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“THE FAMILY DYNAMIC IS A BIG PART OF THE CHEMISTRY OF OUR BAND.”

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- THE NATIONAL FRONTMAN MATT BERNINGER (P20)

Blank Realm The National Black Faggot Jeff Martin

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Pigeon Remi Halfway The Necks Nervo Miami Horror

SYDNEY’S PREMIER YOUNG PUNKS BORN LION PREMIERE THEIR NEW VIDEO. THIS WEEK ON THEMUSIC.COM.AU

WE GET A LOOK BEHIND THE SCENES WITH DARWIN DEEZ IN AN EXCLUSIVE VIDEO. VISIT THEMUSIC.COM.AU

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REVIEWS Album: Harmony Live: Laneway Arts: Watching Girls

THE GUIDE Cover: MTNS Food/Drink Frontlash/Backlash Indie News Opinion Gig Guide The End: Dry Countries

“WHAT’S BRILLIANT IS YOU HEAR THESE GREAT SCORES IN FILMS OR ON TELEVISION SERIES LIKE DOCTOR WHO BUT AS A VIEWER YOU’RE OFTEN SO WRAPPED UP IN THE STORY THAT YOU DON’T REALLY HEAR IT.” - PETER DAVISON ON THE DOCTOR WHO SYMPHONIC SPECTACULAR (P21)

STREAM FLESH & BLOOD, JOHN BUTLER TRIO’S NEW LP.

review “THE QUARTET HAVE BRIDGED THE GAP BETWEEN THE INDIE STYLE OF LONDON AND THE EXOTIC SOUNDS OF THE EAST, WITH HARMONIES REMOVED FROM THE CLUTCHES OF A SCANDINAVIAN WINTER.” - BENNY DOYLE REVIEWS BOMBAY BICYCLE CLUB’S NEW LP (P33)

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“MODELLING WAS GREAT, BUT IT WAS NEVER THE FOCUS. THE FOCUS WAS ALWAYS TO GET OUR HANDS DIRTY WITH MUSIC.” - SIBLING EDM SLAYERS NERVO (P27)


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EDITOR Steve Bell

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CONTRIBUTORS Amorina Fitzgerald-Hood, Anthony Carew, Baz McAlister, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Carley Hall, Chris Yates, Cyclone, Dan Condon, Daniel Johnson, Dave Drayton, Grace Wilson, Guy Davis, Helen Stringer, Jake Sun, Jazmine O’Sullivan, Lochlan Watt, Madeleine Laing, Mandy McAlister, Matt O’Neill, Mitch Knox, Sam Hobson, Sky Kirkham, Tessa Fox, Tom Hersey, Tony McMahon, Tyler McLoughlan

THIS WEEK THINGS TO DO THIS WEEK • 5 FEBRUARY - 11 FEBRUARY 2014

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This weekend’s West End Record Fair (held second Saturday of each month between Boundary Hotel, The Hi-Fi and Rumpus Room) features a range of NSW sellers who rarely venture north, so you’re bound to find some treasures in the vinyl crates! It’s free from 10am3pm, and on Sunday the same sellers are also trekking to the Sunshine Coast Record Fair, happening 9am at Maroochydore Sands Tavern (gold coin donation). Dig!

This week marks the beginning of the month-long BrisAsia Festival, celebrating the rich and varied cultural connection between Brisbane and the many fascinating sights, sounds, tastes and faces of Asia. There are concerts, markets, world music specials, martial arts exhibitions – literally something for everyone! It’s a Brisbane City Council initiative so check out their website for all details and schedules.

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BRISBANE

A long time ago, in a venue far, far away… well, not that far really! Next Tuesday evening (11 Feb) at Black Bear Lodge the Man Vs Bear trivia team are bringing you a special treat – Star Wars Trivia! Do you know the difference between a Tauntaun and a Tusken Raider? Do you know where Chewie is from (and what he’s always howling about)? Register online and get amongst it, and rest assured – it’s only featuring questions from the original trilogy so it’s a Jar Jar free zone!

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Most of you know BJ Novak as the hilariously out of line Ryan Howard on the American version of The Off ice, but the guy’s got plenty more skills: standup comedy, directing and writing. One More Thing: Stories And Other Stories, his first fictional foray, is a collection of short tales that touches on everything from Frosted Flakes and Tony Robbins. It’s human, humorous and showcases Novak as an exciting new voice in American literature.

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Most of us thought we’d seen the last of Spicks & Specks, but the hit music trivia show is back to remind us why we loved it so much in the first place, with a brand new team leading the fun, featuring comedians Josh Earl and Adam Richard, and former Killing Heidi frontwoman Ella Hooper. Although Adam, Myf and Alan’s shoes are plenty big, these three new contenders are ready for the challenge, and with fresh games and guests you won’t want to miss the show when it returns tonight to ABC1, 8.30pm.

cheer film The Sochi 2014 Winter Olympics are kicking off on the coast of the Black Sea this Friday, and with our biggest team of athletes making the trip it’s shaping up to be our most successful winter games ever. So cheer on our champs like Lydia Lassila (aerial freestyle skiing) and the awesomely nicknamed Alex ‘Chumpy’ Pullin (snowboard cross – nothing suss), and let’s see if Russia can get back into the world’s good books after all their disgusting anti-gay crap. ‘Hope’ is the theme of this year’s Western Union Short Film competition, part of the Indian Film Festival Of Melbourne, and the IFFM is calling on young filmmakers from Australia and India to put together a ten-minute film – one which references ‘hope’ – and dazzle them with something inspiring and colourful. One Australian and Indian winner will be announced, with the first prize including an overseas holiday as well as the opportunity to screen your film at the upcoming IFFM, happening throughout April and May. Head to iffm.com.au for more info, with entries closing on 15 Mar. THE MUSIC • 5TH FEBRUARY 2014 • 9


national news news@themusic.com.au DISCLOSURE

CALLING ALL CARS

TIME TO RISE UP

PARTY IN THE PADDOCK

Taking killer music out to our rural friends, Groovin’ The Moo is back for another instalment in 2014 with some tasty overseas headliners and the best in Australian sounds. The bill features Disclosure, Dizzee Rascal, Holy Fuck, Cults, The Presets, Parkway Drive, Karnivool, Illy, Vance Joy, The Jezabels, Architecture In Helsinki, Action Bronson, The Naked & Famous, Violent Soho, Robert DeLong, Andy Bull, The Jungle Giants, The Kite String Tangle, Kingswood, Loon Lake, Peking Duk, Thundamentals, What So Not and Wave Racer, with Unearthed winners and local bands to be announced in the coming months. The festival hits, Maitland Showground, 26 Apr; University Of Canberra, 27 Apr; Prince Of Wales showgrounds, Bendigo, 3 May; Townsville Cricket Grounds, 4 May; and Hay Park, Bunbury, 10 May. The event is proudly presented by The Music.

MONSTER MAGNET

LOUD AND PROUD

New Jersey riff mongers Monster Magnet are celebrating 25 years in the rock game, and the stoner legends want to mark the monumental occasion with some partying Down Under. Hear tracks from their latest album Last Patrol for the very first time, as well as all the classics from seminal records like Dopes To Infinity and Powertrip. They play 3 Apr, Amplifier, Perth; 4 Apr, The Hi-Fi, Sydney; 5 Apr, The Hi-Fi, Brisbane; and 6 Apr, 170 Russell, Melbourne. The tour is proudly presented by The Music.

IT’S INTUITION, BABY

The Stray Sisters – Waifs siblings Donna Simpson and Vikki Thorn – will perform 7 – 9 Mar, Port Fairy Folk Festival; 13 Mar, Corner Hotel, Melbourne; 15 – 16 Mar, Blue Mountains Music Fest; 18 Mar, The Zoo, Brisbane; 20 – 21 Mar, The Basement, Sydney; 22 Mar, Tilley’s Cafe, Canberra; and 26 Mar, Fly By Night, Freo. They also support John Butler Trio 27 Mar, Freo Arts Centre; 28 Mar, Belvoir Amphitheatre, Perth; and 29 Mar, Old Broadwater Farm, Busselton.

POND

POND JOIN THE AM TOUR

The upcoming Arctic Monkeys tour has just been bolstered by the announcement that Perth psych dudes Pond will be opening for the Sheffield four on their full national tour. They will be sure to win plenty of new fans when they perform on the all ages AM tour 6 May, Sydney Entertainment Centre; 7 May, Brisbane Entertainment Centre; 9 May, Rod Laver Arena, Melbourne; and 13 May, Perth Arena. The tour is proudly presented by The Music.

“ABBOTT LAUNCHES NEW CAMPAIGN: IT’S MY ABC” BE CAREFUL WHAT YOU JOKE ABOUT TOM GLEESON [@NONSTOPTOM]. 10 • THE MUSIC • 5TH FEBRUARY 2014

Celebrating the release of Raise The People, Calling All Cars are going to do exactly that with The Love Junkies and The Sinking Teeth on 20 Mar, Manning Bar, Sydney*; 21 Mar, Amplifier, Perth; 22 Mar, Prince Of Wales, Bunbury; 23 Mar, Indi Bar, Perth; 27 Mar, The Spotted Cow, Toowoomba; 28 Mar, Beach Hotel, Byron Bay; 29 Mar, The Zoo, Brisbane; 30 Mar, Solbar, Maroochydore; 12 Apr, Waterfront, Geelong* (all ages); 17 Apr, Bendigo Easter Festival* (all ages); 18 Apr, Mynt Lounge, Melbourne; 20 Apr, Torquay Hotel; 23 Apr, Karova Lounge, Ballarat; 24 Apr, Corner Hotel, Melbourne; 1 May, Transit Bar, Canberra; 2 May, The Small Ballroom, Newcastle; 3 May, Oxford Art Factory, Sydney; 4 May, and Studio 6, Sydney* (The Love Junkies and The Sinking Teeth not appearing on these * dates).Presented by The Music.

BLISS N ESO

THE TRAVELLING SHOWMEN

Easily set to be one of the biggest Oz hip hop outings ever experienced on home soil, rhyme favourites Bliss N Eso have announced their huge Circus Under The Stars tour, calling on the help of their good pals Horrorshow and Seth Sentry. Catch this massive all ages tour when it hits Nobbys Beach Reserve, Newcastle, 12 Apr; The Domain, Sydney, 17 Apr; Riverstage, Brisbane, 24 Apr; Signal Park, Busselton, 2 May; Wellington Square, Perth, 3 May; Ballarat Showgrounds, 10 May; Bendigo Showgrounds, 15 May; and Flemington Racecourse, Melbourne, 16 May. The tour is proudly presented by The Music.


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local news qld.news@themusic.com.au BEACHES

ILLY

STAYING SICK WITH ILLY AMP FINAL SHORTLIST ANNOUNCED

The nine finalists up for the ninth annual Coopers AMP were unveiled on Australia Day, with the following artists in the running for the potentially career changing first prize of $30,000. The shortlisted records from 2013 are: She Beats, Beaches; Not Art, Big Scary; Dream Cave, Cloud Control; The Cold Light Of Day, Dialectrix; King Amongst Many, Horrorshow; Howlin’, Jagwar Ma; In Blood Memory, Jen Cloher; Phoenix, Jimblah; and Embracism, Kirin J Callinan. The winner will be announced on 5 Mar.

TOAST THE NEW ERA AT IMA

The Brisbane arts community is being invited to the Institute Of Modern Art on Thursday night from 6pm to enjoy a drink and welcome the new IMA co-directors, Aileen Burns and Johan Lundh. Both writers and curators, the pair come from Northern Ireland, where they looked after the Centre For Contemporary Art Derry-Londonderry. Committed to boundary pushing new work, fresh collaborations and education, their arrival signals an exciting new chapter at the IMA.

MUCHAS GRACIAS

Music fans in Gladstone have long been enjoying the party at the El Grande Festival, but now Brisbane gets a little taste of the fun with a spinoff hitting New Globe Theatre, 27 Mar. On the bill are Northern Territory electronic soul duo Sietta, as well as rock’n’roll activist Ezekiel Ox and local indie electro crew MKO. It’s only a tenner to get in so check it out and go large.

INTERGALACTIC BURLESQUE

See Star Wars ideals taken to a saucy galaxy far, far away when The Empire Strips Back heads to the Gold Coast Arts Centre, 5 Apr. A sci-fi fantasy created to treat audiences to an experience unlike any other, this continuation on the original Star Wars Burlesque production sees every element of the evening stepped up. Get your hearts racing with The Force – tickets can be purchased through the venue box office for $60+BF.

HEEL DOWN HOEDOWN

The country revolution is coming to Eatons Hill Hotel, 13 Mar, when Grammy Award winning songwriter Gretchen Wilson returns to Australia for the first time in almost a decade. Known for her rowdy live performances, you’ll no doubt be getting hits like Redneck Woman and I’m Here For The Party when Wilson rocks Brisbane, with Novocastrian Morgan Evans supporting on the night.

UNSIGNED TIME TO SHINE

Exposed, Ric’s Bar’s ripper unsigned and originals band competition is returning for its six instalment, with the heats happening on Sunday nights from 7pm, going from now until 6 Apr before the finals get underway. If you think you’ve got what it takes to join the list of Brissie music legends, then send an email through to exposed@ricsbar.com.au and put yourself in the running to win cash, gift vouchers from West End Music as well as an advertising package from us! Exposed #6 is proudly presented by The Music.

THE LIVING END

QUICK AND THE DEAD

If you missed out on Dave Chappelle tickets last week, we hope you got in quick with his second Brisbane show, happening 10pm, 20 Feb at QPAC, because those tickets are long gone now as well. We doubt the superstar comedian will announce any more shows, but hey, we’ve been wrong before.

“BALLOONS AREN’T SO FUN WHEN YOU THINK OF THEM AS BAD BREATH STORAGE UNITS”

DO NOT RUIN BALLOONS FOR US [@JULIUSSHARPE]. 12 • THE MUSIC • 5TH FEBRUARY 2014

Right now, it seems there’s no stopping Illy. He’s one of Australia’s most popular hip hop artists, he’s just been announced as part of Groovin’ The Moo after snagging two spots in the latest Hottest 100, and now he’s adding to his Cinematic album tour with additional dates after selling the fuck out of the first run. If you missed tickets to his show at The Zoo, 15 Mar, you best get along to the same venue the following night, 16 Mar. Oztix for tickets – $35.

WEST END RIOT

Leave it to The Living End to save the day again. After stepping in for Jane’s Addiction at Splendour In The Grass 2009, the Melbourne rock stalwarts will take it to Soundwave crowds right around the country after Stone Temple Pilots, featuring Chester Bennington, cancelled all their upcoming dates to finish work on their forthcoming album. If you had tickets to either of STP’s sideshows down south you can obtain a refund from point of purchase.


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THE MUSIC • 5TH FEBRUARY 2014 • 13


local news qld.news@themusic.com.au ORPHANED LAND

IWRESTLEDABEARONCE

THEY COME ONE

The originators and still the best – Israeli breakthrough prog mainstays Orphaned Land will bring their uncompromising and technical brand of oriental metal to Australia for the very first time. Their music unites enemies right across the Middle East, with fans placing themselves in the firing line just to hear a live set from their heroes. Thankfully, you don’t have to put yourself at such a risk to hear this worldclass band. Simply head along to The Rev on 23 Mar, where Orphaned Land will be joined by Australian friends Voyager and Orsome Welles. Tickets for the show can be purchased through Oztix.

