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FRI 4th July

fri 1st august

the angels

The Eurogliders


+ Special Guests

Sat 12th July

Fri 8th August

Dan Sultan

The Big Laugh Comedy Show

+ Stonefield +Way of the eagle (DJ Set)

+ Tahir + Mick Meredith + Jason Ryde

SAT 19th July

The Villains + Kissteria + Invisible Sun (Aust. Police Show)


SAT 9th August

Taylor Henderson (X Factor) 170 Pioneer Road, Towradgi 2518 | 02 42833 588 6 • THE MUSIC • 25TH JUNE 2014

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themusic 25TH JUNE 2014






Story Of The Year Joan As Police Woman The Amity Affliction Two Faces Of January Lily Allen


Phantogram Graveyard Train Ben Lee Food The Effect

REVIEWS Album: Every Time I Die

Live: The Bohicas


Arts: The Last Impresario ...and more

THE GUIDE Cover: The Magic Hour


Eat/drink Indie News Opinion Gig Guide




review 8 • THE MUSIC • 25TH JUNE 2014


@ Agincourt 871 George street, Sydney City, TUE JUNE









TRIVA NIGHT Front Bar 7:30pm


+ Rockin’ Weekly Blues Jam Front Bar 8pm


THE WORLD IN CINEMATIC + Maybe I’ll Live Forever + Antonamasia + Pulse Mavens 8pm



+ Confession + Devine Electric + Black Aces + Release The Hounds 8pm




4pm [Front Bar]









PRE $15 $15 DOOR

PRE $15 $15 DOOR






















COMING UP Wed 2 July: City Slickers Band Competition ; Thu 2rd July: Rock Show with “Broken Hands” and many more; Fri 4 July: Basement 8pm: Punk Rock Show with “Laura Palmer” and many more ; Level One 9pm: Elements Of Tech And Bass feat: DJ’s Thierry D, Severity Zero, 8 Diagram, Sakura, Polar, Del hosted by Diversify MC ; Sat 5 July: 7pm Basement: Punk/SKA Show with “Chaz H Scally” , “Culture Of Ignorance” , “Luke Rockets” , “Vex Machina” , “Everything I Own Is Broken” , “Batfoot!” ; Level One 8pm: “Loose Units” Alternative Monthly clubnight; Sun 6 July: 3pm: Art Rock Show with “Feick’s Device” and many more

For band bookings please email

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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

ADVERTISING DEPT James Seeney, Andrew Lilley



In probably the biggest moment in FBi history, the radio station is launching sister station FBi Click, which will be playing dance music all day, every day. Celebrate with FBi, who are throwing a massive launch party at 1pm today. Listeners will hear sets from Zed Bias, Anna Lunoe and Tasker, and the people behind the new programs will tease audiences with what’s to come. Hint: A live Sydney set from two smoking French DJs.


If you’d like to see a theatre production, but aren’t into elaborate animal costumes, rejoice. When the real world hits two 30-something couples who are ready to start having children, hilarity ensues, in the new show Every Second by Vanessa Bates, one of Australia’s most incisive playwrights. The issues of ageing, fertility and legacy are all tackled with a sharp wit and grace. Previews start Friday and the season runs from 2 – 27 Jul.

ART DIRECTOR Brendon Wellwood

ART DEPT David Di Cristoforo, Eamon Stewart, Julian De Bono

ADMIN & ACCOUNTS Loretta Zoppos, Niall McCabe, 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


Like us, you probably don’t mind when music is so well-made it seeps into your brain, changing its makeup and walking you through new stages of consciousness. That’s exactly what guest curator Gail Priest is aiming for with his Rapture/Rupture exhibit at ArtBar Friday. Sonic Social artist Song-Ming Ang also encourages you to air your guiltiest musical pleasures in a BYO iPod, tell-all event. Whether you bring George Michael, Billy Ray Cyrus or Rebecca Black, nothing will be judged.


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national news DMA’S



After delivering year after year, we don’t expect anything less than amazing from BIGSOUND Live, but we still can’t help but be shocked by the epic list of acts the industry conference has roped in for the 2014 instalment, happening throughout the Fortitude Valley Entertainment Precinct, 10 & 11 Sep. The varied bill has a little bit of everything, with highlights including Blank Realm, D.D Dumbo, Lanks, DMA’s, Gold Fields, L-FRESH The LION, Kingswood, Luca Brasi, Major Leagues, REMI, The Bennies, Thelma Plum, Bad// Dreems, Sydonia and Yeo. We can assure you, however, that this is just the tip of the iceberg. Get the full line-up at – with the event proudly presented by The Music.


Supported by a small ensemble of musicians, Nick Cave will tour Australia late this year, performing a rare series of solo concerts with tracks selected from across his formidable catalogue. Settle in with one of Australia’s most notorious frontmen when the 56-yearold Prince of Darkness plays 27 & 28 Nov, Fremantle Arts Centre; 3 Dec, Brisbane Convention & Exhibition Centre; 4 Dec, Gold Coast Convention & Exhibition Centre; 11 & 12 Dec, State Theatre, Sydney; and 16 Dec, The Plenary, Melbourne


Long recognised as one of the most technically accomplished guitar players on the planet, Joe Satriani will be taking us to school when he brings his mammoth world tour to our shores. Unstoppable Momentum is the title of Satriani’s latest full-length and, really, you couldn’t sum up the bald professor’s career any better. He plays 4 Nov, The Tivoli, Brisbane; 6 Nov, State Theatre, Sydney; 8 Nov, Palais Theatre, Melbourne; and 11 Nov, Astor Theatre, Perth.


I Killed The Prom Queen, The Ghost Inside, In Hearts Wake, Bury Tomorrow and Hellions – does a bill come much bigger than that? The heavy hitters will unite for the Rise Of Brotality tour, which will rumble through Belconnen Magpies, Canberra, 5 Sep*; Cambridge Hotel, Newcastle, 7 Sep; Byron YAC, 9 Sep*; Arena, Brisbane, 12 Sep; UNSW Roundhouse, Sydney, 14 Sep*; 170 Russell, Melbourne, 19 Sep; Phoenix Youth Centre, Melbourne, 20 Sep*; and Capitol, Perth, 28 Sep (*all ages), but will also hit a load of other venues too. Find the closest gig to you on


For the first time in two decades, Pop Will Eat Itself will touch down on Australian shores, the current line-up featuring original member Graham Crabb, legendary vocalist Mary Byker and powerhouse tub thumper Jason Bowld (Killing Joke). They play 31 Aug, Rosemount Hotel, Perth; 5 Sep, The Zoo, Brisbane; 6 Sep, Manning Bar, Sydney; 7 Sep, The Hi-Fi, Melbourne.



If you’re looking at a Top End holiday, then you might as well tie it in with Darwin Festival, with more than 100 events happening over 18 days, 7 – 24 Aug. International and Aussie music acts include Soweto Gospel Choir, Marlon Williams, Adalita, Seekae and Bobby Alu, while there’s also theatre, comedy, art, cabaret, dance, food, culture and so much more.


The lethal Game Of Thrones season finale has many gagging for season five and, though the world’s most watched television series isn’t back until 2015, all the wonder and intricate details of the seven kingdoms comes to Sydney. If you haven’t seen enough twincest, amputated hands or dead Starks, Game Of Thrones: The Exhibition takes place at the Museum Of Contemporary Art, 1 – 5 Jul, celebrating the release of season four on Google Play.


Once again, Listen Out has served up a bill that completely captures the dancefloor sounds of now, with the 2014 line-up simply huge. Try this on for size: Flume (in his only 2014 Australian shows), Chet Faker, Zhu, Schoolboy Q, Four Tet, YG, Ta-Ku, Totally Enormous Extinct Dinosaurs (DJ set), Shlohmo, Bondax, Yahtzel (DJ set), Young Fathers, Golden Features, Tkay Maidza and more. Get amongst it 27 Sep, Centennial Park, Sydney; 28 Sep, Ozone Reserve, Perth; 4 Oct, Observatory Precinct, Royal Botanic Gardens, Melbourne; and 5 Oct, Brisbane Showgrounds.

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local news YOU ME AT SIX



Cheer up, emo kids, because You Me At Six and Tonight Alive are joining forces to tour Australia this September. See the UK and Aus pals tear up the stage at an all ages show at UNSW Roundhouse on 6 Sep.


New Breed, a partnership between Sydney Dance Company and Carriageworks, gives five up-and-coming choreographers – Charmene Yap, Lee Serle, Gabrielle Nankivell, Cass Mortimer Eipper and Juliette Barton – a chance to work with Australia’s best dancers. The finished works will be showcased from 5 Nov.


Boyce Avenue are a YouTube boy band with the skills to back it up and will be showcasing those in September. The Brothers Manzano play a mix of covers and originals at the Enmore Theatre, 6 Sep.


Former winner of Toyota Starmaker Quest Lyn Bowtell is back with her second solo album Heart Of Sorrow. The multi-instrumentalist performs at Lizottes Newcastle on 10 Jul and Lizottes Central Coast, 11 Jul before she heads to the Gympie Muster.


Melbourne’s Red Ink return to Australia after thrilling the UK and Germany with their indie-pop tunes. Having reached upwards of 250,000 YouTube views with no funding and no label the boys are back with a new self-titled album, Red Ink are back in the harbour city 19 Jul, at Upstairs Beresford.



UK post-rock band Maybeshewill have announced they will tour Australia for the first time this September. The Leicester-formed outfit will be showing off songs from their fourth album Fair Youth, due out this August. Rock out 29 Sep, Newtown Social Club.

Hear UK band Conan’s apocalyptic and suffocating brand of doom metal in the flesh when they tour Australia for the first time off the back off second album Blood Eagle. They play at Hermanns Bar, 7 Sep (following a TBA day show in Sydney) and The Basement, Canberra, 9 Sep.



Having recently signed to New World Artists, King Parrot are ready to head on an Australian east coast tour. The thrash outfit have a new drummer in Todd Hansen to debut at the shows; see ‘em at ANU Bar, Canberra, 17 Jul; Tattersalls Hotel, 18 Jul; and Corrimal Hotel, Wollongong, 19 Jul.



Two Days, One Night, the story of a factory worker (Marion Cotillard) fighting to keep her job over a weekend, has taken out the top prize at the Sydney Film Festival. Janine Hosking’s 35 Letters won Best Australian Documentary whilst Best Animation went to Alex Grigg for Phantom Limb and Eddy Bell won Best Director for Grey Bull. The Foxtel Movies Audience Award for Best Narrative Feature went to Nuri Bilge Ceylan’s Winter Sleep, while the award for Best Documentary went to Love Marriage In Kabul by Amin Palangi.


To celebrate newly released single I’m Not Coming Back, Husky are setting out on a capital city headline tour. Fans can hear them perform songs from their debut album Forever So, as well as new material, at Newtown Social Club, 31 Jul.


In celebration of Shakespeare’s 450th birthday, the Ensemble Theatre will present encore performances of Richard III from 22 – 26 Jul at Riverside Theatre.

local news DEVILDRIVER



Sticky Fingers’ new album, Land Of Pleasure, landing 1 Aug, is sure to instigate some rock’n’roll rave parties. Catch the lads when they launch the record 4 Sep, Transit Bar, Canberra and 26 & 27 Sep, Metro Theatre.


Newtown Festival is on the hunt for the best established and up-and-coming acts to fill its line-up, including nands and solo artists of any genre, performers and roving performers. Apply at by 31 Jul. The Festival will be held on 9 Nov at in Camperdown Memorial Rest Park.


Head to Henson Park in Marrickville on 14 Aug for the Community Cup, a charity AFL match between Sydney musos, the Western Walers and Sydney media and community radio personalities, the Sydney Sailors. Your gold coin donation will go towards the services provided by Reclink, who look after vulnerable peoples by providing sporting and arts programs.


Christchurch local Aldous Harding is soon to release her debut self-titled album and will showcase her live performance at Midnight Special on 3 Jul, as well as supporting Tiny Ruins at Newtown Social Club on 2 Jul.

KICKING IN ALL CORNERS Narrated by David Wenham and directed by Michael Stringer McIntyre, Aussie Rules The World is a sports/travel documentary that looks at our national footy code as AFL tries to go global. National premiere screenings are on 22 Jul, EQ Hoyts and 4 Aug, Event Cinemas Burwood.


Electronic wunderkind Kilter will be demanding your dancefloor attendance as he tours soon-to-be-released EP Shades, stopping by on 11 Jul, Oxford Art Factory; 22 Aug, Meche Nightclub, Canberra; and 23 Aug, The Grand Hotel, Wollongong.


Pop fans best be practicing their twerking when Miley Cyrus brings her Bangerz arena tour to Australia, tongue and all. 17 Oct, Allphones Arena.


You should be scared, or very excited. The band known for arguably creating the biggest circle pit of all time at Download 2007, the demonic DevilDriver have locked horns and joined forces with the crowd-frenzying contemporary metal gods Whitechapel for a decimating tour that hits The Hi-Fi, 6 Sep.


A decade since it landed in our lives, A Song Is A City, the second record from Eskimo Joe, is coming back on our radar, courtesy of a solo acoustic tour from the band’s frontman Kav Temperley. Temperley plays 17 Jul, Brass Monkey; 19 Jul, Newtown Social Club; 20 Jul, Heritage Hotel, Bulli; 24 Jul, Lizottes, Newcastle; 25 Jul, Lizottes, Kincumber; 26 Jul, Collector Hotel; and 27 Jul, Clarendon Hotel, Katoomba.



Ian Anderson returns to Australia in December to play songs from Jethro Tull’s huge back catalogue. The British kings of the experimental rock concept album earned themselves quite a following through the ‘60s with their non-commercial music and guitar grooves. See him at Sydney Opera House Concert Hall, 11 Dec.


Catch Sub Pop garage-rockers The Dwarves on 18 Oct at Bald Faced Stag as they bring 30 years of huge live shows and punk attitude to Australian audiences.


Bonjah have announced their tour supports and that Adelaide singer-songwriter Timberwolf plays with them at Newtown Social Club, 19 Sep; Heartattack & Vine will support Bonjah at The Cambridge Hotel, 20 Sep. Thieves and The Fabergettes will warm the stage for Jen Cloher at Newtown Social Club on 18 Jul. And Deni Ute Muster has added two more musicians to their lineup: Troy Cassar-Daley and Adam Harvey, who will be playing together on 3 Oct with their Great Country Song Book show.

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TAKE A BITE You have to be doing things right to stand out from the scene in New York City. Luckily, Skaters’ songs are just as charming as the story behind the band. Michael Ian Cummings explains to Benny Doyle why battling has its benefits.


ichael Ian Cummings is shuffling the footpaths of Brooklyn, trying to find a quiet place to take this call. The Big Apple has acted as Skaters’ home base for a few years now, and without its constant stimulation the band probably wouldn’t have given us a debut album as entertaining as Manhattan. After making introductions at an LA house party in 2011, Skaters frontman Cummings and English guitarist Josh Hubbard made a pact of sorts when the pair reconnected in New York a few months later – they would play a gig before Hubbard boarded his flight home, giving the pair a limited window to get some songs down and make it happen.

the pair still only had that one balmy evening in Los Angeles to go off. And although the frontman confirms they got along famously on first introductions, he’s quick to add that it was strange starting a band with someone he barely even knew. “We both knew that we were good at being in bands, because we’d all done it before,” Cummings says. “But there’s always that big question mark and you don’t know what’s going to come out of it, or if it’s going to last a week or ten years, so you’ve got to take a leap of faith a little bit and just hope that the other people are as into it as you are.”

present their friends’ various artistic pursuits. The quartet were embracing New York’s underground DIY ethics to generate interest, and it paid off, with the band landing a deal with Warner to release their first LP, Manhattan. Although three of Skaters four members grew up away from the city – Cummings and Rubin just outside of Boston, Massachusetts, and Hubbard in Hull, England – New York is their home, an integral part of the band’s aesthetic and identity. “I’d fallen for it before,” Cummings says regarding the city’s charm. “I’d lived here before and my family is from here, so it wasn’t new to me or anything. But living here full-time for the foreseeable future, you definitely have a different attitude towards the city compared to someone that’s just visiting. When you’re visiting it’s just like, ‘Who cares, this is crazy!’ When you live here you have to figure out how to do it.” The vocalist/guitarist admits their adopted base has allowed the four-piece to develop at a faster pace, and has presented opportunities that otherwise would never have formed. “You’re kind of surrounded by potential fans all the time, and you’re out meeting new and interesting people, and everyone is doing something in a similar field, whether it’s art, photography, fashion, whatever,” Cummings


“We didn’t really have any expectations at that point,” Cummings begins, taking solace off the streets in a friend’s apartment. “We set a date so that it forced us to do something, but I’ve never done that before, just booked a show and then get the songs together, so we were all a little on edge but it got the job done and we got the first show out of the way, then it was clear what we had to do. If you don’t go for it you just sit around waiting to do it, like you say, ‘Oh, we’ll do it when this comes together,’ or ‘We’ll play shows when this happens.’ Sometimes you need to just book it, [but] it’s kinda turned into something that we weren’t expecting.” Rounding out the quartet is Cummings’ longstanding percussion pal Noah Rubin, and bassist Dan Burke, a gun-to-acquire type musician who was well regarded in their local scene as a back-end player who could get the job done. However, the rocket up the arse really came from Hubbard. “He just showed up, and he was only in town for three months, so we used his limitations and we didn’t really anticipate even playing y’know,” remarks Cummings. “He just showed up and we were like, ‘Okay, maybe we’ll get together,’ and he was just like, ‘Nah, I came here to start a band, I want to play shows,’ and even though we didn’t have a band or songs he didn’t seem bothered by it.” Like any one night stand though, you don’t really know if genuine chemistry is there. When Hubbard called Cummings out of the blue after arriving in New York, 16 • THE MUSIC • 25TH JUNE 2014

