# 2 3 • 2 9 . 01 . 1 4 • S Y D N E Y • F R E E • I N C O R P O R AT I N G
LORDE
tour
PERIPHERY IPHERY
culture
OUTDOOR UTDOOR CINEMAS
laneway
RUN UN TH THE HE JEWELS
readers poll
RESULTS RESUL LTS
the music | the lifestyle | the fashion | the art | the culture | you
2 • THE MUSIC • 29TH JANUARY 2014
THE MUSIC • 29TH JANUARY 2014 • 3
4 • THE MUSIC • 29TH JANUARY 2014
THE MUSIC • 29TH JANUARY 2014 • 5
6 • THE MUSIC • 29TH JANUARY 2014
THE MUSIC • 29TH JANUARY 2014 • 7
themusic 29TH JANUARY 2014
WHEN PEOPLE ASK QUESTIONS ABOUT WHAT IT’S LIKE TO BE A FEMALE MUSICIAN, I JUST IGNORE IT.
#23
INSIDE FEATURED Lorde
JENNY LEE LINDBERG OF WARPAINT [P.32]
Periphery Metallica: Through The Never Ken Stringfellow Rock’n’roll & Alternative Market Big Weekender
feature
Run The Jewels Cass McCombs Autre Ne Veut Frightened Rabbit Drenge Warpaint
REVIEWS Album: The Jezabels
Live: Big Day Out Arts: Forklift ..and more
THE GUIDE Cover: Gordi
Readers Poll Results Eat/drink Local News Gig Guide The End
QUITE OFTEN HE WAS IN THE WRONG SPOT AND WE DIDN’T WANT TO BLOW ANYBODY UP. ROBERT TRUJILLO OF METALLICA [P.24]
WE REVEAL ALL ABOUT THIS YEAR’S GROOVIN’ THE MOO LINE-UP THIS WEDNESDAY
ON THEMUSIC.COM.AU
CHECK OUT A SPECIAL LANEWAY FESTIVAL-THEMED EDITION OF SICK TUNES ON FRIDAY ON THEMUSIC.COM.AU
review THINK OF ELECTRONIC MUSIC, THEN HURL THOSE IDEAS INTO THE STRATOSPHERE. MIX WITH TIME, SPACE AND MIND-BLOWING VISUALS AND YOU MIGHT COME CLOSE TO THIS MUSICAL HIGHLIGHT OF THE SYDNEY FESTIVAL, A SENSORY OVERLOAD. ELIZA GOETZE REVIEWS CANYONS’ 100 MILLION NIGHTS [P.41]
review 8 • THE MUSIC • 29TH JANUARY 2014
ONE CAN ONLY ASSUME THAT THE CONCEPTUAL STYLISTIC JUMP FROM ‘60S GIRL GROUPS TO ‘80S ROCK DIVAS SEEMED BETTER ON PAPER THAN IT PROVES IN PRACTICE. STEVE BELL REVIEWS DUM DUM GIRLS [P.36]
@ Agincourt 871 George street, Sydney City, valvebar@gmail.com www.valvebar.com.au WED 29TH 7PM
VIBRATIONS AT VALVE
THU 30TH 7PM
“SIDE TRACKED FIASCO�
GREAT BAND COMP/EXCITING PRIZES
FUNK CORE SHOW WITH SUPPORT FROM: “NARLA� , “DEAR SEATTLE� , “RED GAZELLE�
BASEMENT FRI 31ST 8PM
“KANG� GREEN DAY HIATUS PARTY
LEVEL ONE FRI 31ST 9PM
VENT@VALVE
BASEMENT SAT 1ST 7PM
“TOTAL ADDICTION�
LEVEL ONE SAT 1ST 8PM BASEMENT SUN 2ND 3PM
PUNK ROCK SHOW WITH SUPPORT FROM “HANBALL DEATHMATCH� , “OUR PAST DAYS� , “THAT’S THE LAST STRAW�
HIP HOP MONTHLY FEAT: SAVILIAN, SARAH CONNOR MB, OAKBRIDGE, PLANET CRUSHERS HOSTED BY IZZY N THE PROFIT AND DJ MANIAK
HARD ROCK SHOW WITH SUPPORT FROM “DUBIOUS COMPANY� , “PLEASURE OVERLOAD� , “KONE OF SILENCE�
“WICKED CITY� ROCK’N’ROLL SHOW WITH SUPPORT FROM: “NUNCHUKKA SUPERFLY� , “DUNHILL BLUES� , “SKINPIN�
“CAUGHT OUT� CORE SHOW WITH SUPPORT FROM “ARCTIC FIRE� , “ILLUSIONS� , “PROTOTYPES� AND GUESTS
COMING UP: Wed 5 Feb: Vibrations at Valve Band Comp ; Thu 6 Feb: Rock’n’Roll Show with “Van Cooperâ€? , “Brace For Whiplashâ€? ,â€?Through A Glass Darklyâ€? , “Strangerous Collectiveâ€?; Fri 7 Feb: Basement: Beyond Blue BeneďŹ t with: “Upside Down Miss Janeâ€? , “Dominoâ€? , “Amodusâ€? , “The London Keysâ€?; Level One: Punk Rock Show with “Columbusâ€? , “Favour The Braveâ€? , “Our Past Daysâ€? , “Old Time Gloryâ€?; Sat 8th Feb: Basement 12pm: Hardcore Show with “Safe Handsâ€? , “Arteriesâ€? , “A Ghost Orchestraâ€? , “Heiressâ€? , “The Braveâ€? ; Basement 8pm: Indie/Funk/Soul Show with “Paul Reidâ€? , “Blu Candyâ€? , “Kelly Taylorâ€? , “Jasmine Jonesâ€?; Sun 9th Feb: 12pm: Daybreak Showcase; 5pm: Art/Alt Show with “Belle Heavensâ€? , “Scandalgateâ€? and many special guests
For band bookings please email valvebar@gmail.com
www.thebasement.com.au
BVS 6][S ]T :WdS ;caWQ AW\QS '%! T THU 20/FRI 21 MAR
JU ANNOUST NCED
THE STRAY SISTERS (OF THE WAIFS)
SISTERS DONNA & VIKKI RETURN TO THE STAGE TOGETHER TO PERFORM NEW MATERIAL AS WELL AS REWORKED FAVOURITES FROM THE WAIFS. OPENING BOTH SHOWS WILL BE THE LOVELY RUBY BOOTS (ALSO FROM WA).
NEWSS FROM THEE BASEMENT COMING SOON‌ THU 13 FEB
THE BLACK SORROWS SAT 15 FEB
STEVE BALBI FRI 21/SAT 22 FEB
SHANNON NOLL
FOLLOW US: ON FACEBOOK @ THE BASEMENT & ON TWITTER @ #BASEMENTSYD RESTUARANT OPENS AT 11AM, SERVING FOOD ALL DAY
SKETCH THE RHYME PRESENT
THU 30 JAN
ALL THE KINGS MEN MEN: A TRIBUTE TO B.B, ALBERT, FREDDIE & EARL
FRI 31 JAN
THE CRAIG CHARLES FUNK & SOUL CLUB SYDNEY (UK)
SAT 1 FEB
SWINGTIME TUESDAYS
TUE 4 FEB
SHANE NICHOLSON & GREGORY PAGE (UK)
WED 5 FEB
JEFF MARTIN & SARAH MCLEOD
THU 6 FEB
THE GENIUS OF J DILLA
FRI 7 FEB
SKETCH KOMBAT ROUND 1
THE MUSIC • 29TH JANUARY 2014 • 9
CREDITS PUBLISHER
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
EDITOR Mark Neilsen
ASSISTANT EDITOR Hannah Story
ARTS AND CULTURE EDITOR Cassandra Fumi
MUSO EDITOR Michael Smith
GIG GUIDE EDITOR Justine Lynch nsw.gigs@themusic.com.au
CONTRIBUTORS Adam Wilding, Andrew McDonald, Anthony Carew, Ben Meyer, Benny Doyle, Ben Preece, Bethany Cannan, Brendan Crabb, Brendan Telford, Callum Twigger, Cam Findlay, Cameron Warner, Cate Summers, Chris Familton, Chris Maric, Chris Yates, Christopher H James, Cyclone, Dan Condon, Daniel Cribb, Dave Drayton, Dominique Wall, Dylan Stewart, Glenn Waller, Guido Farnell, Guy Davis, Helen Lear, Jamelle Wells, James d’Apice, James Dawson, Justine Keating, Kris Swales, Liz Giuff re, Lorin Reid, Lukas Murphy, Mark Hebblewhite, Mat Lee, Matt MacMaster, Paul Ransom, Paul Smith, Rip Nicholson, Robbie Lowe, Ross Clelland, Sam Hilton, Sam Murphy, Sarah Braybrooke, Sarah Petchell, Scott Fitzsimons, Sebastian Skeet, Sevana Ohandjanian, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Tom Hersey, Tyler McLoughlan
PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Clare Hawley, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Peter Sharp, Sara Wills, Thomas Graham, Tony Mott
NATIONAL SALES MANAGER Brett Dayman
THIS WEEK THINGS TO DO THIS WEEK • 29 JANUARY - 4 FEBRUARY 2014
laugh
The Sydney leg of British comedian Jimmy Carr’s debut Australian tour started yesterday at a sold out Opera House, and tonight he hits the State Theatre. He’ll then be giving jaded middle-aged men and women the giggles every night up to and including Saturday with his show Gagging Order, as he seeks to offend everyone. Expect wit, current cultural references and to get a stitch in your side from laughing too much.
parade
Yes, it’s Chinese New Year again, which means the Chinese New Year Twilight Parade is on this Sunday from 8pm to 10pm to celebrate the Year of the Horse. Dozens of floats, decorated dancers, jockeys on bikes, chess knights, the famous dragons, and of course a huge electric horse will travel from Town Hall to Chinatown before fireworks at Cockle Bay in Darling Harbour.
ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley sales@themusic.com.au
ART DIRECTOR Nicholas Hopkins
ART DEPT Eamon Stewart, Brendon Wellwood, Julian De Bono
ADMIN & ACCOUNTS Loretta Zoppos Shelley Neergaard Jarrod Kendall Leanne Simpson accounts@themusic.com.au
DISTRO Anita D’Angelo distro@themusic.com.au
SUBSCRIPTIONS store@themusic.com.au
CONTACT US PO Box 2440 Strawberry Hills NSW 2012 Level 1/142 Chalmers St Surry Hills NSW Phone (02) 9331 7077 info@themusic.com.au www.themusic.com.au
SYDNEY
Starting on Saturday, Twilight at Taronga, the open-air concert series, brings the adult contemporary tunes of The Whitlams to the monkeys, zebras and elephants, who we’re sure all appreciate the thought. For as little as $66 you can picnic with Tim Freedman and co., open a bottle of wine and thank your beloved, for loving you at your worst. It’s the first of 17 shows at the Mosman zoo, with Jimmy Barnes, Katie Noonan and Daryl Braithwaite appearing over the series’ two-month lifespan.
gig
record
One of our country’s top studios, The Grove, situated in rural Central Coast just west of The Entrance, has just been purchased by Scott Horscroft – a man who’s played a hand in the success of some of our most popular acts, including Silverchair, The Presets and Empire Of The Sun. The property – which features four studios, spacious villa-style living, an outdoor pool and more – is the ultimate creative hub for musicians looking to disappear into their work. Check it out at thegrovestudios.com.
listen
To The Jezabels’ second album The Brink. After ARIA success with Prisoner, the Sydney group had a lot of work to do to maintain the momentum, including between 180 and 200 shows in 2012. Last year they devoted their time to crafting the record, which was described by The Music’s Hannah Story as “a new chance for The Jezabels to bring their strengths to the synth-pop table: namely, frontman Hayley Mary”.
go
Laneway Festival kicks off on Friday in Queensland, before heading to Melbourne and then Sydney over the weekend (and Perth next weekend!). It’ll be a day of sun-drenched hipsters in clothing that is inappropriate for the weather, thick eyeliner, twee songwriters, floral headdresses and plenty of grog. It’s genuinely a really fun festival though if you’re into the tunes, and you’re sure to find something to catch your eye with Earl Sweatshirt, Dick Diver, Lorde and Haim all on the line-up, plus loads more.
watch
With nine nominations at the upcoming Academy Awards, a recent joint win for best picture at the Producers Guild Awards (with Gravity) and plaudits being showered upon it from critics around the globe, it’s clear that Steve McQueen’s new masterpiece 12 Years A Slave is something worth your time. Based on the memoirs of violin player Solomon Northup – the individual all but absorbed by actor Chiwetel Ejiofor – it shines an unforgiving light on the American slave trade of the 19th century. See it in cinemas from tomorrow (30 Jan). THE MUSIC • 29TH JANUARY 2014 • 11
national news news@themusic.com.au PHARRELL WILLIAMS
DAVE CHAPPELLE
HE’S GOT THE MEDICINE
HAPPY SURPRISE
And here we were thinking the gates were well and truly shut on Future Music Festival for 2014. Not quite, as the event has just announced pop music superstar Pharrell Williams will join the likes of Phoenix, Macklemore & Ryan Lewis and Deadmau5 at the Sydney (Royal Randwick Racecourse, 8 Mar) and Melbourne (Flemington Racecourse, 9 Mar) legs of the tour, while performing two special headline dates in Brisbane (The Marquee, RNA Showgrounds, 12 Mar) and Perth (Challenge Stadium, 14 Mar). Whether it’s been through his solo work, during his time in N.E.R.D or guesting on mega hits from the likes of Daft Punk, Williams has always played a class game – and you can expect all the hits and tricks soon. Future tickets are on sale now; solo dates on sale this Monday.
BUILT FROM STONE
Three decades of unstoppable power has led to Germany’s Kreator being hailed by thrash metal fans worldwide, and later this year they’ll flex their musical muscle for us with the help Bay Area titans Death Angel, here to show off last year’s record The Dream Calls For Blood. Let your face get rearranged by heading to 170 Russell, Melbourne, 16 Apr; Manning Bar, Sydney, 18 Apr; The Hi-Fi, Brisbane, 19 Apr; and Amplifier, Perth, 20 Apr.
GETTIN’ DIRTY
Following the success of his Down Under adventure last year, Adrian Edmondson – the celebrated actor and comedian who’s starred in cult British series The Young Ones and Bottom – is leading his folk punk outfit The Bad Shepherds back to our parts on 11 Apr, Gum Ball Festival, Belford; 12 Apr, Factory Theatre, Sydney; 13 Apr, Clarendon Guesthouse, Katoomba; 14 Apr, Brass Monkey, Sydney; 16 Apr, Black Bear Lodge, Brisbane; 18 Apr, Thornbury Theatre, Melbourne; 19 Apr, The Bridge Hotel, Ballarat; 20 Apr, Caravan Music Club, Melbourne; 24 Apr, The Odd Fellow, Fremantle; 25 Apr, Fairbridge Folk Festival and 26 Apr, Rosemount Hotel, Perth.
RETURNING FROM BATTLE MOUNTAIN
After a crazy career that’s careened through plenty of sharp corners, it seems like Jonny Craig has found some solace in Australia, with the former Dance Gavin Dance vocalist coming back Down Under once more, this time for some solo shows with a full band. Catch him 8 May, Crowbar, Brisbane; 9 May, Tall Poppy Studios, Brisbane (all ages); 10 May, The Hi-Fi, Sydney (all ages); 11 May, The Small Ballroom, Newcastle; 14 May, Amplifier, Perth; 15 May, HQ, Perth (all ages); 17 May, Corner Hotel, Melbourne; and 18 May, Wrangler Studios, Melbourne (all ages). Californian acoustic duo This Wild Life, Georgia-based MC Kyle Lucas and Aussies Red Beard will support.
“CHILL IT WITH THE SHITTY METAPHORS” LILY ALLEN’S TONGUE IS SHARPER THAN OUR HEAPS SHARP SCISSORS. 12 • THE MUSIC • 29TH JANUARY 2014
You don’t have much time to prepare your sides to absolutely be split by legendary US funny man Dave Chappelle, who’ll be performing his first ever stand-up shows outside of America right here in our backyard. Well, not literally – you’ll actually have to go to a proper venue to hear his sharp jokes and witness all those send ups that you motherfuckers love. Catch Chappelle 20 Feb, QPAC, Brisbane; 25 Feb, Riverside Theatre, Perth; 28 Feb – 1 Mar, Palais Theatre, Melbourne; 4 Mar, Sydney Opera House; and 5 – 6 Mar, State Theatre, Sydney.
VIVA LAS VEGAS
Nina Las Vegas gets the nation moving week in and week out as host of triple j’s House Party program, but high-fidelity can only give you so much. Now you can experience Nina outside of your radio and let her get your party started – in real life no less – she plays Corner Hotel, Melbourne, 13 Feb; 170 Russell, Melbourne, 14 Feb; Metropolis, Fremantle, 28 Feb; 6 and 7 Mar, Goodgod Small Club, Sydney; Bowler Bar, Brisbane, 8 Mar; and Trinity Bar, Canberra, 9 Mar. There’s a whole bunch of cool supports along on each date too – head to The Guide at theMusic. com.au for the full line-up in your city.
SONS OF ANARCHY
ASK THE ANARCHISTS ANYTHING
Tig (Kim Coates), Juice (Theo Rossi) and Bobby (Mark Boone Junior), wild riders from hit US TV series Sons Of Anarchy, will be conducting a moderated panel conversation for fans of the show, including an audience Q&A, as well as clips and tunes from the show. If you’ve watched the bad boys of California then you’ll want to be at Palace Theatre, Melbourne, 27 Mar; Eatons Hill Hotel, Brisbane, 28 Mar; UNSW Roundhouse, Sydney, 29 Mar; and Metropolis, Perth, 30 Mar. VIP meet and greet packages are also available!
THE MUSIC • 29TH JANUARY 2014 • 13
local news nsw.news@themusic.com.au
ALISON BECHDEL
GIRLS, GIRLS, GIRLS MASTODON
MASSIVEDON
Three of the biggest names in modern metal come together for an almighty shows at UNSW Roundhouse on 24 Feb. Taking time out from playing Soundwave festivals, American favourites Mastodon, sludge metal titans Baroness and tech-metal Frenchmen Gojira will each play a set of their own unique brands of metal.
PATTY GLEN
Glen Hansard has announced a second performance to celebrate, fittingly, St Patrick’s Day, with support from Lisa O’Neill. The Irish troubadour is now to play at Sydney Opera House Concert Hall on 17 Mar, as well as his show on 20 Mar.
SMOKE AND MIRRORS
Hard-rockers Smokin’ Mirrors haven’t been staring at themselves lately; they’ve been too busy crafting a new rollickin’ EP, Set To Ignite, and organising an east coast tour. The Central Coast quartet will be figuratively setting fire to The Small Ballroom, Newcastle, 8 Mar; Hermanns Bar, 21 Mar; and Entrance Leagues, Bateau Bay, 28 Mar.
ENCORE ENMORE
Enmore Theatre has taken the crown for Sydney’s Venue Of The Year in The Music’s annual readers poll. We’re pretty stoked about it considering the beloved Newtown venue has all the hallmarks of a truly great place for live music like middle-shelf spirits to buy and a sloped main room, which means you can always catch a glimpse of your favourite acts, no matter where you’re standing. We saw Metric, Azealia Banks, The Black Angels, Opeth, Godspeed! You Black Emperor and Neutral Milk Hotel (and Murray, the Red Wiggle, among the revelers) there in 2013 amongst many and we’re sure there’ll be even bigger bands coming this year (Earl Sweatshirt, Placebo and Jake Bugg are just a few). Read the rest of the readers poll results on page 44.
TRIPLE THREAT
Brisbane’s Eves, Adelaide’s Jesse Davidson and Jordan Léser from Sydney embark on the Triple Treat tour in Feburary, heading to Transit Bar, Canberra on 27 Feb; Goodgod Small Club on 28 Feb; and Rad Bar, Wollongong, on 1 Mar. This is the fourth Triple Treat tour, showcasing emerging Australian talent you oughta watch out for.
LION’S ROAR
Alt-kings Sydney’s Born Lion are stepping out on an east coast tour to celebrate their new single Good Times Jimmy, which takes punk and marries it with indie melodies. They play The Square, 21 Feb; and The Roller Den’s opening night, Imperial Hotel, 7 Mar.
LIVE CINEMA
All ages shows from Sydney’s The Never Ever will be played in cinemas along the east coast to celebrate the release of their new single In Or Out from EP number three, Ghosts And Ghouls. These intimate acoustic shows will then be followed by the premiere of the music video for the song, a behindthe-scenes doco, and a Q&A sesh. They play Dendy Cinemas Newtown on 22 Feb.
HOW LOVELY
Canadian trio The Good Lovelies are heading to Australia in March, hitting The Manly Fig, 28 Feb; Petersham Bowling Club, 1 Mar; Humph Hall, Allambie Heights; The Royal Exchange, Newcastle, 6 Mar; The Vanguard, 13 Mar; Blue Mountains Music Festival of Folk, Roots and Blues, 14 – 16 Mar; and Smiths Alternative Bookshop, Canberra, 19 Mar.
“SNAIL PORRIDGE AND CHEESE ON TOAST ICE CREAM... FUCK OFF HESTON” HEAR, HEAR @FIONAOLOUGHLIN. 14 • THE MUSIC • 29TH JANUARY 2014
The all-day festival at the Sydney Opera House (as part of Ideas at the House), All About Women, is back for its second run in 2014, with a bumper line-up of speakers announced for 30 Mar. Author Jennifer Senior talks about the effects of children on parents; Alison Bechdel (the comic artist who created the Bechdel test, pictured) discusses feminism; author Daniel Bergner talks female desire; journalist Mona Eltahawy considers the state of Egypt today; environmentalist Lucy Siegle talks fashion; and Illwad Elman discusses rebuilding Somalia. All these speakers, plus The Corner House pop-up restaurant, How To sessions with the likes of Annabel Crabb, panel discussions, and a clothes swap.
MUSHROOMHEAD
SUPPORTING ROLES
Gang Of Four have announced their supports for their Metro Theatre show on 20 Mar: noise-pop New Zealanders Die! Die! Die!. Fait Accompli will also be joining the tour for the Sydney leg. Melbourne’s prog metal maestros Vanishing Point and Sydney’s Avarin are bringing the crunch to the exclusive Royal Hunt show on 4 Apr at the Factory Floor. Getting everyone fired up ahead of the Rob Zombie and Korn at Big Top Sydney on 24 Feb will be theatrical and adventurous alt-metal band Mushroomhead. Finally, Wire’s Sydney show at Oxford Art Factory on 20 Feb will see two of the city’s finest contemporary punk bands, the jolting Raw Prawn and the raucous Housewives, warming the stage.
THE MUSIC • 29TH JANUARY 2014 • 15
local news nsw.news@themusic.com.au
STRIKING BACK
MEGADETH
There is a new Australia-wide Star Wars convention in town, with the beloved Jeremy Bolloch aka Boba Fett, Paul Blake aka Greedo, Chris Paron, 4-LOM and Brian Muir, the man who made Darth Vader’s mask. The events include Q&As and photo and autograph sessions. And if you’re a real fan, you can buy VIP tix and go to a cocktail party at Metro Theatre, 9 Mar.
