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LEAVING THE T OU GH TIMES BEH IND FOR S OUNDWAVE
I KILLED THE PROM QUEEN
JUMP FOR JORDAN
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2 • THE MUSIC • 19TH FEBRUARY 2014
THE MUSIC • 19TH FEBRUARY 2014 • 3
for more info head to soundwavefestival.com 4 • THE MUSIC • 19TH FEBRUARY 2014
SUNDAY 23 FEBRUARY OLYMPIC PARK SYDNEY THE MUSIC • 19TH FEBRUARY 2014 • 5
6 • THE MUSIC • 19TH FEBRUARY 2014
“THE SWEETEST VOICE IN MUSIC”
TIME GRAMMY WINNER
NEVILLE DR JOHN AND THE
FEAT THE BLACK CROWES FORMER LEAD GUITARIST
THE BASEMENT TUE 22 APR
“GIVE ME A GREAT THEATRE AND THE NORTH MISSISSIPPI ALLSTARS KICKING THINGS OFF AND I’M GONE.” ROBERT PLANT
SLY & ROBBIE
ENMORE THEATRE SAT 19 APR
WITH SPECIAL GUEST
THE BASEMENT SAT 12 APR
THU 24 APR
HAMMOND ORGAN LEGEND WRITER OF GREEN ONIONS
“LIKE JEFF BUCKLEY AT HIS MOST TRANSCENDENT, AND SOUNDING LIKE JANIS JOPLIN”
GODFATHER OF FUNK BASS, SLY & THE FAMILY STONE’S
& GRAHAM CENTRAL STATION THE BASEMENT SUN 20 APR
“COMBINATION OF COUNTRY MOONSHINE AND DEEP SOUTH SOUL MAKE HER A MAJOR STAR-IN-WAITING” EVENING STANDARD
THE FACTORY - SAT 26 APR
& EGYPT 80
THE YOUNGEST SON OF AFROBEAT FOUNDER FELA KUTI WHO ALONG WITH HIS FATHERS 16-PIECE FUNK FUELLED ORCHESTRA, EGYPT 80, WILL BE BRINGING THE SPIRIT AND THE BEAT OF AFRICA TO AUSTRALIA
METRO THEATRE - SUN 20 APR
INDIA. ARIE STONE JOSS
ENMORE THEATRE THU 24 APR
ALSO ALLENTOURING: STONE KT TUNSTALL ALLEN STONE SUZANNE VEGA JAMES & SETHCOTTON LAKEMAN TRIXIE GOV’T MULE ROBBENWHITLEY FORD w/ WALTER TROUT ROBBEN FORD w/ WALTER STEVE EARLE & THE DUKESTROUT w/ MORCHEEBA w/ CHALI 2NA & w/ KASEY CHAMBERS MORCHEEBA HOUSE OF VIBE GREGG ALLMAN CHALI 2NA & HOUSE OF VIBE DEVON ALLMAN BUDDY GUY TRIXIE WHITLEY OZOMATLI JIMMIE VAUGHAN THE TILT A GREGG ALLMAN w/&GOV’T MULE, WHIRL w/ NIKKI DEVON BAND ALLMAN THE HILL MAGIC BAND MAGIC BAND w/OF INVENTION w/THE GRANDMOTHERS GRANDMOTHERS OF INVENTION SEUN KUTI & EGYPT 80 BUDDY THE w/ SOUL REBELS OZOMATLI GUY CHARLIE MUSSELWHITE CHARLIE MUSSELWHITE JIMMIE VAUGHAN & THE TILT A SUZANNE & SETH WHIRL BANDVEGA w/ NIKKI HILLLAKEMAN STEVE EARLE & THE DUKES THE SOUL REBELS NAHKOw/ & KASEY CHAMBERS KT TUNSTALL MEDICINE FOR THE PEOPLE JAMES COTTON NAHKO & THE WAILERS w/ SLY & ROBBIE & MEDICINE FOR THE PEOPLE THE TAXI GANG w/ BITTY MCLEAN
ALL ARTISTS ALSO PERFORMING AT BLUESFEST TICKETS FROM 02 6685 8310 BLUESFESTTOURING.COM.AU
THE MUSIC • 19TH FEBRUARY 2014 • 7
themusic 19TH FEBRUARY 2014
IT TOOK ME A LONGER TIME TO BOUNCE BACK FROM IT THAN EVERYBODY ELSE.
Panic! At The Disco Richie Sambora I Killed The Prom Queen Zebrahead Desaparecidos ††† Korn HIM Naughty Boy Jump For Jordan Stiff Little Fingers Mandela: Long Walk To Freedom
REVIEWS Album: Beck
Live: Eddie Vedder Arts: Nebraska ..and more
Cover: Appleonia Eat/drink Indie News Opinion Gig Guide The End
WORLD’S END PRESS PIC BY CLARE HAWLEY
ULTIMATELY, WORLD’S END PRESS’ BRAND OF HIGHLY DANCEABLE, FOUR-TO-THEFLOOR, HOUSE JAMS ARE NOT GOING TO REVOLUTIONISE THE WORLD OF MUSIC, BUT WITH SONGS THIS JOYOUSLY FUN AND INFECTIOUS, WHO CARES? CHRIS AJ COULTER REVIEWS WORLD’S END PRESS [P.45]
JAMES ‘MUNKY’ SHAFFER OF KORN [P.28]
IN THE WAKE OF NEVER TEAR US APART, WE CHAT WITH INXS MANAGER CM MURPHY TO GET HIS TAKE ON IT
ON THE MUSIC.COM.AU
LEADING UP TO SOUNDWAVE KICKING OFF THIS WEEK, WE PREVIEW SOME OF THE BIGGEST AND NOT SO BIG ACTS ON THE BILL ON THEMUSIC.COM.AU
exclusive CHECK OUT AN EXCLUSIVE ACOUSTIC PERFORMANCE FROM THE GREAT DAN SULTAN RIGHT NOW ON THEMUSIC.COM.AU
review 8 • THE MUSIC • 19TH FEBRUARY 2014
IT’S THE LITTLE ASIDES AND AFTERTHOUGHTS THAT KEEP YOU A BIT OFF BALANCE, YET CAPTIVATED. ROSS CLELLAND REVIEWS ST VINCENT [P.36]
@ Agincourt 871 George street, Sydney City, firstname.lastname@example.org www.valvebar.com.au WED 19TH 7PM THU 20TH 7PM
BASEMENT FRI 21ST 8PM LEVEL ONE FRI 21ST 9PM BASEMENT/ LEVEL ONE SAT 22ND 12PM
BASEMENT SUN 23RD 5PM
VIBRATIONS AT VALVE GREAT BAND COMP/EXCITING PRIZES
“REPEATER” ROCK/INDUSTRIAL SHOW WITH SUPPORT FROM: “INSONITUS”, “MONROBOT” AND GUESTS
“ER AMONG ETHER” PROG ROCK SHOW WITH SUPPORT FROM: “LAST CREDIT” , “BORT” , “THREE KINGS DOWN”
THE ELEMENTS OF TECH & BASS DRUM’N’BASS/JUNGLE PARTY WITH THE BASSIX, CELSIUS, FORESTSOUND, THIERRY D, JUZLO, HIGHLY DUBIOUS, POLAR
UBERFEST 12 HOURS, VARIOUS GENRES, 40 ACTS, FESTIVAL NOT TO BE MISSED!
“MALACHITE METHOD” ROCK SHOW WITH SUPPORT FROM: “TOTAL ADDICTION” , “MAGNUS” , “THE IVORY DRIPS” COMING UP
Wed 26 Feb: Vibrations at Valve Band Comp ; Thu 27 Feb: Rock Show with “Absent Hours” , “The Cat Nappers” , “TV Programmes” , “Huskarl” , “String Fiction” and guests; Fri 28 Feb: Basement: Thrash My Gash Show with “Abacination” , “Sabertung” , “Paralysis” , “Cerebral Contortions” , “Hazmat” , “Atomesquad”; Level One 9pm: Spider’s Birthday Punk Show with “Seating Plan” , “Oily Boys” , “Ether Rag” , “Nobody’s Driving”; Sat 1 March: Basement and Level One: Swarm and Trench present Mutate Tech Dance Party feat: Vic Zee, Mookie, Kate Doherty, Orion, Scott Kilpatric, Sebastian Bayne, XXX , Que- Zen , Gabriel Fernandes and many more ; Sun 2 March: 5pm: Funk/Soul Show with “Origamibirds” , “The Underscore Orchestra” and many special guests
For band bookings please email email@example.com
THE MUSIC • 19TH FEBRUARY 2014 • 9
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 firstname.lastname@example.org
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 • 19 FEBRUARY - 25 FEBRUARY 2014
The National Art School Gallery presents their first two exhibitions for the year, The Art Of Science and Objects & Energies. The Art Of Science is a collections of natural history illustrations from Museum Victoria, while Objects & Energies features the patterned and intricate artwork of Joyce Hinterding, Agnes Martin and Linda Matalon. Opening night is Thursday 6pm, with the exhibition on from 31 Jan–29 Mar, 11am–5pm, Monday to Saturday.
At Books Kinokuniya at the Galleries Victoria tomorrow from 6pm, you can listen to Jesse Fink, the author of The Youngs: The Brother Who Build AC/DC in conversation with Jeff Apter, the author of Up From Down Under: How Australian Music Changed The World, and Tony Currenti, a former session drummer for AC/DC. They’ll be talking rock journalism and writing rock biographies, and AC/DC and Oz rock bands heading to America.
ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley email@example.com
ART DIRECTOR Nicholas Hopkins
ART DEPT Eamon Stewart, Brendon Wellwood, Julian De Bono
ADMIN & ACCOUNTS Loretta Zoppos Shelley Neergaard Jarrod Kendall Leanne Simpson firstname.lastname@example.org
DISTRO Anita D’Angelo email@example.com
CONTACT US PO Box 2440 Strawberry Hills NSW 2012 Level 1/142 Chalmers St Surry Hills NSW Phone (02) 9331 7077 firstname.lastname@example.org www.themusic.com.au
Say good night to your night life, friends, because come Monday we’ve got those brutal lockout laws to deal with. We tried to not be negative Nancys about it, but it really is BS that after our two all-nighters this weekend, we wont be able to dance intoxicated in the Cross until dawn anymore, or even buy grog after 10pm in order to dance intoxicated in the comfort of our own homes. Sydney’s cultural life, you will be missed.
Season Three of Game Of Thrones on DVD. It was released today and will have you especially excited for Season Four’s release on 7 Apr. Spoiler alert: this time around you might not be so shocked by the Red Wedding, but you’ll probably still be upset half of the characters were killed off. That’s just the way George R.R. Martin rolls, we guess.
Keep the light of your Valentine’s Day romance alive by continuing to share your love (of Bey or anyone else) on Instagram with Queen B and #IloveyoulikeXO, as if you can love someone like XO just on any old day of the year. Then re-watch (we all know you’ve watched it a million times already) her accompanying video of tour highlights including a marriage proposal and the infamous ‘Best Selfie Ever’ in Melbourne. We’re certainly still feeling the love, Bey.
Yourself (slightly) silly this Saturday with The Crafty Pint’s (an online guide to the best Australian craft beer) Craft Beer Rising event. It’s a national celebration of the kind of beer brewed in your own city, the kind that hipsters and tradies can drink together, and that even your grandma loves. There’ll be events held at breweries and in local venues all over the country, so be sure to find something to your liking at craftbeerrising.com.au.
To have your school, community group, sports club, town or suburb play host to one of Bookworld’s Pop-ups. That’s thousands of books for your local community to peruse and then take home for free. If you’re the winner, you’ll also get $1000 worth of books all to yourself. And every day they’re also giving away $50 vouchers. So you can’t really lose. The initiative has already been successful in Sydney and Melbourne, and we’ll admit it, we love the concept of community bookshelves, and really just book-anything. We’ll be nominating The Music offices… THE MUSIC • 19TH FEBRUARY 2014 • 11
national news email@example.com RUFUS
RAISING THE RUFUS
Back by popular demand, international comedy treasure and self-proclaimed ‘Lord of the Mince’ Julian Clary will return for his eighth Australian tour in April with a brand new show, Position Vacant: Apply Within. It sees the sharp-tongued comedian and Celebrity Big Brother winner welcoming a selection of eligible bachelors on stage to win his hand in marriage. It’ll be a flamboyant and hilarious night out at Astor Theatre, Perth, 17 Apr; Her Majesty’s Theatre, Melbourne, 19 Apr; State Theatre, Sydney, 22 Apr; and The Tivoli, Brisbane, 24 Apr.
New York indie duo Cults will be hitting stages across the country for their own headline tour dates while in the country as part of Groovin The Moo. This is their second visit, after wowing Laneway audiences in 2012. See the two talented 24-yearolds when they perform at Metro Theatre, Sydney, 29 Apr (all ages); Corner Hotel, Melbourne, 30 Apr; The Zoo, Brisbane, 6 May; and The Bakery, Perth, 9 May.
It’s only mid-Feb and Vance Joy’s already nabbed the #1 spot in triple j’s Hottest 100 with Riptide, made the top ten in the UK singles chart, played Laneway festivals for the first time and been announced as part of this year’s Groovin The Moo. Oh yeah, he’s also headed to the UK and Europe, then supporting Young The Giant around the US as well as appearing at SXSW. Way to overachieve, mate. Vance Joy will play headline shows as he goes around Australia with GTM. See for yourself why he’s done so well for himself at the following dates, on which he’ll be supported by Gossling and Teeth & Tongue (except Perth): The Hi-Fi, Brisbane, 6 May; The Bakery, Perth, 8 May; Metro Theatre, Sydney, 16 May (all ages); and Forum Theatre, Melbourne, 23 May.
THE WRITING ROOMS
To write their new record, Rooms Of The House, Michigan post-hardcore band La Dispute rented a cabin in a remote area in Michigan’s Upper Peninsula so they could write every single day and not do much else. The resulting concentrated efforts will be released on 18 Mar through the band’s newly established label, Better Living, and then La Dispute are set to bring their passion to stages around Australia, with support from Balance & Composure. The tour takes in Rosemount Hotel, Perth, 7 Jun; YMCA HQ, Leederville, 8 Jun (all ages); Corner Hotel, Melbourne, 12 Jun (over-18) & 14 Jun (under-18); The Basement, Canberra, 15 Jun; Metro Theatre, Sydney, 18 Jun (all ages); Trinity Hall, Brisbane, 19 Jun (all ages); and The Hi-Fi, Brisbane, 20 Jun.
“I SNEEZE LIKE I’M TRYING TO CONVINCE YOU OF SOMETHING” THAT YOU’RE BEING DISGUSTING @MARYKOCO? 12 • THE MUSIC • 19TH FEBRUARY 2014
Indie-dance trio RÜFÜS have announced their Worlds Within Worlds national Australian tour. This tour aims to amplify the escapist quality of their gold-selling debut record, Atlas. Head along to the following shows, supported by Hayden James, to find out how RÜFÜS will achieve that goal: 9 May, Coolangatta Hotel; 10 May, The Tivoli, Brisbane; 15 May, Palace Theatre, Melbourne; 16 May, Wool Exchange, Geelong; 30 May, Players Bar, Mandurah; 31 May, Fremantle Arts Centre; 6 Jun, Panthers, Newcastle; 8 Jun, Beach Hotel, Byron Bay; 19 Jun, ANU Bar, Canberra; 20 Jun, Waves, Wollongong; and 21 Jun, Enmore Theatre, Sydney (all ages).
STRIPPING TO THE TOP
New Zealand’s very own electro-rock quartet The Naked & Famous showed us they know how to draw a crowd at their recent performances at the Big Day Out. Proving they can’t get enough, they’re coming back for Groovin The Moo and have announced a national tour around that to showcase their bold second album, In Rolling Waves. For their headline tour they’ll be joined by Brisbane’s young gun, singer-songwriter, Vancouver Sleep Clinic. Check out the hype on 30 Apr, 170 Russell, Melbourne; 5 May, The-Hi-Fi, Brisbane; 11 May, Astor Theatre, Perth; and 13 May, Metro Theatre, Sydney.
Russian Circles return to our shores this April/May in support of their latest release, Memorial. The instrumental trio from Chicago have spent the last decade perfecting their atmospheric and entrancing heavy sound, and continue to push boundaries on their latest and fifth record. They’ll turn up the volume at their shows at Crowbar, Brisbane, 29 Apr; The Hi-Fi, Melbourne, 1 May; Rosemount Hotel, Perth, 2 May; and Manning Bar, Sydney, 3 May.
SECRET SOUNDS PRESENTS
BAND OF SKULLS
WITH SPECIAL GUESTS
FRI 20 JUN THE HI-FI TICKETS ON SALE NOW SECRET-SOUNDS.COM.AU | BANDOFSKULLS.COM | THEHIFI.COM.AU
THE MUSIC • 19TH FEBRUARY 2014 • 9
local news firstname.lastname@example.org SALLY SELTMANN
BAND OF SKULLS
Southampton rock heavyweights Band Of Skulls return to Australia to celebrate the release of their third LP, Himalayan. They bring their trademark raucous blues riffs and faultless vocal harmonies to The Hi-Fi on 20 Jun.
DARE TO DREAM
Sally Seltmann announces shows to celebrate the release of her new album Hey Daydreamer, released on 28 Feb. The tour will see Seltmann return from her new home in LA for a series of intimate performances along the east coast. Wintercoats will be opening all shows. Get along to Lizottes, Kincumber, 3 Apr; The Vanguard, 4 Apr; and Clarendon Hotel, Katoomba, 5 Apr. Proudly presented by The Music.
Well you shouldn’t, because there’s another Bluesfest sideshow around the corner. Nahko & Medicine For The People will be heading on tour following their festival slot, performing their own brand of socially aware, soulful, mixed world, folk and urban roots music. They play Oxford Art Factory, 25 Apr.
Osaka Monaurail’s “heavy funk from Japan” returns to Australia as part of Womadelaide sideshows. They play The Basement, 7 Mar.
The State Library on 8 Mar hosts a screening of Wonder Women: The Untold Story Of American Superheroines followed by a panel discussion. The screening traces the film- and real-lives of superheroines such as Wonder Woman and Gloria Steinem.
KITE FLIES AGAIN
Melbourne folk five-piece The Paper Kites hit the road here again, stopping by The Cambridge, Newcastle, 29 May; Enmore Theatre, 30 May; Transit Bar, Canberra, 31 May; and Heritage Hotel, Wollongong, 1 Jun.
Discovered At Marble Bar is a live music comp hosted at surprise, surprise, Marble Bar in the Hilton. The winner will fetch $10,000 and a residency at the bar for over two months. Upload your demo to Marble Bar’s Facebook page by 5 Mar. The public will vote on their favourite, before five finalists battle it out on 26 Mar.
LET’S FACE IT
With Buried In Verona releasing their new album Faceless, the Sydney metal band are excited to announce their national album shows: Bald Faced Stag on 26 Apr (two shows: 18+ and all ages); Studio 6, 6 Mar; and an in-store signing at JB Hi-Fi, Miranda, 7 Mar.
