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2 • THE MUSIC • 16TH APRIL 2014

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Thurs 17th April

Fri 20th June

Thirsty Merc


+ Special Guests

“Worlds Within Worlds Tour” + Special Guests Hayden James and Crooked Colours

Fri 18th April

Bodyjar + Kohji + Rude Rahlis + Crash Tragic + Lower Coast Skies + Under The Influence

Sat 16th May


sat 21st June

MY GENERATION 50 Years of The Who Starring Simon Meli, Ciaran Gribbin & Steve Balbi 170 Pioneer Road, Towradgi 2518 | 02 42833 588 6 • THE MUSIC • 16TH APRIL 2014

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themusic 16TH APRIL 2014





Steve Earle & The Dukes Dr John Seun Kuti & Egypt 80 Charlie Musselwhite KT Tunstall Ozomatli Joss Stone Hunx & His Punx Manon Owen Campbell




The Murlocs Robben Ford Julian Clary

REVIEWS Album: Perfect Pussy Live: John Butler Trio Arts: The Invisible Woman


... and more

THE GUIDE Cover: Alex Gibson and Nick Kingswell Record Store Day Eat/drink







Indie News Opinion


Gig Guide


review 8 • THE MUSIC • 16TH APRIL 2014

@ Agincourt TUE APR








$5 Steak Night Front Bar 7:30pm


+ Rockin’ Weekly Blues Jam Front Bar 8pm

DAVE TICE BAND Front Bar 7pm


+ The Spindrift Saga + Tom Stone & The Soldiers Of Fortune + Maids 5:30pm

BACKYARD MORTUARY [FINAL SHOW] + Hellbringer + Convent Guilt 8pm


feat. Black Label + Lucy DeSoto + More! 6pm

871 George street, Sydney City, FREE ENTRY








PRE $15 $15 DOOR

FRI 18TH 4.30PM


















$10 DOOR

Wed 23 April: Acoustic Show with Adam Fisher, Mike Paxton and many more ; Thu 24Apr: Rock Show with “Latham’s Grip” , “Maids” , “Propeller” , “46 Clicks” , “Vauxhall Outlaws”; Fri 25 April: Basement 12pm: Core Show with “When Giants Sleep” , “Emecia” , “Danger! Earthquake!” , “Fire For Effect” , “Isotopes” ; Basement 6pm: A Tribute To The Fallen with “Domino” , “Coredea” , “Double Chamber” , “Eymaze” , “Exist Within” , “Darkness Reigns” , “Billabong Of Blood” , “Natriamas”; Level One 9pm: Vent@Valve Hip Hop Monthly hosted by Izzy & The Profit, DJ Maniak, feat: Pyne, Context with DJ Krumb, Provocalz & Felon, MC Thorn & Skae, MC Trey; Sat 26 April: 12pm Basement: Rock Show with “Jacob” , “Thesis” and many more; 9pm Basement: Lobe Limbique Musique Dance Party with Squarepeg, Simon Mann, Xan Muller, Custard Jim, Mr Lush, Shain Basdemir, Oliver Gurney; Level One: Communication Records presents Still Life 002 evening of Futurebeat, House, Techno, Boogie ; Sun 27 Apr: 5pm Demons vs Wizards with “Blacksmith” , “Avarin” , “The Archaic Revival” , “The Venus Alkatraz” , “Hypergiant”

For band bookings please email

THE MUSIC • 16TH APRIL 2014 • 9


Street Press Australia Pty Ltd


EDITOR Mark Neilsen



MUSO EDITOR Michael Smith


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, Danielle O’Donohue, Dave Drayton, Deborah Jackson, Dylan Stewart, Glenn Waller, Guido Farnell, Guy Davis, Helen Lear, Jamelle Wells, James d’Apice, Justine Keating, Kristy Wandmaker, Liz Giuff re, Lukas Murphy, Luke Dassaklis, Mark Hebblewhite, Mat Lee, Matt MacMaster, Paul Ransom, Rip Nicholson, Ross Clelland, Sam Hilton, Sam Murphy, Sarah Braybrooke, Sarah Petchell, Scott Fitzsimons, Sebastian Skeet, Sevana Ohandjanian, Simon Eales, Steve Bell, Tim Finney, Tom Hersey, Tyler McLoughlan, Xavier Rubetzki Noonan

PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Clare Hawley, Cybele Malinowski, Jared Leibowitz, Jodie Mathews, Josh Groom, Kane Hibberd, Peter Sharp, Rohan Anderson, Thomas Graham





On the 10th anniversary of the Sydney Comedy Festival, stacks of comedians descend on theatres around the city from Tuesday to 17 May. This year’s festival will feature a massive birthday bash at the Enmore Theatre on 12 May, hosted by Julia Morris. With shows ranging from the fabulously threatening Adam Richard: Gaypocalypse to the eloquent Rhys Nicholson: Eurgh, there’s an inappropriately hilarious or painfully punny title for everyone.

Throw back to the glory days of the record store on Saturday with Record Store Day. In an unfathomable time before illegal downloads and endless singles, record stores once reigned supreme in mainstream society, not just the bearded hipsterdom. To celebrate the glory of the record, stores everywhere will be offering live music parties, discount discs and a horde of vinyl treasures for your nostalgic little hands to sift through.

ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley

ART DIRECTOR Nicholas Hopkins

ART DEPT Eamon Stewart, Brendon Wellwood, Julian De Bono


ADMIN & ACCOUNTS Loretta Zoppos, Shelley Neergaard, Jarrod Kendall, Leanne Simpson

DISTRO Anita D’Angelo


CONTACT US PO Box 2440 Strawberry Hills NSW 2012 Level 1/142 Chalmers St Surry Hills NSW Phone (02) 9331 7077


For those souls who are both single and lacking bartending skills this Easter, Woo! Social Club is holding a cocktail-making workshop on Saturday at the grand old Roosevelt in Potts Point. Discover your inner 1920’s flapper with breakfast whiskey and martinis, in a toast to the glorious long weekend before you. If nothing else, you’ll come away with some rad cocktail-making skills. And yes, to answer your question, you do get to drink the cocktails too.

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national news





After their regional announce last week, In Hearts Wake have stepped it up a notch with a full list of national headline dates to launch their new record Earthwalker. Alongside a huge supporting cast which includes Dream On Dreamer, Being As An Ocean, Endless Heights (not appearing in WA) and Sierra, the Byron boys will perform 4 Jun, YMCA HQ, Perth (all ages); 5 Jun, Amplifier Bar, Perth; 7 Jun, Corner Hotel, Melbourne; 8 Jun, Arrow On Swanston, Melbourne (all ages); 11 Jun, Zierholz, Canberra; 12 Jun, The Small Ballroom, Newcastle; 13 Jun (18+) & 14 Jun (all ages), Bald Faced Stag, Sydney; and 15 Jun, The Tempo Hotel, Brisbane. The full tour is proudly presented by The Music.


Like Father, Like Son is the emotive story of two families thrown together after its discovered their young sons were switched at birth. Engaging, engulfing and ultimately refreshing, it’s a piece of cinema that challenges your perception of ‘family’, and makes you realise that paternal love is thicker than blood. The Japanese film was a jury prize winner at last year’s Cannes Film Festival and is screening in select movie theatres around Australia from tomorrow.


Following on from last week’s John Newman support announcement, Saskwatch are excited to inform they’ll be bringing their funk soul loving back for some headline launch dates in support of their second record Nose Dive. Catch them 18 May, Bond University, Gold Coast (1pm); 13 Jun, Soundlounge, Gold Coast; 14 Jun, The Zoo, Brisbane; 19 June, The Small Ballroom, Newcastle; 20 June, Oxford Art Factory, Sydney; 21 June, ANU Bar, Canberra; 27 Jun, Settlers Tavern, Margaret River; 28 Jun, Amplifier, Perth; 29 Jun, Mojo’s Bar, Fremantle; 4 Jul, Karova Lounge, Ballarat; and 5 Jul, Corner Hotel, Melbourne.


One does not simply credit themselves as being “the greatest rock’n’roll band in the world” if they don’t have the chops to justify it. That’s why we’re stoked with the impending arrival of Arizona legends Supersuckers. Put on your clean undies because your pants are going to be rocked right off! The band perform 19 Jun, The Zoo, Brisbane; 20 Jun, Manning Bar, Sydney; 21 May, Ding Dong, Melbourne; and 25 Jun, Astor Theatre, Perth.


Responsible for some of the finest electronic sounds to come out France throughout the past decade, music and fashion label Kitsuné continue to design the standard others try to emulate. Now, returning to Down Under for the second time, is the Kitsuné Club Night Australian Tour, headlined by producer du jour Pyramid – get a smooth serving of beats 9 May, Laundry Bar, Melbourne; 10 May, Chinese Whispers, The Underdog, Brisbane; 16 May, The Bakery, Perth; and 17 May, Civic Hotel, Sydney. Synth sweetheart Chela will also appear at the Perth and Sydney events.


Aussie guitar virtuoso Jeff Lang is adding to his formidable canon with new record I Live A Lot In My Head These Days, and will showcase the new songs this winter. Proudly presented by The Music, catch the launch tour 7 Jun, Fly By Night, Fremantle; 8 Jun, Ravenswood Hotel; 12 Jun, Brass Monkey, Sydney; 14 Jun, Heritage Hotel, Bulli; 25 Jun, Lizottes Central Coast, Kincumber; 26 Jun, Lizottes Sydney, Dee Why; 27 Jun, The Basement, Sydney; 28 Jun, Camelot Lounge, Sydney; 29 Jun, Lizottes, Newcastle; 4 Jul, Caravan Music Club, Oakleigh; 5 Jul, Thornbury Theatre; 11 Jul, Mullumbimby Town Hall; 12 Jul, Brisbane Powerhouse; 18 Jul, Williamstown RSL; 19 Jul, Street Theatre, Canberra; and 20 Jul, Beav’s Bar, Geelong.



They conquered in the ‘90s, disappeared for roughly ten years, then returned in the mid‘00s to continue their reign. Earth helped define what we now know as drone metal, so experience a religious awakening when the Americans play 17 Jun, Crowbar, Brisbane; 18 Jun, Rosemount Hotel, Perth; 19 Jun, Manning Bar, Sydney; and 21 Jun, The Hi-Fi, Melbourne. They also play Dark Mofo in Tasmania.



Few double bills in 2014 will hold a flame to the pop/soul experience set to explode on Australian stages next month, with the mighty Janelle Monae and Kimbra ready to shake the good vibes right out of you. These two incredible performers will lead full bands on the Golden Electric Tour, happening 16 May, Challenge Stadium, Perth; 19 May, Hordern Pavilion, Sydney; 21 May, Brisbane Convention & Exhibition Centre; and 26 May, The Plenary, Melbourne.

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local news 20, 000 DAYS



The opening night film for the Sydney Film Festival, starting 4 Jun and running until 15 Jun, will be 20,000 Days On Earth, the first feature film by Iain Forsyth and Jane Pollard, that follows a day in the life of the Nick Cave. With narration from Cave himself, the feature has received accolades at Sundance, and offers insight into Cave’s personal life and creative process.


Following their signing to label Ivy League, and the release of their new single Dumb Ideas, Bad//Dreems will be heading on an independent record store tour. Catch an intimate yet raucous, all ages set from the Adelaide lads at Blackwire Records on 23 May and Music Farmers, Wollongong, 24 May.


Merrigong Theatre Company presents Baba Brinkman’s The Rap Guide To Evolution, an exploration of evolution through reworkings of popular rap songs. Catch it at Canberra Theatre Centre, 11 Jun; Illawarra Performing Arts Centre, Wollongong, 13 Jun; Sydney Opera House, 18 & 20 Jun; Riverside Theatre, 24 & 25 Jun; and Casula Powerhouse Arts Centre, 26 & 27 Jun.


Brisbane grrl duo The Phoncurves are heading on tour, bring along their new EP, Heartstrings, due out 2 May. They hit Brighton Up Bar, 30 May and The Front Café & Gallery, Canberra, 31 May.


The legacy of singer-songwriter Harry Nilsson will live on with Tim Freedman taking his Freedman Does Nilsson – A Live Imagining shows on the road. See it 5 Jun, Lizottes, Kincumber; 6 Jun, Lizottes, Newcastle; 7 Jun, Lizottes, Dee Why; 25 Jul, The Basement.


Hayes Theatre Co have announced their cabaret season, running 2 Jun – 13 Jul. It includes theatre mainstay Elise McCann starring in the world premiere of Everybody Loves Lucy, based on the life of Lucille Ball; and singer and actor Johanna Allen appearing in the world premiere of The Songs That Got Away: The Music Of Harold Arlen about Arlen’s songs and the women who sang them.


South African independent electronic rappers PHFAT are heading on tour this May in support of their latest single Lights Out, playing 14 May, The Small Ballroom, Newcastle; 15 May, Tattersalls Hotel; 16 May, World Bar; 30 May, The Roller Den; and 31 May, Upstairs Beresford.



Sydney’s Infinity Broke are launching their debut album River Mirrors by heading on tour down the east coast. Head to Rad, Wollongong, 22 May; Lass O’Gowrie, Newcastle, 23 May; and Factory Floor, 24 May.


Masters of jazz fusion duets and improv can brag about 20 Grammy Awards between them; Chick Corea and Gary Burton will be coming together again 10 Jun, at the Sydney Opera House.



Brighton duo Royal Blood will bring their brute power and primal, chaotic hooks to Oxford Art Factory on 3 Jun. Head along to see why they have been invited to tour with Arctic Monkeys and Foals, were name-checked on BBC’s Sound of 2014 and appeared at this year’s SXSW.


Appearing on stage for the first time since 2005, CW Stoneking will take parts in a Heavenly Sounds tour, playing a stripped-back set in St Stephen’s Uniting Church on 11 Jun. The intimate set will feature songs from his ARIA Award-winning album Jungle Blues and an opening slot from Kira Puru.


Melbourne quintet Closure In Moscow’s second LP, Pink Lemonade, comes out 9 May. In celebration, they’ll hit Spectrum on the day of release; ANU Bar, Canberra, 22 May; Captains At Mariners, Batemans Bay, 23 May; Collector Hotel, 24 May; The Small Ballroom, Newcastle, 28 May.

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local news



With the wonderfully peculiar DJ stylings of Hot Chip and Matthew Dear coupled with live performances from Henry Saiz, Guy J, Cosmin TRG and Xosar, Sydney will be introduced to a boutique electronic experience, HOLEANDCORNER, at Home Nightclub on 8 Jun.


The Making Of Midnight Oil is showing for free at Manly Art Gallery & Museum from 20 Jun until 7 Sep. The exhibition, as developed by the gallery’s Ross Heathcote and Midnight Oil drummer Rob Hirst, will explore the impact the band had on Australian culture over the last 40 years, and includes stage props, instruments, handwritten lyrics and more.


PLAY IT AGAIN James Vincent McMorrow will be playing a second show at the Sydney Opera House on 31 May, as part of Vivid LIVE. James Blunt has announced a third and final show at midnight at the State Theatre on 30 May. DMA’s add 24 May at Goodgod Small Club to their slew of headline dates. Having sold out two Enmore Theatre slots, Kevin Bridges has added a third show to his comedy tour, at the Factory Theatre on 23 Apr. Dustin Tebbutt has announced an additional show on 21 May at the Newtown Social Club. After selling out their first Vince Gilligan (Breaking Bad) event for Sydney Writers Festival, a second event has been announced: an in-conversation with Vince Gilligan and Benjamin Law will run from 9.30pm to 10.30pm on 1 May at the Sydney Town Hall.



For the first time since their reunion show at Melbourne’s Corner Hotel, Dallas Crane hit the road once again for the launch of their new single Get Off The Dope. The guys will be heading to Newtown Social Club on 17 May.


Tasmanians Psycroptic join forces with sonic mass murderers Aborted and technical death metal band The Schoenberg Automaton for the Necrotic Repression Tour, which will hit The Basement, Canberra on 16 Jun; Cambridge Hotel, Newcastle on 17 Jun; Corrimal Hotel, Wollongong, 18 Jun and Factory Theatre, 19 Jun.


Shining Bird released their album Leisure Coast around the same time that Ernest Ellis put out theirs, Cold Desire. For the occasion, the two bands have asked their fans to create a piece of visual art related to both titles, and will be exhibiting selected works at their show on 17 May at St Stephen’s Uniting Church.


Through the art of slapstick, dance, acrobatics and mime in tragicomedy Something To Be Done, performer Gabriel McCarthy communicates the artistic struggle of an artist in a dystopian world without words. The show runs from 13 May to 1 Jun at TAP Gallery.


My Friend The Chocolate Cake are releasing an exclusive live album and also embark on a national tour next month, capping it off at The Basement on 15 Jun. 16 • THE MUSIC • 16TH APRIL 2014



To celebrate the release of their newest album Badlove, Twin Beasts are heading on a seven-date tour, and hit Hotel Steyne, 29 Mar; Kings Cross Hotel, 30 May; and Rad, Wollongong, 31 May.


Another Hits & Pits sideshow has been announced with The Casualties, Big D & The Kids Table and Heartsounds heading to Newtown Social Club on 13 May in what’s set to be a night of hardcore punk, ska and skate-punk.


See Amaya Laucirica at Goodgod Small Club, 31 May, as she embarks on an east cost tour in support of her new full-length, Sway.


Irish folk music legends, Chris Kavanagh & The Patriots, land at Enmore Theatre on 19 Jul. Kavanagh’s show is a haunting tribute to The Legend of Luke Kelly.


Groovin The Moo Maitland, 26 Apr, has joined Bendigo on 3 May in selling out. That means if you’re keen to head along to catch The Jezabels, Holy Fuck and more, you’ll have to head on to the University of Canberra, 27 Apr. Timetables have also been released, so head to to plan your day.


The Public Opinion Afro Orchestra will be bringing the groove to the headlining slot of Peak Festival, while Claude Hay & The Gentle Enemies, Jordan C Thomas, and Vendulka have also been added to the line-up. The festival runs from 6 – 9 Jun in the Snowy Mountains.


Swillfest is going country for the Southern Smoked Swillfest. See nine of the heartiest Australian country acts in a night of raucous southern jams. This special Swillfest heads back to Frankies Pizza on 27 Apr.