FOLLOW YOUR GUT
Legendary Berlin artist Gudrun Gut of influential experimental art-rock band Malaria! will play a couple of exclusive solo shows in Australia. A key cultural figure in Berlin, Gut works throughout Europe as a musician, performance artist, record label owner, audio engineer, programmer and record producer. Catch her at The Square, 30 Jan.
HAND ME THE KEYS
The legendary saxophonist Bobby Keys – who has played with everyone from solo Beatles members, The Who, Eric Clapton and Lynyrd Skynyrd to name a few – is bringing his stellar band, The Suffering Bastards, to Australia for six special shows. They’ll be playing two sets from Keys’ recorded history at The Basement, 23 Mar and The Hi-Fi, 24 Mar.
MEGA METAL
Multi-platinum heavy metal legends Megadeth are getting up close and personal at a sidewave at the UNSW Roundhouse on 25 Feb (all ages). Plus, they’re bringing two of metal’s finest exponents with them: Copenhagen’s Volbeat and Rock and Roll Hall of Fame inductee/Grammy winner Jason Newsted’s power quartet Newsted.
SUCH A STEAL
Melbourne psych rockers Greenthief will release their highly anticipated debut album Voyage on 10 Feb. They’re celebrating with a national tour, taking in the Great Northern, Newcastle, 10 Apr; Frankie’s Pizza, 24 Apr; Yours And Owls, Wollongong, 25 Apr; and The Basmenet, Canberra, 26 Apr.
CELEBRATING DILLA
“YOUNG BUT MY MINDSET COMPLEX”
For the fifth annual installment commemorating the anniversary of revered hip hop producer and innovator J Dilla’s untimely death and what would have been his 40th birthday this year, a live band, MCs, vocalists and DJs pay homage to the man in a 90-minute set. The Genius of J Dilla Vol 5 is happening at The Basement, 7 Feb.
KING GIZZARD & THE LIZARD WIZARD
BLEEDING GUMS
Joining the likes of Hoodoo Gurus, Jinja Safari and Wolf & Cub on the Gum Ball line-up is a huge batch of Australian and overseas acts. The second announce for the Hunter Valley music and arts festival held on 11 and 12 Apr includes: King Gizzard & The Lizard Wizard (pic); Ed Kuepper; Dyson, Stringer, Cloher; Damien Dempsey; The Hello Morning; Tropical Zombie; The Dennis Boys Band; Zombonimo; The Soorleys; and Dashville Progress Society. 16 • THE MUSIC • 29TH JANUARY 2014
DOMO FUCKING GENESIS [@DAMIERGENESIS] SUMS UP OFWGKTA.
FISHY BUSINESS
WHAT’S NEWS?
NO NEEDLES
FRANCOPHILE
NEED IT NOW
DEER ME
The Sidetracked Fiasco are playing a ninedate east coast tour entitled The FunkCore Slayered Fest. The funk lords will be bringing their new single Fish Stew to The Pier, Port Macquarie, 22 Feb; Fitzroy Hotel, 7 Mar; Dicey Riley’s Hotel, Wollongong, 8 Mar; The Lansdowne, 14 Mar; and The Great Northern, Newcastle, 15 Mar.
WAM Award winners The Love Junkies are so stoked on their new single selfproduced Chemical Motivation that they’re embarking on a February east coast touring stint. They’ll be leaving Mitch McDonald’s parents’ house (where they also recorded and mixed the track) to play Frankie’s Pizza, 13 Feb and World Bar, 14 Feb.
Architecture In Helsinki have their own imprint on which to release their latest popterpiece (following the huge success of 2011’s Moment Bends), NOW + 4EVA, and will be putting the album into the ethos on 28 Mar. To launch the release, they and World’s End Press are hitting the road, heading to Metro Theatre, 11 Apr.
Alain de Botton returns to the Opera House’s Concert Hall to discuss his latest book The News: A User’s Manual, which explores the manic and peculiar positions that ‘the news’ occupies in our lives. A second show has been announced for 29 Mar, scheduled for 2pm. The first show, on the same day, is held at 8pm.
Brisbane’s newest wunderkind is 19-yearold producer Young Franco, who is offering up his debut EP Futurefunk for free through his Facebook page. He’s celebrating by bringing his sound of funky beats meets old disco records meets ‘90s hip hop with a ‘gameboy’ twist to Beach Road Hotel, 5 Feb.
Papa Vs Pretty are set to release their second album, White Deer Park, on 21 Feb. The band will launch the album on 27 Feb at the Oxford Art Factory, where they’ll call in favours from a few special guests so that they can play the songs from White Deer Park with full instrumentation.
THE MUSIC • 29TH JANUARY 2014 • 17
PRE ORDER NOW THE EDUCATION ISSUE
18 • THE MUSIC • 29TH JANUARY 2014
music
WE CAN BE HEROES
Words Dan Condon. Photos Cybele Malinowski. THE MUSIC • 29TH JANUARY 2014 • 19
She’s just about conquered the pop world as Lorde, having just won a Grammy, and Ella Yaulich-O’Connor is quickly becoming a spokesperson for the youth. She tells Dan Condon how she’s dealing with it all.
E
lla Yaulich-O’Connor, better known to the world as Lorde, is enjoying mainstream pop success at its most immense. She’s broken all manner of records with regards to her age, her gender and her country of origin in terms of sales and chart positioning, but nine weeks atop the US singles chart with her track Royals – which has now almost sold five million copies in that country alone – is the ultimate proof that what has happened here is mammoth. When we speak, she’s preparing to fly to LA for the Grammy Awards, where she’ll be performing and is nominated for four awards, enjoying some rare time in her own Auckland bedroom. “It’s super messy,” the now-Grammy winner giggles. “I fly out tomorrow, so there’s stuff all over the floor.” There aren’t many 17-year-olds who could command a headlining slot on the St Jerome’s Laneway Festival,
it now’. But I was 15 when I wrote it and I’m 17 now, so I think you grow a lot in that period. It definitely feels like a bit of a relic now.” Reading certain reports about Lorde’s persona, you’d expect an overtly headstrong diva who’ll pounce on any chance to belittle you; but the truth is, she’s just a very switched on and very polite teenage girl. Hearing her speak about the moment she realised she was going to be allowed to take time away from school to write her album is enough to fill anyone with youthful glee. “I was so for it, I was kind of freaked out, but I really wanted to do it,” she says of following up her early
“I feel like most pop stars have this plan written in stone years before anything happens but the song started taking off and I was like ‘Oh, okay…’ and then we had to plan for what was gonna come next. “Before I put The Love Club EP out I was just planning on releasing EPs and messing around and putting stuff on the internet until I finished high school and then I would kind of look at it more seriously. But obviously things went kind of crazy and, what happened to the music once it left my hands was, like, just this insane thing. So I had to rethink and decide when I wanted to write the record; it was important to me that I followed up this big song with material that I felt was relevant to me right now and which felt kinda fresh and did come at the same time as that song, I guess. It wasn’t a plan that was thought out well in advance.” Due to Yaulich-O’Connor’s own personal relationship with music, she couldn’t particularly envisage her material resonating with a wide, popular audience. It’s not that she didn’t have faith in it, it’s just that it’s her music, largely written by, about and for her. “For me, I know a record is important to me if I can hear my life in it. If you write super personally, like I do, the worry for me is that if it means so much to me then it’s not gonna mean too much to other people because it’s going to be too specific or whatever,” she explains.
“WHAT HAPPENED TO THE MUSIC ONCE IT LEFT MY HANDS WAS, LIKE, JUST THIS INSANE THING.”
but comparatively such an engagement appears almost insignificant. Lorde’s signed a publishing deal reportedly worth around four million dollars, appeared on the cover of Rolling Stone in the US and will be a huge fixture on the US and European festival circuit through 2014. But how do you deal with going from being a nobody to the most in-demand artist on the planet? “I think when it’s happening to you it’s less weird,” she says. “For example, being on the cover of Rolling Stone, you’re like ‘that never happens to people like me’, but then you’re among the people who have been on the cover of Rolling Stone and it’s not so weird. I’ve adjusted to things, I think.” It has been Royals that has resonated with audiences around the world so much. That’s the song that’s topped the charts and has been flogged to death on almost every format of radio with a vaguely youthful orientation, the song that’s been lauded and derided (both are very important) ad infinitum and it’s simply the song that everyone knows. It’s interesting then to hear Yaulich-O’Connor’s take on the song. Is it her best? “No!” she exclaims. “I definitely don’t think Royals is my best song. I understand why it worked and why it was kind of a hit, I can see those qualities in it, but at the same time there’s part of me that’s like…” she groans, “‘these melodies are just not as good as something I could have written now’, or like ‘I definitely wouldn’t have written this lyric this way if I had’ve written 20 • THE MUSIC • 29TH JANUARY 2014
success with her debut album Pure Heroine. “It was pretty much down to my parents, because obviously I had to take three months out of school. They came home from this meeting with my manager and said ‘we’re gonna let you make the record’ and I was like ‘YEEEEAHHH this is gonna be awesome!!!’” This was not the plan. Royals – and The Love Club EP it came from – were not meant to become this massive. Lorde was not supposed to have an album out yet. Yaulich-O’Connor didn’t just want to capitalise on the success of the single, she wanted what people heard from her after Royals to be something from the same woman at a similar time in her life.
“I feel like a lot of people my age really reacted to it which is so cool for me and is kind of the dream. I was lucky. I feel like teens are a tough audience and I feel like a lot of the art and that a lot of the material aimed at teens is usually super corny and feels patronising or whatever, and I am aware of that. But people I guess didn’t feel that about Pure Heroine which is super cool.” She’s a relatable voice for the not-so-disenfranchised teen market who aren’t necessarily interested in the ersatz world of Bieber, Taylor and Miley. Her brand of cool is certainly defined, but it’s accessible. Whether Lorde likes it or not, she has become a role model, and if her success continues then she’ll be one for a long time to come. “That’s a crazy one because, obviously I am 17, I’m going to fuck some stuff up at some point, because I think that’s a natural part of becoming an adult,” she says when asked if she’s comfortable with such exemplar status. “But as long as people are willing to accept me as an imperfect role model, then I guess I’m honoured.” Yaulich-O’Connor’s unwavering commitment to ensuring her creative vision is fulfilled is beyond admirable, particularly given the scale of the success or failure she holds in her hands. As far as how such a young woman gets such a strong say when dealing with multinational record labels and powerful managers goes, she says she just started early.
AND THE CRITICS… People love to talk about Lorde. Even moreso, writers have loved to write about Lorde since her ascent into the realms of pop stardom. Famously, American feminist blogger Verónica Bayetti Flores accused Royals of being “deeply racist”. “Because we all know who she’s thinking when we’re talking gold teeth, Cristal and Maybachs. So why shit on black folks?” Flores’ blog read. The piece prompted a minor media storm. For someone who appreciates a large degree of control over her image and creative output, you’d understand if YelichO’Connor feared distortion of her character or music in the press, but she’s dealing with the critics in a typically mature manner.
“Basically from when I was 12 or 13 I’ve been calling the shots in regard to my own career and my management and label have been super open to that, which is weird because lots of adults who’ve been doing what they do for a long time don’t really want to take direction from someone who is just starting high school,” she says. “But I’ve always known what was best for my art and what I was doing and people have kind of respected that. I guess I’ve just been saying how things should be for long enough that people don’t really question it anymore.” That doesn’t mean the 17-year-old doesn’t stress about the weight of these decisions. When it comes to the Lorde brand, there are quite literally millions of dollars at stake and the wrong move could see the artist and all those around her lose out immensely. But simple wisdom has helped her get through thus far. “Some of the stuff I have to decide about isn’t creative, it’s to do with my brand in a way, which is definitely something which can be hard and something I’m often up all night thinking about,” she admits. “At the end of the day – and it sounds so cliché – I just go with my gut. Even if I ask a bunch of people for advice and they say ‘do this’ or ‘don’t do this’ I usually go with the thing that I first thought.” WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College of the Arts
“I feel like people have really loved to write about me this year, which is cool, I’m lucky people want to start a dialogue about what I’m doing,” she says. “But also when so many people are coming to the table there’s stuff you read that’s like ‘This is so bullshit, I feel so misrepresented by this’.” Yelich-O’Connor has her theories, though it should be noted that she did not pinpoint any critic’s portrayal in particular. “Often these people are like old, old journalists who don’t really know anything about teen culture… I don’t know, it can be a little bit misguided sometimes, but I’ve definitely learned to not read what people think I’m not doing or whatever. I try not to take it too seriously.” THE MUSIC • 29TH JANUARY 2014 • 21
music
METAL’S MAD SCIENTISTS
was there just to assist. And as much as they might be able to suggest things, like I said a few things and they weren’t the way that we ended up going, but I didn’t get butthurt because all I’m trying to do is help the person get to their vision of the song. So actually I think there would have been a lot more argument if it was something that Periphery were doing as a whole band. Because when you’re representing a person, you can just try and assist them and no one would take it personally if they didn’t like your ideas or whatever.
A crazy notion led to American djent bigwigs Periphery writing and recording an EP that functions like a KISS solo record, where each member wrote their own song. Guitarist Misha Mansoor tells Tom Hersey about the impetus for what would become Clear.
“I
t was just kind of a fun experiment really. The idea was just, ‘Go all out and make any song that you want’,” says guitar wizard Misha Mansoor of Clear; a release that isn’t the band’s next full-length album – work on that’s planned for March/ April – nor is it an EP – the band didn’t want to repeat themselves having done Icarus back in 2011. Mansoor doesn’t refer to Clear as anything but an ‘experiment’ because the seven-track release is just that. There’s an introductory song that the band did together, and then every other song saw the individual members of the six-piece write whatever they wanted. Mansoor breaks down how it all came to be: “Stef [Stephen Carpenter] from the Deftones, I guess he’s a pretty big fan of our music, and we’d hang out with those guys a lot, but with him especially, and one day when we were on tour together he suggested ‘Y’know, you’ve got a band full of producers, I’d like to hear if you had an idea, how everybody would interpret that one idea’. And that stuck with us. It was a good point, and we started to wonder what that would be like. Then we had a little over a month between the Summer Slaughter tour and a headliner last year, and we realised that not only are we a band full of producers, but that a lot of us have the ability to record at home. So we could put together an idea like this fairly quickly when everybody was just responsible for one song.” Where that idea diverged from the efforts of bands like KISS and The Melvins was that the person in charge of the song could do whatever they wanted to realise their vision. Where KISS had strict rules that they would not play on each other’s records, Periphery decided any member could get whatever musicians they wanted to help them along with the thing, whether they were in the band or not.
“Everybody was like the ‘director’ of their own song. So they could get anybody’s help on their song, whether they were in the band or not. It
“It raises a lot more potential for problems than one might think. It brings up all these different issues about the dynamics in the band and communication and stuff like that. But everyone in the band had a similar vision of what this should be in terms of respect, and letting every other member do their own thing. Say I had ended up hating somebody’s song, so be it. That’s part of the risk going into it, and that has to be okay that it might end up like that. And I was expecting there to be that kind of reaction somewhere along the line, and I was mentally preparing for that, to be like ‘There’s probably
“SAY I HAD ENDED UP HATING SOMEBODY’S SONG, SO BE IT.” was about whatever they wanted to do to help fulfil their vision. In a regular Periphery song we’d all have our opinions and we’d have a discussion about stuff; here, if you were helping out somebody on their song it was just do what you’re told.” Despite the member overlap, the songs totally represent the individual visions of the writer. “Anybody who was helping anyone else with their song
going to be a couple of songs where I’m like this really shouldn’t be on a Periphery release’. But I’m grateful to say I don’t feel like that about any of the songs.” With Clear just released, Periphery are now turning their sights towards an Australian run with Animals As Leaders, and Mansoor is undeniably stoked to get down here, if only to escape America’s unusual and entirely inhospitable winter. “It’s pretty miserably cold in the US at the moment, so it’s kind of good to get out of here. Though as I understand, you guys are in the middle of a heatwave? So we might just be going from one end of misery to the other.”
WHAT: Clear (Roadrunner/Warner) WHEN & WHERE: 1 Feb, Metro Theatre
THE MUSIC • 29TH JANUARY 2014 • 23
film
ALL THAT IS, WAS AND WILL BE With a giant stage full of elements of tours past, Metallica set about creating a concert film with a difference. Bass player Robert Trujillo explains to Mark Neilsen the risk of performing and filming on a stage while trying not to blow anyone up, their guitarist not least of all.
W
hile 3D concert movies are nothing new in recent times, with U2 kicking off the phenomenon in 2008 as U2 3D laid claim to being the first live action digital 3D film, their format has stayed pretty much the same. Most of the films – such as those from Katy Perry, Justin Bieber and One Direction – stay the tried and true path of concert footage interspersed with behind the scenes footage and interviews. So when Metallica were approached by their management about doing a 3D concert film, they didn’t want to go down the same path. “One of the things we wanted was a narrative,” says Metallica bass player Robert Trujillo. “We said this is great, but we want to try something different, because we had four or five concert films released in the last five years, so it’s like, well, what can we do that’s different?”
METALLICA THROUGH THE NEVER
results at the end of the day. So it was a huge undertaking; it was a lot of work, a lot of planning,” Trujillo outlines. Trujillo says he “felt great” on the stage and admits to being distracted initially by all the different elements. “But by the time we got to Canada it was... I’m not going to say it was like riding a bike – it wasn’t – but you kind of adapt,” he says. “And without being robotic and syncopated and routine, you’re still working the stage, feeling loose, but you also get an idea of where not to be. Whereas someone like Kirk [Hammett, guitar] was in the wrong place; you had to put fluorescent tape up there that said, ‘Kirk, do not stand here during Fuel’ or Battery or whatever, because quite often he was in the wrong spot and we didn’t want to blow anybody up.”
manner of hydraulics, pneumatics, lasers, LED, pyrotechnics and even working tesla coils to accompany a giant electric chair representative of Ride The Lightning. It didn’t feature a kitchen sink, but it did feature a toilet (referenceing Metal Up Your Ass, the original title for their debut album Kill ‘Em All).
Metallica have stated that they’d like people to take their own meaning from the film. Like in say Pulp Fiction, they – potential spoiler alert – never reveal what’s in the bag. It’s something Metallica has always adhered to, allowing people to take their own interpretations from their music as well. “We’re not here to tell you what it’s supposed to be, we’re here to share and explore what you want to make of it and bring it to life in your own creative mind. I think that’s the general idea with Metallica songs and lyrics. We write the music, we present it, James [Hetfield, guitar/vocals] writes the lyrics, he presents them and you make what you want of it and have fun at the end of the day,” Trujillo explains.
Though it wasn’t simply a matter of filming one predetermined Metallica show for the movie.
And at the end of the day, Metallica Through The Never is being released on DVD. It was originally given a short theatrical run as a 3D IMAX film, so how does Trujillo feel it will translate to the home screen? “You know, we’ve
ROBERT TRUJILLO IN METALLICA THROUGH THE NEVER
DANE DEHAAN AS TRIP IN METALLICA THROUGH THE NEVER
“QUITE OFTEN HE WAS IN THE WRONG SPOT AND WE DIDN’T WANT TO BLOW ANYBODY UP.” This point of difference comes in the form of the character Trip (Dane DeHaan – The Place Beyond The Pines, Chronicle, Lawless), a roadie for the band sent on a mission during a Metallica gig to retrieve an item they need from a broken-down truck. What seems like a simple task takes a surreal turn as Trip makes his way through a post-apocalyptic streetscape filled with police and rioters, running for his life at times. But despite the inclusion of the narrative, the film – Metallica Through The Never, directed by Nimród Antal (Predators, Kontroll) – has as its basis the live performance. And the basis of that was a massive stage. “The stage itself is pretty iconic,” Trujillo states. Designed by Mark Fisher, who designed Pink Floyd’s famous set for The Wall among others, the stage is a celebration of past Metallica live moments and album covers. Hence you get elements like crosses from Master Of Puppets and a Lady Justice statue – affectionately known as Doris – from …And Justice For All making a reappearance. Plus it features all 24 • THE MUSIC • 29TH JANUARY 2014
Designing, building and testing the stage was a process that took around two-and-a-half years, including a couple of weeks in Mexico City performing eight arena shows nurturing the stage. “It was a very dangerous stage, so you’re never 100 per cent safe; there’s always uneasiness and risk for us as players. But in the end I felt that, especially for our crew, by the time we to Canada [in August 2012, where they filmed for the movie], that stage was firing on all cylinders and we got the
actually seen it not as a 3D film and we’ve seen it on smaller monitors and it holds up. Sonically and visually I’m really proud of it from the technical aspect,” Trujillo says. Overall, Trujillo found the experience of making a movie pretty demanding compared to making an album. “Making a movie is stressful because you’re dealing with a lot of personalities. There are a lot of people,” he says. “And I always believe that most of the time, things that are really special, they don’t come easy. There are going to be moments where there is some headbutting and there’s indecision or whatever and compromise, but the end result is usually very rewarding and overall I think that we felt that we were able to share something that was meaningful to us and something that should be able to last in rock’n’roll cinema. Hopefully.” WHAT: Metallica Through The Never (Hopscotch)
THE MUSIC • 29TH JANUARY 2014 • 25
music
THE MUSIC MAN Insatiable musician Ken Stringfellow explains to Steve Bell that stepping away from bands for his solo career allowed him to embrace (for the better) not giving a fuck.
U
S singer-songwriter Ken Stringfellow lives and breathes music. You probably know him best through his power-pop outfit The Posies, or perhaps from his lengthy stint with latter-era R.E.M. Maybe it was his stretch playing bass in the second incarnation of legendary Memphis rockers Big Star. Crap, he even spent a while playing guitar with skate punks Lagwagon, amongst a vast catalogue of musical diversions. But while his current Australian sojourn is chiefly to partake in the orchestral recreation of Big Star’s Third/
event
Sister Lovers album for the Sydney Festival, he’s using the opportunity to reintroduce us to his excellent solo canon, by far the most underrated component of his fascinating musical voyage to date. “I put less faith in [my solo fare] because I assumed people would gravitate towards the more marquee-worthy names like R.E.M. and Big Star, and even The Posies to some degree,” Stringfellow reflects. “I could list 5 things in front of my solo records that people would be much more familiar with – but that’s also my fault, because I didn’t have the confidence in the past to put the complete faith in my solo work.
“From an artistic point of view it’s the thing I’ve had the most control over in a way, or we could say ‘the most hand in’; every band is a form of democracy whether that’s intended or not, it’s at least a compromise, but my solo work is very uncompromised, and I realised [recently that] this is where my focus should be. If you wanted to get to know me as an artist and figure out what I’m all about, the solo records are the things I’d start with – the other stuff is where I’m like an atom in a larger molecule, but here I’m the total substance.” Stringfellow attests that he doesn’t invoke a vastly different mindset when writing solo material than for other projects, although the solo realm does allow his flair for improvisation to surface. “There’s more spontaneity with what I do as a solo artist; a lot of the songs are really off the cuff,” he admits. “My whole first album [1997’s This Sounds Like Goodbye] was an act of improvisation, where I had to record and write the song in the same go – I couldn’t change anything or fix anything. That freedom is less possible in other projects where people are less willing to go into that – that adventurism is really only happening in my solo records which is why I think it’s the strongest work. It’s got the most chances and the most ‘not giving a fuck’ vibe.” WHAT: I Never Said I’d Make It Easy (Lojinx/Planet) WHEN & WHERE: 31 Jan, Clarendon Guest House, Katoomba; 1 Feb, Petersham Bowling Club
BARGAIN BUNKER Records, art, craft, clothes, and a menagerie of dead animals at bargain prices: Paul Settecasse and Von Virtu welcome Dave Drayton to the Rock ‘n’ Roll & Alternative Market Big Weekender.