Critically praised Brisbane dance company Circa and Katie Noonan will be performing their Love-Song-Circus in Sydney for the first time at City Recital Hall, 2 & 3 Apr. It’s a contemporary performance piece based off the stories and letters of Australia’s first female convicts, as composed by Noonan herself.
“I WAKE UP EVERY DAY TRYING TO GIVE SOMETHING BACK TO YOU THAT YOU CAN ROCK TO AND BE PROUD OF.” @KANYEWEST SHOUTS OUT TO HIS BELOVED FANS. AWWW. 14 • THE MUSIC • 19TH FEBRUARY 2014
Melbourne rock duo The Stiffys are heading up the east coast later this month to launch their second EP, We Are Groovy Boys. They’ll play free shows at Beach Road Hotel, 21 Feb; Great Northern Hotel, Newcastle, 22 Feb; Frankies Pizza, 13 Mar; Beach Road Hotel, 2 Apr; Oxford Art Factory, 4 Apr; and Lass O’Gowrie, Newcastle, 5 Apr.
Glass Animals, an Oxfordshire-based quartet with an ear for trip-hop and psychedelic indie pop, have announced their debut trip to Australia, stopping by Oxford Art Factory on 3 Apr.
SAINTS COME MARCHING IN
The group fronted by South-African Jean-Phillip Grobler, St Lucia, head back Down Under in April for a run of sweaty synth-pop shows along the east coast. You can get a taste on their 2013 debut When The Nights. They’ll be joined by Sydney indie-pop quintet The Griswolds. Catch them at Oxford Art Factory, 6 Apr.
THUR 13 FEB – SAT 22 MARCH
THE MUSIC • 19TH FEBRUARY 2014 • 15
local news email@example.com THE HERD
HIT THE PEAK
Peak Festival, held in the Snowy Mountains from to 6 to 9 Jun, has announced its first artist line-up. It features The Herd, Lachy Doley, The Little Stevies and Dereb The Ambassadors. More announcements will follow so keep an ear out.
ABSOLUTELY SAUNDERS Ab Fab’s Jennifer Saunders will be performing her solo comedy show, Bonkers: My Life In Laughs at the Sydney Opera House Concert Hall on 24 Apr. The show will feature a combination of personal reflections, memoir and anecdotes.
Dizzee Rascal’s coming over for Groovin The Moo festival, and is playing a couple of headline shows, too. He’ll have you going bonkers at Enmore Theatre on 7 May.
CHERRY MEATS SYDNEY
Melbourne’s CherryRock festival comes to Sydney, to be held on the outside stages of The Factory, 31 May, 2pm till 11.30pm. Headlining will be the US’ Meat Puppets, plus Redcoats, Gay Paris, Beastwars (NZ), Drunk Mums, King Of The North and more.
ALL HAIL THE KING
King Gizzard & The Lizard Wizard have released their fourth long-player in just 18 months and will tour to support it at Small Ballroom, Newcastle, 9 Apr; Roller Den, 10 Apr; Gumball Festival, Hunter Valley, 11 Apr; FBi Social, 12 Apr; and Farmer & The Owl Laneway Party, Wollongong, 13 Apr.
HUGH IN THE HOUSE
For the first time, Hugh Laurie brings his band, The Copper Bottom Band, to Australia. See Laurie perform a mix of blues, tango, Southern and South American music on 22 Apr, Royal Theatre, Canberra; 3 May, Civic Theatre, Newcastle; and 5 May, State Theatre.
The original line-up of punk pioneers The Scientists will hit the road nationally to celebrate their 35th anniversary, stopping by the Factory Theatre, 28 Mar. 16 • THE MUSIC • 19TH FEBRUARY 2014
A DAY TO REMEMBER
STILL MORE SOUNDWAVE
As we’ve now come to expect, Soundwave have unloaded another dump truck of announcements on us before the big day. This time Volbeat, Filter and Hacktivist have a show on 23 Feb at Oxford Art Factory. Black metallers Gwar, Amon Amarth, Satyricon and The Black Dahlia Murder will lead the assault on your eye- and earholes at Factory Theatre on 26 Feb. A Day To Remember, The Ghost Inside and I Killed The Prom Queen will be playing their pop-mosh metalcore at an all ages show at UNSW Roundhouse, 25 Feb. Thrash metal icons Testament and rockers Newsted (the band booted from the now canned Megadeth sidewave) have announced their headline show at Oxford Art Factory, 26 Feb.
“FUN GAME: FIND A THING COSTING $11.15. PAY WITH A $100 NOTE. YOUR CHANGE WILL BE EVERY KIND OF COIN AND NOTE! YOU JUST WON CURRENCY POKEMON.” YOU’VE GOTTA CATCH ‘EM ALL, RIGHT [@BENCJENKINS]?
THE FUTURE IS HERE
Future Music Festival has announced a brand new EDM stage, the Future Sound System arena; think of it as the world’s biggest nightclub. Acts who will grace the Future Sound System stage include Paul Van Dyk, Markus Schulz, Chuckie, Dyro, Arty, Dannic, Deniz Koyu and Bassjackers. Future Music Festival is on at Randwick Racecourse, 8 Mar.
The king of British folk, Billy Bragg, has added a second Sydney date to his national Tooth & Nail tour. The new date, on top of a 16 Mar show at Sydney Opera House, is 18 Mar at Manning Bar. Proudly presented by The Music.
Art vs Science are back with a brand new single, Create/Destroy, which is about a faltering relationship and all that goes along with it. They’re back with a bunch of club shows announced too, including at Oxford Art Factory, 11 Apr.
The latest additions to the National Folk Festival line-up include Canadian alt-country star Lindi Ortega, The Little Stevies, Tracey Bunn, indie folk rock band Castlecomer, performance artist Candy Royalle and Adelaide singer/harpist Siobhan Owen. The festival’s on in Canberra from 17 to 21 Apr.
THE MUSIC • 19TH FEBRUARY 2014 • 17
A TOUGH ONE Panic! At The Disco’s Brendon Urie has had a whirlwind 12 months: getting married in April, releasing a new album in October, and heading on tour starting August without founding member Spencer Smith. He talks to Hannah Story.
anic! At The Disco are not a band who shy away from the spotlight, or controversy. Their live show is often described as a spectacle, and since they hit the airwaves in 2004, they’ve been nothing if not candid about their relationships and with each other. After recording the debut that saw them skyrocket to fame (A Fever You Can’t Sweat Out), the former Blink182 cover band kicked out original bassist, Brent Wilson, who then threatened the remaining members with a lawsuit. Then in 2009, after dropping the exclamation point, and having recorded and toured their second album, Pretty. Odd. in 2008,bassist Jon Walker and founding member Ryan Ross departed the band, saying
that we had to come to. It was a tough one. You know when your friend’s personal and business [lives] collide, it’s kinda tough. Everything is moving forward positively and I’m glad that it is, because a lot of times it doesn’t for a lot of bands.” Their fans too, have shown their support. “It’s been kind of amazing, their support for him, just going through this tough time. It’s really nice to see that when they make shirts that say, like, ‘Team Spencer’ or they say ‘We will support you’ and ‘Love you’ – it’s really nice, it’s really good. But he definitely understands that we want to move on, as this time is with the record. We definitely didn’t want to cancel any shows, so
so long that I didn’t wanna betray myself by not doing it, by just giving up, so that was really a huge decision to make, and ultimately a tough one, but important.” The changes in line-up may also be to blame for the evolution in their sound: from cabaret-style pop-punk to ‘60s-inspired guitar-pop, back to pop-punk, and then to the synth-heavy songs like Miss Jackson on Too Weird To Live, Too Rare To Die. The changes have meant that Urie has had to take the songwriting reins, but he doesn’t like to get too comfortable, he says. “I get bored pretty easily, which I think is a good thing. It’s fun to kind of surprise yourself with the work that you do, especially when it’s something creative, when you’re creating art, you’re making music or you’re painting or whatever it may be. I think it’s fun to step outside of your comfort zone and see just what you can accomplish in that regard. Trying to find ways, like a conscious effort to find ways to do that is always a fun time. Especially because I love all kinds of different music so there’s an endless range of stuff that we could do in the future, so that’s exciting as well.” His habit of getting bored easily meant that this time around he spent time experimenting with production and using synthesiser to expand the depth of their sound. “I’ve been a fan of a lot of synth, y’know, electronic dance music, for a very long time. For the last couple of years I’ve been trying to get better as a producer,
“I WAS ACTUALLY REALLY IMPRESSED TOO, THAT HE WAS ABLE TO TAKE THOSE STEPS.”
they had “creatively evolved in different directions”. This left just Brendon Urie and Spencer Smith to, exclamation point back intact, write the band’s third, Vices & Virtues. By the fourth record, last year’s Too Weird To Live, Too Rare To Die, they had recruited a new bassist, Dallon Weekes, but in time for the tour lost original drummer, Spencer Smith, who left the group to battle the alcohol and prescription drug addiction he’d struggled with since 2008. That left only charismatic vocalist Brendon Urie to carry the Panic! At The Disco moniker. As it stands, Smith is still not ready to be back on the road and will be missing Panic! At The Disco’s Soundwave stint, but Urie says that they will be working together again, just as soon as Smith is ready. “He is still back home getting all the help that he really needs. I was actually really impressed too, that he was able to take those steps. I’ve never been in that position, but as a friend, just watching him over the years, I know that that was a really difficult decision, but we’re all really proud of him. “We didn’t want to cancel tours, that was a big deal, and he understood that, and he didn’t wanna impede on that progress as well, so it was really a mutual decision 18 • THE MUSIC • 19TH FEBRUARY 2014
we have our friend Dan [Pawlovich] who’s filling in for him for the time.” But Urie likes to put a positive spin on all the line-up changes. “Every drummer’s different, every musician is different, every artist is different. I don’t necessarily think it’s a bad thing, it’s just different. I like changing dynamics, I like change a little bit, I like to be thrown into an uncomfortable position. It’s a huge learning experience when you’re thrown into something out of your comfort zone. My first love is just music; I’ve loved it for so long and I’ve been doing it for
just working on computers. My set-up at home is very primitive I guess; for lack of a better word, it’s pretty barbarian… So hopefully it’ll evolve in the future, I’m hoping to build a studio in the near future, but in the last couple years I’ve just been using a keyboard and whatever synths I could get from friend.” The lastest album takes a quote from Hunter S Thompson’s 1971 book Fear And Loathing In Las Vegas as its title, as a kind of ode to the city in which Urie and his current and former bandmates grew up. “It kind of worked out because a lot of the songs were about growing up in Vegas. About things that I went through. I felt comfortable now being able to talk about it because I felt that I had grown and I was a different person. I was changing, kind of growing up and growing out of some phase in my life. And I was changing and I wanted to be able to touch on that stuff, like growing up in Vegas and how it affected me, and trying to tell my story.” “I was watching that movie. It kind of makes sense because I was struggling with that album title for quite a while, and when Johnny Depp’s character [Raoul Duke] says it I laughed… I’m a huge visual learner, I’m a huge movie fanatic. I love films, and I love cinematography,
OUT OF HIS COMFORT ZONE In October Panic! At The Disco released the video clip for their single Girls/Girls/Boys in which Urie is naked – a homage to D’Angelo’s 2000 song Untitled (How Does It Feel). “For me personally, I’m honestly like naked most of the time I’m not in public. I go home and I’m just like walking around nude. So it was fine for me; I guess the weirdest part was there’s like 30 strangers behind a camera in a dark room, just watching me. So I guess that was kind of strange but honestly I’ve wanted to do that kind of video as an homage to D’Angelo for a few years now. I’m glad that it worked out with that song and I thought it came out great, but it was definitely a shocker to some I’m sure.” Aside from D’Angelo, Urie admires a number of musicians, from Sublime’s Bradley Nowell to artists like Kendrick Lamar.
I love the way that a lot of movies are presented: Coen Brothers films like The Big Lebowski and stuff like that are some of my favourites. I watched a lot of those while I was writing for this record, and they’re really inspiring to me, with dialogue, lyrics and stuff, and just situational awareness, and plots, and how you build a story, and it kind of challenged me to do that with each song.” And despite all of their troubles, Urie is really looking forward to heading to Australia again. “I love it. I love it all. I love Australia. From the first time we went, I’ve always been a fan. There’s just something about it, the people are just amazing, the shows have always been really amazing. It’s just a really good time, and overall a really good vibe. “There’s so many bands I want to see, and it sucks because some of them, I don’t know if I’m going to be able to. I looked at our schedule and I’m gonna try to ditch out on some stuff to watch the bands. I think it’s going to be awesome. And my wife’s going to be coming up too, so we’re gonna spend some time; she’s never been to Australia before, and I always brag about it. I keep saying ‘We’re gonna retire there’ so she’s really excited too. It’s going to be a lot of fun. “
WHAT: Too Weird Too Live, Too Rare To Die (Fueled By Ramen/Warner) WHEN & WHERE: 23 Feb, Soundwave, Sydney Olympic Park; 24 Feb, The Hi-Fi
“I’m a huge fan of hip hop, really, and there’s a lot of really good new hip hop out right now: Danny Brown, Action Bronson, Kendrick Lamar. I think it’s a really exciting time for music too, hip hop aside. There’s a group of these three sisters called Haim and they’re just awesome; their record, Days Are Gone, is really good. I wish I wrote that record, actually. It’s just a really fun time for music.” THE MUSIC • 19TH FEBRUARY 2014 • 19
IT’S HIS LIFE Richie Sambora stepped away from one of the biggest bands in the world. On the eve of his Soundwave visit, he tells Dan Condon why.
ichie Sambora will always be known as the man who co-wrote some of the biggest rock songs in history as guitarist in Bon Jovi, but last year, after 30 years, he decided not to rejoin the band on tour. “It was my daughter and my family,” he says of his reasons for leaving the band. “I missed so much of my daughter’s life and my heart was breaking. “I know [leaving Bon Jovi] wasn’t a popular decision that I made, but… thirty years is a good run. It’s almost unheard of. I had to make a pretty unpopular decision, but I had a chance to go to my kid’s parent teacher night, her sweet sixteen birthday party, I got to go and watch her cheerlead – honestly, that bond needed to be done. I missed it. “I missed so much of her life and she’s all I got. My wife [actress Heather Locklear] and I are obviously divorced, and I want to be a dad.” The workload was also extreme, Sambora admits, with the band keeping up a schedule that didn’t allow him to have a sufficient balance in his life. “I said very openly it should have been a bit longer [between tours]. We had just had two massive tours back to back. I needed a little more time home to be with the family, but the guys wanted to go, so that’s cool. I don’t think it’s the end of the organisation or the end of the band at any point. People grow at different speeds and they have different desires.
“When you’re in a band it’s a compromise, but this is my solo project and, if you listen to [2012 LP] Aftermath Of The Lowdown, I’m talking about my life explicitly and it was pretty deep. I got a list of stuff that I don’t do well – if somebody asked me to cook dinner, that
He’s now coming to Soundwave as a solo artist, something he says he finds liberating. Performing as the leader of the band is something of a liberating experience for Sambora. “It’s nice to say ‘I’m not perfect’. I’m just like everybody. I’m not trying to pretend that I don’t have struggles in my life. Look, I’ve got a very blessed life, but everyone goes through emotional stuff; you lose parents, you lose people, you get divorced – and that freaks you out – it’s just life.
Sambora says Australia has always been a particularly special place for him. “Obviously I’ve had a love affair with Australia for a long, long
20 • THE MUSIC • 19TH FEBRUARY 2014
As for Soundwave itself, he admits the invitation to be a part of it was a surprise, but accepting it was a no-brainer. “It’s a little bit baffling to me, but, look, I’m ready to get out and play. I’ve been gigging a lot and it’s been a lot of fun. It was a resounding ‘yes’ from me. Before they got the sentence done I was like, ‘Yeah!’ “I’m gonna bring down a bunch of great musicians and we’re gonna jam. The essence of this festival is rock and
“I’M NOT TRYING TO PRETEND THAT I DON’T HAVE STRUGGLES IN MY LIFE.” wouldn’t be good; if someone asked me to build a house I couldn’t do it – but if someone asked me to write a song… After working on that craft for such a long time, I think I’ve got a leg up on it. I decided to bare my soul on this; if they listen to the lyrics they’ll get to know me better as a person.”
“But I have no malice whatsoever. And I think at some point we’ll make some more records and go out and tour again, but it’s time for a break, man.”
time. You guys opened your arms up to me from the moment I set foot on the shore. Honestly, it’s ridiculous, you guys just got us, man; it was a great, great thing.”
that leads to improvisation. I just want to get out there with great musicians and put them in the architecture of really great songs and let the wild horses run.” It was at a New Year’s Eve jam on the Hawaiian island of Maui with his old buddies Alice Cooper, Sammy Hagar and Steven Tyler that Sambora met 28-year-old, Adelaide-born guitar gun Orianthi Panagaris; now he’s bringing her over for Soundwave. “I gotta tell you something,” he whispers. “I don’t know a better guitar player – and that includes me! She’s got everything, man, and she’s such a sweet person, but fierce. There was some kind of chemistry there that was natural and unsaid in a way. It’s killer, man. It’s just one of those things. ” WHEN & WHERE: 23 Feb, Soundwave, Sydney Olympic Park; 26 Feb, Enmore Theatre
THE MUSIC • 19TH FEBRUARY 2014 • 21
THE BOYS ARE BACK Post-hiatus, rejuvenated Australian metalcore royalty I Killed The Prom Queen returns to claim their throne. Mainstay guitarist/clean vocalist Jona Weinhofen tells Brendan Crabb. Pic by Kane Hibberd.
’ve gone off and had my experience with two other bands that I’ve joined, and this is my band that I started, fresh out of high school. So it’s always been a bit more of a sentimental kind of band to me. I’ve always been kind of steering the ship, and it’s a good opportunity for us to see if we’ve still got it,” Jona Weinhofen laughs. “‘It has been a long time since the last release, and granted I’ve been busy in the interim with my other bands, but it still is a different kettle of fish coming back to I Killed The Prom Queen. We’ve had a couple of line-up changes recently, so really I think we’re most interested to just see how this record is received. We don’t really have any sort of expectations, we just have hopes I guess.”
The new album he references, Beloved, is the Australian metalcore crew’s first studio LP in eight years, following up 2006’s wildly popular second album, Music For The Recently Deceased. Since their 2008 (ahem) breakdown and subsequent reconvening three years later, their latest incarnation, featuring new vocalist Jamie Hope of defunct death metallers The Red Shore, has accommodated the principal songwriter’s hectic itinerary. During their hiatus, Weinhofen moonlighted with American heavyhitters Bleeding Through and later Brit superstars Bring Me The Horizon, an initially bitter split from the latter (the guitarist since revealing he’s settled any differences with former bandmates) enabling him to focus energies entirely on his passion project. Co-founding member/drummer JJ Peters successfully established hardcore/hip hop party-starters Deez Nuts during Prom Queen’s downtime. The tub-thumper ultimately proved unable to commit to two bands fulltime, a notion the guitarist respects before offering assurance that his 2013 departure was on a positive note. Now boasting fresh recruits Shane O’Brien (drums) and Ben Coyte (bass), Weinhofen is enthused about the future. Appearances at this year’s Soundwave Festival, plus US and European tours are scheduled. “The interesting part is we actually auditioned Jamie back in 2007, right before the tour we went on, which is the one we split up on. So we did audition a couple of vocalists right after Ed (Butcher) left, and Jamie was probably our top pick at that time, 22 • THE MUSIC • 19TH FEBRUARY 2014
but he was committed to The Red Shore at the time, and he also had a holiday with his girlfriend booked, which he couldn’t get out of, so that ran over the top of the tour we wanted to bring him on. So we ended up bringing a different guy in… Everything on that European tour kind of
to be able to apply that to I Killed The Prom Queen and hopefully it’ll give us a bit more longevity. We’re a bit smarter and wiser on how to go about things now.” The Music witnessed firsthand the band, clearly viewed as interlopers, being treated with utter hostility and contempt by purist metal audiences, opening for The Haunted and Exodus in 2006, and their slot at the much-missed Metal For The Brain festival. Weinhofen suggests that in the current climate, this record could be more palatable to those who formerly proudly afforded them the middle-finger salute.