In a way Skaters originally stood as something of a musical sharehouse – the guys got along great, but could they live in each other’s pockets? Cummings laughs in agreement. “You could have the best friend and then when you decide to live with them all of a sudden they smell like dead fish,” he relates. Still, there was a foundation to work on from the outset, with Cummings having written five demos before Skaters was officially formed. These tracks became the band’s first EP, 2012’s Schemers, which they dropped as a freebie to generate buzz. Developing concurrently with all of this was the band’s zine, Yonks – an artist-driven publication designed to connect and

tells. “And you’re all in the same boat in the city, like everyone is hustling to get their thing accomplished. Because of that it allows you to move quickly; you can just meet anyone you need to meet because they’re at the bar. It’s not hard to navigate your next step, you just put yourself out there and people throw stuff at you, you take it and you try not to miss too many opportunities. “You’re just one of the many bees in the hive, and everyone is fighting for the honey,” he continues. “You gotta want to [live in New York City]; obviously it’s not for everyone. It’s kinda cutthroat when it comes down to it, like if you don’t get this show someone else will, if you don’t capitalise on your opportunities someone else will. There’s a level of competitiveness that keeps you on your toes, and at the same time just the energy in the city is pushing you forward. If you stop doing stuff you really notice it because everyone else is doing so much around you. You feel like you’re not making the most of it. Rent is too expensive to just sit on your arse.” Before the Skaters boys were taking their rock’n’roll licks worldwide, they could be found shaking and stirring of a different kind, slinging drinks in some of the most happening bars in the city. And although the work was definitely not as glamorous or adored as touring the globe in a guitar band, Cummings’ late nights on the bottles gave him an uninterrupted view of the cartoonish nightlife New York offers up. It made sourcing stories for lyrics a breeze, and from the suggestive To Be Young

In NYC to the reckless abandon of Nice Hat, Manhattan lets you live those moments, the record playing out as a series of short stories about what it’s like to be young, wild and free, standing at the centre of the universe. “There’s definitely not a day that goes by that you don’t see something crazy,” Cummings agrees. “If you put yourself out there you see crazy shit, so the city is just going to give you those stories, but it’s whether you can pick up on them. It’s one of those things where you’ve just got to be open at all times and be willing to get into situations you wouldn’t normally get into, if nothing more just for the experience of it. “When I listen to the record and I listen to some of the songs it reminds me of something that felt so long ago, but it wasn’t that long ago, it was written in the now,” he concludes. “And that was the most important thing, to try and write about what we saw and what we knew, and not try and pretend we were great philosophers and that we were trying to teach life lessons. There’s no preaching y’know what I mean, it’s just observation and insight.” WHAT: Manhattan (Warner) WHEN & WHERE: 24 Jul Oxford Art Factory; 27 Jul, Splendour In

BS (BEFORE SKATERS) Clearly a band like Skaters, one that can just form ‘overnight’, isn’t actually built on 24 hours worth of skills. If you’ve got the audaciousness to make rock’n’roll happen in an instant, then you’ve also got the talent to keep your ambition together. In Skaters case, the boys had done time in a variety of acts, some well known, some not so much. Without these bands, you wouldn’t be listening to Manhattan. The Paddingtons This is the band British guitarist Josh Hubbard earned his stripes in. The raucous indie rockers from Hull had considerable success in their native Blighty, with four charting singles during 2004-5. They also generated a (justified) reputation as an arse-kicking live proposition, with relentless gigging earning them support slots with The Cribs and spots on Reading Festival. The Dead Trees American instigators Cummings and Noah Rubin took their wonky indie strains coast to coast, bouncing between Boston, Portland and Los Angeles. Their sound probably references the latter city more than any other location, with chirpy harmonies and guitar tones that make you nostalgic for times that you never knew. Dirty Pretty Things Post-Libertines, concurrently-Do(ug)herty/Moss, pre-million dollar Hyde Park gig, Carl Barât formed DPT in an attempt to keep on rocking while his former best mate played with glass pipes. Although never a full-time member of the band, Hubbard found himself in the line-up briefly when Barât fell from a motorbike during a boozing session in 2006. Lads, eh?

The Grass, North Byron Parklands THE MUSIC • 25TH JUNE 2014 • 17



vibe in the air, and it’s something that he can tangibly feel from the crowds.

Story Of The Year frontman Dan Marsala tells Benny Doyle how an album about small city America has taken a bunch of friends around the world and back.


t’s weird, it brings back a lot of memories – the mindset that we were in 11 years ago, when we were actually writing the songs and recording them; I was 21 or 22 years old at that point, it was just a whole different world. But it’s cool thinking back to writing those songs and the memories that [they] bring up; so much crazy stuff goes through your head.” Dan Marsala is discussing the personal emotions that have been dug up since Story Of The Year hit the road roughly 12 months ago to celebrate the ten-year anniversary of their 2003 debut Page Avenue, a record that ironically provided the quintet with a ticket out of their hometown of St Louis, Missouri – “a shitty urban city [that] attracts great, sad music” – by reflecting on life in the sprawl. “It was about friendships and growing up in St Louis, and the stuff that goes through your head when you’re a 21-year-old kid trying to make something out of yourself,” explains Marsala. “Every song had an underlying meaning of that somehow.” Self-proclaimed “weird kids” that wouldn’t take no for an answer, Story Of the Year weren’t daunted by cutting their first album. They went for broke from the getgo, enlisting Goldfinger’s John Feldmann to stir their bubbling post-hardcore pot into something digestible, and the end result, Page Avenue, stands as a product of determination and youthful ambition, one that went against the existing local music scene of the time. “There was maybe one or two bands that had ever been signed from St Louis,” Marsala recalls. “At the time we had Nelly, the rapper; he had just blown up and he’s from the same area, but that was it. Rappers were everywhere at that point, but for rock bands it was pretty slim. But us getting bigger and getting signed back in the day and becoming the successful band we are, we have definitely created more of a scene that has come up behind us, because bands from St Louis realised you can be successful from here, that’s possible. It’s the Midwest,

there’s not a lot going on, but we were just lucky.” However, as much as Page Avenue is undeniably St Louis – from the album title and cover art to the lyrical content within – it’s also

“The album has stood the test of time, and people still love it the way they did ten years ago,” the vocalist enthuses. “It was a time when the scene we were in, and kinda currently still are in, it was a time when it broke, and it was a big time for this heavy/screamo/ emo/hard music – whatever it’s classified as now. And it was special to a lot of people. Ten years listening to any album, you’re going to have a lot of memories attached – people are going to grow fond to it.” And that’s why anniversary shows are continually successful – the emotions surrounding them run a little deeper. Because you can come into contact with a song anytime during your day-to-day – at the shops, in a cab, watching TV – but when you listen to a full-length repeatedly, you stop hearing the music and begin living with it, getting intimate with the sonic intricacies, cover art and liner notes. Albums are bodies of work that soundtrack some of life’s great moments, but can also take care of you when things

“TEN YEARS LISTENING TO ANY ALBUM, YOU’RE GOING TO HAVE A LOT OF MEMORIES ATTACHED.” a record that offers a clear message of hope, something that stands unaffected by boundaries and borders. Marsala agrees, admitting that these Page Avenue shows – where the band run through the entire album as well as adding a best-of selection from their catalogue – have really driven home the level of passion people hold for the record, and the band as a whole. There’s a different

go pear-shaped, and they do this while also giving you an intimate insight into the heart and mind of another. It’s pretty much the ultimate form of art. With this considered, Marsala asks that fans be vocal when Story Of The Year arrive. Seek the band out and share your memories with them; he guarantees they’ll listen. “I love hearing people’s interpretations of our music or just something that happened at one of our shows,” Marsala says. “It’s super cool to hear how much crazy stuff [happened] and how much we’ve impacted other people’s lives over ten years. [There’s] a lot of great stuff we’ve been seeing: a lot of tattoos, lyric tattoos especially. [That’s] kinda weird though,” he laughs, “because it’s like, ‘Yeah, I wrote that in my bedroom and now it’s permanently written on your arm.’” WHEN & WHERE: 27 Jun, Metro Theatre

THE MUSIC • 25TH JUNE 2014 • 19


CLASSIC SOUL On her fifth record, The Classic, Joan Wasser is in the best place of her life as she prepares to tour Joan As Police Woman down under once more. She explains the shift to Tyler McLoughlan.


ith 2011’s The Deep Field, the melancholy of Joan Wasser’s torch singing temperament dissipated somewhat in favour of a more life-affirming approach to songwriting, drawing from a richer musical palate. With The Classic, she’s thrown in the influence of bygone soul, brass galore and even crossed doo-wop with beatboxing, and she’s changed her entire approach to recording. “I think it just continued going in the way that it had been going. I feel like it was a pretty easy move from The Deep Field,” says Wasser. “I think what is different is the way – I mean, yeah, it did take it further into more poppy, more – for lack of a better word – funky songs, but I think it also sounds different because of the way that we recorded it. We just recorded everything live and didn’t tweak the sounds much after we recorded them. When the song form is over we always continue to play the chord progression because it feels good to play, and in the past I would have faded that down, thinking, ‘Oh well no one wants to hear that,’ and on this record I was like, ‘Screw that! If it feels good I’m leaving it and I’ll just develop those end sections.’ I just let myself be more free with the form. I feel like I gave my listeners some credit that they would want to hear what happens after the song form is over and where it could be developed. “We did spend more time on it. We actually didn’t record it in a studio, which allowed us to spend a lot of time on it because there was no clock ticking,” she says of the album, co-produced with long-time collaborator and band member Tyler Wood. “We had so much more freedom to take our time, to develop the songs slowly.” Wasser has impeccable taste in collaborators, having introduced fans to an array of intriguing male voices over the years including the exquisite baritone of Joseph Arthur and the magical gloom of Antony Hegarty. This time human beatbox Reggie Watts was called in. “With the Reggie situation I was being more of a fan – I mean I still am an enormous fan – I wanted to figure out someone to riff over the end of Holy City and I was kind of thinking, ‘Should I try to get with a rapper?

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That’s gonna sound out of context,’ and then I was like, ‘Duh, I gotta get Reggie Watts – the most free, the most creative musician alive.’ And I got a mutual friend to introduce us and he was so up for it, it was incredible. So it’s the kind of thing where I feel like you just gotta

of Wasser’s underlying appeal, though there’s been a lot of talk about this side of her with The Classic’s overt nod to the genre. “I think people say that a lot because I think I’m more comfortable singing – I’ve allowed myself to broaden a little bit. I did so much touring for The Deep Field that I got much more used to my voice. It was interesting because on this record I did the least amount of singing than any record. I’d sing the song through once, twice, maybe three times. In the past I think I would have thought, ‘Oh I can’t leave this one, I have to sing this one more perfectly,’ whatever that means,

“SCREW THAT! IF IT FEELS GOOD I’M LEAVING IT.” ask; all I can find out is that he doesn’t want to do it, but if I don’t ask then I won’t know… It’s kind of difficult [working with Watts] because he’s so funny that he just starts laughing all the time. He makes me feel ecstasy when he is singing – he is so in the moment and so free and so inspired by everything at every moment that it’s contagious.” Fans are aware that soul has always been a huge part

like in some other way that I imagine being better. And I think I sort of just got rid of that contest for myself. I think it’s just ‘cause I have more confidence singing and being comfortable with the way my voice sounds in general, and letting it just be how it is rather than trying to make it sound some other way.” There are some changes afoot in the live setting too. “I am now touring as a quartet as opposed to a trio that I’ve always had, so adding that extra member feels like playing with a symphony orchestra. And I’ve got my violin for the first time on this tour. We do a lot of twisting up, a lot of arrangements and instrumentation changing and it’s really fun.” WHAT: The Classic ([PIAS] Australia) WHEN & WHERE: 1 Jul, Lizotte’s, Newcastle; 2 & 3 Jul, The Basement

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NOTHING LEFT UNSAID Honesty has always been central to The Amity Affliction, but on Let The Ocean Take Me Joel Birch cracks open his ribcage like never before. He tells Benny Doyle about the emotional and physical stress that went into making the record.


f you’re across The Amity Affliction, then you’ve probably read Joel Birch’s open letter by now, penned to clarify the lyrical content on Don’t Lean On Me, the second single pulled from the band’s new record Let The Ocean Take Me. But this wasn’t simply an impersonal email; this was Brian Fallon, “every word handwritten” type shit, scrawled in ink on notepad pages before being torn out, scanned and uploaded for the world to see. It’s a letter that talks about the influx of self-harm and suicide messages Birch has received since the release of 2012 record Chasing Ghosts, and the fact that – although suffering from depression and anxiety himself – he can only offer empathy, not real solutions. The letter is raw, uncensored, heartfelt, and it adds so much more gravitas to lyrics like “Don’t count on me/’Cause I am drowning/Please don’t drown with me.” It’s a topic that Birch has wanted to discuss for a while now, while still keeping the avenue of communication open between the band and their fans. “Sometimes the messages I get, they really are too much for me to deal with, so I wanted to address it finally and have my say, because it’s obviously inappropriate at the same token for me to write back and say, ‘Oi man, don’t tell me that,’” he reasons. “I put myself out there in our lyrics, so it obviously comes with the territory, but I feel like there should still be some restraint on people’s behalves when they’re talking to someone who’s obviously dealing with the same shit as they are. “I had people telling me they were going to kill themselves then and there that night,” he reveals. “In one instance I had a guy tell me that and I frantically went through his Facebook profile for family and friends, and sent them all the same message, and then got an abusive message from him the next day saying, ‘Fuck you, thanks very much, my girlfriend left me because of what you said.’ And I’m like, ‘Well, what am I meant to do? I’m trying to help, I’m trying to make sure you don’t kill yourself and now you’re mad at me – what’s the deal? I do not understand the protocol for this; don’t tell me if you don’t want me to help.’ He was in America and

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I was like, ‘Fuck man, I can’t fly there and meet with you and have a talk, I can’t do anything.’” Considering the initial shitstorm from uneducated individuals when the cover art for Chasing Ghosts was first released – a graphic shot taken from the neck down of a young man

is cool – an unexpected victory. It’s been a really good, really positive response, so I’m really happy that I did it.” Another traumatic event Let The Ocean Take Me touches on is a seizure Birch suffered while The Amity Affliction were touring America last year as part of Warped Tour. The 32-year-old was found unconscious backstage on the Pittsburgh date, not breathing, and with no pulse – an almost fatal situation that was related to acute alcohol withdrawal syndrome. The opening cut on the new album talks about the seizure and his feelings following it, reflective times where he realised the pain he was causing flowed further than his own soul.

“I HAD PEOPLE TELLING ME THEY WERE GOING TO KILL THEMSELVES THEN AND THERE THAT NIGHT.” hanging from a tree – this open letter was also a logical way to rub out any more misconceptions early in proceedings. “[With Don’t Lean On Me], I didn’t want to offend people and I didn’t want them to take it the wrong way, but it seems like even before the letter came out everyone was really liking it,” Birch smiles. “I wrote all these lyrics and I thought they were much more negative than they’re coming across which

“I was extremely anxious – at the start of Warped I couldn’t even go and get my own food from the catering without having a meltdown and bursting into tears,” he remembers. “I don’t know if that’s got anything to do with it, but I say just a lack of restraint on my part is what led me to that. [But] it was definitely a wake-up call; I don’t think I’ll go as mental as I did on Warped ever again. Just knowing what I’ve got back here at home and knowing what I’ve got in the band and the position I’m in, I’m very lucky and very fortunate. To throw it all away just to party seems pretty fucking pointless to me.” If you need help or want to talk to someone contact Lifeline on 13 11 14 or Kids Helpline on 1800 55 1800.