SEND OUT THE RIFFS

The upcoming Sebadoh show – coming to The Zoo on 23 Mar – has just gotten way better (we didn’t really think that was possible) with supports for the show announced as champion Brisbane hard boogie crew Blank Realm and fellow guitar-loving locals Major Leagues. Tickets can still be picked up for the gig through Handsome Tours for $52+BF.

BEARING NO SCARS

After tearing apart our island a couple of years ago, Louisiana outfit IWrestledABearOnce will bring their wild metal mash-ups back once more, with Courtney LaPlante now well established in the band after more than a year being blooded on stages around the globe. Along with Sydney support act Caulfield, the two bands will make one hell of a racket at Thriller, Coniston Lane, 5 Apr, before playing an all ages show at The Lab, 6 Apr.

LAUGHS APLENTY

Another comedian crossing the pond for the very first time is American Mike Epps, who you’ll probably know as Black Doug from The Hangover. But he’s been killing it as a stand-up comedian long before he got crazy in Vegas, and now we get to experience it firsthand when he tours his After Dark show. Catch Epps at The Tivoli, 21 May; tickets are on sale now.

“WESTERN AUSTRALIA #SHARK CULLING BASED ON POLITICS NOT SCIENCE. SHOULD BE CONDEMNED AROUND THE WORLD”

SHAPESHIFTER

[@RICHARDBRANSON] GETS IT, WHY DON’T OUR LEADERS?

DEALT WITH REALITY

After ripping the roof off The Hi-Fi last year, Kiwi’s finest live drum’n’bass exports Shapeshifter will be returning to our shores next month. The band showed exciting progress with their 2013 record Delta, and have embraced that sonic exploration on stage, incorporating new sounds, massive beats and moments of pure ecstasy into a set that’s impossible not to move to. Get a taste of their ferocious bass music when the quintet perform at The Northern, Byron Bay, 23 Mar. 14 • THE MUSIC • 5TH FEBRUARY 2014

PUT ‘EM UP

GREENTHIEF ELITE

THE KEY OF LIFE

WIRE SUPPORTS ANNOUNCED

Freshly signed to Four l Four and with a debut album out in a few months, the time is now for string-punk septet Little Bastard. The gang killed it at BIGSOUND last year, so make sure you’re in the crowd when they hold a two-night stand at Lefty’s Old Time Music Hall, 21 and 22 Feb.

Be at Eatons Hill Hotel, 1 Apr and enjoy the sounds of Bobby Keys, touring saxophone player for The Rolling Stones. Along with his band The Suffering Bastards, Keys – who has appeared everywhere from Beatles’ member’s solo records to albums from The Who and The Faces – will run through all the hits you know and love from his recorded history. Tickets available through Love Police.

Greenthief have completed their debut record Voyages and are set to fire up the van to show off their long-awaited LP. The Melbournecum-Brisbane trio launch the album back round their former haunts, playing The Northern, Byron Bay, 11 Apr; Norville Hotel, Toowoomba, 12 Apr; Crowbar, 18 Apr; and Kings Beach Tavern, Caloundra, 19 Apr.

Suiting the explorative mood perfectly, inventive rock crew Per Purpose and synth twins Multiple Man will support legendary London post-punks Wire. Get in early for a brilliant night of abrasion when the bands play The Zoo, 19 Feb. Tickets are still available through Oztix for $47.


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16 • THE MUSIC • 5TH FEBRUARY 2014


music

THEY STARTED A JOKE Words Steve Bell. Photos Stephen Booth.

THE MUSIC • 5TH FEBRUARY 2014 • 17


They claim to have started their band as a joke, but the music of Brisbane’s Blank Realm stopped being a laughing matter long ago. Sibling vocalists Daniel and Sarah Spencer grab a beer with Steve Bell and discuss their recent ascent up the global music ladder.

I

t’s a sign of the times that there’s a Brisbane rock band in our midst who are probably as well-known and respected in far-flung countries around the globe as they are here in their own backyard, but it’s hard to fight the impression that that’s all about to change with the release of Blank Realm’s already-acclaimed long-player, Grassed Inn. The new album (their fourth “major release” by their own reckoning, following a veritable river of tapes and CDRs that they’ve passed out since their inception in 2005) has already been praised without reserve by venerated overseas sites and publications such as Pitchfork, Uncut, The Wire and MOJO just weeks since its release. They’d already built up a cache of goodwill with past studio efforts and years of touring, but Grassed Inn has taken that well-earned respect to a whole new level.

six months or a year, so it had a completely different feel for us.” “I don’t know whether it’s so much reacting against the previous one, but we definitely don’t want to repeat ourselves,” Daniel reflects. “I guess in a way this has some refinements of what was on Go Easy, but every album up to this we’ve really tried to change things and not go over the same ground, which I guess is good and bad in a way – I do respect bands who stick to the one thing and keep doing it, but I think we’d get bored doing that. We’re pretty ADD.” A lot’s been made in the press about the more accessible nature of Blank

are the things that you’ll kind of go back to – if times are tough or whatever you probably don’t put on a noise record, you put on songs. As you get older you want those songs to latch onto, and this definitely feels like a snapshot of our lives in song form.” “From my perspective I’ve been listening to a lot of pop music,” Sarah tells. “We definitely still listen to a lot of the more ‘out there’ stuff as well – just listening to how it’s produced and written and constructed has really been a big influence on me personally.” It’s got to be remembered that intangibles such as “accessibility” are always relative when discussing music – Grassed Inn’s songs may incorporate more pop elements, but they still stretch and meander to their natural conclusion, with most easily exceeding the five-minute mark. “Yeah, I think a lot of people probably don’t agree – I’ve heard some people say that these songs are too long and that kind of thing, but that’s just how long we feel they should go on for,” Daniel smiles. “I guess we get into a certain zone when we play them, it’s kind of a transcendental experience for us playing music and we just do it until it seems over, pretty much. There’s way longer versions of these songs that we’ve recorded that go on forever, so we kind of edited it down in a way.”

“THIS DEFINITELY FEELS LIKE A SNAPSHOT OF OUR LIVES IN SONG FORM.”

Blank Realm is comprised of three Spencer siblings – Daniel (vocals/drums), Sarah (synths/vocals) and Luke (bass) – plus close friend Luke Walsh (guitar/ production), and their music is a heady amalgam of disparate sounds and genres incorporating psych, motorik, rock’n’roll and, increasingly, good old-fashioned pop music. Their 2012 long-player Go Easy introduced a new, more accessible façade for the band, and though Grassed Inn still contains plenty of left-of-centre ingredients it builds on its predecessor’s charm to become their most readily-endearing collection to date. “We had an idea that we wanted it to be more of a pop record that you could play any time of day – we wanted it to be something that people could play over and over and [it would] keep its appeal,” Daniel explains of the album’s tone. “Our other records have had a bit more of a long-form, improvisation vibe or had been distilled down from longer improvisations, whereas with this one we wanted to keep that kind of meandering to a minimum.” “I really wanted to write a song that could be featured on the television show Glee, and I told the guys, ‘I think we wrote the wrong record!’” Sarah laughs. “This record’s a little bit strange in that there’s some songs on there that are completely improvised – they’re first takes – while others are ones that we’ve been playing for a while, like obviously Falling Down The Stairs. But it definitely feels different to Go Easy in the sense that on Go Easy those were songs we’d been jamming on for a year-and-a-half – maybe more – while these ones we wrote over probably 18 • THE MUSIC • 5TH FEBRUARY 2014

Realm’s recent output, but the band attest that it’s a just a natural extension of what they’ve always been doing. “We don’t see it as that far removed [from our past music] – although Grassed Inn is definitely a lot easier to listen to compared to the tapes and CDRs that we were putting out when we first started,” Daniel offers. “But it’s all part of it. When I think about what people are saying about [our shift in sound], I just feel it’s rock’n’roll that’s grown out of this chaos that we used to make. To me all that chaos is still there, it’s just squished into song form. “In my life I’ve had songs that have meant a lot to me and albums that have meant a lot to me, but the songs

And of course it’s not all about the music: Grassed Inn’s lyrics are equally integral to its appeal. “It’s all about obsessive love really,” Daniel admits. “We tried to put ourselves in the frame of mind of a creepy, obsessed kind of character but also have this really fun music at the same time to create a weird feeling. A lot of it’s repeated phrases and that kind of thing, but that’s a conscious decision to keep it really simple and to remain within the ‘stupid rock lyric’ form, in a way. I try and work with that instead of trying to be too clever.” One of Blank Realm’s further strengths, whether onstage or on record, is their clear musical bond – obviously having siblings in their ranks helps in this regard, but it’s more about shared experience. “We all came of age together, and we all discovered certain things hanging out at uni and stuff,” Daniel recalls. “Even though we’re brothers and sisters we’re all really close in age, and Luke [Walsh] is as well, so we’d all get into listening to krautrock and do that for a year, and then we’d get into punk and do that for a year – we just went through all of these different phases together and would get really deep into things. So we’ve got this shared musical background, and we talk a lot in terms of, ‘Let’s make this song sound like this record or that record’ – it invariably ends up sounding a million miles away from what we intended but it’s good that we all know the same things.”


BRAVE NEW WORLDS As Blank Realm prepares to launch Grassed Inn this weekend at new venue The Underdog, definitely expect a scintillating live show but don’t ready yourself for the songs to be replicated the same as they sound on the album – it ain’t gonna happen. “For me each time we play a song it’s different – I really react to the energy of the evening and try to do something that is just for that particular night to try and get into the spirit of things,” Sarah offers of the Blank Realm live experience. “Because we come from that improvised background I don’t think we’ve ever played a song the same way twice – it really is a spontaneous thing for us. I think the melodies change and the songs go in different directions depending on how we’re feeling on that particular evening.”

Blank Realm’s rise in profile both here and abroad is notable not just for how far their music has resonated so quickly, but also for how organically it’s happened – they’ve done things at their own pace and for their own reasons, barely even considering the usual commercial or industry-related concerns.

“I still think we’re a much better live band [than on record], and people definitely say that,” Daniel continues. “I don’t think we’ve fully captured what we can do live on a record yet, but hopefully we will do that some day. I do think to do that we’ll need someone other than us to record us, so we can step away from it a bit. I just don’t think we’ve captured it yet, I don’t know. Hopefully one day.”

“We’ve definitely never been careerist or even thought about those things like triple j or Splendour to be honest,” Daniel muses. “We started the band as a bit of a joke really, and we were even amazed when we first got a gig, and then we were amazed when someone wanted to pay to put our stuff on vinyl – we thought, ‘As soon as we put something on vinyl that’ll be the end of it’, but it’s just steamrolled. We’re definitely amazed by anything that happens. I suppose we only got ambition as we went along; we never really started with ambition of being anything, but now we want to make it work – hopefully financially, but mainly to get it to a point where we can keep making records and it doesn’t take a huge toll on us. “Making a good album is our main reason for doing it – I guess we think of them as things that may only be popular now or only popular with record nerds twenty years down the track, but as long as some people like it that’s fine. I think that making good music and having good live shows is definitely more important than anything that goes along with it – sponsorship deals from Levis or anything like that. They haven’t been forthcoming yet anyway,” he chuckles, “and we really don’t care.”

WHAT: Grassed Inn (Bedroom Suck) WHEN & WHERE: 8 Feb, The Underdog

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music

YOU’LL NEVER LEAVE Hannah Story speaks to The National’s chief lyricist and frontman Matt Berninger about coming back Down Under and his young love of The Smiths.

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t’s their delicate storytelling and the distinctive baritone of lead singer Matt Berninger that has won The National hoards of fans the world over. They’ve been selling out shows since the takeoff of 2005’s Alligator and then 2007’s Boxer, and in support of sixth album, Trouble Will Find Me, are about to play a run of shows across Australia in some of our biggest venues. Down the line from his backyard in Southern California while the rest of the band freeze their arses off in New York, Berninger admits he is excited about hitting Australia. “We’re nervous, but it’s nervous in an excited way. We’ve played a lot of big shows but to go out and just tour in these big beautiful places is really… we’re motivated, we’re ambitious about it and feeling excited about it. It’ll be really fun. My brother’s [Tim Berninger] movie [Mistaken For Strangers] is coming out too at the same time in Australia. So I’ll be going from movie screenings to rock shows every day, and it’s going to be a really busy but a really awesome time.” In conjunction with the band’s live shows, the acclaimed Mistaken For Strangers will be toured across the country with Tim coming along for the ride. The set-up means there’ll be three sets of brothers heading on tour. “The family dynamic is a big part of the chemistry of our band. So when my brother came along and made this film, very much the chemistry of The National became a big part of the movie, too. Anybody with a sibling, actually I don’t even know if you actually have to have a sibling, anybody who has a family, which is everybody in some way, one way or another, knows how weird it can be to be in a tight collaborative living situation, and all the stresses and anxieties that go with that. That’s kind of what our music’s about a lot of the time, whether it’s a marriage or about a family, and very much what the movie’s about.” When writing about these stresses and anxieties, Berninger tries to just let it all fall out, but argues that the songs aren’t a kind of portraiture and that he is not necessarily the morose person he may come across as in his songs. Instead, writing songs involves expressing a little bit of his ‘true’ self, as well as an idealised version of himself.

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“I think we’re always trying to be something in life, and be a version of a human being that we wish we were, and maybe I’m doing that with the records a little bit, but ultimately I think it’s just me being me, even if that’s a delusional version of myself. It’s somewhere on the wire between both those things: totally just me [and] totally something I wish I was. “I also do think that people know that they’re listening to music and they’re listening to rock songs from performers and writers, and they know that some of it’s telling stories. The truth is I don’t think of it that much when I’m writing the songs, I’m not thinking of trying to express a portrait of myself, I’m usually just writing songs about ideas and thoughts… It’s not autobiographical stuff, but it is personal.” Their music is also increasingly intertextual, a fact Berninger acknowledges. “There’s a couple of references in this record to other records; there’s Beatles references and Nirvana references and Violent Femmes references and there’s

even Elliott Smith references. I think it’s not so much specifically I was listening to those things while writing but those things are parts of my history of music and of many, many, many others – those are the ones that just popped into this record. Violent Femmes were probably the first band, them and The Smiths were the first band that kind of woke me up to how music can be both hilarious and moving, twisted and honest, and all these weird things that I didn’t think rock’n’ roll was.” Sadly, for National fans the world over, the band are not currently planning a new album. Instead, Berninger says that he and his bandmates are always coming up with ideas for songs. “We are not sitting down and writing songs for a follow-up right now, but the way we work is the next thing actually starts being written pretty much right when the last one ends. So I think everybody is writing and collecting ideas. When all that stuff will come together and start to become a record is hard to say.

“IT’S NOT AUTOBIOGRAPHICAL STUFF, BUT IT IS PERSONAL.” “I’m always working on stuff. Ninety per cent of it will probably end up nowhere and some of it will end up being a new record, some of it will end up something else. We learned not to try and think about, ‘Oh, let’s start the next thing now, let’s start working on the next record or do this thing’. We’ve learned that for us we make better stuff when we’re not worried about when it’s going to happen or when it’s going to come out. I guess right now we’re just focusing on doing great shows and figuring out how to tour the world and be away from our families and to do that in a healthy way [so] that we don’t ruin our lives. Those are the plates we’re spinning right now.” WHEN & WHERE: 11 Feb, Riverstage Mistaken For Strangers will screen 10 Feb, Dendy Portside.