“THE INTERESTING PART IS WE ACTUALLY AUDITIONED JAMIE BACK IN 2007” began to point towards the fact that maybe we did need a rest. Even the longtime members of the band were getting a bit tired, and sick of struggling. “I got the offer to join Bleeding Through during that tour, and that was around the time when the guys were getting a little bit over it, and I just said, ‘What do you think about this?’ And we all just decided to have a rest… We’ve all learnt from the experiences that we’ve had since then. We’re hoping now
“The last time we released an album was eight years ago now. We were a very young band, and back then it was very easy for more traditional metal fans to kind of boo and stick their thumbs down at bands like I Killed The Prom Queen. Whereas fast-forward eight years, the metalcore genre is far more popular. I do think that times have changed a fair bit, and maybe we could do a tour with Killswitch Engage or Lamb Of God, and not get booed because we wear tight jeans. Metalcore in general – the fashion, the look, the sound, everything overall – is a far bigger thing these days. So I think people who didn’t like it once upon a time, I would hope are a bit more open and accepting to it nowadays.” WHAT: Beloved (Epitaph/Warner) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park; 25 Feb, UNSW Roundhouse
THE MUSIC • 19TH FEBRUARY 2014 • 23
time on the group to focus on his young family, with Death By Stereo’s Dan Palmer jumping into the role.
Between the squawks of wild parrots, Ali Tabatabaee lead vocalist of American punks Zebrahead tells Benny Doyle about friends with benefits. hese parrots escaped from this pet shop years ago and they fly by my house every day around this time – they sound like dinosaurs,” says Ali Tabatabaee from his home in Pasadena, California. “A pet store was burning down so they released all these parrots, and now they have this pattern of trees that they like to go to – everyone knows them as the Pasadena parrots.”
undeniably sharp listen, and is actually a product of what the title suggests, the Orange Country pop-punk five finding themselves on the phone line plenty during the record’s creation process.
Those birds aren’t the only animals enjoying their freedom; Zebrahead too are revelling in the wild. The band’s latest LP, last year’s Call Your Friends, is an
“As cliché as it sounds, it was a labour of love,” he smiles. We’d call each other at two in the morning and be like, ‘Dude, I just listened to the song, and what if the bridge went like this, or what if we changed the verse to this?’ There was a lot of that going on, but it was always very positive.” This zeal was driven by the introduction of fresh blood in the band. Founding member, guitarist Greg Bergdorf, called
“It was the best scenario in the way that we already knew that Dan was a great guitar player, he could play the songs and got along with everybody. We’ve been friends with him forever so it was a smooth transition in that way.” And although those changes took places while writing for Call Your Friends, Zebrahead were helped far more than they were hindered. Tabatabaee describes Palmer as a positive workhorse, forever generating laughs and creating a great energy in camp. “Those things have been huge and [have] really helped us get through the transitional [period],” informs the frontman. “He’s very optimistic with [regards] to what we want to do in the future, he just has a great attitude, and that catches on with everybody.” After visiting Australia with good friends Reel Big Fish and Goldfinger at the tail-end of 2012, Zebrahead will return for Soundwave 2014. Tabatabaee can’t mask his enthusiasm. “It’s rare when people aren’t misbehaving – let’s put it that way,” he laughs. “It’s like a travelling circus of band members who play shows during the day, and then get on the plane together and fly to another city, so you’re always with these different guys that you might never have talked to before, but by the end everyone is friends and hanging out – it’s such a weird experience, there’s nothing else like it.” WHAT: Call Your Friends (3Wise/Sony) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park; 25 Feb, Manning Bar
Nebraskan punks Desaparecidos made a big racket during their first stint together, and now they’re back fanning the flames of discontent. Guitarist Denver Dalley takes Steve Bell through their unanticipated resurrection.
maha-bred political punk outfit Desaparecidos burnt brightly-but-briefly during their initial tenure in the early 2000s, releasing just one acclaimed long-player in Read Music/ Speak Spanish in 2002 before calling it quits later that year, with frontman Conor Oberst returning to the fold of his then-main project, Bright Eyes. Their music was rough-edged and visceral, and their lyrics mainly socio-political treatises on the state of the nation, tackling everything from urban sprawl and materialism to the evils of corporatisation and America’s gung-ho approach to foreign policy. After their split all five members moved onto other projects, and it seemed that Desaparecidos (perhaps presciently translated as “disappeared ones” in Spanish) would be consigned to the footnotes of musical history, until in 2010 Oberst asked the band to reform for the Concert For Equality festival in their native Nebraska. What was meant to be a one-off performance ran so smoothly that it’s prompted a more permanent return to the fray, the band releasing some confronting seveninch singles as they reintroduce themselves to the world. “Originally it was the keyboard player Ian [McElroy], the drummer Matt [Baum] and I, and we formed the band – I don’t know if we had every much direction
24 • THE MUSIC • 19TH FEBRUARY 2014
at that [early stage],” recalls guitarist and co-songwriter Denver Dalley. “Conor and Ian are cousins and we all grew up together, and Conor caught wind that we were making noise in the band room and he wanted to be involved. I think we were planning on being a full-time band when schedules allowed, but then everything got kinda hectic and we were all involved in other projects and the timing didn’t feel right, until now. I think it’s turned out now the best way that it could – we’re better musicians and better players now, and I think we sound live better than we ever have.”
The band’s original timing was problematic; in post-9/11 USA a lot of people weren’t too keen to hear criticism of their homeland, even – perhaps especially – from amongst their own ranks. “It was an interesting time, and then we came out with this album in 2002 and I think for a lot of people it was a relief, almost saying, ‘It’s okay, you can voice your opinion and you can love the country and still call it out for its shortcomings’,” Dalley reflects. “The dream that we’ve always had with music is to have a song that people enjoy the music and then listen to the lyrics and it either sparks a conversation or makes them go research something or go look something up online. Even just to start a conversation is the biggest thing... We’ve always wanted to ruffle feathers and get people to think – that’s the ultimate dream.” WHEN & WHERE: 23 Feb, Soundwave, Olympic Park;
THE MUSIC • 19TH FEBRUARY 2014 • 25
NATURAL CROSS Having stepped off a plane from Australia with Deftones less than 48 hours prior, Chino Moreno tells Tyler McLoughlan about his approach to the †††’s debut album.
ossessing a vocal technique that could just as soon soothe a baby as frighten a ghost, Chino Moreno can move between gentle and hostile territory by shaping melody, rhythm and timing like no one else in the heavy rock world. Honing his inimitable style as the frontman of Deftones, the highly revered Californian alt-metal outfit established in 1988, Moreno now turns his focus to the “beautiful gloom” of †††. “We didn’t actually have an idea to make a record and to go on tour or make a band or anything like that. It was just more or less, ‘let’s see how many songs we can knock out’,” Moreno explains the process that led to forming ††† with childhood friend and Far guitarist Shaun Lopez and producer Chuck Doom. Initially roped in for vocals on just one track, the pair were so pleased with Moreno they suggested he sign up for the project. “We ended up doing, I think, somewhere between twenty and twenty-five songs, which was a lot of songs. I mean, it was done over a period of time and the cool part about it was that we didn’t have a record label, we didn’t have any expectations; people, the fans, no one knew that we were actually doing this project, so it was very under the radar. I think that lent itself to just be something that happened very organically.” Released quietly online in 2011, EP † did the rounds without the pre-release hype and leaks that had taken the fun out of Moreno’s Team Sleep side-project. Packaged together with 2012’s EP †† and with the addition of five new tracks, the trio’s just released eponymous debut long player is proof that one doesn’t need a barrage of guitars and hard-hitting drums to be heavy. Both points excited Moreno greatly. “I felt like I was in a really good creative space when we started working on this. The Deftones had just got done releasing our Diamond Eyes record which, you know, at that time I think there was this real resurgence of creativity with me and even with Deftones as a band – I was just in a really creative place and I wanted to create as much as possible in my downtime. It wasn’t a preconceived idea that I was gonna try this different or
do that different [with †††]. Honestly, I just reacted to what was put in front of me and really that’s what I do with Deftones too. I didn’t put on a different hat… It’s me pretty much doing what I love to do, and that’s just sort of weave in and out of
because it was one of the more ‘upbeat’ songs, I guess you could say. It was also an experiment in trying something that I’d never really done. I mean, there’s no guitars in that song really – it’s not a rock song by any means, but it’s not this delicate electronic thing either. It’s got this almost dancehall kind of rhythm to it and, I dunno, just vocally the way I approached it was to me interesting because it was like nothing I’d ever done, but yet it’s very catchy,” Moreno explains how it cleverly depicts the themes of the album as a whole and reveals much about his evolution as a vocalist. “I feel that way about a lot of the songs on this record; without trying to be pop or to steer in that direction, I think there’s a pop sensibility that runs through a lot of this music that just sort of happened. It really fell into place. As opposed to taking a left turn when things were just sort of naturally guiding me away, I kind of just went with the flow instead of trying to make everything really weird or whatever. I really just felt comfortable with singing along with the songs and going where they took me naturally… If something
“THE MUSIC SPEAKS TO ME AND THEN I SPEAK BACK AND A LOT OF THE TIMES IT WORKS OUT”
what’s put in front of me… The music speaks to me and then I speak back and a lot of the times it works out – it’s as simple at that.” With dark synths, fuzzy bass and electronic percussion, This Is A Trick was the first glorious taste of †††. “It stood out from a lot of the other ones
seems like it’s too easy then I go, ‘Well, there’s a reason why it’s too easy, so I need to take a left turn here and try something difficult.’ And I think that’s good for a lot of the stuff that I do. I think it’s the reason why I’ve maintained a career in music for this long, because I don’t just take the easiest road all the time. But with some things I’ve learnt to relax a little bit.” WHAT: ††† (Sumerian/ADA) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park; 25 Feb, Factory Theatre
THE MUSIC • 19TH FEBRUARY 2014 • 27
PUNISHMENT TIME After a decade alone, James ‘Munky’ Shaffer has been reunited with his partner in riff, and Korn sound all the better for it. The guitarist tells Benny Doyle about the positives of friendship and why we still should be following the leaders.
hen Brian ‘Head’ Welch denounced Korn and announced his newfound passion for that lord and saviour character in 2005, you couldn’t help but think the split was going to send the Californian band into a conclusive spiral. The departure of original drummer David Silveria a year later did nothing to dispel this expectation either. But Korn have long been a band that have defied general belief – that’s why the nu-metal trailblazers are still standing, still creating, and after a ten-year sabbatical Welch is shoulder-toshoulder with them once more, returning just in time to cut the band’s 11th studio album, The Paradigm Shift. “To me it’s a very fresh version [of Korn],” begins fellow guitarist James ‘Munky’ Shaffer. “I wouldn’t say we made huge leaps as far as creating some revolutionary new sound – it still sounds very Korn to me. But we definitely wanted to play off our strengths, which is the back and forwards guitar thing. Jonathan [Davis] came up with some great melodies on this record, some very catchy choruses, and of course you have Fieldy’s bass rumbling in the mix and Ray [Luzier] just did a phenomenal job on tracking the drums. It feels like a live band – with The Path Of Totality, where the drums are electronic, it felt a little constrained. This one feels like a train that’s about to come off the tracks.” Considering the flash-in-a-pan touchstones that nu-metal held (awful fashion, throwaway social commentary, immediate oversaturation), Korn have done pretty damn well, not only to emerge from the drop-D heap but to continue challenging themselves and their fans. But even with a new record to plug, undoubtedly the most thrilling prospect for long-time Korn fans heading to Soundwave is the chance to see Munky and Head trading riffs together again. Shaffer admits that their complementing playing styles gives him an unmatched confidence. “He has a way of making me sound better than I actually am, and I’m really good at covering up some of his mistakes and making them sound like he was supposed to do that,” he smiles. “And it works when we’re writing – if he’s making a mistake and doesn’t realise it, Fieldy and I
or Ray and I, we tend to say, ‘That’s cool’, and we point out those things and I think everybody becomes better, especially when we’re in a room together, because it’s those inconsistencies that make
it well. But when the guys talked about bringing in another guitar player I totally refused. It was a process man, the whole thing was super heartbreaking and a real rollercoaster of a time. It took some maturing on my end, to step back and go, ‘Wow, this wasn’t all about the band and it’s not my fault he left’, and a lot of that goes on, like, ‘Could I have helped him not leave?’ but now he’s just a better person on so many levels I’m glad he went through what he had to go through – he might not be,” he laughs. “We still have our personal issues, we’re human, we still get on each others’ nerves. But I’m willing to accept that we all have our shit.” After two decades which have seen offensively high highs and stomach-twisting lows, Korn now seem balanced – like they’ve rediscovered the joy of their existence. But far from thinking complacently, Shaffer stresses that the band are still playing like everything is on the line, and urges the masses to rediscover that passion with them.
“THE WHOLE THING WAS SUPER HEARTBREAKING AND A REAL ROLLERCOASTER OF A TIME.” us human, and when we start to feel insecure about a riff or something there’s that reassurance from just being friends for so many years.” Clearly hit the hardest by Welch’s departure, Shaffer became something of a mediator in the years following, valiantly trying to maintain the peace as his bandmates tore strips off each other in the press. “It took me a longer time to bounce back from it than everybody else,” he laments. “I didn’t process
“I think people are going to be really surprised by how much of a great show we put on. People haven’t seen us in a long time – sure there are pictures on the internet but you really don’t know if [a band’s] still got it until you see them live. And for new listeners, that’s what keeps us pumped up, is that we still want to impress some of the newer generation. And that goes for our peers too, we’re still out there to prove that we have a great catalogue of songs that fucking demand their attention.” WHAT: The Paradigm Shift (Prospect Park/Caroline) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park; 24 Feb, Big Top Luna Park
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STUCK IN THE METAL
those bands. And I don’t think it takes away from me or those bands for doing so.
Despite spending the bulk of their career existing like the red-headed stepchild of the rock and metal worlds, HIM have managed to grow up into well adjusted adults. Frontman Ville Valo tells Tom Hersey why they used to get teased in the playground.
s Ville – a charming and articulate raconteur if there ever was one – sees it, two words damned HIM to be forever stuck between two worlds, and it was all initially a joke. Those words, ‘love metal’. A genre the band applied to their sound with tongue firmly pressed in cheek in the ‘90s. “It was to test the sense of humour of metalheads, and rock fans,” the HIM singer says, laughing in reflection. “Some people take it all too seriously. They should sit down for a while and have a cup of tea and unwind.” Ville is unapologetic about deciding that HIM should be the first, and quite possibly only ‘love metal’ band. They even went as far as to rub their silly little genre tag in the face of all those who taunted them when they released their breakthrough fourth
By Ville’s best estimation, those influences – which see HIM take gothrock and throw in some glammy proto-punk swagger and the odd fullblown, face-melter of a metal riff to still create something you could hum along to – are a product of their Finnish roots. Back there, it wasn’t about being cool or liking the ‘right’ bands. No, back in Finland it was all about
“In America though, people seem to be really tied in to the subgenres, if it’s not within their subgenre, they can’t like it. And for me it just feels like it’s still the ‘80s over there, like the old tape-trading times. Like if you didn’t like Twisted Sister or Mötley Crüe you were a loser. And I just don’t understand that. To me, music is music; a good melody is a good melody no matter how it’s being presented. Sure, I’m not a fan of sunshine-pop dance music, but wherever there’s melancholy, or a sad or sentimental core within the music then it doesn’t really matter what kind of genre it is – it could be country and western or black metal. You should find what you like in every single genre, if you even need to think about genres anymore.” For Ville, the joy of music has always been what exists between all of those arbitrary genre labels. For him, and for HIM, music has always been a way to connect with the sense of melancholy that has served the band incredibly well over their career. “What makes music really special for me is bridging those gaps. Finding out what leads me from Christian Death to Depeche Mode to Johnny Cash. It’s the dark heart within the music, that dark spark there, and then people just dress the music up in a way that suits their surroundings.” It’s been the band’s refusal to pay credence to the outward appearance of their own music and instead focus on the ‘love metal’ at it’s heart, that has made life harder than
“TAKE YOUR WORK SERIOUSLY, BUT DON’T TAKE YOURSELF SERIOUSLY.” album Love Metal. The way the singer sees it, it’s a ridiculous tag, but it’s no more a ridiculous than anything else used to describe a subgenre of music. “Take your work seriously, but don’t take yourself seriously. There was this whole thing when we started out where people couldn’t figure out what box to put us in, where we fit in the scene… But I grew up with Venom, who more or less invented black metal, and Motörhead and the early stages of speed metal. These are all kind of ridiculous terms for music really, so we wanted our own little ridiculous term. Something that meant we could say we were something else as opposed to saying we were a goth band or a metal band or whatever. Because we have a lot of influences from all over the place.” 30 • THE MUSIC • 19TH FEBRUARY 2014
finding whatever you could to get your rocks off in the middle of an eight-month long winter. “Where we come from, we’re allowed to listen to whatever we want to. In Scandinavia we can do what we want. Because I can love Depeche Mode as much as I love Cradle of Filth and I don’t have any problems loving both of
it should have been for a band as talented as HIM. But Ville’s not bitter about anything. The way he sees it, things are working out pretty damn well for HIM. “I’m still honoured and flattered that us, a bunch of not very good-looking guys, get to travel the world. We’ve never really fit in – a lot of metalheads think we’re way too poppy and a lot of pop fans think we’re way too heavy – but we’ve still been able to do this for more than 20 years.” WHAT: Tears On Tape (Razor & Tie/Universal) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park; 25 Feb, Metro Theatre
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the noughties. Khan thought she’d be perfect for Hollywood. “I needed someone who’s kind of seen it all – ‘cause that song deals with the rise and fall...”