WHAT: Let The Ocean Take Me (Roadrunner/Warner) WHEN & WHERE: 4 Sep, Hordern Pavilion

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MUMS RULE For Lily Allen, motherhood is no barrier to either making music or social commentary, as Liz Galinovic discovers.


ily Allen sounds tired, mildly pissed off and a bit wary, like she’s sick of courting controversy and reluctant to open her mouth in case she says something controversial. It’s a week after she released a video of herself dancing topless in a spandex fat-sucker, resulting in a Twitter biff with former Apprentice star and columnist for England’s The Sun newspaper, Katie Hopkins. “She’s just a stupid woman whose whole purpose in life is to look at the things that people are talking about and be horrible about them,” Allen says casually about the woman who called her a “short-arse mother in big pants”. “That’s all she does. If you read

her column it’s nothing ever positive about anything. It’s just her sensational views and it’s so derogatory – a nasty piece of work.” No stranger to being criticised online, by celebrities and general internet users alike, it’s no wonder her first album in five years, the amusingly titled Sheezus, sees Allen lay down her usual spray of cleverly penned return criticism, delivered in a saccharine voice over upbeat pop tracks. “I really like URL Badman,” Allen says of the track in which she takes pot shots at internet trolls, whom she refers to as the Internet Warriors “who can’t spell”. “It’s about people that have a lot


to say on the internet and not necessarily nice things. I think there’s a lot of crap that goes on on the internet that doesn’t necessarily need to. I think it serves a purpose of making some people think that they have a much more significant voice than they actually do.” Sheezus is easy on the ears, incorporating a range of musical styles from pop-rock to AutoTuned R&B. But the sharpest aspect is the lyrics, statements about women in particular. Despite claims the title track is a bitch session about everyone from Beyonce to Lorde, it’s on tracks like this and Hard Out Here where Allen makes her most incisive and witty quips about everything from periods to calling for men to “forget their balls and grow a pair of tits”. “I think the world, in a weird way, has taken a few steps back in the way that we view and treat women – especially in modern media and pop culture. And I’ve always made a comment on pop culture and what’s going on in the world in my music, so it seems silly for me not to address that. “I think the media pits women against each other and that’s counterproductive. So I wrote a song (Sheezus) that I felt dealt with that. And, if you listen to the song, you can pretty much gauge what my thoughts are on that.” Young, intelligent and a mother of two, while Allen was pleased to be back in the studio, she returns with that added familial challenge. “It’s tough, as any working mum will tell you... But, you know, it’s something that people have been doing for decades so, it’s not easy, but it’s not new.” WHAT: Sheezus (Regal Recordings/Warner) WHEN & WHERE: 25 Jul, Hordern Pavilion; 27 Jul, Splendour In The Grass, North Byron Parklands

KNOCK IT OFF Mitch Knox breaks down five knockoff films that just don’t give a damn.


ost of the time, it feels like there isn’t an original thought on the planet left to be had. But still, that doesn’t mean we should stop trying altogether, right? But if that is the case, no one seems to have told the people who made these movies. Or, more likely, someone did tell them, but as with everything else in their lives, they just didn’t give a shit. Chop Kick Panda

The truly shameful Chop Kick Panda is one of a glut of Disney/Pixar/DreamWorks rip-offs that popped up on everyone’s favourite, shadily accessed streaming movie service, Netflix, a couple of years ago. (Netflix merely distributed, not produced, the films.) Not content with merely hosting a hollow shill of the already hollow animated Jack Black vehicle Kung Fu Panda, Netflix went full Balinese street market with their animated feature range for a while there, dropping a slew of films with blatantly plagiarised concepts that included What’s Up: Balloon To The Rescue!, The Little Cars, The Frog Princess, Animals United (a Madagascar rip-off ), and Tappy Toes, because imagination, effort and originality are for chumps. Chop Kick Panda centres on Zibo, a janitor in the panda and/or general anthropomorph kingdom. Not content with his mundane everyday life of mopping up monkey sweat and crane shit from the floor of his dojo, Zibo dreams of one day becoming a master of the martial 24 • THE MUSIC • 25TH JUNE 2014

arts (this part is exactly the same). Somehow, in a little more than 40 minutes, Zibo manages to achieve his dream of becoming a living weapon before facing off against the nefarious tiger who threatened his people’s way of life, or his dojo. I’ll be honest – I didn’t get all the way through it. I have a feeling that he probably wins, though. Transmorphers Transmorphers (2007) actually had the least ground to make up, quality-wise, between itself and the original, “superior” version. The linguists among you will notice, of course, that the word ‘Transmorphers’ makes zero sense, which should



give you a fairly accurate indication of precisely how much effort went into every other aspect of this film. Quick English lesson: the prefix ‘trans-’ means ‘across’, ‘beyond’, or ‘changing thoroughly’; ‘Transformers’ cross or change forms. That makes sense, as much as a movie about warring, sentient alien robots throwing down on Earth can make sense. But Transmorphers – ‘changing changers’ – is total gibberish, and I kind of hate The Asylum for rolling with it when they could’ve gone with Multiformers or Roboshifters or Big Friendly Terminators. To continue reading, head to (

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FACING OFF Screenwriter Hossein Amini talks to Anthony Carew about finally crossing into being a filmmaker.


nce you’re a screenwriter, it can be a struggle to convince people to take you seriously. They assume that you must’ve ended up writing because you’re not particularly visual,” laments Iranian-born Hossein Amini, who grew up in England and longed to be a filmmaker. It took 20 years of screenwriting – with work ranging from Michael Winterbottom’s Jude to Nicolas Winding Refn’s Drive – before Amini would finally make his directorial debut with an adaptation of Patricia Highsmith’s tourists-inGreece crime-thriller The Two Faces Of January, which he first read 25 years ago. “I thought as a film student it’d be easy to get it made, that it’d make a good first film, because it’s really an intimate story of three people.



But it wasn’t. And I kept on, over the years, trying – and failing – to get it made.” Wait, he thought making a period movie on location in a foreign country was going to be easy? “I was very naive,” Amini laughs. “Even on the eve of production, I don’t think I really knew just how hard it was, even in places like Crete, to find shots that don’t reveal the 21st century.” Amini decided to film freely, taking out offending anachronisms by CGI, an approach at odds with his desire for visual classicism, which came from studying Bernardo Bertolucci’s The Sheltering Sky and “every ‘60s European movie he could find” to get the right visual – and period – tone. “I felt if

DARE TO DREAM BIG The vision for Phantogram was always ambitious, as Sarah Barthel admits to Anthony Carew.


rom the beginning of Phantogram, our goal was always to be the biggest band in the world,” says Sarah Barthel. And Phantogram – the band Barthel splits with Josh Carter – certainly have enough pop chops for a bona fide crossover, their second LP, this year’s Voices, debuting in the US charts at #11. But they come from indie music roots; their first record, 2009’s Eyelid Moves, came out on Barsuk, and was big on shoegaze sonics, leading the band to open for acts like The Antlers, Beach House and School Of Seven Bells. Given indie music’s tendency towards selfeffacement, hearing Barthel confess Coldplay-esque ambition borders on shocking. How does this band, born in a barn in upstate New York, dare to do so?

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“I don’t know, to be honest,” Barthel considers. “It probably says something about how we are as people. We just really believed in our ideas, and our sound. I guess when you have that kind of selfbelief, when it’s really unshakeable you can set high goals and allow yourself to dream big.” It marks an interesting contrast to how Barthel grew up. She “always liked singing”, but never considered it an artistic outlet let alone a possible career. It was only in 2007, when her childhood best friend, Carter, invited her to work with him in the studio following their graduation from college, that the 31-year-old even considered making music.

I used a non-classical shooting style, it could snap the audience out of that time period. There was a Michael Mann film, Public Enemies, where you were really aware that this was a film shot in the 2000s, and you didn’t get to sink into that time period. I wanted to make sure that [my film] never looked too modern, or got too tricksy, which is an easy trap to fall into as a first-time director, eager to show everyone what you can do.” The Two Faces Of January comes with stars. Both Viggo Mortensen and Kirsten Dunst encountered the script independently and approached Amini. “Those were two really pleasant calls to receive,” Amini admits. The director yearned to cast Oscar Isaac as the third wheel after seeing him on Drive, and at first had to fight for the idea, “but as soon as the Coens cast him in Inside Llewyn Davis, the producers were biting my head off to cast him as soon as possible.” Adapting someone previously brought to screen by Hitchcock, René Clément and Anthony Minghella made Amini feel as if he was “part of a tradition” of Highsmith films. “Even though they’re ostensibly crime novels, Highsmith’s hero was Dostoyevsky and she saw the thriller as just a form to use to explore human psychology. That’s what’s fascinating to me about [The Two Faces Of January]: these aren’t psychopaths; these are very ordinary people that’ve accidentally fallen into an extraordinary situation, this vortex of crime, jealousy, competitiveness. In normal circumstances, they could’ve got along famously. But, it’s Greece, it’s tragedy, it’s a thriller; and they fall into this world where, instead, they only do damage to each other.” WHAT: The Two Faces Of January In cinemas

“I was a visual artist, so I’d never thought of ‘sound’ as a way of expressing myself, and no idea I had that side of me. At the start, Josh had such clear ideas about what he wanted to do, and the skills to be able to do it. He really invited me into this world and asked me to be a part of it. I was fascinated by his songs and his production, and he taught me how to produce and record my own ideas.” Their goals, in the beginning, weren’t just to be the biggest band in the world, but to make “new, fresh-sounding music”. This meant no homages to old albums, and no attempts to latch onto current trends, be they in pop or on blogs. “We looked to bands like Outkast and The Flaming Lips,” Barthel says, “not for how they sounded, but how they were able to create their own world.” Initially calling themselves Charlie Everywhere, they settled on a far better name and started playing around New York, obsessing about making flyers and posters (“we always had a visual aesthetic that was just as important as the music”). Since then, they’ve found themselves playing to escalating audiences – from “five to 50 to 500 to 5000 people” – moving, in their own way, closer to their earliest ambition. “As artists and musicians, you need to have some sort of motivation to keep going,” Barthel admits. “At the beginning, before anyone had ever heard our music, that’s how we knew we wanted to do this. We weren’t half-arseing it, this wasn’t a hobby. We really wanted to be the biggest band in the world.” WHAT: Voices (Universal) WHEN & WHERE: 24 Jul, Metro Theatre; 27 Jul, Splendour In The Grass, North Byron Parklands

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BACK ON TRACK Hard living nearly landed Graveyard Train in one of the cemeteries that they’re so fond of singing about, but as Nick Finch tells Steve Bell, distance and a newfound maturity knocked any conflict on the head.


ust a couple of years ago Melbourne chain-wielding horror merchants Graveyard Train seemed to have the world at their feet, with their warmly received third album Hollow ushering in a bout of touring that saw them playing relentlessly both home and abroad – a workload which nearly tore the band completely asunder. “It was weird, we managed to keep it together whenever we were onstage – whenever we’re playing we always put 100 per cent in – but in all that time offstage we were

just drinking too much and bickering,” reflects frontman Nick Finch. “When we started the band none of us really expected to be working hard – it was always just a weird side-project – so it took us all by surprise when it became a heavy touring schedule, and I guess we just lost our shit a bit. But it’s okay now – we had a year off and everyone seems a bit more chilled and a bit happier. “The music was always fine. We were always a bunch of drunks anyway, but there was some really heavy drinking with guys going on benders and missing gigs. People were paying good money to come and see us, and


a band member wouldn’t be onstage because we didn’t know where the fuck he was – just stuff like that. It’s sort of like a weird, awful Contiki tour being on tour – there’s too much booze and too much free time, and none of us have the skill set to deal with it and stay sober.” Fortunately after a year apart all was forgiven by the time they regrouped to record new collection Takes One To Know One. “This one was really fun – we were all really sober, and we got along really well,” Finch recalls. “It was a really positive experience. Hollow was done in a proper studio and was a bit slicker than I was used to – with this one we wanted to make it more organic, so we recorded in this old warehouse in Melbourne with vintage gear and it’s all a bit more lo-fi. We’d all been writing in the year off so it’s basically just a bunch of songs – just some stuff we recorded. I think we might have possibly even matured a little bit.” There’s certainly less lyrical reliance on things that go bump in the night. “There’s only so many fucking monsters you can write about,” Finch laughs. “Hollow went on this real ‘death bent’ – my songs were all pretty death-related – but for this one we’re a bit looser. It’s all still pretty dark lyrically, but there’s definitely less overt horror. You have to develop as a band or you’d go insane – and we were going insane anyway. I don’t think we’re ever going to sing nice songs about love and things like that, but maybe less with the vampires and oogedy-boogedy.” WHAT: Takes One To Know One (Black Hat Rackets/MGM) WHEN & WHERE: 25 Jun, Transit, Canberra; 26 & 27 Jun, Newtown Social Club; 28 Jun, RAD, Wollongong

HELP THE AGED After volunteering and working with the dying, Ben Lee tells Dylan Stewart that he “thought [he] was making a record that was essentially music to die to”, until the catchy choruses kept flooding in.


or a global pop star, Ben Lee doesn’t feel the need to conform. After the success of his 2005 smash Catch My Disease, it would have been acceptable for Lee to churn out pop-by-numbers hits as so many have done before him. Instead, his career has crisscrossed the musical landscape via his latest two records, 2011’s concept album Deeper Into Dream and last year’s South American hallucinogen-inspired Ayahuasca: Welcome To The Work. Critically accepted yet commercially lukewarm, Lee’s 2014 effort will see him come full circle. “I thought I was about to make my most experimental album yet,” he says from his adopted home of Los Angeles of his upcoming record, Love Is The Great Rebellion. “I’ve been volunteering as a hospice worker this year and working with the dying. I’ve been very interested in how music interacts with those states of consciousness and how it can support people in these different situations… So I actually thought I was making a record that was essentially music to die to. But lo and behold, these catchy choruses started coming out. It soon became clear that there was a voice coming through that was something a little more what my audience is used to.” While a release date is still to be determined – “later in the year” is all he’ll let on – Lee is previewing the new record by playing a couple of intimate Australian 28 • THE MUSIC • 25TH JUNE 2014

club shows. Supported by The Voice alumni Danny Ross, he’s looking forward to getting up close and personal with his audiences: “[These shows] will be really stripped-back, but it’ll be nice to have some layers and some harmonies. I’ve always enjoyed the ability as a songwriter to pull it back to its simplest elements, which is harder to do if you’re a band or a song and dance. It’s one of virtues of folk music or singer-songwriter music – you can always bring it back to guitar and vocals.” The setlist is a work in progress, but with a catchy new record in the pipeline surely there’ll be some Love

Is The Great Rebellion songs mixed in with the hits? “I think you do have some freedom with smaller audiences. For people who like my music it felt like I was making a classic Ben Lee record, so I’m looking forward to playing some new songs. In saying that, if you come to my show, I don’t think it’s unfair of you to expect me to play Catch My Disease; I think that’s a pretty fair expectation as a consumer,” he laughs. “I can always promise that I’ll do my best. I will show up to play and connect with my audience. I’m always trying not to just go through the motions or be a robot and be mechanised in my approach. “I really want to get behind this record. I’m told that this music is accessible and it’s music that I think, if given a chance, a broader audience will like, so I’d really like to support it a bit.” WHEN & WHERE: 28 Jun, The Basement

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“I think it’s very important because it’s a play set in a big country town anywhere, and how people in regional centres in some ways have to create lives for themselves”

Actor, writer, director and, well, the ‘Sex and…’ man Steve Rodgers talks to Dave Drayton.


hen Steve Rodgers takes the call he’s in the midst of a very small window of time off, “I’ve got this week to garden, do my tax, I’ve got to put a new door on, and watch the World Cup.” The premier season of Eight Gigabytes Of Hardcore Pornography, in which he plays a porn-addicted IT security worker, has just finished at Griffin’s SBW Stables, and before jetting off to Perth for its run at the State Theatre, he’ll have a week to whip Food, which he wrote and co-directed with Force Majeure’s Kate

Champion, back into shape and get Mel King (replacing Kate Box from the initial production) up to speed. Food looks at a truck stop tuck shop where two sisters run a takeaway joint, and the manifestation of their desires brought to the fore by the arrival of an exotic traveller. Following a successful 2012 premier at Belvoir the show is hitting the road for an extensive tour, taking it to the infinite anywheres in which it could be based – Lismore, Wagga Wagga, Moonee Ponds… “I’m so proud that Food will get around to so many places outside the main cities,” Rodgers, who grew up in Launceston, beams.


In Eight Gigabytes Of Pornography it was sex and pornography and debt; in Food it’s sex and food. Then there was sex and dance when he tore up carpet in Dance Better At Parties, last year at Sydney Theatre Company. Rodgers laughs at the suggestion his recent work could warrant the ‘Sex and…’ man title. “In some ways they’re all to do with connections and how people can find a place that they can settle and be content with. Dance Better At Parties was a study in grief and the man is basically teaching himself to live again; Eight Gigabytes the man is probably too far gone to live again in some senses, but that’s a study in how you kill pleasure; and Food I think is, like Dance Better, redemptive; it’s about how you recreate a life when life feels like it has dried up for you. “There’s a line in Food that Nancy says – ‘I want, I want, I want, but I don’t know what my heart wants’ – and I think that’s where food and sex and porn and addictions all cross over – what is pleasure? and happiness? and contentment? Like everyone I spend a lot of my life thinking about sex and food, and they’re both really beautiful things, but potentially dangerous. “All my life I’ve been on a rollercoaster with my own weight and eating habits, so in a way it was a way for me to explore my own obsession with sticking things in my mouth.” WHAT: Food WHEN & WHERE: 1 - 5 Jul, Riverside Theatre, Lennox Theatre

PRESCRIBED FEELINGS “Our emotions can’t escape our biology, and our biology is chemical – these are the forces that make life worth living.” Mark Leonard Winter chats to Dave Drayton about the chemistry of love.


ou’ve caught me at crunch time,” says Mark Leonard Winter, on the phone from Brisbane where, in three days time, previews commence for Lucy Prebble’s The Effect. “It’s at that moment where the piece is just trying to find its feet and emerge fully. It’s been a joyously challenging experience trying to get it together.” Were it another actor, the sentiment could appear to rest on some vague faith, especially given the short time remaining before audiences fill seats. Winter, however, has a history of letting works find their feet on the floor; he made his start in theatre working in collaborative teams putting on devised and often co-written works as part of The Hayloft Project (with Simon Stone) and The Black Lung. This time around he’s discovering how to allow a work to find its feet while learning, not writing, the script. There are worse scripts one could be required to strictly adhere to. Prebble (author of the West End hit ENRON and TV’s Secret Diary Of A Call Girl) premiered The Effect in late 2012 at London’s National Theatre and it received the UK Critic’s Circle Award for Best New Play. Love is far from clinical, but that doesn’t mean it can’t blossom in such an environment, which is exactly how things play out for Winter’s character of Tristan (an 30 • THE MUSIC • 25TH JUNE 2014

unemployed drifter) and psychology student Connie (Anna McGahan) – under the scientific eyes of psychiatrist Lorna (Angie Milliken) and her supervisor Toby (Eugene Gilfedder) – in a drug trial for antidepressants. Though distinguishing between the natural chemistry of love and the engineered chemistry of its manufactured doppelganger isn’t simple. “Mental health is a huge issue currently in a world and I’m interested in ways of dealing with it, and ways of talking about it, and ways to medicate it. To combine that with how love can exist in our contemporary world thematically creates very

rich, interesting themes,” explains Winter. “There’s four characters, all who have very different and specific opinions on the themes of the show, and essentially you lock them in a sealed ward, feed them drugs, and watch and see what happens – so it becomes a really active, exciting engagement in the ideas and the feelings behind that. “I literally don’t think I’ve ever done a straight piece of writing, so I was a bit confronted at first, I was like, ‘I actually have to say the actual words?’ And that was really strange. But I could recognise that this was a work that had been made in a room with actors working together to make it work, so I could see the organic process that had gone into the original work.” WHAT: The Effect WHEN & WHERE: 10 Jul – 16 Aug, Sydney Theatre Company, Wharf 1 Theatre




5 Seconds Of Summer have been running on exceptional luck for a while now: discovered by One Direction’s Louis Tomlinson via YouTube, going from the backyards of western Sydney to opening arena shows for a pop juggernaut, they’ve notched up their fair share of iTunes #1 spots based entirely off pre-orders. Fans will be the first to exclaim that their debut has been a long time coming by pop standards.