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KEEPING VIGILANT On a rainy Tuesday afternoon in Newtown, The Music met up with The Jezabels’ Hayley Mary to talk feminism, the distinction between high and low culture, and being on The Brink. She chats to Hannah Story. Cover and feature pic by Cybele Malinowski.


here’s something refreshing about speaking to The Jezabels. There’s a sense of honesty and earnestness about everything from their music to the state of the music industry coming from Hayley Mary, frontwoman for the internationally beloved group. She’s clad in all-black with thick eyeliner; it’s a gothic outfit in line with her interest in the style, the music and even the literature. She talks freely as we walk the streets of Newtown

pub-rock, they love The Drones, they love dudes singing raw music, and I know what we could do to get a good review from all the people that have always and will always hate us, but I don’t ever want to do that. Because I feel like what I do is quite a girly thing and I don’t ever want to change it to get the recognition of the fathers of music criticism. I want to keep going despite them. “I think the other thing is that it’s cool to stay somehow alternative, because I know what happens to girly music is that it becomes mainstream. I know that we are becoming more and more mainstream

ourselves, that’s one thing I’d like to do, but I don’t really think of myself as a role model. I just kind of am just an angry person that seems to be on this mission for god knows what reason. I don’t even know what I’m doing most of the time, to be honest. I just kind of wing it.” Mary ties this idea of masculine music criticism to a distinction between “masculine” high culture, and things that are more feminine. “I’m cool with getting a negative review if it’s intelligent and thought-out and all that stuff, but I think that sometimes people just dismiss us completely. I’ve been called things like histrionic, and I’m cool with that, but they think it’s a bad thing, whereas I think I’m doing it on purpose because I’m alluding to gothic literature or something that they just haven’t read. “There’s a whole tradition of stuff that appeals to women that is considered low culture and crap, but sometimes I just think it’s because it appeals to the feminine side of people that it’s considered low culture. It’s something that’s started bothering me as I got into this industry, if you look throughout history at what is considered crap, or the standard of bad, it’s also, I don’t think coincidentally, defined by who likes it, and it’s always teenage girls. And the standard of what’s good for music is always middle-aged men that like it. I don’t think that’s a coincidence. I think it’s inherently the kind of sexist standpoint of music criticism.”


without umbrellas, about where to go for lunch or indeed, the nature of music criticism itself. When asked about their nomination (and subsequent win) at The Rolling Stone Awards for Single Of The Year for The End, Mary is frank. “I always feel more hopeful about People’s Choice Awards than I do about Critic’s Choice Awards for us. I feel we’re a little bit more of a people’s band.” They certainly perceive themselves in that way and attract a wide cross-section of people to their shows. “We just attract really normal kind of anyone people, like there’s not a type, there’s not a style, there’s not a scene, there’s just a lot of single 40- or 50-year old men, a lot of young girls, a lot of couples, a lot of gay guys and gay girls, a lot of just anyone and everyone. It’s really just very mixed. I don’t think they have anything in common with each other particularly, it’s just that they are all at our show… It’s a good and a bad thing because sometimes a scene can help you, but also I guess it’s cool to resonate with just the common person for no apparent reason.” Critically however, the circumstances seem different. Mary has a lot to say about the way The Jezabels’ albums and EPs have been received. “The one thing I don’t want to give into is certain streams of criticism that require that old-fashioned notion of authenticity you have to have to be good, particularly in this country. They love 18 • THE MUSIC • 16TH APRIL 2014

and therefore our critics will hate us even more, but the thing I’d love to do as a band and as a person, is to stay good and also be popular and prove that those things are not mutually exclusive. A lot of bands do it, like Depeche Mode, and The Pixies who we supported recently. And they’re great, great pop bands that are alternative, subversive and amazing, and they’re pop. I just feel like in this country in particular there’s this misunderstanding. We don’t mind international bands who do it, but we don’t want our own bands to do it or something. Maybe our own bands don’t have the avenues to do it. I’d like to be a pop band and continue to be

She admits that sometimes she feels resentful, but then acknowledges her way of dealing with the challenges of working in a male-dominated industry. “I try not to think about it way too much but I do think about it way too much. You try and surround yourself with good people, that’s how you deal with it. It’s not the hardest life, I live, I live a pretty easy life.” These challenges are part of the reason The Jezabels consider themselves a feminist band. Originally their material was quite overtly gender-focused, as a reaction to the music prevalent in Mary and keyboardist Heather Shannon’s hometown of Byron Bay: hardcore and blues. Now their music also talks about age. “Age is, kind of everyone can relate to that, getting older, becoming cynical or whatever. But I think you could argue that it still is more pertinent to women because they get less sexy as they get older, whereas men can become more sexy. “I remember reading an interview with Kylie Minogue once, talking about that – how pop stars have to get plastic surgery and look great, particularly women, but rock stars who are more often men, they can be Keith Richards and look really uncool, well not uncool, but look cool by being old and haggard. It’s not really just about looks; it’s just about that life cycle where you start feeling like you’re less valuable to the world, and you’re less up with the times and technology and stuff.

NO ROLE MODEL Mary doesn’t see herself as a role model, although she admits that The Jezabels have a clean image, one far removed from that of the woman who arguably generated the most talk in 2013: Miley Cyrus. “I don’t think we consciously try to have a clean image but I’m just into gothic stuff so I don’t really like to get my skin out too much. It’s probably insecurity rather than being against it or anything like that.

I’m sure that’s not a gender issue but it does definitely get women down, I think, maybe moreso than men.” It becomes clear that Mary struggles with the same issues around gender and self-esteem as many other women, young and old. “I’m definitely a lot more confident than I actually am when I’m on stage. I feel more powerful on stage than I actually feel. It’s kind of like you can be what you want to be on stage, so I sort of can define who I want to be; perhaps someone with a strong voice and someone who’s smart as well as attractive and all of these things you can pretend to be and people might believe you if you do it convincingly. Off stage I don’t feel like any of these things, I feel like I have no voice whatsoever and that I’m just a weak little person.” Mary and the rest of The Jezabels – Shannon, drummer Nik Kaloper and guitarist Sam Lockwood – head out on tour this month following a gap of more than 18 months since their last string of Australian headline shows. They played the Laneway circuit soon after they returned home from touring and recording second album, The Brink, in London, and were admittedly daunted about playing after “the biggest act in the world” Lorde. “‘Will they still like us? Will they remember us?’” Mary wondered. But they’re more at ease now. “I’m glad to be back and people have been really good to us so I don’t know, you can’t tell what’s going to happen, but we’ve had a really great reaction. I’m stoked about it.”

“I think that it’s good to experiment with female sexuality a bit more. I guess it depends on whether you think you need to be a role model or whether you think that your job is to provoke discussion, like Miley Cyrus. If you think that the artist’s role is to provoke discussion, then she is a very important artist at the moment, she’s probably the best. But if you think that it’s her job to be a role model, which I tend to think it isn’t, because the role model people think she should be portraying is a very conservative one, I think she does it quite tastelessly and sort of without reason – but I also think we wouldn’t be talking about this if it wasn’t for her, so I kind of like her in that way. I like when women do it with some kind of impact and we talk about it.”

The tour is an excuse to show off The Brink, a more focused album from the quartet than their talkedabout debut LP, 2011’s Prisoner. “The first thing I think is that it’s more coherent, it’s more song-driven, and it’s warmer,” says Mary. “It’s probably more optimistic, musically. Lyrically it might be ambiguous; it’s kind of a bit depressing at times, but if we look at the lyrics in the context of the songs I think it’s a more positive record in general, which is the result of us being in a more negative place I think when we wrote it. We were actually all quite troubled at the time of writing but we got through it via writing. It sounds really wanky but it was quite therapeutic writing that album. The result of it is leads people to believe that it’s probably more vacuous because it’s not as dark but it’s that ‘We need to write a record that’s not as dark, otherwise we’re going to feel shit’. “It’s about hope, really; so was Prisoner though, hope and fear, and kind of teetering between them both. But I think it’s more hopeful, it’s more pushing towards the hope side of the spectrum.” WHEN & WHERE: 26 Apr, Groovin The Moo, Maitland; 27 Apr, Groovin The Moo, Canberra; 28 & 29 Apr, Sydney Opera House THE MUSIC • 16TH APRIL 2014 • 19


SWING LOW Steve Earle is having a rough year, but managed to release one of the best albums of his long career in The Low Highway. He tells Dan Condon that we’re living in hard times.


he Low Highway sees people’s poet Steve Earle once again take the weight of the world on his shoulders and somehow speak for an entire society with far more clarity than any one man ought to be able to. “This record was more about what I saw out the window of the bus while travelling through North America,” Earle explains. “I was seeing something a lot closer to what Woody Guthrie saw; times that were as hard as what Woody saw. “I’ve written a lot of songs about hard travelling and hard times, but I was doing that forensically, basically. But now things are tough out there, they really are. And that’s what The Low Highway is.” The opening title track speaks of abandoned houses and factories, growing lines of people waiting to be fed. Burinin’ It Down is a scathing attack on the policies of the enormous Walmart chain of department stalls and Calico County is a fucked-up tale of broken homes, meth labs and a life in and out of jail. On top of all this, Earle has his own problems. His battle with drug addiction has been well documented in the past and, on Pocket Full Of Rain, you can almost hear him toying with the idea of turning back to his old ways. He hasn’t. “I’ve been clean 19 years as of September 13th and I’ve had kind of a rough year, it was hard. I still go to meetings and call my sponsor and do all that stuff, that’s how I stay clean. My little boy was diagnosed with autism, Allison [Moorer, Earle’s wife] and I are separated and a lot of stuff has happened that I thought I’d never have to go through again. That song came along as I was processing all of that.” When asked if he feels he has an obligation to shed light on the state of world in a political and social sense, Earle says he’s aware that he does it better than most. “I have an obligation to do what I was put here to do; I do the topical stuff and the political stuff better than a lot of other people do so I think I should do it. I don’t

make any judgments about what anyone else should do artistically – apart from write the best songs they can write, don’t try and put anything past me where you’re not even trying. “I learned to do this from Townes Van Zandt and Guy Clark, I’m

over a decade this year, but he’s thrilled to be able to bring them at all. Before his most recent solo tour of the country he said it simply wasn’t affordable to bring the band so far across the world, but Bluesfest boss Peter Noble has changed that. “I flew over to speak at BIGSOUND and flew back; I was literally in Australia for 48 hours at most,” Earle tells. “I ran into Peter there and we had a conversation about it; I said I’d love to bring the band but I just can’t see how I could make it make sense, and he stepped up to the plate. It’s all Peter Noble in this particular case.” Having Australian country darling Kasey Chambers in support will no doubt help Earle and co shift tickets to their headline dates along the east coast, and Earle is thrilled to be able to tour with Chambers again. “It’s a big deal; she’s an old friend and I think she’s one of the best singers in the world. She’s way bigger than I am, it’s gonna be kind of strange. I was a little worried about her opening the show, but it was Kasey’s idea when it came down to it.”

“I’VE BEEN CLEAN 19 YEARS AS OF SEPTEMBER 13TH AND I’VE HAD KIND OF A ROUGH YEAR.” emulating those guys and Bob Dylan and Lou Reed even; I’ve always known that what I was doing could and would be art if I just paid attention to that. Just say the truest thing that I can think of at the time that’s at the core of what I’m trying to make.” Earle brings his band The Dukes to Australia for the first time in

You might catch Earle paying a little more attention to the straight blues acts if you’re at the Byron Bay Bluesfest next year, garnering a little inspiration for what he is anticipating will be a very bluesy follow up to The Low Highway. “Somewhere in the course of next [American] summer we’ll start working on the next record, which I think is going to be a blues record. It’s something I’ve got the notion that I want to do, I’ve got a couple songs and I’ve got a band who I think will really smoke it.” WHEN & WHERE: 17 & 18 Apr, Bluesfest, Byron Bay; 23 Apr, Enmore Theatre.

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NO MESSIN’ AROUND The legendary Dr. John is as mysterious in real life as he has been on his records for over 50 years. Dan Condon finds out the hard way.


ac Rebennack – aka Dr. John – has forged a career out of being something of a mysterious, curmudgeonly character who for decades has channelled the sounds and spirit of all that is alluring about New Orleans into a heady mishmash of blues, funk and soul music. When we catch up with him he’s in a studio in Ohio, but he’s not working on a new Dr. John record. “We’re writing some charts for a record we’re doing. It’s a tribute to Louis Armstrong,” he croaks in his drawn-out drawl. His last album, 2012’s Locked Down, was undoubtedly his finest work in decades. Not only was it praised widely by critics and fans, it opened him up to a younger

audience who discovered this gem of an artist for the first time. “I think everything went cool,” Dr. John says of the record. Much of the appeal for the younger audience was the deft touch of The Black Keys’ Dan Auerbach, who worked as producer. Safe to say the young gun got the seal of approval. “I think he did a good thing. I like how he operates. In some kinda way he reminds me of when I was young doing some other stuff like that. In another way he reminds me of something else and I like both sides of that.” The record sees Dr. John sounding more like The


Night Tripper that enjoyed popularity in the late-‘60s and early ‘70s, but he’s not willing to say this reversion to an older character and style was at all contrived. “I look at it like I’ve made a lot of records in something to do with that style at different times, but I don’t think about what I’m doing in that way. I just do what I’m supposed to be doing spiritually and that’s all I know.” His early career saw Dr. John record and release albums at an insanely prolific rate. He says he learned to work quickly in his early years as a session musician. “I tried to do it fast – comin’ up back in the ‘50s you had to learn how to do stuff fast, because you had to make an album in less than six hours. So, when you look at it from that perspective, when you do something later you keep that in mind. “I don’t know if it’s such a good idea to take weeks or months to make records,” he says in reference to the modern standard. “I think it’s just a good idea just to do records spiritually how long it takes to do it, and that’s it. You shouldn’t take forever to make a record, that’s ka-ka.” When Dr. John decides it’s time for him to stop playing, he’ll literally have to be carried out. “A musician should die on the last song of the show, that way his people get to see something they’ll never get to see again. Also the band doesn’t have to play an encore and the band still gets paid.” WHEN & WHERE: 17 Apr, Bluesfest, Byron Bay; 19 Apr, Deni Blues & Roots Festival; 24 Apr, State Theatre

IT’S TIME The message is the thing for Seun Kuti – it’s time Africa stopped being a pawn for multinationals. Of course, he wraps that message in Afrobeat. He talks to Michael Smith.


oungest son of the legendary Nigerian multiinstrumentalist and activist Fela Kuti, Seun Kuti “inherited” his father’s 16-piece band, Egypt 80, in 1997, when he was just 14, on Fela’s death. Over the ensuing 17 years, Seun has steadily built on his father’s legacy while putting his own stamp on the musical style Fela created – Afrobeat, a heady, highly percussive mix of Nigerian traditional Yoruba music, jazz, Ghanaian highlife and funk. The third album, A Long Way To The Beginning, from Kuti and his crossgenerational band will be released here in April. “It was a title that came from a time of looking back. It’s always good to look back at where you’re coming from to see how far you’ve come, and also reassess your journey. Who could believe that the band is still here, 17 years after [Fela’s] death? I believe that this is a new beginning for us as well, after our first two albums, where we repositioned ourselves in a place where we can be considered as a force on our own now, even without the greatness of my dad. It took us a long time to get here. And I also believe for the continent of Africa that this is our time – this generation is the beginning of change, this generation that understands most. Most people don’t [know] that only 200 Africans were educated when Africa got independence in 1960 [Nigeria gained independence that year] – so we only had 200 graduates to control the whole continent, 22 • THE MUSIC • 16TH APRIL 2014

so you can understand why our people could be easily hoodwinked. People couldn’t understand the system they were asked to run. But I believe with this generation, even though only ten per cent of us are educated up to secondary school level, this is the most educated Africa has ever been. This is a beginning for us, and this beginning, I also wanted to reflect it in my message. So there are two meanings, or two different moments in my life and my ideology, in terms of me and the band, and Africa as a whole.” The new album inevitably continues Kuti’s virulent criticism of the impact of the world’s multinationals and the

geopolitical bodies established to further the West’s postWWII idea of international stability touched upon on 2011’s From Africa With Fury: Rise. So the song, IMF, becomes a chant against the International Monetary Fund, recast as International Mother Fuckers. “Don’t forget to always let people know that they’re impacting negatively, to exploit and destroy. All the topics on the record, they are perspectives, convictions I had. I’ve never felt like I needed to say as much as I have on this record, even on [album track] Higher Consciousness, where I go deep into the brainwashing of the young African mind with the nonsense on our radio, on our TV, teaching young black people negativity about Africa. Every young kid in Africa wants to be white!” WHAT: A Long Way To The Beginning (Cartell/Inertia) WHEN & WHERE: 18 & 19 Apr, Bluesfest, Byron Bay; 20 Apr, Metro Theatre

THE BLUES NEVER DIE There is no other blues harp player quite like Charlie Musselwhite. He talks with Dan Condon about being in a city “loaded with the blues”.


hen Tom Waits wants a harmonica player, he calls Charlie Musselwhite. When INXS needed to sample some harmonica on Suicide Blonde, they called Charlie Musselwhite. There aren’t many who won’t look straight to this blues harp gun when they need the best. “Some of my earliest memories that were exciting to me were the street singers in downtown Memphis. Most of them were blues singers; I’d just stand on the street and hear them playing the blues,” he recalls. “I just loved the music and there was something about it being out

of the street like that that made it so special, it just drew me in. “So much was going on there; rockabilly and gospel and blues and hillbilly and R&B. Stax Records and Sun Records were there, the Hi [Records] label with Willie Mitchell – all kinds of music was happening. Rockabilly seemed like it was invented there, Johnny and Dorsey Burnette lived across the road from me. There were gospel tent meetings; sometimes you could just be walking down the street and hear some music, you’d follow the sound to hear some band playing somewhere.” Chasing work in the factories as a young man he

moved up Highway 51 to Chicago, where he fell in with a blues scene that seemed unbelievable at the time and is just astonishing to hear about now.


“You had a lot of clubs, all over the south side of the Chicago playing blues. You could go and hear Muddy Waters, Sonny Boy Williamson, Little Walter, Howlin’ Wolf – the city was loaded with the blues, live blues, all over town. It felt like a kid bein’ in a candy store. You just don’t have those choices anymore – they had so many choices in one place it was really astounding.” He has nearly 30 full-length records to his name, and countless collaborations with some of the world’s greatest. Not bad for a guy who didn’t have aspirations to become a professional musician. “I didn’t have a goal or plan to be a musician. I’d been meeting guys that played and learning from them, but just because I loved the music – I didn’t think it would go anywhere. Even if it hadn’t ever gone anywhere I’d still be playing it, it was just something that I had to do. All those guys I learned from – the old-timers I knew in Memphis and the not-so-old-timers in Chicago, if I had’ve known where this was going I’d have paid a lot more attention.” While Musselwhite is saddened by the fact so many blues greats are passing away, he does think there’s plenty of promise in the future of the blues. “It seems to be bigger than ever. In my travels I’ve found there are people playing blues in every country, from Canada to Brazil. It’s not a fad, there’s more substance to it than that. People hear and they’ve got to hear more of it. Even if they can’t understand the lyrics, they understand the feeling.” WHEN & WHERE: 17 & 18 Apr, Bluesfest, Byron Bay; 19 Apr, Sydney Opera House

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BREAKING THROUGH For an album that followed the death of KT Tunstall’s father and her marriage breakdown, which both occurred within the space of a few months, the singersongwriter marvels to Kate Kingsmill: “It didn’t even come out as a horribly depressing piece of work.”