BLUE TELEPHONE BOX Guy Davis indulges his inner nerd and chats to the fifth Doctor from Doctor Who, Peter Davison.

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here’s a certain bond that has developed among the actors who have portrayed the time-travelling title character on the iconic UK television series Doctor Who. “It’s like a big family now,” says Peter Davison, who played the fifth Doctor between 1981 and 1984. “Quite literally, in my case!” Doctor Who is indeed a family affair for Davison, given that his son-in-law David Tennant was the tenth Doctor between 2005 and 2010. And such family ties remain strong throughout the years, with actors playing the titular Time Lord often retaining links to the show long after they’ve stopped playing the role. In Davison’s case, that includes reprising

his portrayal in a variety of documentaries, audio plays and special episodes. Now Davison once again dons his Doctor’s uniform for the Doctor Who Symphonic Spectacular, a multimedia event coming soon to Melbourne and Brisbane. The show’s music – especially its distinctive theme tune – has long been a part of its success, and the actor is thrilled to be introducing live performances of this music to Australian audiences. “What’s brilliant is you hear these great scores in films or on television series like Doctor Who but as a viewer you’re often so wrapped up in the story that you don’t really hear it,” says Davison. “You’re aware of it, and it adds greatly

to the overall effect, but you’re not particularly listening to the music. With the Symphonic Spectacular, they actually run the clips from the series while they play the music so it’s like a symphonic orchestra right in your living room.” The Symphonic Spectacular takes a cue from the Doctor Who Proms, a similar event held at London’s Royal Albert Hall. Davison appeared at one such event last July, which highlighted the innovative musical contributions of the BBC’s Radiophonic Workshop to the soundtracks to early seasons of Doctor Who. The Australian event focuses more on the music of Murray Gold, the show’s composer since 2005. “He’s drawn influence from great composers of the past and it has brought a great deal to the series. To a lot of kids, it’s the first time they’ve gotten in to that kind of music. He told me he’s not really a trained musician; he’s basically self-taught. The tunes come into his head, as it were, and the end results are amazing.”

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Davison’s involvement extends to explaining the context of the music in relation to the accompanying scenes – mainly featuring Matt Smith, the 11th Doctor – displayed on a massive screen behind the orchestra. “We also have a section where Murray has orchestrated some of the music we had in the classic series of Doctor Who,” he says. “So there’s a little bit of history, mixed with my own memories and impressions of the show. I still watch it because I have two young boys and they’re addicted to David Tennant and Matt Smith, so my knowledge may be not as extensive as some fans of the show... but it’s not bad.” WHAT: Doctor Who Symphonic Spectacular WHEN & WHERE: 8 Feb, Brisbane Entertainment Centre

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music

SETTING SAIL Jeff Martin and Sarah McLeod are taking each other out of their respective comfort zones with their latest project, and as Martin tells Benny Doyle, “that’s a cool thing”. or alternative rock fans from the ‘90s, this is a collaboration that might come as a surprise, at least until you hear the voices of Jeff Martin (The Tea Party) and Sarah McLeod (The Superjesus) come together. The ball got rolling when Martin – who now resides and works out of Byron Bay – was requested to bring his talents to a residency that McLeod was hosting on the New South Wales central coast.

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at the audience via some cover mash-ups that go great lengths to highlight the disparate inspirations the two musicians draw from, such as their track C’est la Fix.

out of my comfort zone, a lot. But I find that once we achieve [something] I’m quite comfortable with it.”

“I had heard of Sarah’s reputation as a pretty hardcore rock’n’roll chick, and the fact that a lot of people absolutely adored her voice and what she did with The Superjesus and all that,” he recalls. And so he did some research, loved what he discovered, played the show and on reflection afterwards decided it was something to pursue further. Enter Man The Life Boats, a track that was too dark for The Superjesus, but according to Martin, not dark enough.

“I brought to the table that Civil Wars song, C’est la Mort, because I would put that into things like

“That’s the beauty of it all,” he smiles. “There’s threats of many different musicians just showing up, and we’ll just take it as it comes. With this first tour we should just be open to everything and just allow it to be what it will be, because the next one we do, like I

“Sarah sent me a demo, just her voice and an acoustic guitar, and I said, ‘Let’s make it darker’. And that was it, that was the song we worked on first, and as they say – well, hopefully what they’ll say – the rest is history, because I think we hit a home run with that song and now it’s something that… even though my dance card and hers is quite [full], we’re going to keep on getting back together at my studio and hopefully in a year’s time we’ll have enough material to release a full-length album and do a proper tour.” Martin admits that right now it’s hard to tell what direction the album will take. “I know the next [track] sounds like a 1920s speakeasy cabaret song,” he says, “so I think Sarah is planning for it to be all over the shop. But what I’ll hopefully achieve through the production is that thread, so if they do have all these variant styles it will be our voices binding them. And there’s nothing wrong with that – for example, one of my favourite Led Zeppelin records is Houses Of The Holy, and that’s just one different style after the other, but it’s the same band, you can tell.” For now, however, the pair can’t wait to show off Man The Life Boats, a track which the 44-year-old Canadian describes as a “rolling, satanic pirate ship song”. Excitedly, they’ll also be tossing a few curveballs 22 • THE MUSIC • 5TH FEBRUARY 2014

Add this new and reinterpreted music to the two stripped-back solo sets that both Martin and McLeod will perform on the night and it’s clearly going to be one hell of an undertaking. How it’s all going to come together, Martin doesn’t know.

“WE SHOULD JUST BE OPEN TO EVERYTHING AND JUST ALLOW IT TO BE WHAT IT WILL BE,” The Messenger on my various solo tours,” Martin explains. “But then Sarah came up with the idea of putting Fix You by Coldplay at the end of it, and I was like, ‘I don’t know Sarah... Coldplay? That’s not on the cool factor for me’, but she convinced me and it works. She’s quirky like that, and that’s what I love about this artistic relationship between us – she’s taking me

said, which will probably be when we have an album to present, that will be a bit more structured because there’ll be a band in place to really reproduce and replicate what’s on the record. This time around we’ll just throw caution to the wind and see what happens.” And for those wondering – yes, the rumours are true, amongst all this there’ll be a new Tea Party record in May. Martin reveals just enough the whet appetites. “It’s big with a capital F. It’s massive and I do believe, and Stuart [Chatwood] and Jeff [Burrows] would concur with me, that for the people that have been waiting it will be everything [they] want and more.” WHAT: Man The Life Boats (Independent) WHEN & WHERE: 9 Feb, Black Bear Lodge


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music

SETTLING ON SYNERGY By playing off their different influences, Luke Cuerel and his Pigeon bandmates have created an EP far greater than the sum of five musicians, writes Benny Doyle.

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he most offhanded endeavours can sometimes change things drastically. In Pigeon’s case, a homage to French house-cum-disco maestros Daft Punk put the band in front of more people than they could have ever imagined, with the viral video – which has now been viewed via YouTube more than 350,000 times since May last year – creating the perfect online storm to build momentum for the Brisbane group’s second EP, Settle In. “We were pretty excited by putting that video out because we were into the idea of Daft Punk having a new album,” explains multi-instrumentalist Luke Cuerel. “I think it was right place, right time, and that’s when we started writing this new EP, so it’s been eight or nine months that we’ve been working on it, so it’s good to finally get it out.” Creating dancefloor beats as a traditional live band has long energised Cuerel, and it’s been a great point of difference for the Queensland quintet, giving them infinite scope to play out their visions. Since Kraftwerk showed the potential of a musical autobahn in the early-‘70s, electronic equipment has created limitless sonic possibilities for musicians; however, it pulls in both directions, for Pigeon at least, as one of the band’s biggest problems – if you can call it that – is having too many ideas. “We always have too many directions in which we can take something, and it takes someone taking the lead and saying, ‘I want it to sound like this’, or, ‘I want this sound to be there’, so it’s pretty daunting but it’s super fun because you can literally do anything and make it work,” smiles Cuerel. “But it’s like having too much money or something.” There isn’t anything resembling a problem on the group’s new EP, though. Settle In – the follow-up to 2012’s Fortunes – is awash with warm textures and exotic tones; an intoxicating mix that could set the mood for sunset or sunrise, depending on how far you want to take it. The five-piece took care of every element for the release, recording, producing, mixing and mastering out

of their Brisbane HQ, Acolyte Studios. This allowed their own flavour to completely absorb into the blend without any outside opinions spiking the punch. “I don’t think we trust many other people, well… not trust, but you kinda want to get from start to finish by

But before the music finds cohesion in the form of a song, the Pigeon boys work up their own ideas individually. The band don’t jam a lot, a surprise considering their live show is on lock. What they do instead is swap their ideas with one another, allowing any creative barriers to be quickly removed. “Because we all listen to a whole bunch of different things, you will write [a song] and be influenced by one person, then [another] person will have a go at it and they’ll be influenced by something totally different,” he says. “We’ve always been into Friendly Fires, Röyksopp, and Rüfüs, Gold Fields, all those kind of things. But there was a bunch of new bands that popped up [during writing] which we started really liking like World’s End Press, and because it’s such an evolving and growing scene it’s really exciting to see someone doing something similar to you, but in a completely different way.” Catching the final month of summer with these Settle In launch dates, Pigeon are trying to capture that vibe with their live show – something that looks good and feels good. “What we try to do live is that

“WE’RE ALL PRETTY NERDY I GUESS SO IT’S FUN TO BE PARTY FOR A LITTLE BIT.” yourself, and I think it’s a really good thing to do,” Cuerel enthuses. “I definitely think we’ve learnt a lot out of doing it ourselves. I don’t really do too much of the producing, I’m just the sax player, but I’ve learnt a lot about the recording process and mixing and mastering. I didn’t really know what mastering was until I joined the band and realised it’s a bit of a dark art.”

real tropical yet stupidly epic party thing – I don’t know if that’s summery or not,” Cuerel chuckles. It also provides the guys a chance to slip into different personas, ones far more wild than reality. “We just try and make [our shows] super energetic. It’s always pretty fun to rip out a massive synth riff; we try and bring that out occasionally. We’re all pretty nerdy I guess so it’s fun to be party for a little bit. We play and we’re loose cannons, then we go back to playing on computers, making synths and listening to jazz.” WHAT: Settle In (Independent) WHEN & WHERE: 8 Feb, Alhambra Lounge


TEAM EFFORT Fresh from a string of successful summer festival performances, Melburnian rapper Remi Kolawole tells Jazmine O’Sullivan how thrilled he is about his progress as Remi.

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rom the name alone, it could easily be assumed that Remi is the solo project of rapper Remi Kolawole; however he emphasises that his producing buddies Sensible J and Dutch have been an intrinsic part of the operation from day one: “Remi is really more of a three-piece than just an individual thing. I actually worked with [Sensible J’s] lady friend (and one of my good friends) before I started rapping, and once I eventually did start rapping, she played me some of his beats and I thought they were crazy!

“I was a really bad rapper at that point,” he confesses, “but J was like, ‘if you want to work hard, let’s hang out and work on it until you get better.’ He basically mentored me – he’s the reason why I’m where I’m at today.” On the advice of Sensible J, Kolawole decided to retreat in the early stages of his career, a journey he reveals consisted mainly of listening. “I was listening to people like Outkast, Mos Def, Common, J Dilla, The Roots – really lots of people, to try and pick up different skills.” Looking at him now, with a string of successful releases under his belt, as well new single, Livin, you wouldn’t

know it had been an effort at all. “Livin is the most straight to the point title,” Kolawole laughs, “it’s literally just about living; it’s my perspective on how we live. It starts off talking about the options we’re given when you’re young, then goes on to look at all the different ways people decide to live their lives, and then the realities of that. We’ll just have to see if that’s cool or not.”

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The new single comes from his forthcoming album, scheduled for release in May, Kolawole revealing the album “is going to be called Raw, and that’s pretty much the whole vibe of it too. Everything we’ve done so far is super fun kind of stuff, and that’s not to say there’s none of that on this album as well, but I kind of want to address more things that affect me. It’s not about to get too deep, but I just think that’s also part of the natural progression of an artist.” With his national Livin tour set to make waves this February, Remi will be bringing his comfortable yet exciting stage presence to deliver a set he guarantees will be a good time for all involved. He’ll also be enlisting the help of a few handy allies. “I’m lucky enough to have the boys, J and Dutch, coming along with me acting as the band. J is the drummer and Dutch runs all the samples. Then I’m also lucky enough to have N’Fa Jones from 1200 Techniques along as well. He’s going solo now, doing his own thing and he’s the support act, but he’s also my hype man, so that’ll be my extra wild card!” WHAT: Livin (independent) WHEN & WHERE: 7 Feb, Coniston Lane Front Room

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music

FADING DREAMS, NEW BEGINNINGS

I love everyday stories – sometimes things don’t work out and there’s not much you can do about it.

Halfway’s new album Any Old Love is a classic journey through a life where expectations don’t always correlate with realities. Frontman John Busby spins Steve Bell a yarn of hard living and harder-won lessons.

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ny Old Love, the fourth album from Brisbane rockers Halfway, is so much more than a mere collection of songs. It’s a holistic combination of recollections, images and tales (even second-hand referrals via the liner notes) which unite organically with Halfway’s ever-gorgeous music to tell a tale set in central Queensland in the 1970s; a story of tough times, broken dreams and, ultimately, redemption.

tackling that, and being at the Shakespeare gives him a chance to dine out on what he’s done – the boys there all love him because he’s done all this shit in Brisbane, and he’s got a lot of stories.

“I talked to the band about making this concept album, which is difficult because even though they’re right across us pushing a story we were all a bit scared we’d be left with some bloated double album jam-out thing – concept albums are often terrible – but we focused on the story and just went with it,” recalls frontman/ songwriter John Busby. “It’s based around this guy and his family in the late-‘70s in Barcaldine, and he’s suffering a heap of disappointment; he’s had a life of great promise but he’s just hit a fork in the road and can’t go that way anymore. He’s an ex-jockey who’s now got to embrace a normal life at the same time as wrangling a really young family and working with all these guys on a road crew in central Queensland. It’s his first shot at a normal life – or just an average life – and there’s nothing wrong with it, it’s just not spectacular. It’s not the big dream you have when you’re young – he got really close to achieving it, and then it all got pulled away from him just through injury and a few other things. It’s just about how things sometimes things don’t work out.