Few bands are more consistently ferocious than Every Time I Die. With each new record you go in kind of expecting the grip around your neck to loosen a little – you think they’ll mellow out. But then you hit the play button and shake your head in disbelief because those stone-cold motherfuckers continue to outdo themselves.

From Parts Unknown

5 Seconds Of Summer

What we have here is earnest, by-the-numbers pop-punk music; songs for windmilling across stage with swinging guitars around their necks, to sing to girls with ‘heart’ eyes in the front rows of shows; songs that’ll eventually be played in stadiums with voices echoing all the nagging, catchy choruses. The double-hit opener of She Looks So Perfect and Don’t Stop sets the tone for the record’s entirety: a fun, gallivanting affair of jagged

★★½ guitar riffs, claps, nasal harmonies and a whole lot of heart. The theme is girls; strong girls who are in charge of their actions (Good Girls), girls they miss (Beside You), girls they’re definitely a little infatuated with (Kiss Me Kiss Me). Unsurprisingly, their downfall is a drastic lack of variety. There’s not much to the pop-punk formula, and 5SOS aren’t reinventing it. English Love Affair’s choppy riffs are a rare moment of difference, but they could spend more time exploring the broader scope of the genre they’re emulating. They could stand to drop the American accents too. Sevana Ohandjanian

From Parts Unknown is like a bolt of lightning hitting the fuse of a rocket up your arse. There is only one period of solace – if you can call it that – Moor, but even that gets ugly after a disjointed piano/vocal introduction. For the rest of the time you are getting brutalised, with every element of the band’s sound beating down on you until you completely surrender. It’s fucking fantastic. As always, Keith Buckley acts as king agitator out front, spitting intellectual venom with the driest of wits, while the twin guitar




Dine Alone/Cooking Vinyl

Just a few weeks after the release of previous album Someday World, the particularly fecund collaboration of uber producer Brian Eno and Underworld’s Karl Hyde has yielded yet another album’s worth of tunes. However, High Life stands apart from their previous work in that it isn’t merely a collection of tracks that didn’t quite make Someday World.

Ever wonder what would happen if you combined the talents of the guitarists from City & Colour and Brownout with My Morning Jacket’s drummer and The Black Keys’ producer? Spanish Gold is your answer, and their debut record South Of Nowhere is a funky, soulful compilation.

High Life

The duo have previously flirted with Afrobeat but had inserted it into a fractured and awkward fusion of pop, polyrhythms and minimalist repetition. This time around Eno and Hyde have opted for less of a sound clash, turning out a more straightforward whiteboy Afrobeat funky sound awash with a distinctly English experimental sensibility. For instance, the album’s opener pits a funky rhythm guitar against dreary depressive lyrics. It’s a bittersweet start that blindsides us to the joy of DBF and

attack of Jordan Buckley and bearded hulk Andy Williams manages to operate at the ridiculous warp speed set by drummer Ryan Leger. Converge’s Kurt Ballou does an incredible job finding production balance within detonating tracks like The Great Secret and If There’s Room To Move, while The Gaslight Anthem’s Brian Fallon nails his vocal contribution on Old Light. Continuing to pick up steam right until the final jagged notes of Idiot, From Parts Unknown kicks like a mule from front to back, leaving you dazed by the end of it all, in need of a cigarette and a good lie down. Benny Doyle




album reviews

South Of Nowhere

★★★½ Moulded Life, which showcase these dudes at their Fela Kuti and James Brown funkiest. These tunes see the duo shifting away from highly textured synthetic soundscapes for what sounds like a more stripped, almost back band-based approach. The six tracks, clocking in at anywhere between four and nine minutes, have a much looser, improvised feel than their first album. Drifting back into more familiar territory, Cells & Bells finds them working with synths to create a glimmering ambience into which vocodered voices drop lyrics about growth, regeneration and new beginnings. A rewarding listen from a couple of old hands who know how to play this game. Guido Farnell

Inspired by Laredo, the Texas border town where guitarists Dante Schwebel and Adrian Quesada grew up, the album is embedded with electric riffs and heavy bass lines – an apt homage to the frenetic spirit of a dangerous city marred by drug-cartel, gangland warfare. Opener One Track Mind sounds like a Black Keys spin-off, but considering two of Spanish Gold’s members (Patrick Hallahan and Dante Schwebel) supported The Black Keys’ Dan Auerbach on his solo tour, it’s no surprise. The title track follows: a gripping tale

★★★★ of a desperate man, bolstered by a tension-building beat. Middle track Day Drinkin sports a befitting name for a melodic number that should be listened to poolside, with a margarita in hand. And lead single Out On The Street manages to relate the dangers of living on the US/ Mexican border in the form of a very danceable tune. On its first spin you’ll notice that South Of Nowhere has an easy and genuine groove to it. Second time around you might take in more of the dark, lyrical storytelling. And by the third you’ll be wishing you could splice a few other bands together to form a sound as smooth as Spanish Gold’s. Ash Goldberg THE MUSIC • 25TH JUNE 2014 • 31

album reviews



Game Of Thrones Season 4 Sony



Nobody Ever Leaves Vitamin

For fans, anticipation for the official soundtrack of Season 4 has been building since about the time (spoiler alert) Arya Stark got her hands back on her Needle. Composer Ramin Djawadi doesn’t disappoint. The 22 tracks (all instrumental bar one) reflect the many plotlines of the series. Love, adventure and war are reflected in the strings, brass and drums ebbing and flowing throughout. Oathkeeper is a perfect example, a tribute to the Valyrian steel sword gifted to Brienne. Of course, this soundtrack wouldn’t be complete without Sigur Rós’s version of The Rains Of Castamere,

Until recently there’s been something of a divide between pop-country and alt-country, but now they seem to be finding common ground more often. Tracy McNeil finds gold by mining the tried and true washes of guitar distortion, twang and tremolo that characterise melancholic Americana with added melodic riches. A Little More Like Love is a swaying slow-burner while Wildcats overflows with hooks and a gloriously chiming guitars. Neko Case and Jenny Lewis are two songwriters that do pop-leaning alt-country so well and in its best moments Nobody Ever Leaves breathes the same rarified air.

Dylan Stewart

Chris Familton



You’re Gonna Miss It All Run For Cover/Cooking Vinyl Contrary to the misguiding bubblegum melodies and twinkly guitar tones, Modern Baseball’s tightly produced follow-up to their 2012 record Sport is not a beacon for positivity, but rather, a brightly decorated pit of despair. It’s that very juxtaposition (which, too, manifests itself in the woe-is-me lyrical content relayed with such an endearing nonchalance) that makes You’re Gonna Miss It All as charming as it is. Through light-hearted wit and deadpan, honest storytelling, Brendan Lukens shares with us all his neuroticism, frustration and sadness. What results is both tasteful and completely lovable. Justine Keating 32 • THE MUSIC • 25TH JUNE 2014



Rio 2: Music From The Motion Picture Atlantic/Warner The commercialisation of Indigenous music always rides a fine line. Rio 2 takes inspiration from Brazilian genres like samba and bossa nova, throwing Western pop influences over them, the results an unsurprising mix of crossover success and tasteless imitation. Janelle Monae steals the spotlight with the album’s first song, What Is Love, her gleeful ad-libs probably more animated than anything in the actual film. Don’t Go Away is a lovely mixed-language duet between Anne Hathaway and Flávia Maia, while Beautiful Creatures is tainted slightly by the character dialogue that ruins many later tracks.


THE DAGGER The Dagger Century Media Heavy metal may not be worth much in 2014, but that doesn’t stop Swedish four-piece The Dagger from unashamedly embracing all its trappings. With production quality straight out of 1970, the band’s self-titled album plays more like a Black Sabbath B-side than a contemporary debut album. That’s exactly what The Dagger are going for: nostalgic rock tracks with over-saturated vocals and more unnecessary solos than the practice room of a guitar store. Heavy metal was revolutionary in its day, but rather than evolve the genre like their idols, The Dagger tread water in irrelevancy. Bailey Lions

Roshan Clerke







Lost And Lonesome



The Zebras’ third album has them striving for clean, sharp production. An alteration in emphasis to a punchier synth sound to accompany their surfrock roots has resulted in a mature yet laidback indie classic. Chase and lead single Try, though familiar, take unpredictable turns. The highlight, Another Copy, is a culmination of all their best assets; bassist Edwina Ewins’ vocals are propped up by a wailing guitar line in a chorus you never want to end. Though the grunge of their earlier work has been filtered out, clever songwriting gives this polished work plenty to sink your teeth into.

The old saying ‘It’s a jungle out there’ may be true, but the outside world has nothing on the labyrinthine and solipsistic mess of In My World. While the experimental song structures played with in the Atlanta producer’s latest release are admirable, they come at the sacrifice of any sense of progression. Matthewdavid (aka Matthew McQueen) sings, but neither his lyrics nor his singing bring any life to this alienating collection. The instrumentals House Of Horus and West Coast Jungle Juke are the only moments McQueen immerses you in his hazy world. A disorienting and unrewarding listen.

Combine a grunge riff with a layered, gritty vocal melody and ride it for dear life until satiated yet ultimately unsurprised – that’s Seether’s bag, though the thrill of frontman Shaun Morgan’s unhinged hopelessness and fury has been waning since 2007’s Finding Beauty In Negative Spaces. Opener, See You At The Bottom, very nearly gets there, but Watch Me Drown sounds like an Everclear parody and My Disaster’s bass groove is too close to Tool’s Forty Six & 2 for my liking. The attempt at creating a varied dynamic feels forced, making for a scatty listen.


Harry Hughes

In My World

Roshan Clerke

Isolate And Medicate

Tyler McLoughlan








Two Tone Melody



Resist/Cooking Vinyl


A little over 20 years and ten albums in, Mutineers shows that David Gray has perfected his acoustic folk that’s not so acoustic. Or so folk, for that matter. David Gray songs might start as simple guitar- or pianobased exercises in traditional songwriting, but he’s never scared to layer on more and more instruments, harmonies, production flourishes and genre tricks. More importantly, he always knows when to stop adding all that stuff so the heart is never lost under all of those bells and whistles. Mutineers is somehow simple and elegant, while also extravagant and grand.

In just two albums, Lana Del Rey has nailed her shtick. She’s the “live beautiful, die young” type legends are made of, though the latter half of that statement is only a sentiment shared via the likes of Sad Girl. Otherwise she’s Fucked Her Way To The Top and is The Other Woman in a Cruel World – you get the idea, you know the sound. Production from The Black Keys’ Dan Auerbach brings a touch of extra rawness to the glitz; overall a beautifully dark and cinematic affair, sure to keep the legions of followers well intact.

Walking headline Michael Crafter returns, sporting a new incarnation in metalcore moshers Confession. Hardship and joy filters into the frontman’s more introspective lyrics, Crafter spitting venom at assorted foes on their third full–length accompanied by Confession’s hallmarks: seismic-shifting if monotonous breakdowns and chugging guitars. Pre-released Fuck Cancer is a sonic ground zero, although the likes of string-infused March 23 showcase a sensibility rarely noted in the past. Amity Affliction, Northlane and Misery Signals members provide welcome vocal respite, the former’s Ahren Stringer affording an unexpectedly vicious turn on Holy War.


In preparation for their inexorable rise to arenas, this is a quality soft sinuous soul-y one for people to hug the one they’re with, while holding their iPhone above their head to prove they were there.


Dew Process His near-falsetto keen remains oddly compelling. But the beds it lilts across are becoming richer and lusher. Whether this is an entirely good thing will probably be proved by market forces.



Ben Preece

Pete Laurie


Brendan Crabb

The Writing’s On The Wall


Pledge Music As ever, song apparently written in a couple of hours is accompanied by visuals possibly months in the planning. Which is a bit of a shame, for some of their tunes are rather neat little pop constructions.











English neo-soul singer who nearly broke through internationally with previous Devotion album, but the almost Prince-ish minimal stuttering funk of this is very likely the business.

Ed Sheeran seems to be suffering a banal personality crisis on X. You’ve got him lamenting long-distance love (One), irate about said love’s indiscretions (Don’t), then a heartfelt tale of leaving home (Runaway). Gauging by lyrics like “stumbling home drunk… I listen to sad songs”, Sheeran is probably a mopey drunk and one of those guys who can’t stop talking about how high he got the night before. With standard singer-songwriter musicianship – neither inspirational nor awful – at its worst, this is James Morrison with a guitar. At its best, it’s vaguely insightful lyricism on broken hearts.

Linkin Park come full circle. Having digressed into electrorock for their last two records, the Californians return to their nu-metal roots. If you’re expecting some of those light harmonies heard on Minutes To Midnight, do yourself a favour – lower the volume when you put this on. As Chester Bennington begins with screaming vocals on opener Keys To The Kingdom, Linkin Park proclaim their heavy sound homecoming. Guilty All The Same and Until It’s Gone are accessible, unsurprising choices for singles, but, much like this record, neither holds a candle to anything on Hybrid Theory or Meteora.

Ross Clelland

Sevana Ohandjanian

Ash Goldberg

Isn’t it enough to know it exists? Ok, when forced to listen, it sounds like Adam Levine indulging his knowledge of old Sting records, before inviting the band in to add overwrought solos. Same same.


Life And Death

The Hunting Party

Milky Chance – Sadnecessary Davidson Brothers – Wanderlust The Knife – Shaken Up Versions Nightmares On Wax – N.O.W. Is The Time Various/Deetron – Fabric 76 G-Eazy – These Things Happen Vacationer – Relief Rescuer – Anxiety Answering Mumbai Science – Déjà vu Plastikman – EX

THE MUSIC • 25TH JUNE 2014 • 33

live reviews

DUNE RATS, SHINING BIRD, THE WALKING WHO, THE KNITS Oxford Art Factory 21 Jun The Knits’ brand of sleazy, bluesy garage-rock was pretty damn enjoyable, despite an undeniably messy set. The band made the decision to try out a handful of new songs on the Dunies’ crowd, and unfortunately some of them didn’t quite feel ready. However, Don’t Tell Mum’s message of bucket-bong-related secrecy struck a chord, and the

the most of their six-member line-up: each track was layered with soaring synth lines and effects, rich guitars and wide open reverb. The icing was frontman Dane Taylor’s voice, channelling the warmth of Matt Berninger with just a hint of Ian Curtis. The atmospheric set, full of ten-minute songs, was gorgeous, but did seem perhaps a little sleepy in contrast with the other bands. That said, if anyone was going to pull the crowd together and get them to start moshing again, it was Dune Rats, and they did so quite handily, with album opener Dalai Lama, Big Banana, Marijuana kicking off a huge singalong. Before long the stage filled up with what felt like every


Ramones-meets-Sonics grunt of EP track Do Ya? was a perfect high-energy closer. The Walking Who’s set showcased the band’s variety, ranging from Jack Whiteesque foot-stompers (leaving little question why the band were picked to play at the local launch of White’s new LP), to the mid-tempo Dandy Warhols shuffle of Candy Flu and moody, dark psych-pop. Frontman Rohin Brown got a lot of mileage out of his Stratocaster, with an extended guitar-and-keyboard jam in the band’s second-last song. Punters were left wanting more, as the four-act lineup meant short set times. If there’s one thing Shining Bird know, it’s how to make 34 • THE MUSIC • 25TH JUNE 2014

the OAF to a night full of good vibes on Saturday. Before the jiving started though, those wise enough to arrive early had the good fortune of seeing two very diverse support acts. Jim Lawrie, no longer grizzly, serenaded the half-full room with his heartfelt folk tales. His is a voice not only captivating but also full of emotion. He can sing so sweetly that the listener may be fooled into thinking his lyrics are of a similar sentiment, only to realise there is a darker depth on tracks such as the beautiful Spare Change – “The only time I reach for you, I’m desperate.” Next up was the biggest surprise of the night, the Naughty Rappers Collective (NRC). Touching on subjects


member of the sweaty audience taking turns dancing around and stage diving into the pit, while the Dunies spun their blend of hazy, weeddrenched slacker tunes and sun-blessed surf-rock anthems. Xavier Rubetzki Noonan


Oxford Art Factory 20 Jun The nine-piece soul pop extravaganza that is Melbourne’s Saskwatch treated

influence than early material, and it suits them. Encore saw their brilliant cover of Jagwar Ma’s Let Her Go, ending what was already a fabulous evening on a high note; somewhat of a theme for this fantastic live act. Monique Sebire