T Tunstall was surprised to emerge from one of the toughest years of her life with the best album she reckons she’s ever made. “The whole thing was very unexpected from the very beginning. I wasn’t even planning on making a record,” says the Scottish singer-songwriter. “It was just that I’d met Howe Gelb from Giant Sand in February of last year, and Howe said to me, ‘Come out to Arizona and let’s do some recording’. That really was what it was. I didn’t go out

there thinking, ‘Right! I’m going to make an album’.” In fact at that point, she didn’t even have any material, but in the two months between meeting Gelb and visiting him in Tucson, Tunstall wrote the nine songs that comprise the distinct first half of what ended up being Invisible Empire // Crescent Moon. She spent ten freeing days recording in Tuscon, and recalls that writing and recording happened quickly. That was in April 2012. Over the next few months, Tunstall’s life turned upside down completely. Over the course of one Northern summer, her father died


and her marriage broke up. She returned to Arizona “almost a different person”, relieved to be returning to the peace of the desert, where she recorded the second half. “The desert out there is an incredibly meditative, restorative, peaceful place and I took a lot of solace from that. I really enjoyed the landscape, it didn’t require anything from me. You can just be out there very easily. It’s beautiful, it’s warm and it’s very, very slow!” she laughs. The desert seems to infuse the sound of the record too, which is the most mellow, country-sounding work Tunstall has ever done. Looking back to that difficult time only a year ago, Tunstall is glad to have something to show for it. “What was so great about it, and what made me eternally grateful about being a musician, was that these massive tectonic shifts in your life that are always painful and always provide you with massive amounts of chaos, and force you to change whether you want to or not – I was just so grateful that something so solid came out of it. And something which I think is probably the best album I’ve made, I just totally didn’t expect. And it was by far the easiest record I’ve ever made, weirdly. I still find it kind of baffling that at the end of one of the craziest and most difficult years of my life I have an album that I made. And not only was it very healing to make, it didn’t even come out as a horribly depressing piece of work, which it could have done.” WHEN & WHERE: 19 & 20 Apr, Bluesfest, Byron Bay; 23 Apr, Lizottes Newcastle; 24 Apr, Lizottes Kincumber; 25 Apr, Lizottes Dee Why; 26 Apr, The Basement

GROWING UP Ulises Bella of Ozomatli tells Jazmine O’Sullivan how he and the band are thrilled to share the good times once more with their Aussie fans and friends.


arlier this year Los Angeles-based fusion group Ozomatli released their eighth studio album, Place In The Sun, which is a party starter from no matter which way you look at it – funked-up groovy beats, hints of Latin swagger and bouts of straightup rock. Reflecting on the celebratory nature of the album, band member Ulises Bella says, “We’re sort of just counting our blessings to have been able to play music for this long and being accepted by the beautiful iconic bands of LA. [The album is] about the band and how we stick together, and in a way we’re just enjoying our place in the sun. We’ve made it through so many crazy things – bands come and go over the years whether they have a hit song or not, so it’s beautiful to still be a musician and spread the noise.” With the group having kicked around in the music industry for nearly 20 years, Bella explains that the album is a reflection of their longevity and growth as a band. “For us the album is kind of a transition into adulthood. We’ve grown up around each other and now we’re entering this new phase of life. It’s great that we’ve done so much as a band, but it means when we come to make a new record we kind of have to think out of the box, so it’s interesting now to just come back and do a straight-up Ozomatli record. We just wanted to have fun with it.” 24 • THE MUSIC • 16TH APRIL 2014

Fans of the band can expect Ozomatli to bring the same exuberant energy to the stage when they hit our shores, and should welcome newcomer Wally Valdez on drums, who will be making his first ever visit to Australia. Reflecting on that trademark energy, Bella offers, “I think our reputation as far as our live show is considered is one of those things that’s pretty intense. We really are hard on ourselves to constantly keep the energy up and not let any kind of excuse get in the way of that. That energy has been a thing that’s always consistent with Ozomatli as a band. As far as our

dynamic and how we communicate with ourselves is concerned, it’s way different to how we were when we started. We’ve gone from, like, 20-year-olds who were just really going for it and partying and going nuts, to just now being chill about what we are, our place in the band and our roles in the band.” With the band’s 20th anniversary just a year away, Bella feels that the celebrations are going to be huge next year, and deservedly so. “It’s got to be big,” he laughs. “At our tenth anniversary we had this huge show where every member of Ozomatli, past and present, was there, so the 20th anniversary is going to have to be crazy. I’m talking fire, a parade, elephants. I don’t know, but it’s going to be crazy.” WHAT: Place In The Sun (Vanguard) WHEN & WHERE: 19 – 21 Apr, Bluesfest, Byron Bay; 25 Apr, Factory Theatre

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HAPPY TO BE HEARD You might not realise through all the feedback, but Cloud Nothings are chasing perfection. Dylan Baldi tells Benny Doyle why things sound a little different nowadays.


ylan Baldi is the first to admit that Cloud Nothings are a simple band. But on the trio’s new full-length Here And Nowhere Else, they’ve found a way to take these average elements and make something remarkable. The Cleveland group – birthed from a fake band profile that Baldi created on Myspace in 2009 – have returned with a record that stands as a logical successor to the Steve Albini-produced Attack On Memory, the new album faster, louder and more crisp that anything in the band’s catalogue.

“Creatively speaking there’s not a whole lot to do with the songs we make and the band we are,” says Baldi, “so as long as someone understands that the results end up sounding good.” That “someone” this time around was John Congleton (The Walkmen, The Polyphonic Spree), who, according to Baldi, immediately understood what the band wanted from Here And Nowhere Else. One thing was assured vocals. “The reason I sang a little different, is that when I listen back to Attack On Memory – which I don’t do very often – but when I do the only thing


that kinda embarrasses me is the vocal – I don’t like the way I sing,” reveals the frontman. “On this one I made a point of going, ‘Okay, I’m going to do something where I can actually listen to it and not be upset, not cringing the whole time’. I couldn’t listen to [Attack On Memory], so recording that was a bane because you’d just have to listen to the vocal line, and you’d go, ‘Oh, Steve, turn that off ’. This one I just wanted to sing a bit more confidently, in a way that I could stand behind.” The pace of Here And Nowhere Else is another thing that grabs you from the first spin. Baldi laughs that he doesn’t know how drummer Jayson Gerycz is going to make it through a show, but “the songs just sounded better that way”. “If we played any of them slow it would just not be as exciting, not be as urgent,” he expands. “Not that you have to play fast to sound urgent, but with these songs you did. These songs are almost poppier in a way; they’re catchier. And I like putting barriers in front of that catchiness, so just having songs that are really fast can almost intimidate someone, so I just like to have something there that keeps it from being a really generic and boring pop-rock album.” Gerycz isn’t the only one testing his abilities, with Baldi admitting that he can barely pull off some of the guitar work found on Here And Nowhere Else. But when you’re trying to obtain the unobtainable, you’ve got to push the envelope to progress. “Every time I write a song I just try and make it better than the last song I wrote,” he finishes. “I listen to a lot of music so I think I have a decent idea of what a good song is, so I’m just working towards that unreachable goal of a perfect song.” WHAT: Here And Nowhere Else (Stop Start)

PARENTAL ADVISORY STICKLERS Black Lips’ latest video clip came with a viewer discretion warning, but the band ask ‘What’s the point?’ when any kid can just type ‘porn’ into Google. Andrew Mast met up with all four in Austin.


t’s easy to find the members of Black Lips amidst the upmarket finery that is the lobby of Austin’s Embassy Suites. Bass player Jared Swilley and guitarist Ian Saint Pé Brown excuse the absence of the other half who have made a dash back to their rooms to rehydrate. They are midway through a week of intensive promotional work, for their new Underneath The Rainbow album, at the annual SXSW industry gang bang. Swilley politely chats Australia until the others arrive. “Honestly, I didn’t have super high hopes,” he recalls of their first visit here. “‘Cause before we came to Australia, we were pretty much living in England. I was like, ‘I hope it’s not just some weird ex-colony.’ But once we got there…” Drummer Joe Bradley and rhythm guitarist Cole Alexander walk up at this point. Immediately Bradley picks up on the subject at hand and promises a return soon, “Of course. The sooner the better. There’s talk about a Japan tour.” Swilley adds, “I heard, like, December.” Saint Pé Brown has another reason for enthusing about Australia. “For the young kids that don’t know,” he says, 26 • THE MUSIC • 16TH APRIL 2014

“Masters Apprentices is one of my favourite Australian bands. “We search this music out - that’s what we do. We love this stuff. We love all kinds of music but within whatever genre you consider us, I put Masters Apprentices in that genre.” Bradley adds, “Eddy Current Suppression Ring too.” Now all the Lips warm to the topic, and props go out to Total Control, UV Race, The Missing Links and Beasts Of Bourbon. Bradley then reveals

they once recorded with Bourbons’ Spencer P Jones in Paris, “but it never came out”, says Swilley. What did make it out this year though was their VNSFW vid for ...Rainbow’s first offering Boys In The Wood. The southern gothic clip landed on YouTube with a viewer discretion warning. “What is the point of having that now?” muses Alexander. “Almost any kid with access to the internet can just go to Google and write ‘porn’ and then…” Talk returns back around to that video. Alexander admits, “I thought it was going to freak more people out.” Saint Pé Brown disagrees; “It wasn’t all that shocking.” Swilley adds, “It made my girlfriend really uncomfortable. That’s why I said to do it. They said they were gonna get an actor to do it and I was like, ‘Well… I can’t think of any other instances where someone was raped in their own video.’ Could you imagine Prince agreeing to be raped in his own video?” WHAT: Underneath The Rainbow (Vice/ADA)

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That would be a laugh! I’d love to hear that! Mel C has an amazing voice and she’s really lovely.”

Midway through recording her seventh album, soulpop icon Joss Stone takes some time out to bring Andy Hazel up to speed on resurrecting lost songs, the Spice Girls and her ambitious touring plans.


hen Joss Stone plans a world tour, she really doesn’t mess around. “The idea is to play at least one show in every country in the world,” she explains keenly and without a flicker of doubt. “After Australia and New Zealand, we’re in Dubai, then Europe. We’re in the process of booking everywhere else. I want to play a show, look about the place, see what good we can do while we’re there, and see what music we can listen to while we’re there. In Australia, I’m hoping to find some music that originates in Australia. Rather than sitting in my hotel, I’ll get out and about and see what’s going on.” This ambitious tour may not be as far-fetched as it seems for someone with the career trajectory of Stone: TV talent contest winner at 13 and multi-million seller at 17. “I’d like to go further into Australia. Dive right into the middle of the country and see what happens. The whole tour will be documented on my website every two or three days. We’ll post a short video from each place, maybe put a documentary together later, but for now it’s just something fun people can follow.” Our interview finds Stone taking a break from recording her forthcoming album in her newly finished home studio. “I’m in the process of recording it right now. In fact at the moment I’m cutting violin – they’re in the other room. After I chat to you we’re back to it.” While the as-yet-unnamed album is very much a workin-progress, Stone claims it will be “a lot more grooveoriented. There are lots of ideas going round, and I don’t want to say what they are yet. It’s got a reggae backbone. It’s a bit hip hop and R&B. It’s not really the usual wailing vocal thing I’ve done in the past.” While Stone may be focusing more on rhythm than before, she won’t be abandoning her first love anytime soon. “Soul music is an expression of emotion. It’s

feelings, and whether or not you like the notes being played is irrelevant in soul music. Actually, as I get older it bothers me more, but soul music is just music that’s meant. That’s what I like about it. If it meant something to me as a little girl, it will never not mean

In a career marked by lending her rich voice to revitalising obscure soul songs or duetting with other artists, Stone still has many unfulfilled ambitions. “There are a lot of people I want to work with, but there’s not one person I think, ‘Fuck I want to nail that person down and just do it.’ If the person wants to collaborate with me, it’s going to be a really good piece of music. If that person isn’t passionate, forthcoming, or hard to find then it was never meant to be. But, if you don’t ask you don’t get,” she qualifies, before considering Music, her duet with reclusive neo-soul icon Lauryn Hill. “That took a long time not because she was holding out, but because it’s hard to get hold of her. I knew she was right, and I knew it was in the stars, so I kept trying and she did it. It was a beautiful thing. I felt very honoured.” The songs Stone is most famous for singing, she reminds listeners, aren’t hers. “In interviews, I always made a point of saying ‘This song is not my song, it’s by the Isley Brothers, or Womack And Womack or

“IF IT MEANT SOMETHING TO ME AS A LITTLE GIRL, IT WILL NEVER NOT MEAN SOMETHING TO ME.” something to me. It’s the same with pop songs. Some of the Spice Girls’ songs I danced around to aged ten still make me smile, and they mean something, that’s never going to change. A lot of pop songs now, they don’t really sit close to your heart in the same way.” Would collaborating with Mel C be out of the question? She laughs loudly at the suggestion. “Wow!

whoever’ because it’s important people type that in and see where this song came from, why it’s lived for so long and who inspired it,” she says avidly. “Super Duper Love was a song we hardly changed at all. Sugar Billy [Garner] wrote it and he’d lived his whole life pretty much unknown and almost no one had heard it. Because I did it and people heard it, he died a happy man and I hold that close to my heart. I didn’t know half of these songs for very long before I recorded them either. I was shown something by [producer] Steve [Greenberg], and I showed it to someone else, so it’s a circle, really.” WHEN & WHERE: 18 & 21 Apr, Bluesfest, Byron Bay; 24 Apr, Enmore Theatre





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OUT OF THE GARAGE Be afraid, be very afraid – Hunx & His Punx are angry and taking their aggressive new brand of punk to the streets. Frontman Seth Bogart tells Steve Bell about getting bored with the garage rock scene and his inherent need to fuck with things.


or years now California-bred reprobates Hunx & His Punx have been concocting slightly sleazy takes on the musical styles of yesteryear, whether it be ‘60s rock, doo wop, punk or garage (to name but a few). Their recently-released album Street Punk, however, showcases a harder and more aggressive side to the band’s trashbag aesthetic, a shift which frontman and chief miscreant Seth Bogart explains was entirely intentional.


“Well I was really just super-sick of getting lumped in with the whole ‘garage’ world, because I feel like I don’t really belong or something,” he muses. “I really just like punk music or pop, so I just decided that I wanted to go punk. When we play live we always like enjoy playing the really fast songs, so we kinda wrote a few of them as a joke and then got really serious about it. But Shannon [Shaw – bass] and I wrote that album in like a week and recorded it basically. It actually wasn’t intense at all, it was the easiest thing in the world – it was so weird and easy. I feel

like it was just meant to be or something, but it was a big relief to just be able to just yell. “[The garage scene] is just a bunch of boring straight guys. I’m from more of a gay pop scene, so after a while I just kinda got sick of it. And so much of it’s so fucking shit and so boring – Shannon’s band [Shannon & The Clams] is really great, but there’s just not a lot of it that I like. And I prefer punk, so it just seemed natural to do that.” Some of tracks on Street Punk such as Don’t Call Me Fabulous clock in at less than 30 seconds, definitely never threatening to outstay their welcome. “The whole album’s only about 20 minutes but I have ADD so I don’t think I could have done it for any longer – the last song’s four minutes, so without that it’s really like a 15-minute album,” Bogart laughs. “I’m surprised that our label went for it, but they did. I think shorter is better, but now it makes me want to write a 20-minute song just to fuck with things. “I mean those really short songs just happened on tour when we were just joking around. I don’t think they’d be very good if they were extended, but we often play them over and over – I like to make them play it twice at least, sometimes more. [Don’t Call Me Fabulous] kind of started because Shannon and I were really drunk in Europe after a show and she was complaining because some gay guy kept going to her, ‘You’re so fabulous!’, and she was, like, ‘I hate that! It either means you’re gay or you’re fat!’ Then I just started laughing uncontrollably, so we decided that we’d make an ‘anti-fabulous’ song.” WHEN & WHERE: 19 Apr, Oxford Art Factory; 20 Apr, Rad, Wollongong

AN AGE TO DANCE Ako Kondo, new to her role as senior artist with The Australian Ballet, talks to Dave Drayton.


he words ‘senior artist’ seem to suggest a wealth of experience, perhaps even accolades, an artist sage and wise, with a strong history in their practice. It’s perhaps a little surprising then, at least at first, to hear that Ako Kondo is three months into her first year as a senior artist with The Australian Ballet at the ripe old age of 23. It’s less surprising after even a quick glance over Kondo’s resume; she took out second prize at the Japan Grand Prix in 2005, followed it in 2006 studying at The Royal Ballet School’s International Summer School, was then awarded The Australian Ballet School Tuition Scholarship in 2007 before touring with The Dancers Company in 2008, and eventually joining the ranks of The Australian Ballet in 2010, at the time not yet even 20. Kondo began her pursuit of ballet as a three-year-old in Nagoya, Japan: “When I was three I was just having fun dancing around, but then when I was 13, 14, I realised my dream was to be a ballerina. And when I was 18 I became a ballet dancer and felt like my dreams had come true.” Ballet is a rigorous and physically demanding art form, as she experienced firsthand as a soloist for The Australian Ballet last year. Kondo’s performance requirements as a senior artist and the structure to The Australian Ballet’s season for 2014 have both shifted, and in her eyes, the developments are nothing but positive. Manon, alongside Imperial Suite were both taken to Brisbane for a dual

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program, and a double program of Chroma and Imperial Suite will come to Sydney later in the year. “It’s a bit different to normal, but I think the audience enjoy it, and I really enjoy that too, doing different roles in one season. It’s hard, but also because you’re doing different roles you feel fresh each time. When you’re doing the same role every single day, every night, you get tired and get bored, but because we’re doing two programmes, even if your body is feeling tired, mentally you feel really fresh and excited to perform. “Now I’m senior artist I don’t need


to do group dance, which was taking a lot of energy from me last year, because I was doing principle roles, the main role, and then many soloist roles and group dance as well, so I was really busy and my body was a bit tired, so when I was doing my main role I couldn’t have one hundred per cent energy out on stage, but this year I can focus on the main role and soloist roles, which is great. After the show you feel like you’ve done your best.” Kondo will appear as the Mistress in the upcoming production of Manon. “The age actually matters for ballet. When you’re 60 you can’t do ballet I don’t think; it’s too hard, all physical ballet. But now I say to myself: I’m young enough to do this, I can get through.” WHAT: Manon WHEN & WHERE: Until 23 Apr, Sydney Opera House, Joan Sutherland Theatre


and I did well out of it, so I’m happy to have moved on from it.” Not that he did all that well from the experience. Campbell had just set up for another bout of busking when he took the call from The Music. “Before I did the album I was busking on Pitt Street. To get finance even to get a tour started you need a lot of money. Things are going well, but I’m broke!”

Queanbeyan-born musician Owen Campbell has a new clip out there but he’s got something important he wants you to know about, as he tells Michael Smith.


t’s just a second single release, really,” roots/blues singer-songwriter and guitarist Owen Campbell says of his new single, Remember To Breathe, lifted off his second album, 2013’s The Pilgrim. “I wrote that song when I was living in a city, and any city I find I’m just not a fan of, so the song is about hating cities and the clip is similar: me just running around a city on a sleepless night encountering various people and places.”

The album debuted at #1 on the iTunes Australia Blues Albums Chart, reaching #1 in the iTunes Blues charts in Canada and New Zealand. His debut album, 2012’s Sunshine Road, peaked at #1 on the overall iTunes charts that year, so things are building nicely, regardless of his contentious departure from Australia’s Got Talent’s 2012 grand final. Considering he’d already been touring independently and internationally for almost six years before he entered, you’d have to wonder why he even bothered. “That served a purpose,


Over the past eight years Campbell’s performed all over the world, from the highest blues festival in the world in Kathmandu to Ireland, Europe, the UK, India and the US. “I just decided, right, I’m going to go to this country and see if I can book some festivals or gigs, and sometimes I’d just busk and then get gigs that way. The busking funds all of the touring, and the touring satisfies an itch, I suppose!” The new clip’s all well and good, but the more important release for Campbell is an EP called Songs For Syria. “A hundred per cent of the proceeds are going to the Red Cross over in Syria. It’s one of the biggest refugee crises since World War II – it’s between 4,000,000 and 6,000,000 people homeless or displaced or fled the country, and our [Western] media and governments of have taken a very flaccid approach to it... I just thought, instead of sitting there yelling at the radio, I want to do something about it.” WHAT: Songs For Syria (MGM) WHEN & WHERE: 16 Apr, Lizottes Central Coast; 17 Apr, Old Manly Boatshed; 19 Apr, Deni Blues & Roots Festival, Deniliquin; 2 May, The Abbey, Canberra; 3 May, Camelot Lounge; 4 May, Lizottes Newcastle; 11 May, Towradgi Beach Hotel

THE MUSIC • 16TH APRIL 2014 • 31



Dingoes), Kenny-Smith grew up on a diet of blues. The Nuggets compilations were big for him in his teens, so it was a big thrill to be invited to cover Count Five’s Psychotic Reaction for the Antipodean Interpolations release of 2012. On Loopholes, Kenny-Smith’s voice channels Janis Joplin or even Aretha Franklin at times and his harmonica sparkles through clouds of guitars.

