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themusic 12TH FEBRUARY 2014




Brisbane Comedy Festival


Matt Okine Sam Simmons Joel Creasey


Alex Williamson Stephen K Amos Felicity Ward Hannah Gadsby Cal Wilson Alex Treleaven Jack Druce




John Butler Trio Jimmy Eat World Dave Graney Harmony Band Of Horses Living Colour Baauer Wire The Bennies The Angels

REVIEWS Album: †††

Live: Blank Realm Arts: Watching Girls

THE GUIDE Cover: Magenta Voyeur Flavoured Beer Frontlash/Backlash





Indie News Opinion Gig Guide The End: Alt Love Songs

comedy 6 • THE MUSIC • 12TH FEBRUARY 2014




Street Press Australia Pty Ltd


EDITOR Steve Bell



MUSO EDITOR Michael Smith


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


PHOTOGRAPHERS Freya Lamont, John Stubbs, John Taylor, Kane Hibberd, Markus Ravik, Rick Clifford, Sky Kirkham, Stephen Booth, Tessa Fox, Terry Soo





ART DIRECTOR Nicholas Hopkins

ART DEPT Brendon Wellwood, Eamon Stewart, Julian DeBono

ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppolone, Shelley Neergaard

This week marks the opening of a new exhibition at the Museum Of Brisbane – located on the roof of City Hall – entitled The Many Lives Of Moreton Bay. It tells the oft-overlooked history of the bay that’s right on our doorstep, including tales of leper colonies, prisons, Indigenous inhabitants and of course more recent affairs such as the advent of industry and tourism and the inherent conservation concerns. Think local, act local!

This weekend finds us hosting the Daydream Festival, a cultural gathering which professes to be a conduit for the local community to come together in a celebration of local talent. From 3pm-9pm this Saturday in Acland Lane, Fortitude Valley there’s drinks, food, bands, art, markets and then a party afterwards at Alhambra – what more can you ask for? Get amongst it and support local culture while having a killer time – a classic win/win!

DISTRO Anita D’Angelo


CONTACT US Phone: (07) 3252 9666 Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006


Each year the Brisbane Powerhouse welcomes iconic global even World Theatre Festival to its stately interior, bringing 11 nights of cutting-edge fun and frivolity for folks of all tastes and persuasions. Leave your inhibitions and expectations at home because WTF is renowned for being as disturbing as it is delightful, and you literally just never know what’s going to happen next, let alone when or why. It kicks off this Thursday and runs through to 23 Feb – wanna get highbrow?



A moving tribute to both life and love, last year’s Palme d’Or winner at the Cannes Film Festival Blue Is The Warmest Colour arrives in Australian cinemas this week. Based on the graphic novel from Julie Maroh, the movie follows the emotional transformation of Adèle as she bounces between longings, losses and ecstasies, the pinnacles and troughs of her life finally making sense when she meets Emma and discovers true love. Starring Adèle Exarchopoulos, Léa Seydoux and directed by Abdellatif Kechiche, the film is in cinemas Thursday.


House Of Cards, probably the best American political drama since The West Wing, arrives back in our lives this Saturday with the season two premiere screening on Showcase at noon. Watch as Frank Underwood (Kevin Spacey) continues to destroy those that tried to cross him, and take solace in an increasingly sour view on modern politics. Pray for some weekend rain so you don’t feel so guilty about grounding down on the couch for this one.



A mammoth troupe of some of the world’s best writers, readers and thinkers will be engaging the creatively minded in a series of live-streamed online discussions pertaining to the written word and technology. The talks – which kick off this Thursday and run through till the end of the week – will explore everything from sexting to genre fiction, Twitterature to computer-generated poetry and every other weird and wonderful wordrelated oddity you could possibly imagine. All events will be available to stream online at

The greatest basketball players walking the planet will suit up and hit the court in New Orleans this weekend for the 2014 All-Star Game. The main event – featuring the likes of Kevin Durant, LeBron James and Carmelo Anthony – screens live on ESPN, 12pm Monday, but you can enjoy the dirtiest dunks and long-range money balls all weekend long, with various events from the schedule shown across the weekend. Check au/NBA for times.