THE BOHICAS, UNITY FLOORS Oxford Art Factory 18 Jun Local Popfrenzy (Ty Segall, Seekae, Superchunk etc) act Unity Floors held court for the first half hour, and played a nice set of shaggy barebones power-pop. They aren’t complicated and their set was a perfect encapsulation of their


from masturbation to “pimpish behaviour”, it’s easy to take NRC as a joke outfit, but they’re a group endowed with some legitimate hip hop prowess. Scattered with members from Fishing, Richard In Your Mind and SPOD, do yourself a favour and follow them around wherever they play next. A Saskwatch gig always guarantees a boogie, thanks to a killer horn section and the powerhouse that is leading lady Nkechi Anele. Playing songs off their acclaimed second album Nose Dive, they had the whole room moving and shaking almost as much as Anele herself. Tracks like I Get Lonely and new single A Love Divine were standouts, the latter showing a larger rock

sound and direction. They were on point and it was a joy to hear them bash a few out. The Bohicas must be the oldest 15-year-olds on the planet. For a start, they look 30. They wear leather jackets (something no 15-year-old could normally afford), and they were allowed to knock back beers from their rider on stage. Their music, however, reveals more. Exclamations of “Shake yo ass” in faux African American accents and a weak “Yeah” at the prospect of folks being drunk pointed to awkward youthful exuberance. Their predilection for innuendo and schoolyard humour extends to their name ferchrissake – Bend Over Here It Comes Again. Ahem.

live reviews The kicker though is the total lack of individuality in their songwriting. Like teenagers they rely on trailblazers to express themselves. Hopefully, like teenagers, they’re also busy developing a solid sense of self and will slowly introduce us to it in due time. In the meantime we’re stuck with a soggy derivative of every popular British rock band of the last decade. The set started with Where You At, a terrible song with a terrible fucking title, and to their credit by the time they got to XXX they had revved up considerably, generating some decent energy amongst the crowd. Harmonies were a little spotty, but the guitars sounded tops. It was short (like, 40 minutes), reflecting the limited material of this fledgling group. They played well, but their material seriously lacks imagination. There’s nothing wrong with playing like a (semi-ok) high school band. If you’re in high school. Matt MacMaster

BAND OF SKULLS, APES The Hi-Fi 20 Jun Melbourne’s Apes (not to be confused with the latest Tex Perkins project) played a raucous set proving their versatility and skill with a riff. They’ve listened to a lot of White Stripes, but they process that in interesting ways, and their performance was as punchy and frothy as it was suave and controlled. They were an excellent match for BOS, and frontman Ben Dowd had a shaggy charisma that worked for everyone. They didn’t lean on the affectations of rock ‘n’ roll like a crutch, and their focus was on the music, not how they looked playing it. Chunky riffs and sneaky hooks littered the place, and it sounded great. England’s Band Of Skulls flirt with mainstream success, and they know how to write a devastating hook or three,

but they remain cheerfully unkempt and understated. Their generous set was a great place for neophytes, with material pulled from all angles that covered all sonic bases. Their latest album Himalayan provided the opening songs Asleep At The Wheel and the title track, and early work Death By Diamonds And Pearls and Light Of The Morning closed the three-song encore. Not a bad stretch. The sound they revel in isn’t new, but it’s so infectious and was played so well it feels like buzzkill to throw out a ‘How unoriginal!’ claim. It wasn’t a master class in guitar technic or an improv night, it was a by-the-numbers hit parade that produced monstrous riff after monstrous riff, and hooks and choruses that moved the whole room. It was super-fun stuff that bounced and grooved and had beer flowing and heads nodding. It had good energy and momentum and never got stale, despite some repetition in songwriting. Band Of Skulls are an antidote to

aloof rock tragics like Beady Eye or even The White Stripes, and they prove a good riff minus the wank works like a charm. Matt MacMaster



RÜFÜS @ Enmore Theatre Psycroptic @ Corrimal Hotel

arts reviews Jack Nicholson) and his huge collection of photographs and memorabilia that link him to everything from Monty Python to The Rocky Horror Picture Show to Yoko Ono’s early career.



In cinemas 26 Jun ‘The most famous person you’ve never heard of ’ is a great tagline; it makes you want to watch this doco, even before you know anything about its subject. From then on you’re not disappointed; the subject of The Last Impresario, Michael White, is as interesting as you could guess, thanks to liberal namedropping (he’s friends with everyone from Kate Moss to Mick Jagger to

But it’s in the execution, rather than the subject matter of Gracie Otto’s first feature, that the film falls flat. The sometimes shoddy camera work is understandable considering the first year of filming Otto was on her own, camera in hand, but it’s a failing that’s difficult to get past. Controversial aspects of White’s life, from production deals gone wrong to romantic conflict, are glazed over in favour of sequences that do feel heavy-handed – by the film’s conclusion you’re meant to feel sad: White has no money yet he gambles, needs two walking sticks to move around yet stays out until 4am, is 80 years old yet hangs out with beautiful women in their 20s. But boy is he interesting. Hannah Story


In cinemas How To Train Your Dragon was one of the most pleasant surprises of recent years, brimming with heart, humour and spectacle. For the most part, How To Train Your Dragon 2 does an admirable job following in its footsteps, surpassing its predecessor in some ways – especially technically, with the fluidity and expressiveness of its animation moving ahead leaps and bounds – while not quite equalling it in others.

Five years after young Viking Hiccup ( Jay Baruchel) went against years of tradition – and the wishes of his gruff father Stoick (Gerard Butler) – by taming and then befriending a wounded little dragon, Hiccup’s island home of Berk has become Dragon Central, man and beast living in harmony. But our hero and his scaly pal’s explorations bring them into contact with the evil Draco (Djimon Hounsou), who’s trapping dragons to build an all-conquering army, and the mysterious Valka (Cate Blanchett), who’s spent years keeping the creatures safe from harm. It’s mostly kids’ stuff, but HTTYD2 is a bighearted, free-spirited delight. Guy Davis


36 • THE MUSIC • 25TH JUNE 2014

the guide

Answered by: Ursula Yovich (performer) What was your favourite bedtime story growing up? I loved reading my Little Book Of Bible Stories. I’m not a religious person but when I was a little girl I was enthralled with the stories from this book; the miracles were like magic and I couldn’t believe that a whale could swallow a person whole and that a man named Jesus could walk on water! It really captured my imagination and I still find it fascinating to this day. Do you have a pre-show ritual? I speed-run my lines and I wash my hands constantly – I need them to be cool. Is there a character in The Magic Hour you would be friends with? I’m not sure if I would really connect with any of these characters. There are elements of myself in each of them (obviously very heightened) so I would most probably have a love-hate relationship with them all. But if I had to choose, it would be Rosie, the girl in the Rumpelstiltskin story. She’s socially awkward but seems to be the least troubled of the characters in The Magic Hour. As I get older, I enjoy my own company and that of my very, very, very close friends and family so it’s hard to become friends with me on a spiritual level.


What excites you about Australian theatre? What is always exciting is to see or be involved with a new classic piece of theatre. But what does excite me is the fact that we are a relatively young nation (aside from the First Nations) and we are scratching the surface of what are uniquely our stories. We have a history that dates back thousands upon thousands of years and our very recent history has been a colourful one – dark and shameful but colourful nonetheless. We have diverse groups of people that live in this country and the stories each of us have are bountiful. That is exciting! The Magic Hour runs from 26 – 28 Jun, Riverside, Lennox Theatre & 4 – 6 Jul, The Street Theatre, Canberra

Pic: Sydney Theatre Company THE MUSIC • 25TH JUNE 2014 • 1


AUSSIE ARTISAN WINE After searching and sampling new varieties and reworkings of old classics, here’s Jess Ribeiro’s top five wines from Aussie winemakers. Illustrations Brendon Wellwood.



I spoke to William Downie, a winemaker from Victoria, and asked him if an unsophisticated person like myself could choose a good wine based on the label. Downie thinks so: “In the new world if you don’t know anything about wine then choosing it based on a picture has a level of integrity. It usually gives you a feeling of the wine makers aesthetic and personal tastes.”

I bought this wine to try out an organic option. It’s preservative- and chemical-free and made with wild, naturally fermented yeasts. It’s made by a husband and wife duo who are into organics and bio-dynamics. Their goal is to tread lightly on the earth. They live and work on their vineyard and consider themselves to be ‘Lo-Fi’ natural growers.

Downie believes current wine trends in Australia are becoming more diverse and progressive. “We are pushing boundaries and celebrating quirky wines that are less traditional and even faulted.” Witness Point Pinot Noir sits comfortably in this category.

For: The Greens.

For: Arty types

TWO ITALIAN BOYS (NSW), NEBBIOLO 2010 The label says; ‘Two Italian Boys, Pick Us Up Tonight,’ so I bought it purely as a joke. But when I went to the counter the seller gave me an approving nod which made me feel like I knew what I was doing. These two Italian boys from New South Wales are making wines based on traditional Italian styles, light and good to drink with food and friends. It’s a wine made with the idea that drinking is about being social. For: Party people. You will have to buy more than one bottle of this.

GLAETZER-DIXON FAMILY WINEMAKERS (TAS), PINOT NOIR 2013 A festive label, this wine was made in Tasmania by Nick Glaetzer, one of the youngest and most celebrated Australian winemakers. This red is inspired by the French Nouveau wines. It’s unique because there’s no long fermentation process. Grow it. Press it. Drink it. For: Those who want instant gratification.

YALUMBA, BAROSSA [SA] OLD BUSH VINE GRENACHE 2012 I bought this because it looked trustworthy and traditional. Like something your grandparents would drink during the Christmas holidays. It’s also suitable for vegetarians and vegans. For: The safe and reliable.

USES FOR WINE BESIDES DRINKING IT Use red wine to dye clothes. Put in a spray bottle to disinfect vegetables and fruit. Make vinegar with leftover wine that’s not that great for drinking any more. Use it as a facial toner, or better yet pour a bottle in the bath and bathe in it. It’s full of antioxidants. Turn it into car fuel. Pour it onto a piece of stale bread and apply it to an inflammation. This will help reduce swelling. White wine works great as a cleaner, stain remover and disinfectant. Make jelly out of it: just add water, pectin and fruit. Freeze it to use in cocktails, sangria, etc or to add to cooking. 38 • THE MUSIC • 25TH JUNE 2014

eat/drink DRINK UP

FOLEY LANE 371 Bourke St, Sydney Answered by: Aaron Shuttleworth What’s your bar’s specialty drink? We have a large,

ever-changing gin list including a lot of bottles you wouldn’t usually see in Australia. That and cocktails with sherry as a modifier; it’s only just starting to get the recognition it deserves. What drink turns you

off? Poorly thought-out drinks. You can have banging creamy drinks or vodka drinks, etc as long as everything is balanced. What makes your bar different? The friendliness of a local with the knowledge and product of a topnotch venue. Everything from our wine list to our food tends to exceed expectations. Who will I meet at your bar? We have a large local customer base from Darlinghurst and Surry Hills as well as a following from people in the hospitality industry. From people hanging

with their dogs out the front to awkward Tinder dates, hollering cowboys sinking booze at the bar to pre-theatre golden oldies, girls night out groups to suits and ties. What’s the design/ atmosphere of your bar? Situated in a 1970s art deco style apartment block, Foley Lane is truly ‘Sydney’. Best hangover cure? Cold crisp cider followed by a dip in the ocean. If you don’t have either of these at your immediate disposal, we can hook you up with the best goddamn Bloody Mary in town.

HOT SPOT HARVEST @ NEW HAMPTON HOTEL – 15 BAYSWATER RD, POTTS POINT/KINGS CROSS Ben Palmer’s latest venture features a stylish rustic interior and an air of sophistication, but what really does the talking is the menu. Its most popular dishes might very well be the roasted duck breast with duck sausage served with kale and lentil sauce. Palmer aims to use all parts of the animal so that nothing is wasted, resulting in a constantly changing menu that offers meals like lambs’ brains and duck liver parfait. It takes some talent to make those bits sound tasty but Palmer’s just waltzed in all like, “Too easy, mate,” and done it. A good place to bring someone if you want to test their sense of taste and adventure.


To please your ears while you’re sippin’. Alligator Wine – Screamin’ Jay Hawkins Lilac Wine – Jeff Buckley Red Red Wine – UB40/Neil Diamond Little Old Wine Drinker Me – Dean Martin The Wine Song – The Youngbloods The Wine Song – The Cat Empire Symphonic Metamorphosis Of Wine, Women And Song – StraussGodowsky Red Wine Lips – Lisa Mitchell All The Wine – The National Summer Wine – Lee Hazlewood & Nancy Sinatra


RONAL NGO @ ARCHITECTS AND HEROES Shop 25, 17-31 Rokeby Rd, Subiaco architectsandheroes. Three words that describe your cafe? Relaxed specialty coffee. What’s the price of a regular coffee? $3.90. What style of coffee should you start the day with? Espresso.

What kind of music do you play at work? We play a mixture of R&B, jazz, rap and soul. What artist/band would you most like to make coffee for and what style would you serve them? My favourite artist to make coffee for would be a rapper who goes by multiple aliases and has been around the game for a very long time; some

of his names are Snoop Lion, Snoop Doggy Dog, Snoopzilla and last but not least, Snoop Dogg. What style would you serve them and why? I would serve him a syphon coffee so he can

see the different versatile equipment we use. You hate it when people ask for... Straws for hot coffee.

THE MUSIC • 25TH JUNE 2014 • 39

the guide




Congrats to Vance Joy for winning Song Of The Year and Sia for Songwriter Of The Year at the APRA Music Awards. They won the biggies amongst a host of other local talent on the night.

COMMUNITY CUP Can you smell it in the air? After the Rockdogs (ie the musos) won the Melbourne version of the Community Cup over the weekend, news comes that the Sydney version is back in August. Can the Sailors make it three from three?




With a pig tapeworm now safely removed from his brain, Jay Whalley will front Frenzal Rhomb for a gig alongside Lindsay ‘The Doctor’ McDougall at The Collector Hotel on Saturday.

Sydney genre hoppers Bootleg Rascal are back with the ‘70s-inspired post-disco track Kings & Queens and to celebrate, this Friday they’re playing The Roller Den.

Remi seems to be everywhere these days touring his latest work Raw X Infinity. He’s bringing that new wave of intelligent Aussie hip hop to Newcastle’s The Small Ballroom on Thursday then Oxford Art Factory on Sunday.




Head to SASH on Sunday afternoon at Flyover Bar to catch French DJ Le Loup, Mo’Funk, Liverpudlian Nick Miney, Matt Weir and Kerry Wallace drop dance beats for all the insatiably party-hungry out there.

Award-winning guitar virtuoso Jeff Lang is getting some serious love from reviewers for his new album I Live In My Head A Lot These Days, which he will be showcasing at The Basement on Friday.

UK punk icons The Vibrators bring their manic energy and famous live show to Sydney this weekend. Showing no signs of slowing down after 37 years they hit Hermanns Bar this Friday.




Melbourne prog-rock kings Toehider took only 12 hours to crowdfund their latest album. So Mike Mills and the boys are bringing What Kind Of Creature Am I? to the Bald Faced Stag on Friday with guests Anubis.

New Zealand reggae sensation Katchafire is going from strength to strength dragging their good vibes across the world, even hitting Glastonbury. Now the all Maori eightpiece return to Sydney, playing the Metro on Sunday.

With a freshly dropped film clip for Voidwalkers and a highly anticipated EP due out soon, the timing has never been better to see The World In Cinematic. They launch new single Without You There this Friday at The Bald Faced Stag.




Australia’s Got Talent contestant Jay Parrino has proved himself to be one of Australia’s hardest working musicians, with near constant gigs with his trio OUTLiER, who join him at the Rock Lily, Wednesday.

You could never question the authenticity that goes into the soul music of Johnny G & The E Types, or the good times to be had at their live shows, like the one at Coogee Diggers on Friday.

Melbourne hooligans Northeast Party House have had their energetic live shows bottled and poured into new album Any Given Weekend, but the lid is coming off at The Beach Road Hotel this Wednesday and Rad Bar, Wollongong, Thursday.

HILLTOP HOODS The Oz hip hop giants are back with a new single, with an album to follow soon.



Their new video they shot in Newtown looks a whole lot like what locals Sticky Fingers did for their Australia Street video, which came out in February 2013, there’s just more smart phones and less booze.

OZ ROCK ROYALTY We’ve seen a week go by where Richard Clapton can’t get his residence fixed by his landlord and Australian Crawl struck by in-fighting. Surely they both deserve better than this?

BLACKADDER DEATHS Not long after Rik Mayall passed away, another actor who also appeared in Blackadder has been lost. Vale Patsy Byrne, who played Nursie in the classic show.



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THE MUSIC • 25TH JUNE 2014 • 41

the guide


THIS WEEK’S RELEASES… EVERY TIME I DIE From Parts Unknown Epitaph/Warner SEETHER Isolate And Medicate Caroline THE ZEBRAS Siesta Lost And Lonesome BOK BOK Your Charizmatic Self Night Slugs/Inertia 42 • THE MUSIC • 25TH JUNE 2014




Canberra’s hard-hitting punk outfit Revellers bring their yet-to-be-released sophomore EP Your Round to Lansdowne Hotel, Friday, supported by the Simpsons-loving metal rockers Nerdlinger.

Queensland day trippers The Babe Rainbow unleash their most psychedelic release to date, Enchanted Broccoli Forest, a journey through the minds of the three-piece, as they journey to Beach Road Hotel on Wednesday and Brighton Up Bar, Thursday.

Brisbane four-piece The Creases have just announced their signing with Liberation Music with a celebratory single and tour. The Static Lines tour makes its way to Brighton Up Bar on Friday.