P
aul Settecasse was travelling through Mexico a few years ago when Mexican Sugar Skulls caught his eye. Putting his design skills to work in the new medium, custom-making skulls based on Chicano-style low-rider art, traditional Day of the Dead, Japanese and old school tattoo designs, Settecasse made his triumphant entry into the world of markets. “All my skulls are ceramic and are made using the slip cast method; once fired and sprayed I then pencil on designs and themes and hit them with ink and finish them with satin varnish. I have always admired people selling their art or products at markets, and it seemed like a fun way to spend the day and make some cash, and to test the waters for my art.” Proving so successful that Settecasse has turned his art into his day job, it also meant there was enough cash earned at the markets to inject some back into other stalls, which in turn led to his ‘best find’ yet: “A taxidermied piranha fish, for only five bucks!” Von Virtu, known to the market crowd as Miz Smitten Kitten, found her favourite market find to be just as much of a bargain. “I love markets, especially trash and treasure type markets,” says Virtu. “My vintage mink stole would be my best find, it’s over 60 years old and was a steal at $15 – the man I brought it off said he knew that I would treasure and look after it.” 26 • THE MUSIC • 29TH JANUARY 2014
When she brings her collection of handmade and designed bows, cardigans, wallets, kewpie dolls and assorted brica-brac to Manning House on the weekend, it will mark her fourth consecutive Sydney Rock ‘n’ Roll & Alternative Market. “The main reason I keep trading at Sydney Rock ‘n’ Roll would be because of Tiffany [Palmer, organiser]. She does such an awesome job to make sure we are all looked after. The markets are her baby and she has a wide range of stalls so you won’t see every second stall being the same and the atmosphere always brings in the best bands,” Virtu explains.
This time around Palmer has lined up the likes of The Rechords, Papa Pilko & The Binrats, The Beaut Utes, Mojo Juju and ska legends The Milky Bar Kids, in their first Sydney show in over 27 years. Virtu, for her part, has begun bringing her own baby along to the markets: one-year-old daughter Leihla aka Kitty. “She is like my market mascot. My fellow stallholders love watching her grow with each market I attend!” While Etsy has made it easier to kitsch up your kitchen without leaving your bedroom, how many of those purchases come with the cuteness of a cherub child, or a live soundtrack of swing and rockabilly? WHAT: Rock ‘n’ Roll & Alternative Market Big Weekender WHEN & WHERE: 8 & 9 Feb, Manning House & Manning Bar
KILLER JEWELS Cyclone talks to Michael Render ie Killer Mike about being one part of Run The Jewels... and cutting hair.
K
iller Mike (aka Michael Render) is one of the smartest men in hip hop. The Atlanta MC has invested his earnings into a cool urban barbershop, Graffitis SWAG, the flagship of what he envisions as a community-based franchise. Now all he needs is to find the time to get his barber’s licence. In 2013 Render teamed with his MC/producer buddy El-P ( Jaime Meline) to form Run The Jewels (RTJ), also the name of their eponymous album, featuring the single Get It. RTJ is just now coming out locally as the pair hit Laneway Festival. It’ll be Render’s first Australian trek; Meline, then promoting Cancer 4 Cure, rocked Laneway last summer. Render’s heard good things from Meline and homies like OutKast’s Big Boi. “They’ve all told me how beautiful and wondrous it was and how it was actually just life-changing, the amount of beauty in the country – so I can’t wait to see it.” Render is down with Atlanta’s Dungeon Family alongside OutKast – he befriended Big Boi in college. In fact, the MC debuted on OutKast’s classic Stankonia of 2000, becoming a frequent collaborator. He himself put out the album Monster in 2003, with Big Boi rapping on its crossover hit ADIDAS. However, Render, an occasional voice actor, struggled to identify his niche – until lately. At one stage he was part of Big Boi’s Purple Ribbon, then TI’s Grand Hustle, before going indie. Render worked with Meline on his acclaimed 2012 LP RAP (Rebellious African People) Music. They bonded and so RTJ ensued. That the duo enjoy a rapport is fascinating since they each hail from not only different cities, but also different hip hop scenes, Meline being a Brooklynite backpack-type and Render “street”. But Render stresses their common ground. The combo, both thirty-somethings, “grew up in the same era of hip hop”. As such, they share “the same values” when it comes to the music. Beyond that? “I don’t know totally why we click so well,” Render ponders. “Then again, I can’t tell you all the reasons I love my wife more than any other woman I’ve ever known. But I know when a good relationship works, it works – and El and I have an amazing musical relationship.” In 2014 hip hop is no longer embroiled in regional politics. The south has never been as influential, with
even Harlem’s A$AP Rocky heavily indebted to it. Render digs that. “I just think that hip hop is in a good place because now you have so many different styles and so many different places and so many different people. Hip hop is great. I think
symbolic – place in African-American culture. It’s where black men talk life and politics, and connect. Render lauds all this, yet he wanted to not rehabilitate the barbershop, but contemporise it. “I just am happy to be in a position to provide jobs for my community, to have a service that my community needs and uses on a regular basis,” he says. There’s also something inherently egalitarian about a barbershop. Big Boi is a Graffitis SWAG client, but anyone can walk in. “If people only have 20 bucks as a luxury, you’ll spend it on looking nice,” Render says. “I don’t have $200,000 to buy a Ferrari – I don’t know if I ever will – but I know I have 15 or 20 bucks to get the best haircut I can and my wife to look at me like the young Barry White.” Render himself is working towards acquiring his barber’s license – he must clock up 3,000 hours – tricky when simultaneously pursuing an international hip hop career. Render is still apprenticing, which means sweeping the
“HIP HOP IS IN A GOOD PLACE BECAUSE NOW YOU HAVE SO MANY DIFFERENT STYLES AND SO MANY DIFFERENT PLACES AND SO MANY DIFFERENT PEOPLE.” when hip hop doesn’t have as many styles as that, that’s when I worry.” Back home, Render is active as an entrepreneur (and advocate for small black business) as well as an MC. In 2011 he opened a barbershop, buying a run-down outlet and renaming it Graffitis SWAG, which he operates with his talented wife, Shana. (Render loves his acronyms: the SWAG stands for “shave, wash and groom”.) The barbershop has an important – and
floor, cleaning the bathroom, and watching and learning. On his return from Australia, he’ll begin cutting hair. Not that Render is abandoning music. He and Meline are on a creative roll. “RTJ 2 is coming this year – we are working on it right now,” he says. And he may yet be involved in the OutKast reunion, with the legends touring. “Let me say I absolutely would love to be – I can’t imagine me not popping up somewhere! Where that is, I don’t know. But I’m as ecstatic and excited about OutKast performing again for young people so I can take my kids to see this show and my Mom can see it, as everyone else.” WHAT: Run The Jewels (Big Dada/Inertia) WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College Of The Arts; 4 Feb, Enmore Theatre
music
music
RELUCTANT ROCKSTAR Enigmatic American craftsman of songs Cass McCombs cuts the crap and makes it clear to Tyler McLoughlan that there is no method, to anything.
“A
ustralia, it was illuminating I guess,” Cass McCombs talks from a snow-covered New Jersey about his first visit in 2012. “[There were] a lot of things I didn’t know about – a lot of bad things, a lot of good things. I didn’t realise how racist Australia was. I also didn’t realise how beautiful it was so the good with the bad I suppose.” Through long pauses and a deadpan voice, the notoriously reluctant interviewee who first became known with the release of his Not The Way EP in 2002 shares his opinion on creating music. “There’s conscious decisions
music
that are made… like song order – it’s kind of like a setlist, like when you make a setlist for a show. You’re just pullin’ songs out of the air – there’s somewhat of a random order that happens. The clock is ticking, you know you have to make a decision and you just make one; there’s no thought. Just any decision is the same as the next, and any artist who says any different is a liar. Decisions are completely random,” he declares. “… Decisions in music are like pencil; there’s like an eraser on the other side – you can always change it. You have to try on the clothes to see if they fit… Often it doesn’t fit right, that’s why I take so long to do anything.”
BEAT CLINIC A master’s degree in psychology was always Arthur Ashin (aka Autre Ne Veut)’s plan B. “If I could get paid a modest amount to perpetually produce music I would probably be the happiest I could be,” he tells Andy Hazel.
A
rthur Ashin, stage name Autre Ne Veut, speaks like a clinical psychologist, which he was, until recently, intent on being. Turning his back on the academic world for that of bedroom electro R&B was not a move he took lightly. “In the clinical psychology framework, you’re not meant to do other things, as this shows you’re not dedicated to being a serious clinician,” he says. The weight of this decision informs Ashin’s acclaimed debut Anxiety, the balance of euphoria and
exposed internal pressures a way of life for him. With a Best New Music prop from Pitchfork and countless blogs calling Anxiety one of the albums of the year, Ashin explains the line between authorship and catharsis. “I think of songs and production as being able to be worked with and against each other. The [songs are] not detailed personal accounts; they’re not examples of anxiety. The production ideas I use are informed by the broader ideas of society, capitalism and media on which [I’m] superimposing norms so yeah, [Anxiety] is both personal and a societal creation.”
28 • THE MUSIC • 29TH JANUARY 2014
Though he sees it as a drawn-out process, McCombs has been quite prolific over the past decade. Big Wheel And Others is a double record, his seventh longplayer released in October, which is steeped in the mythology of The West and filled with an eclectic range of folk, blues, jazz, jams, rock and that charming poetic lyricism. He doesn’t know why he decided on the lengthy format. “I don’t remember, you know. I really mean this, there’s no logic in this – there really is no logic. There’s no reason and there’s no thought behind anything that anyone does, much less a record. We were just recording for years… and as soon as we knew it we turned around and there was a bunch of songs. The record company and the band and myself all threw out what we wanted to do with it and poof, there it was in the world…” McCombs’ unwillingness to play the rockstar is strangely alluring. He isn’t even very interested in showcasing Big Wheel And Others on his Australian tour. “I don’t really put a lot of thought into the album. We’re a touring band; maybe other bands place an emphasis on the record because they want to show the commodity but that’s not really ever been our bag. We’re just a team, you know – album comes, album goes; it’s not anything to put a lot of anxiety into... I release the record, some people I respect said they liked the record. Well then they’ve always had respect, that’s why we’re friends! To me, nothing has changed – it’s all good, it’s all suffering, all the time. Nothing ever changes – it’s the same.” WHAT: Big Wheel And Others (Domino/EMI) WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College Of The Arts; 6 Feb, Oxford Art Factory
Listening to Anxiety is an overwhelmingly positive experience. Far from psychological offloading, Ashin is mainly concerned with beats, textures and subverting the overt physicality of R&B into something more cerebral than sexual. “I was on a life path,” he explains. “I was doing my plan B 100 per cent. Making records is not just cathartic, you get to curate yourself and you decide what aspect of your catharsis translates well. If I could get paid a modest amount to perpetually produce music I would probably be the happiest I could be. Once in a while I would go to some sort of intellectual salon and have a half-arsed conversation about plan B to keep my academic brain rolling to a passable degree.” Many listeners have pointed out how ‘80sinfluenced his music sounds. Though, as Ashin points out, this is far from intentional. “I was born in the front end of the ‘80s and there are musical aspects that are deeply embedded in me,” he muses, “and I guess that comes through on this record. I have never tried to make ‘80s music, but what I do love about the ‘80s is the idea of the popular avant-gardists, people like Peter Gabriel, David Byrne, Annie Lennox. They were simultaneously engaged in ideas that pushed against the very foundations they were helping to create and I find that so compelling. I’ll never sit down to make an ‘80s-sounding song or album, never, but when I’m trying to create a Dr Luke-style gated synth and it ends up sounding more 1987 than 2007, that’s okay.”
WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College Of The Arts; 5 Feb, Oxford Art Factory
THE MUSIC • 29TH JANUARY 2014 • 29
music
RABBIT SEASON
you know, that’s the way it goes. We haven’t physically come to blows – yet,” Hutchison laughs. Ultimately, the collaboration was successful, yielding track after track of anthemic rock, including epic singles like The Woodpile, State Hospital and the sweeping Backyard Skulls. The songs still aren’t cool, but they are cannon shots of heart-on-sleeve sincerity. They have helped Frightened Rabbit reach a whole new audience.
Frightened Rabbit’s drummer Grant Hutchison believes his band’s long-time fans are “good at smelling bullshit”. Simone Ubaldi inhales deeply.
M
ore often than not, a rock band’s success depends on the right intersection of songwriting and style. Rock is supposed to be cool. Rockstars are supposed to be disaffected hipsters and if they fail at it, they will struggle to cut through. Honesty, vulnerability and earnestness are anathema to the artifice and fashion that keeps Pitchfork churning. But honesty is what Frightened Rabbit do best.
Formed in Selkirk, Scotland in 2003, the band began as a bedroom project for the once chronically shy songwriter Scott Hutchison; a vehicle through which the he could exorcise the ghosts of past relationships. A year later, Grant Hutchison joined his older brother on drums, then Billy Kenny was added as a guitarist. They released a debut album, Sing The Greys, in 2006. Their follow-up, 2008’s The Midnight Organ Fight was a breakthrough, a critically acclaimed work of rough bombast. Keyboardist Andy Monaghan was then added to the line-up and their sound expanded even further, captured on the 2010 album The Winter Of Mixed Drinks. Again, the record was critically acclaimed, but the not-so-cool Frightened Rabbit somehow missed the fast train to indie-rock stardom. Their literate songs of heartache and alienation never made headlines. Still, the band ploughed on. They toured mercilessly and delivered chest-rattling live performances, slowly amassing a sizeable throng of seriously devoted fans. Their rise was a slow-burn triumph of substance over style. This year, Frightened Rabbit released their fourth longplayer, Pedestrian Verse. At long last they seem to have broken through to a mass audience, with the album debuting in the UK Top 10. “We feel like the sound of this album and the songs on this album are definitely what we’ve been striving to achieve for years,” Grant Hutchison says. “It’s a bigger, fuller sound without taking away what is at the heart of Frightened Rabbit.” Pedestrian Verse was three years in the making, with much of it conceived and rehearsed while the band were on tour. It represents a new era for the now five-piece band (former Make Model guitarist Gordon Skene signed on in 2009), beyond their new-found commercial success. Stifled by his own attempts at songwriting, Scott Hutchison threw open the door and asked his bandmates to help him write the record. “I think he found that he was almost repeating himself,” Grant Hutchison explains.
“He’d kind of maybe even subconsciously created a pattern and a routine to write a Frightened Rabbit song, and that is something that I think every band should try and avoid – rehashing old techniques and old methods to simply churn out the same old crap.” The new process
The move from indie label Fat Cat to Atlantic Records in 2010 has also had a significant impact on the band’s trajectory. “Probably the major difference with this album is that we went from a small indie label to a major. We had the usual concerns about how much input they would want, would they try and remould us into what they wanted or something that could sell records… it never happened. The word ‘single’ was never bandied about before we wrote and recorded the album, which is a good thing,” Hutchison says. “I think [labels] have just had to change their game plan. It’s good, because I think they probably got a little bit lazy when all they had to do was throw a cheque at a
“I THINK [LABELS] HAVE JUST HAD TO CHANGE THEIR GAME PLAN. IT’S GOOD, BECAUSE I THINK THEY PROBABLY GOT A LITTLE BIT LAZY…” was challenging for the band, requiring everyone to step up while their leader let go the reins. For the Hutchison brothers particularly, it meant keeping their sibling rivalry in check. “We’ve still got that little side of us that likes to show the other one up. It’s funny, you know, on tour we’re fine, we get along well, but creatively it can be a frustrating melting pot of emotions and, whenever one of us flies off, it’s always directed at the other one. Because we’re brothers,
band and they would become the next big thing, but even if they didn’t it didn’t matter because there was always more money in the bank. Now, you have to be more careful. They’ve given us incredible support.” So long as they have social media, the band that built its reputation on immediacy and integrity can have the best of both worlds. “We control our Twitter and there are no label posts turning up on there, we can stay in direct contact with our fans. We were very conscious of not losing that. Our fans, who have been around for a few years, are good at smelling bullshit,” Hutchison smiles, “And if we started shovelling bullshit they would quickly disappear.” WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College Of The Arts; 6 Feb, Metro Theatre
music
BORDEAUX
English grunge duo Drenge have been touring and touring and touring but they’re not spent yet; they’ve still got Laneway and Australia to look forward to. We got brothers Eoin and Rory Loveless to write us a diary about the ups and downs and butchered soundchecks of life on European tour.
NANTES French venues make you think that everyone else should just give up. It’s almost like they are perfectly designed to the point of irritation. It’s annoying when there is nothing to vex or frustrate you. Everyone is lovely. You get a home-cooked and nutritious meal. The stage and PA are top spec. However, tonight was the first time anyone has ever fucked-up on spelling our band’s name.
Outside the venue is an old-school London bus, which has been converted into a kitchen and dining room. Another lovely meal. This taps into mine and Rory’s secondhand/second generation Catholic guilt complex, almost like we don’t deserve to be this well looked after. A small boy in the front row in a Drenge tee looks worryingly bored.
“I GO TO THE AFTER-PARTY IN A POSH BAR AND BUY TWO BOTTLES OF BEER FOR €16. IT’S CARLSBERG AND EACH BOTTLE WOULD COST 75P FROM AN OFFY IN THE UK.”
ZURICH We get taken for fondue just before the show, which is really lovely and tasty, but results in me feeling like Elvis Presley in his final years, staggering around the stage trying to conceal my bloated gut. After us is LIVE BAND ROCK KARAOKE where any old bank manager or office employee can get up onstage and sing their favourite RHCP/Offspring/Metallica song with a bassist, guitarist and drummer. The support band’s entourage totally trash the dressing room and when questioned about it, I feel so guilty that ‘It wasn’t me’ just doesn’t cut it as an excuse and I leave.
EINDHOVEN I love the stuff you find in European service stops. I’m not in the mood for Bum Bum, but maybe next time? The guy at the venue gives our FOH warning glances throughout soundcheck and interrupts us asking me where I want my audience to stand. I generally don’t care and I don’t like his attitude so I point vaguely to the middle of the room. Apparently we are so loud that “everyone will stand in the corner, cowering from the sound”. Later, the crowd stand exactly where I pointed. Drenge 1 Holland 0.
WHEN & WHERE: 2 Feb, Laneway Festival,
ARHUS
COPENHAGEN We go to the zoo. Apparently it’s the tenth best in the world, but apart from the OTT polar bear enclosure, there’s not much going on. Our band name is a Danish word and despite us having no strong links to the country or its people, bar a slight fascination with its cinema history, the Danes take us to heart in a big way. We do an encore, which means dropping the song we’d normally play at the end, only to play it a bit later after going off stage and saying, ‘This is a bit daft’.
I go off in search of sushi, nothing special, but I just wanted to find some sushi and end up having THE BEST SUSHI OF MY ENTIRE LIFE so far. We are not as warmly received in Aarhus as we were in Copenhagen. It’s a Sunday night and songs finish with some awkward clapping and then absolute silence. On the plus side, I get to drive the van out of the car park, feeling as chuffed as a 5-year-old would if put in the same situation.
Sydney College Of The Arts; 4 Feb, Goodgod Small Club
PARIS The backstage has one toilet which amplifies the sound of passing urine and stools, which further amplifies awkward silences and raised eyebrows. We both go on a whimsical walk up to Sacré-Cœur and pretend we’re tourists. The sun sets and Paris looks like it does in the movies. My voice has been flagging for the past three shows and tonight I just scrape through. My onstage frustrations are lost on the monitor engineer who refuses to shake my hand at the end of the night. I go to the after-party in a posh bar and buy two bottles of beer for €16. It’s Carlsberg and each bottle would cost 75p from an offy in the UK. THE MUSIC • 29TH JANUARY 2014 • 31
music
THE ART OF NOISE Even though Andy Hazel resists the urge to ask Jenny Lee Lindberg what it’s like to be in all-girl band Warpaint, she mishears a questions and addresses the issue anyway: “There’s a lot more female bands happening and that’s not the emphasis anymore.”
“I
t usually takes a few listens for people to really get it,” says a chipper Jenny Lee Lindberg, bassist with LA quartet Warpaint about her band’s new, eponymous album. “It’s got a lot going on,” she adds. Since bursting into the consciousness of anyone who pays attention to online music sites or radio with their 2010 debut The Fool, or its predecessor EP Exquisite Corpse in 2008, Warpaint have been getting love from far and wide. Comprising childhood besties Emily Kokal and Theresa Wayman, Lindberg and Sydney drummer Stella Mozgawa, the bassist points out that their closeness as friends is almost like a marriage. “We fell in love,” she says plainly. “We’d lived in LA for the same amount of time when we met and, even though our upbringing was different – they grew up in a small, hippy town and I grew up in a small, white, trashy town – we had a lot in common.” While Lindberg doesn’t think that growing up in Nevada bestowed her with any tangible benefits, she says moving to LA from a small town sets you apart from the locals. “Even though I grew up in Reno I have a free-spirited nature, so we weren’t too far off the grid from each other. We’re all intuitive and instinctive when it comes to, say, sizing someone up. We’re pretty savvy!” she laughs. Warpaint is an album infused with collective savvy-ness that’s redolent in heavy dub atmospheres, drifting vocal melodies and acute attention to detail. While being wholly the band’s creation, the album was coaxed into existence by a dream team of collaborators: superstar producers Flood and Nigel Godrich; and Chris Cunningham handling the art and photography. “It was an all-star team,” she admits. “Fuck, I don’t know how we managed to pull any of that off. I guess I’d just say we’re lucky. Nigel Godrich didn’t approach us and say, ‘Can I please mix your songs?’ We were having trouble mixing the last two songs so, to get a mix that we thought was representative of how the songs should sound, we just asked him. We were stoked! It’s not like we had a plan A and plan B, but we did definitely think about it and said, ‘Let’s see what our options are’. “I guess to put it simply: if we plan to do something it never comes out that way. Our writing process is full
32 • THE MUSIC • 29TH JANUARY 2014
of happy accidents. The creative process is never planned with us; we didn’t make a conscious decision when we were writing songs to do anything. We wanted to make it more minimal and a little darker and more sexy – those were the three things we were aiming for.’
