dare: The Toff In Town (Carriage Room), Melbourne
The House De Frost with Andee Frost: The Toff In Town (Toff Ballroom), Melbourne
Tux + BitterFruitt + The Deja Vus + Creek: 303, Northcote
Gold Class: The Tote (Band Room), Collingwood
The Soul Cave Collective with Supah Love + Wilder Genes + Party On My Darling + Tin Roof: Bar Open, Fitzroy
Grindhouse + Wrong Turn + Bathurst: The Tote (Front Bar), Collingwood
Feminist Futures feat. Wahe + Bahdoesa + Netti + Sovereign Trax DJs + Brooke Powers: Bella Union, Carlton South Asquith & Daze + Pocock + Three Miles + Pjenne + Manchild + more: Boney, Melbourne Lazy Eye: Bruthen Inn Hotel, Bruthen Kevin Borich Express: Caravan Music Club, Oakleigh Ausmuteants + Constant Mongrel + TOL: Catfish (Upstairs), Fitzroy
Matinee Show with Royal Parade + Rachel Costanzo: The Workers Club, Fitzroy
She killed at Splendour In The Grass and supported Troye Sivan on his national tour, now you can catch Nicole Millar at Northcote Social Club this Friday for the launch of her new single Tremble.
The Screamin’ Honkies: Gin Lane, Belgrave
Riffbourne Festival feat. The Deadlips + Chasing Lana + City at Midnight + Zandata + Sideways + Exile: Revolver Upstairs, Prahran
Tangrams + Tuff Whippet + Caroline No + Eat Man + Heat Wave: Grace Darling Hotel (Basement), Collingwood
Giants of 60s Australian Rock Show feat. The Substitutes: Satellite Lounge, Wheelers Hill
Kim Salmon: Grandview Hotel, Fairfield
Out On The Weekend feat. Marlon Williams & The Yarra Benders + Robert Ellis + Lindi Ortega + Joe Pug + Joshua Hedley + The Cactus Blossoms + Cash Savage & The Last Drinks + All Our Exes Live In Texas + Tracy McNeil & The Good Life + The Bakersfield Glee Club + The Stetson Family + more + Out On The Weekend Festival: Seaworks, Williamstown
Myami + Abraham Tilbury + North Elements: Hugs & Kisses, Melbourne
Get On Up Brisbane indie-rockers Hey Geronimo have been tapped for Sydney duo Lime Cordiale’s Waking Up Easy east coast single tour. The good vibes parade pulls into Northcote Social Club on Thursday.
Kuchi Kopi + Native Spirit: Karova Lounge, Ballarat Sugar Bowl Hokum: Labour In Vain, Fitzroy Debra LaVelle: Lomond Hotel, Brunswick East Tigermoth + Aoi + Walla C + Bevin Campbell + more: Loop, Melbourne Painters & Dockers + Burundian Traditional Drummers + Cows Muff: Max Watt’s, Melbourne Late Show with Slander: Max Watt’s, Melbourne Gayle Cavenagh & the Mixed Company Band: Mr Boogie Man Bar, Abbotsford
Jackson Phelan: Charles Weston Hotel (Front Bar), Brunswick
Jen Cloher + Emma Russack + Jade Imagine: Northcote Social Club, Northcote
Child + TTTDC: Cherry Bar, Melbourne
Matinee Show with The Barebones + Queensland + D. Rogers + Liquor Whips: Northcote Social Club, Northcote
Dave Callan: Comic’s Lounge, North Melbourne Mitchell Paxton Ward: Compass Pizza Bar, Brunswick East Montaigne + Bec Sandridge + Woodes: Corner Hotel, Richmond DJ Steely Ann: Edinburgh Castle Hotel (Beer Garden), Brunswick Jaben Audio Silent Gig with Nai Palm + Man Made Mountain + Dear Plastic + more: Evelyn Hotel, Fitzroy
46 • THE MUSIC • 12TH OCTOBER 2016
Sons Of The East: The Workers Club Geelong, Geelong Large No 12s + David Blight + Mick Kidd: Union Hotel, Brunswick Sellki: Wesley Anne (Front Bar), Northcote
Safia + Running Touch + Set Mo: Festival Hall, West Melbourne
The Panics: Howler, Brunswick
Breakaway + Inventions + Stansbury + Distance: The Workers Club, Fitzroy
Andy White + Kavisha Mazzella: Open Studio, Northcote Jack & The Kids + Alexander Biggs: Penny Black, Brunswick Glenn Ford & The Record Machine: Rainbow Hotel, Fitzroy Tigers + Chores + Under The Cut + Colouring Cats: Reverence Hotel, Footscray