The second annual Institionalized Fest takes place Saturday at Hermanns Bar featuring 13 metal, punk and hardcore bands including Party Vibez, Corpus, Arteries, Head In A Jar, Speedball and more.

See Eddie Boyd & The Phatapillars at Frankie’s Pizza By The Slice on Thursday as the Blue Mountains mountain men play squealing rootsrock to all y’all pizza lovers.

Australian folk favourite Ben Lee is taking a break from putting the finishing touches on his new album set for release later this year, to give fans a taste at the Basement, this Saturday.




While Circo continues to generate buzz as the hottest new festival in Perth, a few of the stars on the line-up including Kele Okereke (Bloc Party) who will be performing a DJ set, and Odesza make their way to the Metro on Thursday for a Circo sideshow.

Jackson McLaren is proving to be one of the most exciting young songwriters in the country. Backed by his band The Triple Threat McLaren is launching his debut album Songs To Greet The Dawn at Little Features, Hibernian House on Saturday.

With many believing Graveyard Train’s latest album Takes One To Know One is their finest work, Cherrywood has been announced as the support for their Friday show at Newtown Social Club, and Saturday at Rad Bar, Wollongong.




Catch Quake Machine, JD Mo and Upside Down Miss Jane at Valve @ Agincourt this Thursday. It’ll get loud and heavy in the Central venue, you wont be able to stop your head from banging.

Former contestant on The Voice and Team Seal’s own Mitch Anderson & His Organic Orchestra bring their stomping live show to the Coopers Hotel this Wednesday night.

Musica Linda – considered to be the gypsy version of the Spice Girls – have been making themselves rather comfortable at the Jam Gallery, and will be making yet another appearance at the venue this Thursday.


THE MUSIC • 25TH JUNE 2014 • 43

the guide


ALBUM FOCUS years from our first writing/ demo session until doing the final mastering. Was anything in particular inspiring you during the making? South American Shamanic arts, Egyptian mythology, out of body experiences, dreams, dimethyltriptamine.


would it be? Anything by JJ Cale.

Answered by: Illya Szwec How did you get together? We’ve all played together for years in other bands – and still do. A slightly different line-up gets together for each gig. Sum up your musical sound in four words? Swampy boogaloo soul blues! If you could support any band in the world – past or present – who would it be? Cream, as they made their way across America in early 1968. You’re being sent into space, no iPod, you can bring one album; what

Greatest rock’n’roll moment of your career to date? Having Tim Farriss from INXS come up to me at a gig in a pokey little pub on the far south coast and asking, “What are you doing in a place like this?” I asked him the same question! Why should people come and see your band? To hear Sydney’s best roots musicians – who are usually elsewhere with their famous employers – on stage having a ball!

USURPER OF MODERN MEDICINE Answered by: Steven Aaron Hughes Album title? Omniliberation Where did the title of your new album come from? It is the ideal state of all beings. Something to strive for. Something we should be striving for as an intelligent species.

When and where for your next gig? Coopers Arms in Newtown on 26 Jun with Steph Marchant, Vito Portolesi, Antero Ceschin and me.

How many releases do you have now? This is our third official release. We have previously released two EPs, Acid Chess and Turbo Handshake.

Website link for more info?

How long did it take to write/ record? It took just over two


What’s your favourite song on it? They are all special but the song with Kucka guesting on vocals is obviously a standout for us. Will you do anything differently next time? This album was very lyrically based and with short compositions; we wish to restructure our sound and go back to our longer improvisational stylings next time. When and where is your launch/next gig? 26 Jun, Oxford Art Factory. Website link for more info?


Was anything in particular inspiring you during the making? Our many great experiences of live music and festivals is what we draw from the most when writing. We also have a folder of amazing photos of animals, nature and beautiful people.

NORTHEAST PARTY HOUSE Answered by: Malcolm Besley Album title? Any Given Weekend Where did the title of your new album come from? Jackson thought it up. It seems to carry the general feeling of where the band is at right now in terms of lifestyle; I think that is something other people can relate to. How many releases do you have now? One EP, two ‘one-off ’ singles, and now our debut album. How long did it take to write/ record? Over a year. We took our time as we were still figuring out what sort of musical direction we wanted to take. 44 • THE MUSIC • 25TH JUNE 2014

What’s your favourite song on it? The title track Any Given Weekend. It’s wonky and ballsy. Will you do anything differently next time? It’s a lot of work for a band to produce, perform, write, mix and master their own record. It would be good having someone outside the band help next time. When and where is your launch/ next gig? We are on tour throughout Australia. 25 Jun, Beach Road Hotel; 26 Jun, Rad Bar, Wollongong; 27 Jun, Transit Bar, Canberra; 28 Jun, Newtown Social Club; 29 Jun, The Lair; 2 Jul, The Small Ballroom, Newcastle Website link for more info? northeastpartyhouse

A GIRL’S A GUN Answered by: Jack Perry How did you get together? We all studied music together. Sum up your musical sound in four words? Blues, soul, rock’n’roll. If you could support any band in the world – past or present – who would it be? The Black Crowes. You’re being sent into space, no iPod, you can bring one album; what would it be? Lonerism by Tame Impala, probably because I’m the last person on earth to have heard it, it seems. Greatest rock’n’roll moment of your career to date? Free beers and a steak at shows is pretty rock and

roll!!! The simple things in life. Why should people come and see your band? Our singer is awesome and loud, the band is awesome and loud, and we like beer and great times. When and where for your next gig? Saturday 28 Jun at The Lewisham Hotel, launching our debut EP, Head up, Above The Clouds. Website link for more info?


Rooftop Garden, Cocktail Bar & Bistro ŭ/FXUPXOŦTCFTULFQUTFDSFUŭ


Thursday 3rd July

James Black & Bonnie Johnson



Groove Depot

Thursday 10th July

Daniel March and Billie McCarthy Thursday 24th July

Dave Weir ‘Weirdos’






$15 JUGS



All Day

THE MUSIC • 25TH JUNE 2014 • 45

the guide


SINGLE FOCUS What was inspiring you during the song’s writing and recording? Women that hang on too long after the fact and turn up in your bed months later. How does that happen!? And also the llello and cerveza. We’ll like this song if we like... Blues and attitude.

THE KAVA KINGS Answered by: Daniel Nugent How did you get together? We began in mid-2013, writing an array of gypsy ska-inspired tunes from our previous influences in world music through a mutual love of Fiji’s national drink, kava. Sum up your musical sound in four words? Ska-drenched gypsies. If you could support any band in the world – past or present – who would it be? Would definitely have to be skapunk rock band Sublime! You’re being sent into space, no iPod, you can bring one album; what would it be? This is an easy

one. Sticky Finger’s debut album Caress Your Soul. It’s killer! Greatest rock’n’roll moment of your career to date? Played a loose show up the coast in Forster on Anzac Day. Mid-set a group of guys brought a massive pot plant into the middle of the dancefloor and then the whole crowd started dancing around it. Why should people come and see your band? To hear a fresh mix of ska, reggae and help bring out their inner gypsy stomp! When and where for your next gig? Thur 26 Jun at Goodgod Small Club (Ska Face) Website link for more info?

TRANSVAAL DIAMOND SYNDICATE Answered by: Christian Tryhorn Single title? Mexico What’s the song about? Escape from a scorned lover. How long did it take to write/ record? We flew to Mexico for a week, did a load of llello, drank sangria and fought Mexicans then recorded the track in an abandoned cantina. Is this track from a forthcoming release/existing release? This track is the third single release from our debut fulllength Estranged Blues.


Do you play it differently live? We often get a guest player in to play harmonica and/or lead guitar so those breaks can take the song in a new direction. When and where is your launch/ next gig? 26 Jun, Maitland Metro Hotel; 27 Jun, Wonooona Bulli RSL; 29 Jun, Shady Pines Saloon; 2 Jul, Front Bar, Canberra; 7 Aug, Captain Cook Hotel; 8 Aug, Studio 6; 9 Aug, Lewisham Tavern; 10 Aug, Shady Pines Saloon Website link for more info?


iPod, you can bring one album; what would it be? Hmm, that’s a difficult question... I have a lot of favourite albums! I think if I was sent to space right this second it would definitely be Late For Nothing by iwrestledabearonce. So damn good!

ANTONAMASIA Answered by: Clik Rogan How did you get together? My old band split in late 2011 and I was determined to pursue my music career no matter what and that’s when I ran into the Antonamasia boys. Sum up your musical sound in four words? A melodic metal-infused Jambalaya. If you could support any band in the world – past or present – who would it be? Misery Signals. They seem like humble dudes and we’d be lying if we said we weren’t inspired by their music. You’re being sent into space, no 46 • THE MUSIC • 25TH JUNE 2014

Greatest rock’n’roll moment of your career to date? That would be opening the main stage of Homebake ‘06 with my old band The Vaine. Still to this day I’m very humbled to have had that opportunity to hang and share the stage with some of my favourite bands. Why should people come and see your band? What we deliver is less a set and more a living breathing stage performance that projects an irrefutable kinetic energy.

PSYCHIC SUN Answered by: Mitch Tighe How did you get together? Geoff (guitar, vocals), Josh (bass, keys) and I all met studying music at uni. When I had the idea for Psychic Sun they were the first two guys I called. And the craziness began. Sum up your musical sound in four words? Psychedelic fuzzy blues-rock.

When and where for your next gig? 27 Jun, Bald Faced Stag. Doors open at 8 and you can get tickets at

If you could support any band in the world – past or present – who would it be? The Dirty Mac – pretty exclusive gig right there.

Website link for more info?

You’re being sent into space, no iPod, you can bring one

album; what would it be? Transformer – Lou Reed Greatest rock’n’roll moment of your career to date? Supporting Richard Clapton. We even had a rider. Why should people come and see your band? We mix a lot of styles and it comes out sounding like us. You might even like it. When and where for your next gig? Spectrum on 27 Jun. Website link for more info?



THE MUSIC • 25TH JUNE 2014 • 47

opinion OG FLAVAS






Lately, magnate Gina Rinehart flossed about “jealousy-inspiring profits” in a mining magazine column (!). New York MC/ actor/mogul 50 Cent, aka Curtis Jackson, is similarly preoccupied with ‘prosperity’ on his comeback, Animal Ambition. One journo has suggested that Fiddy advocates “right-wing” economics. However, it’s not so simple, considering the How To Rob rapper’s origins in America’s mega-ghetto. Entrepreneurialism isn’t necessarily perceived negatively in hip hop – it’s about selfempowerment, something ultimately symbolic for the wider (black) community. Besides, Jackson, whose ventures include self-help books, is subversive. He’s commodified his experiences of poverty – and street life. Animal Ambition is a throwback to ‘90s gangsta rap. It could pass for a mixtape with joints like the raw opener Hold On. Unfortunately, Jackson mostly relies on obscure producers – none impressing – while his sole ‘buzz’ guest, neo-gangsta ScHoolboy Q, is relegated to the ‘bonus’ Flip On You. The token commercial song, Smoke, featuring slept-on R&B type Trey Songz, is a poor man’s Ayo Technology, its Eurodance synths passé. Dr Dre helmed it, but In Da Club it ain’t. However, the major fail here? Jackson doesn’t adequately explore the contradictions of black wealth creation. In recent times his rival Kanye West has better articulated, and soundtracked, just that. Ironically, today Fiddy is perhaps more brilliant as an actual businessman. @therealcyclone


48 • THE MUSIC • 25TH JUNE 2014

There are a few redundancies in modern punk and hardcore. It seems to me that it’s when people start forgetting the core values of our scene that the most ridiculous ones take to the forefront.


After pulling out of Soundwave at the very last moment due to a death in the family, Whitechapel have announced they are coming back in September, teaming up with DevilDriver on a double bill. Dez might as well just move here, he visits us often enough. Whitechapel’s newie Our Endless War is ridiculously heavy and catchy and is going to get a major workout as part of their set, so they tell us. Should be good! The other great Satchmo, Joe Satriani, has announced a big ass tour for late November. One of the most technically accomplished and respected guitarists ever, he will be playing here for the first time since 2008, not counting the G3 tour with Luk and Vai. Marco Minnemann will be on the kit and that is worth the price of admission. He is a genuine freak. Not in a blast till death kind of way, although he can certainly do that, but he is one of those players who can hold down a different tempo and time signature with all four limbs at the same time and still hold a conversation with you. Poor old Randy Blythe has been having it rough the last few years. After suffering some serious mental anguish at the hands of the Czech authorities over his manslaughter charge due to the death of a stage-diving fan and finally being acquitted, the Lamb Of God frontman has gone and burned his bits after his coffee spilled all over his pants while he was driving. Expect the new album to be called As The Penis Burns. Or not. Latino metal brothers Ill Nino have released Live Like There’s No Tomorrow as the first single from their forthcoming album, Till Death, La Familia which

comes out in late July. It moves into very modern territory with some Northlane- and Amitytype electronics and feel. I think we may be on the verge of a nu-metal resurgence with these guys, Korn and Five Finger Death Punch (not strictly nu-metal but definitely sports boofhead metal) all playing huge sets around Soundwave and keeping their momentum up. I wonder if Dez has given though to a Coal Chamber reunion? Nah. Wollongong prog-folk-metal outfit Troldhaugen have announced a Pozible campaign to support the release of their second album Obzkure Anekdotez For Maniakal Massez. Give ‘em some cash so they can go and get smashed with Alestorm every night for a month and be strong ambassadors for touring Aussies abroad, ha! Sydney’s ‘Triumphant War Metallers’ Bane Of Isildur will be at Sydney’s Hermanns Bar this July, playing their second and last performance in Aus for the year. I suggest if you are interstate you figure out how to get there to witness it! During the UK’s Download Festival last week, Phil Anselmo was once again asked about the possibility of a Pantera reunion with Zakk on guitar. His usual, ‘when I know, you’ll know’ response was typically vague and I seriously doubt it will ever happen. Not because of the fact that Vinnie hasn’t spoken to Phil in ten years but because I think it would be too hard for him. No matter how into the gig he might be, the constant reminder of looking at a guitar player who is not your brother but is playing your brother’s riffs would just be too much to bear.

So what’s the redundancy of which I speak? It’s the attempt by venues and promoters to place a ban on moshing or crowdsurfing at events. The first few dates of Vans Warped Tour have kicked off in the US and fans at the shows were greeted by prominent signage that said: “No moshing/ crowdsurfing. You mosh, you crowdsurf. You get hurt. We get sued. No more Warped Tour.” I understand the attempt to pass liability from the promoter to the individual. It’s about moving responsibility for the individual’s actions away from the promoter to avoid litigation. I’m also aware that this isn’t the first time a promoter has done it – festivals have done so in the past, even going so far as to fine bands that promote that behaviour among its fans. But I can’t help feeling a little empty at seeing signs like that. Moshing and crowdsurfing are a way for the crowd to get involved in the show – to release energy and show a form of appreciation for the effort and energy the band is expending on stage. Sure, sometimes things can go awry, but it’s often a case of the few ruining the experience of the many. With the knowledge that reported growing pressure from corporate sponsors was behind the move, it makes me sad that this is further proof of the increasing corporatisation of something I love.








In which we bring together Da Vinci, Bob Dylan and David Shields to have a look at codes, cut and paste, and copying.


Before adulthood caught up with us, before we realised everything that could be done one day would be done, rap fans dreamed of the impossible. “Imagine seeing live Tupac live!” Cue: Pac’s hologram. “What would it be like if Outkast got back together?” We’re about to find out. One subject we often returned to was impossible collaborations: a group of artists whose talents complemented each other but whose paths were destined never to cross. Perhaps we dreamed of hearing our favourite indie rapper on a beat from one of the biggest producers out. Or maybe a cross-cultural collab between a local artist and someone from overseas. Somewhere, one of us imagined three of our favourite weirdo rappers together: Busdriver, prince of atonal ‘00s nerd MCs; Aesop Rock, the Noo Yawk successor to James Joyce’s stream-of-consciousness style; and Danny Brown, the toothless goon who somehow convinces very attractive women that they should sleep with him. That dream has come true! The track is called Ego Death and it’s taken from Busdriver’s forthcoming album Perfect Hair. It has a verse of Busdriver’s nasal art rap. Aes contributes a nonsensical, paranoid journey through the looking glass. And Brown offers a surprisingly sharp critique of Prodigy’s Smack My Bitch Up before descending into his own (equally awful) brand of misogyny. So, a figment of our collective imagination has come to life before our very ears. It’s up to us to see if reality matches fantasy. (Spoiler: it’s a solid track with excellent production from Jeremiah Jae. Aes comes out on top.)