Kokal’s boyfriend John Frusciante (Red Hot Chili Peppers) produced their first EP, Heath Ledger was an early fan and Lindberg’s sister (the band’s previous drummer) is actress Shannyn Sossamon (A Knight’s Tale, The Rules Of Attraction). So what does Lindberg think about the media’s focus shifting away from the famous names to the band’s music? “There’s a lot more female bands happening and that’s not the emphasis anymore,” she says calmly, ignoring the question. “There were a lot of people writing about how we’re good for being girls, when we can be grosser and gnarlier than a lot of dudes can. There are
“WE CAN BE GROSSER AND GNARLIER THAN A LOT OF DUDES CAN.” One song oozing with all of the aforementioned qualities is the overtly danceable Disco//Very, a song you can expect to hear a lot this summer. “I love all of the songs, but I guess I love Disco//Very because it’s so different from other things we’ve done, and another track called Biggy. After we finished recording that song, we felt so proud of ourselves.” When Warpaint first began to appear in press, the focus was very much on the people around them.
definitely feminine aspects to our music, but there are masculine aspects. When people ask questions about what it’s like to be a female musician, I just ignore it.” What Lindberg is keen to talk about is band dynamics, an area she describes as being both the most interesting, and boring, aspect of Warpaint. “Sometimes we overcommunicate and someone has to say, ‘Okay, let’s shut up and play,’ and other times it’s why we are so drawn to each other and why we’re still a band. I think being together for ten years, that history gives us power with each other because we’ve been through so much together. We’ve made it this far and there’s no turning back. We have put this much time and effort into it, so let’s take it as far as it goes. And we’re not there yet.” WHAT: Warpaint (Rough Trade/Remote Control) WHEN & WHERE: 2 Feb, Laneway Festival, Sydney College Of The Arts
THE MUSIC • 29TH JANUARY 2014 • 33
34 • THE MUSIC • 29TH JANUARY 2014
reviews
ALBUM OF THE WEEK
This week: French psychological drama The Past offers both tension and tenderness; Sky Ferreira offers darkness and fun; and Dolly Parton offers wit and Kenny Rogers.
THE JEZABELS The Brink MGM 2014 is off to a strong start in terms of lady-led releases: Warpaint, Dum Dum Girls, and now The Jezabels have each brought out impressive albums that show off these women’s serious rock chops. On The Brink our very own Jezabels bring a new sound into their production, with Heather Shannon on keys riding the indie-synth wave, along with the rest of today’s indie-poppers. This new album serves as a new chance for The Jezabels to bring their strengths to the synth-pop table: namely, frontman Hayley Mary and her broad vocal range, and their ability to create a growing sense of tension (case in point: the brooding Psychotherapy).
★★★★
TRACK LISTING 1. The Brink
7. The End
2. Time To Dance
8. Got Velvet
3. Look Of Love
9. Psychotherapy
4. Beat To Beat
10. All You Need
5. Angels Of Fire
11. Marianne
Like Mary’s vocals, each song, and the album as whole, swells and dives between soft and loud, up- and down-tempo, light and dark. The opener and title track is moody and atmospheric, and one of the early highlights of an album tinged by rock chords and big choruses. Time To Dance adds a melodic edge to winsome lyrics, while lead single The End has managed to worm its way into our collective ears since its October release. It’s got the most light and shadow about it in the slow-building verses, before the smack of energy and warmth in the chorus. Piano-based bonus track Marianne is slow-burning and caps off an album that proves that The Jezabels remain one of our biggest indie-pop exports. Hannah Story
6. No Country THE MUSIC • 29TH JANUARY 2014 • 35
album reviews
YOU ME AT SIX
DUM DUM GIRLS
Cooking Vinyl
Sub Pop/Inertia
Behind the scenes, the completion of Cavalier Youth forced You Me At Six (YMAS) to operate differently – and perhaps a little harder – than in their previous records, but their more productive work ethic doesn’t necessarily translate through a large portion of the songwriting in their latest, fourth album Cavalier Youth. While opening track Too Young To Feel This Old provokes a glimmer of promise for the record’s remaining contents (reaffirmed all the more in the more structurally impressive Lived A Lie), Cavalier Youth progresses with a disappointing lack of variety. Save for the big, optimistic, atypically YMAS poppunk anthem Fresh Start Fever, the album operates at a mostly unwavering pace, differentiated only by mere subtleties in timing – and barely at all in structure or lyrical content (which, to no one’s
It’s only been four years since Dum Dum Girls – initially the moniker for NYC-via-LA chanteuse Dee Dee Penny’s solo recordings – landed on the scene with a splash, but already the stylistic change that the nowfull band has undergone in that time is bordering on seismic.
Too True
Cavalier Youth
★★★ surprise, predominately focuses on the subject of romance). For the most part, Cavalier Youth is catchy and easily digestible, but YMAS have played things a little too safe with this one, and, as a result, it isn’t quite the stand-out record we were hoping for from the outfit, and nor is it an entirely memorable one on the whole. Evidence of the band’s growth since their inception is certainly there, but given the success of their third album Sinners Never Sleep (released in 2011), it comes as quite a let-down that the British three-piece didn’t attempt to be any bolder this time around. Justine Keating
Their 2010 debut I Will Be was punchy and laden with fuzzedout guitars, while second album Only In Dreams (2011) proved to be the perfect bridge to their current aesthetic; namely superslick production with an ‘80s pop sheen, the sub-three-minute songs all seemingly tailor-made for radio with their predictable structures and commercial-oriented hooks and melodies. Despite the trademark reverb it’s not miles removed from what acts like The Divinyls, The Pretenders and even Pat Benatar were doing 30 years ago – songs like Evil Blooms, Rimbaud Eyes, In The Wake Of You
SKY FERREIRA
DOLLY PARTON
EMI
Sony
At 15 Ferreira was Capitol Records’ big bet to be the next Britney. Cut to five years later and it’s all glowing Pitchfork reviews and serious indie hype.
There’s something innately soothing about the voice of Dolly Parton beyond the fact that she has pipes few can rival: superior production, relatable story-telling, self-deprecation, wit, turmoil and empathy are part of the charm, on top of the fond childhood memories she stirs for many Australians who grew up with Parton-loving parents. It’s almost unfathomable that at the age of 68 – on her 42nd album – she still sounds this damn fine, and she’s repaying Australasia for an almost three-decade touring drought broken by her 2011 visit by dropping Blue Smoke several months before the US and Europe to coincide with her February world tour shows.
Like any good pop record, Night Time, My Time’s also got at least one serious club hit in 24 Hours, with a chorus ready-made for girls in too-high heels to 36 • THE MUSIC • 29TH JANUARY 2014
and Little Minx would slot into current ‘classic hits’ radio formats seamlessly. There’s more texture and dynamics underpinning tracks such as Cult Of Love, Too True To Be Good and first single Lost Boys & Girls, but not enough to lift the album from its overall malaise. Too True is brash and confident and will no doubt find plenty of admirers, but it’s ultimately one-dimensional and formulaic – one can only assume that the conceptual stylistic jump from ‘60s girl groups to ‘80s rock divas and the corresponding sonic shift from lo-fi to multitracking seemed better on paper than it proves in practice. Steve Bell
Blue Smoke
Night Time, My Time
There’s plenty of pop tropes here, but done with a twist; Boys is an empowerment anthem (“All the little things that you do/Always getting in my way”) turned love song (“You put my faith back in boys”) with Ferreira’s breathy voice floating sweetly on top of aggressive distorted guitar and synth. In I Blame Myself Ferreira analyses the pressures that her “reputation” has brought from the industry, taking responsibility and owning her mistakes in a way that’s fierce and powerful.
★★★
★★★ be screaming along to at two in the morning: “I wish these 24 hours would never end...”. The second half of the album gets a bit more unconventional; Omanko buzzes and whines with incessant distorted cymbals, and in Heavy Metal Heart we (aptly) get the first really good guitar riff, and a taste of those grunge influences that supposedly set Ferreira apart from real commercial pop stars. Night Time, My Time is a long record, and starts to drag towards the end, especially on the clunky title track, but it’s also dark, sultry and sometimes even fun. Madeleine Laing
The title track lead single sets a shuffling rhythm as fiddles and slide guitar soundtrack a rather upbeat tale of lyin’ and cheatin’ mixed with train metaphors and straight-up “clickity clack”s, “choo choo”’s and “woo woo”’s from Parton that would feel
★★★★ overcooked for anyone else, but not for the country queen of heartbreak. It’s overwhelmingly cute to hear Parton team up with her old Islands In The Stream buddy Kenny Rogers for You Can’t Make Old Friends; it’s easy to imagine them singing this one to each other in the round too as the songstress trades: “’Cause we both know” to Rogers’ huskily spoken “We’ll still be old friends”. Willie Nelson also guests on the beautifully solemn ode to love, From Here To The Moon And Back. Parton shows no signs of slowing down with Blue Smoke; rather quite the opposite – and why the hell should she, she’s fabulous! Tyler McLoughlan
album reviews
★★★★½
★★
ANGELIQUE KIDJO
BRETON
429/Universal
Cut Tooth/Shock
Eve
War Room Stories
Angelique Kidjo’s latest album Eve (named after her mother) really has it all – a balanced blend of traditional tribal and modern electronic beats, stirring string contributions, heart-warming harmonies from several African women’s choirs, more than three Beninese dialects, as well as cameos from Vampire Weekend’s Rostam Batmanglij and Nigerian singer Asa. Eve celebrates African womanhood, all the while brimming with Kidjo’s trademark warmth, positivity and funk, which never fails to instigate dancing. Hello and Ebile are but a few highlights, as well as the three interludes which break up the album with almost ritualistic chanting.
London’s Breton have chalked up a second album with the release of War Room Stories. It’s a record that borrows heavily from other more successful acts, and in doing so robs Breton of the credibility gained from high production values. Frontman Roman Rappak does his best using layering effects and refuses to dress up his strong accent, but it falls flat, grating in places and boring in others. The added string sections do little to brighten things up, sounding surprisingly cheap and melodramatic. It’s a poor man’s Coldplay/Elbow/ White Lies/Foals/Bloc Party/ etc., and yields few rewards.
Jazmine O’Sullivan
Matt MacMaster
★★★½
★★★★
DAMIEN JURADO
Brothers And Sisters Of The Eternal Son Secretly Canadian/Inertia
★★★½
SKINDRED
Kill The Power Cooking Vinyl
Quietly going about his business as a cult indie troubadour, Damien Jurado has again teamed up with producer Richard Swift to create a textured, dynamic, sprawling eleventh album that offers a complexity in atmosphere far beyond the heartbreak of 2012’s Maraqopa. With psych frameworks, moody synths, vocal shadowing often in falsetto and the influence of dub, Jurado’s folk experimentations are brought to a percussive high in Silver Donna while Return To Maraqopa makes one wonder if he has been mentoring Cloud Control. Take some time to absorb this one.
These four Welsh lads have been unleashing an irresistible mash-up of alternative metal reggae since the turn of the century. Frontman Benji Webbe has led his merry men along an impressive catalogue of stand-out releases, bookended by debut Babylon and their fourth LP Union Black. So Kill The Power arrives with certain expectations, but it more than exceeds them. The opening title track is one of the best on offer, fusing trademark swagger from Webbe with crunchy metal chugs, settling into a more steadfast punk in Worlds On Fire and the ballad-like We Live.
Tyler McLoughlan
Carley Hall
★★
★★★★½
★★★
SLEEPY SUN
WITHIN TEMPTATION
YOUNG FATHERS
THE GASLIGHT ANTHEM
Dine Alone/Cooking Vinyl
Roadrunner/Warner
Big Dada/Inertia
Shock/SideOneDummy
Bluesy Californian psych-rockers Sleepy Sun return with their fourth full-length record Maui Tears. It picks up pretty much where predecessor Spine Hits left off; it’s a relaxed, fuzzy and fun approach to Americana. Beautifully distorted and overdriven guitars hold the record together through looser moments and poppier hooks. The band still fall into trappings of never quite lifting off to float in space, but highlights like the groovy Everywhere Waltz and Spacemen 3-cumBardo Pond ten-minute closing title track show the band are more than worthy of a listen for anyone with an ear for psych/stoner-rock.
Where once they denounced the labeling of their sound as being ‘gothic metal’ – describing themselves as ‘symphonic metal’ instead – Within Temptation can finally wear that title with sincerity. It’s great to see them move away from their earlier, outdated style akin to that of Evanescence, but Hydra doesn’t see a whole lot of positive steps, either. The cheesiness of the earlier records has indeed been dialed down, but it still very much exists in the uninventive lyrical content and, in the instance of a number of tracks, poorly integrated guest vocals.
When has left-field, indie-rap ever sounded so approachable and so resonant? This is compelling stuff from three young Edinburgh locals. War’s high points bear comparison with Arcade Fire at their most majestic; notwithstanding the fact that track opens with rapid-fire flows. Low shows Young Fathers’ pop sensibilities with its harmonic, choral hook. Get Up is at once haunting and comforting; some achievement. Hangman is woozy. The experience of listening to this record is beautiful, but blurry – like watching the sun rise after staying up all night. An experience not to be missed.
It’s not quite new Gaslight, but this LP is a welcomed addition for fans of the New Jersey band. It features one fresh tune (She Loves You) and choice covers from the likes of Pearl Jam and The Rolling Stones, but the best tracks here are all pulled from acoustic sessions. What’s great about these cuts is that they’re some of the most swinging rockers from Gaslight’s catalogue (Great Expectations, Boxer), yet stripped and presented raw, you can really soak in Brian Fallon’s lyrics, one of the band’s biggest strengths. Because of that, when you go back to the original records, the tunes hold a lot more poignancy.
Andrew McDonald
Justine Keating
James d’Apice
Benny Doyle
Maui Tears
Hydra
Dead
B-Sides
THE MUSIC • 29TH JANUARY 2014 • 37
albums/singles/eps
★★★
★★★
★★★★
THE RIFLES
JACKIE ONASSIS
PIGEON
Everyday Robots
Cooking Vinyl
Sony
Create Control
Parlophone/Warner
After replacing two members for their third album, the original cast of The Rifles have returned for their fourth, with upbeat pop melodies the running theme of None The Wiser. The record opens with two singles – Minute Mile is an ideal singalong track and Heebie Jeebies is a rockabilly ballad – while the choral tambourineladen closer Under And Over is sure to cause a ruckus when played live. Only ten songs deep, None The Wiser is a short, inoffensive indie-pop record, but is unlikely to catch the ear of anyone outside the band’s established cult following.
That music embraced and/ or dismissed as ‘skip hop’ is a difficult beast. Could be a consistency and quality control problem, and that’s well illustrated here. Special Occasion kinda isn’t one. Generic ‘let’s partaaaay’ that could be from anywhere, but not particularly somewhere you’d really need to be. But that segues straight into the title track, where the morning after is suburban blues reflections. It’s more thoughtful – knowing the mirror’s cracked even as you’re snorting the last line off it. Problem is, most of their audience will only want the former, and not get the message of the latter.
While Danny Harley’s The Kite String Tangle heads to a moodier end of the electronic, his concurrent work in group mode on this comes with a bigger beat at its heart. There’s one eye on the dancefloor, but maybe something else going on as well. Title track has a bit of early ‘80s Peter Gabriel insistence to it, as the old synths squelch and build to the house on fire chorus hook. Crowhurst might have a related bit of new romantic storytelling about it, but they do it with just enough tongue in collective cheek to let you in on the joke.
DAMON ALBARN The Blur tour now a faded dream, as the singer pushes his own record. Although this – sawing violins aside – probably owes more to that band’s later darker dirges than, say, Gorillaz’s loping gait.
BECK
Blue Moon Capitol It’s six years since Mr Hansen’s previous, but the big acoustic croon backs his claim he’s going for the moods of 2002’s Sea Change. It could be what Gram Parsons used to call ‘Cosmic American music’.
None The Wiser
Ash Goldberg
Juliette
Settle In
Ross Clelland
Ross Clelland
GOD
My Pal Festival Yes, it’s a song from 1987, re-released on vinyl to go with the Dirty Jeans ‘end of the century Australia alternative music’ thingy. But it is a piece of history, and a thing of frayed utter greatness.
THE KITE STRING TANGLE
Given The Chance Independent The new shinier video will give Danny Harley’s moody electronics a wider audience through more plays on Rage. SXSW visit to follow and inevitable namechecks on the places that matter to some.
THE NOTWIST Kong Spunk Germany’s finest metally-grungy indie thing that’s survived 20-plus years and now adds electronic beepery and fartery to make surprisingly unaffected pop music of light touch and charm. Ross Clelland 38 • THE MUSIC • 29TH JANUARY 2014
★★★½
★★★
★★★½
DANIEL AVERY
PEGGY SUE
GRAND MAGUS
Warner Music Australia
Wichita/[PIAS] Australia
Nuclear Blast
The title of Daniel Avery’s debut album implies something far left of what it delivers, which seems to be his entire MO. Drone Logic as a title sounds like it could be another Tim Hecker collaboration LP, but what Avery delivers is a delightful, ravey, acid houseinfluenced electro album. Avery plays with modified vocal loops as beat highlights and textural touchstones – among all the cold dance rhythms, the songs come to life through these samples and ever surprising twists and turns. While never as great as it could be, this is a very promising house debut.
True to its name, Choir Of Echoes opens with stirring a cappella track (Come Back Around). First single Idle and short track How Heavy The Quiet That Grew Between Your Mouth And Mine continue the choral theme, utilising melodic harmonies to emphasise evocative lyrics. The English trio stray from their harmonic path with Longest Day Of The Year Blues, which would feel more at home on a She & Him record. For a third album it’s a fairly stock-standard changeup, however, its lack of punch may not resonate with some.
Do you love the epic strains of Manowar but cringe at the silly rhetoric and homoerotic loincloths? Well you’re in luck – Swedish trio Grand Magus all wear clothes in their press shots, yet still manage to churn out heavy metal that will make you feel like you’re charging across the plains wielding a sword that would make Conan the Barbarian blush. For example, Steel Versus Steel is a superb slab of traditional melodic metal, Fight will induce involuntary headbanging and Dominator will have you defeating enemy hordes from the comfort of your living room.
Drone Logic
Andrew McDonald
Choir Of Echoes
Ash Goldberg
Triumph And Power
Mark Hebblewhite
live reviews
BIG DAY OUT
Sydney Showgrounds 26 Jan Ticket sales were down this year for the Big Day Out and the grounds felt a little empty early on, but with a killer line-up and reputation, what more could organisers do? In the Boiler Room Ben Morris, Big Gigantic and Rufus ripped it up in the early hours of the afternoon. Outside the weather spattered and blew but the Boiler Room was hot, sweaty, dirty and a whole lot of fun. Stunning visual displays played on the giant screens behind the acts, Flume playing with his decks sitting on a flashing, fluorescent pink cube as cartoon film clips accompanied his biggest hits.
and were typically energetic. Nothing was wrong with their set; they probably deserved a bigger reaction, but for some reason Sydney just wasn’t feeling it. At one point Pelle Almqvist had to let them know how it works: “We play music and you clap; when we’re done making noise you guys make noise.” He said it with a smile, and hardcore Hives fans loved him for it, but the folks who didn’t know who The Hives were probably aren’t going to be rushing out to buy CDs today. Next door at the Blue stage Bluejuice opened with vigour and let everyone know they support gay marriage by way of a huge banner that provided the backdrop to their set. Next The Naked & Famous drew a massive crowd and deservedly. With each new song
BEADY EYE @ BIG DAY OUT. PIC: PETER SHARP
Out of the Boiler Room, past the various stalls and tents selling all kinds of weird and wonderful shit was the Orange stage. DZ Deathrays produced a high energy set to open the festival. A few hours later Tame Impala graced the same stage with double the crowd and reception. The set was mostly Lonerism tracks, with a few thrown in from debut album, Innerspeaker. Elephant got a great response, but it was still their oldie, Half Glass Full Of Wine, which seemed to translate best, particularly with a noticeable tweak and rearrangement of band members’ duties. Kevin Parker and the boys don’t offer much in terms of stage shenanigans, only a wall of psychedelic music that washes over you and holds you right where you are until the set is over. The Hives apologised for not being Blur with tongue in cheek
Tied were the obvious crowd favourites in an exceptional set. Mac Miller fired out a funny and ferocious set before pulling up a chair side of stage to watch The Lumineers. Wesley Schultz has a Bob Dylan/Marcus Mumford stage presence. Lazily hanging a top hat on the end of his guitar for a slow track, Schultz seemed taken aback by how well the Aussie crowd knew his stuff; they even parted the crowd to perform on a tiny stage in the middle of the mosh, the highlight of the day for many. Snoop Dogg came out to wild applause, boob flashes and weed smoking: all the things he truly loves. Unafraid to sample other people’s track Snoop busted out Biggie Smalls, Tupac, 50 Cent and Akon, to name a few, adding his own rhymes to the
PEARL JAM @ BIG DAY OUT. PIC: JOSH GROOM
people were looking surprised, saying “I know this one!” The JBL essential stage was full of hidden treasures. The Jungle Giants early, followed by sweet sounding Aussie larrikins Loon Lake – it’s bloody impossible not to smile at a Loon Lake gig. Kingswood and, later, Vista Chino were solid, but it was the Red Stage that took the cake on Australia Day. Violent Soho rocked hard early, hours before Covered In Chrome was announced as #14 in the Hottest 100 they blasted it, and given the reception it’s amazing it wasn’t higher in the list. California pop rockers Grouplove were vocally amazing and their energy was sky high, the chemistry between singers Hannah Hooper and Christian Zucconi electrifying. Itchin’ On A Photograph and Tongue
Main stage headliners Pearl Jam delivered an energetic and, dare we say it, fun set, belying their po-faced reputation. They came out strongly with an opening salvo consisting of Do The Evolution, Mind Your Manners, Animal and Hail Hail. From there it was a mix of anthemic sing-alongs that they’re known for (Better Man, Elderly Woman…), a mix of tracks from across most of their albums and a smattering of covers thrown in (including, perhaps appropriately on Australia Day, though not surprisingly, a solo Eddie Vedder performing Hunters & Collectors’ Throw Your Arms Around Me). Judging by this performance, landing this so called white whale for the line-up was well worth the chase. Over at the main stages, Portugal. The Man served up
THE HIVES @ BIG DAY OUT. PIC: JOSH GROOM
verses. Onstage Snoop is one of the smoothest ever: calm, in control and every movement seems planned. Gin And Juice, Drop It Like It’s Hot and Who Am I What’s My Name (Snoop Doggy Dogg) were the three best rap songs we’ve ever had the pleasure of seeing live. Major Lazer started with a huge mash-up of Afrobeats and pop hits, and a flying camera filmed the crowd, who saw themselves on the big screen and lost their shit. Diplo, Jillionaire and Walshy Fire were flanked by two gorgeous dancers who just didn’t stop moving, bumping, grinding and twerking. Flume and Mac Miller watched from side stage, until the Major Lazer boys made him lie down, soaked him with water and had the dancers shake their bits violently in his face; the usually ice cool Flume had never looked so awkward.