“He’s going from being a straight-edge with big dreams to having

“It’s based around the Shakespeare Hotel, this place right on the Capricorn Highway. There’s a string of six or seven colossal pubs right there in a direct line from Rockhampton – the whole of Barcaldine is on one side of the street, and the other side’s just fucking desert, there’s nothing. They used to be full of shearers but by the late-‘70s they were half-empty all the time, just full of working gangs and crews coming through – only a couple of thousand people live there. So it’s about him

“These boys at the time were listening to Tom T. Hall and Freddy Fender – they were all rock’n’roll kids really – but they went out west and they were listening to a lot of country music. Nothing really super-cool like Townes Van Zandt or Guy Clark or any of that shit, more the big seventies heartbreak stuff like George Jones. That’s where we got Sunlight On The Sills from – we wanted to play it in that Willie [Nelson] style to exacerbate the heartache. We wrote that one in the style of the music they were listening to – basically they’d finish work, get fucked up, wake up and do it all again. Essentially it’s my old man’s story.” And there’s the kicker. Any Old Love gets its unabashed resonance from the fact that its story is Busby’s story; he lived it all. Even the songs contributed by other members of the band flesh out the tale, and seemingly tangential songs such as Dulcify and Erebus & Terror represent conversations between the Shakespeare’s barflies. “I lived up there as a kid and spent a lot of times in pubs,” Busby reflects. “We were always involved in racing – my old man was a jockey first, then later a bookmaker

“BASICALLY THEY’D FINISH WORK, GET FUCKED UP, WAKE UP AND DO IT ALL AGAIN.“ a family and dealing with alcohol, so I guess the Shakespeare is like a siren that’s dragging him further and further away from his family who are at home waiting for him. He’s getting all of his sustenance from this hotel and his drinking mates, living hard. It’s based around that story – him, her, the pub, his mates and their bar stories.

and a trainer so he lived a pretty big, colourful life and pubs were a big part of that. That pub in particular made a real impression. It was a good life, Dad was always fair, but he always battled with that balance – he was only young, and he’d already lived a whole life before he had to start again. He’s a fucking good bloke, but sometimes good people make bad decisions. There’s no way he’s a villain in this tale – he’s so much more than some character just fucking up. It’s just not the case, and I’m not interested in stories like that anyway.” WHAT: Any Old Love (Plus One/MGM) WHEN & WHERE: 8 Feb, Old Museum; 23 Mar, Brisbane Powerhouse


ON THE FLY

The Necks are renowned for their live performances, in which single pieces of minimalist free-improvisation stretch across an hour, slowly taking and shifting shape. But when you’re creating something new every night, what inspires that creativity? Bassist Lloyd Swanton tells Sky Kirkham.

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he role of the audience is very subtle; it’s almost subliminal,” Swanton begins. “Like, how much influence can a silent room of people really have? But over the years, it’s an interesting thing; in some ways I feel like a member of the audience when I perform with The Necks, and I suspect in some ways the audience feel like they’re members of the band. It’s a very immersive and participatory kind of thing. Even though the audience is essentially sitting there in

silence, I think they really feel like they’re included in the performance, because they know that we know as little about where the piece is going to go as they do. “The sound of the room has a huge effect. I mean I’d go so far as to say that one of the major tasks that we perform on stage is sounding out the room in an artful sense. We’re actually sending out audio signals to the space and working with what comes back. And that can sometimes literally be an echo, or it can just be the size of certain notes, or the overtones that are created when one person’s notes collide with another in the particular room.

“I think aesthetically I have a slight preference for emptiness over the other two, who love density, although they’re certainly not blind to the charms of emptiness. Maybe [it’s] because the instrument I play can’t actually contribute the same sort of density, because that just gets physically exhausting, trying to match Chris [Abrahams – piano] and Tony [Buck – drums, percussion and triggers],” Swanton admits, laughing. “I can state, as the bass player, that whatever theme it is that I’m pursuing, sometimes just cutting that note off a fraction of a second early will leave this huge, almost shocking, hole in the music, and all I’ve done is just cut a note a little bit shorter, and I find that very exciting. I love the way that we can develop a texture in the early stages of a piece; it starts to build and then suddenly one of us can choose to create a giant hole, where everything seemed to be happily chugging along.

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“Chris has sort of evolved a theory recently that what we do isn’t really repetition. Each time it’s subtly different and it’s [important] to distinguish from the composed minimalists where repetition is very much a part and it’s a very controlled situation. Yes we are repeating things, but as soon as a change occurs, it gives a whole different perspective to what that repetition was about. We, all three of us, are a product of our limitations. We’re not such consummate musicians that we can endlessly quote ourselves at will anyway. If I tried to quote myself from a previous night, I’d probably get it wrong,” Swanton laughs again, “which is maybe better in the long run anyway, more interesting.” WHAT: Open (Top Shelf/Fuse) WHEN & WHERE: 7 Feb, Byron Bay Community Centre; 8 Feb, Brisbane Powerhouse

DOUBLE DJ

music

Bringing girl power to DJ culture, Liv Nervo of Melbourne’s Nervo talks about it all with Cyclone.

T

he Melbourne big room house duo, identical twins Olivia (Liv) and Miriam (Mim) Nervo, placed at 16th in 2013’s DJ Mag Top 100 poll, becoming the world’s top-ranking female DJs ever. Yet the vivacious Liv (she of the long hair) is reluctant to describe themselves as revolutionaries. “It is pretty amazing, but I think also the industry itself, or the genre of music, is really exploding, so we can’t take all the credit.” Ironically, Nervo are promoting a vocal version of the single, Revolution, with Dutch house buddy R3hab and tech-trancer Ummet Ozcan, the video a YouTube phenom. Meanwhile, they’re progressing on a long-touted album showcase – with notably fewer collabs. “We really wanted to do an album so we could put the records on that can’t be singles – the ones that are a little bit too poppy or slower.” The sisters grew up in middle-class Ivanhoe. Though formally studying music, the Nervos modelled in their teens after being scouted by Chadwick Models. “Modelling was great, but it was never the focus. The focus was always to get our hands dirty with music.” Nervo headed to the UK to pursue just that, initially making their name as songwriters for S Club 7’s Rachel Stevens and others. They’d befriend the unknown Ke$ha. Nervo co-wrote 2009’s Grammy-winning When Love Takes Over for David Guetta, Kelly Rowland singing, Guetta encouraging them to DJ. Today they’re concentrating on

their own studio output, scoring such hits as Like Home with Nicky Romero. Nervo recently remixed Beyoncé’s Grown Woman and Cyndi Lauper’s Time After Time – premiered, oddly, on people.com. At one stage Liv lived in New York, Mim in London. “I was dating a guy and we were living over there – we broke up,” Liv laughs. Reunited, the twins divide their time between LA, London and Ibiza. Nervo have a show on BBC Radio 1 – and a residency at Las Vegas’ Hakkasan. But, as Liv explains from a Californian studio, they’re planning a trip home “just to chill out” and play club dates. Nervo still ‘model’, currently as brand

ambassadors for CoverGirl. Old pal Ke$ha recently sought treatment for an eating disorder. Have they contacted her? “That’s a really good reminder – I was just speaking to Mim about it yesterday,” Liv says candidly. “I was thinking we should reach out to her ‘cause I haven’t been in touch with her for at least eight months – it could even be a year. Life’s just been so crazy. We just kinda lost a bit of touch.” Ke$ha’s mother Pebe Sebert has alleged that the star’s super-producer Dr Luke body-bullied her, revealing pop’s dark side. “Yeah, it’s tough,” Liv says. “I know the people she works with, I know the people she’s talking about, and I can only imagine how tough it might have been for her.” WHAT: Revolution ft R3hab & Ummet Ozcan (onelove) WHEN & WHERE: 8 Feb, Platinum, Gold Coast THE MUSIC • 5TH FEBRUARY 2014 • 27


music

SUNSHINE TRIP

Benjamin Plant of Miami Horror tells Benny Doyle that they’ve found freedom among the “absolute freaks” of LA.

“B

ecause every day is sunny and nice [in LA] you can get a little too happy,” admits Benjamin Plant. “Obviously for your life that’s great, but you’ve got to be careful about how happy you get – if you think that everything you’re doing is good there’s no critical side to it. You come back to Melbourne and go, ‘Oh, we’ve got to toughen this up, make this a little darker’.” The Miami Horror founder is enjoying being back home in the Victorian capital, but is well aware that the group circa-now would be a different beast had they not

decamped to California in 2011. After bursting into our lives with a string of glittery synth pop jams late last decade (yes, that long ago), Miami Horror – operating as a quartet these days – were quickly everywhere, taking full advantage of a burgeoning festival culture driven by dancefloor-hungry youths. But although they found themselves in a scene, they were never interested in being limited by such a thing. Moving to LA gave them their own voice. It gave them freedom. “This big thing about ‘triple j’ sound – to be honest that does exist, and I know a lot of bands that do wonder if they need to fit in,” admits Plant. “A lot of us

music

guys who try and do our own thing could just go and make what we know would suit, but the whole idea is to not fall in that trap. That’s another good thing about being in LA, you disassociate with that and you end up discovering what you really want to make.” The band are set to release their sophomore fulllength in a few months, four years on from their 2010 debut Illumination. And although first single Real Slow could have you believing otherwise, Plant isn’t afraid to admit that the record will be less party. “Somewhere between maybe Phoenix, M83 and Tame Impala. Maybe. But that’s if you want to put big names [there]. It’s realistically influenced by a lot of smaller, dreamier bands,” he says of descriptors. “Then there’s this other side that’s more Talking Heads, Paul Simon; then there’s a ‘70s [lean]: Fleetwood Mac, 10CC, west coast LA vibes. So there’s this in and out thing that happens on there, and Real Slow doesn’t fit into any of those categories, and even Colours In The Sky, the next single that we’re going to push, it doesn’t really fit into those categories either.” Still, you can expect these new songs – no matter what their ilk – to slot seamlessly into their updated stage show. Plant says the band became tight a long time ago; now, they want to take it a step further and make a statement “That’s basically what it is,” he agrees. “We’ve got to add a lot of new songs – which we’re doing – and take some of the dated stuff out of the set that we’ve played for so long. This is probably the biggest step we’ve taken live in four years.” WHEN & WHERE: 8 Feb, Oxford Art Factory

STEALING HEARTS

Byron Bay metalcore monsters In Hearts Wake are about to hit up Soundwave as well as small country towns across the nation. Mark Hebblewhite chats with vocalist Jake Taylor about small town love, being inspired by Parkway Drive and why laid-back Byron Bay breeds heavy bands.

“W

hile we always have great shows in the large cities there is something special about getting out to places like Wodonga, Coffs Harbour and Armidale. Kids there don’t really get a chance to see much live music – so the response you get when you come to play to them is incredible. And it’s not just the kids who like hardcore or metal who turn out – everyone comes because it’s an event. And we’ve found that every gig we play in small towns ends up with new kids becoming fans of the band. “Coming from a small town like Byron Bay we really know how important tours like this are – they literally keep music alive in these towns,” says Taylor, who adds that the Byron hardcore scene is now more fertile than ever. Bands like Parkway Drive have been a great inspiration for us – that they did it all from Byron and not Sydney or Melbourne just makes it all the more incredible.” And on the topic of Byron Bay – why has an area renowned for alternative lifestyles and laid-back vibes become a hotbed for band like Parkway Drive, In Hearts Wake and now power violence fiends Shackles? “That’s a good question,” chuckles Taylor. “I think 28 • THE MUSIC • 5TH FEBRUARY 2014

people from around here really want to enjoy life and give it their all. People may be chilled but they are prepared to throw themselves into something like creating aggressive music because they’ve got that attitude of embracing the world and all it has to offer. I also think it’s a byproduct of the fact that Byron is exposed to so many different cultures and people – we get visitors from around the world. It’s a real melting cultural pot – and that’s perfect for developing a strong hardcore scene.” Lest you think In Hearts Wake are

merely following in the shadows of Parkway Drive, the boys have built a seriously impressive fanbase in their own right with last year’s debut LP, Divination. It’s this success that’s led to a coveted Soundwave spot. “Soundwave is an incredible festival and we’re so proud to play alongside bands like Korn, whose videos we watched when we were kids. These gigs will be a chance to reach people who may not even know we exist, people who will take a chance on checking us out. We plan to make Soundwave the sets of our life – we’re going to play our hearts out and show people what we’re all about.” WHEN & WHERE: 22 Feb, RNA Showgrounds


ON YOUR BIKE

a room playing together, whereas with this album it didn’t really lend itself to that. Basically all the parts were recorded individually on this album… It was just in the nature of the songs.”

Suren De Saram, drummer for Brit indie-poppers Bombay Bicycle Club, tells Hannah Story about being convinced to let frontman Jack Steadman take the producing reins.

T

he British lads in Bombay Bicycle Club are all grown up, taking the producing duties into their own hands for their fourth album, So Long, See You Tomorrow and experimenting with new types of instrumentation. They’ve sure come a long way since they were unsure 18-year-olds working on their 2009 debut, I Had The Blues But I Shook Them Loose, but drummer Suren De Saram is not getting complacent. “We’ve always just made music for ourselves primarily and if other people happen to like it then fantastic. We

don’t really think about, ‘Is this song going to be a chart smash’ or whatever... We just put pressure on ourselves to constantly create as good a piece of work as we can.” For the album they decided to move away from the live record format towards a more carefully orchestrated approach (heard on songs like Feel and Carry Me), due in part to the influence eastern instruments and cultures had on lead vocalist and guitarist Jack Steadman when they toured Tokyo and Mumbai. “On all our previous albums, we’ve always tried to record as much of it live, like all four of us just in

music

Adding to the pressure they heaped upon themselves was the decision to have Steadman act as producer on the album, which in turn put their debut album nerves into perspective. “Looking back on our first album, we were 18 and we were working with Jim Abbiss who had worked with some pretty huge acts [Arctic Monkeys, Adele], and then we were just these young kids, and the studio back then was quite a new environment to us. We didn’t really know exactly what was going on. We were kind of, I don’t know about intimidated, but kind of anything Jim the producer suggested we would go along with. That became less and less the case as the albums went on. So by the last album I think we were a lot more vocal and we were a lot more confident in the studio. Obviously with Jack now producing it, we haven’t got this other man. “We were all a little bit skeptical when we chose to go down this whole production route, like it wasn’t the original plan. We did try out a couple of producers for this album, we tried recording a couple of songs but it just didn’t work out for various reasons. They just didn’t turn out sounding the way we wanted them to sound. That’s when we brought up the self-production idea; took a little bit for us all to be convinced that was the right path to take, but we obviously took it in the end and I think it’s all worked out well.” WHAT: So Long, See You Tomorrow (Island/Caroline)

THE MUSIC • 5TH FEBRUARY 2014 • 29


30 • THE MUSIC • 5TH FEBRUARY 2014


reviews

ALBUM OF THE WEEK

This week: Dallas Buyers Club offers eye-opening performances from Matthew McConaughey and Jared Leto, Jason Isbell beckons you into his little worlds and Neil Finn applies a new psychedelic and fantastical pop-art filter.

TRACK LISTING

HARMONY Carpetbombing Poison City Some bands are so unique in their aesthetic makeup and vision that they break the mould before it has time to set. Harmony is one such beast: a prophetic fever-dream of Australian Gothic gospel as written by iconic rustand-bone wordsmith Tom Lyngcoln, blooming from weekend sojourns with wife Alex Kastaniotis to encompass rhythm from Jon Chapple and three-part harmonic vocals from Amanda Roff, Quinn Veldhuis and Erica Dunn.