The Murlocs’ Ambrose Kenny-Smith tells Samson McDougall about high school rivalries and covering Hey Ya at a retirement village.


n a Melbourne café, The Murlocs’ Ambrose KennySmith’s a little worse for wear following night two of a five-night run with one of his bands, King Gizzard & The Lizard Wizard. He’s also moving house – poor bastard. He looks a bit pasty, but okay. Then he takes his first sip of orange juice, spilling it in his lap. “Fuck it,” he says, when offered a napkin. Kenny-Smith’s other band The Murlocs have got their debut album Loopholes launching this month. They

started around the same time as KG&TLW, who are already up to album number four, but lost three-quarters of the debut on a stolen laptop. It was a devastating blow but not without silver linings. “It was kind of a blessing because we got to change all the songs around,” he says. “Space Cadet was the only song that we’d had mixed and mastered so we put that out as a single. That was probably the most fully complete song that we’d been playing live and shit anyway.” The son of renowned Australian songwriter Broderick Smith (The


Kenny-Smith first picked up the harmonica as a six- or seven-year-old kid. Back in those primary school days Kenny-Smith and fellow Murloc Matt Blach featured as members of another band, Blu Tak. “I came up with the name,” says Kenny-Smith. “It was the band that was supposed to stick together but stopped after, like, Grade Five or Six. Matt was playing drums and he was in another band with one of the other dudes, called The Rustys. He’ll probably kill me for mentioning it, but they used to be the surf coast indie-pop idols whereas me and Sam [Cooper] were in Sambrose Automobile and [were] trying to play, like, blues-rock stuff. We were like the ugly ducklings of our high school while The Rustys were like the pride and joy.” Around now, Kenny-Smith’s sandwich arrives. He’ll need the sustenance to help him through the next three nights of Gizzard shows, upcoming Murlocs release shows and a tour of the USA, which includes Austin’s Psych Fest. He’s busy now but it’s still hard to measure the present against those heady, high school days. “We did one gig at the Queenscliff Retirement Village with one mic on while we decided to cover Hey Ya by Outkast,” he says. “I don’t think they were moving too much. It was pretty weird, as you can imagine. It’s all spiralled downwards from there.” WHAT: Loopholes (Flightless/Remote Control) WHEN & WHERE: 19 Apr, Factory Theatre

A FRESH TAKE A simple recording problem led Robben Ford to record a completely different album to the one he’d envisaged, as he explains to Michael Smith.


t all seemed pretty straightforward – book a series of shows, record them and release the best performances as the next album. It didn’t quite work out that way though for veteran blues/ jazz guitarist Robben Ford; the result instead is his new album, A Day In Nashville, almost literally cut in one day in Nashville’s Sound Kitchen Studios. “The whole concept began with three shows we recorded last April in Europe,” the southern California-based Ford begins, “to be released as a live record. But we got back and listened to them and just didn’t think [the quality] was good enough, so my co-producer Rick Weaver said, ‘Let’s cut the whole thing over again and do it in a day in a controlled environment with an invited audience.’ So that’s what we did. “Once we realised we wanted to do something that we were happier with, I wrote a bunch of songs quickly. The original recordings were pretty much live versions of [2012 album] Bringing It Back Home, so I took the opportunity [to start] writing, wrote five songs and pulled something out of my past – the song Top Down Blues, I’d actually written that years ago and tried to record it a couple of times but it never really fit; this time it worked really well – and then we had three covers.” While A Day In Nashville ended up a very different album from Bringing It Back Home, the eventual

32 • THE MUSIC • 16TH APRIL 2014

connecting thread was the use of the same instrumentation – two guitars, keyboards, bass, drums and trombone – albeit different musicians. Ford’s first instrument was actually saxophone, picking up the guitar three years later at age 13. Regarding the use of trombone, he feels, “it’s nice to have an alternate voice on board, something that sounds different yet complementary and brings a fresh dimension. You know, a tenor saxophone would be a complete bore, but the trombone is delightful – at least to me.” As it happens, ironically, it’s the sax that has helped define Ford’s distinctive

sound as a guitarist. “Initially I sounded like Mike Bloomfield,” he admits. “He was my first hero, and I was influenced a bit by Elvin Bishop as well, but I was so interested in jazz I’d listen to saxophone players more than any other particular instrument. I was a big fan, of course, of John Coltrane, Wayne Shorter, Roland Kirk and all these tenor players, and Miles Davis’ trumpet was also a big influence on me. “So I developed an individual quality fairly early in my career because I wasn’t imitating guitar players – I was trying to imitate saxophone players. My musical personality was always pretty strong, pretty forthcoming. I was always very passionate about it,” he chuckles, “right or wrong.” WHAT: A Day In Nashville (Provogue/Mascot) WHEN & WHERE: 17 Apr, Factory Theatre; 19 & 20 Apr, Bluesfest, Byron Bay

THE MUSIC • 16TH APRIL 2014 • 33


HUSBAND HUNTING Not so much trashy ‘reality’ as classic camp comedy. Julian Clary hits the boards in search of an Aussie bloke with his MICF show, Position Vacant: Apply Within. Potential husband Paul Ransom gets put through the wringer in order to learn more. t’s true. Julian Clary really is passing up the opportunity for a Down Under double entendre. However, his antipodean fans should rest assured that the ‘Lord of Mince’ will be in fine, camp form when he lands here in search of suitable husband.


Speaking to The Music from his home in rural England, Clary explains the rationale behind his MICF show Position Vacant: Apply Within. “I’m not particularly

turning anyone,” he says, “but I do drag men from the audience, and I have a cattle prod and I herd everyone into a sheep pen. There are a number of elimination games and by the end of the night I have a husband. The climax of course is a beautiful wedding ceremony.” Over the course of his 30-year career, the star of shows like Sticky Moments and Prickly Heat has not only established himself as a kind of out-there Wilde/Coward love child but as an author, panto star and standup comic. It’s also fair to say that he qualifies as a ‘gay icon’ and

34 • THE MUSIC • 16TH APRIL 2014

thus he is more than pleased to have his say on the lingering marriage equality debate. “I should think that by the time I’ve finished with Australia any resistance will be futile,” he declares. “Obviously the world is ready for gay marriage. Well, not everywhere, but civilised countries like Australia.” For Clary, born in the late ‘50s and schooled in the ‘70s, life as a gay man has become much easier over the journey. “It’s been demystified, so there’s not shock and horror. It’s like, so what; and the world really is a better place in that regard.” As to whether our increased easiness with sexual orientation has taken some of the sting out his comedy, Clary is similarly clear. “A laugh is a laugh and that’s really what I’m interested in. It’s not the whole crusade that it used to be; not about horrifying the right-wing, which I used to enjoy very much. So yes, it’s kind of evolved, although it is still my stock in trade. I suppose now we all talk about it together rather than me needing to be more confrontational.” His 2014 visit will be Clary’s eighth Australian tour, so although he is not one for obvious Down Under puns he is a fan of Oz. “To me going to Australia is like visiting a much-loved friend who’s had a few drinks and greets me at the door with arms wide open. When times are hard for me, like when I’ve been in trouble with the media or whatever, I often think to myself, ‘Let’s go to Australia’. It’s also a very good-looking place.” Cue: several new husbands. WHAT: Julian Clary: Position Vacant: Apply Within WHEN & WHERE: 22 Apr, State Theatre

THE MUSIC • 16TH APRIL 2014 • 35



album reviews





A band that makes cacophonous, bratty noise being the toast of the year? No, this isn’t the turn of the century, but instead a pleasantly abrasive surprise. New York noiseniks Perfect Pussy annihilated all-comers at SXSW this year and left with a legion of bloodied fans in their wake. But with all ‘Next Best Thing’ tags, it has to be given with a dose of sardonic reality, surely?

There’s a deep-seated anger that reveals itself in short, sharp bursts throughout The Menzingers’ fourth record Rented World – the follow-up to 2012’s remarkable On The Impossible Past. For the rest of the time, it’s brutally honest lyrics that take control of the wheel and total everything in their path.

Rented World

Say Yes To Love

Say Yes To Love more than lives up to these raised expectations – it obliterates them and the last remnants of a carefully maintained sanity with an energised tirade against anything and everything. The five-piece play with the hiss of a rolling four-track before channelling their inner chaos on opener, Driver, followed without more ado with the roar of Dig and Bells. It’s in the melodicism of Advance Upon The Real and Interference Fits that some

more of the genius of Perfect Pussy comes through. These are considered song songs, not just a bunch of kids throwing perfectly calibrated bolts of noise into the abyss. The sludge and squall hides the fact that these guys know what they are doing. Yet amidst the maelstrom of chugging abrasion that will shear off bank vault doors, it’s Meredith Graves that pushes the band into another gear. Her lyrics may be self-effacing and confrontational (“And I want to eat myself/And I want to fuck myself ”), yet the vicious energy becomes life-affirming to the point of revelation. Brendan Telford


Spending most of their time on the road – Australia’s seen them three times in as many years – they’ve honed their sound to one that records just as well as it comes across on stage. It’s rare to find such compelling songwriting in punk rock these days, and few truly understand the power of putting it all, mentally and physically, on the line like The Menzingers. This is punk rock that bleeds true emotion. Daniel Cribb

The Cautionary Tales Of Mark Oliver Everett

Ninja Tune/Inertia

36 • THE MUSIC • 16TH APRIL 2014

While Rented World will struggle as a whole to outshine On The Impossible Past (they really nailed it with that one), tunes such as In Remission, Bad Things and The Talk stand as some of The Menzingers’ best and most catchy work to date. If you want a chorus rattling around your head for a week, you only have to run

through opener I Don’t Want To Be An Arsehole once or twice.



It’s been a long time since Kelis metamorphosed from the future funk and R&B of her earlier material to the surprising David Guetta-assisted disco house diva shenanigans of Flesh Tone. Adopting a gospel soul stance on a concept album loosely themed around food, Kelis continues to surprise with yet another stylistic shift. Kelis’ previous attempts to capture the imagination of mainstream audiences has to date been hit and miss but on this release she seems to have abandoned glitter-dusted dreams of pop stardom entirely. Instead Dave Sitek and her 13-piece band grind out the old-school funk, soul and gospel flavours of this album. Kelis’ sultry vocals are served unto our ears on a luscious bed of strings and horns. The mix works around her distinctive voice and Sitek, possibly fascinated with Phil Spector, has given this album a loud, rich, organic texture that recalls the dusty grooves of yesteryear. The album kick-starts

It seems something has pissed these guys off big time – whether it’s an internal or external turmoil this reviewer’s unsure – and the lyrics on this record’s 12 songs come across as a way for them to sort through it.


E Works/[PIAS] Australia

★★★½ with the glorious feel-good vibes of a generous all-day Breakfast, while generous servings of Jerk Ribs, Friday Fish Fry, Cobbler and Biscuits N’ Gravy ought to earn Kelis a Michelin hat for her culinary skills as she satiates listeners’ appetites for soulful introspection and crunchy deep fried pop hooks. She gets pink on Floyd and drifts into dreamy reverie. Food cooked with love always tastes better and despite the song titles Kelis sings with great honesty about love affairs and when things get steamy food is just a replacement for sex. Guido Farnell

With each album you tend to find the Mr Everett either looking inward or outward. As the title suggests, this is himself in reflective mode. And regrets – he’s got a few. Lots, even. There are obvious ones, like Agatha Chan – he knows he should have stayed with the girl with “the aching eyes”. But elsewhere it’s more existential, as simple and complicated as Parallel’s “Waking up lost, in a world I didn’t know”. The mood is weary and downbeat, a contrast after the somewhat more buzzy energy – and perhaps slightly slapdash nature – of the previous Wonderful, Glorious. This is Chamber Eels, with string section hums here and there. Opening instrumental Where I’m At is a wheezy brass overture; the resigned shrug of Series Of Misunderstandings muses over what sounds like a

★★★½ music-box winding down. It’s music for grown-ups, possibly with the realisation there might be fewer years ahead than behind him. He knows the Mistakes Of My Youth, but realises he might still make some of them again. And maybe darkly celebrate that he can. Eels enthusiasts will be comfortable with this latest intimate communiqué from the Everett bunker. He’s still happily unhappy to dig around in the dusty corners of his psyche and tell you about it. And if you’re prepared to listen to some uncomfortable home truths, you’ll probably learn something. Ross Clelland

album reviews









Flightless/Remote Control


Ministry Of Sound

Back with their third record, Bonjah are still those solid, roots blokes who attract that tired ‘organic’ term at every turn, but damn can they pull out a bluesy rock swagger that’ll put everybody in a room on the dancefloor in ten seconds flat. Evolution is a cracker and though the vocal contribution of Ella Hooper falls flat on the title track, leaving a gaping hole where the intimately heartfelt moment was supposed to go, the underlying ethos of Bonjah prevails – just let loose and go with the flow.

What encompasses Quack, and Duck Sauce as a whole, is a sense of fun, and with these tunes in the bank, Armand Van Helden and A-Trak could transform a funeral into a party. Whether it’s via the intergalactic scratchinfused journey of Chariots Of The Gods, the playful hip hop bounce of Charlie Chazz & Rappin Ralph or the power guitar groove of NRG, the album demands that you get off your arse and shake a tail feather. And yeah, it’s surprising they’ve included aNYway and Barbra Streisand here but whatever, those oldies still bring da party. Hell, even the skits are funny – crazy, we know.

Fabric 75

Another psyched-out, harmonicadrenched jam from Flightless Records, this time from The Murlocs in the form of Loopholes. Staying much closer to a common thread than their King Gizzard stablemates, the album also doesn’t have as many inventive flights of fantasy either. Yet it’s the nostalgia that echoes through tracks like Lonely Clown and Juke Box, alongside the ghost of ‘60s swamped-out garage fused with The Black Angels’ DNA of the closing title track, that lingers. That, and the ghost of Eric Burdon and his Animals, whose spectral fingerprints are all over the place.


Brendan Telford

Beautiful Wild

Tyler McLoughlan


Benny Doyle


Fabric/Balance/Universal The best club in the world, the greatest electronic mix series of all-time; it doesn’t sound like either of these facts affected Maya Jane Coles. Rather than trying to carry the weight of such a legacy, the 26-year-old just gets on with it, serving up a flawless set of atmospheric house that makes you yearn for a 5am finish at the London venue. Coles’ mixing is masterful across the board, her timing superb, and while she keeps it deep for the most part, she isn’t afraid to pull back the layers and reveal the bones of these songs. Benny Doyle

THE MUSIC • 16TH APRIL 2014 • 37




Why Do You Always Cry? Spunk Henry and combo in full back-arching, widescreen, melodramatic flow. The Mick Harvey production credit makes perfect sense, and this is everything you hoped that collaboration would provide.


Get Off The Dope Independent Rumbles like a V8, then cranks up to a perfect sandpapery screech as the Dallas Crane resurrection shows itself to be a full-scale new beginning rather than just a damn good excuse for a drink.






Sub Pop/Inertia



Back with their first record in 16 years, The Afghan Whigs slip right into that familiar unmade bed of late night, cigarette-fuelled, whiskey-sipping meditations seemingly propelled by the visceral sex appeal of frontman Greg Dulli’s voice. It’s an emotional ride made musically relevant with fresh moods, angles and that superior rock inquisitiveness that has the Whigs exploring Spaghetti Western soul on Algiers and dark edgy funk in Matamoros. It’s best summed up by Dulli himself on the sonic grandeur of It Kills: “Over and over I get to know myself”.

Deliberately ragged and rough around the edges, Eagulls forge their own path while offering hints of all the best bits of huge-selling, arena-filling bands, back when they were still cool. Their press release might say ‘post-punk’, but Eagulls the band and Eagulls the album are both bigger than that. Every song hits the ground running; there’s never any inclination to ease the listener into anything or even give you a chance to catch your breath. Eagulls is going at full speed the second you press play, and with an energy this raw, why waste time with pleasantries?

Trixie Whitley emerged as the singer in Daniel Lanois’ Black Dub project a few years back and her voice immediately stood out as a versatile, emotional and powerful instrument. Here it’s given all the space and time it needs and for the most part Whitley nails it both vocally and as a songwriter. Pieces, in particular, is a classic slice of jazz and blues-drenched soul music, her voice straining and cracking with its delivery. She seamlessly blends genres such as electronica and R&B, making this a postmodern take on traditional musical forms, showcasing a truly magical voice.

Pete Laurie

Chris Familton

Do To The Beast


Fourth Corner

Tyler McLoughlan

THE MURLOCS Paranoid Joy


Flightless/Remote Control It’s got an almost retro R&B flavour, but from a garage in the wastelands outside Melbourne rather than a studio in London circa 1964. Absolutely scruffy and messed-up, unapologetically so.




The Return Of The Mail-Order Bridegroom


Prince Melon/Valve


Assured and layered pop with the necessary piano-driven, quietly anthemic quality designed for airplay where the audience is over-18 and they often think the guitars are just a bit loud.

With elder statesman status, Sir Edmund is doing even more with less. A document of his recent mode of performance – just himself and range of acoustic guitars, with occasion loop or background clatter – songs are drawn from his own career(s), and some other reference points. Thus, his still-hypnotic The Way I Made You Feel resides with a Hey Joe taken back to bluesy murder ballad. The Walker Brothers’ No Regrets comes with a weary resignation, while a final Messin’ With The Kid takes The Saints’ punk angst and makes it grow up.

Ross Clelland

Ross Clelland

Meanwhile in Sweden, although you’d likely not realise that. Electro-pop with some weight, mostly through Yukimi Nagano’s voice lushly lilting over the plastic keys. One of those ‘bound to happen’ things.


Catch Release/MGM

38 • THE MUSIC • 16TH APRIL 2014



Silent Treatment Propeller Recordings Norwegian indie-pop band Highasakite has captured the scope of their home nation in their second album, Silent Treatment. Right from the get-go the songs evoke an ethereal sense of scale, the synth the Arctic Ocean swell, the breathy vocals the mountain peaks. Silent Treatment is an album of songs that would feel right at home being sung from majestic plateaus and echoed through scenic valleys. It is wonderful. It’s no surprise this quintet is one of Norway’s most beloved bands, and with Silent Treatment they may just become one of Australia’s too. Bailey Lions


The Birds Of Satan - The Birds Of Satan I, A Man - Gravity Wins Again Wake Owl - The Private World Of Paradise Kevin Devine - Bulldozer The Amazing Snakeheads Amphetamine Ballads Liz Green - Haul Away Tycho - Awake Paolo Nutini - Caustic Love

live reviews

EDWARD SHARPE & THE MAGNETIC ZEROS; MT WARNING Enmore Theatre 10 Apr MT WARNING opened with an excessive amount of Ed Sharpe’s instruments laying idle at the top of stage. Mikey Bee’s vocals hit the mark with devastating intensity and an infectious energy shared by the band and the early birds up the front. Playing tracks from the freshly dropped Midnight Set album the boys showed their songwriting prowess transfers to a cohesive live act. They rounded out the set nicely with triple j favourite Forward Miles.

chimed in for a verse here and there. Each time was more surprising than the last – that many of them shouldn’t be able to sing that well, it’s just not fair. The lyrics for Home were changed a little, and during that CastrinosEbert breakdown Ebert called story time. Castrinos let on that she was looking for her childhood friend Kaitlin Doe while in Sydney before the microphone was handed to the crowd who told heartwarming stories of Edward Sharpe changing their lives for the better. Despite these shining moments the unquestionable star of the night was Ebert. MT WARNING said it best on their Facebook page after the show: “This guy works the crowd part snake charmer part reverend.” Anyone heading to Bluesfest must make this band a priority. Cameron Warner


Edward Sharpe & The Magnetic Zeros looked more like a southern softball team than a band, as all ten touring members crowded the stage. The loudest initial applause was saved for frontman Alex Ebert, dressed in impeccable hillbilly chic. The set was refreshingly spontaneous. Ebert instantly shook hands with the front row and asked what song they should play, as he did before every song, because setlists are boring. Man On Fire was suggested and by the second verse Ebert was in the front row. He was happy to step back from the spotlight and let others shine; the ever-smiling Jade Castrinos is straight-up adorable and vocally superb, Christopher ‘Crash’ Richard fronted the band in his overalls for a song and was an instant injection of fun. Christian Letts sang a track and other members

World’s End Press warmed a rapidly filling room with their intense indie disco. Frontman John Parkinson exudes an irresistible rock’n’roll confidence and the crowd joined him in dancing to the pulsing To Send Our Love and the anthemic Drag Me Home. A sunny version of a deep, spacey Massive Attack beat welcomed Architecture In Helsinki to the stage. It quickly morphed into the upbeat new single, The Future, which holds the hyperactive, addictive hallmarks of their original modern pop with a little more swirling subtlety this time around. The colourful stage held no outlandish decorations or animations, so animated are the music makers themselves.