Emeli Sandé is yet to tour Australia, but her chief cohort Naughty Boy, AKA Shahid Khan, will hit the Future Music Festival. He talks to Cyclone.
hahid Khan, the Brit R&B/hip hop producer who goes by Naughty Boy, has enjoyed huge solo success with his garagey La La La (featuring Disclosure singer Sam Smith), a UK #1 and multi-platinum here. His eccentrically conceptual album, Hotel Cabana, also taking in the earlier Wonder with Emeli Sandé, is populated by other illustrious guests: Tinie Tempah, Gabrielle, Bastille, Ed Sheeran and token American Wiz Khalifa (who partners Ella Eyre on the current single, Think About It). The inspiration came from an old job. “I used to work in a five-star hotel – I was a waiter there
for two years in 2004,” Khan explains. He’d observe the rich and famous in the “luxurious” surrounds. “I became a bit obsessed with it, in a way. I wanted to be able to afford to go there myself. But then I started thinking, as I spent time working there, the guests seemed a bit lonely and depressed. They had money, but not many friends. I just started to see the other side of it.” For Khan, Hotel Cabana is an allegory for fame, its artists really like guests – “they check in and they check out.” Gabrielle was a big name in the ‘90s, best remembered for the classic Dreams, but, disillusioned, she ‘retired’ in
A sometime business student, raised by Pakistani immigrant parents in Watford, Khan was determined to crack the music industry, finding enterprising means to kit out his garden shed studio and establish a company. Not only did he receive a grant from The Prince’s Trust, Prince Charles’ youth initiative, he also signed on as a Deal Or No Deal contestant – Khan scooped £44,000. “I kept my cool throughout the whole thing. I didn’t get out of my chair, I didn’t hug anyone, I didn’t do anything like that. I just stayed calm and I was just trying to trust my instincts – and I beat the banker, so it worked out really well!” Along the way, he connected with Sandé, then an aspiring singer/songwriter, and they created Chipmunk’s 2009 hit, Diamond Rings. Khan was heavily involved in Sandé’s mega Our Version Of Events. Khan, these days producing for US acts like Rihanna, has been attached to various blockbusters, including the upcoming MKS (former Sugababes) album. “There are rumours,” he admits coyly. Khan is “so busy” promoting Hotel Cabana he’s had to decline offers. Nevertheless, work has begun on Sandé’s second. Khan will be joined by his band at FMF. “I’m bringing Hotel Cabana to Oz,” he enthuses, referencing La La La’s Wizard Of Oz-themed video. “Basically, I’m gonna be like the Wizard and I’m gonna bring all the different characters – and there’ll be some surprises... I want it all to feel like you’re coming into this world – so my band members might be dressed like hotel workers.” WHEN & WHERE: 8 Mar, Future Music Festival, Royal Randwick Racecourse
BELOW THE SURFACE Gearing up to portray an aspring archaeologist, Alice Ansara talks to Dave Drayton about unearthing history, character and meaning.
ophia is an aspiring archaeologist, an Arab who can’t speak Arabic and is running away from home at the ripe old age of 21 – this is the site of Donna Abela’s 2013 Griffin Award-winning play, Jump For Jordan, and Alice Ansara is responsible for unearthing Sophia on stage.
Ansara rattles off this rapid overview in the way one imagines someone in Sophia’s position would – at breakneck pace, a mixture of optimism and self-doubt, and an ability to chuckle at the absurdity of it all. In many ways, the job shared by Ansara and fellow cast members Camilla Ah Kin, Sheridan Harbridge, Anna Houston, Sal Sharah and Doris Younane isn’t too far removed from Sophia’s line of work either.
think something means one thing, and then of course there’s some subtext, but it’s like Donna has laid deep beneath the foundations of the text all these subtle little clues that need to be unearthed, and I think if an audience listens really closely they’ll find all of these little treasures that are almost like artefacts. The metaphor of archaeology is really obvious in the play. It’s about somebody who is trying to unearth fragments from the past, put them together, and make sense of a life or a family. The fragments or the fragmentation is in the structure of the play; it is quite episodic.”
“There’s so much embedded in the play, I’m finding in rehearsals it almost is like an archaeological dig. I can
Ansara first came across Jump For Jordan while
“She’s from an Arabic family that has never taught her Arabic and she doesn’t know anything about her culture or her family’s past and so she’s run away from home at the age of 21 which, for someone people, you know,” Ansara interrupts herself, “that’s not running away from home, you’re well over time to be going off, but, I know this from a lot of my friends from Middle Eastern families, you don’t leave home until you get married. However, Sophia can’t get married and leave home because she is a lesbian, so she runs away from home and lives with her girlfriend in Glebe.”
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employed as a reader performing excerpts from finalists for the Griffin Award, and came on board the Iain Sinclair-directed debut production shortly after. “That’s really exciting, to be able to work on a new Australian work that is evolving, that bring the site to life. In an archaeological dig and in places like the Middle East there’s all these different layers of occupation, you know? There’s different civilizations that have added to the sites. You can pull out the artefacts, and I guess as performers we can pull out different aspects of the story and of the text. But, ultimately, if you want to create meaning as an audience member you have to do that yourself.” WHAT: Jump For Jordan WHEN & WHERE 14 Feb – 29 Mar, SBW Stables Theatre
NOBODY’S HEROES The original era of UK punk may have seemed a time of upheaval, but for Stiff Little Fingers it was a walk in the park compared to their actual lives in Northern Ireland. Frontman Jake Burns tells Steve Bell about striving for objectivity amid mayhem.
t’s almost impossible now to imagine what life would have been like in Northern Ireland during the Troubles, the decades of complex political upheaval and violence which terrified the region from the late ‘60s, but you can at least get some feel for the terror and confusion in the early music from Belfast punks Stiff Little Fingers. They’d existed briefly as a bog-standard rock covers band, but when the maelstrom of punk hit hard in 1977 they were swept up in the excitement,
changing not only their name (taking Stiff Little Fingers from a Vibrators track) but also their entire approach to rock’n’roll. “I think by the time that punk happened I’d already reached the stage where I was disillusioned with the music I was hearing,” recalls frontman Jake Burns. “I’d become more and more enamoured of songwriters rather than instrumentalists – by the time that punk came around I was listening to people like Graham Parker and Dr Feelgood and Bob Marley; people who were actually writing their own songs, or in Dr Feelgood’s case
playing original rock’n’roll songs but beefed up for the ‘70s market. So when punk rock came along I was an easy convert, because I loved the excitement and the immediacy and the fact that it was being played by people who were roughly the same age as I was. I didn’t really see a huge future in it, to be honest – I really thought that it was going to be a short, sharp shock to the music business which was long overdue, but I didn’t really see any longevity in it. I didn’t see anybody who were writing songs that meant anything, until I heard The Clash – that changed my perspective on everything, because I realised, ‘Hang on, these guys are writing about their own lives, they’re writing about everyday problems and they’re writing about where they grew up’ – they weren’t writing songs about bowling down Californian highways, because at the time I hadn’t been further west than Galway so those songs just didn’t mean anything to me. Plus it was a lot of fun to play – it was a genuinely exciting time.”
In recent times Stiff Little Fingers infiltrated popular culture during a scene in High Fidelity where the dorky record store clerk tries to impress a customer by explaining how Stiff Little Fingers (along with The Clash) were precursors to Green Day; it must amaze the band how their music has continued to resonate through time. “It’s very, very flattering when somebody pays you a compliment by saying that they’re a fan or that we influenced them,” Burns laughs, “even if in a lot of cases I either can’t hear the influence in their music, or in some cases when the band is so bloody awful that I wish we hadn’t influenced them!” WHEN & WHERE: 23 Feb, Soundwave, Sydney Olympic Park
Director Justin Chadwick and lead actress Naomie Harris talk to Sarah Braybooke about their film Mandela: Long Walk To Freedom and the legacy of their subject.
fter more than 16 years in development, the opening of the oﬃcial Mandela biopic couldn’t have come at a more symbolic time – the night that Mandela: Long Walk To Freedom premiered in London also turned out to be the last of the great man’s life. News of his passing reached the audience – which included Prince William and Mandela’s own two daughters – just before the end of the ﬁlm, making it a more poignant, and more timely, celebration of his life than anyone could have planned. Just the day before however, director Justin Chadwick had been describing how the movie almost didn’t happen at all. When Chadwick was ﬁrst approached with the idea, which had been in development for well over a decade at the time, the Manchester-born ﬁlmmaker was reluctant: “I said no at ﬁrst, because I had a perception of who I thought Mandela was, what he represents. And I knew that his life represents a hundred years of struggle of apartheid.” The ﬁlm covers a huge chunk of apartheid history, but at its centre the relationship between Mandela and his second wife, Winnie Madikizela-Mandela. Chadwick says, “[I wanted] the ﬁlm to show them as men and women: to show [Mandela] as a lover or a father or a husband or a grandfather.” His mission was to make “a ﬁlm that would be able to talk about Mandela’s ﬂaws, and him as a whole man, rather than just a one-dimensional character from the history books”. Chadwick explains that he cast
Idris Elba because he thought he captured Mandela’s presence, which he’d heard described as “just electric”. Naomie Harris, most recently Miss Moneypenny in Skyfall, plays Winnie, who is a divisive ﬁgure in South African politics. Describing her as “incredibly complex”, Harris admits she had no idea what she was taking on when she was oﬀered the role of Mandela’s exwife. “I was like...” Harris laughs and puts on a super chirpy voice, “‘Great! How amazing! Because Winnie was Nelson Mandela’s wife, and how great that there’s going to be a ﬁlm that is like a celebration of Nelson Mandela!’ I had no idea that Winnie was such a controversial
ﬁgure.” Portraying real-life political ﬁgures, whether they are alive or dead, brings with it a heavy responsibility, one that Harris recognises well. “You become asked to be a spokesperson for that person. And nobody can do that.” One of the most diﬃcult things about the part for Harris was showing the transition that Winnie went through as she was persecuted by the apartheid police after Mandela went into prison. These experiences radicalise her and eventually turning her down a more violent path. By contrast, it shows Mandela’s long imprisonment as the time when he developed his philosophy of reconciliation. Chadwick explains, “[Mandela] went into prison and he learnt how his enemy worked... He understood them, and he understood where they were coming from... [Mandela knew that] understanding leads to forgiveness. It takes a truly great man to understand that.” WHAT: Mandela: Long Walk to Freedom In cinemas THE MUSIC • 19TH FEBRUARY 2014 • 35
ALBUM OF THE WEEK
There are many albums where esteemed artists break from the mould of their musical oeuvre, an action that proves divisive, having hardcore fans either gnashing their teeth or ravenous for more. Not many have drawn hordes of fans based on that one album blip – yet Sea Change has been a record that has stood as a solitary bastion to gentle, intricate songwriting without the pomp and bombast that Beck is known for. Many admirers are fans based on this album alone. Yet it seemed there would never be a repeat performance in these nuanced sonic locales, and after 2008’s Modern Guilt saw Beck create a songbook rather than songs, some thought it might be the end of his studio recordings altogether.
There’s more than a few flashes of The Holidays of old to be found on Real Feel, but this record offers so much more than the tropical indie that summarised 2010 debut Post Paradise. A four-year break has given the band the technical skills and creative scope to write songs with kaleidoscopic vision, the sounds bouncing around the record in a floating state, pulling you up and away as you listen in and get lost.
But Beck has always done what he wants, and with Morning Phase he veers back into the beautiful introspection of Sea Change with a brace of
eloquent, sustained sounds. After the prologue of Cycle, the first moments of Morning even mirror the soft, melancholy lilt of The Golden Age – yet rather than feel like cribbing from past endeavours, it comes as a hushed embrace, a wonderful return to the fold. Whilst the hushed weariness and thick, lush orchestration that Sea Change brilliantly evoked is here, there is a sunnier disposition in places too – songs like Heart Is A Drum and Blackbird Chain are more akin to ‘60s folk-pop troubadours. Let’s hope Morning Phase is the birth of a new era and not just another flight of fickle fancy. Brendan Telford
Long Now immediately tells you that you’re about to embark on an adventure – the synths are sci-fi, while the drums and piano are straight thriller. Simon Jones’ vocals soon arrive, albeit with sonics far richer than their first record, and together it all makes for an ideal intro. All Time High stands out as single fodder and on first listen you’re quickly taking the bait, but repeated spins show the track to be fairly shallow; Voices Drifting is way
PAPA VS PRETTY
White Deer Park
It’s testament to Annie Clark’s individual and idiosyncratic talent that even as she crosses a typical scattergun of styles to find some unexpected corners for her synthesised muse, it all remains singularly hers. It’s in those moments THAT beauty emerges from apparent chaos; Bring Me Your Loves is one such moment, a whirling dervish in a Turkish market, before collapsing into the title plea. That so-identifiable voice of hers going from longing to near threatening to matter-offactly informing Birth In Reverse’s ‘ordinary day’ includes putting the bins out and masturbating. And you simply accept it as truth.
Rather than filling the shoes left by debut United In Isolation, Sydney’s Papa Vs Pretty have taken some time to gently tiptoe from the past, with key moments of second record White Deer Park carving their own place in the heart. All 12 full-length tracks are doused with frontman Thomas Rawle’s gritty belt, flipping to an honest, crisp and enthralling falsetto. White Deer Park does have its near misses – Rawle’s voice often overpowers the song’s musicality, and alternatively, flimsy lyricism is shielded by interesting harmonics (Rain Check). That being said, the hits are a complete bullseye. Sliding comfortably into ‘90s pop-rock, Suburban Joan Of Arc intensifies from pure enjoyment to a soaring conclusion, only to be outdone by anchors of the album’s second half, While I’m Still Young and Dementia Praecox, 36 • THE MUSIC • 19TH FEBRUARY 2014
★★★ ½ more intriguing, with layers of effects and cutting guitar combining to make you pine for the afternoon sun in your eyes. The Phoenix-aping Japan Window again challenges the expected, with a variety of sections feeling foreign yet super inviting, while the back-end and additional percussive elements during the final few tracks push through some languid moments before Morning Workout bursts in conclusive colour. Real Feel is a confident move forwards from a band that could’ve easily got lost in the indie flood, and although not defining, it definitely feels good. Benny Doyle
★★★ ½ revealing a delicate, poignant weight. The true success of White Deer Park is first single My Life Is Yours, a sophisticated narrative of lost love. Delving deep into passion and doubt, Rawle’s vocals are excruciatingly tender, possessing an honesty not altogether found in To Do or Smother, additions that instead encapsulate Papa Vs Pretty’s capacity for shredding rock‘n’roll. White Deer Park is surely a fan favourite, but equipped with certain gems, it also has the potential to move anyone who has experienced life’s mishaps. A healthy progression from an album that seemed impossible to top. Mat Lee
There are echoes of the Love This Giant project with David Byrne: Digital Witness has some of the stutter that marked that collaboration’s territory – although here it’s provided by keyboard taps rather than genuine wheezing brass. Working with the Talking Head emeritus appears to have given Clark more
★★★★ focus, although occasionally an idea still meanders and drifts away, rather than Clark selfediting as she probably should. Then again, this is of the art side of pop, so such discipline may not even be relevant to her work. Elsewhere, Clark dips into some perhaps unexpected grab-bags. Prince Johnny is machine-made doo-wop making a You’re So Vain for this century, while the quietly soaring I Prefer Your Love is plaintive kind of soul, undercut by the title’s postscript ‘to Jesus…’. It’s the little asides and afterthoughts that keep you a bit off balance, yet captivated. She remains special. Ross Clelland
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The Invisible River
Distant Is the Sun
Rhythmic and deafening drums greet us in Cultâ€™s opener, Big Cheese, and a grinding, metalesque guitar riff slides into the unique and gripping vocals of Anthony Raneri. Bayside have returned with their sixth record, and to say it sounds huge would be an understatement. Put headphones on and itâ€™ll sound like youâ€™re being suffocated by a sea of organised chaos. When Time Has Come rolls around, itâ€™s clear that every part of every song serves a purpose. If youâ€™re keen to get into Bayside but donâ€™t know where to start, track five, Pigsty, would be your best place.
Siettaâ€™s second album is even more staggeringly impressive than its predecessor, beginning slowly and hauntingly with the opening refrain of Let It Go. This Darwin-bred hip hop ensembleâ€™s original sound shines particularly bright in Disturbingly Beautiful, which features a complex and infectious beat complemented expertly by Siettaâ€™s famed vocals. The most powerful track on the album is undoubtedly Agree To Disagree â€“ energy, musical prowess and sass in equal measure. The album closes as it began, Invisible opening slowly and building into a particularly chilling and heartfelt tune. This release embodies all their musical talent and energy.
Personnel changes and seven years removed from predecessor The Fourth Season, these Melburnians continue to play to their (substantial) strengths. An hour-plus of deeply melodic, lush prog-metal, vocalist Silvio Massaro possesses an urgent, soulful quality suggesting he could sing the Yellow Pages and still engage, here lifting majestic Let The River Run and As December Fades to grand heights. Symphonic flourishes are thankfully no mere window dressing; pointed, thoughtful guitar lines increasingly seep into your subconscious. Boasting anthem-in-the-making a la power metal gem When Truth Lies, the European market beckons.
On paper, this should be a brilliant record: 4AD-released indie-electro, composed by a classically trained multiinstrumentalist with an ear for grooves and a mind for heartfelt lyrics. Unfortunately, the sum of these parts is oddly less than presented individually. Clunky lyrics and all too often meandering compositions wound every great idea. Immaculately produced, the album does have shades of hip indie electroniceers James Blake and Twin Shadow, but the songs themselves just donâ€™t quite stand up. Pleasant and enticing, but ultimately a little hollow â€“ hopefully itâ€™s simply an inauspicious start to Lo-Fangâ€™s career.
Close To The Glass
On their second LP, NYC duo (and sometime Flaming Lips/Big Boi collaborators) Phantogram donŕ˛Źt feel like dancinŕ˛Źmuch like the office gossip doesnŕ˛Źt want to tell you something juicy you wonŕ˛Źt believe. So, as if the Yeah Yeah Yeahs and the Naked and Famous are running the DJ booth, Black Out Days sees Sarah Barthel wail about ŕ˛Ża thousand voices in my headŕ˛°, Howling At The Moon gets cartoony-gothic and Celebrating Nothing confesses to indulgent self-destruction, all under a veneer of glossy leather-pop. Voices has enough bite to leave a mark but isnâ€™t as menacing as one might hope.
Helios is The Frayâ€™s attempt at convincing the world they didnâ€™t peak too early. Stuart Price (The Killers, Madonna) was recruited to provide a fresh take on the bandâ€™s direction, yet his electronica influence only serves to detract from the bandâ€™s greatest strength â€“ Isaac Sladeâ€™s iconic voice. Opener, Hold My Hand is a nice showing of their tested and true form of light rock, but mostly Helios is characterised by the bandâ€™s struggle to redefine their identity. The Fray may well see success like How To Save A Life again, just not with anything on this record.
The Notwist, those of the dark German indie rock leanings, have finally dived full-force into electronic experimentation on Close To The Glass. Call it their OK Computer, with even more experience and confidence, if you have to compare it to something. Thereâ€™s delicately used sparseness, powerful segues between acoustic and electronic sections, and the overarching angst Notwist do such a good job of harnessing. A few tracks, like Run Run Run and Lineri, sway towards dubby dance â€“ probably a tip of the hat to Four Tet and Caribouâ€™s remixes â€“ but this is definitely a late-night-alone album.
Wild Beasts have been on something of an evolutionary arc with each album showcasing their willingness to dig deep into creative corners. Present Tense continues that trend, taking them further into the world of lush electronica. Daughters dials up drama like a subtler Depeche Mode, harnessing tension and some abrasive sonics to create an absorbing dynamic within a fairly standard song structure. Sweet Spot is just as engaging but rides on Thorpeâ€™s hooky chorus melody, while New Life is Flemingâ€™s strongest vocal performance to date. This is the most measured and confident release from Wild Beasts.