Back in 2004 the world’s most prodigious musical mumbler, Bob Dylan, released Chronicles: Volume One, his best-selling book exploring critical junctures in his life and career. While he may at times struggle with enunciation, his way with the written word is so densely allusive and illusive that the ensuing decade has been spent by a handful of devotees trying and failing to fully comprehend a) the full extent of what he’s borrowed, stolen, quoted, or appropriated; and b) why he’s done any of it. The results were compiled by Pullitzer Prize-winning journalist David Kinney in The Dylanologists: Adventures In The Land Of Bob. One of these devotees is DJ Scott Warmuth, who reckons that Chronicles is governed by its own Da Vinci Code, that, if cracked, could reveal a metatext concealed in plain sight by Dylan – and he formalised these thoughts and his research with a scholarly essay published in the New Haven Review in 2010 titled Bob Charlatan Deconstructing Dylan’s Chronicles: Volume One, wherein he documented the borrowings found to date thus far, some thousands including “American classics and travel guides, fiction and non-fiction about the Civil War, science fiction, crime novels, both Thomas Wolfe and Tom Wolfe, Hemingway, books on photography, songwriting, Irish music, soul music, and a book about the art of the sideshow banner” and “a book favoured by a 19th-century occult society, and a book about the Lewinsky scandal by Showgirls screenwriter Joe Eszterhas”. When thinking

of borrowings so extensive, only one other writer comes to mind: a man outspoken about his approach, a practice which he – somewhat coincidentally, given DJ Warmuth’s role in the cracking of Dylan’s Da Vinci Code – suggests is something like literary DJing, the way mash-ups and remixes work in the musical world. David Shields’ work is instructive, revelatory, baring its construction and as such, readily mineable for intention, as he states: “I’m interested in the generic edge, the boundary between what are roughly called non-fiction and fiction.” And it seems the same could be said for Dylan – those same Dylanologists found him mashing some rather pedestrian non-fiction sources to create his songs, proving his code was not limited to his prose. DJ Warmuth observed that on his 2001 album Love And Theft a song called Tweedle Dee & Tweedle Dum used phrases from the 2000 edition of a travel guide called New Orleans by Bethany Bultman. Phrases of Bultman’s, from passages such as “Food is served family-style, dripping in garlic and olive oil,” and “They’re presided over by a grand female-impersonating queen in a multi-thousanddollar gown” and more appear uncredited in Dylan’s song. Can anyone be Bob Dylan with a Big4 Holiday Park pamphlet? And why is a man regarded as one of the world’s greatest ever songwriters pinching lines from a travel guide? Is it part of his code? Is that code part of his greatness? While it may seem like crackpot ramblings, before you dismiss all this research, I want to point this out: Dan Brown and Bob Dylan construct their initials with the same letters…


It struck me the other day (a rather plain but optimistic observation): there is a veritable shitload of young’uns absolutely killing it in Australian music right now. So while Justice Crew’s painful performance on The Full Brazilian the other night painted a rather dire picture of young Australian musical talent right now, I thought I’d give due mention to a couple of kids who are significantly more inspiring. First up is Brisbane 16-year-old Faith Ty, also known as Cypher, who just released a haunting, spacey track called Light And Sound. Cypher is also one of 26 young people featured in MY:24; a 13-part series screening on ABC3 that features young people speaking about the impact of a life-changing experience over 24 hours. Next up is a whole batch of bands that I can’t lay claim to discovering – all that credit is due to the dudes in Dune Rats and their no-nonsense and awesome approach to booking support bands for their current tour. A band on each of their all ages bills will be made up of local high school students. Dune Rats’ reasoning for the approach to building these line-ups makes so much sense it’s a wonder more people aren’t employing similar logic: you’re playing an all ages show, it stands to reason that the support bands are also under 18 – it gives them a leg-up in an arena when they’re too often overlooked, and it brings a heap more kids to the show. Go high-five the Dunior Rats.


youngandrestless@ THE MUSIC • 25TH JUNE 2014 • 49

the guide Sons Of The East + Gypsies & Gentlemen: Hotel Steyne (Moonshine Cider & Rum Bar), Manly


Musica Linda: Jam Gallery (Underground / 9pm), Bondi Junction Danny Sun’s Rhythm Revue: LazyBones Lounge, Marrickville The Central Coast Big Band: Lizottes Central Coast, Kincumber


WED 25

CIRCA WAVES Jeff Lang: 25 Jun Lizottes Central Coast; 26 Lizottes Dee Why; 27 The Basement; 28 Camelot Lounge; 29 Lizottes Newcastle; 19 Jul Street Theatre Canberra

Sky Ferreira: 25 Jul Metro Theatre

New Empire: 26 Jun Transit Bar Canberra; 27 Heritage Hotel Bulli; 28 Small Ballroom Newcastle

Tune-Yards: 28 Jul Oxford Art Factory

Usurper Of Modern Medicine: 26 Jun Oxford Art Factory Remi: 26 Jun The Small Ballroom Newcastle; 27 Trinity Bar Canberra; 28 Oxford Art Factory

Grouplove: 26 Jul Metro Theatre Metronomy: 28 Jul Metro Theatre

Circa Waves: 29 Jul Newtown Social Club Foster The People: 29 Jul Enmore Theatre Jungle: 30 Jul Oxford Art Factory

Yeo: 5 Jul Transit Bar Canberra Sleepmakeswaves: 5 Jul Cambridge Hotel Newcastle; 6 & 13 Rad Bar; 2 Aug ANU Bar Canberra; 16 Manning Bar Something For Kate: 12 Jul Enmore Theatre The White Album Concert: 18 – 20 Jul Sydney Opera House

Melody Pool & Marlon Williams: 2 Aug Newtown Social Club; 3 Lizotte’s Newcastle; 10 Lizotte’s Central Coast; 12 Front Bar Canberra Whole Lotta Love: 15, 16 Aug Laycock Street Theatre; 23 State Theatre Bonjah: 19 Sep, Newtown Social Club; 20 Cambridge Hotel Newcastle

The Good Stuff: 3 Wise Monkeys, Sydney

Sophie Hanlon + Tree: The Vanguard, Newtown

Musos Club Jam Night: Bald Faced Stag, Leichhardt

Graveyard Train + Cherrywood: Transit Bar, Canberra

Northeast Party House + The Babe Rainbow: Beach Road Hotel, Bondi Beach

City Slickers Band Competition: Valve @ Agincourt, Ultimo

THU 26

Deez Nuts + Confession + Hand Of Mercy + Thorns + Failure: Belconnen Magpies (All Ages), Belconnen

Party Central: 3 Wise Monkeys, Sydney

Chet Faker + Yumi Zouma: Civic Theatre, Newcastle

James Reyne + Ollie Brown: Brass Monkey, Cronulla

Mitch Anderson & His Organic Orchestra: Coopers Hotel, Newtown

The Babe Rainbow: Brighton Up Bar, Darlinghurst

Ted Nash: Fortune of War Hotel, The Rocks The Avgenicos Brothers: Foundry 616, Ultimo Surprise Wasp: Frankie’s Pizza By The Slice, Sydney A Night of Country & Inner Western with The Morrisons + Emma Swift + Elana Stone + Matt Mason + Brian Campeau + The Women’s Auxillary Choir: Goodgod Small Club (Danceteria), Sydney Gary Johns: Hillside Hotel, Castle Hill Little Earthquake: Lass O’Gowrie, Wickham

The Beards: 23 Jul Bar On The Hill Newcastle; 24 Entrance Leagues Bateau Bay; 25 Fitzroy Hotel Windsor; 26 Factory Theatre

Ball Park Music: 26 Sep, Enmore Theatre

The Groovemeisters: LazyBones Lounge, Marrickville

Gorguts: 15 Nov Newtown Social Club

Skaters: 24 Jul Oxford Art Factory

Thy Art Is Murder: 19 Dec Manning Bar

Songs On Stage feat. Trudy Newell + Drifters Fiesta + Victoria Young: Leichhardt Bowling Club, Leichhardt Jeff Lang: Lizottes Central Coast, Kincumber Live & Local feat. James Thomson + Bear Hands + Jessica Cain: Lizottes Newcastle, New Lambton Live & Local feat. Doggin It + Dave Lang Duo: Lizottes Sydney, Dee Why Andy Mammers Duo: Maloneys Hotel, Sydney Brad Johns: Observer Hotel, The Rocks Mark Travers: Orient Hotel, Sydney


Mike McClellan: The Basement, Circular Quay

Angel: Concert in Memory of Rose Mansi Tawadros with Joseph Tawadros Quartet: Camelot Lounge, Marrickville Dennis Wilson: Club Belmore, Belmore Sammy J & Randy: Comedy Store, Moore Park Greg Byrne: Coogee Bay Hotel (Beach Bar), Coogee Ted Nash: Coogee Bay Hotel, Coogee Groove Depot: Coopers Hotel, Newtown Evie Dean: Dee Why Hotel, Dee Why Dr Spaceman + Taking Berlin + Max Quinn’s Onomatopenis: Easy Tiger, Paddington Chet Faker + Yumi Zouma + Rat & Co: Enmore Theatre, Enmore Kids In Glass Houses + With Confidence: Factory Theatre (All Ages), Marrickville

Jeff Lang: Lizottes Sydney, Dee Why Dave White Duo: Maloneys Hotel, Sydney Kele + Odesza + Hayden James: Metro Theatre, Sydney Little Sea + Special Guests: Metro Theatre (The Lair / All Ages / 4.45pm), Sydney Transvaal Diamond Syndicate + Yellow Feather Doggs: Metropolitan Hotel, Maitland Ray Beadle & The Silver Dollars: Miss Peaches, Newtown Mandi Jarry: Narrabeen Sands, Narrabeen Zoltan: New Brighton Hotel, Manly Graveyard Train + Special Guests: Newtown Social Club, Newtown Open Mic Night with Carl Fidler: Observer Hotel, The Rocks The White Bros: Orient Hotel, Sydney David Dallas: Oxford Art Factory, Darlinghurst Usurper Of Modern Medicine + Maids + Bare Grillz + Milkk: Oxford Art Factory (Gallery Bar), Darlinghurst Mark Lucas & the Dead Setters + Steph Miller + Not Good With Horses: Petersham Bowling Club, Petersham Rock With Laughter with Tien Tran + Sally Kimpton + Alice Fraser: Rock Lily, Pyrmont Songs On Stage feat. Chris Raicevich + Drifters Fiesta + more: Ruby L’Otel, Rozelle Greg Agar: Scruffy Murphy’s, Sydney Hot Damn! feat. Hands Like Houses: Spectrum, Darlinghurst

Eddie Boyd & The Phatapillars: Frankie’s Pizza By The Slice, Sydney

Sheena Wilbow + DJ Sudek: Spring Street Social, Bondi Junction

Ska Face with The Kava Kings + Angry Little Gods + The Midnight Tea Party + The Prospects: Goodgod Small Club, Sydney

The Vibrators + Bladder Spasms + Vacant Lot + Several Devils + Cult Killers: The Basement, Belconnen

Songs On Stage feat. Andrew Denniston + Matthew Garufi + more: Hampshire Hotel, Camperdown David Campbell: Hayes Theatre, Potts Point

Bobby Fox - The Fantastic Mr Fox: The Basement, Circular Quay The Secret Door feat. Siskin River + The Fixators + Stand Atlantic + The Armata Funk Militia + Ed Wells: The Roller Den, Erskinville

Jay Parrino: Rock Lily, Pyrmont

The Cairos + Nova Heart + Jordan Leser: Heritage Hotel, Bulli

Remi + N’Fa Jones + Silent J + Relevent: The Small Ballroom, Newcastle

Josh Rennie-Hynes: Smiths Alternative Bookshop, Canberra

Jamie Lindsay: Hillside Hotel, Castle Hill

Black Diamond Hearts: The Soda Factory, Surry Hills

Jam Night with Gang Of Brothers + more: Spring Street Social, Bondi Junction

White Knuckle Fever: Hotel Hollywood, Surry Hills

Shelley Segal: The Vanguard, Newtown

Greg Agar: Summer Hill Hotel, Summer Hill


Australian Burlesque Festival: Tour Showcase: Lizottes Newcastle, New Lambton

Red Door Sets feat. Ackers: The Workers, Balmain



































THE MUSIC • 25TH JUNE 2014 • 51

the guide New Empire: Transit Bar, Canberra Alison Wonderland + Keyes + Coda: Uni Bar, Wollongong Quake Machine + JD Mo + Upside Down Miss Jane: Valve @ Agincourt, Ultimo Kicks: World Bar, Kings Cross Northeast Party House + Guests: Yours & Owls (RAD Bar), Wollongong

FRI 27

Paul Greene & The Other Colours + Leeroy Lee: 505, Surry Hills Am 2 Pm: Albion Hotel, Parramatta

The World In Cinematic + Antonamasia + Maybe I’ll Live Forever + Pulse Mavens: Bald Faced Stag, Leichhardt Dr A & Mitch Capone: Bar Petite, Newcastle

Black Diamond Hearts + Blake Tailor: Crows Nest Hotel (Public Bar), Crows Nest

Stir Crazy: Carousel Inn, Rooty Hill Luke Dixon: Castle Hill RSL (Terrace Bar), Castle Hill

Alan Barnes + Hooper & O’Toole Irish Band: Dicey Riley’s Hotel, Wollongong

Lauren Azar: Castle Hill RSL (Piano Lounge), Castle Hill

Chet Faker + Yumi Zouma + Rat & Co: Enmore Theatre, Enmore

Josh Pyke + Jack Carty: Cessnock Performing Arts Centre, Cessnock

Ange: Ettalong Memorial Bowling Club, Ettalong

Jeff Drake + A-Tonez + Monstrum + more: Chinese Laundry, Sydney

Trial & Error with Akmal: Factory Theatre (Fuse Box), Marrickville The Disables + Liberation Front + Topnovil + SC Trash: Factory Theatre (Factory Floor), Marrickville Karaoke: Figtree Hotel, Wollongong Ted Nash: Fortune of War Hotel, The Rocks Various DJs: Frankie’s Pizza By The Slice, Sydney Same, Same But Different+Various DJs: Goldfish, Kings Cross


Northeast Party House + Guests: Transit Bar, Canberra

Wildcatz: One World Bar, Parramatta

Remi + N’Fa Jones + Silent J + Omar Musa + Hau Latukefu: Trinity Bar, Dickson

Reckless + Jonathon Jones: Orient Hotel, Sydney

FBi Click Fundraiser Launch: Goodgod Small Club (9pm), Sydney

Music Makers Club feat. Jacobide + Domino + Clementine + Salvador Dali Llama + Tim Blunt: Oxford Art Factory (Gallery Bar), Darlinghurst

Dave Phillips: Grand Hotel, Rockdale

Skyz The Limit: Penrith Gaels, Kingswood

James Reyne + Tegan Wiseman: Brass Monkey, Cronulla

Triple Shots: Harbord Beach Hotel, Freshwater

Sound City: Penrith Panthers (Terrace Bar), Penrith

My Generation - 50 Years of The Who with Ciaran Gribbon + Steve Balbi + Simon Meli: Bridge Hotel, Rozelle

New Empire + Special Guests: Heritage Hotel, Bulli

The Mondays Trio: PJ Gallaghers, Leichhardt Q Sound: Quakers Inn, Quakers Hill

The Creases: Brighton Up Bar, Darlinghurst

The Vibrators + Stanley Knife + Topnovil + Cult Killers + Headbutt: Hermanns Bar, Darlington

Everybody Be Cool: Bristol Arms (Retro Nightclub), Sydney

James Fox Higgins Trio: Hillside Hotel, Castle Hill

Soul/Funk Party with Bump City: Camelot Lounge, Marrickville

Heath Burdell: Ingleburn RSL, Ingleburn

Danny Sun’s Rhythm Revue: Camelot Lounge (Django Bar), Marrickville

Start:Cue: Jam Gallery, Bondi Junction

Fresh Fridays feat. Dialectrix: Beach Road Hotel, Bondi Beach Lenin Lennon + Naked + Burlap + Point Being: Black Wire Records, Annandale

Pop Fiction: Canterbury Hurlstone Park RSL, Canterbury The Kamis: Canterbury Leagues Club, Belmore South Octavian + Wolves In Fashion: Captain Cook Hotel, Paddington David Agius: Castle Hill RSL, Castle Hill The Angels with Dave Gleeson: Cessnock Leagues Club, Cessnock Steve Crocker: Chatswood RSL, Chatswood Sweater Beats + Big Deal Gillespie + Deckhead + more: Chinese Laundry, Sydney Beneath + Twwth + Spanner DJs + No Lights + Black Plastics: Club 77, Darlinghurst Franky Valentyn: Club Five Dock, Five Dock Pointless + Dave Hughes: Comedy Store, Moore Park Glen Esmond: Coogee Bay Hotel (Beach Bar), Coogee Leon Fallon: Coogee Bowling Club, Coogee Johnny G & The E-Types: Coogee Diggers, Coogee

Andy Mammers Duo: Kirribilli Hotel, Milsons Point Revellers + Nerdlinger + Guests: Lansdowne Hotel, Chippendale Carrie Phillis & The Downtown Three + Hey Baby + The Flipped Out Kicks: LazyBones Lounge, Marrickville Golgotha Motel: Lewisham Hotel, Lewisham Casey Donovan: Lizottes Central Coast, Kincumber Motown Show with James Morrison: Lizottes Newcastle, New Lambton ABBASBACK: Lizottes Sydney, Dee Why The Shufflers: Marble Bar, Sydney DJ Flash: Marquee, Pyrmont Story Of The Year + Sienna Skies + The Sweet Apes: Metro Theatre (All Ages), Sydney Geoff Rana + Greg Agar: Mona Vale Hotel, Mona Vale Funked Up Fridays: Mounties (Terrace Bar), Mt Pritchard Graveyard Train + Cherrywood: Newtown Social Club, Newtown

Karaoke: Corrimal Hotel, Corrimal

Double Jeopardy Duo: North Sydney Leagues, Cammeray

Craig Thommo Duo: Courthouse Hotel, Darlinghurst

Melody Rhymes: Northies (Old Joe’s), Cronulla

Ebony & Ivory: Crown Hotel, Sydney

James Englund: Northies (Sports Bar), Cronulla Dennis Demello: Oasis on Beamish Hotel, Campsie

Boney M feat. Maizie Williams: Revesby Workers (Whitlam Theatre), Revesby Mesa Groove: Revesby Workers (Infinity Lounge), Revesby The Shrooms + Dave White Experience: Rock Lily, Pyrmont The Cockroaches: Rooty Hill RSL (Tivoli Showroom), Rooty Hill