national news NORTHLANE



Never afraid to think outside of the box, Sydney metal heroes Northlane will headline their own mini-festival Free Your Mind, with a bunch of international and Aussie supports joining the bill, as well as your band, potentially. In conjunction with The Music, Northlane will be running a band competition exclusively through from 6 Mar – if this sounds like your big ticket, then stay tuned for more details and tighten your chops. The tour happens on the following dates: 22 May, The Hi-Fi, Brisbane; 23 May, Metro Theatre, Sydney (all ages); 24 May, Cambridge Hotel, Newcastle; 25 May, Zierholz, Canberra; 28 May, Fly By Night, Fremantle (under-18); 29 May, Capitol, Perth; and The Hi-Fi, Melbourne, 31 May (18+) and 1 Jun (under18). Tickets for all dates go on sale Thursday, with the tour proudly presented by The Music.


If you’ve got some serious jazz skills and haven’t done so already, get your nomination in for the 2014 Australia Jazz Bell Awards! Submissions close this Friday (forms and guidelines can be downloaded at, with winners announced on 1 May at the Regent Theatre, Melbourne. Looking to encourage, promote and celebrate the best in Australian jazz, the various awards categories share a prize pool of $40,000, with the annual event proudly presented by The Music.



Having released a ripper new album, The Brink, and touring Europe extensively, The Jezabels have announced a run of headline dates around their slots at Groovin The Moo. Disco-pop mixed with contemplative indie, carried by Hayley Mary’s stunning vox, the sounds of The Jezabels might have you feeling a little introspective at Sydney Opera House, 28 – 29 Apr; Palais Theatre, Melbourne, 2 May; The Tivoli, Brisbane, 6 May; and Astor Theatre, Perth, 9 May. Support from Gang Of Youths. Proudly presented by The Music.



‘Tuss’ is a word you’ve never heard before, but it’s creation has been solely done to describe life in The Jungle Giants: messing around, playing silly buggers, smacking each other in the face – that type of thing. Now it’s your chance to get playful with the group when they hit the road on the Tuss Tour, playing Metro Theatre, Sydney, 28 Mar (all ages); Ric’s Big Backyard, Brisbane, 29 Mar; Alhambra Lounge, Brisbane, 30 Mar (under-18); Corner Hotel, Melbourne, 4 & 5 Apr; and Rosemount Hotel, Perth, 9 May. Fellow Brisvegas product Millions will also be on the bill, as well as Saffa group ShortStraw, in the country for the first time. Proudly presented by The Music.


Fans of Cloud Control are going to have plenty of chances to see them in the coming months, with the indie pop favourites stripping their hit-filled canon back and hitting the road to play some intimate shows thanks to Corona Extra and The Music. Catch the quartet playing day and night all around the place including Settlers Tavern, Margaret River, 21 Mar; The Brisbane Hotel, Perth, 23 Mar; Penny Black and The Prince, Melbourne, 28 Mar; Coogee Bay Hotel, Sydney, 4 Apr; Towradgi Beach Hotel, Wollongong, 6 Apr; Story Bridge Hotel, Brisbane, 12 Apr; Beach Hotel, Byron Bay, 16 Apr; and Coolangatta Hotel, Gold Coast, 20 Apr. For the extensive list of dates, head to


Those Brissie favourites Ball Park Music are back with a new single (She Only Loves Me When I’m There) a forthcoming album (Puddinghead, 4 Apr) and a national tour to share the wealth all over Oz. Catch them 3 Apr, Uni Bar, Wollongong; 4 Apr, Zierholz, Canberra; 5 Apr, Metro Theatre, Sydney (all ages); 10 Apr, Coolangatta Hotel, GC; 11 Apr, The Tivoli, Brisbane; 12 Apr, The Northern Byron Bay; 13 Apr, Alhambra Lounge, Brisbane (under-18); 24 Apr, Astor Theatre, Perth; 26 Apr, Prince Of Wales, Bunbury; 27 Apr, Newport Hotel, Fremantle; and 3 – 4 May, Corner Hotel, Melbourne (under-18 and 18+).