Metal United Downunder feat. Frankenbok + Elm Street + Harlott + Metreya + Damnation’s Day + Malakyte + Toxicon + Asylum + Espionage + Requiem + Elkenwood + Feast of Crows: The Bendigo, Collingwood Afternoon Show with The Fckups + Trauma Boys + Deadbeat Club + The Out Of Towners + Molasses + The Defects + The Mackinaw Peaches + Pug Williams: The Brunswick Hotel (Beer Garden), Brunswick
Oxjam for a Cow with Four in the Morning + The Fainters + Xhambo: Wesley Anne (Band Room), Northcote The Democratic People’s Republic of Surf + Chillers + Dozeys: Yah Yah’s, Fitzroy
Sun 16 Falling In Reverse + The Brave: 170 Russell (All Ages/Matinee Show), Melbourne Melbourne Polytechnic Recitals: 303, Northcote King Of The North + The Mystic Tip Rats: Baha Tacos, Rye Opaque Jungle with Jean Stuart Hooker + Angus Jarrah Beeby + Elijah Uriel + Joshua Quinsee-Jarvis: Bar Open, Fitzroy Feminist Futures: Bella Union, Carlton South
Black & Blue: The Brunswick Hotel (5pm), Brunswick Hurlin’ Up Limbs + Crossfire Hurricane + Marc Piantella: The Brunswick Hotel, Brunswick The Jezabels + Ali Barter: The Croxton, Thornbury New Lease feat. Plaster of Paris + Qwerty + slimbillgates: The Curtin, Carlton Ausmuteants + Orb + Lime Lagoons: The Eastern, Ballarat East The Spirit’s In It! with Whiskey Houston + Mr Weir + MzRizk: The Gasometer Hotel, Collingwood Afternoon Show with Psychic 5 + Adam Young: The Old Bar, Fitzroy United Grrl’s To The Front feat. Batz + Hockey Babes + Face Face + Red Light Riot: The Old Bar, Fitzroy
Palace Of The King
King Hits Local rock’n’rollers Palace Of The King are taking their recent LP Vallis Marineris on a huge European tour. First though they are pulling into The Brunswick Hotel with Creek and Carl Johnston on Thursday.
Gigs / Live The Guide
Kristy Cox + Jerry Salley + Billy Bridge + Rebecca Lee Nye: Caravan Music Club, Oakleigh
Back Burners: Catfish (Front Bar), Fitzroy Cherry Blues with Phil Para Band + Eddy Boyle Blues: Cherry Bar, Melbourne Rotuz + The Sleepless + Crooked Space: Cherry Bar, Melbourne Peny Bohan: Compass Pizza Bar, Brunswick East Tiki Taane + Kitt Watts + Tom Scott: Evelyn Hotel, Fitzroy CUB Workers Benefit Show with Shit Sex + The Dorks + Gee Seas + Weatherboards: Forester’s Hall (Woody’s Attic Dive Bar), Collingwood
Stonefield + White Bleaches + Rackett: Sooki Lounge, Belgrave
Matt Katsis: The Westernport Hotel, Phillip Island
The Thin White Ukes: Spotted Mallard, Brunswick
Fleur Wilber + Jungle Bird: The Woodlands Hotel, Coburg
Afternoon Show with Southbound Snake Charmers + The Fire Cats + Mission Brown: The Brunswick Hotel, Brunswick
Matinee Show with Spencer Street Soul + Strong Dose: The Workers Club, Fitzroy
Magic Is Happening + The Magic Marshmallows: The Brunswick Hotel, Brunswick Brad Gillies + Ian Collard: The Drunken Poet, West Melbourne
Bella Wolf + Refraction + DJ Jim Alxndr: The Workers Club, Fitzroy Jackson Phelan
Joshua Seymour + Nathan Seeckts: Tramway Hotel, North Fitzroy The Original Cartridge Family + Cat Canteri: Union Hotel, Brunswick
Ciggie Sundays with Ricci + Joey Boyer + Henry Baxter + Tomsk + Isaac Christie: The Gasometer Hotel, Collingwood
Rare Child: Wesley Anne (Band Room), Northcote
The Gun Barrel Straights + Eaten By Dogs: The Gasometer Hotel, Collingwood
Celia Church: Wesley Anne (Front Bar), Northcote
Melbourne-based Rainbow native Jackson Phelan, who also plays with Rat Hammock, is set to perform at Charles Weston this Saturday. Head down and catch the melancholy master of guitar and song.