ARCHITECTURE IN HELSINKI, WORLD’S END PRESS, THE HARPOONS Metro Theatre 11 Apr The Metro was filled with mix of dreamy disco, synth and strut – all the good things about modern Australian pop – on Friday night. The Harpoons announced themselves as ones to keep an eye on with the breezy, earnest vocals of Bec Rigby, accompanied by a light R&B vibe and sweet harmonies on tracks like the swaggering Walk Away and the romantic Keep You Around.

Ah, but the music. Another new track, Before Tomorrow, exhibited Motown funk, Sutherland whirling her arms in the air with contagious energy. Bird’s serious manner was often at odds with his loud appearance, such as in the familiar strut of Everything’s Blue.

An ease within the band was evidence of their long history.



yellow suit. Kellie Sutherland, her hair bleached blonde, rocked a brightly striped dress. It’s no surprise their latest album, NOW+4EVA, spawned its own concept fashion store.

Dream A Little Crazy, the first taste of the new record, came off as the ultimate triumphant party song with the three-piece brass team in full flight. Continuing the mood came 2007’s raucous Hold Music. That album, Places Like This, is the epitome of joyous chaos – delivered tightly by the eight-strong line-up.

Eliza Goetze

Hordern Pavilion was graced by one of the most talented men in music on Friday night, as John Butler Trio took the stage,

Bright lights reflected in Cameron Bird’s opaque, round sunglasses, which most would need just to take in his sunflower


Bird humbly spruiked the new clip coming out for I Might Survive: “If you’re remotely interested in this band, you should check it out…” “Remotely interested?!” Sutherland teased. Everyone was interested, judging by the joy that met Heart It Races and That Beep, two favourites to round off a heart-racing show. If there’s one thing these guys take seriously, it’s fun.

taking us on a journey full of passion, heart and emotion. Opening the night was the super talented and soulful Aussie artist Emma Louise, and as the crowd started to build, they quickly lost themselves to the sounds of songs like Jungle and Boy. Emma Louise’s sweet and sultry voice, married with the raw tenacity of the lyrics she sings, quickly whisks you away to another place, triggering memories and unleashing emotions. When John Butler Trio entered the stage there was an immediate surge within the audience to get closer to them. Opening with Used To Get High and Revolution, JBT showed true artistry. You can listen to all of their albums, sing along to all of their songs, but it is impossible to grasp the full magnitude of talent possessed by this band, Butler in particular, until you have seen them live. THE MUSIC • 16TH APRIL 2014 • 39

live reviews We were treated to multiple mind-blowing guitar solos with one highlight being Butler’s solo rendition of Ocean. It is like he opens the door to his soul, letting us all in to feel all of his raw emotions when he plays. With a set ranging from gut-wrenching ballads like Bullet Girl to the loud and vibrant wails of Devil Woman, there was enough variety to keep the crowd sufficiently amped from start to finish. And then, if that already wasn’t enough, we were treated to an encore consisting of JBT’s incredible cover of Pharrell William’s song Happy, which sent the entire crowd into fits of hysterics. Happy was followed by Livin’ In The City and Funky Tonight, which was more than enough to send the entire audience over

hole, a sizeable band of loyalists roared approval. Progressively winning over sections of the remaining audience, a closing rendition of Pantera’s Mouth For War suggested they’ll be looting and pillaging Sydney again soon enough.

material from homecoming disc Disarm The Descent with even greater vigour. Welcomingly forgoing the clichéd encore, the masses had waited eons for this return visit. Ultimately, it was a triumphant one.

It had been a sizeable wait between headlining shows for Killswitch Engage, last year’s Soundwave-only appearance a tantalising teaser for an eventual fully fledged jaunt. What swiftly became apparent is that in some respects little about the Mass-holes’ efficient delivery had altered, but when armed with a multitude of metal/hardcore anthems and a unique onstage personality, such concerns were rendered obsolete. Guitarist Adam Dutkiewicz still amusingly wisecracked about topics like man breasts



the edge and leave the crowd of thousands gagging for more. Deborah Jackson


UNSW Roundhouse 12 Apr Aside from featuring crowd favourite, former Pantera/ Down bassist Rex Brown, Kill Devil Hill’s swashbuckling metal possessed other positive attributes. Although repeated requests to “make some fucking noise” wore thin, frontman Dewey Bragg’s croon infused a pseudo-grunge vibe, while Mark Zavon’s guitar tone afforded a Sabbath-esque edge. Despite initially seeming akin to a proverbial square peg in a round 40 • THE MUSIC • 16TH APRIL 2014

Brendan Crabb

Kings Cross Hotel 12 Apr

Geelong rockers The Living Eyes are the ideal kind of act to play at FBi Social. They’re on the cusp of underground success, love what they do and do it with serious passion. The four-piece belted out jangle-pop


and masturbation, accentuated by intentionally cheesy (or just outright bizarre) rock moves. Bassist Mike D’Antonio threw his instrument about with such reckless abandon as to endanger his bandmates’ wellbeing. Rose Of Sharyn, My Last Serenade, metalcore power ballad The End Of Heartache and closer, My Curse continued to garner roof-raising singalongs, while numerous others remained bruising pit fodder. One obvious point of difference was reinvigorated vocalist Jesse Leach’s high-energy, yet grounded ethos. Visibly more confident in the role than during the aforementioned festival run, from opener A Bid Farewell onwards, the screamer/ singer more ably tackled tracks originally performed by successor/predecessor Howard Jones, while attacking

new music, which was simply incredible. A handful of new songs, ranging from short to over 10 minutes long, focusing on grungy, harmonica-driven rock got the crowd pumping, and the band’s energy and excitement in playing was palpable to the sold out crowd. For a band with so many different styles under their belt, the live sound is so wonderfully cohesive, helped in no small part by their undying love of it all. As wonderful as the entire set was, closer Head On/ Pill remains the band’s best loved track. An even lengthier, over 20-minute version of the song was more than was needed to prove that the band are, simply, one of the best in the country. Andrew McDonald


with a fuzzy, Jesus & Mary Chain-reminiscent vibe, with infectiously fun hooks peppered liberally throughout the set. While they did settle a little too easily into safely digestible alt-rock, the moments when they let loose showed the power the band has when they focus. Focus is, paradoxically, one of the most and least accurate terms applicable to King Gizzard & The Lizard Wizard. On one hand, the band’s loose, almostfalling-apart-at-the-seams psych grooves seem wonderfully absent-minded, yet conversely the seven-piece is easily one of hardest-working acts in the country, having released four full-length records in 18 months. Tonight, they were ostensibly touring in support of latest LP, Oddments, yet that record’s fuzzy, ‘60s-style pop was given a backseat to a slate of yet more



Helen Reddy @ Enmore Theatre Release The Hounds @ The Square Jason Isbell @ Factory Theatre

arts reviews



In cinemas 17 Apr Acclaimed actor, Ralph Fiennes, has directed just one film previously – Coriolanus. In The Invisible Woman, based on the factual book by Claire Tomalin, Fiennes again directs and also plays author Charles Dickens, who falls in love with a young woman and has a long-term relationship hidden from public

view. Dickens (Fiennes), bored with his matronly wife ( Joanna Scanlon) and domestic life with ten kids, is attracted to 18-year-old actress Nelly Turnan (Felicity Jones), when he meets her. It takes him a while – understandable considering the social mores of the time – but he wins over Nelly’s mother (Kristen Scott Thomas) and embarks on an affair with the young woman who admires his work and can speak intelligently about it. Screenwriter Abi Morgan (Shame, The Iron Lady) makes a few salient points about the lot of women in days gone by, focusing on the relative freedom of the male author, who was quite the celebrity in his day, and his ability to ‘shack up’ with his young lover and still enjoy his fame while Nelly had to hide in the shadows. Ralph Fiennes has crafted an aesthetically handsome film with some beautifully shot, memorable scenes. It might move too slowly for some cinema-goers but it’s a finely crafted piece with obvious appeal to a certain demographic. Performances are

excellent all round, including Fiennes who, unlike a lot of his quite cold stints in other films, exudes warmth as the charismatic Dickens. Vicki Englund


In cinemas 17 Apr ‘Switched at birth’ is a dramatic trope as old as time immemorial, but Hirokazu Kore-eda is the kind of filmmaker who can grant even the most questionable premise – like Air Doll’s blowup-sex-doll-comes-to-life hook – cinematic grace, thematic weight and dramatic depth. Turning, as ever, away from the sensational, Kore-eda settles his story in the domestic: the swapped sons having spent six years being raised in contrasting situations (one in a rural, middle class shambles amidst many children, the other in a single-child, upper class, high rise apartment of quietude and order). What

we’re essentially circling around is the old ‘nature vs nurture’ debate: whether it’s the genes or the environs that shapes a child, and bonds a family. Koreeda is most interested in what that means in patriarchal Japan, where the first-born son is still a totem, and is unafraid to suggest that fatherhood may be, for some, work of pure vanity. But Kore-eda is a deft director of children (from Nobody Knows to I Wish), and the film, eventually, becomes about the feelings of the children being thrown into the middle of this ‘debate’. Anthony Carew


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the guide

Role: Singer-songwriters/guitarists Instrument(s) played? Guitar How long have you been performing? Gibson: Joined a choir when I was six or seven, but didn’t play on a big stage in a band till I was 16 at a school rock concert... So... 11 years. Kingswell: Since I was seven... So 20 years! What part do you think Sydney plays in the music you make? Gibson: Sydney is the city of firsts for me: my first originals gig, my first busk, my first time living out of home... Its energy has kept me moving and has always inspired the songs I write. Is your music responsible for more makeouts or break-ups? Why? Gibson: A bit of both I guess. Make-outs lead to break-outs, then I write songs about the aftermath. Kingswell: My songs are on the downer side of love! I find it easier to write sad heartbreak songs. I’d be faking it any other way. What’s in the pipeline for you musically in the short term? Gibson: Record my second album. Tour the country with Nick Kingswell (16 Apr, Venue 505). Busk relentlessly. Kingswell: Release my single Summer Snow in the next two weeks. Debut album Over Easy released May 2014. Move to London 2 May to chase the dream! Pic by Josh Groom






his Saturday, there will be lines out the front of your local record store, because 19 Apr is Record Store Day, an international “holiday” for music-lovers and musicians alike. Musos will be making in-store appearances and releasing oneoff specials across the globe, and you’ve got to get in early to get the vinyl atop your wish list. The Australian ambassadors for Record Store Day are musicians Marcia Hines and Dan Sultan; and behind-the-scenes masterminds, Tim Dalton and Ian Hunter; while Adalita has been dubbed a ‘supporter’ due to her prior commitment to Bluesfest. They’ve each got their own reasons for wanting to be involved. Adalita says that records are close to her heart. “I grew up going to record shops and loved going through all the vinyl and looking for my favourite bands and going home with a new plastic covered album; it was such an exciting feeling. Record shops were places to hang out too and find out about music, mostly from the record store owner who always knew just about everything about music.” Tim Dalton, one-time recording engineer and tour manager for the Beastie Boys and Elvis Costello, says he “wanted to involve myself in Record Store Day as I’ve spent my entire adult life dedicated to music. Music, and modern life in general, these days tends to be about instant gratification. What I like about Record Store Day is a chance to reflect upon the actual product’s creation”. In 2013, vinyl albums were the only physical products to grow in sales; in monetary terms, they were up 53.31 per cent from 2012, with 137,658 albums sold at a value of $2,839,822. We don’t want to drown you in statistics, but the ‘Vinyl Renaissance’ is a thing. Dalton reckon that’s because “Vinyl is metonymic, it’s an artefact of value, it proves that you are serious about music to your peers. Buying vinyl gives a perceived value; spending $20-25 on a record feels like it’s worth it versus spending that same amount of money on a file that you really can’t touch or feel. It’s tactile, has a unique odour and it’s still seriously cool.” Adalita agrees. “I reckon it’s the size of the vinyl. It’s like a big nice square coffee table book. It’s a beautiful 44 • THE MUSIC • 16TH APRIL 2014

Vinyl isn’t just for hipsters anymore; vinyl sales are up 77 per cent, with more people than ever going analogue. Hannah Story gets the scoop on Record Store Day from Australian supporter Adalita Srsen, and ambassador Tim Dalton.

thing basically so it’s conducive to being treasured. And there’s a ritual involved, you know, turning on your stereo, selecting the vinyl, taking it out, putting it on the turntable, putting on the needle and swapping the sides. There’s a little of you invested in it.” Both Dalton and Adalita affirm that record stores are an integral part of Australia’s music scene. Adalita says that “[Record stores] are passionate about music. And it’s also a meeting place; all sorts of great butterfly effects happen because of record stores… Music is so essential to so many people’s lives. We need to make sure we’re being active and getting out there and showing our passion for music too.” For Adalita, this year’s Record Store Day is especially important, as it sees the release of her solo album on vinyl for the first time. “I’m so excited. It’s such a satisfying feeling and I’m really happy with the sound quality, it’s just exactly what I think vinyl should sound like. And it’s funny but it’s really given the record a new lease of life sonically.”

WHAT’S UP FOR GRABS? Here’s the exclusive releases that The Music office are lusting over:


Adalita Ad Adalita l Deluxe double vinyl issue of Adalita’s selftitled debut. It’s the first vinyl pressing of Adalita in solo mode, limited to only 500 handnumbered copies, on blood- and gold-coloured 180gm vinyl. Nice.

Head On/Pill King Gizzard & The Lizard Wizard The first track from 2013’s Float Along Fill Your Lungs, the 15-minute epic Head On/ Pill will be released on a multi-coloured 12” picture disc, via UK’s Heavenly Sounds. Only 300 copies worldwide. So psych fiends will be falling over themselves for this one.

Face To Face The Angels Don Bartley remastered this classic late ‘70s Angels album from the original analogue tapes using vintage studio gear. On 180gm vinyl. For fans of Doc Neeson and co.

record store day


RECORD STORE DAY FOCUS What’s on high rotation on the store stereo at the moment and why? Blackbird – Dan Sultan, Brothers – Damien Jurado, Benji – Sun Kil Moon, Greenwich Village 60s, Johnny Cash or whatever we haven’t heard.

SOUNDS ESPRESSO Answered by: Anthony Skapetis Position: Owner/Director Address: 268 Victoria Rd, Marrickville Opening hours: Monday – Friday 8am – 6pm; Saturday – Sunday 9am – 6pm What does your store specialise in? Specialising in quality vinyl across all genres, great brewed coffee with cakes and treats. What does a record store offer that clicking or tapping a button can’t? A record store offers you a place to go and hang out,

have a dig for music, and meet and socialise with people. Reports of the death of physical product have been exaggerated – discuss: People have forgotten the way music was played and sold in it simplest form of vinyl. MP3 has no value, while the right song on a record can bring back a lot of memories. What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? Keeping it all a surprise. Website link for more info?

SANDY’S MUSIC Answered by: Jennifer Fry Position: Owner Address: 870 Pittwatter Rd, Dee Why Opening hours: Monday – Friday 9.30am – 5.30pm; Saturday 9.30am – 4pm What does your store specialise in? Sandy’s supplies all genres of music CDs and LP vinyl. We source locally and import and have been supplying music for 40+ years on the Northern Beaches, Sydney. Knowledge and customer service are our speciality.

What does a record store offer that clicking or tapping a button can’t? Quality sound, community interaction, knowing what your customer likes, giving informed opinions. A meeting place for discussion and shared information. What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? We’re selling limited release RSD vinyl records and discounted compact discs. It’s a chance for our customers to buy strictly limited releases, too many items to list and there will be FREE giveaways from companies! Website link for more info?

THE MUSIC • 16TH APRIL 2014 • 45

record store day


items), collectables and horror DVDs round out our range.

the Sex Pistols A&M God Save The Queen. I will find it one day.

What’s on high rotation on the store stereo at the moment and why? The Dio tribute album, Dethklok, Addictive, BigElf and Lost Society because they’re fucking awesome new releases!

What are some suggested purchases should we drop by your store? We’d need to have a chat and discuss your music tastes and what you like before we would recommend anything. So it would be different things for different people.

What does a record store offer that clicking or tapping a button can’t? Personal interaction with staff and other customers, and being recommended that awesome album you’ve overlooked 100 times online. Reports of the death of physical product have been exaggerated – discuss: You need to find a new question as this one’s been rehashed and done to death; we’re still selling shitloads of physical products.

UTOPIA RECORDS Answered by: Garry Stapleton Position: Owner Address: Lower Ground Floor, 511 Kent St, Sydney Opening Hours: Record Store Day 9am – 6pm; Monday –

Wednesday, Friday – Saturday 10am –6pm; Thursday 10am – 8pm; Sunday 12pm – 4pm What does your store specialise in? Being the home of metal we specialise in metal and hard rock vinyl, CDs, DVDs, books, T-shirts and merch. Memorabilia (including autographed


What’s been your favourite f ind in a record store? The staff at Utopia. they’re the main reason we bought the store several years back. As far as releases, then it would be UK first pressings of the iconic Led Zeppelin and Pink Floyd albums. What’s the holy grail of vinyl that everyone wants but no one can get their hands on? For me it’s still

RESIST RECORDS Answered by: Graham Nixon Position: Founder Address: 294 King St, Newtown Opening hours: Monday – Wednesday, Friday 10.30am – 5.30pm; Thursday 10.30am – 6pm; Saturday 10.30am – 5pm; Sunday 10.30am – 4pm What does your store specialise in? Resist specialises in all things punk – and hardcore music – related, carrying vinyl, CDs, DVDs and merch from bands and labels from all over the world. What’s on high rotation on the store stereo at the moment and 46 • THE MUSIC • 16TH APRIL 2014

Reports of the death of physical product have been exaggerated discuss: There is still many people who want to buy a physical product. I believe the demise in sales comes from too many bands putting out average albums and too often. Just because a band releases a new record, it doesn’t mean people will support it. What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? Other then the RSD titles we can get our hands on, it’s very much business as usual for us. Website link for more info?

What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? The Utopia Golden Ticket is a one-year pass to four venues. Over 100 RSD titles on order. Ten per cent discount storewide plus random giveaways: Children Of Bodom tix, box sets, CDs, T-shirts and heaps more. Website link for more info?


why? Rooms Of The House – La Dispute. Main reason is it’s one of our latest releases, and it’s a good release! What does a record store offer that clicking or tapping a button can’t? Flicking through our range of vinyl, shirts and our expertise is much better than Google searches and clicking a mouse.

What makes an in-store appearances rather special? Have a look at the pics on our Facebook page and videos on our YouTube channel. That will tell you everything you need to know about what makes them special. Having said that, it is becoming harder and harder to get bands to do in-stores.