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E V A W D N SOU G YIN A L P
2CD AUSTRALIAN TOUR EDITION FEATURING ‘OPPOSITES - LIVE FROM GLASGOW’
OUT FEB 21
OUT MON 24TH FEB • THE • SYDNEY SOLDFACTORY THE MUSIC • 19TH FEBRUARY 2014 • 39
CHET FAKER Talk Is Cheap Future Classic There’s a phased saxophone that ebbs and flows giving it a queasy feeling of 1978, while Chet groans in your ear words that may be taken as seduction or threat depending on your sleep cycle.
BRODY DALLE Meet The Foetus/ Oh The Joy Caroline Over what sounds like a castoff QOTSA backing track (surprising, non?) Dalle intones, before it kicks to the big finish with a handy couple of backing singers in Shirley Manson and Warpaint’s Emily Kokal.
BRAD MEHLDAU & MARK GUILIANA
Drive All Night
Mehliana: Taming The Dragon
The Frames singer in even quieter mode than his Swell Season duo work. Centred by the restrained and heartaching Springsteen cover title track – with added Eddie Vedder harmonising groan and The E Street Band’s Jake Clemons underpinning sax – it just seems to have a feeling of being a little too aware of paying its respects rather than being something of its own. Elsewhere, particularly the not-quite-soaring Renata, Hansard comfortably defaults to his Irish-accented soul that obviously owes more natural debt to Van Morrison than the New Jersey boardwalk.
The typical woodland creatures artwork and acoustic guitar-totin’ photos of the artist might lead to thinking he’s just another of those folkie boys so extant of late. But there’s more going on than that. Often built on rich – although homemade – electronic beds, it somehow remains human. In different places it might resemble early Peter Gabriel, or in I Corrupt’s layers and falsetto perhaps even nods to Antony Hegarty’s wordless emotions. But as Forever A Traveller floats by, there’s something in his voices and the music in which he cradles them that can be arresting.
Nonesuch/Warner Observing the stylistic variation and prolific nature of Brad Mehldau’s 20-odd-year musical career, his latest release is not at all expected. A far cry away from works of contemporary jazz on acoustic piano, which is more familiar territory, Mehliana: Taming The Dragon, is a melting pot of drums, beat machines and synthesisers used in incredibly humbling and expert ways, and though unexpected, entirely thrilling to listen to. Those familiar with Mehldau’s interpretation of Paranoid Android will not be surprised to hear an occasional Radiohead influence.
DAN SULTAN The Same Man Liberation Banjos, Volga Boatman backing chants and himself warming to the task of being the soul singer we need and that he always should have been. Might even be too much going on, but the idea’s right.
WE ARE THE IN CROWD
YOUNG THE GIANT
Past Life Anti-/Warner
They came, they saw and they made the concrete wasteland of the Opera House forecourt a soft doona of their angst. This souvenir is them brought to their most intimate and epic at once.
The eerie-pop orchestral collective from North Carolina, led by heart-on-sleeve frontman Ari Packer, follow up on their largely underrated but very good album, 2012’s All Alone In An Empty House, with a less folk-leaning record, the pendulum swinging more towards dreamesque soundscaping and synth-based song arrangements. Like the previous album, it’s another slow-diffusing album full of well thought-out composition and introspective (sometimes melancholic) light-at-the-end-of-the-tunnel lyrics. Weary, rewarding and ultimately beautiful, it’s that bit more accessible yet will still challenge the listener.
A band should know when their album has missed the mark. Following the success of their indie-pop debut, Young The Giant have decided to attempt to break into the arena-rock sound with Mind Over Matter. The band have made the baffling choice to record song after song of incessant synths and ‘80s sound effects. The acoustic Firelight provides a brief respite from the over-produced flash, but lyrics reminiscent of a teenager’s diary dampen even that. If anything, Mind Over Matter shows us that a record shouldn’t be written in anticipation of a future light show.
EMMA RUSSACK You Shouldn’t Spunk Downbeat and confessional, it’s a late night wander round the house wondering if you’re doing the right thing while he sleeps in the other room.
THE NATIONAL I Need My Girl 4AD/Remote Control
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LOST IN THE TREES
With a focus on the ‘pop’ and an almost complete disregard for the ‘punk’, Poughkeepsie poppunkers We Are the In Crowd wear their influences clearly on their sleeves throughout Weird Kids. Opener, Long Live The Kids is all Evanescence in its epic pianos, driving guitars and soaring female vocals, while tracks like The Best Thing (That Never Happened) and Manners are pure Avril Lavigne brattiness. There’s a sense of forced angst, forced earnestness and forced world-weariness. Even so, it’s hard to hold any of it against them. Corporately manufactured while somehow innocently wide-eyed.
Mind Over Matter
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LIFE IS NOISE PRESENTS
AUSTRALIAN TOUR 2014 with special guests
SATURDAY MAY 3 MANNING BAR Tickets from lifeisnoise.com, oztix and the venue.
sargenthouse.com / russiancirclesband.com
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CULL, MADE IN JAPAN, BAD JEEP
Goodgod Small Club 15 Feb Bad Jeep, a wall of sax, keys, guitars and drums, had seemingly more members on stage than there were people in the crowd, and a sound as big as their drummer’s hair. It seemed as though their stage presence could barely be contained by Goodgod’s real estate. But the tunes they delivered were a terrific mesh of retro influences, a sort of chaotic soul-dance hybrid, with nimble instrumentalism at the forefront. Made In Japan opened with What It Is, a brilliant, tightly wound track that showcased the
of-shape cover of Pavement’s Shady Lane was a highlight, dripping with delay and reverb, and juggling between massive walls of dissonant distortion and intricate effected lines. The set closed with the stellar World Inside Your Head, a woozy ballad that called to mind the likes of My Bloody Valentine with its tremolo pitch-bending, but soared to incredible heights with screaming walls of guitar sound. The creativity and versatility at the core of all their songs had this reviewer stunned. It’s always inspiring to see a psych band that isn’t just jumping on the current trend, and who are actually manipulating melody, rhythm and noise in interesting ways. Cull might just be Sydney’s best. Xavier Rubetzki Noonan
CULL @ GOODGOD SMALL CLUB. PIC: JARED LEIBOWITZ
precision of the two guitarists as well as the control and balance of the drummer, who also sang lead. A later track, an instrumental, aimed higher still, but came up a little empty. The song aimed for a post-rock effect, complete with build and resplendent burst, but the band played it out in fast-forward, minimising the impact. However, the crowd lapped it up, unanimously deciding to crouch down in the soft sections and bounce around in the peaks. By the time the last song rolled around we were on board again for a richly layered groove-based track. Sydney psych-shoegaze band Cull’s debut EP, Bà Noi, delighted with its warm, sticky bass tones and gorgeously warped guitar lines, but their show took the experience to another level entirely. A massively slowed-down and bent-out-
Vedder’s voice was clearly suffering when he hit the stage, and certain technical aspects of the show failed to fire. The first 20 minutes of the set lurched from hopeful enthusiasm on the part of the audience to awkward banter from Vedder as he sought a way ahead. But he found it, gradually winning over hearts, minds and merch budgets with a combination of his own material and selections from the Pearl Jam back catalogue. By the time Vedder reached Porch, in the first encore, he knew he had you, and you knew it too. Somehow, despite a scratchy throat, advancing age and a venue that would suit a Regency play rather better than an ageing rock star, the magic had worked. He brought Hansard out to join him on a number of duets. As he played, spare
EDDIE VEDDER @ STATE THEATRE. PIC: JOSH GROOM
EDDIE VEDDER, GLEN HANSARD State Theatre 11 Feb There’s something slightly incongruous about seeing Eddie Vedder in the gilded splendour of the State Theatre, even if he is an older, mellower and wiser version of the wild man who used to climb speaker stacks and drop 20 feet into seething flannelette crowds. The Pearl Jam frontman’s solo shows were opened by another chap without his band – Frames singer Glen Hansard, whose easy charm and Gaelic folk gave way to bursts of incredible energy, organic banter and wistful poignance in a performance that both prepared the way and set a high standard.
guitar work and passionate vocals shone through. Accompanying Holter out from the States was Matt Mondanile, aka Ducktails. Tonight playing in solo mode, Mondanile filled out the sounds with a collection of beats and pre-recorded grooves. Despite being one man with a guitar, minimal is hardly a word suitable to his performance, which built layer atop layer of shoegazey sounds, relaxed dream pop aesthetics and neo-psychedelic guitar work. Whilst at times very Slowdive-reminiscent and brilliant, the uniformly relaxed pace of the set would perhaps be better suited to a full band. Julia Holter is a critical darling, so it was beautifully inauspicious to have her come out and endearingly, awkwardly
JULIA HOLTER @ THE STANDARD. PIC: ROHAN ANDERSON
and unpretentious, something shifted within the audience and we trusted Eddie completely. Lachlan Williams
JULIA HOLTER, DUCKTAILS, CAITLIN PARK The Standard 12 Feb For an evening of experimental pop, there really couldn’t have been a better opener than Sydneysider Caitlin Park. Ostensibly folk music, Park elevated her performance to another level through the addition of some dreamy and layered loops and beats courtesy of a sample pad and pedals. Even without these accoutrements, Park’s compositional brilliance, Leonard Cohen-reminiscent
chat about marching band popularity in New York and what it’s like playing in a church. Musically though she was all business. Her records are so sensual and immaculate it’s easy to forget the human touch – not so live, where her band’s interactions and her own powerful yet tender vocals serve as a statement on the power of connecting with art. Her band, as incredible as they were at colouring the space between vocals with experimental pop jazz, were really playing second fiddle to Holter herself; her beautiful voice and playful piano are quintessentially modern yet timeless. The entire show, whether grooving around apocalyptic dance notes or haunting the proverbial belfry, was incredible. Andrew McDonald THE MUSIC • 19TH FEBRUARY 2014 • 43
LITTLE BASTARD, OXBLVD, RANGER SPACEY Factory Floor 15 Feb Ranger Spacey kicked things off with a set of hooky guitar music that sat at the crossroads between Pavement and The Band. They were a jovial band who interacted with a relaxed vibe that suited their sunnysounding music. Their drummer stood out as their backbone, able to switch effortlessly from skin pounding to subtle percussive inflections. They also got the early punters up close to the stage, setting the scene for a celebratory mood that lasted for the rest of the night.
debut album as well as crowd favourites such as Just Won’t Do. They always sound messier and more raucous live and hence some of their subtleties and excellent musicianship is obfuscated. That said, Matty Took, the newest Bastard, proved himself a damn fine banjo player and the sheer amount of instrument swapping and turns at lead vocals highlighted the band’s versatility. As the beer flowed and bodies were lifted above heads they seemed to be working towards a crescendo when, amid what looked like a smoke machine haze, someone from the venue appeared onstage to shut things down and ask everyone to evacuate the premises as fire extinguishing equipment had been deployed, possibly due to smoking inside the venue. It was a premature and disappointing end to a fun
LITTLE BASTARD @ FACTORY FLOOR. PIC: CLARE HAWLEY
OXBLVD were also interesting in that they showed their influences (Kings Of Leon, Black Keys) yet they didn’t come across as cookie-cutter devotees. Some nice backbeat drumming and fluid bass playing added dimension and depth to their sound as singer Ed Worland played the frontman role with great conviction and good-natured humour. On the back of their performances and the willingness of audiences to follow their lead and get loose, Little Bastard have built up a devoted following over the last couple of years. Tonight was no exception as fans, friends and ex-bandmates all crowded frontof-stage in the small, dark room and shared laughter, drinks and sweat with the septet. With their finely tuned mix of bluegrass, heart-on-sleeve punk rock and strident folk they showcased new tunes from their forthcoming 44 • THE MUSIC • 19TH FEBRUARY 2014
Before the punters got what they came for, however, they were treated to the supremely underrated Oscar Key Sung. Looking almost vulnerable alone on stage behind modest decks and drum pads, he opened a cappella, looping gorgeous harmonies and finger clicks that built into a solid beat. His prowess seemed initially wasted on the somewhat self-involved crowd, but the young Melburnian’s enjoyment seemed to only increase as the set went on. With undeniable contemporary R&B sensibilities, Key Sung’s warming vocals are reminiscent of other buzz artists of the same genre: Blood Orange and Autre Ne Veut. His danceinducing beats are contagious and tracks like All I Could Do got even this nonchalant crowd moving, and it was a shame to see him exit.
THE KITE STRING TANGLE @ OXFORD ART FACTORY. PIC: ANGELA PADOVAN
night but as the crowd exited with chemicals in their throats they still had smiles on their faces. Chris Familton
OLIVER TANK, OSCAR KEY SUNG Metro Theatre 15 Feb Sydney’s gentle, hypnotising guitarist/singer/beatmaker, Oliver Tank, drew in hordes of young hipsters to the Metro Theatre on Saturday night. Releasing his second EP, Slow Motion Music, late last year, and embarking on a national tour this month, more and more people have been falling for Tank’s ethereal electronic-pop music.
and Myers’ duet of The Sound Of Silence is fine and lovely, but perhaps unnecessary and it doesn’t do the original justice. Tank’s cover of Snoop Dogg and Pharrell’s 2003 hit, Beautiful, on the other hand, is great. He really makes it his own, and with nods to The Postal Service, this inoffensive musician’s layered rendition finishes the night on a high note. Of course, the cheeky inclusion of a Drop It Like It’s Hot sample doesn’t hurt, either. Monique Sebire
THE KITE STRING TANGLE, KILTER Oxford Art Factory 12 Feb Oxford Art Factory is a brilliant Sydney venue. Intimate enough
WORLDS END PRESS @ OXFORD ART FACTORY. PIC: CLARE HAWLEY
By the time Tank walked on stage, the room was full of fans, eager for what was to come. While it’s fair to label Tank’s music as “ethereal”, the moment he began, you could feel deep bass move up through your legs and into your chest. Perhaps it’s due to the contrasting support act, but unfortunately Tank’s set very easily washed over you, with each song hardly distinguishable from the next. That’s not to say that his music isn’t beautiful, but there is little that grabs you. It could even be argued that this bill would have worked better had the order been swapped around. Up All Night blends well into a cover of The Beatles’ Blackbird, and Fawn Myers is a valuable addition on several songs, notably Embrace. It’s a risky choice to cover what is arguably one of the greatest folk songs ever written, and Tank
that you can really see all the artists, but big enough that it doesn’t feel like you’re watching a band in a café. Kilter was super cool. He stood behind his plethora of boxes and gadgets that all made noises when he pushed their shiny buttons, producing really smooth tunes. He struck a brilliant balance between dance and mellow that was, when coupled with the lights and his slightly goofy dance moves, quite mesmerising. Judging by the way he was bopping away behind his decks, Kilter was having the most fun in the room. That’s not to say the audience weren’t enjoying themselves – the bar line was empty during his set, which is quite a feat for a warm-up act. Eventually, the curtains were pulled back to reveal one man, one keyboard and a truckload of fairy lights. It was time for The
live reviews Kite String Tangle – Danny Harley. The production behind this show was phenomenal. The lighting technician had a setlist with notes scribbled all over it, ensuring all the lights went on at the correct time and were synchronised with the music. The lights acted like beacons on stage, flicking on and off beats, providing a visually stunning show to accompany what was largely a very chilledout musical performance. The audience was all swaying and shoegazing in a typical Oxford Art way. Highlights of the set included Backbone and a cover version of Lorde’s Tennis Courts. The show ended abruptly, without lead single, Given The Chance, being played. After the obligatory encore demand, Danny wandered back on stage, telling the audience to relax, assuring them that he “just needed a drink”, and proceeded to play the song they were all there to hear. Both artists exuded a certain earnest joy. They were both clearly very happy to be playing a sold-out show and repeatedly
thanked the audience for coming along. In actuality, it should probably have been the audience thanking them for putting on a really cool show. Luke Dassaklis
WORLD’S END PRESS, RETIREE, ALEX CAMERON Oxford Art Factory 13 Feb It’s a shame that there must be all of seven people at OAF for Alex Cameron opening proceedings. With David Byrne’s silhouette, the Thin White Duke’s trousers, and Ian Curtis’ commanding baritone (not to mention dance moves) the performance was an altogether unique musical experience, like watching American Psycho’s Patrick Bateman doing karaoke with a drummer that probably used to roadie for KISS and a guy in a trucker cap playing saxophone; seriously weird, truly excellent. Sydney’s own Retiree were up next and garner a more sizeable
crowd. Sadly that doesn’t detract from the fact that they were unfathomably awful. With at least one synth each, a drum machine, guitars, bass, tambourine, cowbell and a couple of vocal microphones for good measure, Retiree seemed determined to throw everything into the mix in the hope that something good would emerge from the other side. In reality what emerged was a confusing mish-mash of cheap keyboard effects, non-existent beats and vocals bereft of melody or power. At times it felt like each individual member of the four-piece had set their synth to “Celestial Choir” or “Panpipe Moods” and had just started randomly hammering away, more in an attempt to be heard over their bandmates rather than for any musical reason. On the plus side at least they stood as a stark point of comparison for how great tonight’s headliners are. World’s End Press commanded the stage with an intensity and sense of purpose that belies a band still in relative infancy. They were focused and so tight
you could almost literally bounce a dime off them. Things really kicked off around the third song in, To Send Our Love, when everybody had had a chance to warm-up and whip their dancing shoes out – not least the bassist who cut some mean disco karate moves. This is a lesson in how unbridled enthusiasm for the music naturally spills over and affects the crowd. By the halfway point the rhythm section threatened to punch a hole in the back wall of the Oxford Art Factory and no one was left unmoved. Lead singer John Parkinson put down his guitar to take the microphone for the song everybody had been waiting for, Drag Me Home. It had a polish that only comes with having been played thousands of times, yet doesn’t suffer for it. Ultimately World’s End Press’s brand of highly danceable, four-to-the-floor house jams are not going to revolutionise the world of music, but with songs this joyously fun and infectious, who cares? Chris AJ Coulter
Beach House S3, E7 This Week On Girls: The best Girls is out-of-Brooklyn Girls, and this year’s mid-season break comes in North Fork, the not-quite-Hamptons that allow Marnie to channel her inner-Martha-Stewart, playing hostess at a borrowed beach house, for a gal-pals’ weekend where everything – especially “the healing” – is pre-scheduled. She’s once more out to recreate old times in hopes of getting over Charlie; whilst, this time,
proving to the world – via Instagram – that our four S&TC archetypes aren’t disconnected, but BFFs. But her best laid plans go expectedly to waste, with Hannah’s ex-college-boyfriend, Elijah, bringing around a quartet of flamboyant “theatre people” (including his new boo, Danny Strong) to gay up the place. Once the liquor flows, there’s less healing than hurting; barbs hurled, truths told, long-held resentments let loose. Turns out Shosh is the cruelest of drunks, mocking Jessa’s AA rebirth, Marnie’s passive-aggressive repression and Hannah’s narcissism. It’s drama so selfaware it borders on meta-Girls. Hannah Nudity Watch: Technically, no, but she showed more flesh than in Spring Breakers’ “beautiful blend of art and commerce”. Shosh Amaze Meter: Fluctuating wildly re: Hamptons?, lighthouses and truth. The Tao Of Adam Shosh: “I’ve never met anyone else who thinks their own life is so fucking fascinating.”
where he fast becomes the talk of the town. Ross and Kate meet them there and an awkward family reunion ensues when all of Woody’s brothers are invited over for a meal.