Five Mile Town + Lanks + The Kava Kings: Upstairs Beresford, Surry Hills Red Gazelle + 2010 + Crossing Red Lines + Five Decade Saint: Valve @ Agincourt (Basement / 7pm), Ultimo Vent at Valve feat. Izzy n The Profit + DJ Maniak: Valve @ Agincourt (Level One / 9pm), Ultimo The Hot Teas: Warilla Bowls & Recreation Club, Barrack Heights Dave Mac + DJ Marty: Wentworthville Leagues Club, Wentworthville Hooray For Everything: Windsor Leagues Club, South Windsor Transvaal Diamond Syndicate: Woonona Bulli RSL, Wonoona MUM: World Bar, Kings Cross

SAT 28

Flamin’ Beauties: Royal Hotel, Springwood

Jamie Lindsay: Adria Bar & Restaurant, Sydney

Suns of the Universe + Psychic Sun + The Armata Funk Militia + Ziggy McNeill: Spectrum, Darlinghurst

Chet Faker + Yumi Zouma: Anita’s Theatre, Thirroul

Red Slim: Spring Street Social, Bondi Junction

The Crooked Fiddle Band: Australian Croatian Club, Turner

Frenzal Rhomb + Hostile Objects + The Fuck Outs: Collector Hotel, Parramatta Melody Rhymes: Collingwood Hotel, Liverpool Pointless +Dave Hughes: Comedy Store, Moore Park John Vella + Kinetic Method: Coogee Bay Hotel (Beach Bar), Coogee Rosco James + Phil Vlachou: Coogee Diggers, Coogee Miss Nesta: Corrimal Hotel (Lounge Bar / 3.30pm), Corrimal Lenin Lennon + Naked + Bare Grillz + more: Croatian Wickham Sports Club, Wickham Cath & Him: Crown Hotel, Sydney Dave White Experience + Jess Dunbar: Crows Nest Hotel, Crows Nest Rock Solid Duo: Dapto Leagues Club, Dapto The Side Tracked Fiasco + The Crimson Horror + EMTE: Dicey Riley’s Hotel, Wollongong Ronny Chieng: Enmore Theatre (7.15pm / 9.15pm), Enmore Christie Lamb: Ettamogah Hotel, Kellyville Ridge Trial & Error with Akmal: Factory Theatre (Fuse Box), Marrickville Glenn Esmond: Fortune of War Hotel, The Rocks Malo Malo: Foundry 616, Ultimo Various DJs: Frankie’s Pizza By The Slice, Sydney

Oliver Goss: Australian Hotel & Brewery, Rouse Hill

DJ Spen: Goldfish, Kings Cross

Matt Purcell: Bar Petite, Newcastle

Antoine: Greystanes Inn, Greystanes

Anthony Warlow + Faith Prince: Sydney Opera House (Concert Hall), Sydney

Olympic Ayres (DJ Set) + Tommy Franklin: Beach Road Hotel, Bondi Beach

Revellers + Nerdlinger + Guests: Hamilton Station Hotel, Hamilton

Darren Percival: Sydney Opera House (Studio / 7pm and 9.45pm), Sydney

The Angels with Dave Gleeson: Belmont 16’s, Belmont

Mondo Rock: State Theatre (8pm), Sydney

Loaded Six Strings: Tahmoor Inn, Tahmoor The Sinking Teeth + Grenadiers + Psyrens + All The Wise: Tattersalls Hotel, Penrith Jeff Lang: The Basement, Circular Quay

Yo Gabba Gabba! + Marcus Whale: Big Top Sydney (10am / 1pm / 4pm), Milsons Point The Sinking Teeth + Grenadiers: Black Wire Records, Annandale James Reyne + Jordan Millar: Brass Monkey, Cronulla Heath Burdell: Brewhouse, Kings Park

Songs On Stage feat. Andrew Denniston + Jody + The Dissolutes + Premonition: Hampshire Hotel, Camperdown Redlight Ruby: Harbord Beach Hotel, Freshwater David Campbell: Hayes Theatre, Potts Point Benjalu + Evan & The Brave: Heritage Hotel, Bulli

Black Label + Love Child: Bridge Hotel, Rozelle

Institutionalized Fest feat. Party Vibez + Corpus + Dark Order + Thrashed + more: Hermanns Bar (3pm), Darlington

Dave Graney: The Royal Exchange, Newcastle

Holy Holy + Mountains + The British Blues: Brighton Up Bar, Darlinghurst

Little Features with Jackson McLaren: Hibernian House, Surry Hills

Big Steel: The Vineyard Hotel, Vineyard

Everybody Be Cool: Bristol Arms (Retro Nightclub), Sydney

The Cactus Channel: Howlin’ Wolf Bar, Wollongong

Brad Johns: Time & Tide Hotel, Dee Why

A Band Named Trevor: Bull & Bush, Baulkham Hills

Am 2 Pm: Ingleburn RSL, Ingleburn

Stormcellar: Town Hall Hotel, Newtown

Jeff Lang: Camelot Lounge, Marrickville

Endless Summer Beach Party: Ivanhoe Hotel, Manly

The Crimson ProjeKCt: The Hi-Fi, Moore Park Bootleg Rascal: The Roller Den, Erskinville


Joey & The Boy: Club Belmore, Belmore


THE MUSIC • 25TH JUNE 2014 • 53

the guide Ian Moss + Tegan Wiseman: Katoomba RSL, Katoomba

Cath & Him: Crossroads Hotel (1pm), Casula

Andy Mammers: St George Rowing Club, Wolli Creek

James Fox Higgins Trio: Kirribilli Hotel, Milsons Point

Chet Faker + Yumi Zouma + Rat & Co: Enmore Theatre, Enmore

Jo Fabro Group + Dirt Track Demons: LazyBones Lounge, Marrickville

JJ Duo: Ettalong Memorial Bowling Club, Ettalong

Mahler 4 & Sibelius 6 by the Australian Chamber Orchestra: Sydney Opera House (Concert Hall / 2pm), Sydney

Reckless: Ettamogah Hotel, Kellyville Ridge

The Hot Teas: The Illawarra Brewery, Wollongong

Ode To A Crisis Cabaret with Dioni Vertzayas: Factory Theatre, Marrickville

Meri Amber: The Mill Hotel, Milperra

Mandi Jarry: Le Pub, Balmain A Girls A Gun + Narla: Lewisham Hotel, Lewisham ABBASBACK: Lizottes Newcastle, New Lambton

Trial & Error with Akmal: Factory Theatre (Fuse Box), Marrickville

Motown Show with James Morrison: Lizottes Sydney, Dee Why Bridie King + Nellie Pollard-Warburton: Lord Wolseley Hotel, Ultimo Altitude: Macarthur Tavern, Campbelltown Ray Beadle Band: Marble Bar, Sydney EDX : Marquee, Pyrmont Liz Stringer + The Re-Mains: Marrickville Bowling Club, Marrickville Ben Finn Trio + A Team Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill Two Minds Trio: Mercantile Hotel, The Rocks Austrailan Burlesque Festival: The Big Tease!: Metro Theatre, Sydney DJ Shayne Alsop: Mounties (Terrace Bar), Mt Pritchard David Agius: New Brighton Hotel, Manly Live @ The Arms: Newport Arms Hotel (Terrace Bar), Newport Northeast Party House + High-Tails + Conics: Newtown Social Club, Newtown

Heath Burdell: Family Inn, Rydalmere


Foggy Mountain Jam feat.Kasey Chambers + Busby Marou + more: Rooty Hill RSL (Tivoli Showroom), Rooty Hill

Beaten Bodies + Brass Knuckle Brass Band: Transit Bar, Canberra

The Cactus Channel + Beaten Bodies: Lansdowne Hotel, Chippendale

Stormcellar: Royal Hotel, Bondi

King Tide + Castlecomer + Avivaa + DJ Bobby Gray: Upstairs Beresford, Surry Hills

The Filthy Teens + Uplifting Bellends: Lewisham Hotel, Lewisham

SIMA feat. Phil Slater - The Sun Songbook: Seymour Centre (Sound Lounge), Chippendale

Amodeus + more: Valve @ Agincourt (Basement / 12pm) Ultimo

Jeff Lang: Lizottes Newcastle, New Lambton

Leroy’s Layabouts: Shady Pines Saloon (6pm), Darlinghurst

Not Like Horse + Lillye + Drillsaw: Valve @ Agincourt (Basement / 8pm), Ultimo

Evie Dean: Sir Joseph Banks Hotel, Botany Sydney Social with Go Freek: Soho, Potts Point 50 Million Beers: Spring Street Social, Bondi Junction Blake Tailor: St George Motor Boat Club (4pm), Sans Souci Evie Dean: St George Rowing Club, Wolli Creek

50...! with DJ S.H.E. + Earazerhead + more: Valve @ Agincourt (Level One / 8pm), Ultimo

All That Jazz: New Hampton, Potts Point

Graveyard Train + Cherrywood: Yours & Owls (RAD Bar), Wollongong

DJ Shayne Alsop: Mounties (Terrace Bar), Mt Pritchard

Steve Tonge: Observer Hotel, The Rocks

Glenn Esmond: Northies (Sports Bar), Cronulla

Jess Dunbar: Opera Bar, Sydney

Victoria Avenue: Northies (Old Joe’s), Cronulla

Big Swing Band: Tattersalls Hotel, Penrith

Rob Henry + Three Wise Men: Observer Hotel, The Rocks

Latin & Jazz Open Mic: World Bar, Kings Cross

Crocq: Bar Petite, Newcastle

Remi + N’Fa Jones + Silent J + Hau Latukefu: Oxford Art Factory, Darlinghurst

Pretend Eye + Mezze Mates + Harpoonovation: The Chippendale Hotel, Chippendale

Craig Thommo: Panthers North Richmond, North Richmond

My Generation - 50 Years of The Who with Ciaran Gribbon + Steve Balbi + Simon Meli: The Cube, Campbelltown

Matt Price: PJ Gallaghers, Moore Park Mark Oats & Cara Kavanagh Duo: PJ Gallaghers, Leichhardt Ignition: R.G McGees, Richmond Saturday Night Diva’s: Revesby Workers (Infinity Lounge), Revesby

Paul Greene & The Other Colours + Leeroy Lee: The Stag & Hunter Hotel, Mayfield SWRLS: The Standard Bowl, Surry Hills Tim Shaw: Time & Tide Hotel, Dee Why

SUN 29

Yo Gabba Gabba! + Marcus Whale: Big Top Sydney (10am), Milsons Point Sydney Blues Society: Botany View Hotel, Newtown Benjalu + Evan The Brave + Nikita Rolleston: Brass Monkey, Cronulla

UK Anthems + U2 Elevation: Orient Hotel, Sydney Loaded Six Strings: Overlander Hotel, Cambridge Gardens Vanessa Heinitz: Penrith Panthers (Terrrace Bar / 2pm), Penrith Vintage 4: Penrith RSL (Castle Lounge / 2pm), Penrith

Peter Northcote: Bridge Hotel, Rozelle

Suite Az: Penrith RSL (Castle Lounge / 9pm), Penrith

Champagne Jam: CabraVale Diggers, Canley Vale

Lj: Picton Hotel, Picton

The Grigoryan Brothers: Camelot Lounge, Marrickville The Gapp Project: Camelot Lounge (Django Bar), Marrickville Tori Darke: Campbelltown Catholic Club, Campbelltown Skyz The Limit: Campsie RSL, Campsie Lonnie Brabender + Alisa Gray: Canterbury Leagues Club (1pm), Belmore South Matt Price: Coogee Bay Hotel (Beach Bar), Coogee Dave Graney: Coogee Diggers (The Bunker), Coogee

Geoff Rana: Pritchards Hotel, Mt Pritchard Mick Aquilina: Ramsgate RSL (Lounge / 2pm), Sans Souci Blake Tailor: Richmond Club (4pm), Richmond David Campbell + John Bucchino: Riverside Theatre (Lennox Theatre), Parramatta Suite Az: Rock Lily, Pyrmont Transvaal Diamond Syndicate + Big Blind Ray: Shady Pines Saloon, Darlinghurst Brackets & Jam: Spring Street Social, Bondi Junction


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

200K + Friends: Miss Peaches, Newtown

Ben Lee + Danny Ross: The Basement, Circular Quay

New Empire + Special Guests: The Small Ballroom, Newcastle

MON 30

Tranny Bingo: Coopers Hotel, Newtown

Hue Williams: Woy Woy Leagues, Woy Woy

MC Thorn + Benji + DJ Skae: Oxford Art Factory, Darlinghurst

JJ Duo: Picton Hotel, Picton

Dave White: Woolloomooloo Bay Hotel, Woolloomooloo

Sonic Mayhem Orchestra: LazyBones Lounge, Marrickville

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

Suite Az: Penrith RSL (Castle Lounge / 9pm), Penrith

Ange: Waverley Bowling & Recreation Club, Waverley

Katchafire + Special Guests: Metro Theatre, Sydney

Alison Wonderland: The Argyle House, Newcastle

Pacha feat. SCNDL + Krunk + Glover + Ben Morris + Matt Nugent + Various DJs: The Ivy, Sydney

Fourkics + The Swamp Crocs + Stacy Gacy + Flaccid Mohawk + Kite: Valve @ Agincourt (Basement / 4pm), Ultimo

James Englund: Woolloomooloo Bay Hotel, Woolloomooloo

Hand Picked: Overlander Hotel, Cambridge Gardens

Greg Poppleton & The Bakelite Broadcasters: Penrith RSL (Castle Lounge / 2pm), Penrith

Joe Echo Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill

School Of Rock+Various Artists: Valve @ Agincourt (Basement / 12pm), Ultimo

Songs On Stage feat. Stuart Jammin + Chris Brookes + Massimo Presti + Rick Taylor: Kellys on King, Newtown

Party Central + Renae Stone: Orient Hotel, Sydney

The First Soundz feat. Maveriq + Sequel + URKii + DJ Broyda + more: The Hi-Fi, Moore Park

Aquila Young: Mars Hill Cafe, Parramatta

2 Shots of Classic Rock: Time & Tide Hotel, Dee Why

Northeast Party House + Guests: Metro Theatre (The Lair / All Ages / 4.45pm), Sydney

Not Another Sequel, Just Another Prequel + Tensions Arise + Dawn Heist + more: Tattersalls Hotel, Penrith

Stolen Saturdays+Various DJs: The Eastern (El Topo Basement), Bondi

The Rockin Mustangs: Marrickville Bowling Club, Marrickville

Menagerie feat. Jackson McLaren & The Triple Threat + Hannah Marjorie + Cara Hine: The Welcome Hotel (4pm), Rozelle

Hits & Pieces: Winmalee Tavern, Winmalee

Rob Henry + Carl Fidler: Observer Hotel, The Rocks

Party Mode + Drew: Penrith Panthers (Terrace Bar), Penrith

Carribean Soul: Harbord Beach Hotel, Freshwater

Reckless: Town Hall Hotel, Balmain

Vanessa Heinitz: Tahmoor Inn, Tahmoor

Zooper Dooper: Penrith Hotel, Penrith

Funked Up: Frankie’s Pizza By The Slice, Sydney

Black Diamond Hearts: Rock Lily, Pyrmont

Armchair Travellers Duo: North Sydney Leagues, Cammeray

The Nuts: Penrith Gaels, Kingswood

SASH feat. Le Loup + Mo’Funk + Matt Weir + Kerry Wallace: Flyover Bar, Sydney

Berias Masseque + The 5 Lands Band: The Rhythm Hut, Gosford

Kye Brown: Orient Hotel, Sydney

TUE 01

Old School Funk & Groove Night: 505, Surry Hills Open Mic Night: Botany View Hotel, Newtown Open Mic Night with Champagne Jam: Dundas Sports Club, Dundas Open Mic Night: Great Northern Hotel, Newcastle Liza Ohlback: LazyBones Lounge, Marrickville Joan As Police Woman: Lizottes Newcastle, New Lambton Kishi Bashi + Special Guests: Newtown Social Club, Newtown Steve Tonge: Observer Hotel, The Rocks Johnny Cass + Jim Hilbun: Spring Street Social, Bondi Junction Chu: World Bar, Kings Cross

backstage/classies EMPLOYMENT









MAGNUS seeking ambitious BASS GUITARIST to complete three piece originals rock band. Passion & Good Gear required, b/u vocals are a plus. / Ad ID: 1-13992

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MUSIC SERVICES DUPLICATION/MASTERING CD & DVD DUPLICATION Editing/ Mastering and Artwork design available. See for specials. Ph:0418232797 Ad ID: 1-13343

Female Singer Required The Mad Hatters are a Sydney based party cover band with a rock edge. We are looking for a versatile female singer to compliment the existing line up that will take the lead vocal on approximately 50% of the song list, and provide backup vocal for the rest. The ideal candidate will have live performance experience in a lead vocal role and is comfortable engaging an audience in the capacity of a front person. If the Mad Hatters seems like your cup of tea, please call Chris on 0400 796 572 for more information. Ad ID: 1-14033

GUITAR SLINGER NEEDED Well established Central Coast-based hard rock band seeks accomplished guitarist and general legend to join our wolfpack. Theoretical training preferred, but if you have decent gear, can write a mean riff and solo like Satriani, Petrucci or Friedman we want to hear from you. Keenness for touring and performing is a must. No hipsters.

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(02) 9763 7030 THE MUSIC • 25TH JUNE 2014 • 55

56 • THE MUSIC • 25TH JUNE 2014

The Music (Sydney) Issue #44  
The Music (Sydney) Issue #44  

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