AUDIO BOUTIQUE Answered by: Carmelina Stillone Position: Business Development Manager Address: Shop 5/18 Bungan St, Mona Vale Opening hours: Monday – Friday 9.30am – 5pm; Saturday 9am – 4pm What does a record store offer that clicking or tapping a button can’t? For us who truly appreciate what the artist has created, the appreciation is the tangible record, the artwork, the care and detail in the presentation, to take that record home, carefully unpack and prepare the disc

for playback, savouring each moment, peeling off the layers, holding the shiny black vinyl gently in your hands, inspecting the perfect grooves. Placing the record on your record player, setting up the system, and taking your position for the anticipated show. The richness and depth of audio, the image that takes you to the event, the detail and clarity, the emotion and passion of the artist and the product that was created just for you. What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? We will be for the first time making available our street frontage for our “Record Meet” buy, swap and sell your own records. Our local butcher will host BBQ sausage tasting, showing off some of their amazing sausage recipes. Every customer will go in the draw to win a $2000 holiday package from Australian Getaways, and anyone who purchases a turntable will go in the draw to win a Cleaning Pack worth over $270.

record store day


What’s on high rotation on the store stereo at the moment and why? Inner Sense – Guttergods. Weird, weird angry stuff. Cleveland hardcore meets lo-fi cyber-punk. What does a record store offer that clicking or tapping a button can’t? Community, people who listen to the music they sell, a pathway to a more interesting musical environment.

REPRESSED RECORDS Answered by: Chris Sammut Position: Owner Address: 413 King St, Newtown Opening hours: Monday – Wednesday 11am – 7pm;

Thursday 10am – 7.30pm; Friday – Saturday 10am – 7pm; Sunday 11am – 6pm What does your store specialise in? Independent Australian and import vinyl. Cool T-shirts. Bands with something to say. Not being boring.

Reports of the death of physical product have been exaggerated - discuss: I think we offer a reasonably unique experience here. We’re not about plugging a major label release in our front window that you’ll be sick of in a week. Hopefully people interested in music more cutting-edge and rough around the edges keep buying physical copies because it’s worth supporting What’s been your favourite f ind in a record store? Never Mind The Bollocks, Here’s The Sex Pistols because it opened my eyes to a world of music by people who actually mean what they play.

What’s the holy grail of vinyl that everyone wants but no one can get their hands on? Buy it because you like it. What are some suggested purchases we should drop by your store for? Hardcore Vol 1 and 2 – Devo; Live At Goner Records – Reigning Sound; Factory Floor LP; Lace Curtain; Lee Gamble; Sacred Product. What makes an instore appearances rather special? Weirdos yelling out at musicians. We can have a beer behind the counter. Community. Conversations about music. What have you got planned on Record Store Day (including any sweet exclusives you’ll have)? LOADS of exclusives for the day. Also expecting new releases from Lace Curtain, Thee Oh Sees, Slint. Check our website closer to the day. Selling off some secondhand vinyl really cheap too. Website link for more info?


AUDIO TECHNICA LP120USB TURNTABLE It’s been a few years since the Technics 1200 was discontinued, but DJs familiar with that iconic turntable will no doubt enjoy a sense of nostalgia when they unpack the Audio Technica LP120-USB. There are plenty of similarities in the two products, especially when we’re talking weight and motor, and the overall feel is sturdy, as you’d expect, with a nice heavy cast aluminium platter that can be worked with force thanks to spring-loaded feet at the base of the player. But this is a versatile turntable that will suit any user, be their

needs high performance or casual. The product comes with Mac- and PC-compatible USB recording and sound-editing software, allowing you to capture vinyl sounds onto your computer easily. Meanwhile, the cartridge that this model uses – the AT95E – holds a groove with the best of them. The sound quality here is top notch, with noise isolation eliminating feedback or hissing. And the range shifter found below the pitch control and the directional buttons located above it are another couple of sweet additions which will help you keep check on any variations made when spinning tracks. Considering the quality of the product, the retail price tag – varying from $389 to $499 – is very reasonable. If you feel like splurging on a turntable this Record Store Day, you could do plenty worse than the AT-LP120-USB.

EASTER PUBLIC HOLIDAY DEADLINES Ad booking deadline 5pm, Wednesday 16 April Ad artwork 3pm, Thursday 17 April Editorial 5pm, Wednesday 16 April Gig Guide 3pm, Thursday 17 April

Benny Doyle THE MUSIC • 16TH APRIL 2014 • 47


DINING OUT DON’TS Illustration Sophie Blackhall-Cain.



Do not ever click your fingers to attract the attention of a waiter. Raising your hand or waving is acceptable in some situations if you do it with a smile, but clicking? Waiters aren’t dogs. You wouldn’t whistle at them. So don’t click.

Yes, we are aware how much fun it is to shove the corners of serviettes into the flames of tea candles, but imagine how annoyed the waitstaff are when they see all those ashes and blackened tissues lying on the table. Unless you’re tipping big to apologise, bury your pyro 14-year-old self deep down, at least until the next backyard bonfire.

LICK PLATES You might argue you’re showing appreciation to the chef; you loved the dish so much you want to savour the very last smears of sauce. Well maybe ask the waitstaff to pass on a compliment rather than assaulting other patrons’ eyes with the off-putting image of your tongue being dragged across the plate.

ALTER YOUR ORDER USE YOUR PHONE This one is up for debate, and it all depends on who you’re with (and how judgemental they or you are), the formality of the restaurant and the occasion. Instagram/ Twitter-browsing is only okay if you’re all doing it, at a casual eatery. The odd text is fine if you need to respond quickly. For some, any phone-related usage that isn’t urgent may be frowned upon. But we can probably agree that a one-minuteplus phone convo at the table is at best awkward and at worst insultingly rude.

GLOBAL ETIQUETTE What’s rude/weird here but cool in other countries, and vice versa. Milky coffee after lunch/dinner It’s not an insult or anything, but in Italy if you order a cafe latte or cappuccino to drink after lunch or dinner you might be considered weird as Italians see milky coffees are more of a breakfast-time thing. Try a short black instead. Burping In certain Middle Eastern and Asian cultures, China and India being two examples, no one will bat an eyelid if you burp. It might even be considered complimentary depending on the context. Slurping Can you really enjoy a bowl of ramen or wonton noodles if you’re too busy concentrating on not making 48 • THE MUSIC • 16TH APRIL 2014

Unless you’ve got dietary restrictions, don’t be that difficult person who asks for X dish but without this and that, oh and can you please also add this and make sure that X thing is cooked in exactly this specific way I like.

any noise? In countries like Japan, China and Hong Kong (but not all Asian countries) it is perfectly acceptable to slurp up your noodles – just don’t be super loud and obnoxious about it; the slurping should happen naturally, not forcefullly. Eating with hands Hands are the original utensil. Just make sure you don’t use your left hand in places like India, the Middle East and parts of Africa, as that’s considered the unclean hand...

eat/drink WHO’S COOKIN’

If you were a patron of your establishment what would you select from the menu? Entree: Lamb shoulder wrapped in prosciutto, served with Sabella Cab Sauv. Main: Pork belly served with a good strong cider. Dessert: Sticky date with butterscotch sauce, served with Drambuie on ice. What’s the average price of a main? $22.


Three ingredients everyone should have in their pantry? Chilli, bacon salt, spuds.

Describe your place of work? Serious food, honest service, no bull.

If your food was compared to music what style would it be? Rock! BOOM.

221 King St, Newtown

What music is likely to be playing in the kitchen when you’re cooking? Whitney Houston, The Presets, AC/DC, Kylie, Pink Floyd, Bloc Party. Where do you usually eat after your shift? I EAT SCHOONERS. What’s your dish of choice to enjoy after work? SCHOONERS. Is your chef lifestyle more Anthony Bourdain or Pete Evans? Anthony Bourdain (the early years).

HOT SPOT SPAKKA-NAPOLI – 13/166-174 MILITARY RD, NEUTRAL BAY This is no joke: new Neutral Bay wood-fired pizza and tapas bar Spakka-Napoli is run by Danny and Luigi. It could possibly be the most Italian pairing since pepperoni and meatballs. We’re loving the Stuffed Garlic two-layer pizza with potatoes and rosemary, paired with any one of their assorted yummy cocktails. And if you’re sharing tapas with friends, you can’t go passed pan-fried scallops in avocado sauce, arancini or garlic prawns with a touch of chili.


ANDREW SILVESTER @ CLUB PALM BEACH 1087 Barrenjoey Rd, Palm Beach Three words that describe the place? Sunny, relaxed, friendly. If you were a patron of your establishment what would you select from the menu? Entree: Thai fish cakes with Asian salad, served with lemon, lime and bitters.

Main: Scotch fillet with garlic prawns and red wine jus, served with schooner of Coopers Pale Ale. Dessert: Rhubarb Crumble with vanilla ice cream, served with Baileys Irish cream on ice. What’s the average price of a main? $18. Three ingredients everyone should have in their pantry? Pasta, good quality olive oil, garlic.

If your food was compared to music what style would it be? Hardcore punk. DIY (I like to make my own tunes jamming with friends). As long as it’s loud, anything goes. What music is likely to be playing in the kitchen when you’re cooking? Radio stations playing classics from ‘70s, ‘80s, ‘90s. (I don’t choose, the head chef likes love songs.) Where do you usually eat after your shift? Whatever amazing deliciousness is available from our kitchen. What’s your dish of choice to enjoy after work?


AMERICA In North America some places add, for example, 18 per cent of your bill automatically as a tip (mandatory gratuities). If no tip is added to the bill, a 15 to 20 per cent tip is expected for regular to good service. In the US, it is understood that because of the low minimum wage, tips act as much needed extra compensation for waitstaff. Tipping is also customary in Mexico and South America.

ASIA Tipping in China isn’t frowned upon but it might be met with confusion, while it’s rude to tip in Japan at all. A five to 15 per cent tip in Indonesia and India is appreciated but not required. A ten per cent service charge is sometimes included on your bill in Vietnam, Malaysia and Singapore.


BRAATT: Bacon, roquette, avocado, aioli, tomato on Turkish bread. Is your chef lifestyle more Anthony Bourdain or Pete Evans? Anthony Bourdain for sure!

Countries like France, England and Italy incorporate a service charge. However, in some parts of Italy (more rural areas for example) it’s frowned upon. In Iceland and Amsterdam, tipping’s not expected but you can round up to the nearest dollar as a gesture of appreciation.

THE MUSIC • 16TH APRIL 2014 • 49

the guide




Their earworm Geronimo bumps off the almighty Pharrell from the top spot, leaving the latter a couple of weeks shy of equalling the all time #1 single record.

NIRVANA Say what you like about the guest vocalists doing Nirvana songs at their Rock N’ Roll Hall Of Fame induction, man it was good to see Dave Grohl flailing behind the drum kit again, all hair and arms.

STEPHEN COLBERT Will replace David Letterman on The Late Show. Pretty big shoes to fill, but he could be just the right person for it.




The man behind half the songs on your summer soundtrack, James Reyne of Australian Crawl will play Lizottes Newcastle, Thursday; The Basement on Friday; Lizottes Dee Why on Saturday; and Lizottes Central Coast on Sunday.

With a drum machine, a Fender Rhodes and a pitch bender that just won’t quit, Donny Benet creates a sophisticated and sensual take on Italo Disco Funk. The moustachioed man himself heads to Easy Tiger this Thursday with Velociraptor.

Self-dubbed “Alien Babydoll Rapper” Simo Soo is currently working on his biggest album yet and will be boasting its contents on Wednesday at the Flinders with Sacred Flower Union, Baby.Face.Thrilla, Marky Vaw and b00bjob.




Alternative rockers Far Away Stables are back home and touring nationally after the success of their new EP Atlantis. Catch them at Factory Theatre on Saturday.

Cult pianist and gravely baritone Louis Tillett will take to the stage with bassist Ken Gormley and drummer Jeffrey Wegener for a rare night of underground, genre-bending tunes. Catch them at the Factory Floor on Thursday.

Aussie roots music legend Owen Campbell’s husky voice will ring out to crowds at Lizottes Central Coast on Wednesday; Old Manly Boatshed on Thursday; and at Deni Blues & Roots this Saturday.




After some minor setbacks, The Murlocs have finally gotten around to releasing their debut long-player, Loopholes. The soulful Melburnians are heading out on a three-date tour as a result, and will be stopping by the Factory Floor on Saturday.

Decade-spanning audiovisual DJ Hot Dub Time Machine has been selling out shows left, right and centre. If you’ve missed out on tickets for the Metro show on Saturday, you can still head to Academy at Canberra on Thursday.

Heavy indie-rock four-piece Maids are back on the road again off the back of the release of their new single. The Newcastle lads will be delivering some tasty licks this Friday at the Bald Faced Stag.




Drop a pin somewhere between rock and funk, and you’ll probably land on The Delta Riggs, a Melbourne four-piece who are taking their latest album on the road. They’re hitting up The Roller Den Wednesday.

Following the huge success and radio saturation of his new EP Feels So Good, producer Sable will bring his dizzyingly happy electronica tunes to crowds around the nation. His first Sydney stop is The Wall in King’s Cross on Wednesday.

Start your long weekend with a spot of time travel as Back To The ‘80s deliver their new and original show filled with the best songs of the ‘80s at Katoomba RSL this Saturday.



So now Tony Abbott looks like breaking another election promise and cutting funding to the ABC. At least he’s staying to form and cutting everything he said he wouldn’t before the election in his infamous “No cuts to education, no cuts to health, no change to pensions, no change to the GST and no cuts to the ABC or SBS” quote. So we just need the GST to rise and that’s the list.

INXS Deny Ball Park Music the top spot on the album charts. Wouldn’t be the first band to be knocked off the top spot by the revitalised rockers though.

STEPHEN COLBERT With Stephen Colbert departing to The Late Show, it means no more The Colbert Report, which makes us a sad panda.


the guide





Scrappy noise-rockers Straight Arrows are gearing up for the release of a new album. In preparation, the outfit are playing two special shows and it just so happens one of those is this Thursday at Standard Bowl.

Aussie DJ Mo’Funk has spent a lot of time partying in Ibiza, but this Thursday, he’s back in our hemisphere for Erykah Badu’s official Goodgod afterparty. Badu will be performing under her moniker DJ Lo Down Loretta Brown.

Swamp-surf-rock five-piece Doc Holliday Takes The Shotgun are playing a whole bunch of east coast shows in the lead up to their impending eight-track record. This Saturday, they’re playing at Yours And Owls.




Born from the intent of injecting old school New Orleans brass into radio-friendly pop music, The Soul Rebels have successfully found the middle ground between the old world and the new. This Wednesday, they head to The Basement.

Hunx & His Punx needed to make their tour just that little bit more monumental, so they’ve enlisted bubblegumpunk pair The Gooch Palms to do exactly that. Along with Shannon & The Clams, they hit Oxford Art Factory Saturday.

The folk behind Americana music blog Post To Wire have set up an afternoon show at the Petersham Bowling Club this Saturday. Country-tinged acoustic duo The Weeping Willows are heading up from Melbourne to headline.




It wasn’t all that long ago that prog-rockers Guards of May were making rounds after their last single release. Now, with a new single on their hands, they’re back on the road, hitting the Captain Cook Hotel on Thursday.

Local giants Bliss N Eso, Horrorshow and Seth Sentry are joining forces for massive show this Thursday, where truckloads of state-of-the-art production and staging equipment will be used at The Domain.

Fresh off some of the country’s largest stages and stadiums, Diva Demolition are back to launch their new single, It’s A Bit Strange. The quartet of rockers will be launching the single at the Lansdowne on Thursday.




It’s taken a couple of years, but between all the shows, writing and recording, local hip hop trio Decypher Us are at long last ready to release their debut album. They’re hitting up The Loft at UTS on Thursday and Valve Bar on Sunday.

This coming Tuesday, Ned Collette’s fifth album will have existed for exactly four days, so Collette is heading to the Midnight Special with his band Wirewalker to give the audience a little taste.

Instead of munching on chocolate this long weekend, how about slinging some dollars to see a bunch of awesome bands and help out a great little record store? This Friday, Deep Heat are leading the Blackwire Benefit at Red Rattler.


THIS WEEK’S RELEASES… ED KUEPPER The Return Of The Mail-Order Bridegroom Valve THE AFGHAN WHIGS Do To The Beast Sub Pop/Inertia THE MENZINGERS Rented World Epitaph/Warner TYCHO Awake Ghostly International/Inertia THE MUSIC • 16TH APRIL 2014 • 51

the guide


SINGLE FOCUS Should have the record out some time this August.

FOY VANCE Why are you coming to visit our fair country? I’m over mainly to play Bluesfest, but also to eat good and enjoy some live music.

What was inspiring you during the song’s writing and recording? Our trip to New York was a definite inspiration in this collection of songs. That urgent, urban feel pulses throughout. There were also a lot of enhancers on the trip which sparked creativity.

spending my spare time watching other artists at the festival.


What will you be taking home as a souvenir? Considering trying to bag a joey...

Single title? Supersonic Casualties

Is this your f irst visit? No, I kicked off my world tour last year in Australia. I fell in love with the place.

Where can we come say hi, and buy you an Aussie beer? Bluesfest (21 Apr, Byron Bay) and then one night in Sydney (23 Apr, Oxford Art Factory).

How long are you here for? I only get to stop there for a week this time. Wish I could stay longer.

Website link for more info?

What do you know about Australia, in ten words or less? It’s a landscape like no other! Good food and coffee!

Answered by: Michael Tramonte What’s the song about? It’s a psychedelic throwback to tripping out and wandering through the poppy fields. Circa 1600s. How long did it take to write/ record? It took about three hours to record; writing it came rather hastily too. It was one of those ones that just poured out like a Pimms on a hot day. Is this track from a forthcoming release/existing release? It’s the first single from our upcoming second album, Dipz Zebazios.

Any extra-curricular activities you hope to participate in? I’ll be


We’ll like this song if we like... Interesting tones and textures, coupled with infectious melodies. It’s a sonic amusement park. Do you play it differently live? Not really, we have honed in on the tones for our live show, recreating it best as possible. We record mostly live anyway so it isn’t too arduous to recreate. When and where is your launch/ next gig? About to go on tour over the last two weekends of April. Playing The Roller Den on 17 Apr which will be rad. And 24 Apr, Hotel Steyne. Website link for more info?


record buying members of the general public. (2009, Klempner & Wang)

NED COLLETTE & WIREWALKER Answered by: Ned Collette Album title? Networking In Purgatory Where did the title of your new album come from? Out of a distinct and persistent feeling that everyone is doing everything arse first. How many releases do you have now? Five albums. A few EPs. Some appendices. How long did it take to write/ record? Statistically this is the least interesting thing about an album, according to a survey of 20,000 52 • THE MUSIC • 16TH APRIL 2014

Was anything in particular inspiring you during the making? The almost certain knowledge that no one is looking. The getting of material wealth above all else. The getting of all information above all else. Spotify. One of the above. This answer is interactive. What’s your favourite song on it? The one with pretty guitar where I don’t sing: Helios. It means “The EU is a silly chop” in Greek. Will you do anything differently next time? Fuck, I certainly expect so. I’d probably do this interview differently if I had to do it again in five minutes. When and where is your launch/next gig? Midnight Special, 22 Apr. Website link for more info?

SABLE Answered by: John Dewhurst EP title? Feels So Good How many releases do you have now? Two label EP releases, a two-track conceptual release and a lot of edits and remixes. Was anything in particular inspiring you during the making? Most of the tracks were written with summer euphoria in mind. It was definitely written with summer fun times in mind. What’s your favourite song on it? Heights. We’ll like this EP if we like... Lindsay Lowend, Ganz, Cosmo’s Midnight, happiness,

bright lights, video games, Pokemon, fairy floss, Wave Racer, kissing people, dancing, love and/or being very kawaii. When and where is your launch/ next gig? 16 Apr, World Bar; 30 Apr, Beach Road Hotel. Website link for more info?

the guide


SINGLE FOCUS we are about to tour off. It will feature on our full-length album release due out later in the year titled Badnourmous.


What will you be taking home as a souvenir? An Australian man that looks like Thor.

THE SPINDRIFT SAGA Single title: Marvin

Is this your f irst visit? Yes it is... I’m very excited.