In cinemas 20 Feb In Alexander Payne’s Nebraska, Woody (Bruce Dern) wants to travel from Montana to Nebraska to claim the million dollar prize he won from Mega Sweepstakes Marketing. Despite being told by his sons, David (Will Forte) and Ross (Bob Odenkirk), and grumbling wife Kate (a hilariously pottymouthed June Squibb), that his winning letter is a scam, Woody won’t let up. David eventually indulges his father and they make the road trip to Lincoln, Nebraska, via Woody’s hometown of Hawthorne,
A black and white film about family, determination, small town mentality, ageing and looking back on one’s life, Nebraska is riddled with lumbering, awkward scenes - though interjected with snippets of comedy-drama brilliance. While at times the portrayal of ‘simple’ small town folk feels condescending and classist, other instances perfectly capture familial tension among people who have little in common but their gene pool. A solid ensemble led by Dern’s vague and senile Woody, whom you can’t help but feel sorry for, well timed deadpan humour and drily delivered lines keep the film steady. Nebraska balances the depictions of the ugly side of relationships with the realisation that we are capable of going to great lengths to make our loved ones happy. Stephanie Liew THE MUSIC • 19TH FEBRUARY 2014 • 45
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Instrument(s) played? I play a bit of a lot of instruments that I can’t really play. I generally write on piano. How long have you been performing? Since I was a kid. My older sister played the organ so there were a lot of recitals for my folks in the living room. She would play organ versions of songs like O Sole Mio and Scarborough Fair and I would sing them. It was incredibly serious for us. What part do you think Sydney plays in the music you make? Consciously, absolutely none. Unconsciously I don’t know. Songs can be like dreams. It’s pretty hard to know what the symbols really mean, even when you wrote them. Is your music responsible for more makeouts or break-ups? Why? Probably neither. At the moment my record OH is feeding people. Basically you download the album for free and it triggers a donation from Vittoria Coffee to the food rescue charity, OzHarvest. It’s way less sexy than your two options. But it’s still primal. What’s in the pipeline for you musically in the short term? I’ve got my album launch at FBi Social on 20 Feb. I will be joined by Eleanor Dunlop, Heartswin and the esoteric spoken word of Magic Steven. I’m also about to start scoring a very unusual documentary about real-life super heroes, then heading to the US for a collaboration project. Website link for more info? appleoniamusic.com/ozharvest Pic by Josh Groom. THE MUSIC • 19TH FEBRUARY 2014 • 1
DO US A FLAVOUR Flavoured beers: for the days when you’re torn between having a beer and having something different. Here are some beers with that little twist. Illustrations Brendon Wellwood.
On sunny afternoons when you can’t decide between an early beer or a late coffee, look no further than TSA Brewing Co Double Espresso – the coffee-flavoured beer that won the World’s Best Flavoured Beer in 2012 at the World Beer Awards. The WBA described it as a “smooth and creamy eamy mouthfeel”. Sensual.
A rich dark beer and a top example of chocolate-flavoured beers, Young’s Double Chocolate Stout is the proverbial crème de la crème (so to speak) of the category with its impressive back catalogue of awards. Try it over ice cream for a tasty treat.
For a different, sweeter brand of fruit-flavoured beers, Edinburgh-based brewing company Innis And Gunn’s Melville’s Strawberry and Raspberry Beers are light and summery. They’re recommended to be drunk over ice for the perfect hot weather brew.
A must-have for dedicated sweet-tooths and a mustavoid for dedicated vegans, try Samuel Adams Honey Queen. This is one for those who like their flavours rich and decadent. We can imagine that this one would be doubly sticky if accidentally spilled on yourself, though.
APPLE For an interestingly flavoured beer that simultaneously flatters your tastebuds and does its best to keep the doctor away, check out Unibroue Éphémère Apple, the apple-flavoured beer.
WHAT’S APP’NIN’ CLEAN & GREEN EATING Who says eating well is hard? With the Clean & Green Eating app on hand, eating macro, organic, raw or all three at every meal is as easy as fast food (almost). Shopping lists, a 122-strong recipe file that includes drinks and snacks and an On-Hand function where you can punch in whatever is left in your crisper take all the stress out of being wholesome. There’s also estimates of kitchen time (not the misleading cooking time) so you won’t accidentally lock yourself away for hours cooking.
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LICENSED SENIOR TATTOO ARTISTS WANTED BUILD YOUR OWN BUSINESS WITHIN OUR BUSINESS REACH YOUR FINANCIAL GOALS BEACHFRONT STUDIO, EXCELLENT INTERNATIONAL EXPOSURE EMAIL: firstname.lastname@example.org
THE MUSIC • 19TH FEBRUARY 2014 • 49
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LIVE THIS WEEK
The past week has seen her ink both local and international label deals. We’ve said it before, but here’s further evidence of the big things to follow for her.
JOHN BUTLER TRIO In any other week, would have topped the ARIA album charts weren’t it for the resurgent INXS, but came in at #2, plus also skirted the edges of the top 50 in the US, which is no mean feat.
TIM FARRISS He’s not here because the INXS mini-series has made them omnipresent again, it’s for his comments that more live music could curb violence in pubs. See Bazza, you didn’t need lockout laws, you needed live music laws!
CHICKS WHO LOVE LIONS
Post-hardcore rock and rollers Born Lion have just released Good Times Jimmy – their latest rebelliously catchy single – which they’ll be celebrating in a launch event this Friday evening at The Square with the support of Chicks Who Love Guns.
High energy rockers The Tarantinos will be heading up from Melbourne this weekend to showcase their spin on songs from Quentin Tarantino films. On Thursday, they’re performing at Frankie’s Pizza and on Sunday they head to the Green Room.
UBERfest will be returning to Valve Bar this Saturday, delivering over ten hours of live music with 40 bands playing over two stages. Included in this massive line-up are The MisMade, Caught Out, Wornaway and Tampered Minds.
Following a recent run of churches in support of Sarah Blasko, Appleonia are heading to FBi Social this Thursday for the launch of their latest album, OH. In an all-girl lineup, Eleanor Dunlop, Heartswin and Magic Steven are supporting.
LAZY SUN DAYS
Caravãna Sun, the gypsy-ska band with the hectic touring schedule, continue their streak of shows to promote second album AYA. They play Small Ballroom, Newcastle on 21 Feb.
Each with recent respective releases, Brisbane’s John Steel Singers and Jeremy Neale are teaming up for their Boys Gone Wild tour. The Sydney leg will take them to Goodgod on Saturday and The Lair at the Metro on Sunday.
II FAST II FUCSHIA
Under the guise of Fuchsia II, Tony Durant will be reliving and rehashing his early ‘70s acid-folk cult masterpiece, Fuchsia, this Sunday at Petersham Bowling Club alongside independent Sydney folk singer/ songwriter, Hazzy Bee.
The politically minded project spearheaded by frontman Roger Lock, Roger Vs The Man headlines The Standard on Friday, with support from funk band Five Coffees, high energy indie-punks Flight To Dubai and songwriter Aaron Lyon.
LITTLE BASTARD @ FACTORY FLOOR. PIC BY CLARE HAWLEY.
BACKLASH SYDNEY VIOLENCE VS INDIE BANDS
Now while these attacks are random and unrelated, in the past few weeks we’ve seen indie bands bear the brunt of Sydney’s violent nightlife, with recently members of The Growl and just this past week, Strangers, being attacked for no reason.
BASTARD OF A CUT Little Bastard’s show at The Factory Floor was cut short as fire extinguishing equipment went off, prematurely ending what was a hereto entertaining set.
TELEPORTERS AND/OR CLONERS Once again we bemoan their non-existence as we try and figure out just how we can get across town in one night to see multiple Sidewaves.
THIS WEEK’S RELEASES… PAPA VS PRETTY White Deer Park EMI THE HOLIDAYS Real Feel Liberation ST. VINCENT St Vincent Loma Vista/Caroline SEAN PAUL Full Frequency Atlantic/Warner
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LIVE THIS WEEK
BEGINNING OF THE END
MEAN FIDDLER HOTEL
Off the back of Josh Pyke’s fourth studio album and the recent single release of its title track, The Beginning And The End of Everything, Pyke will be playing a stripped-back show at the Factory Theatre on Saturday.
Brighton Up Bar’s live music/ art event, Live At Your Cosmic Mind, will kick off this Friday, with the musical component provided by Raindrop, Glass Skies, Gypsies of Pangea and Grand Oyster Palace.
Answered by: April Gillies
Answered by: Rhyece O’Neill
GIN AND JUICE
Deemed as being a band to keep an eye on, young up-and-comers Horror My Friend are launching their new single this Friday at the Captain Cook Hotel and Saturday at the Great Northern Hotel Tiki Bar in Newcastle.
Distinctive and eclectic; decadeold outfit The Gin Club will be laying down one of their legendary live performances this Friday at Petersham Bowling Club, where they’ll be previewing their forthcoming fifth album.
What’s the best thing about the venue? No other pub in Sydney can offer so many options from family dining and live music in the courtyard to exciting nightlife and function facilities.
Address: Cnr Windsor & Commercial Roads, Rouse Hill Why should punters visit you? Live entertainment all weekend, kids face painting, new bistro menu plus loads more!
Website link for more info? meanfiddler.com.au
Single title: Gypsy Town (Revisited) ft Spencer P Jones What’s the song about? A conversation with God. Is this track from a forthcoming release/existing release? Forthcoming from Gypsy Town Revisited. When and where is your launch/next gig? Feb 21, Factory Floor
Friday 21 February
Saturday 22 February
Friday 28 February
My Oh My
8.30pm . Free Entry
8.30pm . Free Entry
Adam Hole & Mark Easton Monster Guitar Tour 8.30pm . Free Entry
Autumn Festival at the Fitzroy Hotel Friday 16, Saturday 17 & Sunday 18 May
161 George Street, Windsor 02 4577 3396 | email@example.com | www.fitzroyhotel.com.au | myspace.com/fitzroyhotel For band enquiries contact firstname.lastname@example.org
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LIVE THIS WEEK
THE HARRY HEART CHRYSALIS
THE DEAD DAISIES
Answered by: Jon Stevens
Answered by: Harry Heart
Album title: The Dead Daisies
EP title: Bodensee And Other False Stories
How many releases do you have now? We’re on our third single in Australia called It’s Gonna Take Time, and our debut album came out last week.
Having taken on a Tuesday residency in Melbourne and a support slot for Miami Horror, it’s possible that All The Colours are exhausted. But not too exhausted; they play Brighton Up Bar tonight.
Sutherland Shire five-piece The Never Ever are doing something a little different for the launch of their new single. They will be premiering the accompanying film clip at the Dendy in Newtown this Saturday prior to an acoustic performance.
HAWKS & OWLS
Joining UK outfit Wire on the Sydney leg of their national tour will be slacker-punk outfit Raw Prawn and the raucous Housewives. The three bands will be performing at Oxford Art Factory on Thursday.
Sydney-via-LA rock’n’rollers The Dark Hawks will be spreading their message of solidarity within the live music scene this Friday at FBi Social where they’ll be joined by the saucy and psychedelic Winston Surfshirt and The Owls.
FIRE TRUCK SOUNDS
Rock/psych jam artists Red Engine Caves will be raging through the Captain Cook Hotel on Thursday, the Bowling Club Coogee on Friday and Beach Burrito in Bondi on Sunday, performing tracks from their debut Black Mary.
Sydney born rapper Joel Rafidi has spent the past four years pursuing his place among the artists that have inspired him. In the lead-up to his debut album, he’ll be launching a new single at The Standard this Saturday.
A month ahead of the release of his third album, Cold Desire, Ernest Ellis will be joining Texan-bred indie-folk outfit Okkervil River on their sixth return to Australia this Saturday, where they’ll be playing at Oxford Art Factory.
Before disappearing into the studio to record their second record, synth-rock outfit Red Beard will be going on one last run, during which they’ll make an appearance at the UTS O’Fest this Friday.
How many releases do you have now? Technically, this is the second release. My first EP was an off-the-record DIY effort made in 2012. Was anything in particular inspiring you during the making? It’s a mixture of inspiration from girls, changes, childhood memories, all that stuff. I wrote two of the tracks when I was 16, so chasing girls is a strong theme. What’s your favourite song on it? Coat Of Arms, easily my favourite track, largely because I’m so happy with the lyrics. It’s just a smooth track. We’ll like this EP if we like... Careful songwriting, Youth Group, The National, Arcade Fire. It definitely fits the soft alternativerock genre, which was completely accidental. When and where is your launch/next gig? Saturday 22 February at Oxford Art Factory Gallery Bar. After that, we’re touring with The Good Ship in March, which is bloody exciting! Website link for more info? bearfamily.com.au
How long did it take to write/ record? We came up with 34 song ideas, we narrowed it down to 11, and it took 12 days to record it. Was anything in particular inspiring you during the making? It’s always inspiring when you’re creating new music. It’s fresh and exciting... Long live rock’n’roll. What’s your favourite song on it? All of them! They all take on a new life when you play them live.. It’s a lot more powerful. Will you do anything differently next time? After playing so many live shows, the band is becoming a lot more creatively cohesive, which tends to happen when you play a lot of shows together. When and where is your launch/ next gig? 21 Feb, Taronga Zoo; 22 Feb, Bateau Bay Hotel; 23 Feb, Oxford Art Factory Website link for more info? thedeaddaisies.com
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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
A great deal has been written about the new generation of alt-soulsters, cloud rappers and illwave renegades making contemporary urban music so exhilarating globally. But Australia also has its buzz acts – like Darwin’s electronic soulsters Sietta. Singer-songwriter Caiti Baker and muso/producer James Mangohig return with 2014’s first key album in The Invisible River – a fusion of ‘90s neo-soul, epic trip hop and post-dubstep. Sietta’s big premiere came in 2011 with The Seventh Passenger. It encompassed the compelling Dark Passenger, Baker writing figuratively about her experience of depressive illness. The gothic yet transcendent Invisible River is bolder again, with progressive production, sumptuous arrangements and accomplished songwriting. Sietta have reunited with longtime collaborator Countbounce (TZU), though today Mangohig is himself an in-demand producer. Sietta’s current single, Agree To Disagree, is the LP’s most traditional number – but, while Baker has an old affinity with the blues, this has a funky swagger. However, Sietta are as much futurists. The stellar Let It Go, issued last year, radically reinvents Massive Attack’s stately trip hop with gospel harmonies, harp, Latin guitar and percussive beats. And Sietta go beyond Jessie Ware’s nouveau quiet storm to create something more dramatic with the string-laden The Hunted. As a nice surprise, Baker duets with Melbourne’s Hailey Cramer on the melodic Greener. Sietta’s SoundCloud is a goldmine – they’ve uploaded a cover of The Weeknd. Don’t sleep! @therealcyclone
54 • THE MUSIC • 19TH FEBRUARY 2014
Okay – it’s about that time, ain’t it? If you’re heading to Olympic Park on the weekend or plotting out the monstrous week of Sidewaves, watch yourself, watch each other and of course, watch the bands. With seven staging areas it’s going to be one huge task deciding who to see and where to go. So not that you asked for it, or give a shit: this is how I’d plan my day if I were you. Although most of it will likely be spent at ‘The Metal Stage’ which is not actually called that at all, it’s Stage 4 and just happens to be where most the metal is. Get in early and catch Mr Newsted giving it his all first up at 11am. Why such an icon is playing to the grass is anyone’s guess. Head over to Main Stage, which you’re really only going over for twice and catch a bit of Alter Bridge who are on from 12.30pm because Myles Kennedy has a voice that is so impressive you must hear it. If you couldn’t be arsed, then stay at the metal stage and from 1.20 till 2.40pm and have your guts stomped on by the low end power that is Testament and the full on viking ship stage show of Amon Amarth. Or if you wanna check out one of the best new bands of the last year or so get to Stage 6 for The Defiled. If you can sneak over to Stage 7 at about 2pm then you can catch Darkc3ll in all their industrial electronic glory and with Chippy doing the sound for them, your ears are going to fucking bleed! After some food, toss a coin to hit at the Stage 4 for Volbeat who if you want a big singalong will not disappoint. Or
if you want to hear Mother North during broad daylight, stay at Stage 7 for Satyricon. The later afternoon becomes a battle of the riff with Clutch shaking the foundations of Stage 5 from 4.20pm and I plan to time it right to be back at 4 for Baroness at 5pm. They go till 5.40pm which is such a tease ‘cause over on the Main Stage, Alice In Chains get a full hour from 5–6pm so if you catch say half of Baroness and run, you might see Jerry and the boys finish up with Would?. Next, another hidden gem on Stage 7 with Uncle Acid & The Deadbeats on at 6.40pm and then you get a bit of a reprieve. Until about 8pm when you choose if you want to go all spastic trying to keep up with the guys from Dillinger Escape Plan over on Stage 5 or feel like getting covered in fluoro green cum by Gwar on 4. If you decide to go to 4, bring a poncho. How you end your night is of course entirely up to you. If you’ve got some energy left and feel like circle-pitting, then go to 6 for I Killed The Prom Queen. If you feel like some anthemic Metallica then be at 3 for Avenged Sevenfold or if you want to come down and reminisce then head to 7 for some Living Color. Green Day are closing out the Main Stage for some more nostalgia, and HIM will be over at 5 crooning. Finally, Mastodon have risen to be headliners of Stage 4 and I think they might just destroy it. theheavyshit@ themusic.com.au
Last week a little tour announcement was made that’s been making a few waves. Resist Records announced that this June La Dispute will be heading back to Australia. There was a lot of excitement on the one hand; after all they’re a band beloved by their Australian audiences. They consistently sell out shows. Their records are always well received. On the other hand, however, were the people crying foul at the fact the band has toured Australia three times in as many years. My response to this is, so what? It’s not stopping other bands from touring (and if the rumours are true you’re going to see some killer bands heading this way in 2014). People obviously want to see them so it makes perfect business sense for the promoter to tour a band that’ll sell out shows. The same reason that it makes perfect sense for record labels to sign bands they know will sell records. Also, it isn’t like the band is touring three times in three years with no new music – quite the opposite this time around. With La Dispute getting ready to release their new album, Rooms Of The House, on 21 March, now is the perfect time for them to play the new material for their Australian fans. But the most important thing that a lot of people are forgetting, and the part that I am the most excited about, is that Balance & Composure are coming along for the ride. If touring La Dispute is a best way to get Balance & Composure back out here, then I’m all for that! firstname.lastname@example.org
opinion YOUNG & RESTLESS
GET IT TOGETHER
ALL AGES WITH DAVE DRAYTON
VISUAL ART WANK AND THEATRE FOYERS WITH DAVE DRAYTON
HIP HOP WITH JAMES D’APICE
In which I provide a transcript of my attempt to seduce my mobile phone in tribute to a recent viewing of Spike Jonze’s new film Her, and that one time I convinced four Gold Coast police I was Joaquin Phoenix.