Freya Josephine Hollick: Yarra Hotel, Abbotsford
Mon 17 Falling In Reverse + The Brave: 170 Russell, Melbourne Monday Bone Machine feat. T-Rek: Boney, Melbourne Cherry Jam: Cherry Bar, Melbourne Monique Araujo + Great Places + Laxy Daxy: Evelyn Hotel, Fitzroy Tyson Wray + DJ Dan Watt: Ferdydurke, Melbourne Adrian Whyte: Retreat Hotel, Brunswick The Football Club
Joe Pug + Freya Josephine Hollick: Spotted Mallard, Brunswick
Tue 18 Melbourne Polytechnic Recitals: 303, Northcote Sophie Maurin: Alliance Francaise Melbourne, St Kilda Make It Up Club feat. Tetrahedra + Dowser + Mares: Bar Open, Fitzroy Milonga: Bella Union, Carlton South The Black Alleys + Bronze + Fifth Friend: Cherry Bar, Melbourne Uncle Bobby + Pup Tentacle + Sunbeam Sound Machine: Evelyn Hotel, Fitzroy Mic Check 1212 with Arielle Cottingham: Ferdydurke, Melbourne
Folk punks The Football Club will be at The Workers Club this Wednesday to launch their second EP Songs About Friends. They’ll be joined by Chelsea Bleach, The Girl Fridas and Max Quinn.
Lazy Eye: Flemington & Kensington Bowling Club, Flemington Irish Session: Lomond Hotel, Brunswick East
Pheasant Pluckers: Labour In Vain, Fitzroy Geoff Allan + Bob Sedergreen: Lido Cinemas (Jazz Room), Hawthorn Rebels Without A Clue: Lomond Hotel, Brunswick East
Afternoon Show with David Grimson: The Old Bar, Fitzroy Tom Stephens + The Luke Brennan Trip + Forever Son: The Old Bar, Fitzroy Broderick Smith: The Post Office Hotel, Coburg
Powerhouse Blues Band + Sign + The Boogie Man Allstars + Out of the Blue: Mr Boogie Man Bar, Abbotsford
Elwood Blues Club All Stars: The Prince (Public Bar), St Kilda
Shayan + The Walter Boys: Open Studio, Northcote
Moosejaw Rifle Club: The Standard Hotel, Fitzroy
Melbourne Music Week: Hush - An Evening of Quiet Music feat. Dan Kelly + Teeth & Tongue + Melody Pool + Sui Zhen + Jess Ribeiro + Grand Salvo + Man Made Mountain + The Grand Magoozi + Davey Craddock: Parliament House, East Melbourne
Melbourne Festival feat. Camille O’Sullivan: The Toff In Town, Melbourne
Jules Boult: Rainbow Hotel, Fitzroy Summer Series feat. Daniel Bortz: Revolver Upstairs, Prahran Large No 12s: Royal Oak Hotel, Fitzroy North Russell Morris: Satellite Lounge, Wheelers Hill
The Sunday Set with DJ Andyblack + Mr Weir: The Toff In Town (Carriage Room), Melbourne Plastic Dreams with Alan Nada + Scooby Lou + Shaggy Damage: The Toff In Town, Melbourne Primo: The Tote (Front Bar), Collingwood All The Weathers + Summer Flake + Well Known + Bitch Diesel + Dog Box + The Harrison Forward + Trampoline: The Tote (Band Room), Collingwood
The Hard Aches: Musicman Megastore, Bendigo Scorpions: Palais Theatre, St Kilda
Brunswick Loves Willie Nelson: Retreat Hotel, Brunswick
Local six-piece ska band Kujo Kings are putting their brass where their mouths are and taking on Streetlight Manifesto’s debut, Everything Goes Numb, in full at Bar Open on Thursday.
Troyboi: Rubix The Venue, Brunswick Here Lies John Corbet + Moonlight Broadcast + The Pits: The Brunswick Hotel, Brunswick Lakyn: The Gasometer Hotel, Collingwood Jazz Acuna + Astrid + Sim Victor + Brendan Bonsack: The Old Bar, Fitzroy Carriage 252 feat. Ben Andrews: The Toff In Town (Carriage Room), Melbourne
Passionate Tongues Poetry: The Brunswick Hotel, Brunswick Call It In with Instant Peterson + Dylan Michel: The Toff In Town (Carriage Room), Melbourne Chase City + Birdhouse + JP Klipspringer: The Workers Club, Fitzroy
Now.Here.This with Lady Oscar + Planetself + Barry Sunset + Logo: The Toff In Town, Melbourne Tom Lyngcoln + Palm Springs: Tramway Hotel, North Fitzroy Melbourne Polytechnic Showcase: Wesley Anne (Band Room), Northcote
THE MUSIC 12TH OCTOBER 2016 • 47
48 • THE MUSIC • 12TH OCTOBER 2016
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