★★★★½

1. The Closing Of The Day

9. Cut Myself Clean

2. Water Runs Cold

10. Big Ivan

3. On Your Summons

11. Do Me A Favour

4. Diminishing Returns

12. Prayer For War

5. Pulse

13. Wailing Widows

6. Cold Storage

14. Vapour Trails

7. Unknown Hunter

15. Carpetbomb

8. Underground

Carpetbombing picks up where Harmony left off, providing 15 more forlorn tales of heart-rending anguish, shards of bile-seared truth and slivers of hope in a roiling sea of common day maladies and self-made destruction. Yet the bar is raised from the get-go with the shiver-inducing spoken word introduction The Closing Of The Day, delivered with weathered brio by national treasure Don Walker. And so it continues, as Harmony live up to their name in every sense, from the old-time reverie of Water Runs Cold, the melancholy of Diminishing Returns and the cataclysmic end-of-times reckoning that is Cold Storage echoing from beyond like a half-captured Bible Belt radio station. It’s slow, measured and incredibly bleak at times, but Carpetbombing is an outstanding product of love and creativity, a séance on a humid summer afternoon. The power of Harmony is in their collateral hushed charisma that bursts into a cathartic baptism of fire, where self-flagellation and bloodletting are true sources of redemption. And there is the key – there is redemption at the end, a reward all the more deserving due to the glimpses into the darker recesses of the human struggle to survive that the album gives. Brendan Telford THE MUSIC • 5TH FEBRUARY 2014 • 31


album reviews

HALFWAY

JASON ISBELL

Plus One/MGM

Spunk

Brisbane outfit Halfway’s fourth album Any Old Love is a fascinating beast, a complete artefact on which the lyrics, music, artwork and even liner notes by author Ross Gibson coalesce into one absorbing narrative about a man desperate to hold on to his rapidly-receding dreams.

Long-awaited local release for an album of simply great songcraft and storytelling, that comes with a rare plain-speaking honesty.

Southeastern

Any Old Love

The main protagonist is a jockey whose career at city tracks has prematurely hit the skids, and who finds himself holding court at a Central Queensland pub – making the beautiful Shakespeare Hotel not just the album’s midpoint but also its emotional centerpiece. Tracks like Honey I Like You and Hard Life Loving You set the scene perfectly, while the gorgeous Sunlight On The Sills brings it all home and closer Waking Hours brings a hint of optimism to the occasionally melancholy proceedings. It’s one of John Busby’s best batches of lyrics, complemented by Chris Dale

★★★★ whose songwriting contributions are as requisitely strong as ever. Naturally it wouldn’t all work without strong musical accompaniment, and the eightpiece are in typically strong fettle; ex-Go-Between John Wilsteed’s recent addition on guitar brings polish and dexterity (his former band-mate Robert Forster once more taking the production reins, abetted in parts by former Replacements mentor Peter Jesperson, who scores a co-production credit), while the remaining band members fill their respective roles with aplomb. An utterly beguiling piece of work in both scope and execution. Steve Bell

For those who came in late, Jason Isbell was the guy who worked out songwriting-wise three was indeed a crowd in the damn fine Drive-By Truckers, so went on to make a couple of pretty good country-rockist albums with his own The 400 Unit, before cleaning up some personal bad habits, and stripping it back to this conversational and confessional directness. While Isbell sometimes refers to his previous weaknesses, it’s not with the self-righteousness of the recovered, but more a reflective realisation of what an arse he was. Elsewhere, he’s blunt – the cancer-riddled subject of Elephant drunkenly raging against the dying of the light, but undercut with a wit and affection as he still tries to sing along with the old country songs he plays her.

JOHN BUTLER TRIO

NEIL FINN

Jarrah Records

Neil Finn is an artist who is always searching for and experimenting with new ways to satisfy his muse. He’s a pan-genre musician capable of immersing himself in pop, art-rock, acoustic balladry and groove-based experimentalism, and he masters most of them. On Dizzy Heights he applies a new psychedelic and fantastical pop-art filter to his songs with mixed results.

Of course, it’s not all laid-back folk music; Butler’s fingers leave a trail of blood with electric riffs like that on Livin’ In The City and Cold Wind, and whenever he takes the opportunity to solo, he does it with talent to spare. Six albums into his career, Butler has come a long way from the Fremantle streets where he began busking. Byron Luiter is again his right hand man on bass, with Nicky Bomba playing the majority of the album on drums (Bomba recently moving on 32 • THE MUSIC • 5TH FEBRUARY 2014

And then there’s love. Here’s a man who’s tired of Travelling Alone, and is finally able to admit it. Or being stuck in Stockholm and remembering “I’ve heard love songs make a Georgia man cry…” and knowing why. But whether it’s that kind of open-hearted candour, the little details of the Songs That She Sang In The Shower, or even moments of Americana gothic like Live Oak or Yvette’s murder ballad, Isbell’s way with words – and the delivery of them – make Southeastern a record that will beckon you into its little worlds, and make you feel them. Magnificent. Ross Clelland

Dizzy Heights Lester/Kobalt

Flesh & Blood

The sweet acoustic guitar that drifts over the first 30 seconds of Spring To Come, the opening song from John Butler Trio’s newest offering Flesh & Blood, has come three months too late. This is a song – and an album – that deserved the entire summer for lovers and friends to listen to, rather than just the final month or two.

★★★★½

★★★½ to focus on the Melbourne Ska Orchestra, and being replaced by Grant Gerathy). The vibe of his earlier, earthier albums has dissipated somewhat, with more of a focus this time around on relationships (Bullet Girl and Young And Wild being two obvious examples) and loss (Wings Are Wide is an ode to Butler’s late grandmother). Flesh & Blood is instantly recognisable as a JBT record, but there’s enough diversity in it to keep the listener singing along to all 11 songs. After so long, it’s testament to Butler that he can still sound so fresh. Dylan Stewart

Finn worked with producer Dave Fridmann (Tame Impala, Mercury Rev, Flaming Lips) and from the opening track his trademark dreamy swirl is all over Finn’s songs. Impressions features Finn’s sweet falsetto, which appears often across Dizzy Heights. The songs that display the largest Fridmann imprint are the ones that work the best. A song like Divebomber could even be straight off a Flaming Lips record. When the clouds clear and Finn’s songs become more sonically and lyrically direct they often

★★ ½ descend into moody and earnest electronic pop-rock workouts like Flying In The Face Of Love. The album features his wife Sharon and sons Liam (guitars) and Elroy (drums) as well as contributions from SJD and Connan Mockasin, all of them having a distinct influence. Amid all the studio bells and whistles, clever and quirky arrangements and dizzying instrumental collisions it’s still Finn’s magical use of melody that rises to the top. The songs and lyrical imagery may be too considered at times but this is still Finn pushing forward and continuing his brave exploration of music. Chris Familton


albums/singles/eps

★★★★

★★★★

★★★½

BAND OF HORSES

BOMBAY BICYCLE CLUB

BROKEN BELLS

Acoustic At The Ryman

So Long, See You Tomorrow

After The Disco

YOU BEAUTY

Sony

Mennal Mondays

Bombay Bicycle Club hinted at a record like this with 2011’s A Different Kind Of Fix, but even their most one-eyed fans could not have anticipated an LP so tranquil and transcending. The quartet have bridged the gap between the indie style of London and the exotic sounds of the East, with harmonies removed from the clutches of a Scandinavian winter. Guitars now take a firm backseat behind synth splashes, looping, beats, chimes and tribal percussion. It’s a musical journey around the world, and will no doubt soundtrack plenty of escapism in 2014.

Try and not be overjoyed by Perfect World – you’re unlikely to hear a more life-affirming start to a record this year. It’s epic, but showing why it’s so great it feels like the six-plus minute song is over all too soon. Brian ‘Danger Mouse’ Burton and James Mercer from The Shins have really gone to work with After The Disco, crafting these new sonic dimensions that jump styles frequently, but work cohesively as one. The album has a few lulls like Lazy Wonderland that fall a bit flat, but there’s just too much otherworldly pop progress on this sophomore offering to feel let down.

Independent

Benny Doyle

Benny Doyle

Brown/Kobalt Brought in with the hum of a softly-embraced accordion, Marry Song is met with rapturous applause once the audience recognises the bright, plucked acoustic guitar and piano. This is the sort of thing that makes a live album special, and Acoustic At The Ryman is chock-full of moments like this. Slow Cruel Hands Of Time sees the band at their most vulnerable, both in their songwriting and their delivery. Fans of Infinite Arms will be elated to hear these re-workings of some of the band’s favourites, the entire album front-to-back an absolute treat. Lukas Murphy

Universal

You Beauty features members of Absolute Boys, Mere Women and Hira Hira. This is the first single and title track from their debut, and it’s fucking amazing.

N’FA JONES Money Better Come Independent N’Fa proves he can sing as well as rap on this classic sounding Styalz Fuego beat. A great track with minimal cheese.

GOSSLING Harvest Of Gold Universal Understated pop from Gossling with lush multi-layered production. Her voice is toned down, which still doesn’t mask her remarkable weirdness.

★★★★

★★★★

★★★★

HOSPITALITY

ROBERT ELLIS

SNOWBIRD

Trouble

The Lights From The Chemical Plant

Moon

Merge/Inertia Oftentimes bands release pop records that are so full of noise that there’s never a chance to catch your breath or fully appreciate the competing elements of each song. Brooklyn three-piece Hospitality have, in Trouble, avoided any such risk, and the results are great. Despite the inclusions of the occasional synthesizer or string section, the clear, concise sound that fills the album fits somewhere in between a more melodic Dick Diver, Real Estate and The New Pornographers. It’s an approach that works wonders for Hospitality, and shows that often in music, less is more. Dylan Stewart

New West/ADA Ellis’ 2011 album Photographs,\ caught many an ear with its efficient, emotive songwriting and guitar playing and gave him an international audience. The Lights From The Chemical Plant finds Ellis expanding his repertoire, stepping outside of the constraints of pure Americana to embrace pop elements, diverse country influences and lush production while retaining his incisive way with words and melody. On an album that thrives on atmosphere and emotional gravitas there are surprisingly no weak tracks across its 53 minutes. A bold musical statement from a multi-talented musician matching ambition with results. Chris Familton

Bella Union/[PIAS] Australia Seventeen years on from the disbanding of Cocteau Twins, Simon Raymonde (who made up one half of the outfit) has returned to collaborate with the sweetly-spoken Stephanie Dosen under the appropriately gentle moniker Snowbird. Still with an appreciation for the ethereal, Raymonde’s contributions to the album are unobtrusive – yet sweetly coaxing – serving only to very subtly propel the identically dreamy vocals of Dosen to the forefront of the ambience. Moon has been carefully arranged so as not to overwhelm the listener, but rather to softly extend an invitation into its otherworldly arrangements. Justine Keating

MARTIN SOLVEIG & LAIDBACK LUKE Blow One Love This is maybe a deodorant ad, but it could just be a joke without a punchline. Plenty of cultural appropriation though which ain’t funny.

NEON JUNGLE Braveheart Sony OMG Neon Jungle are blazing a trail of originality with this song that sounds like Will.I.Am producing a Rihanna track. If that’s up your alley you will totally love it.

CASS MCCOMBS Brighter Domino/EMI Laidback, classic indie, McCombs doesn’t really make anything that isn’t great and this hook is up there with some of his most memorable. THE MUSIC • 5TH FEBRUARY 2014 • 33


live reviews

LANEWAY FESTIVAL 2014 RNA Showgrounds 31 Jan We don’t get too many festivals these days taking place slap bang in the middle of Brisbane – they all too often require a road trip – but today the streets leading into the precinct of RNA, which has become home to the Laneway Festival over the last few years, are full with the chatter of excited indie kids streaming towards their fix of cool tunes. It’s a slightly reconfigured set-up that awaits them – the smaller Alexandria St stage has been replaced by a more cavernous neighbouring space which results in complete swapping of stages in the timetable – but

moment of the afternoon – how can she have lost none of her cool after all these years? Inside the Zoo Stage a solid crowd has gathered to see Melbourne stalwarts Dick Diver go through their paces, and not even some solid Queensland baiting by bassist Al Montfort – who seems slightly fixated on Clive Palmer – is enough to deter crowds from completely digging their slew of fun numbers including Water Damage, Calendar Days and Head Back. They swap instruments, joke around and don’t seem overly serious in their demeanour, but tracks like Amber and the rousing Alice speak volumes about just how good this laconic outfit really are. The future soul of Autre Ne Veut is pumping through the expansive pavilion in which the

CHVRCHES @ LANEWAY FESTIVAL. PIC: STEPHEN BOOTH

there’s not too much disruption as people quickly adapt and get into the swing of the party. At the Carpark Stage young UK teenager Archy Marshall is introducing early arrivals to his King Krule alter-ego, his mellow songs meandering slowly while he unleashes long diatribes in his thick brogue, the lyrics occasionally difficult to interpret but legible enough to have diehard fans singing along joyously to tunes like Rock Bottom and crowd fave Easy Easy. Adalita is in full four-piece mode this afternoon and not even a touch of bronchitis will stop her sounding incredible on the Alexandria Street stage. She’s capitivating both with the band and on her lonesome, I Want Your Love and Heavy Cut showing both formsrespectively, but it’s the penultimate Blue Sky that proves her finest 34 • THE MUSIC • 5TH FEBRUARY 2014

and Sabre Tooth both proving that, but he’s not a commanding presence on stage and the songs somewhat lack substance. The dour and moody Daughter are a perfect accompaniment to the gloomy conditions that some lovely late afternoon cloud cover has presented to us. Unfortunately they are a band clearly very focused on achieving a precise sound, and they succeed in doing so this afternoon, but there’s some monstrous sound bleed from a nearby stage that sours things somewhat. When they crank up enough the issue is overcome, but it’s unfortunate for them. Chvrches sound faultless tonight; the lead vocals of Lauren Mayberry are as perfect as they are on record and Iain Cook and Martin Doherty’s accompaniment is also spot on. But they’re not as

WARPAINT @ LANEWAY FESTIVAL. PIC: STEPHEN BOOTH

RBMA x Future Classic stage is housed. Arthur Ashin is sporting his trademark backwards baseball cap as he strides around the stage, putting every ounce of himself into belting out these indie R&B jams. It’s when he comes together with vocalist and laptop wrangler Cristi Jo Zambri and both of them sing with vigour that they sound best, though his almost entirely solo rendition of World War goes down well enough. With a Hottest 100 win under his belt, Vance Joy has drawn in a sizable crowd of interested onlookers this afternoon as he croons through some breezy folk fare. He’s not going to become any less popular if the songs he airs from his forthcoming album are anything to go by, but he’s also not going to become any more interesting; it’s all very vanilla. He’s talented and his songs are likable, From Afar

Falling opens up Haim’s set tonight, the genius slice of pop then given way to a big, proggy blues jam that suggests the three sisters want us to know they have the chops to be a truly great rock band. But it’s the pop we love and tonight they deliver in spades; If I Could Change Your Mind, My Song 5, Don’t Save Me and Forever are all brilliant. They’re loud, energetic, fun, stupid, and ridiculously talented. The Wire earns the biggest response of the evening, but they’ve already well and truly won us over by this stage. Incredible. Savages’ fantastic debut album was really something, but it’s a whole other thing to experience the aural force of these four women in the live arena. With each vivid movement sending out a sense of impending urgency, vocalist Jehnny Beth commands

VANCE JOY @ LANEWAY FESTIVAL. PIC: STEPHEN BOOTH

interesting as they should be. They roll Gun out second and while we wait in hope that they’ll loosen up as the crowd jives to the well-loved track, Mayberry continues to stand completely still, offering no energy. Recover and Mother That We Share get the crowd perked up again, as does Under The Tide, which sees a far more animated Doherty stir the crowd up somewhat. As usual Kurt Vile seems pretty much unflappable, the shaggy-haired rocker eternally laidback as he leads his troupe through a stream of languid and cruisy tracks such as Wakin’ On A Pretty Day and Jesus Fever. Even though it’s eminently enjoyable there’s little deviation from the standard template or much in the way of dynamics, but he still wins plenty of new converts with strong songs such as KV Crimes and Goldtone.