some progressive psych with plenty of tunes off last year’s critically lauded Evil Friends, using a pretty lush production too for a band that should have perhaps been on later in the day. Toro Y Moi was welcomed back with open arms, the prodigal child of funk-electro-pop fusion spreading out the songs from over his three albums. Kingswood did their best to get perfect strangers in the audience to pash, but when that didn’t work they just kicked out the jams with their brand of no-frills rock. BDO regulars The Drones wasted no time playing the larrikins they are known for, and as always were at times their own best and worst enemies, complaining that sometimes the reason they don’t get to play all their songs is because they always go over their THE MUSIC • 29TH JANUARY 2014 • 39
live reviews allotted time – this after Dan Luscombe spent considerable time telling people how dusty he was from the night before. Shark Fin Blues, The Minotaur and Laika went down a treat. One of the big drawcards for those that were around in the ‘90s was Primus, and the quirky anti-pop trio lived up to expectations, not only for playing the run of classics, John The Fisherman, Winona’s Big Brown Beaver and Jerry Was A Race Car Driver, but Stealth from The Lumineers had his Christmases all come at once when Mr Claypool invited him up on stage for a piano accordion solo normally reserved for Lalonde… It was weird. Northlane drew the loyal to the JBL Essential stage and looked to be the only “Hardcore Representatives” in the line-
and Neighbourhood #1 were captivating live, but for the lone hype guy in the black knitted vest, who, starting out by himself on the outskirts of the main crowd and was dancing as if no one was watching, literally had, within about five minutes 50-ish random people mimicking all his moves, all in sync and, amazingly, all spontaneously. Arcade Fire also wore Sergeant Pepper-style jackets and had three huge mirrors moving around them creating dazzling lightshows when hit with lasers. Just when you thought it might be outlasting its welcome, the BDO again managed to surprise and satisfy and while a few things can be tweaked, it’s certainly something we’ll look forward to again next year. Adam Wilding and Cameron Warner
ARCADE FIRE @ BIG DAY OUT. PIC: PETER SHARP
up, something they relished, delivering a loud and screamy set. Fellow last minute men Beady Eye drew a modest crowd and managed to get away with a few Oasis hits sans Noel, the song What’s The Story (Morning Glory)? being a definite highlight of course, along with the swaggering Liam surprisingly in key for every song and commenting that Australia Day was a good excuse to “avadrink”. At the Headspace stage, CSS of Brasilia, despite being a modest group, played one of the most fun sets the BDO has hosted on a small stage – who said new wave and funk were dead? One of the highlights of any Big Day Out festival would have to have been the Arcade Fire’s main stage set, not only because the sound and production were spot on or that the songs The Suburbs, Keep The Car Running 40 • THE MUSIC • 29TH JANUARY 2014
setting and dark grey clouds were rolling in, creating an electric ambience that sent the crowd of thousands wild.Avicii continued to please as he played for two hours to an ecstatic crowd that was happy to sing along and dance the night away. Le7els was a crowd favourite, trumped only by his closing number, Wake Me Up. The megastar went out with an almighty bang, closing the night with an explosion of magnificent confetti bombs that rained down over adoring fans as fireworks lit up the sky overhead, leaving the crowd in awe and wanting more, Avicii having delivered what was sure to have been one of the standout concerts of 2014. Deborah Jackson
AVICII @ CENTENNIAL PARK. PIC: CLARE HAWLEY
As splashes of colour first filled the screen, the opening to Boyd’s reimagining of Indigenous and European-Australian history, a funky, pulsing beat moved with it, before the scene was replaced entirely by white, all sound suspended in an eerie purgatory. The performance was marked by dramatic changes of pace, imbuing the suite of songs with deep meaning for those looking for it. More simplistically, it was an intense romp of colour, psychedelic patterns and beats that at times would be equally at home on the dancefloor as in the Concert Hall. Canyons are known for playing most of the instruments on their records and it was great to see Grieve jump between guitar, drums and exotic percussion while
TYONDAI BRAXTON @ SYDNEY OPERA HOUSE. PIC: ROHAN ANDERSON
AVICII, WILL SPARKS, NEW WORLD SOUND, THROTTLE
TYONDAI BRAXTON, CANYONS
Centennial Parklands
21 Jan
25 Jan
Think of electronic music, then hurl those ideas into the stratosphere. Mix with time, space and mind-blowing visuals and you might come close to this musical highlight of the Sydney Festival, a sensory overload. 100 Million Nights is a collaboration between artist Daniel Boyd and Perth-born electronic duo Canyons, aka Ryan Grieve and Leo Thomson. Canyons had two extra pairs of hands on deck to bring to life their sonic interpretations of Boyd’s psychedelic-historic film reels, projected onto a huge three-panel screen and
Avicii was supported on the Sydney leg of his epic True Tour by some of Australia’s hottest DJs – Will Sparks, New World Sound and Throttle – who played to a steadily growing crowd comprising the young, the old and the famous – with multiple celebrity sightings in the VIP areas including more than one of Rugby League’s Burgess brothers. The EDM giant opened with his latest hit, Hey Brother, just as the sun was
filtered through thousands of dots recalling Aboriginal art.
Sydney Opera House
Thomson owned the electronics with precision and rhythm. This apparently was just a taste of the intensity to come from Tyondai Braxton. The former Battles frontman now makes his name as a brilliant electronic composer. He and four other musicians each appeared from the gloom, seated cross-legged, atop custom-built platforms that resembled warmly lit mushrooms. Squelchy synths from Braxton and his companion on one side, both with laptops open, meshed with intricate rhythms from the three on the other, each surrounded by assorted percussion and sheet music. It was truly a mix of digital and natural as piercing birdcall samples complemented incredibly tight drumming. At one point, all rapidly tapping blocks in sync, the three percussionists
live reviews were the sonic equivalent of a giant, persistent cicada. It’s shows like this that remind you that music is the best kind of art – the kind that leaves your ears ringing and still wanting more. Eliza Goetze
THIRSTY MERC, MARTHA MARLOW Coogee Diggers
to tracks from the band’s previous albums and exposed to some truly heartfelt lyrics. With a few drinks in, the crowd was in their element and the atmosphere was electric. For the encore, Thistlethwayte and the band returned to sing the honest and raw track 20 Good Reasons. As a final farewell amidst cheers and applause, Thistlethwayte left us with a grin and a gem: “Keep in touch and we’ll see you on the highway.” Tamara Cullen
23 Jan The girl with the coolest name in Australian music, Martha Marlow, is making waves with her enchanting lyrics and adventurous sound that we are yet to hear on the radio. She played some of her refreshing tracks, such as Dust and Day Of The Roses, in between some witty banter;
SNOOP DOGG, MAC MILLER Enmore Theatre 25 Jan Sniffer dogs were rubber necking out the front of the Enmore while the crowd mingled, most
SNOOP DOGG @ ENMORE THEATRE. PIC: THOMAS GRAHAM
this folk singer should be on everyone’s ‘To See’ list in 2014. Bursting onstage to a roar of applause, Thirsty Merc launched into their energy-packed hit, In the Summertime. Led by another awesomely-named frontman Rai Thistlethwayte, the band set the bar so high for the first song, it almost felt like an encore. The summer vibe was alive and well as they delved further into their setlist with singles such as Tommy And Krista, Mousetrap Heart and Someday Someday. Just as the crowd was in the palm of their hands, they gave out another musical treat when previous winner of The Voice, Karise Eden, shared the stage to sing a cover of Take A Load Off Annie. It was a commanding performance from the band with two incredible voices leading the crowd to sing along during the chorus.For over an hour, the audience were treated
nature has kept him in the limelight without compromising his earlier work. It’s evident in the variety of material he has to draw from. Starting with a couple of Snoop Lion numbers, he soon hits one of the set’s absolute strong points, a massive version of his collaboration with 50 Cent, P.I.M.P., which has so much swagger it’s ridiculous. He’s helped out by four hype men, as well as Nasty Dogg, a basketballtype mascot Disneyland nightmare, complete with a laser pointer and a massive penis with which to annoy the crowd. The biggest moments of the set aren’t a surprise, all the classics from Doggystyle bringing the roof down and Drop It Like It’s Hot goes even one step further. The finale is a massive sing-along version of Wiz Khalifa’s Young, Wild And Free complete with
BIG STAR’S THIRD KEN STRINGFELLOW @ ENMORE THEARE. PIC: PETER SHARP
folks hopefully smart enough to get their herbal refreshments in away from the frontline. No such worries for the guys blazing up side of stage as Pittsburgh rapper Mac Miller starts his high energy set. The crowd is familiar enough with his big hits to give the rapper some love and the hardcores down the front eat up his long support set with enthusiasm and hands in the air. The sold-out Enmore was full and bouncing before Miller finishes his set. As soon as Snoop Dogg entered the stage, the crowd went the extra level of nuts that they were holding out. His presence is much larger than life, more like a real, living cartoon character than a mere mortal rapper. His extra curricular activities and celebrity status contributes to this, but he’s also a veteran of hip hop whose ever evolving
sprawling album was a bittersweet moment for the audience. But the joyous, celebratory nature of this show was surely the best way to keep the Big Star legacy intact. With a roll call of guests including local talent Tim Rogers, Dave Faulkner and Kim Salmon, a band put together by US musician Chris Stamey and recent Big Star member Ken Stringfellow breathed new life into the difficult but brilliant Third/ Sister Lovers at the Enmore. There were moments, like Kim Salmon building a glorious cacophony on Kizza Me, the rousing Jesus Christ sung by REM’s Mike Mills, and the ensemble-sung Thank You Friends that were loud and fun, a reminder of the roll side to Big Star’s rock. But the very nature of this album – the
BIG STAR’S THIRD KEN STRINGFELLOW AND KIM SALMON @ ENMORE THEARE. PIC: PETER SHARP
a threat to return soon, despite the forces who try to prevent him entering our country. Chris Yates
BIG STAR’S THIRD
Enmore Theatre 24 Jan Big Star’s Third/Sister Lovers is one of those mythical classic albums; an almost lost ‘70s masterpiece. Even now no one is quite sure what to call it, or even if they should describe it as a Big Star album at all. The only two Big Star members who recorded it were Alex Chilton, the principal songwriter, and drummer Jody Stephens. Now that Stephens is the sole surviving member, seeing him onstage with a collective of famous Big Star fans recreating this chaotic and
darkness a damaged Chilton managed to put down on vinyl – was breathtaking when recreated by Dave Faulkner singing the stormy Downs, a song that included Mills dribbling a basketball as a percussion instrument, and a mournful Holocaust performed gracefully by Salmon and Cat Power. Guest artists Kurt Vile and Brett Harris had the Big Star phrasing right; Rogers was clearly thrilled to be sharing a stage with Stephens, proclaiming, “I’m the happiest man in the fuckin’ world” before singing O, Dana. Fans even got to hear some Big Star classics after the encore, but this was a night to revel in the brilliance of Chilton and give credit to an album that could’ve easily have been forgotten by all but a handful of Big Star obsessives. Danielle O’Donohue THE MUSIC • 29TH JANUARY 2014 • 41
arts reviews
Dead Inside S3, E4 This Week On Girls: “Just because it’s fake doesn’t mean I don’t feel it,” whimpers Laird, turtle corpse at hand, so attuned to death even Crystal Fairy Caroline’s made-up tale of Adam’s dystrophied cousin causes snot to drip from his nose. Co-writing Judd Apatow leans on Freaks & Geeks’ classic ‘Tests & Breasts’ climax: nothing soliciting pity – and leverage – like a well-
42 • THE MUSIC • 29TH JANUARY 2014
rehearsed tearjerker. Stories create “the illusion of continuity” amidst chaos; making sense from the senseless. One day John Cameron Mitchell’s on Grindr, the next he’s facedown in the Hudson River; not even his non-disclosed toxicology report inspiring grief in Hannah. “It’s my first death,” she shrugs; existential angst reserved for her e-book’s in-flux status. Death is sudden absence turned into a story, like the one about Jessa’s ‘dead’ friend Season, who’s not only alive, but Melonie Diaz; no longer in Jessa-enabled shambles but all Baby, Brownstone and Cool-Looking Husband. Season’s death was as pantomimed as Hannah’s crocodile tears, which are but a mask for her real relationship insecurities. Hannah Nudity Watch: Dressing for a Ray’s shift, with even less grief than clothing. Shosh Amaze Meter: Burbling with Bandana Collection pride. The Tao Of Adam: “When you die, how would you feel if a bunch of judgemental creeps snarkily reported on every fucking detail of your body decomposing?”
THE PAST Film
In cinemas 6 Feb In psychological French drama The Past, director Asghar Farhadi offers equal parts tension and tenderness in a story full of unraveling knots, which teeters on the edge of melodrama but never succumbs – thanks to a nuanced portrayal of the complexities of relationships and restrained performances from the main cast. The film begins with Ahmad (Ali Mosaffa) returning to France after four years in Tehran to finalise his divorce with estranged wife Marie (The Artist’s Bérénice Bejo). He then discovers Marie’s plans to marry her new partner Samir (Tahar Rahim), which Marie’s teenage daughter Lucie (Pauline Burlet) vehemently opposes. In his attempt to patch things up between Marie and Lucie, Ahmad digs up more and more secrets until you can almost smell the stench of guilt that threatens to suffocate the main characters. Dreary, wet weather,
soft focus and muted grey tones amplify the bleak atmosphere and sense of foreboding. These tumultuous revelations, while able to evoke shock, merely act as a diving board for what’s really the focus: the exploration of the relationship between significant others, ex-spouses, and children and adults. Some of the film’s most moving moments come from the situation being viewed through children’s eyes. The Past questions humankind’s capacity for selfishness and forgiveness, our need to absolve, justify and take/shirk responsibility for our actions, and how the choices we make always have a consequence. Stephanie Liew
THE PAST
the guide
GORDI
Instrument(s) played? I sing, play the guitar, piano and mandolin (not all at once). How long have you been performing? I performed a fair bit at school and a few solo shows here and there but I guess my first legitimate gig was at the end of 2012. What part do you think Sydney plays in the music you make? I moved to Sydney when I was 12 to go to boarding school so I did a lot of my growing up here. It’s such a varied and beautiful city with great live music venues and a rich artistic vibe that I think constantly inspire me to keep writing. Is your music responsible for more make-outs or breakups? Why? Maybe both?! For me, music has always come more out of tragedy than triumph but there are definitely some more upbeat ones in there somewhere! Writing music is a kind of therapy for me so I guess the lyrics reflect that - everyone needs a coping mechanism. What’s in the pipeline for you musically in the short term? At the moment I’m promoting my EP released last October and touring a lot and we’ll be releasing another single from that soon. But we’re also recording a few new tracks that I’ve written and taking them in a new, exciting direction so hopefully they’ll be out before too long. Playing Oxford Art Factory on 30 Jan. Website link for more info? http://facebook.com/music.Gordi Pic by Josh Groom THE MUSIC • 29TH JANUARY 2014 • 1
readers poll
2013 READERS POLL RESULTS After a huge year of class music heard from the stereo and stage, you, the muchloved readers of The Music, have come back to us with your top picks from 2013, and it seems like we’re pretty much on the same page – great minds thinking alike and all that. Your number one record was created by four likely lads from Sheffield, while a New Zealand teenager captured your hearts, as well as the rest of the world’s. The Boss inspired you all, cinema took many to places unknown and plenty of horns were raised to the altar of metal. Readers, this is your yearly wrap-up.
MOVIE OF THE YEAR 1. Gravity 2. Django Unchained 3. The Hunger Games: Catching Fire 4. The Great Gatsby
1. Royals LORDE
5. Anchorman 2: The Legend Continues
2. Get Lucky DAFT PUNK FT PHARRELL 3. Do I Wanna Know? ARCTIC MONKEYS
ALBUM OF THE YEAR 1. AM ARCTIC MONKEYS 2. Pure Heroine LORDE 3. Reflektor ARCADE FIRE 4. ...Like Clockwork QUEENS OF THE STONE AGE 5. Hungry Ghost VIOLENT SOHO
4. Covered In Chrome VIOLENT SOHO
6. Modern Vampires Of The City VAMPIRE WEEKEND 7. Days Are Gone HAIM 8. Random Access Memories DAFT PUNK
5. Avant Gardener COURTNEY BARNETT
SONG OF THE YEAR
6. Riptide VANCE JOY 7. Retrograde JAMES BLAKE 8. Is This How You Feel? THE PREATURES
9. Push The Sky Away NICK CAVE & THE BAD SEEDS
9. Reflektor ARCADE FIRE
10. Trouble Will Find Me THE NATIONAL
10. The Wire HAIM
LIVE PERFORMANCE OF THE YEAR
44 • THE MUSIC • 29TH JANUARY 2014
1. Soundwave 2. Splendour In The Grass 3. St Jerome’s Laneway Festival 4. Big Day Out 5. Groovin’ The Moo
QLD. Black Bear Lodge NSW. Enmore Theatre
2. Nick Cave & The Bad Seeds
VIC. Corner Hotel
3. Neutral Milk Hotel 4. Haim
FESTIVAL OF THE YEAR
VENUE OF THE YEAR
1. Bruce Springsteen
PIC: KANE HIBBERD
PIC: JOSH GROOM
5. Foals
ARTIST OF THE YEAR
6. Tame Impala
1. Lorde
6. Tame Impala
7. Muse
2. Arctic Monkeys
7. Vampire Weekend
8. The Drones
3. Flume
8. Remi
9. Beyoncé
4. Haim
9. Violent Soho
10. Blink-182
5. Daft Punk
10. Arcade Fire
SA. The Gov WA. Rosemount Hotel ALL READERS POLL PRIZE WINNERS WILL BE CONTACTED VIA EMAIL. FOR THE FULL LIST OF WINNERS, HEAD TO THEMUSIC.COM.AU.
THE MUSIC • 29TH JANUARY 2014 • 45
eat/drink
THE GREAT OUTDOOR(CINEMA)S It’s well and truly outdoor cinema season. Here are our suggestions for the best things to munch and sip on while your eyes are more preoccupied with the big screen. Illustration Sophie Blackhall-Cain.
CHEESE AND CRACKERS
DIP Have it with crackers, bread, carrots and celery... it really is a versatile, wonderful thing.
If you wanna get really fancy, bring some sliced cabana and olives and have a mini antipasto plate!
SANDWICHES AND ROLLS
CRISPS
Pre-bought or homemade, it’s hearty enough for dinner and it doesn’t need to be kept warm. No chance of poking yourself in the face with utensils, either.
These noisy snacks (plastic packaging ruffles, loud crunches) can only be eaten in the time between bagging a good position and waiting for the sun to finally go away so the movie can start. Or the really loud bits of action scenes.
FRUIT Ah, nature’s dessert. Stick to non-messy kinds like grapes, berries, apples and bananas. Stay away from oranges, watermelon and mangoes, unless pre-chopped into convenient forkable bits.
BOTTLED SOFT DRINK OR JUICE Something you can pop the cap back onto when you’re not drinking it, to minimise spills. The sugar will provide you with a burst of energy to keep you from falling asleep during the film.
COOKIES As long as they’re not too crumbly, you can go for any type and any texture. Their round form feels good and comforting in your hand; that’s a fact.
FOOD FOR THOUGHT
“ONE CANNOT THINK WELL, LOVE WELL, SLEEP WELL, IF ONE HAS NOT DINED WELL.” – Virginia Woolf
46 • THE MUSIC • 29TH JANUARY 2014
eat/drink DRINK UP
low for all those work dodgers or bar creepers!
staff. The staff are just so key and they way they treat each patron is pivotal. Who will I meet at your bar? New friends and bad food done well.
THE STUFFED BEAVER 271 Bondi Rd, Bondi Beach stuffedbeaver.com.au Answered by: Mike Galvin
What’s your bar’s specialty drink? It’s got to be a simple cocktail or a beer – maybe a PBR? What makes your bar different? Our approach is totally genuine. Lowbrow atmosphere with relaxed and good
What’s the design/ atmosphere of your bar? We are a North American dive bar. Not a whole lot of ‘flash’ behind the design; really whatever we find and deem not too contrived is placed on the wall. But the layout is functional. We like to spread the good tune wealth all day and night and keep the light
Who is pouring at your bar and what makes them special? Danny: Coffee Nazi & Sound Tech Extraordinaire. Viv: Awesome-O 2.0 ‘the Salty French Canadian robot’. Brendhan: 40, American, flippin’ burgers, lives in a granny flat with his dog. Adam: “Is that a girl or a dude?” Jaime: “Is that guy stoned all the time?” Best hangover cure? Surly Sunday Caesar special with a Poutine and a pint of Little Creatures.
HOT SPOT THE TOMATO FESTIVAL – ROYAL BOTANIC GARDENS, 1 & 2 FEB The Tomato Festival extravaganza celebrates the world’s most well loved fruit: the humble tomato. The festival program consists of children’s activities, themed guided walks, a pop-up bar and café at Rathborne Lodge, cooking masterclasses with Pietro Demaio and more. The Botanic Gardens Restaurant will also hold a tomatothemed cocktail party on 31 Jan with tasty tomato delights. Plus, have a squiz at what cooks have brought along in the hopes of winning the Tomato Passata Sauce Challenge, the Tomato Relish/Chutney Challenge or the ‘Best in Show’ for Homegrown Tomatoes.
AMAZONIA Answered by: Dwayne Martens Briefly describe your product? We source and manufacture most of the Acai to come into the country. Acai is a superfood from the Amazon made renowned by the strong surf community who would eat Acai before a long surf.
We sell in excess of 22 tonnes of frozen Acai each month so it is a very popular item. We also do a raw food and herb supplement range which will be sure to help with your festival hangover! We are changing the way people supplement by creating a range that focuses on concentration of dense nutrient food, traditional herbs, along with an array
DALLAS BUYERS CLUB
IMB Sunset Cinema – North Sydney Oval, St Leonards Park Until 9 Mar. Highlights: The Great Gatsby (30 Jan) / The Rocky Horror Picture Show (9 Feb) / The Big Lebowski (2 Mar) / Dirty Dancing (7 Mar) Maltesers Moonlight Cinema – Belvedere Amphitheatre, Centennial Park Until 28 Feb. Highlights: The Hobbit: The Desolation Of Smaug (31 Jan) / Mandela: A Long Walk To Freedom (2 Feb) / Dallas Buyers Club (12 Feb) / Labyrinth (27 Feb) Ben & Jerry’s Openair Cinemas – Dolphin Lawn, Bondi Beach Until 2 Mar. Highlights: Gravity (30 Jan) / The Goonies (4 Feb) / 12 Years A Slave (28 Feb) / Her (2 Mar)
HAVE YOU HEARD OF... amazonia.com.au
OUTDOOR CINEMAS
The Beresford Summer Movies – The Beresford Hotel Courtyard of other natural and diverse ingredients. These are incredibly well researched and show results. The range includes Multi, Energy, Pre-Probiotic, Greens and Protein formula. Who is your ideal consumer? Women aged 25 to 45.
Where is your favourite area to shop? I need to be honest... I really don’t like to shop! You will see me in the odd organic store. Where can we buy your products? Our products are all available from our website. All the health stores stock us heavily. Also we stock your local beach cafe and juice bars.
Until 21 Apr. Highlights: Romeo & Juliet (24 Feb) / A Single Man (24 Mar) / The Departed (31 Mar) / The Dark Knight (21 Apr)
THE MUSIC • 29TH JANUARY 2014 • 47
the guide nsw.live@themusic.com.au
FRONTLASH
LIVE THIS WEEK
OUR READERS
My, what fine taste you all have. Check out the readers poll results in the mag and online. You made some good choices.