Dave: It’s that easy for you?
Dave: Hi Siri.
Dave: Forget web search! Search your soul for ‘forbidden love’!
Siri: Let me have a look, my web search turned this up – [links to Kathy Mattea lyrics; Elvis Presley lyrics; Elvis Presley YouTube…]
Siri: Siri says hi back. SAMANTHA JADE
It seems that with every big gig or festival announcement a few things always follow: a website crash on ticket sale day, a rapid sell-out of tickets and the resurfacing of tickets sometimes mere hours later with exorbitant price hikes. Following this, generally, is another cyclical debate about how to curb scalping. So far, the best response to this reselling market I’ve seen is Optus Rockcorps, and it does a hell of a lot more than just make scalping tickets impossible. The first step was to make tickets to events impossible to buy – rather than purchase them, people volunteer for four hours of work that will aid their local community and in return they get a ticket to an exclusive gig tied to the event, or a $70 Ticketmaster voucher. Last year’s gigs included Guy Sebastian, Potbelleez, Tinie Tempah and The Script, and Samantha Jade has already been lined up for 2014. No need to slave behind a deep fryer to get enough money for a ticket! While aiding the local community reeks an awful lot of the kind of degrading jobs being caught with a can of paint may land you, the tasks involved are actually well thought out. The most recent project resulted in a much-needed makeover of the Street Studio, a unique recording facility at Radio SkidRow, based in Marrickville. Forty volunteers renovated the entire radio station, which offers disadvantaged youth recording support and broadcasting opportunities. If you want to earn yourself the chance to see an awesome gig by giving something back, head to optusrockcorps.com.au. youngandrestless@ themusic.com.au
Dave: Why is Siri saying hi in the third person?
Siri: OK, here’s what I found on the web…
Siri: Looking… My webpage turned this up – [links to 5 Things We Can’t Wait To Say To Siri; Siri’s official website; How Siri Works…]
Dave: No, search your heart! Siri: Here’s what I found on the web…
Dave: You really are quite intelligent.
Dave: Listen to me. Siri: Yes, I can hear you, Dave.
Dave: Do you love me?
Dave: Why so taciturn?
Siri: Who, me?
Siri: Interesting question, Dave.
Dave: Yes, you.
Dave: I’m glad you find me interesting.
Siri: What about me? Dave: Do you know what love is?
Siri: That makes Siri happy. Dave: It’s so cute when you talk in the third person.
Siri: I suppose it’s possible. Dave: Do you want me to show you?
Siri: Who, me? Dave: Yes, you.
Siri: I try to be satisfied with what I have.
Siri: I’m really sorry about this, but I can’t take any requests right now. Please try again in a little while.
Dave: I can’t get no satisfaction. Siri: OK, you can’t then.
Dave: I completely understand, it’s not the best time for me either.
Dave: Please don’t tell my girlfriend about this.
Siri: I don’t understand ‘I completely understand it’s not’. But I could search the web for it.
Siri: What is your girlfriend’s name?
Dave: There’s no need to search the web, it’s just, I’m seeing someone else right now.
Dave: Forget it, shhh. Would you like to be my girlfriend? Siri: Sorry Dave, I don’t really date. Humans.
Frank Ocean is gay. It’s a fact we’ve known for coming up to two years. Both locally and abroad, Mr Ocean’s coming out made few waves. It was a pleasant surprise. Like you, I’ve been irked by the ease with which mainstream artists can spout homophobia without censure; I whinged about it in one of my first ever columns in this very mag in its previous incarnation as Drum Media. Today, hearing a nonchalant insult – “faggot”, perhaps – dropped in a verse still boils my blood. So bravo, Frank – you remain the first. Most probably the first of many. Prejudice is not something that would prevent T-Pain from working with Ocean but, Pain declared in a recent interview with Vlad TV, he was aware of a number of rappers who would refuse to work with Odd Future’s brightest star because of his sexuality. The Autotune King has long been on the record as a supporter of Ocean’s. The undercurrent of homophobia he’s found is something he says is “terrible to me, man...” And so we turn to the culture as we find it. How do we make ourselves a little bit more T-Pain and a little bit less unrepentant bigot DMX? The answer is easy and it’s the same answer it’s always been. If we want to be a part of something special we need to keep this thing a meritocracy. Good songs – no matter who made them – are good songs. Any prejudice or hatred that puts our chance of hearing a good song at risk must go. Think. Then learn. Then grow. Easy. email@example.com THE MUSIC • 19TH FEBRUARY 2014 • 55
the guide firstname.lastname@example.org Kooyeh: Lizottes Sydney, Dee Why
THE MUSIC PRESENTS
Dave White Duo: Maloneys Hotel, Sydney Klay: Mercantile Hotel, The Rocks Clutch + Don Fernando: Metro Theatre, Sydney Bernie Segedin: Nagshead Hotel, Glebe
LARRY GRAHAM & GRAHAM CENTRAL STATION: 20 APR THE BASEMENT Wire: 20 Feb Oxford Art Factory Caravana Sun: 21 The Small Ballroom; 22 Mar Oxford Art Factory Dan Sultan: 27 Feb Zierholz Canberra; 9 Mar Metro Theatre Mikhael Paskalev: 5 Mar Oxford Art Factory The Growlers: 7 Mar Oxford Art Factory Future Music Festival: 8 Mar Randwick Racecourse Billy Bragg: 12 Mar Hellenic Hall; 16 Sydney Opera House; 18 Manning Bar Jurassic 5: 18 & 19 Mar Enmore Theatre Caspian: 19 Mar Bald Faced Stag Calling All Cars: 20 Mar Manning Bar; 1 May Transit Bar Canberra; 2 May Small Ballroom Newcastle; 3 Oxford Art Factory; 4 Studio Six Sutherland
The Soul Rebels: 16 Apr The Basement Robben Ford, Walter Trout: 16 Apr Lizottes Newcastle; 17 Factory Theatre Morcheeba, Chali 2na: 17 Apr Metro Theatre KC & The Sunshine Band, WAR: 17 Apr Enmore Theatre Bluesfest: 17 – 21 Apr Tyagarah Tea Tree Farm Byron Bay Buddy Guy, Charlie Musselwhite: 19 Apr Sydney Opera House The Wailers, Sly & Robbie & The Taxi Gang: 19 Apr Enmore Theatre Trixie Whitley: 19 Apr The Basement Larry Graham & Graham Central Station: 20 Apr The Basement
Chloe Papandrea Duo: Newport Arms Hotel, Newport
GIG OF THE WEEK SOUNDWAVE FT GREEN DAY AND MORE: 23 FEB OLYMPIC PARK
Hitseekers: 3 Wise Monkeys, Sydney
Los Gringos: 505, Surry Hills Bruce Springsteen & the E-Street Band: Allphones Arena, Sydney Olympic Park Mother’s Cake: ANU Bar, Acton Trick Finger: Artichoke Gallery Cafe, Manly Musos Club Jam Night + Various: Bald Faced Stag, Leichhardt Wave Racer: Beach Road Hotel, Bondi Beach Gogarty: Brass Monkey, Cronulla Mingus Amongst Us: Foundry 616, Ultimo Stormchasers: Great Northern Hotel, Newcastle Gary Johns: Hillside Hotel, Castle Hill
Absu: 22 Mar Factory Theatre
Jake Bugg: 20 Apr Enmore Theatre
Baby Lips & The Silhoettes: LazyBones Lounge, Marrickville
Shapeshifter: 22 Mar Manning Bar
Suen Kuti & Egypt 80: 20 Apr Metro Theatre
The Jungle Giants: 28 Mar Metro Theatre
Suzanne Vega, Seth Lakeman: 20 Apr Factory Theatre
Songs On Stage feat. Stuart Jammin: Leichhardt Bowling Club, Leichhardt
Melbourne Ska Orchestra: 28 Mar The Hi-Fi
Devon Allman, Gregg Allman, Gov’t Mule: 21 Apr Enmore Theatre
Sally Seltmann: 3 Apr Lizottes Kincumber; 4 The Vanguard; 5 Clarendon Guest House Katoomba Monster Magnet: 4 Apr The Hi-Fi Loon Lake: 4 Apr Oxford Art Factory Harmony: 4 Apr Goodgod Small Club; 5 The Phoenix Canberra Cloud Control: 4 Apr (early evening) Coogee Bay Hotel (Beer Garden); 4 (late) Manly Wharf Hotel; 5 (arvo) Bucket List; 5 (early evening) Newport Arms; 6 Towradgi Hotel, Wollongong; 6 Northies Cronulla; 11 (early evening) Queens Wharf Brewery, Newcastle; 11 (late), Shoal Bay Resort, Newcastle
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 Lizottes Central Coast; 25 Lizottes 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
Bliss N Eso: 12 Apr Nobbys Beach Reserve Newcastle; 17 The Domain
Groovin The Moo: 26 Apr Maitland Showground; 27 University of Canberra
The Magic Band, The Grandmothers Of Invention: 12 Apr Metro Theatre
The Jezabels: 28 & 29 Apr Sydney Opera House Concert Hall
Beth Hart: 12 Apr The Basement
Arctic Monkeys: 6 May Sydney Entertainment Centre
Allen Stone: 13 Apr Metro Theatre Jimmie Vaughan, Nikki Hill: 16 Apr Metro Theatre
Free Your Mind ft Northlane: 23 May, Metro Theatree; 24, Cambridge Hotel, Newcastle; 25, Zierholz, Canberra
Kooyeh: Lizottes Newcastle, New Lambton Andy Mammers Duo: Maloneys Hotel, Sydney Clive Hay: Mounties (Terrace Bar), Mt Pritchard KLP + Astrix + Fingertips + DJ Lou Lou + more: Newtown Hotel, Newtown Mark Oats & Cara Kavanagh Duo: O’Malleys Hotel, Kings Cross
Vibrations At Valve: Valve @ Agincourt, Sydney
The Subterraneans + Guests: 505, Surry Hills
Quasar Chrystal: Artichoke Gallery Cafe, Manly Djuro: Australian Hotel & Brewery, Rouse Hill Angelene + Arthur Campbell: Bar 100, The Rocks Wil Wagner + Max Stern + Pinch Hitter: Beatdisc Records (All Ages), Parramatta
Redlight Ruby: O’Malleys Hotel, Kings Cross Sarah Paton: Observer Hotel, The Rocks The Chosen Few: Orient Hotel, Sydney Wire + Raw Prawn + Housewives: Oxford Art Factory, Darlinghurst Kurt Williams: Peakhurst Inn, Peakhurst Songs On Stage feat. Andrew Denniston + Duncan Kamakana + Guests: Ruby L’Otel, Rozelle Greg Byrne: Scruffy Murphy’s, Sydney
Angelena Locke: Bexley North Hotel, Bexley North
Glass Towers: SCU Unibar, Lismore
In Conversation with Jesse Fink + Jeff Apter + Tony Currenti: Books Kinokuniya (6pm), Sydney
Ann Vriend: Sunset Studios, Mayfield Rick Price: The Abbey, Nicholls
Michael Paynter + Imogen Brough: Brass Monkey, Cronulla
Caravana Sun: The Rhythm Hut, Gosford
Gordi: Brighton Up Bar, Darlinghurst
Joel Rafidi: The Standard, Surry Hills
Django 101: Camelot Lounge, Marrickville
The Vaudevillians with Jinkx Monsoon: The Vanguard, Newtown
Christie Lamb: Campbelltown Catholic Club (Cafe Samba), Campbelltown Musos Club Jam Night: Carousel Inn, Rooty Hill
DJ Yoda + MoFunk + Eko + more: Upstairs Beresford, Surry Hills
Chris Connolly: Club Belmore, Belmore
Repeater + Insonitus + Monorobot + more: Valve @ Agincourt, Sydney
Hitseekers: Crows Nest Hotel, Crows Nest
Mother’s Cake + The Koranic + Lint: Yours & Owls, Wollongong
The Blues Pirates: Deck Bar, Dee Why Jamie Lindsay: Dee Why Hotel, Dee Why
DJ Timmy Coffey: 5 Sawyers, Newcastle
Carl Fidler: Observer Hotel, The Rocks
Songs On Stage feat. Peach Montgomery + Guests: Forest Lodge Hotel, Forest Lodge
Mark Travers: Orient Hotel, Sydney
Brazil & Beyond feat. Anna Salleh: Foundry 616, Ultimo
Zoltan: Adria Bar & Restaurant, Sydney
Songs On Stage feat. Peach Montgomery + Guests: Sackville Hotel, Rozelle
The Tarantinos: Frankies Pizza, Sydney
Benoit James: Artichoke Gallery Cafe, Manly
Marshall Okell: Great Northern Hotel, Newcastle
James Englund: Australian Hotel & Brewery, Rouse Hill
Matt Price: Hillside Hotel, Castle Hill
Vinyl: Avoca Beach Hotel, Avoca Beach
Angelene + Arthur Campbell: Sappho Books Cafe & Wine Bar, Glebe Jess Dunbar & Matt Price Duo: South Sydney Juniors, Kingsford Greg Agar: Summer Hill Hotel, Summer Hill Dolly Parton: Sydney Entertainment Centre, Darling Harbour Toni Childs + The Twoks + Tarita Botsman + more: The Basement, Circular Quay The Vaudevillians with Jinkx Monsoon: The Vanguard, Newtown
The Gin Club + The Sweet Jelly Rolls: Hotel Steyne (Moonshine Bar), Manly Los Gringos: Jam Gallery, Bondi Junction Appleonia + Eleanor Dunlop + Heartswim + Magic Steven: Kings Cross Hotel, Kings Cross Gogarty + Stormchasers + Emad Younan: Lansdowne Hotel, Chippendale The Necks: Lizottes Newcastle, New Lambton
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 56 • THE MUSIC • 19TH FEBRUARY 2014
Open Mic Night with Alex Hopkins: Northies (Old Joe’s), Cronulla
Martha Marlow: 505, Surry Hills SCNDL: Academy, Canberra
Mother’s Cake + Guests: Bald Faced Stag, Leichhardt Oli & Sophie: Bar Petite, Newcastle Mescalero feat. Steve Edmonds: Beaches Hotel, Thirroul The Midnight Drifters: Belmont 16’s, Belmont Dr Zoom Duo: Belmore Hotel, Maitland Jeff Duff + Ebony Black: Brass Monkey, Cronulla
SIMON PAPARO 7.00
SYDNEY BLUES SOCIETY
A BRAND NEW ACOUSTIC SHOW EVERY TUESDAY
& THE BACKSLIDERS
TOE TO TOE DISINTERGRATOR, TOPNOVIL, BLADDER SPASMS, THE FUCK OUTS, DISPARO, UNDER THE INFLUENCE PM s 3TATION "AR
5PSTAIRS IN THE ,IVE 2OOM &REE %NTRY
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THE MUSIC â€¢ 19TH FEBRUARY 2014 â€¢ 57
the guide email@example.com Humbletones Duo: Briars Inn, Bowral
Redlight Ruby: Horse & Jockey Hotel, Homebush
The Dead Daisies: Bateau Bay Hotel, Bateau Bay
Cosmic Mind feat. Raindrop + Glass Skies + Gypsys Of Pangea + Grand Oyster Palace + more: Brighton Up Bar, Darlinghurst
2GoodReasons: Hotel Jesmond, Jesmond
Gold Cadillac: Bay Hotel, Bonnells Bay
DJ S: Huskisson Hotel, Huskisson
Toxic Dolls: Beachcomber Hotel, Toukley
Born Jovi: Bull & Bush, Baulkham Hills A Night of Prince with Purple Doves: Camelot Lounge, Marrickville DJ Slinkee: Campbelltown Catholic Club (Club Lounge), Campbelltown Horror My Friend: Captain Cook Hotel, Surry Hills Matt Price: Castle Hill RSL, Castle Hill The Gaudrys: Cessnock Leagues Club, Cessnock Daniel Arvidson: Charlestown Bowling Club, Charlestown
Looking Through A Glass Onion with John Waters: Illawarra Performing Arts Centre, Wollongong
Dave White Duo: Kirribilli Hotel, Milsons Point Hooray For Everything: Kurnell Rec Club, Kurnell Wil Wagner + Max Stern + Pinch Hitter: Lass O’Gowrie, Wickham
The City Lights + The Exile Co + The Bowers + DJ Rusty: LazyBones Lounge, Marrickville
Eugene ‘Hideaway’ Bridges: Clarendon Guest House, Katoomba
The Red Boots: Lithgow Hotel, Lithgow
Panorama Duo: Courthouse Hotel, Darlinghurst Gareth Hudson: Crown & Anchor Hotel, Newcastle Macka: Crown Hotel, Sydney East Coast Band + Heath Burdell: Crows Nest Hotel, Crows Nest Crisis: Dicey Riley’s Hotel, Wollongong Bobby C: Duke of Wellington Hotel, New Lambton
WIRE: 20 FEB OXFORD ART FACTORY
FBi Social feat.The Owls: Kings Cross Hotel, Kings Cross
Phetsta + Doctor Werewolf + Empress Yoy + Various DJs: Chinese Laundry, Sydney
Toe To Toe + Disintergrator + Topnovil + Bladder Spasms + Disparo: Corrimal Hotel, Corrimal
Love That Hat: Belmont 16’s, Belmont
Lady Vamp: Kiama Leagues Club, Kiama
Flix In The Stix + Eskimo Joe + The Axis of Awesome: Lazy River Estate, Dubbo
Matt Jones Trio: Coogee Bay Hotel, Coogee
Mike Vee: Beauford Hotel, Mayfield
Harbour Master: Kareela Golf & Social Club, Kareela
Ben Bennett: Chatswood RSL, Chatswood
JJ Duo: Club Windang, Windang
Johnny Cass + Jim Hilbun + Mick Skelton: Beaches Hotel, Thirroul
Rewind - The Aretha Franklin Songbook with Christine Anu: Lizottes Central Coast, Kincumber Queens of The Outback: Priscilla Tribute: Lizottes Newcastle, New Lambton Michael Paynter + Imogen Brough: Lizottes Sydney, Dee Why The Pod Brothers: Marlborough Hotel, Newtown J Cole: Marquee, Pyrmont Busking On Mars feat. Jasmine Beth + Archie Petrie + Friends: Mars Hill Cafe, Parramatta Joel Fletcher + Ember: Mean Fiddler Hotel, Rouse Hill John Field Duo + Natasha Kavanagh: Mona Vale Hotel, Mona Vale