a most intense stage presence, while the rest of the band follow in suit and release composed explosions of energy and awe through every outpouring. The greater share of their debut is covered, with Husbands topping off an inspiring set that’s surely among the highlights of the day. The guitar work of Unknown Mortal Orchestra’s Ruben Neilsen is lauded, but is it lauded enough? Some of the sounds he wrings from his axe tonight are so ugly and fantastic that you’ve got to wonder where they’re coming from. Neilsen’s voice is also a place now, all rugged and soulful, that is shifting the band up a level; he just doesn’t explore that territory enough. Tonight is mighty jammy, though closing on Ffunny Ffrends into So Good At Being In Trouble is pretty great. Lorde is the best pop star we’ve seen in ages. Right now, she’s not


live reviews really the best fit for Laneway – after rubberneckers have seen a song, the crowd is smaller than for those before her – but it’d be no surprise to see her back here, after the dust has settled and she’s made more great records. Tonight she prowls the stage with an endearing lack of grace, writhing with excitement and nervous energy that can’t be affected and her minuscule backing section is plunged into darkness – it’s Ella YelichO’Connor’s show. Tennis Court and Buzzcut Season are great and so is Royals, though it does not get the big response you’d expect. This is rising NY-based indie kingpins Parquet Courts’ debut show in this country – hopefully the first of many – and they prove to be a live force, co-frontmen Andrew Savage and Austin Brown taking turns to dominate proceedings from either side of the stage as they whip through Master Of My Craft and the Pavementaping Career In Combat like a delightful dervish. They have a fill-in drummer for this jaunt but he does a sterling job, tracks like the frantic Stoned And

Starving and the equally frenetic Light Up Gold getting ecstatic receptions from the delighted guitar fans in attendance. It’s an auspicious moment for The Jezabels as this performance lands on the same day as the release of their new album, The Brink. So it’s no surprise that they’re in the most excitable of moods, and luckily they have the sound to match it. Frontwoman Hayley Mary seems more than eager to share this occasion with the fans as she bounces around the stage, and the crowd mirrors this affection and joy, responding as ecstatically to new single Look Of Love as they do to classics like Endless Summer and Easy To Love. Imagine a massive throng of people losing their shit concurrently and you have tonight’s Danny Brown show. We already know he’s got the goods as an MC, but tonight he proves to be a fantastic entertainer as well as he stirs us all into a frenzy with his bass heavy steez.

their serve at both ends with some airings of the downbeat, Caribbean-laden grooves that he and his iconic band are best known for. However, through the middle he pushes his fans a bit out of their comfort zone by dropping some stuff that’s a little harder, before bringing it all home on the softest of notes with some sounds of the most sensuous nature. LA’s Warpaint were here at Laneway a few years back but seem like a more accomplished proposition these days, vocalists Emily Kokal and Theresa Wayman doping their best siren impressions as they attempt to prove that there’s substance behind their indisputable style. Aussie Stwella Mozgawa holds the beat these days and does a great job, eventually being engulfed by the whole band who clasp around her for epic closer Undertow. El-P has a far smaller setup for Run The Jewels than last year’s ‘solo’ show – it’s just him Killer Mike and a DJ – but they’re good enough MCs that it doesn’t require any more. The only issue

The promise of the xx brand and style leads many to fill in for Jamie xx’s set. They get

here is Killer Mike; he’s not just good, he is overpoweringly good and completely overshadows El-P. No Come Down sees them at their best, though you’d be hard pressed to find a hip hop show that features two guys putting in so damn much for the entirety. There’s a fun bit of irony in the fact that Kieran Hebden, aka Four Tet, is here to perform in support of his most recent LP Beautiful Rewind, and that it’s taking place on the Future Classics stage. This Rewind-Future juxtaposition invites wonderful excursions, with conceptual paradoxes of time pushing and pulling on itself being conjured. While there was never going to be much in the way of grand gestural statements from Hebden during this set, his seductive songs command the power to hypnotise a dancefloor of bodies into the kind of rhythmic submission that affords the freedom for such aforementioned flights of the mind. Dan Condon, Billy Longer, Jake Sun For more comprehensive Laneway Festival coverage head to theMusic.com.au

arts reviews

DALLAS BUYERS CLUB Film

In cinemas 13 Feb A hard-partying electrician/rodeo cowboy discovers he has HIV and is given 30 days to live. In desperation, he crosses the border to Mexico to receive experimental medication not approved by the American FDA, and finds it works. He decides to cash in on his suffering and smuggle the drugs back into the US to sell to other people with HIV/AIDS. Matthew McConaughey is transfixing as the scarily gaunt, drug-loving, boozed-up sleaze Ron Woodroof (based on a reallife man), who goes from being a homophobic, racist arsehole to eventually realising – only after experiencing harrowing circumstances first-hand, of course – that LGBTQI people are people too. Though this ‘transformation’ elicits more eye-rolling than tear-jerking, the growth of his friendship

with business partner Rayon, a transgender woman played by Jared Leto (whose performance has garnered praise from critics, yet also condemnation from the trans* community) gives the film a necessary emotional push. On the flipside, it’s clear that Rayon’s character was created to represent and depict Woodroof ’s evolving empathy-meter. Similarly, Jennifer Garner’s Dr Eve Saks acts mostly as a reluctant yes-woman. Dallas Buyers Club is strongest when it tries to tell Woodroof ’s remarkable story straight. While it works as entertainment – balancing weighty topics with humour, sharp editing, action montages, colourful dialogue and McConaughey’s charisma – if its aim is to push for more awareness for HIV/AIDS treatment (as the message “AIDS is not over. Access to treatment could save more lives.” after the credits suggests), reveal pharmaceutical company evils or showcase character development, then its impact is tenuous. Stephanie Liew

WATCHING GIRLS Only Child S3, E5 This Week On Girls: House guests are less like fish, more like annoying people who just sit on the couch and won’t shut up. Marnie and Ray have brand-new bach-pads, but Cute Kittens and Ballin’ can’t be a balm for loneliness, only ill-

advised dining-table fucking can. Hannah’s less concerned with her dead editor than her dead e-book; his funeral a forum for her starfuckery and self-obsession to run amok. Funeral faux pas lead to a possible new publisher, but she’s still bound by the old contract. Immediately playing the victim (“Why are they doing this me?” ), hysterical Hannah lashes out, first at kindly, emasculated Dad, then Caroline. Where once she played Dr Phil, now she vindictively kicks her house guest out. Gaby Hoffmann rises to the occasion, riffing on tales of child-actor past (meta-joke: “Your acting career is over!”), relishing onceforbidden vaginal euphemisms, then hurling at “spoiled little fucking brat” Hannah what so many wish they could: “You will never write a thing that matters.” Hannah Nudity Watch: Making appointments with a prospective publisher. Shosh Amaze Meter: Perturbed by the insanity of plans after the 15-Year Plan. The Tao Of Adam: “Those are professions, I remain the same.” THE MUSIC • 5TH FEBRUARY 2014 • 35


36 • THE MUSIC • 5TH FEBRUARY 2014


the guide

MTNS

Member answering/role: Joe Thiang – drums/samples How long have you been together? About a year now, started late-2012. Tom has been writing and playing solo for a few years though. How did you all meet? I’d been filling in on drums for Art Of Sleeping, and Tom knew the boys and was looking for a drummer. We met up and instantly clicked. We needed a keyboard player who was savvy with his tools, and I’d known Robbie for a while, so it made sense for the three of us to start making music together. You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? We all like really different music! I’d have to say The National or Arcade Fire. Toss a coin. Which Brisbane bands before you have been an inspiration (musically or otherwise)? I’d have to say Art Of Sleeping! Really love where The Jungle Giants and The Kite String Tangle have taken Brisbane music in 2013. They’ve really put us on the map. What part do you think Brisbane plays in the music you make? Brisbane has a lot of new up-and-coming bands, which is really exciting to be a part of. I guess it’s a city of opportunity too, most notably for us having BIGSOUND in Brisbane last year – getting a spot through jjj Unearthed was an absolute blessing. What’s in the pipeline for the band in the short term? We’re about to go on our first tour for our Salvage EP. We’re also working on some new songs, so we’ll be testing out a few during our upcoming shows. MTNS play Black Bear Lodge on 6 Feb, Byron Bay Brewery on 7 Feb and The Loft, Gold Coast on 8 Feb. Photo by TERRY SOO. THE MUSIC • 5TH FEBRUARY 2014 • 1


eat/drink

BBQ-ING UP Torn between wanting to fire up the barbie at home or go out and dine? Well, plenty of restaurants are offering the barbecue experience so you can get the best of both worlds. Cook your own or let someone else do it for you. Illustration Sophie Blackhall-Cain.

ARGENTINIAN – ASADO The likes of ribs, steak, chicken, goat, pork and lamb traditionally cooked over coal or an open fire. It’s served with bread, salads, a grilled vegie mixture and chimichurri sauce (which consists of chopped parsley, dried oregano, garlic, salt, pepper, onion, and paprika with olive oil) or salsa criolla (a sauce of tomato and onion in vinegar).

AMERICAN

MEXICAN – BARBACOA Nowadays in Mexico, ‘barbacoa’ generally refers to meats or whole sheep slow-cooked over an open fire, or more traditionally, in a hole dug in the ground covered with maguey leaves. A traditional Mexican way of eating barbacoa is serving it on warm corn tortillas with guacamole and salsa. Don’t forget the grilled corn on the cob!

KOREAN – GOGIGUI There’s a hotplate on the table on which you cook meats, and it has a little moat-like part on the edge in which you heat up soup and cook noodles and vegies. Some places have waitstaff who will help you cook, but it’s not rocket science. Like with the Japanese BBQ, you get an assortment of sliced meats (eight servings of marinated pork belly, anyone?), vegetables, noodles, rice and condiments.

So many regional variants – Memphis’s ribs and sandwiches, the Carolinas’ pulled pork, Kansas City’s signature sauce, and Texas’s slow-cooked meats over wood. Chuck in some beer-battered, handcut fries and some slaw... Drooling yet?

JAPANESE – YAKINIKU In the middle of the table there’s a mini-barbecue set up, with a rack or plate over hot coals. You can cook your own marinated and plain meats (sliced or on skewers) and vegies, and you eat them with rice and condiments made of Japanese soy sauce mixed with sake, mirin, sugar, garlic, fruit juice, miso and sesame.

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the guide qld.live@themusic.com.au

FRONTLASH

TOURING THIS WEEK

DOWN THE LANE(WAY)

Another great Laneway Festival soothed Brissie’s indie community on the weekend. Everyone had personal highlights, but here’s hoping Parquet Courts return soon!

UP TO YOUR EYEBALLS

LOVE AND OTHER DRUGS

Get to The Zoo this Friday and get sets from F.T. Coker, a nu-folk four-piece on the up and up, Fuzzy dream pop gang Mega Ogre, Stuart Daniel Hoy and Velvet.11. Grab a ticket on the door for $10.

Catch Perth triple-threat The Love Junkies on their already announced GC date at The Loft, Thursday, followed by a Byron show at The Northern, Friday and a Trainspotters performance at Grand Central Hotel, Saturday with Babaganouj and Caroline.

POCKET ROCKET

PLAY IT TOUGH

Starting this Friday night and happening until 21 Mar, PocketLove will play a fortnightly residency at The Press Club. The sextet are the ultimate lounge band – funk, soul and heart – so get your weekend started with the right vibe.

Sometimes you’ve got to be Cruel To Be Kind, at least according to Brissie indie rockers The Worriers. They launch the second single from their forthcoming debut EP with a show at The Bearded Lady this Sunday.

SOHO SO GOOD Congrats to local rockers Violent Soho for placing #14 in the triple j Hottest 100 last week, a great result!

OLD SCHOOL MP! Props to Redlands MP Andrew Laming for getting into the spirit of Australia Day, crashing parties and chugging beer standing on his hands after handing out lamingtons!

R.I.P PETE SEEGER

BACKLASH VALE PETE AND PHILIP

Two sad deaths hit the art world this week – first legendary folkie Pete Seeger completed his remarkable life, then revered actor Philip Seymour Hoffman also passed on tragically. Both will be missed but their work will live on.

SHAVE THE WORLD

THIS WEEK’S RELEASES… GARAGE GOODNESS

WANTS YOU WHAT

Do yourself a favour if you’re down in Byron Bay this Friday and head to Beach Hotel to see why Lunatics On Pogosticks were deemed the best high school band in the country last year. The Lennox lads know how to party, so get amongst the fun.

This Friday British beat makers Hannah Wants, pictured, and Doorly take control of Bowler Bar. Bass music of the highest order, see why this pair have got the approval of legends like Annie Mac, Pete Tong and Groove Armada.

JOHN BUTLER TRIO Flesh And Blood Jarrah/MGM HARMONY Carpetbombing Poison City JASON ISBELL Southeastern Spunk MAXIMO PARK Too Much Information Daylighting/[PIAS] Australia

Incredible that razor companies are still bleating about how hipster culture’s recent love for all things beardy is hitting them where it hurts most – the hip pocket (pardon the pun). Build the proverbial bridge, those beards aren’t going anywhere.

AU REVOIR POMS Sad to see the back of the English cricket team after one of the most one-sided summers in history. They arrived full of swagger and leave after a combined 12-1 hiding with their tails wedged between their legs. Greatest. Ashes. Ever. THE MUSIC • 5TH FEBRUARY 2014 • 39


the guide qld.live@themusic.com.au

SINGLE FOCUS

SINGLE FOCUS

FUTURE SOUNDS

THE WORRIERS

THE LOVE JUNKIES

DON’T BE AFRAID

FREEWHEELIN’ WAYS

Member’s Name: Michael Whittred

Member’s Name: Mitch McDonald

Single title: Cruel To Be Kind

Single title: Chemical Motivation

What’s the song about? The anesthetic and addictive nature of love and selfreassurance in the face of the utter tragedy of violently fractured families.

What’s the song about? Doing naughty things with naughty people.

Reveal your wild side and start moving when The SideTracked Fiasco bring their funk/metal mash-ups to life, heading our way to promote new single Fish Stew. Catch them 20 Feb, Surfers Paradise Beer Garden and 21 Feb, Beetle Bar.

Singer-songwriter, author, guitar player and born entertainer, Dave Graney will be leading his charge – a backing unit featuring Clare Moore of The Dames on drums and Stu Thomas on bass – at New Globe Theatre, 22 Feb. $15 pre-sale, $20 on the door.

STOMP YOUR FEET

SUITABLE TONES

If you’re heading to the Nina Las Vegas show at Bowler Bar, 8 Mar, then more fist pumps for you because South Oz Brontosaurus Tkay Maidza will be the main support on the night. L D R U and Indian Summer also play.

We can’t think of a voice better suited for the upcoming Boy & Bear support than Patrick James. The songwriter will open shows at Sunshine Coast Function Centre, 26 Apr; Empire Theatre, Toowoomba, 27 Apr; and Lismore Workers Club, 14 May.

BEAMING IN

SHAKE THE FOUNDATION

All Messed Up is the follow-up single to Shades, Tales Of Space’s infectious electro pop jam of last year. Shake it with the new kings of cool when the Sydney pair play 7 Mar, Alhambra Lounge; 8 Mar, Solbar, Maroochydore; and 9 Mar, The Brewery, Byron Bay.