Where can we come say hi, and buy you an Aussie beer? 18 & 19 Apr, National Folk Festival, Exhibition Park; 24 Apr, Brighton Up Bar.

How long are you here for? 16 days.

Website link for more info?

How long did it take to write/ record? The nuts and bolts came together in a single rehearsal. Chris had already penned the lyrics, so it just took a little fleshing out in the rehearsal room. Two gigs later it was go-time.

Why are you coming to visit our fair country? I have come to play a few festivals and to also a few small shows!

What do you know about Australia, in ten words or less? Cool birds, awesome beaches, terrifying spiders, great music, beautiful people. Any extra-curricular activities you hope to participate in? I would really like to go to the zoo.

Answered by: Kazzy Kage How did you get together? My ex-bassist Seraph Black and I formed the band in 2008, and spent almost two years putting the band together. Sum up your musical sound in four words? Groove, metal, heavy, brutal. If you could support any band in the world – past or present – who would it be? One band? I cant pick one band! But Soil and or DevilDriver. You’re being sent into space, no iPod, you can bring one album – what would it be?

What’s the song about? It’s a little ditty inspired by our singer’s fox terrier who has a nasty habit of getting everyone in strife.

Is this track from a forthcoming release/existing release? Marvin is our current single which



Answered by: Danny Freeman

DevilDriver – The Fury Of Our Maker’s Hand.

JOANNE SHAW TAYLOR Why are you coming to visit our fair country? I’ll be performing a brief tour including Sydney and Bluesfest.

Why should people come and see your band? We are the party rockers; we make being in a live metal band fun!

Is this your f irst visit? This will actually be my fourth visit to Australia.

Website link for more info?

We’ll like this song if we like... RATM, RHCP, John Butler Trio. Do you play it differently live? We love opening up our songs live and exploring and improvising. However, Marvin is one of those tunes we just deliver straight-up. The structure is set firm on this one. When and where is your launch/ next gig? We are about to begin our tour of our new single Marvin. 19 Apr, The Small Ballroom, Newcastle. Website link for more info?


Greatest rock’n’roll moment of your career to date? Playing alongside Soilwork in Sydney.

When and where for your next gig? 12 Apr, Cambridge Hotel, Newcastle; 17 Apr, Valve @ Agincourt; 19 Apr, Dicey Riley’s Hotel, Wollongong.

What was inspiring you during the song’s writing and recording? I wanted my drum parts to let the main guitar riffs shine and focus on driving the track with lots of energy. I was really diggin’ the ‘rock’ meets ‘hoedown’ vibe.

How long are you here for? I’ll be here for a week in total. Too short for my liking! What do you know about Australia, in ten words or less? Beautiful, friendly, remote, multi-cultural, great music scene, Ramsay Street.

A little surfing would be nice; unfortunately I have a broken foot so I’ll have to wait until next year. What will you be taking home as a souvenir? I’ve already purchased all the token boomerangs and stuffed kangaroos for my nieces and nephews so just some good memories! Where can we come say hi, and buy you an Aussie beer? 17 Apr, The Basement; 20 & 21 Apr, Bluesfest, Byron Bay Website link for more info?

Any extra-curricular activities you hope to participate in? THE MUSIC • 16TH APRIL 2014 • 53

opinion OG FLAVAS






Wu-Tang Clan are making very exclusive music. There will be just one copy of their new double-album Once Upon A Time In Shaolin, which they’ll flog to some rich, Forbes-readin’ collector after a series of listening sessions globally. Ironically, in the ‘90s the Wu followed Master P’s No Limit Records by saturating the market with (iffy) music. But this latest ‘stunt’ is about restoring music’s status as an artistic commodity in the digital age. Happily, a wave of young MCs like Schoolboy Q (aka Quincey Hanley), touring Australia in June, are honouring hip hop’s old skool values and repping the streets, while exploring fresh musical angles. The LA gangsta is aligned with Top Dawg Entertainment alongside his Black Hippy cohort Kendrick Lamar. Hanley recently dropped his highlyanticipated major label debut, Oxymoron – a US charttopper. Oxymoron has spawned notable singles, including the shuffling, yet chiptuney Collard Greens and eerie Man Of The Year. The former college footballer reflects on his descent into gangbanging – and life as an OxyContin user/ dealer. Is Oxymoron redemptive? Hmmm. Despite Hanley’s muchvaunted gangsta rap redux, his default musical aesthetic is inherently East Coast – closer, in fact, to the Wu with their murky, occasionally buckled beats. Listen to The Alchemist’s subtly wonky, piano-looped RZA knock-off, Break The Bank. Aside from Top Dawg’s in-house producers, Hanley has also worked with Tyler, The Creator. Pharrell Williams handles Los Awesome – a nasty synth epic! @therealcyclone


54 • THE MUSIC • 16TH APRIL 2014

Blut Aus Nord, Deathspell Omega and of course Gojira but there are hundreds more. A quick browse through Season Of Mist’s catalogue reveals a vast majority of them but sadly they don’t get out our way much. The scene is thriving and I guess with hundreds of towns and dozens of cities to play within the country it’s bound to have a strong circuit, complete with festivals like Hellfest too. ROCK N EAT

Last week I was in Germany; this week’s column comes to you via Lyon in France and what an awesome place it is! If you’ve ever been to Paris, imagine Lyon as a smaller, cleaner, friendlier version and that’s what you get. I’ve been here for three days and I think I can comfortably say I’d move here given the opportunity. The old town, Vieux Lyon, is straight of out a medieval fairytale complete with awesome gothic and renaissance architecture, dark, hidden alleyways and more pubs in a hundred metres than Sydney has in a mile. The best thing about these pubs? They all rock! Literally. There are a whole heap of metal brethren here and the vibe, like Trier in Germany, is really cool. No wankers from the suburbs looking to vent their ‘roid rage’ on unsuspecting passers by, just a bunch of people having a drink and cranking the tunes. Kind of like Venom or the Agincourt but everywhere and all the time! The food is ridiculous and at the end of one alley I found a place called Rock N Eat, two things I like doing very much, hehe. It’s a Hard Rock Café without the clichés and with more Maiden and Motorhead posters. While I was there enjoying an awesome local cider and a kickarse burger, the metal cranking overhead, the barman and I were exchanging scene info and not surprisingly France has a very healthy one. There’s a heap of French bands you can roll off the top of your head like Alcest,

Next week I’ll be in London, definitely my favourite city in the world and will finally get a chance to check out the Crobar – the long established metal bar tucked away sort of near Leicester Square. It, like the Rock N Eat bar here in Lyon, is its own place. It’s not a regular pub or establishment during the week and a metal hangout on Friday nights, it’s the Crobar all the time. London has enough people in its inner city to be able to run a place like that full-time, I guess. I’ve had the idea several times of doing a combined rock store/ café/pub in Sydney and actually came very close to landing a great place on Pitt Street but the numbers just aren’t there to keep it going. We all live too far apart. I guess Frankie’s is the answer to that problem though! On the home front, last week Psycroptic announced a tour with Aborted for June with the Schoenberg Automation, which sounds insane. Let’s hope they give us a sample of some new stuff, and you know Aborted will just destroy everything in their path. A couple of local albums have been keeping me company on my travels. The new Teramaze album, Esoteric Symbolism, is outstanding and complements the new Vanishing Point album I’ve been listening to quite nicely. Also Principium, the new EP from Carbon Black, which consists of a number of ex-Nekrofeist guys, is getting a bit of airtime. It’s different to that – much more muscular thrash – and it’s great!

I hate those terrible bumper stickers bogans put on the back of their cars that say “Like It Or Leave It”. Like a lot of Australia’s population, one side of my family immigrated from Europe in the ‘50s and ‘60s and I find ignorant statements like that really offensive. But I think I’ve found one situation where this statement is applicable, at risk of sounding like a hypocrite. Particularly when it’s coming out of the mouth of a privileged American who has decided to relocate to Australia, Bert McCracken, lead singer of The Used. In a recent interview, McCracken said he would rather go to gaol than participate in Australia’s political system – he believes compulsory voting to be undemocratic, which I understand (to an extent) given the American political system. I like the idea of compulsory voting. I think it’s a way to make sure everyone can stand up and be counted, and everyone can have a say in our government. Sometimes it backfires (last election for example) but I also know a number of friends and acquaintances that didn’t vote then because they found it a futile activity. And look where that landed us… Compulsory voting stops (most) of us from being entirely apathetic about the political process. It makes us engage with issues and pay attention to what is going on around us. As a scene we constantly engage in talk about social issues like equal rights, and environmental issues. Maybe used up, over the hill emos should look back to their roots and re-engage with that.








In which, having sprouted a moustache and finally committed to watching a television show, on television, with some semblance of regularity, ‘the talk’ is examined.

It seems not that long ago I was making a bit of a song and dance about how the challenges facing young composers are oftentimes more numerous than those facing their similarly aged counterparts in what are more generally considered as ‘youthful’ musical ensembles – that is, well, the kind of band that can practice in a family garage, and the opportunities often significantly less numerous. It was with that in mind that I, almost sheepishly, shared with you news of the Test Of War young composers comp run by The National Film and Sound Archive of Australia, who have teamed up with the Australian National Maritime Museum (by the way, entries are still open until 16 May). To be honest, though, I was worried the gesture would prove tokenistic… Which is why I’m so excited to share with you news of another competition aimed at encouraging budding Australian composers (selfish of me, I know). The Sydney Opera House, the Australian Youth Orchestra and creative arts program Artology have joined forces to launch a competition for young people aged 12 to 21 called Fanare, a nationwide search for attention-grabbing 30-second pieces of music. Eight winners will work with the Australian Youth Orchestra, a leading conductor, and renowned Australian composer, Nicholas Vines, to prepare their composition. Once orchestrated, the works are recorded and will be played over the next year as the ‘bell cue’ for audiences to take their seats at the Sydney Opera House. Entries close 19 May and can be submitted here: youngandrestless@

At age 14, having been shaving then for a year (I should point out, this is not yet cool, but awkward, and the slightest bit embarrassing, bad teenage facial hair doesn’t get cred until a few years further down the track. Until then you dread swimming carnivals), I arrived home to find a book titled What’s Happening To My Body? placed prominently by the puberty fairy on my pillow. Its contents were as beige as the title suggests, and its delivery far from timely. To save my mother the awkwardness she had no doubt tried to save herself I returned it swiftly and somewhat curtly said, while placing it back in her hands, “You might, might, not be too late for Tim.” (My younger brother by two years.) Things didn’t get much simpler from there. My mother retained her somewhat regressive view of my development into adolescence, always convinced that I was close to fixed in early and innocent teen years; by contrast, my father seemed to give me too much credit, convinced I was too far advanced to require his insights. And so I developed through such purgatory. This isn’t a cry for help, far from it, just a way to provide a little anecdotal context that will help frame my next theory/ gushing appraisal of Puberty Blues. Beyond the spectacular vintage aesthetic and the warm embrace of tacky vernacular, what really impresses me about Puberty Blues is the space it creates for the kind of inter-generational and potentially awkward exchanges that were somewhat lacking in

my own life. Deftly managed and cut to move-you-to-theedge-of-your-seat, dual story arcs allow teenage and adult plot lines to concurrently address mirror issues – I’m currently awaiting some revelation for the adulteryaddled teen heart throb Garry, while equally invested in the crumbling marriage of Judy and Martin Vickers. I’m also keen as bloody mustard to don a tootight pastel shirt and buy Dan Wyllie’s Roger Knight a cheeky little froth monster at Como pub. In my mid-20s, and far from having anywhere near enough money to consider spawning an offspring at this point in time, it may seem a little Suddenly 30 of me to say I find myself slightly more aligned with the parenting story arcs than the hair-pulling melodramatic bitchiness of the high school narrative. I’m in between these two ages, but that hardly matters, because what Puberty Blues does so entertainingly is reveal how similar these stages of life – in their uncertainty and calamity and devastation and joy and politics and relationships – really are. I like to think in some parallel universe a parallel me-a-decadeyounger is watching Puberty Blues, enthralled and convinced by how thoroughly they’ve captured his existence in the show, and alongside him is a mother or father, guiltily transfixed by the drama of these on-screen parents and caught up in the nostalgia of their own younger days portrayed. And in this parallel universe, I like to imagine the enormous gulf that separates just about any confused teen from their parent is bridged for a couple of hours a week.



When people like us say that Lil B is “the best” we don’t actually mean he is the best at anything. We mean he’s lovely. It’s difficult to object to Lil B because he’s no threat to anyone. He’s polite, warm, kind and unstintingly optimistic. On the track he’s a bit of a mess; garbled delivery and a wonky, a-melodic flow. These traits don’t make for an intimidating figure. They make for a loveable loon, and how we love him. They also make for an easy target. Kevin Durant, a forward for NBA team Oklahoma City Thunder, couldn’t help himself. A little while ago he called Lil B wack and commenced a feud that led to the Based God cursing the Thunder. Durant’s insult wasn’t undeserved, but it was certainly unnecessary. Seeing a successful, wealthy sportsman throwing unnecessary insults at a so-bad-he’s-good Californian who has dedicated his career to giving away as much free music as possible feels like bullying. Pathetic stuff. Lil B’s response? Anything but. Rather than ignore Durant or write a diss track Lil B issued a challenge, “Meet me on the court.” It’s a ludicrous proposition. Durant dwarfs B in size and skill. But our hero has followed up his recent suggestion with a new video, Gotta Make The NBA, taken from a forthcoming tape, Hoop Life. The title is self-explanatory. The accompanying clip has footage of Lil B playing ball. Badly. It’s the sort of thing a bully might make a big deal about. It’s the sort of thing a Lil B fan might revel in. #based THE MUSIC • 16TH APRIL 2014 • 55

the guide Jess Kent: Coopers Hotel, Newtown


Black Diamond Hearts + Greg Agar: Crows Nest Hotel, Crows Nest Joe Echo: Dee Why Hotel, Dee Why Velociraptor + Donny Benet: Easy Tiger, Paddington KC & The Sunshine Band + WAR: Enmore Theatre, Enmore

FRENTE!: 30 & 31 MAY THE BASEMENT Jimmie Vaughan, Nikki Hill: 16 Apr Metro Theatre The Soul Rebels: 16 Apr The Basement Robben Ford: 16 Apr Lizottes Newcastle; 17 Factory Theatre Owen Campbell: 16 Apr, 4 May Lizottes Central Coast; 17 Apr Old Manly Boatshed; 2 May The Abbey Canberra; 3 Camelot Lounge; 4 Lizottes Newcastle; 11 Towradgi Beach Hotel Morcheeba, Chali 2na: 17 Apr Metro Theatre KC & The Sunshine Band, WAR: 17 Apr Enmore Theatre Bliss N Eso: 17 Apr The Domain 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 & 21 Apr The Basement Jake Bugg: 20 Apr Enmore Theatre Seun Kuti & Egypt 80: 20 Apr Metro Theatre Suzanne Vega, Seth Lakeman: 20 Apr Factory Theatre Devon Allman, Gregg Allman, Gov’t Mule: 21 Apr Enmore Theatre North Mississippi Allstars: 22 Apr The Basement Steve Earle & The Dukes, Kasey Chambers: 23 Apr Enmore Theatre KT Tunstall: 23 Apr Lizottes 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 Groovin The Moo: 26 Apr Maitland Showground; 27 University of Canberra

The Jezabels: 28 & 29 Apr Sydney Opera House Concert Hall Calling All Cars: 1 May Transit Bar Canberra; 2 The Small Ballroom Newcastle; 3 Oxford Art Factory; 4 Studio Six Sutherland The Decline: 3 May Valve Bar & Venue; 4 Belconnen Magpies Canberra; 5 Rad Bar Wollongong Arctic Monkeys: 6 May Sydney Entertainment Centre The Beards: 8 May Studio 6; 9 Tattersalls Hotel Penrith; 10 Collector Tavern; 5 Jun Mona Vale Hotel; 6 UniBar Wollongong; 7 The Abbey Canberra; 8 Captains At Mariners Batemans Bay; 11 Carrington Hotel Katoomba; 23 Jul Bar On The Hill Newcastle; 24 Entrance Leagues Bateau Bay; 25 Fitzroy Hotel Windsor; 26 Factory Theatre Claude Hay & The Gentle Enemies: 16 May O’Neill’s Pub Canberra; 17 Lewisham Hotel; 30 The Stag & Hunter Hotel Newcastle; 1 Jun Towradgi Beach Hotel Wollongong


WED 16

Hitseekers: 3 Wise Monkeys, Sydney

Alex Gibson + Nick Kingswell: 505, Surry Hills Youngbloods feat. Andrew Denniston + Guests: Avalon Beach RSL, Avalon Beach Musos Club Jam Night: Bald Faced Stag, Leichhardt Furnace & Fundamentals + Nicole Millar + Olympic Ayres (DJ Set): Beach Road Hotel, Bondi Beach One Foot In The Groove + Lizzy Cross + Dubious Company: Brass Monkey, Cronulla For Today + Prepared Like A Bride + Staunch + Heiress + Bite Back: Cambridge Hotel, Newcastle West Mitch Anderson & His Organic Orchestra: Coopers Hotel, Newtown Happy Hippies: Ettamogah Hotel, Kellyville Ridge Devendra Banhart + Yon Yonson: Factory Theatre, Marrickville Mingus Amongst Us: Foundry 616, Ultimo

Louis Tillet + Ken Gormley + Jeffrey Wegener + Terry Serios Half Truth: Factory Theatre (Factory Floor), Marrickville

Evie Dean: Summer Hill Hotel, Summer Hill

Kate Oakley: Figtree Hotel, Wollongong

The Soul Rebels: The Basement, Circular Quay

The Lazys: Fitzroy Hotel, Windsor

Simo Soo + Sacred Flower Union + Baby.Face.Thrilla + more: The Flinders Hotel, Surry Hills

Songs On Stage feat. Peach Montgomery + Simon Marrable + Guests: Forest Lodge Hotel, Forest Lodge

Happy Club with Elliot The Bull: The Small Ballroom, Newcastle

The Catholics: Foundry 616, Ultimo

Wideview + Radio Cairo + Neck Of The Woods: Valve @ Agincourt, Sydney

Craig Thommo: General Gordon Hotel, Sydenham

The Wall feat.Sable: World Bar, Kings Cross

THU 17

The Vampires + The World According To James: 505, Surry Hills

Hot Dub Time Machine: Academy, Canberra Panorama Duo: Albion Hotel, Parramatta

Lunch Break @ FBi Social with The Delta Riggs: Kings Cross Hotel (1pm), Kings Cross

Chasm Sound System + Ozi Batla + Skryptcha + Monchichi: Beach Road Hotel, Bondi Beach

Songs On Stage feat. Stuart Jammin + Guests: Leichhardt Bowling Club, Leichhardt

Luke O’Shea + Kim McKenzie + Aleyce Simmonds: Brass Monkey, Cronulla

Owen Campbell: Lizottes Central Coast, Kincumber

Am 2 Pm: Brighton RSL, Brighton-Le-Sands

Kingswood: 30 May The Hi-Fi

Jeff Martin + Sarah McLeod: Lizottes Sydney, Dee Why

Hard-Ons: 5 Jun The Small Ballroom Newastle; 6 Tattersalls Hotel Penrith; 7 Manning Bar

Andy Mammers Duo: Maloneys Hotel, Sydney

Eleanor Dunlop + New Brutalists + Nic Cassey: Brighton Up Bar, Darlinghurst

Frente!: 30 & 31 May The Basement DZ Deathrays: 30 May Rad Bar, Wollongong; 31 Oxford Art Factory