ERYKAH BADU We just saw her totally rocking a new high-top fade. Let’s hope it’s still in place when she makes it out here for Bluesfest and sideshows.
DAVE CHAPPELLE It’s Dave Chappelle, bitch! Coming for his first Australian tour. Don’t really need to say any more.
PIZZA BLUES
RAD DRINKS
Backed by the high-energy styling and solid grooves of Karl Mardo and Rebecca Clarke, The Big Blind Ray Trio will be heading to Frankie’s Pizza this Thursday for a free performance of their blues-driven tunes.
The gloriously melancholy Cash Savage & The Last Drinks released their second LP last year to a great response. She’ll be at Hotel Steyne this Thursday, RAD on Friday and Red Rattler on Saturday.
SECOND LIFE
PINCH AND A PUNCH
Back in September, south west Sydney rock‘n’roll outfit KANG recorded the first of three crowdfunded singles and are now gearing up to release the second, One Life, which will be launched at Valve this Friday.
Sydney’s most heartbreaking banjo duo Pinch Hitter has adopted some extra members just in time to support Kissing Booth and Lemuria this Saturday at Hermann’s Bar and RAD in Wollongong, Sunday.
DOWNTOWN COMMITTEE
WHIMSY AND SNOW
Rock and soul outfit Carrie Phillis & The Downtown Three will be playing the Corrimal Hotel Saturday with Spencer P Jones & The Escape Committee, and on Sunday at the Petersham Bowlo.
Bittersweet, dark and folky, the whimsical Adelaidian band Traveller & Fortune have just released a new EP, I Am Only Snow, and will be launching it alongside Emma Davis this Thursday at FBi Social.
SHOES ARE FOR SQUARES
FERAL FALLOPIAN
In the summer of 2008, four friends – all barefoot – got together and started jamming around Bondi. They’ve begun wearing shoes, but remain The Barefoot Brothers, and will be at Jam Gallery Friday.
Sydney label Feral Media and Melbourne label Fallopian Tubes are joining forces this Friday at FBi Social for an eclectic showcase of their artist rosters including Trjaeu, Nimble Animal and Haunts.
ERYKAH BADU
BACKLASH TONY ABBOTT
Don’t use the global stage like the World Economic Forum in Switzerland to take potshots at the opposition. No one cares about domestic politics there, stick to the greater picture.
IAN WATKINS The Lostprophets singer launched an appeal to reduce his jail sentence for child sex offences. If anything, he should get a life sentence for the despicable crimes he’s committed.
CAPTAIN & TENNILLE Of all the musical couplings, we never saw this divorce coming. Insert the oft-used “love won’t keep them together” line here.
THIS WEEK’S RELEASES… THE JEZABELS The Brink MGM SKY FERREIRA Night Time, My Time EMI DUM DUM GIRLS Too True Sub Pop/Inertia WITHIN TEMPTATION Hydra Roadrunner/Warner
48 • THE MUSIC • 29TH JANUARY 2014
FOR MORE HEAD TO THEMUSIC.COM.AU
HOTEL
JANUARY
FRIDAY DAY 2 21ST
CREE REEPFEST 2014 FRIDAY 31STT TOE TO TOE, MIXED BILL MADNESS ESS AT DISINTERGRATOR, NTERGRATOR, TOPNOVIL, CORRIMAL HOTE EL BLADDER ADDER SPA PASMS, S, TH THE E FUCK HANS S CH CHRISTIAN BISCH BIS OF F OUT UTS, DISPARO, UNDER TH THE E (BRUTAL NOISE PROJE PROJEC CT), INFLUENCE CULT KILLERS, DEADLY LY Upstairs tairs in the Live Room/ VISIONS, IONS, SK SKINPIN, INPIN, RIOT Punk Hardcor core/7pm Free NINE, INE SWINE, WICKED CITY (MELB B), SLEW EVERY FRIDAY NIGHT HT Upstairs in the live room/7pm/Free BILLY GOA OAT KARAOKE DOWNSTAIRS WNSTAIRS IN I “THE FEBRUARY LOUNGE BAR” BAR from om 8pm onwards
SATURDAY DAY 1ST
SPEN ENC CER P. JONE ES & THE EVERY RY SATURDAY A ARVO ESCAPE E COMM MMITTEE, EE, CARRIE THE ILLAWARRA WAR JAZZ CLUB PHILLIS LIS & THE T DOWNTOWN, OWNTOWN, BRINGS YOU THE FINEST THE NUMBERE ERED JAZZ FROM M AR ROUND THE Downstairs tairs in the lounge bar/8pm Free COUNTRY UNT from 3pm downs downstairs in “The Lounge unge B Bar” Free Entry
FRIDAY 7TH
RESONANCE PLUS SUPPORT PORTS Upstairs in the Live Room/7.30pm free
-JLF VT PO 'BDFCPPL t facebook.com/corrimalhotel malho PH 02 4284 4086 t & ROB@PUB.COM.AU AU
WEST SYDNEY’S BEST ORIGINAL LIVE MUSIC VENUE ORIGINAL BANDS EVERY FRIDAY AND SATURDAY NIGHTS
Friday 31st Jan
Friday 7th Feb
<G>BH@JC@
?68@>: DC6HH>H
! =E:<H;O JKHD;H#EL;H:H?L; ! J?<<7DO 8H?J9><EH: J>; H;9AB;II 787D:ED
Saturday 1st Feb
<:I6L6N EA6C ! M;D:O ?9ED ! >7BBEMI ! 7J MEHB:I ;D:
s most show
FREE ENTRY
! FBKI IF;9?7B =K;IJI
Saturday 8th Feb
?:;; B6GI>C I=: I:6 E6GIN
! I7H7> C9B;E: IKF;H@;IKI ! 7D=;B 7M7A; ! I?CED C;B? I>8@:IH EG:H6A: )%$9DDG )*
Coming Up ''$' H;: 8;7H: '-$' J>; B7POI &$( DEL7 J>; ;NF;H?;D9; &)$( J>; IDEM:HEFF;HI '&$( =7O F7H?I 8DGC:G HI6I>DC HIG::I JC>DC A6C:! E:CG>I= CHL &( *-)( ,)-) r MMM$J7JJ;HI7BBI>EJ;BF;DH?J>$9EC$7K <79;8EEA$9EC%J7JJ;HI7BBI>EJ;BF;DH?J> 87D: 8EEA?D=I # <KD9J?EDI6J7JJ;HI7BBI>EJ;BF;DH?J>$9EC$7K
THE MUSIC • 29TH JANUARY 2014 • 49
the guide nsw.live@themusic.com.au
ALBUM FOCUS
DID YOU HEAR
LIVE THIS WEEK
DAVE FAVOURS
BOONDOGGLE BERESFORD
TWO TIMES TWO
Album title: Wet Suburban Sunday
In between multiple festival slots and following the release of their EP Boondoggle, feelgood five-piece Benjalu will be launching the second single of the EP this Friday evening Upstairs at The Beresford.
After having recorded only two songs, Brisbane duo The Creases were picked up by Rough Trade UK and will be supporting England’s powerful rock’n’ roll brothers Drenge this coming Tuesday at Goodgod.
IT’S CARNIVALE
SWEAT, SYDNEY
Jam Gallery will be playing host to the Brazilian Carnival this Saturday night with music from Batida de Rua, drumming by Rhythm Brazil and DJ sets from DJ Victor Saad and DJ Rogerio Sangalli.
Fresh from supporting Bonobo, Melbourne-based singer and producer ALTA will be performing live alongside Tearce at Goodgod this Saturday with Embassy, Ben Fester and Pharley.
MOVERS & SHAKERS
FIRE IN THE MOUNTAINS
Sydney-based keyboardist, singer, composer and songwriter Geoff Yule Smith will be heading to the Matraville RSL with the backing of his full band this Saturday evening.
Blue Mountains-based, crowdpleasing ‘50s R&B/soul, jump blues, swing and jazz sevenpiece Fire Down Below will be playing a free show in their neck of the woods this Saturday at Katoomba RSL.
HOPE FOR SNAKES
MOUNT MURDOCH
Post-rock and black metal hybrid Hope Drone will be launching their debut LP at Black Wire Records this Friday with Tanned Christ and Ether Rag, then again on Saturday at Wasted Years.
Touring off the back of his highly successful debut EP and a huge slew of support slots, Brisbane’s Charlie Murdoch will be joining UK electronic luminaries Mount Kimbie this Wednesday at the Metro.
Where did the title of your new album come from? From the song of the same name, based on the true story about a girl dying in a car crash. It’s actually one of the more positive and uplifting songs on the album. Seriously! How long did it take to write/record? Most of it was written in the six months after releasing my last record. A couple were written a matter of days before they were recorded. It took about six days to record. Was anything in particular inspiring you during the making? Beer, Steve Earle, burritos, The Replacements, red wine, Neil Young, pornography, Supersuckers, NRL, George Jones, tequila, Allman Brothers, lack of sleep, Johnny Cash, curries, Drive-by Truckers, B-grade movies, Beasts Of Bourbon and my beautiful wife. Will you do anything differently next time? Drink less, sleep more, play better, sing better, write better songs, watch less pornography. Come to think of it, probably not. When and where is your launch/next gig? The CD launch is at the Green Room Lounge in Enmore on Friday 31 January with the legendary Spencer P Jones (Beasts Of Bourbon). Website link for more info? stanleyrecords.com.au
THE MILKY BAR KIDS Answered by: Andy Travers What would people remember you for? Not taking ourselves seriously, straying from the rockabilly formula, Paul the bass player’s androgyny. What caused the split? Taking ourselves seriously and too many line-up changes. Wasn’t fun anymore. What inspired the reformation? A record company wanting to celebrate a 30 year-anniversary of an album we were a part of. Someone got wind of it and asked us to do a gig in Adelaide in 2013 and it was so much fun we said yes to a Sydney one. Is it a one-off, permanent, or see-how-it-goes? Oneoff and see-how-it-goes. Who’s back in the fold? The original line-up: Andy Travers, Paul Burton, John Hilliard, Pat Loughry How does the live scene now compare to your heyday? Everyone’s 30 years younger. For more info see: rocknrollmarket.com.au Next gig: Sydney Rock ‘n’ Roll & Alternative Market Big Weekender, Manning Bar, Sunday 9 Feb
50 • THE MUSIC • 29TH JANUARY 2014
FOR MORE HEAD TO THEMUSIC.COM.AU
THE MUSIC • 29TH JANUARY 2014 • 51
the guide nsw.live@themusic.com.au
HAVE YOU BEEN TO
SINGLE FOCUS
LIVE THIS WEEK
THE SMALL BALLROOM
BROODS
BROKEN BONES
MINSTREL & NICHOLSON
Single title: Bridges
Answered by: Laurie Mahon
What’s the song about? The song’s written about some rather horrible events. It gives a sense of closure and relief after something so shit.
Melbourne’s Fractures will be heading to Sydney for the first time following three months of debilitating injury, then a triumphant recovery. This Saturday, he’ll play Brighton Up Bar with Goldsmith.
Minstrel Gregory Page first met Shane Nicholson a year ago at the Tamworth Country Music Festival; the pair will be performing together at Clarendon Guesthouse Thursday.
ARMWRESTLE ROCK
KEEP IT METAL
Coinciding with the under 95kg and over 95kg male armwrestling finals bouncy Melbourne rock two-piece SCNDL will join Front To Back, Visual Lies, Jamie Lyn, and more at The Brewery.
Saturday evening will see The Lansdowne play host to a crew of metal outfits, including local old-school thrash and technical death metal outfit Killrazer, speed metal quartet Letha Vendetta and Til Rapture.
DEVINE DREAMERS
CAPTAIN MASSIVE
Sydney hard-rockers Devine Electric have been spending quite some time in the studio, so much so that they’re taking a break this Friday to join Dreamers Crime and Bright Falls at The Lansdowne.
MusicOz Award winners and genre-benders Super Massive are gearing up to release their first LP. In the lead-up to this release, they’ll be playing a oneoff free show this Saturday at the Captain Cook Hotel.
LATINA LINDA
MIDNIGHT PICNIC
This Thursday, local seven-piece Musica Linda will take you from the Jam Gallery all the way to Cuba with their vocal harmonies and Cuban rhythms for this week’s installment of Live Latin Summer Sessions.
Timed with the release of their second EP, the vibrant Edema Ruh will be celebrating its release with a launch and BYO picnic at the Gaelic Club, supported by Midnight Tea Party and Chaika.
Address: 139 Maitland Rd, Newcastle What’s the capacity? 330 Why should punters visit you? To discover some of the best emerging artists Australia has to offer in an intimate setting. What’s the best thing about the venue? The atmosphere. The layout of the room allows local emerging artists to play to what seems like a packed room whilst opening it up to allow large touring artists to come through. What’s the history of the venue? The Small Ballroom is only six months old after Kingdom Sounds developed the existing space in the old Gateway nightclub. Within this short time, the venue has attracted some of the best touring artists in Australia and some classic internationals. What are some of the highlights? Josh Pyke’s sold out show (second one coming up) and The Commitments (Ireland) performing at the venue late last year. Website link for more info? thesmallballroom.com.au
How long did it take to write/ record? Georgia wrote it one day when she was at our hometown and then the demo she made just evolved into what it is now over a few studio sessions with Joel Little. Is this track from a forthcoming release/existing release? It’s part of our debut EP to be released on the 31st of Jan. What was inspiring you during the song’s writing and recording? The inspiration for recording and production came from the lyrics and emotion. It’s awesome when you finish a song and it still makes you feel exactly how you felt when you first started writing it. We’ll like this song if we like... We’ve been told we resemble the likes of London Grammar and ASTR which we’re not complaining about. Do you play it differently live? We try to play Bridges the way people know it so they know exactly what’s coming and feel involved in it. When and where is your launch/ next gig? Our next gig is in Sydney, supporting Youth Lagoon which is gonna be sooooo cooool! (Thurs 30th Jan, Oxford Arts Factory) Website link for more info? soundcloud.com/broods
FOR MORE HEAD TO THEMUSIC.COM.AU 52 • THE MUSIC • 29TH JANUARY 2014
TUE
SIMON PAPARO 7.00
TUE
PAUL O'BRIEN BAND 7.00
TUE
THE MEZCALTONES 7.00
28 JAN
1 FEB
2 FEB
A BRAND NEW ACOUSTIC SHOW EVERY TUESDAY
THE MUSIC • 29TH JANUARY 2014 • 53
opinion OG FLAVAS
THE HEAVY SHIT
WAKE THE DEAD
URBAN AND R&B NEWS WITH CYCLONE
METAL AND HARD ROCK WITH CHRIS MARIC
PUNK AND HARDCORE WITH SARAH PETCHELL
Angel Haze’s Dirty Gold has received a limited digital release only in Australia – a shame. The femcee’s decision to leak it obviously backfired. Though her Grimes collab hasn’t materialised, Haze has a song with intriguing Canadian EDM types A Tribe Called Red and, in Battle Cry, Sia. Meanwhile, Haze’s rival Azealia Banks will supposedly drop Broke With Expensive Taste in March. But Universal’s focus is Aussie twerker Iggy Azalea, her The New Classic due in April. Mind, today’s hippest MC is surely Chicago’s Chance The Rapper. who’s working with bud James Blake in LA. Other buzz ‘newcomers’? Sam Smith, who’s sung on hits by Disclosure and Naughty Boy, won both the BRIT Critics’ Choice Award and The BBC’s Sound of 2014. He’ll premiere with May’s LP In The Lonely Hour. Also listen for Rudimental divette Ella Eyre. An ongoing trend is postdubstep soul (or illwave) singersongwriters, like California’s Banks. Jhené Aiko will present Souled Out in May via No ID’s Artium imprint following her crossover Sail Out EP. Tagged ‘the female Frank Ocean’, she used to be down with Chris Stokes’ tween urban-pop empire – and B2K! Kelela, who aired slinky mixtape Cut 4 Me, is recording for LA DJ/producer Kingdom’s Fade To Mind. South London’s Sampha should capitalise on his surprise involvement in Drake’s Nothing Was The Same. Even Australia has a nightbus ticket with Sydney trio Movement on Modular. Into poppier R&B? Check out Tinashe – an altsoul Cassie. Oddly, she’s starred in Two And A Half Men… @therealcyclone
ANGEL HAZE
54 • THE MUSIC • 29TH JANUARY 2014
DARKC311
Last week was a pretty interesting one in old metal land. Heavy Fest rolled into town, and it was also the last hurrah for The Amenta. They played like they were never going to see the stage again. They looked awesome, sounded great and worked the crowd. It was just all over way too quickly. Then Rotting Christ came out, and I stood there in amazement and a kind of remorse overcame me. I thought about just how much bigger they would be if their name was different. It still causes problems for them today, so you can imagine the challenges 25 years ago when they were young kids in Athens trying to get going. Musically they are better than half the bands double their size. Sakis seemed happy enough, though, and his rapid-fire, heavily accented, indecipherable betweensong banter was proof of that. Then the curse of Australian touring stuck again with the Eyehategod tour being cancelled a few days out from starting. Shit happens, and it does more often than not, but the subsequent shitstorm that followed and the really personal attacks on the promoter from unhappy punters were way out of line. I was tempted to jump in, but wasn’t in the mood for being attacked myself. Sure, there’s disappointment and frustration over the shows being cancelled, but death threats – real or not – are totally unjustified. Imagine stuffing something up at work, and then having a hundred people come to your office and yell and carry on and tell you how fucked you were. I also have to wonder, given the rather small appeal of a band like EHG, just how many of the people who jumped on their soapbox were actually going to the show
or just felt like it was a prime opportunity to stick the boot in. Then the curve swung up as Misfits played a ridiculously awesome set at The Factory. Forty-plus songs in an hour and ten minutes, although it was more like an hour and a half by the time they got around to stopping. Non-stop punk anthems and singalongs. What impressed me and the other old fart next to me (who is considerably older than I) was that half the crowd, at least, seemed to be under 25. And that’s a great sign, considering the majority of the songs are as old as they are. Good music is timeless, and that much was proven by the turnout. Also last week, the third and final Soundwave line-up announce came through, and having Richie Sambora headline it was a pretty bold move. I think I have his first solo record somewhere with Ballad Of Youth on it, which was a minor hit in ‘91. But after that, I admit I’ve got nothing. Joining him is local guitar goddess Orianthi who was poised to crack the big time after being pulled into Michael Jackson’s world, but he kinda put a stop to that when MJ died. The Ghost Inside and The Defiled are great additions to an already great line-up. A well deserved shout out to Darkc3ll who have also been added. There’s always a few more local bands on the bill when compared to the year before, so it will be interesting to see the Australian line-up grow in the coming years. As I said a while back, the division between local and international bands in terms of quality and worthiness has pretty much all but disappeared. heavyshit@themusic.com.au
The third announcement of Soundwave 2014 hit the airwaves last week, and while Los Angeles based hardcore band The Ghost Inside as the most notable addition, it also saw I Killed The Prom Queen joining Thy Art Is Murder, Deez Nuts, Dream On Dreamer and In Hearts Wake representing local talent at the festival. One particular post I saw mentioned that there should be more local acts, and it made me think about whether or not there is a place for more local talent on the line-up. For me, the answer is no. Local bands, unless they have real pulling power (like Break Even did a couple of years ago, or Parkway Drive back in year one) tend to get lost at the bottom end of the line-up. The argument of greater exposure is a little bit questionable as their position on bills often sees them play the start of the day when most of us are queuing to get in, so how many people are they really playing to? To me, it’s a much better option to go and catch my favourite local hardcore band at a local venue in the space and environment that they’re meant to be seen in. It also has the added bonus of supporting venues at a time where venues are struggling to stay alive. No disrespect to Soundwave, it’s just a different atmosphere to where I would prefer to see my (local) hardcore. So between now and then, go and check out your favourite local band at your favourite local venue! wakethedead@ themusic.com.au
THE GOST INSIDE
opinion GET IT TOGETHER
MODERATELY HIGHBROW
ROOTS DOWN
HIP HOP WITH JAMES D’APICE
VISUAL ART WANK AND THEATRE FOYERS WITH DAVE DRAYTON
BLUES ‘N’ ROOTS WITH DAN CONDON
In which we gloss the history of classification of characters from ancient Greece, to Ancient China, to a New York deli on a Los Angeles film lot…
THE DELOREAN IN BACK TO THE FUTURE
It bears repeating: as rap fans, we often look to yesterday’s answers for today’s questions. We romanticise what has come before. Given the chance to plug the numbers into Doc Brown’s console most of us would head for 1993, hoverboards be damned. But isn’t it possible that 2013 was a better year for rap music? After all, the artists making music now have all the sounds of 1993 (and ’94 and ’02 and whenever else) to draw from. And contemporary rap is a broad church. The huge white T-shirt and monstrous jeans days are gone. So, a tantalising thought: are we wrong to embrace the past so closely? Maybe we are. Maybe we aren’t. Somewhat maligned rap lyric database Rap Genius has given us one possible angle on this issue with its “Rap Stats”. Plug a word into the tool and it will produce a graph showing – year by year – how often that word appeared in rap lyrics. Want to find out how often Indiana Jones has been mentioned since Tupac walked the earth? Easy. Indy reached his post-Pac peak in 2009. His name represented 0.00014 percent of rap lyrics that year. Some trends have passed. “West Coast” and “East Coast” have faded away of late. What other searches might reveal how the genre we love has changed? That’s for you to decide. “Y2K”, for some reason, peaked in the late ‘90s and died shortly after. (“Millenium bug” maintained a consistent 0%). “Delorean”, on the other hand, has only gone from strength to strength. Time travel may elude us, but nostalgia? Never.