A creative extension of the brotherly bond between siblings Mathew and Justin Hyland, Little Earthquake will deliver their hook-heavy brand of electro pop when they kick off their east coast tour 28 Feb at Ric’s Bar.

How long did it take to write/record? Our bassist Bill wrote and demoed the song in a matter of days, and the arrangement fell together very quickly. It’s been in the works along with our EP since April last year. Is this track from a forthcoming release/existing release? Yes! Our five-track debut EP, The Worriers Ruin Everything, will be released in the next few months. What was inspiring you during the songs writing and recording? The delightful, gooey centre of an antagonist’s character, almost embodying a Game Of Thrones villain, or like something from Nick Cave’s Murder Ballads. That, wrapped in the crunchy outer coating of power-pop. We’ll like this song if we like... The Killers, early Radiohead, Pixies, Foo Fighters, OK Go. Do you play it differently live? Not at all, with this single we aimed to capture as much of the ferocity we have when we play it live! The Worriers play The Bearded Lady on 9 Feb.

How long did it take to write/ record? The song came together pretty quickly, and was one of the first songs written postMaybelene. We recorded it over a weekend with a bunch of other songs recently. Is this track from a forthcoming release/existing release? This track is from our forthcoming EP Flight Test which is due out in a couple of months. What was inspiring you during the songs writing and recording? Chord progressions. I felt that a lot of our earlier stuff was very riff-based so I think writing chord-based songs with the bass taking the melody or ‘hook’ was a game or ‘inspiration’. We’ll like this song if we like... Fly fishing. Columbian man cuddling. The taco long throw. Extreme sports in general... Do you play it differently live? Sounds pretty similar live I guess.. Minus the acoustic and hand claps. The Love Junkies play The Loft, Gold Coast on 6 Feb, The Northern, Byron Bay on 7 Feb and Trainspotters, Grand Central Hotel on 8 Feb.

FOR MORE HEAD TO THEMUSIC.COM.AU 40 • THE MUSIC • 5TH FEBRUARY 2014


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THE MUSIC • 5TH FEBRUARY 2014 • 41


opinion QMUSIC FREE SXSW MEETUP FOR BRISBANE

ADAMANTIUM WOLF

OG FLAVAS

METAL, HARDCORE AND PUNK WITH LOCHLAN WATT

URBAN AND R&B NEWS WITH CYCLONE

Bands and delegates headed to SXSW are invited to official meet-ups around the country, where veterans and first-timers can discuss this year’s event, with guest speakers, networking and advance tips. Brisbane’s event is scheduled for 11 Feb, 5.30 pm at The End. For more info and to RSVP, email Sue Swinburne of Griffith University – s.swinburne@griffith.edu.au. BLEACH* FESTIVAL CALLS FOR VOLUNTEERS Bleach* Festival 2014 is looking for volunteers to assist with the event, happening 7–23 Mar. There are numerous roles available across the festival and a variety of options to suit your availability. Be part of this incredible cultural festival on the Gold Coast! To apply visit bleachfestival.com.au. FUNDING INFO SESSIONS FOR ARTISTS WITH DISABILITY The Australia Council for the Arts will hold information sessions across the country about its new funding program for artists with disability. The program has been developed after extensive consultation with the sector, including Arts Access Australia, and was launched along with other initiatives to mark the International Day of People with Disability on 3 Dec. Brisbane’s session will be hosted by Access Arts, New Farm on 3 Feb, 2pm– 4pm. Bookings are essential, so go to australiacouncil.gov.au/disability. BECOME A QMUSIC MEMBER. For these stories, memberships and more, go to qmusic.com.au.

42 • THE MUSIC • 5TH FEBRUARY 2014

COPIA

The afternoon of writing this, I was gradually wandering through the city of Melbourne on my way to my office at ABC, blasting The Satanist by Behemoth into my ever-suffering ear canals. Nearing the end of Swanston Street, I was stopped by a guy who looked like he was going to ask me either for some change, or to give him some credit card details in order to help save the children/trees/whales/ cancer patients/Falun Gong/ myself etc. However, his hands weren’t empty and outstretched, and neither did they contain a clipboard or pamphlets. He was holding a set of headphones. “Hey, are you listening to metal?” I was asked upon removing the as-yet-unreleased and brutally sexual album of black/death glory from Poland’s finest from my ears. After responding with a cautious “yes”, this dude introduced himself and proceeded to explain his band Copia and how they were going about promoting themselves and their upcoming tour. Though they are Melbourne locals, they had apparently been travelling around Australia’s capital cities, walking the streets and asking people to listen to “just 20 seconds” of their music. They’d also just played some shows with Northlane in Russia, as well as a gig in Germany late last year. I had a listen for 20 or so seconds… a cross section of symphonic metal and progressive rock with very decent production is what I heard. “Sounds pretty solid, man,” I told him as I removed the headphones and he grabbed a copy of their album out of his bag to start the sales pitch. I told him that he had gotten pretty lucky in picking out a guy who makes a living promoting heavy music, and his eyes lit up with realisation

before fishing another CD out of the bag and just handing them to me. Equal parts impressed and sceptical, I wished him luck and went on my way, loading up their Facebook page to see if the story was true and that I hadn’t just been played. The European gigs checked out, their video clip was schmick as hell, and there were wall posts from all sorts of people who had been given or convinced to purchase CDs out the front of Karnivool shows and Warped Tour instalments all across the nation. I then listened to a quality album from start to finish, and decided that it was definitely worthy of spinning on the airwaves sometime. Instead of just sitting back and hammering social media, or straight up paying for fake Facebook likes and Instagram followers (which happens far too often), these guys in Copia have been out there literally working the streets for their music. How funny that, after months of this approach (which I can imagine comes with its fair share of rejection), they were lucky enough to cross paths with someone who is genuinely interested and wellequipped to get their name out. So thanks for stopping me today Andrew – not only did you give me something to write about, but you’ve reinstated my faith that there are bands out there willing to go the extra mile when it comes to DIY promotion. In this instance, it was only a bonus that the band also turned out to have all of their online bases well covered. If you’re interested in having a listen, check out copiaband.com, or catch the band on tour in March and April where they will play in Adelaide, Melbourne, Sydney and Brisbane.

Big Day Out 2014 had a big hip hop contingent. Snoop Dogg was the buzz act on the marginal Red Stage. Pragmatically reverting to gangstadom after 2013’s Rastafarian rebirth as Snoop Lion, he performed a ‘greatest hits’ – including his ‘90s G-funk classic, Gin & Juice. Drop It Like It’s Hot was a crowd fave. His finale, Young, Wild & Free, was directed at those ‘undercover cops’ wanting to bust him smoking weed. There was minimal reggae. Broadus’ Australian tour was again controversial, the feminist group Collective Shout demanding his visa be revoked. Their change.org petition to Scott Morrison, Minister for Immigration, read like an Alan Jones rant. Crucially, gangsta rap needs to be understood in relation to the complex African-American experience and constructions of masculinity. Hip hop must address its misogyny, yet change can only emanate from within. What prompted Broadus’ recent disavowal of guns? Even he seems aware his gangsta persona is now widely viewed as a minstrel-like parody. Lately, as ‘Snoopzilla’, he’s issued the retro 7 Days Of Funk, an under-promoted collab with Dâm-Funk on Stones Throw. And Broadus – who infamously cut the ‘sleazy’ Get ‘Em Girls with Jessica Mauboy – has lain down the low-slung “Bondi 2 Longbeach” anthem, Gimme A Light, with the Aussie Ekko MC. Most surprising at BDO? The energetic Kerser. The MC, finally attracting media attention, is unintentionally ironic, his Westside (well, Western Sydney) anti-barbecue rap a potent corruption of 2Pac. @therealcyclone

SNOOP DOGG. PIC: JOSH GROOM


the guide qld.gigguide@themusic.com.au

THE MUSIC PRESENTS Halfway: Old Museum 8 Feb Wire: The Zoo 19 Feb Future Music Festival: RNA Showgrounds 1 Mar

Steve Earle & The Dukes: The Tivoli 15 Apr Suzanne Vega: Brisbane Powerhouse 15 Apr

Mikhael Paskalev: Alhambrav Lounge 4 Mar

Allen Stone: The Zoo 16 Apr

The Growlers: Black Bear Lodge 5 Mar, Coolangatta Hotel 6 Mar

Byron Bay Bluesfest 2014: Tyagarah Tea Tree Farm 27-21 Apr

Bleach* Festival: Gold Coast 7-23 Mar A Festival Called Panama: Tasmania 8-9 Mar

The Wailers: The Tivoli 16 Apr

KC & The Sunshine Band: The Tivoli 19 Apr

Billy Bragg: The Tivoli 20 Mar

India.Arie & Joss Stone: The Tivoli 20 Apr

Caspian: Tempo Hotel 20 Mar

Jake Bugg: The Hi-Fi 23 Apr

Calling All Cars: Beach Hotel 28 Mar, The Zoo 29 Mar, Solbar 30 Mar

Ozomatli: The Zoo 23 Apr

Monster Magnet: The Hi-Fi 5 Apr

WED 05

The Locust: Crowbar, Fortitude Valley

Le Parti Soul feat. The Vans + DJ Redbeard + more: Ric’s, Fortitude Valley Unplugged feat. various: The Elephant Arms, Fortitude Valley King Parrot + Havok + Desecrator: The Hi-Fi, West End Open Mic Night feat. various: The Loft, Chevron Island Acoustic Sessions with Jye Whiteman + Jessy Mann + Owen Van Larkins: The Tempo Hotel, Fortitude Valley Hanlon Brothers: The Vault, Southport

THU 06

Feed + Imperius Rex + Ages Of Earth: Beetle Bar, Brisbane MTNS + Govs + Bilby: Black Bear Lodge, Fortitude Valley Jazz Singers Jam Night feat. various: Brisbane Jazz Club, Kangaroo Point The Fresh Snitch of Bel Air feat. Awaken I Am + Skies Collide + The Brave: Coniston Lane, Fortitude Valley The Leap Year + Arrows + Seahorse Divorce + Make More: Crowbar, Fortitude Valley Non Cents with Six Shooter Cahill + Chris Miller + Guests: Elsewhere, Surfers Paradise Jabba: Irish Murphy’s, Brisbane Paula Girvan Trio + Abbreviations: JMI Live, Bowen Hills Scooby Dont: Logan Diggers Club, Logan Central Ballad Boy: Loving Hut, Mount Gravatt Open Mic Night feat. various: Mick O’Malley’s, Brisbane Igor Prado & Lynwood Slim: New Globe Theatre, Fortitude Valley Leaven + Nila Bonda: Ric’s, Fortitude Valley

Groovin’ The Moo: Townsville 4 May Arctic Monkeys: BEC 7 May

Danny McGinlay + Xavier Michelides + Joel Bryant + Jordan Schulte: Sit Down Comedy Club, Brisbane Tom Richardson + Tea Society: Solbar, Maroochydore The Love Junkies + Sassin Fras + Kit Lightning + The Revelators: The Loft, Chevron Island Renae Suttie + OJ Newcomb: The Piano Bar, Maroochydore The Music Kitchen feat. Ella Fence: The Tempo Hotel, Fortitude Valley Frazer Goodman + friends: The Vault, Southport Tourism + The Familiars + Don Koyote + Neighbour: The Zoo, Fortitude Valley

FRI 07

Mace & The Motor + Old New York + Dirty Hearts + Morgan Hann: Beetle Bar, Brisbane Step It Up: Brisbane Jazz Club, Kangaroo Point Blizzard of Oz + Valvetrain + Kingsmoor + The Green Whistle: Chardons Corner Hotel, Annerley Remi + N’Fa Jones: Coniston Lane (Front Room), Fortitude Valley Cheated Hearts with Dimestore Diamonds + Pony Club DJs + The Gatling Gun + more: Coniston Lane, Fortitude Valley Joel Fletcher + Ember: Eatons Hill Hotel, Eatons Hill The Swiss + Audun + Chris Miller + Chris Walker + more: Elsewhere, Surfers Paradise DJ Shadow: Family Nightclub, Fortitude Valley Barry Charles + Peter Wells: Grand Central Hotel, Brisbane Diesel: Hamilton Hotel, Hamilton Motion DJs: Irish Murphy’s (upstairs), Brisbane Wasabi + B-Rad: Irish Murphy’s, Brisbane Majestiq: Logan Diggers Club, Logan Central

GIG OF THE WEEK DJ SHADOW: 7 FEB, FAMILY Strings For Ammo: Mick O’Malley’s, Brisbane Ebony Rose: Morrison Hotel, Woolloongabba Igor Prado & Lynwood Slim: New Globe Theatre, Fortitude Valley Miami Horror + Client Liaison: Oh Hello!, Fortitude Valley Jagged Jayne + Foxsmith + Faleepo Francisco + DJ Valdis: Ric’s (downstairs), Fortitude Valley DJ Ryan: Ric’s (upstairs), Fortitude Valley Bo Jenkins: Royal Mail Hotel, Goodna Nicky Convine: Saltbar, South Kingscliff Danny McGinlay + Xavier Michelides + Joel Bryant + Jordan Schulte: Sit Down Comedy Club, Brisbane StormChasers + Asher Chapman + Soula: Solbar, Maroochydore Real Talks + Seavera + Tommy Sheehan: SoundLounge, Currumbin Amos Pella: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar), Kangaroo Point Horris + Rabbit: The Crosstown Eating House, Woolloongabba Ramjet: The Elephant Arms, Fortitude Valley The Veal: Late Night Comedy feat. various: The Hideaway, Fortitude Valley

SAT 08

The Familiars + The Vanns + The Vernons: Alfred’s Apartment, Broadbeach Pigeon + Back Back Forward Punch + Zaped: Alhambra Lounge, Fortitude Valley The Black Alleys + Bolus + Love Hate Rebellion + The Androgyny: Beetle Bar, Brisbane

The Dirty 30 Revue feat. various: New Globe Theatre, Fortitude Valley Halfway + Paddy McHugh & The Goldminers + Silent Feature Era: Old Museum, Bowen Hills The Scam + The Incoherent + Goon On The Rocks + Bloodgin: Prince of Wales Hotel, Nundah StormChasers: Queen Street Mall (Main Stage/12.30pm), Brisbane

Various DJs: Black Bear Lodge, Fortitude Valley

Blonde On Blonde + Dead Wolves + DJ Valdis: Ric’s (downstairs), Fortitude Valley

Francois Houle: Brisbane Jazz Club, Kangaroo Point

DJ Ryan: Ric’s (upstairs), Fortitude Valley

The Necks: Brisbane Powerhouse (Visy Theatre), New Farm

Angela Fabian + Sugarcane Collins: Royal Mail Hotel (1pm), Goodna

Thriller feat. The Getaway Plan + Wendy Icon + Call The Shots + Lilly Rouge: Coniston Lane, Fortitude Valley Six Shooter Cahill + Adam & Eve + Giv: Elsewhere, Surfers Paradise Trainspotters feat. Babaganouj + The Love Junkies + Caroline: Grand Central Hotel, Brisbane Motion DJs: Irish Murphy’s (Upstairs), Brisbane Jabba + Quenel Mott: Irish Murphy’s, Brisbane Family Affair: Logan Diggers Club, Logan Central Ger Fennelly: Mick O’Malley’s (3pm), Brisbane Electric Samurai: Mick O’Malley’s (9pm), Brisbane