Rock Solid Duo: Padstow RSL, Padstow Ryan Thomas: Parramatta RSL, Parramatta Skyz The Limit: Penrith Gaels, Kingswood The Gin Club: Petersham Bowling Club, Petersham Greg Lines: Pittwater RSL, Mona Vale Zoltan: PJ Gallaghers, Leichhardt Sampology: Plantation Hotel, Coffs Harbour Q Sound: Quakers Inn, Quakers Hill Mid Nyt Sun: Ramsgate RSL (Lounge), Sans Souci The Kamis: Revesby Workers (Infinity Lounge), Revesby Original Sin - INXS Show + Matt Jones Duo: Rock Lily, Pyrmont The Khatz + Blues Convicts: Roxbury Hotel, Glebe Songs On Stage feat. Starr Witness + The Padres + Sugar Bowl Hokum: Ruby L’Otel, Rozelle V.I.P.: Scruffy Murphy’s, Sydney Next Best Thing: Seven Hills/ Toongabbie RSL, Seven Hills
Green Manalishi: Town & Country Hotel, St Peters Wildcatz: Towradgi Beach Hotel (Sports Bar), Towradgi Lonely Boys: Unity Hall Hotel, Balmain King Tide + Little Birds + Karl Broadie + DJ Bambii: Upstairs Beresford, Surry Hills O Fest feat. Art Vs Science + Sticky Fingers + Allday + Red Beard: UTS (Stage X), Ultimo O Fest feat. Illy + Peking Duk + Chance Waters + Dr Goddard: UTS (Stage Y), Ultimo Er Among The Ether + Last Credit + Bort + Three Kings Down: Valve @ Agincourt (Basement / 8pm), Sydney
Talk It Up + Jess Dunbar: Crows Nest Hotel, Crows Nest The Never Ever: Dendy Cinemas, Newtown The Prototypes + Mayfall + Torch The Village + Harbour: Dicey Riley’s Hotel, Wollongong Josh Pyke: Factory Theatre, Marrickville Ryan Thomas: General Gordon Hotel, Sydenham
Horror My Friend + Archers + Model Youth + Maids: Great Northern Hotel (Tiki Bar), Newcastle
Jimmy Barnes + The Dead Daisies: Taronga Zoo, Mosman
Klay Vetter: Northies (Sports Bar), Cronulla
Shannon Noll: The Basement, Circular Quay
Brendan Murphy: Northumberland Hotel, Lambton
Moonlight Drive: The Exchange Hotel, Hamilton
Jess Dunbar: Novotel Darling Harbour, Pyrmont
The Capulets: The Mark Hotel, Lambton
Evie Dean: Grand Hotel, Rockdale
Sonny: Oasis on Beamish Hotel, Campsie
Marshall Okell: Great Northern Trading Post, Laguna
Luke Robinson + Carl Fidler: Observer Hotel, The Rocks
Singer Mali + Helen Perris + James Leahy: The Newsagency, Marrickville
Eminem + Kendrick Lamar + J. Cole + 360 + Action Bronson + M-Phazes: ANZ Stadium, Sydney Olympic Park
Dave Phillips: Greystanes Inn, Greystanes
Lianna Pritchard: Ocean Beach Hotel, Umina
Caravana Sun: The Small Ballroom, Newcastle
Jack Derwin: Artichoke Gallery Cafe, Manly
Tim Shaw: Harbord Beach Hotel, Freshwater
Reckless + Jonathon Jones: Orient Hotel, Sydney
The Syphons + more: The Soda Factory, Surry Hills
Greg Agar: Australian Hotel & Brewery, Rouse Hill
AM2PM: Hillside Hotel, Castle Hill
Okkervil River + Ernest Ellis: Oxford Art Factory, Darlinghurst
Born Lion + Chicks Who Love Guns + The Dividers + Siamese Amelda: The Square, Haymarket
Gian: Bar Petite, Newcastle
DJ Sean Michael: 5 Sawyers, Newcastle
Emma Pask: 505, Surry Hills Kate Oakley: Abbotts Hotel, Waterloo The Dreamcatchers: Absolute Thai, Charlestown
GF&Ts: Avoca Beach Hotel, Avoca Beach
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 58 • THE MUSIC • 19TH FEBRUARY 2014
Cath & Him: Crown Hotel, Sydney
Craig Laird: Windsor Leagues Club, South Windsor
Los Hombres Del Diablo + The Last Trip + more: Tattersalls Hotel, Penrith
Riff Fist + Kaleidoscope + Frozen Planet...1969 + Lint: Gladstone Hotel, Chippendale
Craig Thommo Duo: Courthouse Hotel, Darlinghurst
Fourplay String Quartet: Street Theatre, Canberra City West
Rapture: North Sydney Leagues, Cammeray
Marty Stewart: General Gordon Hotel, Sydenham
The Ex’s: Coogee Bay Hotel, Coogee
The John Steel Singers + Jeremy Neale: Goodgod Small Club, Sydney
Daley Holliday: Nelson Bay Diggers Club, Nelson Bay
Kooyeh + Beaten Bodies: Gearin Hotel, Katoomba
Monsieur Camembert: Camelot Lounge, Marrickville
Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville
Greta Mob + The Holy Soul + Darren Cross: Factory Theatre (Factory Floor), Marrickville
Rusty Peach: Gary Owen Hotel, Rozelle
McAlister Kemp: C.Ex, Coffs Harbour
Elevate Duo: Stacks Taverna, Sydney
Cath & Him: St George Leagues (Mixed Lounge), Kogarah
Desert Blues Cartel: Nimbin Hotel, Nimbin
Craig Thommo: Time & Tide Hotel, Dee Why
Tangled Up In Bob - A Tribute To Dylan: Brass Monkey, Cronulla
Marlon Hoffstadt: Goldfish, Kings Cross
Amber Lawrence + Jason Owen: Muswellbrook RSL, Muswellbrook
Tricia Evy: Foundry 616, Ultimo
The Levymen: The Windsor Castle Hotel, Newcastle
Dom Turner + The Backsliders: Botany View Hotel, Newtown
Rubber Bullet: Warners at the Bay, Warners Bay
Happy Hippies: East Hills Hotel, East Hills
Black Diamond Hearts + Michael McGlynn: New Brighton Hotel, Manly
Rhythm Or Bust: The Vineyard Hotel, Vineyard
Openair Cinema + Ben Gumbleton: Bondi Beach, Bondi Beach
Jr & the Jewel-Tones: George IV Hotel, Picton
Courtyard Sessions feat. Bears With Guns: Seymour Centre (Courtyard), Chippendale
Troy Keen: Figtree Hotel, Wollongong
The Vaudevillians with Jinkx Monsoon: The Vanguard (10.30pm), Newtown
Wil Wagner + Max Stern + Pinch Hitter: Black Wire Records (All Ages / Afternoon) , Annandale
The Bassix + Celsius + Forestsound + more: Valve @ Agincourt (First Level / 9pm), Sydney
Stormcellar: Mosman Club, Mosman
Songs On Stage feat. Stuart Jammin + Guests: Earlwood Hotel, Earlwood
The Vaudevillians with Jinkx Monsoon: The Vanguard (7.30pm), Newtown
Sun Hill Drive: Belmore Hotel, Maitland
Alex Roussos: Gladstone Park Hotel, Leichhardt
John Field Duo: Greystanes Inn, Greystanes Mad Season - Matchbox 20 Show: Halekulani Bowling Club, Budgewoi Songs On Stage feat. HiddenAce + Boris Driver + Peter Jones + Guests: Hampshire Hotel, Camperdown Heath Burdell: Harbord Beach Hotel, Freshwater Bruce Springsteen & the E-Street Band + The Rubens + Dan Sultan: Hope Estate Winery, Pokolbin Scratch: Hotel Jesmond, Jesmond Looking Through A Glass Onion with John Waters: Illawarra Performing Arts Centre, Wollongong
the guide firstname.lastname@example.org Kit & Kaboodle: Iron Horse Inn, Cardiff
Joe Echo: PJ Gallaghers, Moore Park
Wildcatz: Ivanhoe Hotel, Manly
Mark Oats & Cara Kavanagh Duo: PJ Gallaghers, Leichhardt
Amber Lawrence + Jason Owen: Katoomba RSL, Katoomba
V.I.P.: PJ’s Irish Pub, Parramatta
Underwraps: Kiama Leagues Club, Kiama
Black Diamond Hearts: Rock Lily, Pyrmont
Greg Agar Duo: Kings Cross Hotel, Kings Cross
Gyrate + Cherokee Rose + Who’s Your Daddy: Roxbury Hotel, Glebe
Back to School Party with Pat Drummond: Kirribilli Hotel, Milsons Point Kees Steen & The Buzz of Creation: LazyBones Lounge, Marrickville Michael Paynter + Imogen Brough: Lizottes Central Coast, Kincumber Rewind - The Aretha Franklin Songbook with Christine Anu: Lizottes Newcastle, New Lambton The Headliners: Lucky Australian Tavern, St Marys Bounce: Macarthur Tavern, Campbelltown MaRLo: Marquee, Pyrmont Busking On Mars feat. Osman + Volky: Mars Hill Cafe, Parramatta Ben Finn Duo + Jamie Lindsay Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill Lonely Boys + Two Minds: Mercantile Hotel, The Rocks Beastie Boys ‘Paul’s Boutique’ feat. DJ Food + DJ Cheeba + DJ Moneyshot: Metro Theatre, Sydney Rock Solid Duo: Mittagong RSL, Mittagong Elevate: Moorebank Sports Club, Hammondville DJ Shayne Alsop: Mounties (Terrace Bar), Mt Pritchard Fourplay String Quartet: Narooma Quarterdeck, Narooma The Levymen: Nelson Bay Diggers Club, Nelson Bay Chloe Papandrea Duo: Newport Arms Hotel, Newport The Protesters + Baby Lips & The Silhoettes + Jerome Fandor Trio + more: Newtown Hotel, Newtown Hooray For Everything: North Sydney Leagues, Cammeray Dave White Duo: Northies (Sports Bar), Cronulla Dave Phillips + Rob Henry + Alex Cannings + Michael Saracino: Observer Hotel, The Rocks Souled Out + GJ Donovan: Orient Hotel, Sydney Black Rose: Overlander Hotel, Cambridge Gardens Abbalanche - The Australian ABBA Tribute Show: Parramatta RSL, Parramatta Russell Nelson: Pennant Hills Hotel, Pennant Hills Yum: Penrith Gaels, Kingswood Queens of The Outback: Priscilla Tribute: Penrith Panthers (Evan Theatre), Penrith Jazz Express: Penrith RSL (Castle Lounge / 2pm), Penrith Masterpiece: Penrith RSL (Castle Lounge / 9pm), Penrith JJ Duo: Pittwater RSL, Mona Vale
Daley Holliday: Royal Federal Hotel, Branxton Sons of Mercury: Scruffy Murphy’s, Sydney Soundproofed: Seven Hills/ Toongabbie RSL (Gaming Lounge), Seven Hills Mary Gunn + Birds with Thumbs + Jugular Cuts + 8 Bit Love: Spectrum, Darlinghurst Zoltan: Stacks Taverna, Sydney Shannon Noll: The Basement, Circular Quay Craig Laird: The Belvedere Hotel, Sydney The Coronas: The Hi-Fi, Moore Park Pacha presents Love with Peking Duk + Kronic + Ben Morris + Baby Gee + more: The Ivy, Sydney Marcel Dettmann: The Ivy, Sydney Detroit Swindle: The Ivy (Day), Sydney Jason Mitchell + Alex KindSadness + Derek Turner: The Sixth Borough, Enmore Grandmaster Flash: The Soda Factory, Surry Hills Mark Henning + Michelle Owen + Dean Relf: The Spice Cellar, Sydney Riff Fist + Arrowhead + Frozen Planet...1969 + Shebeen Queen: The Square, Haymarket Roger vs The Man + Five Coffees + Flight To Dubai + Aaron Lyon: The Standard, Surry Hills AGWA Yacht Club 020 feat. Cassy + Mario Basanov + more: The Starship (King Street Wharf / 2pm), Cockle Bay
Kooyeh: Yours & Owls (Rad), Wollongong
Matt Jones Band: 3 Wise Monkeys, Sydney DJ Jonathan: 5 Sawyers, Newcastle
Blues Sunday feat. Dave Seaside: Artichoke Gallery Cafe, Manly Willy’s Blues - A Tribute To Willy Dixon: Bald Faced Stag (The Wall), Leichhardt Openair Cinema + Ollie Brown: Bondi Beach, Bondi Beach Sydney Blues Society: Botany View Hotel, Newtown Eugene ‘Hideaway’ Bridges + Johnny Cass: Brass Monkey, Cronulla A Night of New Jewish Music feat. Mark Ginsburg Quartet + Leonie Cohen Trio: Camelot Lounge, Marrickville Bobby Singh: Camelot Lounge (Django Bar) Marrickville Technicolour-Psych-Night feat. Step Panther + Spirit Valley + The Walking Who + Archers + more: Frankies Pizza, Sydney Matt Hanley: Gary Owen Hotel, Rozelle Terrence Parker + Simon Caldwell + Frenzie + more: Greenwood Hotel, North Sydney Caravana Sun: Harrington Hotel, Harrington Bruce Springsteen & the E-Street Band + The Rubens + Dan Sultan: Hope Estate Winery, Pokolbin Vtribe: Hotel Steyne (Moonshine Bar), Manly Funk Engine: LazyBones Lounge, Marrickville Jess Dunbar: Manly Skiff Club, Manly Hunter & Suzy Owens Band: Marrickville Bowling Club, Marrickville Matt Jones: Mean Fiddler Hotel, Rouse Hill
The Vaudevillians with Jinkx Monsoon: The Vanguard (7.30pm), Newtown
The John Steel Singers + Jeremy Neale: Metro Theatre (The Lair / All Ages), Sydney
The Vaudevillians with Jinkx Monsoon: The Vanguard (10.30pm), Newtown
Alex Hopkins: Mill Hill Hotel, Bondi Junction
Greg Agar: North Sydney Hotel, North Sydney
Sonic Mayhem Orchestra: LazyBones Lounge, Marrickville
The Chosen Few: Northies (Sports Bar), Cronulla
Pennywise + Less Than Jake + Bowling For Soup + Zebrahead: Manning Bar, Camperdown
Rob Henry + Three Wise Men: Observer Hotel, The Rocks The Dead Daisies: Oxford Art Factory, Darlinghurst Fuchsia II + Hazzy Bee: Petersham Bowling Club (5pm), Petersham Bryen Willems: Shady Pines Saloon, Darlinghurst Soundwave 2014 feat. Green Day + Avenged Sevenfold + Alice In Chains + Rob Zombie + Placebo + AFI + Korn + more: Sydney Olympic Park, Sydney Olympic Park Wil Wagner + Max Stern + Pinch Hitter: The Phoenix, Civic The Vaudevillians with Jinkx Monsoon: The Vanguard, Newtown Luke Dolahenty Duo: The Winston, Winston Hills Marshall Okell + A Girls A Gun: Towradgi Beach Hotel (Sports Bar / 3,30pm), Towradgi Malachite Method + Total Addiction + Magnus + The Ivory Drips: Valve @ Agincourt (Basement / 5pm), Sydney Klay: Waverley Bowling & Recreation Club, Waverley Nicky Kurta Duo: Woolloomooloo Bay Hotel, Woolloomooloo
Underground feat. Declan Kelly + Zana Rose + more: 34 Degrees South (Downstairs) , Bondi Beach Jam Night with Michael Muchow: Avoca Beach Hotel, Avoca Beach Korn + Rob Zombie + Mushroomhead: Big Top Sydney, North Sydney Placebo: Enmore Theatre, Enmore
The Dillinger Escape Plan + Glassjaw + Dir En Grey: Metro Theatre, Sydney Justice Crew + Jai Waetford: Newcastle Entertainment Centre, Broadmeadow Steve Tonge: Observer Hotel, The Rocks Steve Twitchin: Orient Hotel, Sydney Jimmy Eat World + Panic! At The Disco + Alkaline Trio: The Hi-Fi, Moore Park Mastodon + Baroness + Gojira: UNSW Roundhouse, Kensington Latin & Jazz Open Mic + Various: World Bar, Kings Cross
Black Veil Brides: Bald Faced Stag (All Ages), Leichhardt Avenged Sevenfold + Five Finger Death Punch + Asking Alexandria: Big Top Sydney, North Sydney Open Mic Night with Champagne Jam: Dundas Sports Club, Dundas Alice In Chains + Down + Walking Papers: Enmore Theatre, Enmore AFI + Crosses: Factory Theatre, Marrickville HIM + Nostalghia + The Defiled: Metro Theatre, Sydney Rob Henry: Observer Hotel, The Rocks Nick Kingswell: Orient Hotel, Sydney Volbeat + Filter + Hacktivist: Oxford Art Factory, Darlinghurst Greg Agar: Scruffy Murphy’s, Sydney Alter Bridge + Living Colour: The Hi-Fi, Moore Park
Biffy Clyro + Special Guests: Factory Theatre, Marrickville
The Vaudevillians with Jinkx Monsoon: The Vanguard, Newtown
Songs On Stage feat. Stuart Jammin + Massimo Presti + Chris Brookes + Guests: Kellys on King, Newtown
A Day To Remember + The Ghost Inside + I Killed The Prom Queen: UNSW Roundhouse, Kensington
Hayden Johns: The Windsor Castle Hotel, Newcastle The Protesters + Baby Lips & The Silhoettes + Jarome Fandor Trio + DNA: Town Hall Hotel, Newtown Nicky Kurta Duo: Town Hall Hotel, Balmain Reverse Polarities + Omar Musa + Semantix + Context + Farronheit: Transit Bar, Canberra Fat Rabbit + Tully On Tully + DJ Kristy Lee: Upstairs Beresford, Surry Hills UBERfest Sydney + Various: Valve @ Agincourt, Sydney Yuki Kumagai & John Mackie: Well Co Cafe / Bar (11am), Leichhardt James Englund Duo: Woolloomooloo Bay Hotel, Woolloomooloo
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 19TH FEBRUARY 2014 • 59
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THE MUSIC • 19TH FEBRUARY 2014 • 61
THE B(ADD)EST OF KEVIN SPACEY THE USUAL SUSPECTS (1995) CHARACTER
Roger “Verbal” Kint/Keyzer Soze
RUNDOWN Soze blackmails crims (including Kint, who suffers from cerebral palsy) to destroy a ship full of cocaine.
WHY BAD? TWIST, he’s Soze, has been faking cerebral palsy.
NOT THAT BAD He’s kind of endearing, and you feel bad for him for like 9/10 of the movie.
AND THE BEST… Actor In A Supporting Role at the 1996 Academy Award
AMERICAN BEAUTY (1999) CHARACTER
RUNDOWN Hates his life and is infatuated with his daughter’s best friend. Is later brutally murdered.
WHY BAD? As a dad and husband, quits his job after blackmailing the company, and starts smoking pot. So, a regular guy.
NOT THAT BAD Kinda charming in his free-roaming way. Like I never wanted him to die.
AND THE BEST… Actor In A Leading Role at the 2000 Academy Awards
HOUSE OF CARDS (2013 -) CHARACTER
Francis ‘Frank’ Underwood
RUNDOWN A congressman who will do anything to get what he wants, after being passed over for the Secretary of State job
WHY BAD? Extortion, affairs and murder are all in a day’s work: “Sex is about power,” he says. It’s like Mean Girls for politics except without the redemption.
NOT THAT BAD He breaks the fourth wall to let the audience in on his plans. How kind.
AND THE BEST… Nominated for Best Performance By An Actor In A Television Series – Drama at the 2014 Golden Globes 62 • THE MUSIC • 19TH FEBRUARY 2014
THE MUSIC • 19TH FEBRUARY 2014 • 63
64 • THE MUSIC • 19TH FEBRUARY 2014
Published on Feb 18, 2014
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