Throughout January, SBS have seen fit to once again screen America In Prime Time – a four-part series which examined archetypal characters (Independent Woman, Man Of The House, The Crusader, The Misfit) in American television shows across a few centuries. Now, interesting as it is, this snapshot is confined to American television, a few select shows, and some high-profile commentators from said shows. A Baldwin. An Apatow. I wanted to broaden the scope, to look at character types from long before the cathode ray. And then circle back to it. Theophrastus, a Greek philosopher who was kicking around a few hundred years ‘Before Christ’, wrote a book called The Characters. Within it, he categorically characterised human dramatis personae into 30 distinct types. Around 430 years ‘Anno Domini’, the Chinese prince of Liu I-ch’ing, Liu-Sung, together with his staff compiled the Shih-shuo hsin-yü or A New Account Of The Tales Of The World. Where Theophrastus gave us 30 types, Liu-Sung upped the ante and presented 36 character types in Shih-shuo hsin-yü – everything from ‘cultivated tolerance’ to ‘quick perception’, from ‘uninhibitedness and eccentricity’ to ‘stinginess and meanness’. The latter two seem like remarkably apt descriptions for the classification of Cosmo Kramer and George Costanza respectively. Which brings us forward another few hundred years to a New York deli on an
LA film lot, or a café whose exterior exists on the east coast while its booths and counter reside on the west. It brings us to the classification system of character types presented by Larry David and Jerry Seinfeld. This duo created wholly new character types, collected below in the hope that one day a fourpart documentary series will unearth further examples of each and examine them in turn. The high talker: a guy who talks with a really high-pitched voice – see The Pledge Drive The low talker: a person who talks in a low, soft voice; nobody hears anything when a low talker speaks – see The Puffy Shirt The close talker: a person who stands to close to you when they speak – see The Raincoats The bad breaker-upper: someone who says the things you don’t mean when you break up, but means them – see The Andrea Doria The double-dipper: a person who inserts chip into dip, takes a bite, and unhygienically re-dips the chip – see The Implant The Ribbon Bully: Someone who forces a person to visually represent their support for AIDS by wearing a red ribbon – see The Sponge The Regifter: A person who, upon receiving a gift, re-labels it and presents it as a new gift to a third party – see The Labelmaker The Spongeworthy: a particularly worthy sexual partner – see The Sponge The two-face: someone who looks good in one lighting condition and ugly in another – see The Strike
TOM E LEWIS
I’m not at all familiar with the past work of Tom E Lewis, which I’m embarrassed to admit after hearing Beneath The Sun, the 55-year-old South Eastern Arnhem Land man’s new album. While Lewis has probably been somewhat more renowned as an actor over the past few decades, music has been a big part of his life as well and he’s toured the world playing jazz in the past. There’s not much jazz on Beneath The Sun; it’s a record of stories that has that feeling of authenticity that can’t be faked – no matter how good an actor he may be. “I survived the dark side,” he says in his bio. You can tell. The record is out through Skinnyfish Music/MGM on 14 Feb. If you get a chance, jump online and search for the discography of Bobby Keys. The past 44 years has seen him as a part of The Rolling Stones, but he’s truly done so much more than that – performing with everyone from Joe Cocker (on Mad Dogs & Englishmen, no less) to Lynyrd Skynyrd over the years. He will be in Australia with the Stones in March and has a band of shit-hot musicians, which he calls The Suffering Bastards, joining him for dates along the east coast of the country. The shows will see him take a journey through the myriad classic tracks he’s had a hand in and sound like they’re going to be a real hoot. Check The Guide for details.
JERRY SEINFELD
getittogether@themusic.com.au THE MUSIC • 29TH JANUARY 2014 • 55
opinion BEYOND THE SPEAKERS
TRAILER TRASH
FILLING THE DEAD AIR WITH RACHEL CORBETT
DIVES INTO YOUR SCREENS AND IDIOT BOXES WITH GUY DAVIS
RAINY VIETNAM
One thing about writing and performing daily is that when your brain starts to sniff the onset of holidays, it begins to shut down fairly quickly. As a result, you have two options: 1) Stay at home and attempt to maintain all your regular relationships knowing that as a consequence of said shutdown your conversation will no longer be sparkling, your jokes will no longer hit their mark and your general ability to be a normal human being will be severely compromised or 2) flee the country. Luckily I decided to do the latter because in this state the chances of being entertaining are always greater when you’re performing to an audience who has English as their second language. Vietnam was the destination of choice for me and my best mate and, despite feeling like I have a fairly decent grasp of the world, I realised when I arrived that my näiveté truly knows no bounds, as I had evidently packed according to the fairly general and incorrect belief that ‘Asia is always warm at Christmas time’. As I looked out the supplementary window of my hotel in Hanoi (the main window was bricked in…) I realised the error of my ways. Unfortunately my assumption had completely disregarded the significance of a little thing called the ‘equator’ and the fact that Vietnam is above it and therefore in winter. Ergo, my collection of lightweight dresses quickly became good for nothing except wiping the rain off the seat of my motorbike and wrapping around my hands to avoid the impending frostbite. Naturally, this problem had to be dealt with in situ but as I went through the process of righting my sartorial wrongs, I did learn a few important lessons (what is 56 • THE MUSIC • 29TH JANUARY 2014
a mistake if it’s not immediately followed by a ‘journey of self discovery’ after all?). Lesson 1: Not all of Asia is hot at Christmas time. Lesson 2: When you’re trying to avoid freezing to death be sure you only purchase an item of clothing that has been laying out on the street if you are capable of a wash-before-wear scenario. In a town where meat is cut directly on the sidewalk, it was unsurprising that my $5 tracksuit bottoms began to itch a mere 2.5 seconds after I had parted with my hard-earned cash and even after showering to the point where I had almost availed myself of skin, that itch just wouldn’t go away. Having said that, the offending pants have now been washed and are the very picture of itch-free comfort. Lesson 3: Life is free of all sartorial judgement when you are a traveller, especially in Asia. After my hideous experience with the $5 trakkies, I swiftly got myself to a mall where the best option appeared to be a tracksuit (classy), which became my uniform for the next five days. I wore that damn thing everywhere – to restaurants, bars, memorials, you name it. It’s fair to say that back home if I did the same it would have been assumed I’d left the kids at home unsupervised (with firearms to entertain them), so I could spend my welfare check on a fancy dinner, but overseas, not a single batted eyelid; not one look of judgement. Now that I’m home I really don’t know what I’m going to miss more – the sights and sounds of travelling, or the freedom to wear a drawstring with pride. God, I love you Asia.
I read an interesting thing about the Academy Awards not long after the most recent batch of nominations was announced (and bear in mind that this is just one pundit’s opinion, not necessarily gospel) – that the Academy, in picking a winner, doesn’t select a film they think is best but that will best represent them. It’s why solid craftsmanship is sometimes preferred to genuine but risky innovation and why films that display a degree of obviousness in their handling of a sensitive or important topic can take precedence over ones that allow for different interpretations. Now that’s not to dismiss any of the excellent movies that were rewarded with Oscar nominations last week. I’m as stoked as anyone that Steve McQueen’s searing, heartfelt 12 Years A Slave is among the Best Picture nominees, and especially stoked that Chiwetel Ejiofor – who will win the Best Actor award if there’s any justice in the world – and Lupita Nyong’o have been recognised for their amazing, lived-in performances. Indeed, it’s hard to fault any of the Academy’s choices when it comes to this year’s nominations. Even if a performance or a screenplay or a directorial decision isn’t necessarily your brand of whimsy, it’d be difficult to dispute its quality. Take Jennifer Lawrence in American Hustle, for example. J-Law can pretty much do no wrong right now, and her work as Rosalyn in David O. Russell’s film brings to light even more facets of her remarkable skillset. There’s subtle and broad humour at play there; there’s a wilful, destructive quality to the character’s personality that Lawrence makes both bewitching
and repellent. It’s a terrific performance but it’s also very clearly a performance. (Of course, people assuming new characters and personas is part of what American Hustle is all about, so I’ve either shot my argument in the foot or taken the discussion in a fascinating new direction.) I used the term ‘lived-in’ a paragraph or so back, and maybe that’s what I respond to when it comes to acting. I like theatrics and pyrotechnics and scenerychewing as much as the next chump, but as time progresses I do find myself appreciating more and more acting that walks the fine line between naturalism and performance. That’s why I was a tad disappointed that neither Joaquin Phoenix nor Scarlett Johansson got nods for their work in Spike Jonze’s Her, and very disappointed that Oscar Isaac wasn’t recognised for his break-out work in Inside Llewyn Davis. (In fact, the Inside Llewyn Davis shut-out – barely a damn nomination! – is what has angered me most about this year’s Oscars. But the Academy only chooses to properly respect the Coens every decade or so, so wake me up around 2020.) Just because the Academy Awards haven’t given any love to work one personally finds outstanding doesn’t diminish the quality of that work one iota, of course. It’s not as if Robert Redford’s performance in All Is Lost is about to be forgotten. It’s not like Fruitvale Station or Brie Larson’s work in Short Term 12 is any less powerful because it slipped beneath the radar. Awards are very nice and all, but quality will always find its way into the hearts and minds of people who will appreciate and cherish it.
AMERICAN HUSTLE
the guide nsw.gigguide@themusic.com.au Spencer Scott + Josh Balacov + Jack Lundy: Lass O’Gowrie, Wickham
THE MUSIC PRESENTS
Michael Griffin Quartet: LazyBones Lounge, Marrickville Hussy Hicks + Matt Zarb + Chris E Thomas + Eric Erdman: Lizottes Central Coast, Kincumber CC Jerome Jetsetters: Lizottes Newcastle, New Lambton
GIG OF THE WEEK ST JEROME’S LANEWAY FESTIVAL FT HAIM AND MORE: 2 FEB SYDNEY COLLEGE OF THE ARTS JURASSIC 5: 19 MAR ENMORE THEATRE
WED 29
Hitseekers: 3 Wise Monkeys, Sydney
Parquet Courts: 5 Feb The Standard
KC & The Sunshine Band, WAR: 17 Apr Enmore Theatre
Frightened Rabbit: 6 Feb Metro Theatre
Bluesfest: 17 – 21 Apr Tyagarah Tea Tree Farm Byron Bay
Musos Club Jam Night: Bald Faced Stag, Leichhardt
Sydney Rock’N’Roll & Alternative Market: 8 and 9 Feb Manning House & Bar
Buddy Guy, Charlie Musselwhite: 19 Apr Sydney Opera House
Flying Emus: Brass Monkey, Cronulla
The Wailers, Sly & Robbie & The Taxi Gang: 19 Apr Enmore Theatre
The Familiars + The Vanns: Cambridge Hotel, Newcastle West
Caravana Sun: 14 Feb Transit Bar Canberra; 15 Beach Road Hotel Bondi; 21 The Small Ballroom
Baecastuff: 505, Surry Hills
Toni Stevens: Campsie RSL, Campsie
Wire: 20 Feb Oxford Art Factory
Trixie Whitley: 19 Apr The Basement
Dan Sultan: 27 Feb Zierholz Canberra; 9 Mar Metro Theatre
Larry Graham & Graham Central Station: 20 Apr The Basement
Mikhael Paskalev: 5 Mar Oxford Art Factory
Jake Bugg: 20 Apr Enmore Theatre
The Growlers: 7 Mar Oxford Art Factory
Suen Kuti & Egypt 80: 20 Apr Metro Theatre
The Groovemeisters: LazyBones Lounge, Marrickville
Future Music Festival: 8 Mar Randwick Racecourse
Suzanne Vega, Seth Lakeman: 20 Apr Factory Theatre
Billy Bragg: 16 Mar Sydney Opera House
Devon Allman, Gregg Allman, Gov’t Mule: 21 Apr Enmore Theatre
Live & Local feat. Blueprint: Lizottes Central Coast, Kincumber
Jurassic 5: 19 Mar Enmore Theatre Caspian: 19 Mar Bald Faced Stag Absu: 22 Mar Factory Theatre The Magic Band, The Grandmothers Of Invention: 12 Apr Metro Theatre Beth Hart: 12 Apr The Basement Allen Stone: 13 Apr Metro Theatre Jimmie Vaughan, Nikki Hill: 16 Apr Metro Theatre The Soul Rebels: 16 Apr The Basement Morcheeba, Chali 2na: 17 Apr Metro Theatre Robben Ford, Walter Trout: 16 Apr Lizotte’s Newcastle; 17 Factory Theatre
North Mississippi Allstars: 22 Apr The Basement Steve Earle & The Dukes, Kasey Chambers: 23 Apr Enmore Theatre KT Tunstall: 23 Apr Lizotte’s Newcastle; 24 Lizotte’s Central Coast; 25 Lizotte’s Dee Why; 26 The Basement Aaron Neville, Dr John & The Nite Trippers: 24 Apr State Theatre India.Arie, Joss Stone: 24 Apr Enmore Theatre Ozomatli: 25 Apr Factory Theatre Booker T Jones, Valerie June: 26 Apr Factory Theatre Arctic Monkeys: 6 May Sydney Entertainment Centre
Major Lazer + Flosstradamus: Enmore Theatre, Enmore Dave Jackson Quartet: Foundry 616, Ultimo Adam Gorecki: Hillside Hotel, Castle Hill
Homeschool: Yours & Owls, Wollongong
THU 30
Party Central: 3 Wise Monkeys, Sydney
DJ Sarah Robertson: Australian Hotel & Brewery (Cool Room), Rouse Hill GoodChild: Bar 100, The Rocks The Getaway Plan + Wendy Icon + Guests: Bomaderry Hotel, Bomaderry Dylan Wright + The Game River + Dan Twining: Brass Monkey, Cronulla
Joe Echo Duo: Maloneys Hotel, Sydney Eric Lewis: Manly Leagues Club, Brookvale Open Mic Night with Alex Hopkins: Northies, Cronulla Redlight Ruby: O’Malleys Hotel, Kings Cross D At Sea + Guests: Oasis Youth Centre (All Ages / 5.30pm), Wyong Cambo: Observer Hotel, The Rocks Dave White: Orient Hotel, Sydney Youth Lagoon + The Broods: Oxford Art Factory, Darlinghurst Gordi: Oxford Art Factory (Gallery Bar), Darlinghurst Lo Roberts: Peakhurst Inn, Peakhurst
Live & Local feat. Kristy James + more: Lizottes Newcastle, New Lambton CC Jerome Jetsetters: Lizottes Sydney, Dee Why Andy Mammers Duo: Maloneys Hotel, Sydney
HUNTERS & COLLECTORS: 1 FEB BIMBADGEN WINERY HUNTER VALLEY
Judenn Lassiter: Mars Hill Cafe, Parramatta Dave Power: Mercantile Hotel, The Rocks Mount Kimbie + Charles Murdoch: Metro Theatre, Sydney Darren Johnstone: Mounties (Terrace Bar), Mt Pritchard
Flying Emus: Camelot Lounge, Marrickville Scott Donaldson: Campbelltown Catholic Club (Cafe Samba / 6pm), Campbelltown Musos Club Jam Night: Carousel Inn, Rooty Hill
Audrey Auld + Bill Chambers: Petersham Bowling Club, Petersham Tommy Dean: Rock Lily, Pyrmont Greg Byrne: Scruffy Murphy’s, Sydney
Joe Echo Duo: O’Malleys Hotel, Kings Cross
Joey & The Boy: Club Belmore, Belmore
Gemma: Observer Hotel, The Rocks
Matt Price: Dee Why Hotel, Dee Why
Mark Travers: Orient Hotel, Sydney
John Vella: Fortune of War Hotel, The Rocks
Mudhoney + feedtime: Oxford Art Factory, Darlinghurst
Nadya & the 101 Candles Orkestra: Foundry 616, Ultimo
Matt Jones Trio: Rock Lily, Pyrmont
Big Blind Ray Trio: Frankies Pizza, Sydney
Looking Through A Glass Onion with John Waters: Sydney Opera House (Playhouse), Sydney
Angelene + Arthur Campbell + GoodChild: Sappho Books Cafe & Wine Bar, Glebe
Andy Mammers: Hillside Hotel, Castle Hill
The Familiars + The Vanns: The Basement, Belconnen
Hollywood Nights feat. Marlena Dali: Hotel Hollywood, Surry Hills
Gudrun Gut + Guests: The Square, Haymarket
Luke Dixon + Lynsay Drummond: South Sydney Juniors, Kingsford
CASPIAN: 19 MAR BALD FACED STAG
Vibrations At Valve: Valve @ Agincourt, Sydney
Glenn Shorrock: Lizottes Sydney, Dee Why
Matt Price: Summer Hill Hotel, Summer Hill
Cash Savage & The Last Drinks: Hotel Steyne (Moonshine Bar), Manly
Looking Through A Glass Onion with John Waters: Sydney Opera House (Playhouse), Sydney
Musica Linda: Jam Gallery, Bondi Junction
Toro Y Moi + Portugal. The Man: The Hi-Fi, Moore Park
FBi Social feat.Traveller & Fortune + Emma Davis: Kings Cross Hotel, Kings Cross
Hot Damn! feat. Your Weight In Gold + Far Away Stables + Jacobide + Undercast + The Cardinals: Spectrum, Darlinghurst Cat Power: Street Theatre, Canberra City West
Driffs + Moon Halls + more: The Standard, Surry Hills Kim Churchill: Transit Bar, Canberra Funk Core Show with Side Tracked Fiasco + Narla + Dear Seattle + Red Gazelle: Valve @ Agincourt, Sydney
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 29TH JANUARY 2014 • 57
the guide nsw.gigguide@themusic.com.au
FRI 31
Dave Favours + Spencer P Jones: The Green Room, Enmore
Funkapedia: Belmore Hotel, Maitland
DJ Patsan: 5 Sawyers, Newcastle
The Green Mohair Suits + The Morrisons + All Our Exes Live In Texas: The Loft, UTS, Broadway
My Sauce Good + Belle Jar: 505, Surry Hills
Moonlight Drive: The Mark Hotel, Lambton
A Day On The Green with Hunters & Collectors + You Am I + Something For Kate + British India: Bimbadgen Winery, Polkolbin
GoodChild: Adria Bar & Restaurant, Sydney
Toxic Dolls: The Oaks Hotel, Albion Park Rail
SCNDL + more: Australian Hotel & Brewery (Cool Room), Rouse Hill
Alpine Decline + Golden Blonde + Psychlops Eyepatch + Lovelyhead: The Square, Haymarket
Russell Nelson: 3 Wise Monkeys, Sydney
Finn: Avoca Beach Hotel, Avoca Beach Harbourmaster: Bar Petite, Newcastle
Slumberhaze + Little Fox + Sherekhan + The Coconut Ruffs: The Standard, Surry Hills
The Rockin Eddie Band: Belmont 16’s, Belmont
Boston Blue: The Vineyard Hotel, Vineyard
Cam Hughes Duo: Belmore Hotel, Maitland Hope Drone + Ether Rag + Tanned Christ: Black Wire Records, Annandale Bryce Cohen + Richard Calabro + Katherine Vavahea: Brass Monkey, Cronulla Johnny Spitz: Briars Inn, Bowral Best Of Foo: Bull & Bush, Baulkham Hills British India: Cambridge Hotel, Newcastle West Pape Mbaye + Chosani Afrique: Camelot Lounge, Marrickville Greg Agar + DJ Slinkee: Campbelltown Catholic Club (Club Lounge), Campbelltown Ben Finn: Castle Hill RSL, Castle Hill Gen-R-8: Cessnock Supporters Club, Cessnock Talk of The Town: Charlestown Bowling Club, Charlestown Lj: Chatswood RSL, Chatswood Ken Stringfellow & Chris Stamey: Clarendon Guest House, Katoomba Party Central: Club Cronulla, Cronulla Rock Solid Duo: Club Windang, Windang John Vella: Cock ‘n’ Bull, Bondi Junction Blackstar: Collingwood Hotel, Liverpool Frank Sultana & the Sinister Kids: Coogee Diggers, Coogee
YOUTH LAGOON: 30 JAN OXFORD ARTS FACTORY Brendan Clarke Quartet: Foundry 616, Ultimo
Armchair Travellers Duo: North Sydney Leagues, Cammeray
Matt Price: The Woolwich Pier Hotel, Woolwich
Craig Thommo: General Gordon Hotel, Sydenham
Heath Burdell: Northies, Cronulla
The Getaway Plan + Wendy Icon + Guests: Towradgi Beach Hotel (Waves), Towradgi
D At Sea + Millie Tizzard: Great Northern Hotel, Newcastle James Englund: Greystanes Inn, Greystanes Lemuria + Kissing Booth + Pinch Hitter + Hazards + Spencer Scott: Hamilton Station Hotel, Hamilton David Agius: Harbord Beach Hotel, Freshwater James Fox Higgins Trio: Hillside Hotel, Castle Hill Duelling Pistols: Hotel Jesmond, Jesmond
The Barefoot Band + Steel Skin & Wood: Jam Gallery, Bondi Junction Kurt Williams: Kareela Golf & Social Club, Kareela Hard Rocking Amigos: Kiama Leagues Club, Kiama FBi Social feat.Bon Chat, Bon Rat + Trjaeu + Nimble Animal + Yolke + Haunts: Kings Cross Hotel, Kings Cross Nicky Kurta Duo: Kirribilli Hotel, Milsons Point
Black Diamond Hearts + Evie Dean: Crows Nest Hotel, Crows Nest
Cleveland Blues + more: Lewisham Hotel, Lewisham
Daley Holliday: Duke of Wellington Hotel, New Lambton
Hussy Hicks + Matt Zarb + Chris E Thomas + Eric Erdman: Lizottes Sydney, Dee Why
JJ Duo: East Hills Hotel, East Hills
Renae Stone: Manly Leagues Club, Brookvale
The Headliners: Fitzroy Hotel, Windsor
Dennis Demello: Oasis on Beamish Hotel, Campsie Mashed Fridays feat. DJ Toy Boy: Oatley Hotel, Oatley Brad Johns + Rob Henry: Observer Hotel, The Rocks Reckless + Johnny Rock: Orient Hotel, Sydney