The Audreys: 7 Jun Lizotte’s Newcastle; 8 Factory Theatre In Hearts Wake: 11 Jun Zierholz @ UC Canberra; 12 The Small Ballroom Newcastle; 13, 14 Bald Faced Stag Jeff Lang: 12 Jun Brass Monkey; 14 Heritage Hotel Bulli; 25 Lizottes Central Coast; 26 Lizottes Dee Why; 27 The Basement; 28 Camelot Lounge; 29 Lizottes Newcastle; 19 Jul Street Theatre Canberra Something For Kate: 12 Jul Enmore Theatre The White Album Concert: 18 & 19 Jul Sydney Opera House

Nova & The Experience: Marble Bar, Sydney I Love Salsa + Various DJs: Marquee, Pyrmont Jimmie Vaughan + Nikki Hill: Metro Theatre, Sydney Open Mic Night with Alex Hopkins: Northies (Old Joe’s), Cronulla Carl Fidler: Observer Hotel, The Rocks Mark Travers: Orient Hotel, Sydney Matt Jones Trio: Rock Lily, Pyrmont Songs On Stage feat. Peach Montgomery + Simon Marrable + Guests: Sackville Hotel, Rozelle

Californication - Red Hot Chili Peppers Show: Bull & Bush, Baulkham Hills Django Reinhardt Tribute with Daniel Weltlinger: Camelot Lounge, Marrickville Guards Of May + The Hungry Mile + Bell Weather Department: Captain Cook Hotel, Paddington Musos Club Jam Night: Carousel Inn, Rooty Hill Delta Heavy + Kyphosis + Linken + Various DJs: Chinese Laundry, Sydney Barnt: Club 77, Darlinghurst Ian Blakeney: Club Belmore, Belmore Luke Dixon Duo: Coogee Bay Hotel, Coogee


Benn Gunn: Fortune of War Hotel, The Rocks

Coronet Blue + Peter Northcote: The Vanguard, Newtown

Starfuckers + Smokin Joe Mekhael + more: Australian Hotel & Brewery (The Cool Room Nightclub), Rouse Hill

Vivid LIVE: 23 May – 1 Jun Sydney Opera House

Robben Ford + Matthew Curry: Factory Theatre, Marrickville

Jam Night with Gang Of Brothers: Spring Street Social (Downstairs Bar), Bondi Junction

Sam & Jamie Band: Hillside Hotel, Castle Hill

Free Your Mind ft Northlane: 23 May, Metro Theatre; 24, Cambridge Hotel, Newcastle; 25, Zierholz, Canberra

National Folk Festival: Exhibition Park, Mitchell

Erykah Badu After Party with DJ Lo Down Loretta Brown (Erykah Badu) + more: Goodgod Small Club (Danceteria), Sydney Duncan Kamakana: Great Northern Hotel, Newcastle Dead Maggies + The Australian Beef Week Show + Spencer Scott + Andrew Richmond: Hamilton Station Hotel, Hamilton Songs On Stage feat. Andrew Denniston + Wash + Guests: Hampshire Hotel, Camperdown David Agius: Harbord Beach Hotel, Freshwater Gay Paris + The Desert Sea: Hotel Steyne (Moonshine Cider & Rum Bar), Manly Jam Night: Howlin’ Wolf Bar, Wollongong FBi Social / The Laugh Stand: Easter Comedy Party!: Kings Cross Hotel, Kings Cross Zoltan & Paul: Kirribilli Hotel, Milsons Point Hue Williams: Lane Cove Club, Lane Cove Diva Demolition: Lansdowne Hotel, Chippendale James Fox Higgins Trio: Le Pub, Balmain Matt Ross: Lewisham Hotel, Lewisham Mark Wilkinson + Annabelle Kay: Lizottes Central Coast, Kincumber James Reyne: Lizottes Newcastle, New Lambton Bakoomba: Lizottes Sydney, Dee Why Larger Than Lions: Marble Bar, Sydney Klay: Mercantile Hotel, The Rocks Morcheeba + Chali 2na + The House of Vibe: Metro Theatre, Sydney

THE MUSIC • 16TH APRIL 2014 • 57

the guide Tim Pringle: Nagshead Hotel, Glebe

Elliot The Bull: Tattersalls Hotel, Penrith

Michael McGlynn: New Brighton Hotel, Manly

Joanne Shaw Taylor + The Morrisons: The Basement, Circular Quay

The Business: Newport Arms Hotel, Newport

Guards Of May + The Hungry Mile + more: Great Northern Hotel, Newcastle Hands Up! + Various DJs: Kings Cross Hotel, Kings Cross

When Giants Sleep + Emecia: The Clubhouse, Canberra

The Owls: Lass O’Gowrie, Wickham

Alex Hopkins: Northies (Sports Bar), Cronulla

Bliss N Eso + Horrorshow + Seth Sentry + Ceekay Jones: The Domain, Sydney

Wiseman’s Circus: LazyBones Lounge, Marrickville

Owen Campbell: Old Manly Boatshed, Manly

Steve Smyth: The Forresters, Surry Hills

Watsup: Orient Hotel, Sydney

Flying Circus with Audiofly + Tiefschwarz + Alex Niggemann: The Hi-Fi, Moore Park

Dialectrix + Loose Change: Newtown Hotel, Newtown

Rustie: Oxford Art Factory, Darlinghurst Dark Horses + The Asthmatix: Oxford Art Factory (Gallery Bar), Darlinghurst

Mark Wilkinson + Annabelle Kay: Lizottes Newcastle, New Lambton


Decypher Us + 316 + more: The Loft, UTS, Broadway Kreator + Death Angel + Special Guests: Manning Bar, Camperdown

Original Sin - INXS Show: Pittwater RSL, Mona Vale

Straight Arrows + Roamin Catholics + Yo Grito DJs: The Standard Bowl, Surry Hills

Brown Sugar: Marble Bar, Sydney

Bede Kennedy: PJ Gallaghers, Moore Park

Erykah Badu + Hiatus Kaiyote: The Star Event Centre, Pyrmont

The Kamis: Revesby Workers (Infinity Lounge), Revesby

Natalie Magee + Sarah Bird + Leura + Dominic Youdan + Taelor Jane + Dave Favours: The Vanguard, Newtown

Trivia: Riverwood Inn, Riverwood Bluejuice + Pluto Jonze + DJ Kitsch 78: Rock Lily, Pyrmont Songs On Stage feat. Angelene Harris + Massimo Presti + Guests: Ruby L’Otel, Rozelle We Come Out At Night feat. For Today + Prepared Like A Bride + The Ocean The Sky + more: Spectrum, Darlinghurst Big Steel: Tahmoor Inn, Tahmoor

Thirsty Merc + Special Guests: Towradgi Beach Hotel (Waves), Towradgi Bluesfest: Tyagarah Tea Tree Farm, Tyagarah Super Heroes & Villains Party: Uni Bar, Wollongong

Boombox Fridays: Marquee, Pyrmont Deep Heat + White Walls + Spite House + Making + Bare Grillz + Oily Boys + more: Red Rattler, Marrickville

Nadya & the 101 Candles Orkestra: Camelot Lounge, Marrickville

Big Radio Dynamite: Revesby Workers (Infinity Lounge), Revesby Greg Byrne Duo + Black Diamond Hearts: Rock Lily, Pyrmont Muddy Feet: Seven Hills/ Toongabbie RSL, Seven Hills Holidays On Ice: Smiths Alternative Bookshop, Canberra

Nova & The Experience + Tully On Tully + DJ Kristy Lee: Upstairs Beresford, Surry Hills

Am 2 Pm: Sutherland United Services Club, Sutherland

The Slow Death + Laura Palmer + Chinese Burns Unit + more: Valve @ Agincourt (Level One / 9pm), Sydney The Firetree: Vic On The Park, Marrickville

FRI 18

Jamie Lindsay: Adria Bar & Restaurant, Sydney Maids: Bald Faced Stag, Leichhardt Feel Good Fridays with Reigan Derry + Hannah Gibbs: Bar 100, The Rocks Dean Kyrwood: Bar Petite, Newcastle Party Central: Club Marconi, Bossley Park JJ Duo: Club Windang, Windang Hooper & O’Toole Irish Band: Dicey Riley’s Hotel, Wollongong National Folk Festival: Exhibition Park, Mitchell The Scoundrels + Sound of Koko: Howlin’ Wolf Bar, Wollongong DJ S: Huskisson Hotel, Huskisson

White Walls + Deep Heat + Spite House + Thorax + Glory Hole + Lenin Lennon + more: Black Wire Records, Annandale Hotel California - A Tribute To The Eagles + Special Guests: Brass Monkey, Cronulla

Just Mischiefs Duo: Unwined Bar, Lane Cove

8 Foot Sativa + Tensions Arise + NASJAP + To the Grave + Foundry Road: Valve @ Agincourt (Basement / 8pm), Sydney

Cheat Day: Marble Bar, Sydney Hook N Sling: Marquee, Pyrmont

The Delta Riggs + Jenny Broke the Window: The Roller Den, Erskinville

Get The Party Started - Pink Show: Pioneer Tavern, Kingswood

James Reyne: Lizottes Sydney, Dee Why

James Reyne: The Basement, Circular Quay Diva Fever with Deborah Cox + DJ AnVi + Dan Murphy + more: The Hi-Fi, Moore Park

Inga Liljestrom: Camelot Lounge (Django Bar), Marrickville Dead Maggies + Lime & Steel: Carrington Hotel (Old City Bank Bar), Katoomba Far Too Loud + Kid Kenobi + DJ Just 1 + Fingers + Various DJs: Chinese Laundry, Sydney Bliss N Eso + Horrorshow + Seth Sentry + Ceekay Jones: Coffs Harbour Showgrounds, Coffs Harbour Glenn Esmond: Coogee Bay Hotel, Coogee The Continental Blues Party: Coogee Diggers, Coogee Short & Horny: Corrimal Hotel (Lounge Bar / 3.30pm), Corrimal

Ben Finn Trio + Melody Rhymes: Mean Fiddler Hotel (Courtyard), Rouse Hill The Lonely Boys: Mercantile Hotel, The Rocks For Today + Prepared Like A Bride + Elegist + Bare Bones + Spectrum: Metro Theatre (The Lair / All Ages / 4.45pm), Sydney Hot Dub Time Machine + Furnace & Fundamentals: Metro Theatre, Sydney Looking Through A Glass Onion with John Waters: Milton Theatre, Milton Endless Summer + Jimmy Bear: Orient Hotel (4.30pm), Sydney Hunx & His Punx + Shannon & The Clams + The Gooch Palms + Nuclear Family: Oxford Art Factory, Darlinghurst Maatzi + Simo Soo: Oxford Art Factory (Gallery Bar), Darlinghurst The Weeping Willows + Caitlin Harnett + Katie Brianna: Petersham Bowling Club, Petersham Cavan Te & The Fuss: Rock Lily, Pyrmont

Pacha feat.Cedric Gervais + Ember + John Glover + Matt Nugent + Chris Fraser + more: The Ivy, Sydney

Lakoda Burn: Corrimal Hotel (Lounge Bar), Corrimal

Green Manalishi + Young Fellas: Town & Country Hotel, St Peters

Cath & Him: Crown Hotel, Sydney

Bodyjar + Rude Rahlis + Crash Tragic + Lower Coast Skies + Under The Influence: Towradgi Beach Hotel (Waves), Towradgi

The Shrooms + Andy Mammers: Crows Nest Hotel, Crows Nest

For Today + Prepared Like A Bride + Hourglass + more: Towradgi Surf Life Saving Club (All Ages), Towradgi

8 Foot Sativa + Tensions Arise + Metreya + The Dirty Headbangers + Calibur: Dicey Riley’s Hotel, Wollongong

Bluesfest: Tyagarah Tea Tree Farm, Tyagarah

Wildcatz: Eastern Suburbs Legion Club, Waverley

Bayou + Animistic + Swamp Harlot + Burial Chamber + The Archaic Revival: Valve @ Agincourt (Basement / 5pm), Sydney

The Wailers + Sly & Robbie + TAXI Gang: Enmore Theatre, Enmore

Montagu + The Spindrift Saga + Suburban Sleepers + Sean Degan + Gareth Jay: The Small Ballroom, Newcastle

Elliot The Bull: Entrance Leagues, Bateau Bay

Drew McAlister: Time & Tide Hotel, Dee Why

Klay Duo: Waverley Bowling & Recreation Club, Waverley

Jess Dunbar: Ettamogah Hotel, Kellyville Ridge

Paul Hayward + Friends: Town & Country Hotel (4pm), St Peters

Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville

National Folk Festival: Exhibition Park, Mitchell

Bluesfest: Tyagarah Tea Tree Farm, Tyagarah

The Almost + Young Lions + Drawing North + Far Away Stables + more: Factory Theatre, Marrickville

The Widowbirds + I Know Leopard + Kristy Lee: Upstairs Beresford, Surry Hills

Gerard Masters: Woolloomooloo Bay Hotel, Woolloomooloo

SAT 19

Armchair Travellers Duo: Courthouse Hotel, Darlinghurst

Deni Blues & Roots Festival: Deniliquin

Pat O’Grady: Kareela Golf & Social Club, Kareela

Crocq: Bar Petite, Newcastle

The Murlocs + Spirit Valley + The Friendsters: Factory Theatre (Factory Floor), Marrickville

D’Ban Jac: Kiama Leagues Club, Kiama

Safia + Thief + ISLND + Leaks: Beach Road Hotel, Bondi Beach

The Date Brothers: Foundry 616, Ultimo

The Lazys: Lansdowne Hotel, Chippendale

Mick Boogaard: Beauford Hotel, Mayfield

Horenco: Grand Hotel, Newcastle

Buddy Guy + Charlie Musselwhite: Sydney Opera House, Sydney The Lazys + A Girls A Gun + Calling Mayday + Stacy Gacy: Tattersalls Hotel, Penrith Trixie Whitley: The Basement, Circular Quay Diva Fever with Deborah Cox + Sean Manley + DJ AnVi + Dan Murphy: The Hi-Fi, Moore Park Mirella’s Inferno + Xan Muller + Clulow Forester + No Illuminati: The Newsagency, Marrickville

Shackles + Unknown to God + The Fuck Outs + Hurt Unit + more: Valve @ Agincourt (Basement / 7pm), Sydney Corrosion: Valve @ Agincourt (Level One / 9pm), Sydney

SUN 20



Rooftop Garden, Cocktail Bar & Bistro ŭ/FXUPXOŦTCFTULFQUTFDSFUŭ






Thursday 24th April



Groove Depot featuring: Pat Powell



Thursday 1st May

Thursday 17th April

Thursday 8th May

jess kent


Kristie Nicolas & Daniel March

Dave Weirs


‘Weird Assembly’ Sundays





$15 JUGS



All Day






























Downstairs in the Lounge Bar 9pm - Free Entry






Downstairs in the Lounge Bar 9pm - Free Entry




Downstairs in the Lounge Bar 9pm - Free Entry PH 02 4284 4086ROB@PUB.COM.AU

THE MUSIC • 16TH APRIL 2014 • 59

the guide Weekend Detention: Bald Faced Stag (Front Bar), Leichhardt

Tom Trelawny: Waverley Bowling & Recreation Club, Waverley

Jason Bone: Bar Petite, Newcastle

Raoul Graf: Western Suburbs Leagues Club, Leumeah

Tribute to Kristen McCall withThe Dunhill Blues + Deadwood 76: Botany View Hotel (6pm), Newtown

Tori Darke: Woolloomooloo Bay Hotel, Woolloomooloo Hunx & His Punx + Shannon & The Clams + The Gooch Palms + The Nuclear Family + Pinheads: Yours & Owls, Wollongong

King Tide: Brass Monkey, Cronulla Deni Blues & Roots Festival: Deniliquin

MON 21

Jake Bugg + The Creases + The Growl: Enmore Theatre, Enmore National Folk Festival: Exhibition Park, Mitchell Suzanne Vega + Seth Lakeman: Factory Theatre, Marrickville Black Party Reborn feat. Ramshackle + Edenfall + Consequential Karma + more: Factory Theatre (Factory Floor), Marrickville


The Road Runners: Marrickville Bowling Club (4.30pm), Marrickville

The Jerusalem Project: Sydney Opera House ( Joan Sutherland Theatre), Sydney

Irish Hooley: Mean Fiddler Hotel (Courtyard), Rouse Hill

Larry Graham & Graham Central Station: The Basement, Circular Quay

Sabbath Sessions feat. Mikelangelo + Mad Charlie + The Lazys: Frankie’s Pizza By The Slice, Sydney

Seun Kuti & Egypt 80: Metro Theatre, Sydney

SPICE Afloat Audiofly + Chateau Flight + Michelle Owen + Murat Kilic + more: Harbour Cruise, Sydney Harbour

Looking Through A Glass Onion with John Waters: Milton Theatre, Milton

Hue Williams: Harbour View Hotel, The Rocks David Campbell: Hayes Theatre, Potts Point Ricky Lynch + Holly: Kiama Leagues Club, Kiama James Reyne: Lizottes Central Coast, Kincumber

60 • THE MUSIC • 16TH APRIL 2014

Heath Burdell: Mill Hill Hotel, Bondi Junction

Rob Henry + Three Wise Men: Observer Hotel, The Rocks Mysterons + Two Screws Loose + tALL STORy + Blind Willie + more: Petersham Bowling Club (3pm), Petersham Check Your Head feat. Samantha Jade + Suite Az + DJ Kitsch 78: Rock Lily, Pyrmont

The Almost + Young Lions + Drawing North + You In Colour + Dear Infamous + Dress To Riot: The Small Ballroom, Newcastle

Gregg Allman + Gov’t Mule + Devon Allman: Enmore Theatre, Enmore

Larry Graham & Graham Central Station: The Basement, Circular Quay Bluesfest: Tyagarah Tea Tree Farm, Tyagarah

TUE 22

Underground Tuesdays feat. Declan Kelly + Kirrakamere + more: Bar 34 (Downstairs Bar), Bondi Beach Synergy Percussion: Carriage Works, Eveleigh Kevin Bridges: Enmore Theatre, Enmore

National Folk Festival: Exhibition Park, Mitchell

Black Tulip + Andy Gander Trio: Foundry 616, Ultimo

Frankie’s World Famous House Band: Frankie’s Pizza By The Slice, Sydney

Justice Crew + Jai Waetford: Hordern Pavilion, Moore Park

Songs On Stage feat. Stuart Jammin + Massimo Presti + Rick Taylor: Kellys on King, Newtown Sonic Mayhem Orchestra: LazyBones Lounge, Marrickville Joe Echo Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill

Bluesfest: Tyagarah Tea Tree Farm, Tyagarah

Steve Tonge + Cambo: Observer Hotel, The Rocks

Guilty Party: Union Hotel (4pm), Newtown

Oliver Goss: Orient Hotel (2pm), Sydney

4/20: Valve @ Agincourt (Basement / 6pm), Sydney

Matt Price Duo: Rock Lily, Pyrmont

Bane Of Bedlam + Killrazer + In Cyde + Drillsaw + Dionysis: Valve @ Agincourt (Level One / 6pm), Sydney

Jeff Beck + Beth Hart: Sydney Opera House, Sydney Big Swing Band: Tattersalls Hotel, Penrith

Rand & Holland + The Singing Skies + Wirewalker: Midnight Special, Enmore Rob Henry: Observer Hotel, The Rocks Pete Hunt: Orient Hotel, Sydney Hugh Laurie & The Copper Bottom Band: Royal Theatre, Canberra Greg Agar: Scruffy Murphy’s, Sydney Kinetic Jazz Festival: St Luke’s Church & Hall (7.30pm), Enmore Julian Clary: State Theatre, Sydney North Mississippi Allstars: The Basement, Circular Quay

THE MUSIC • 16TH APRIL 2014 • 61




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62 • THE MUSIC • 16TH APRIL 2014


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THE MUSIC • 16TH APRIL 2014 • 63

2 • THE MUSIC • 16TH APRIL 2014

The Music (Sydney) Issue #34  
The Music (Sydney) Issue #34  

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