DJ Trent: Saltbar, South Kingscliff Danny McGinlay + Xavier Michelides + Joel Bryant + Jordan Schulte: Sit Down Comedy Club, Brisbane Cheap Fakes + The High Grade: Solbar, Maroochydore The Big Duo: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar), Kangaroo Point Focus: The Elephant Arms, Fortitude Valley MTNS + Govs + David Baker: The Loft, Chevron Island Sound Saber + The Dapper Bandits + Stone Chimp + Superfreak: The Tempo Hotel, Fortitude Valley

Jack & The Giant Killers + Tuesday’s Good + Kenny Slide: The Loft, Chevron Island Will Sparks + Morgan Baker + Sneazy + Mandy Onassis + Oh-J + Billy Mcpherson + more The Met, Fortitude Valley Pocketlove: The Press Club, Fortitude Valley Hannah Wants + Doorly: The Tempo Hotel (Bowler Bar), Fortitude Valley Unsought Duke + Owen Van Larkins + Lucky Bradford + Lucky 13: The Tempo Hotel, Fortitude Valley Jazz & Shriaz feat. various: The Vault (4pm), Southport Bec Whitehead + band: The Vault, Southport F.T. Coker + Mega Ogre + Stuart Daniel Hoy + Velvet 11: The Zoo, Fortitude Valley

OLIVER TANK: 8 FEB, THE ZOO

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 5TH FEBRUARY 2014 • 43


the guide qld.gigguide@themusic.com.au Various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley

Jabba + Mick McHugh + Ragdoll: Irish Murphy’s, Brisbane

Blank Realm + Four Door + Lucy Cliche + Sewers + Thigh Master: The Underdog, Fortitude Valley

Ger Fennelly: Mick O’Malley’s (3pm), Brisbane

Wayne Foster: The Vault, Southport Lofty Hangar: The Waiting Room, West End Oliver Tank + Oscar Key Sung + Bree Tranter: The Zoo, Fortitude Valley

SUN 09

Jeff Martin + Sarah McLeod: Black Bear Lodge, Fortitude Valley

Brisbane Big Band: Brisbane Jazz Club, Kangaroo Point The Necks: Brisbane Powerhouse, New Farm Alex Bell + Paul Bonetti: Dowse Bar (Iceworks), Paddington The Royale Late Night feat. Sessionkatz + Stretch Paper Cranes: Elsewhere, Surfers Paradise

KING PARROT: 5 FEB, THE HI-FI

Dash Berlin + Christina Novelli + more: Family Nightclub, Fortitude Valley

Strings For Ammo: Mick O’Malley’s (7pm), Brisbane Igor Prado & Lynwood Slim: New Globe Theatre, Fortitude Valley Exposed Competition feat. The Baskervillans + Xile Systems + Smashed Crabs + Show Your Cards + Taken By Wolves: Ric’s, Fortitude Valley The Hillbilly Goats: Royal Mail Hotel (2pm), Goodna Amy Michaels & The Good Time Girls: Sit Down Comedy Club, Brisbane Clint Francis: Solbar (2pm), Maroochydore DJ Ritchie: Story Bridge Hotel (Shelter Bar/3pm), Kangaroo Point

Ah Fuck That + Ironside + Goldstool + The Flangipanis: The Underdog, Fortitude Valley

MON 10

Rob Hackwood Duo: Irish Murphy’s, Brisbane Rockaoke feat. various: The Tempo Hotel, Fortitude Valley

TUE 11

Woody Lives Here: Irish Murphy’s, Brisbane The Bug feat. Those Folk + Karen Anderson: New Farm Bowls Club, New Farm The National + Luluc: Riverstage, Brisbane Escalate feat. various: The Tempo Hotel, Fortitude Valley Lesyah: The Vault, Southport

The Worriers + Massai: The Bearded Lady, West End Bubbleboy + Timbah: The Elephant Arms, Fortitude Valley Yank Tank: The Tempo Hotel, Fortitude Valley

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU

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tour guide qld.gigguide@themusic.com.au

INTERNATIONAL

Josh Pyke: Old Museum 15 Feb

Selena Gomez: BCEC 6 Feb

The Angels: Harrigan’s Drift Inn 15 Feb, Caloundra RSL 28 Mar, Coolangatta Hotel 29 Mar

Young Franco: Komune 15 Feb, Bowler Bar 15 Mar

The Locust: Crowbar 5 Feb DJ Shadow: Family 7 Feb Hannah Wants, Doorly: Bowler Bar 7 Feb

Pete Murray: Villa Noosa 20 Feb, Twin Towns 21 Feb, The Tivoli 22 Feb, Redland Bay Hotel 23 Feb

Dash Berlin: Family 9 Feb Jeff Martin: Black Bear Lodge 9 Feb

The John Steel Singers, Jeremy Neale: Black Bear Lodge 20, 21 Feb

The National: Riverstage 11 Feb

The SideTracked Fiasco: Surfers Paradise Beer Garden 20 Feb, Beetle Bar 21 Feb

Ed Kowalczyk: The Tivoli 12 Feb Devin The Dude: Coniston Lane 12 Feb

Little Bastard: Lefty’s Old Time Music Hall 21, 22 Feb

Ben Pearce: Bowler Bar 15 Feb

Kerser: The Hi-Fi 22 Feb (AA and 18+)

Wire: The Zoo 19 Feb Eminem: Suncorp Stadium 20 Feb Clutch: The Zoo 21 Feb

THE GROWLERS: 5 MAR, BLACK BEAR LODGE

Born Lion: SCU Unibar 27 Feb, Ric’s Bar 1 Mar

Skream: Bowler Bar 21 Feb Dolly Parton: BEC 21, 22 Feb

Sebadoh: The Zoo 23 Mar

Jason Derulo: BEC 5 May

Detroit Swindle: Bowler Bar 22 Feb

Absu: Crowbar 23 Mar

Arctic Monkeys: BEC 7 May

Mother’s Cake: Beetle Bar 22 Feb

Shapeshifter: The Northern 23 Mar

Jonny Craig: Crowbar 8 May, Tall Poppy Studios 9 May (AA)

Eddie Vedder: QPAC 22, 23 Feb

Orphaned Land: The Rev 23 Mar

Michael Buble: BEC 12 May

Singer Mali: Dowse Bar 23 Feb

Thirty Seconds To Mars, White Lies: Brisbane Riverstage 30 Mar (AA)

Fleshgod Apocalypse: The Hi-Fi 14 May

Bruce Springsteen & the E Street Band: BEC 26 Feb The Wonder Stuff: The Zoo 27 Feb Madeleine Peyroux: The Tivoli 28 Feb Mango Groove: Eatons Hill Hotel 1 Mar

Kodaline: The Hi-Fi 1 Apr

The English Beat: The Zoo 18 May

Bobby Keys & The Suffering Bastards: Eatons Hill Hotel 1 Apr

We Are Scientists: The Zoo 29 May

The Rolling Stones: Brisbane Entertainment Centre 2 Apr

James Blunt: BCEC 2 Jun

Kylesa: The Hi-Fi 2 Apr

Brian McKnight: QPAC 2 Mar

A$AP Ferg: The Hi-Fi 3 Apr

Six60: The Hi-Fi 2 Mar

Monster Magnet: The Hi-Fi 5 Apr

Charles Bradley: The Hi-Fi 4 Mar Mikhael Paskalev: Alhambra Lounge 4 Mar Neko Case: The Hi-Fi 5 Mar The Growlers: Black Bear Lodge 5 Mar, Coolangatta Hotel 6 Mar Neil Finn: Nambour Civic Centre 6 Mar, QPAC 7 Mar Bruno Mars: BEC 7 Mar Public Enemy: The Hi-Fi 7 Mar Lionel Ritchie: BEC 10 Mar Yo La Tengo: The Zoo 11 Mar Pharrell Williams: The Marquee 12 Mar (AA) Gretchen Wilson: Eatons Hill Hotel 13 Mar Iced Earth: The Hi-Fi 14 Mar Toby Keith: BEC 14 Mar Queens of the Stone Age, Nine Inch Nails: BEC 17 Mar Martha Davis & The Motels: New Globe Theatre 19 Mar Baths: Alhambra Lounge 20 Mar Caspian: The Tempo Hotel 20 Mar Billy Bragg: The Tivoli 20 Mar, The Northern 21 Mar Gang Of Four: The Hi-Fi 22 Mar Jurassic 5: Eatons Hill Hotel 22 Mar

The Kite String Tangle: The Zoo 22, 23 Feb

3 Inches Of Blood: Crowbar 10 Apr Suzanne Vega, Seth Lakeman: Brisbane Powerhouse 15 Apr Steve Earle & The Dukes: The Tivoli 15 Apr Allen Stone: The Zoo 16 Apr The Wailers: The Tivoli 16 Apr Kris Kristofferson: Lismore Workers Club 16 Apr, Empire Theatre 17 Apr, QPAC 18 Apr, Jupiters Theatre 19 Apr Adrian Edmondson & The Bad Shepherds: Black Bear Lodge 16 Apr Kreator, Death Angel: The Hi-Fi 19 Apr KC & The Sunshine Band: The Tivoli 19 Apr

D At Sea: Solbar 27 Feb, The Loft 28 Feb, Crowbar 1 Mar Wil Wagner: The Spotted Cow 27 Feb, Crowbar 28 Feb, Sun Distortion 1 Mar (AA), The Time Machine 2 Mar (AA)

Frenzal Rhomb: Coolangatta Hotel 7 Mar, The Hi-Fi 8 Mar

Bastille: BCEC 13 Jun (AA)

Elizabeth Rose: Alhambra Lounge 8 Mar

Andrew Strong: The Commitments: The Tivoli 25 Jul

NATIONAL

King Parrot: The Hi-Fi 5 Feb Miami Horror: Oh Hello! 7 Feb REMi: Coniston Lane 7 Feb The Necks: Byron Bay Community Centre 7 Feb, Brisbane Powerhouse 8 Feb Oliver Tank: The Zoo 8 Feb Pigeon: Alhambra Lounge 8 Feb

Future Music Festival: RNA Showgrounds 1 Mar Mojo Burning Festival: New Globe Theatre 15 Mar Bluesfest: Tyagarah Tea Tree Farm 17-21 Apr Easterfest: Queens Park 18-20 Apr Groovin’ The Moo: Townsville Cricket Grounds 4 May Hits & Pits Round 3: The Hi-Fi 9 May, The Northern 10 May

The Smith Street Band: The Zoo 14 Mar The Gin Club: The Underdog 14 Mar Sunnyboys: The Northern 14, 15 Mar, The Tivoli 28 Mar Baby Animals: Eatons Hill Hotel 14 Mar, Coolangatta Hotel 15 Mar, Racehorse Hotel 4 Apr, Alexandra Hills Hotel 5 Apr Illy: The Zoo 15, 16 Mar The Stray Sisters: The Zoo 18 Mar Luca Brasi, Postblue: Crowbar 22 Mar, The Lab 23 Mar (AA)

Jake Bugg: The Hi-Fi 23 Apr

The Aston Shuffle: Oh Hello! 13 Feb, Elsewhere 14 Feb, Solbar 15 Feb, Byron Bay Brewery 16 Feb

Calling All Cars: The Spotted Cow 27 Mar, Beach Hotel 28 Mar, The Zoo 29 Mar, Solbar 30 Mar

Toxic Holocaust, Skeletonwitch: The Hi-Fi 24 Apr

World’s End Press: Black Bear Lodge 14 Feb

Jimmy Barnes: Sirromet Wines 30 Mar

Front Line Assembly: Transcontinental Hotel 24 Apr

Shannon Noll: City Golf Club 14 Feb

Kate Miller-Heidke: The Tivoli 5 Apr

Skid Row, Ugly Kid Joe: Eatons Hill Hotel 26 Apr

Rick Price: Brisbane Jazz Club 14 Feb, Gold Coast Arts Centre 15 Feb

Greenthief: The Northern 11 Apr, Norville Hotel 12 Apr, Crowbar 18 Apr, Kings Beach Tavern 19 Apr

The Bennies: The Spotted Cow 14 Feb, Crowbar 15 Feb, The Time Machine 16 Feb

Good Life: RNA Showgrounds 28 Feb

John Farnham: BEC 10 Mar

Ozomatli: The Zoo 23 Apr

D.R.I: The Hi-Fi 1 May

Soundwave: RNA Showgrounds 22 Feb

Nina Las Vegas: Bowler Bar 8 Mar

Sarah McLeod: Black Bear Lodge 9 Feb

KT Tunstall: The Zoo 30 Apr

Daydream Festival: Acland Lane 15 Feb

Dan Sultan: The Zoo 8 Mar

India Arie, Joss Stone: The Tivoli 20 Apr

D.O.A: Prince Of Wales 27 Apr

FESTIVALS

The Holidays: Elsewhere 6 Mar, The Zoo 7 Mar, The Spotted Cow 8 Mar

Ellie Goulding: BCEC 5 Jun (AA)

The Crimson Projekct: The Hi-Fi 28 Jun

Keith Urban: BEC 17 Jun

Lior: Old Museum 6 Mar

Christine Anu: Southport RSL 7 Mar, Old Museum 8 Mar

Dragon: Kedron Wavell Services Club 20 Jun, Twin Towns 21 Jun

The Presets, Australian Chamber Orchestra: QPAC 26 May

Caravãna Sun: Beach Hotel 28 Feb, Solbar 1 Mar, Brunswick Heads Hotel 2 Mar

Armin van Buuren: BEC 4 Jun

Finntroll: The Zoo 18 Jun

Boy & Bear: Sunshine Coast Function Centre 26 Apr, Empire Theatre 27 Apr, Lismore Workers Club 14 May

Bliss N Eso, Horrorshow, Seth Sentry: Riverstage 24 Apr

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 5TH FEBRUARY 2014 • 45


the end

DRY COUNTRIES UNITED STATES WHEN TO WHEN?

From 1920 until 1933, specificially, ‘Everyone Get Drunk Day’.

WHY DRY? Because all these young rapscallions are running around with their swears and their lewd dances, that’s why!

WHAT HAPPENED Well, when you spend 22 hours a day working for a heel of bread, you really need a drink.

WILL IT CHANGE? Probably not – too hard to cut down on college dorm chug-a-thons.

BRUNEI

WHEN TO WHEN? 1984 (independance) to the end of time, most probably.

WHY DRY? Because of Sharia law, and because no alcohol is part of being the most boring stopover country ever.

WHAT HAPPENED Nothing – there’s so much else to do in Brunei! Like... uh...

WILL IT CHANGE? We don’t know. Do you want to bring it up with them?

ICELAND

WHEN TO WHEN? 1915 until March 1 1989 (‘Beer Day’. No, seriously, it’s a holiday)

WHY DRY? Presumedly because too many Icelanders were found naked and frozen to lampposts after buck’s nights.

WHAT HAPPENED The Spanish said they would stop importing fish if Iceland didn’t import Spanish wine. Damn Spaniards.

WILL IT CHANGE? No. Getting drunk is cheaper than heating your house.

46 • THE MUSIC • 5TH FEBRUARY 2014


THE MUSIC • 5TH FEBRUARY 2014 • 47


48 • THE MUSIC • 5TH FEBRUARY 2014

The Music (Brisbane) Issue #24  

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