Rapture: Padstow RSL, Padstow
The Fabulous Rumble’ators: LazyBones Lounge, Marrickville
The Atomic Bombshells + El Vez: Factory Theatre, Marrickville
Geoff Rana: O’Malleys Hotel, Kings Cross
Am 2 Pm: Ingleburn RSL, Ingleburn
Pete Gelzinnis: Crown & Anchor Hotel, Newcastle
Muddy Feet: Ettalong Memorial Bowling Club, Ettalong
Jess Dunbar: Novotel - Brewery Bar, Sydney Olympic Park
The Familiars + The Vanns: Oxford Art Factory (Gallery Bar), Darlinghurst
Devine Electric + Bright Falls + Dreamers Crime: Lansdowne Hotel, Chippendale
Kenan Dogulu + Ozan Dogulu + Nida: Enmore Theatre, Enmore
Brien McVernon: Northumberland Hotel, Lambton
Lo Roberts: Huskisson Hotel, Huskisson
Hand Picked: Courthouse Hotel, Darlinghurst
Lemon Squeezin’ Daddies + Hot DogTaylor: Eastern Suburbs Legion Club, Waverley
Tom Buckley: The Windsor Castle Hotel, Newcastle
Vandalism: Marquee, Pyrmont Busking On Mars feat. Bonnie Kay + The Flute Loop: Mars Hill Cafe, Parramatta Matt Jones + Natasha Kavanagh: Mona Vale Hotel, Mona Vale Outerphase: Nelson Bay Diggers Club, Nelson Bay Dave White Experience + Michael McGlynn: New Brighton Hotel, Manly
Gene & Sofie: Parramatta Leagues, Parramatta Tim Conlon: Parramatta RSL, Parramatta Plai Station: Penrith Gaels, Kingswood Lethal Vendetta + Mattersphere + Temtris + Darker Half: Penshurst RSL, Penshurst Joe Echo & Mark Oates Duo: PJ Gallaghers, Leichhardt Joel Fletcher + Ember: Plantation Hotel, Coffs Harbour They Call Me Bruce: Quakers Inn, Quakers Hill Andrew Williams Duo: Ramsgate RSL (Lounge), Sans Souci Souled Out: Scruffy Murphy’s, Sydney Courtyard Sessions feat. VCS: Seymour Centre (Courtyard), Chippendale Cath & Him: St George Leagues (Mixed Lounge), Kogarah Zoltan: Stacks Taverna, Sydney Looking Through A Glass Onion with John Waters: Sydney Opera House (Playhouse), Sydney GrimSkunk + Godfrey Turner Overdrive + Tiffany Britchford & The Reckless Abandon: Tattersalls Hotel, Penrith Muma Janes Blues Band: The Entrance Bowling Club, The Entrance Twinsanity: The Exchange Hotel, Hamilton
031 Rock Show: Towradgi Beach Hotel, Towradgi Benjalu: Upstairs Beresford, Surry Hills Kang + Handball Deathmatch + Our Past Days + That’s The Last Straw: Valve @ Agincourt (Basement / 8pm), Sydney Savilian + Sarah Connor MB + Oakbridge + Planet Crushers + more: Valve @ Agincourt (First Level / 9pm), Sydney Hornet: Warners at the Bay, Warners Bay Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville
Openair Cinema +Louis London: Bondi Beach, Bondi Beach Paul O’Brien Band: Botany View Hotel, Newtown Iron Lion: Bradbury Inn, Bradbury Shane Nicholson + Gregory Page + Betty & Oswald: Brass Monkey, Cronulla Sharron Bowman: Brewhouse, Kings Park Fractures + Goldsmith: Brighton Up Bar, Darlinghurst A Band Named Trevor: Bull & Bush, Baulkham Hills Kerser: Cambridge Hotel (All Ages), Newcastle West Kerser: Cambridge Hotel (Over 18s), Newcastle West Miriam Lieberman: Camelot Lounge, Marrickville Party Revival Band: Campbelltown Catholic Club (Club Lounge / 9.30pm), Campbelltown Super Massive: Captain Cook Hotel, Surry Hills Fatt Lipp: Carousel Inn, Rooty Hill Keith Armitage: Castle Hill RSL (Terrace Bar), Castle Hill Suite Az: Castle Hill RSL (Cocktail Lounge), Castle Hill
Jay Seeney: Wests Illawarra Leagues Club, Unanderra
D’Lish: Cessnock Performing Arts Centre, Cessnock
Mum feat +Restless Leg + The Worriers + The Pipes: World Bar, Kings Cross
London Klezmer Quartet: Clarendon Hotel, Surry Hills
Cash Savage & The Last Drinks: Yours & Owls (Rad 11), Wollongong
SAT 01
Wildcatz: 3 Wise Monkeys, Sydney
DJ Sean Michael: 5 Sawyers, Newcastle Meta Bass ‘n’ Breath: 505, Surry Hills Benn Gunn: Abbotts Hotel, Waterloo Michael Saracino: Australian Hotel & Brewery, Rouse Hill
Dennis Wilson: Club Belmore, Belmore Endless Summer Beach Party: Club Cronulla, Cronulla Elevation - U2 Tribute: Colyton Hotel, Colyton Klay: Cookies Lounge Bar, North Strathfield Spencer P Jones & The Escape Committee + Carrie Phillis & The Downtown Three + The Numbered: Corrimal Hotel, Corrimal JJ Duo: Courthouse Hotel, Darlinghurst Pop Fiction: Cronulla Leagues Club, Woolooware
Melody Feder + Michael Muchow: Avoca Beach Hotel, Avoca Beach
Moonlight Drive Duo: Crown & Anchor Hotel, Newcastle
T.H.U.G. + The Veebees + Topnovil + The Fuck Outs: Bald Faced Stag, Leichhardt
Sons of Mercury + David Agius: Crows Nest Hotel, Crows Nest
Weekend Detention: Balgownie Hotel, Balgownie Transit: Bay Hotel, Bonnells Bay Bootleg Rascal: Beach Road Hotel, Bondi Beach The Snape Brothers: Belmont 16’s, Belmont Nearly Neil with Bobby Bruce: Belmont 16’s (Showroom), Belmont
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 58 • THE MUSIC • 29TH JANUARY 2014
Countdown Revival: Blacktown Workers Club, Blacktown
Kickstar: Crown Hotel, Sydney
Greg Bryce & The Bad Bad Things: Duke of Wellington Hotel, New Lambton Scott Floyd: Eastern Suburbs Legion Club, Waverley Tori Darke: Ettamogah Hotel, Kellyville Ridge The Kinetic Jazz Orchestra: Foundry 616, Ultimo Raoul Graf: General Gordon Hotel, Sydenham
the guide nsw.gigguide@themusic.com.au Frank Sultana & the Sinister Kids: Great Northern Hotel, Newcastle Heath Burdell: Harbord Beach Hotel, Freshwater Luke Dixon: Helensburgh Workers, Helensburgh Lemuria + Kissing Booth + Pinch Hitter + more: Hermanns Bar, Darlington Sundays Record Duo: Hotel Jesmond, Jesmond Pete Hibbert: Iron Horse Inn, Cardiff Fire Down Below: Katoomba RSL, Katoomba FBi Social feat. +Beaten Bodies + The Venusians: Kings Cross Hotel, Kings Cross Michael McGlynn: Kirribilli Hotel, Milsons Point Killrazer + Lethal Vendetta + Til Rapture: Lansdowne Hotel, Chippendale Groove Depot: LazyBones Lounge, Marrickville King Parrot + Havok + Desecrator: Level One, Newcastle Leagues Club, Newcastle Steel Swarm + The Blackened Beneath + HAZMAT + Avarin: Lewisham Hotel, Lewisham Glenn Shorrock: Lizottes Central Coast, Kincumber Flying Emus: Lizottes Sydney, Dee Why Cath & Him: Manly Leagues Club (Menzies Lounge), Brookvale Black Diamond Hearts: Marble Bar, Sydney Nari & Milani: Marquee, Pyrmont Busking On Mars feat. Vernon Zamora + Daniel Rosewell: Mars Hill Cafe, Parramatta Geoff Yule Smith + Band: Matraville RSL, Matraville VIP: Mean Fiddler Hotel (Woolshed), Rouse Hill A-Team Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill John Field & Leon Fallon: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill Lonely Boys: Mercantile Hotel, The Rocks Periphery + Animals As Leaders: Metro Theatre, Sydney DJ Shayne Alsop: Mounties (Terrace Bar), Mt Pritchard Dr Zoom Duo: Nelson Bay Diggers Club, Nelson Bay Am 2 Pm: North Sydney Leagues, Cammeray
Matt Price: Penrith Panthers (Terrace Bar), Penrith
Loose Bazooka: Warners at the Bay, Warners Bay
Ricky Lynch & Holly: Kiama Leagues Club, Kiama
Janet Seidel: Penrith RSL (Castle Lounge / 2pm), Penrith
Yuki Kumagai & John Mackie: Well Co Cafe / Bar (11am), Leichhardt
The Brassholes: LazyBones Lounge, Marrickville
Ken Stringfellow & Chris Stamey: Petersham Bowling Club, Petersham Joe Echo: PJ Gallaghers, Moore Park Mark Oats & Cara Kavanagh Duo: PJ Gallaghers, Leichhardt Toxic Dolls: PJ’s Irish Pub, Parramatta
Craig Thommo Duo + DJ Marty: Wentworthville Leagues Club, Wentworthville
Cash Savage & The Last Drinks: Lizottes Central Coast, Kincumber
Matt Jones Duo: Woolloomooloo Bay Hotel, Woolloomooloo
Gleny Rae Virus & her Playboys: Marrickville Bowling Club, Marrickville
D At Sea + Millie Tizzard: Yours & Owls, Wollongong
Joe Echo Duo: Mean Fiddler Hotel, Rouse Hill
SUN 02
Heath Burdell: Mill Hill Hotel, Bondi Junction
Christie Lamb: Port Macquarie Hotel (Paws Lounge), Port Macquarie
DJ Tone: 5 Sawyers, Newcastle
Wasted Years feat. Hope Drone + Snakes Get Bad Press + Lizzard Wizzard + Jackals + Hannah Band: Q Bar, Darlinghurst
Kim Sanders Memorial Picnic & Concert: Addison Road Community Centre (4pm), Marrickville
Brent Murphy: Quay West Magenta Shores, Magenta
Tom Trelawny: Ambarvale Tavern, Ambarvale
Two Minds Duo: Northies, Cronulla
Mad Cow: Ramsgate RSL (Auditorium), Sans Souci
D At Sea + Millie Tizzard + Kris McIntyre: Bald Faced Stag (All Ages / 5.30pm), Leichhardt
Rick Fensom: Oatley Hotel (2pm), Oatley
The Best of Show feat. Kelebek + Omar Dean + Danny Ross + Michael Stangel: Revesby Workers (Whitlam Theatre), Revesby Big Way Out: RG McGees, Richmond Jake McDougall: Riverwood Inn, Riverwood The Levymen: Royal Federal Hotel, Branxton Project Blue: Ruby L’Otel, Rozelle Outlier: Scruffy Murphy’s, Sydney Miranda Hart: Seymour Centre (Everest Theatre), Chippendale Homeboy Sandman: Spectrum, Darlinghurst The Starliners: Sutherland United Services Club, Sutherland Looking Through A Glass Onion with John Waters: Sydney Opera House (Playhouse / 2pm), Sydney
Openair Cinema +Jinja Safari: Bondi Beach, Bondi Beach
Rob Henry + Three Wise Men: Observer Hotel, The Rocks
The Mezcaltones: Botany View Hotel, Newtown
Andy Mammers Duo + Lonesome Train: Orient Hotel, Sydney
Charity Turner + Nikita Rolleston: Brass Monkey, Cronulla Peter Northcote + Bernie Segedin: Bridge Hotel, Rozelle Ace: Campbelltown Catholic Club (Club Lounge / 6pm), Campbelltown Jimmy Mann: Campbelltown Catholic Club (Cafe Samba / 1pm) Campbelltown
Laneway Festival 2014 feat. Adalita + Autre Ne Veut + Cashmere Cat + Cass McCombs + Chvrches + Cloud Control + Danny Brown + Daughter + Dick Diver + Drenge + Earl Sweatshirt + Four Tet + Frightened Rabbit + Haim + Jagwar Ma + Jamie xx + King Krule + Kirin J Callinan + Kurt Vile + Lorde + Mount Kimbie + Mt Warning + Parquet Courts + Run The Jewels + Savages + Scenic + The Growl + The Jezabels + Unknown Mortal Orchestra + Vance Joy + Warpaint + XXYYXX + Youth Lagoon + Little May + Laneway Festival: Sydney College Of The Arts, Rozelle
Matt Price: Coogee Bay Hotel, Coogee
Weekend Detention: George IV Hotel (3pm), Picton
Rock Fossils: Oatley Hotel, Oatley
Pacha feat. Laidback Luke + Uberjak’d: The Ivy, Sydney
Souled Out + Jimmy Bear: Orient Hotel, Sydney
Daniel Arvidson: The Mark Hotel, Lambton
Double Barrel: Parramatta Leagues, Parramatta
Scratch: The Windsor Castle Hotel, Newcastle
Rapture: Parramatta RSL, Parramatta
Jess Dunbar: Time & Tide Hotel, Dee Why
Ryan Thomas: Pennant Hills Hotel, Pennant Hills
Paul Hayward + Friends: Town & Country Hotel (3pm), St Peters
The Remixes: Penrith Gaels, Kingswood
Lime Cordiale: Upstairs Beresford, Surry Hills
Brian King: Ramsgate RSL (Lounge / 2pm), Sans Souci
Tim Pringle: Collingwood Hotel, Liverpool
The Getaway Plan + Hallows + At Worlds End: Tattersalls Hotel, Penrith
Edema Ruh + The Midnight Tea Party + Chaika: The Gaelic, Surry Hills
Spencer P Jones & The Escape Committee + Carrie Phillis & The Downtown Three + Loose Pills + Deadwood 76 + The Escapes + Dave Favours: Petersham Bowling Club (2.30pm), Petersham
Miranda Hart: Seymour Centre (Everest Theatre), Chippendale
Jake McDougall: Fortune of War Hotel, The Rocks
Luke Dolahenty Duo: Northies (Sports Bar), Cronulla
Macka: Overlander Hotel, Cambridge Gardens
Wizz Cats: Campsie RSL, Campsie
The Whitlams: Taronga Zoo (Concert Lawn), Mosman
Flying Mare: The Exchange Hotel, Hamilton
Alex Hopkins: North Sydney Hotel, North Sydney
Sunday Sessions with DJ Alter Ego: Oatley Hotel (6pm), Oatley
Mark Travers: Ettamogah Hotel, Kellyville Ridge
Mystery Guest: The Belvedere Hotel, Sydney
Bobby C: Nelson Bay Diggers Club, Nelson Bay
Bloom: Belmont 16’s, Belmont
Looking Through A Glass Onion with John Waters: Sydney Opera House (Playhouse / 8.15pm), Sydney
Craig Charles + Kerbside Collection + Roxie Ray + Russ Dewbury + more: The Basement, Circular Quay
Nicky Kurta: Narrabeen Sands, Narrabeen
David Agius: Family Inn, Rydalmere
The Koffi Boys: Harbord Beach Hotel, Freshwater Thirsty Merc: Heathcote Hotel, Heathcote Louis Bros: Huskisson Hotel (4pm), Huskisson Hayden Johns: Jewells Tavern, Jewells
Beatbox Showcase feat. Vanessa Caspersz + more: Valve @ Agincourt (Basement / 3pm), Sydney
Klay: Wallacia Hotel, Wallacia Jae Haydon: Waverley Bowling & Recreation Club, Waverley Tori Darke: Woolloomooloo Bay Hotel, Woolloomooloo Lemuria + Kissing Booth + Pinch Hitter + Harbourer: Yours & Owls (All Ages), Wollongong
MON 03
DinkiDiAcoustic feat. The Faraway Eyes Group + Rod Crundwell + Beck Fielding: Camelia Grove Hotel (6.30pm), Alexandria Kye Brown: Orient Hotel, Sydney At Last: The Music Of Etta James with Vika Bull: Sydney Opera House (Drama Theatre), Sydney Big Swing Band: Tattersalls Hotel, Penrith
TUE 04
Jam Night with Michael Muchow: Avoca Beach Hotel, Avoca Beach
Jeff Martin + Sarah McLeod: Brass Monkey, Cronulla Earl Sweatshirt + Danny Brown + Run The Jewels + Citizen Kay: Enmore Theatre, Enmore Bonnie Stewart + Neo Bop Quintet: Foundry 616, Ultimo Drenge + The Creases: Goodgod Small Club, Sydney Ray Beadle & The Silver Dollars: Jam Gallery, Bondi Junction Chvrches + Elizabeth Rose: Metro Theatre, Sydney Rob Henry: Observer Hotel, The Rocks King Krule: Oxford Art Factory, Darlinghurst Cass McCombs + Shining Bird + The Ocean Party + Emma Russack: Scarborough Wombarra Bowling Club, Wombarra Greg Agar: Scruffy Murphy’s, Sydney Daughter: St Stephen’s Uniting Church, Sydney At Last: The Music Of Etta James with Vika Bull: Sydney Opera House (Drama Theatre), Sydney Diana Krall + SSO: Sydney Opera House (Concert Hall), Sydney
CHVRCHES: 4 FEB METRO THEATRE
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 29TH JANUARY 2014 • 59
cos we give a shit
Music And Data CDs Pty Ltd P.O. Box 190 St Peters, NSW 2044, Unit 10, 2 Bishop St, St. Peters, NSW 2044 email: quotes@madcds.com.au or visit our website: www.madcds.com.au
World-class mastering.
$
99
60 • THE MUSIC • 29TH JANUARY 2014
From $99 per song +GST
classies classies.themusic.com.au EMPLOYMENT ADMINISTRATION
ON LOCATION MUSIC RECORDING
POSTERS
FULL COLOUR BAND POSTERS
TEACHER TO THE STARS!
PRODUCTION
EVERY BAND NEEDS A STAR
Pro studio gear brought to you, friendly experienced engineer, national credits, ph: Jeremy 042836876 jeremy@leftofelephantsound.com.au Ad ID: 1-13605
ORIGINAL BANDS WANTED
The Collector hotel in Parramatta will be hosting Original band nights.PA supplied and no door fee’s plus the chance to support some of Sydney’s biggest acts! Please contact Chris for more info-cjstretton@dodo. com.au Ad ID: 1-13611
FILM & STAGE PRODUCTION
FILM PRODUCTION
Music Clips, Live Performances, Promos, Showreels. Let us help you to promote your work or shoot your next gig. $50 per hour for filming and editing. For DVD and online delivery. We also do websites and blogs. A Edit Website Design Film or Make-up www. aeditwebsitedesignfilmor make-up.com.au wendynhislop@bigpond.com Phone: 0421 302 045 Ad ID: 1-13558
MUSIC SERVICES DUPLICATION/MASTERING
CD & DVD DUPLICATION
Editing/ Mastering and Artwork design available. See www.soundedit.com.au for specials. Ph:0280024029 Ad ID: 1-13343
PA / AUDIO / ENGINEERING ONLINE AUDIO ENGINEERING!
100 A4 Gloss only = $40 100 A3 / SRA3 Gloss only = $80 250 SRA3 Gloss only = $150 100 A3 Matt only = $50 MANY more options www.blackstar.com.au call 9264 4776 BlackStar Design 104 Bathurst Street Sydney Ad ID: 1-12960
Ad ID: 1-13145
RECORDING STUDIOS
GOT A SONG IN YOUR HEAD?
Music producer and multi-instrumentalist (guitar, piano, bass & drums) available for singers and songwriters. Full production, mastering and video/ photography services Greg 0425 210 742 Ad ID: 1-13540
Parramatta’s innovative production/recording/ songwriting studio - free no-obligation pre-production - bunkbedbeats.com Ad ID: 1-13560
REHEARSAL ROOMS REHEARSAL STUDIOS AT WINDSOR ** 3 Rooms with Vocal PA ** 1 Large Room with fold back ** Open 7 days Contact: 02 4577 9777 Ad ID: 1-13531
STUDIO HIRE
PRODUCTION/ MIX ROOM FOR RENT
Studio complex in Five Dock. Suit mix engineer,producer or music teacher. $1100/ month. Ad ID: 1-13618
TUITION AAA GUITAR TUITION SYDNEY www.sydneyguitartuition.com.au tel. 0431953178 Ad ID: 1-13613
Bass tuition Balmain - Skilled tutor with international touring experience available for tuition in Balmain. Ad ID: 1-13608
Online mixing, mastering, editing and vocal tuning. Professional Service - Affordable Rates. www.cameronmatheraudio.com Ad ID: 1-13579
Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer. A Guide To How’ email me on sostrow@bigpond.net.au. Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.
PIANO TUITION
VOCAL TUITION
For people having problems with pitch placement and breathing. tel. 0431953178 Ad ID: 1-13614
MUSICIANS WANTED BANDS REGGAE singers & musicians wanted for Reggae Jam Nights. Drums, bass rig, guitar & keyboard amps provided. Call Stan 0414 364 257 Ad ID: 1-13617
DOUBLE BASS
UPRIGHT BASS PLAYER WANTED
Seeking Upright Bass Player for rockabilly duo, trio. We are a 30y/o+ guitarist and part time drummer. Own gear and transport required. Available for regular gigs and open mics, rehearsals. Experience playing live. No greybeards please. ******* Contact Brent on 0413 020 130 or brentmcgr@ yahoo.com.au
Full colour posters done same day. Visit www.blackstar.com.au and check out our prices. Ad ID: 1-12996
SINGER “Ramblin’ Pony” need an experienced Vocalist NOW! ZZ / Free / Stones / Crowes / Faces / Zepp / Eagles... Shaun: 0433 904 419 Ad ID: 1-13584
Female Lead vocalist for Sydney coverband. Rock/ pop. Contact Tim 0403 072525 Ad ID: 1-13547
FEMALE VOCALIST wanted for established events band with fresh line up. Great vocals, ability to harmonise, stage presence and pro attitude required. Gigs booked. Call 0415 849 559. Ad ID: 1-13496
SINGER NEEDED ASAP Experienced Heavy Prog band, looking for a dynamic heavy singer to match. Ready to play! Ad ID: 1-13326
SERVICES GRAPHIC DESIGN
BAND POSTERS
Ad ID: 1-13539
GUITARIST
GUITARIST WANTED!!
Looking for a guitarist and or musicians,.. to jam and form a band, drummer been playing for over 10 yrs, infl, Metallica,Irons,ratm,Ac/Dc,Def leppard, etc... if interested pls call or txt Dave on 0415 225 250. Ad ID: 1-13392
Rhythm/Lead Guitarist Wanted for paid club performances, professional and reliable with good equipment and reliable transport for a new pop-rock band/show with current released Album - originals and covers. Phone Geoff at Extraordinary Entertainment, Mosman: 9969 1179.
Full Colour Posters 100 A4 Gloss only = $40 100 A3 / SRA3 Gloss only = $80 250 SRA3 Gloss only = $150 100 A3 Matt only = $50 MANY more options www.blackstar. com.au call 9264 4776 BLACKSTAR DESIGN 104 Bathurst Street Sydney Ad ID: 1-12912
Ad ID: 1-13511
Popular, Blues and Roots Piano Tuition. Now taking students for 2014. Professional musician Don Hopkins has been teaching piano for over 25 years. Individual sessions. Beginners to advanced. Piano techniques. Improvisation. Songwriting skills. Don Hopkins Music. donhopkins@me.com 0425 201 870 Ad ID: 1-13564
THE MUSIC • 29TH JANUARY 2014 • 61
the end
KIWIS WE STOLE RUSSELL CROWE WHY WE’D STEAL THEM
Films like Romper Stomper, LA Confidential, Gladiator and a heap more; maybe not so much for 30 Odd Foot Of Grunts.
WHY DIDN’T AMERICA CLAIM THEM? We’d have to say because Rusty is just too “okka” to be a Yank.
OFFICIAL NODS A bunch of Oscars; Centenary Medal in 2001 for being a top film bloke.
THE OZ FACTOR Moved over here when he was four, immediately adopted Ausiness (including all the punching)
SEE ALSO The Finns; Spencer P Jones (probs famed for music more than Russell)
KIMBRA
WHY WE’D STEAL THEM Have you seen her perform live? It’s bloody amazing. Also, those dresses giver her a slight Bjork-but-less-crazy edge.
WHY DIDN’T AMERICA CLAIM THEM? Probably because she doesn’t get nude in clips all the time. Oh, wait...
OFFICIAL NODS
Platinum for 2011’s Vows; legendary status because of a certain collab...
THE OZ FACTOR Has pretty much made Melbourne her own since moving in ‘08.
SEE ALSO Ladyhawke; Lorde; TrueBliss (you know, that band that won the first Popstars? No?)
PHAR LAP WHY WE’D STEAL THEM Because he was a horse. Also, he was the horse that became the icon for Australian racing.
WHY DIDN’T AMERICA CLAIM THEM? Do you know how much it costs to ship a 900-pound equine to the US?
OFFICIAL NODS 37 wins from 51 starts. Not too shabby.
THE OZ FACTOR Almost all of his success was on Aussie soil, and his hide and heart are both in the Museum Of Victoria. Ew.
SEE ALSO Sonny Bill Williams; Sika Manu; hell, half of the NFL-playing population of Australia. 62 • THE MUSIC • 29TH JANUARY 2014
THE MUSIC • 29TH JANUARY 2014 • 63
64 • THE MUSIC • 29TH JANUARY 2014