The ultimate good time big band Melbourne Ska Orchestra will be directing your feet to all kinds of crazy things when the 30-plus ensemble spills over on the stage for their Get Smart tour. Try and wrap your head around the experience when the group perform 15 Mar, The Hi-Fi, Melbourne; 21 Mar, The Hi-Fi, Brisbane; and 28 Mar, The Hi-Fi, Sydney. Proudly presented by The Music.














local news LOON LAKE




Since feeling the buzz from their recent lap around the country on the Big Day Out circuit, Loon Lake are keeping the engine running, with the indie-surf five-piece announcing The Good Times Tour! Hear all your faves from the boys’ debut LP Gloamer when the tour hits The Zoo, 5 Apr. You can also catch Loon Lake as part of this year’s Groovin’ The Moo. Tickets can be picked up right now through, with all the action proudly presented by The Music.


Those rascals in indie groove outfit Sticky Fingers are putting the final touches on a brand new record, but can’t resist taking a break from the studio to have some brews and play a few shows. We have no idea what a Gold Snafu but we’re sure the boys will tell you when they bring the game 28 Feb, The Zoo and 1 Mar, Coolangatta Hotel, Gold Coast.


Those art punk femme fatales from Chicks On Speed will be launching their new album Utopia at Alhambra Lounge, 21 Mar. Birthed in Munich in 1997, the trio have long pushed aside the establishment and the expected, their electroclash set to remain in your retinas long after the microphone has hit the floor. Tickets through Moshtix for $20+BF.


Critical darling, masked maverick, championed by the likes of Gold Panda and courted by festivals and clubs in every corner of the globe, Slow Magic has made a undeniable impact with his unique production style, which drifts like cloudy summer haze over a selection of gorgeous beats and samples. Enjoy positive chillwave when the US creator performs at Alhambra Lounge, 27 Feb.


Long-acknowledged as one of the finest DJs on the planet, Chicago champion Derrick Carter will show off his humbling technical skills and choice track selection with a journey down the deep house rabbit hole at Bowler Bar, 28 Feb. Fill the floor and show the legend a night he deserves; he’ll no doubt repay the favour tenfold.


A colossal double bill is rolling around our region this week, with Wolfmother completing their tropics tour with a bunch of intimate club shows accompanied by furious rockrap four-piece She Rex. Throw some horns Wednesday, Solbar, Maroochydore; Thursday, Coolangatta Hotel, Gold Coast; Friday, The Zoo; and Sunday, The Brewery, Byron Bay.


For the very first time, Bluesfest will be running hot across six major stages, with the festival announcing the welcomed return of the much-loved Juke Joint Stage. Headed up by Hat Fitz & Cara, with Fitz performing at his 22nd consecutive Bluesfest, other artists on the stage also include Garland Jeffreys, Backsliders, Eugene ‘Hideaway’ Bridges, Joanne Shaw Taylor, Ray Beadle Band, The Mojo Webb Band, Shaun Kirk, Claude Hay, Genevieve Chadwick, Daniel Champagne and Marshall OKell & The Pride, with more to soon be announced. Bluesfest takes place at Tyagarah Tea Tree Farm, 17 – 21 Apr.


If heavy metal and all the loud noises coming from Soundwave aren’t for you, you can bunker down at Bowler Bar on 22 Feb with Detroit Swindle. The notorious Europeans will be binging on the party, channelling their love of early ‘90s garage and nice, deep house music into a rousing set of bass driven euphoria, celebrating the forthcoming release of the duo’s brand new record, Boxed Out.


Let’s throw a motherfucking party – Brisbane has finally got some Sidewaves! If you get your kicks from pop punk, then you’ll be punching for the clouds with this one – a triple threat of American acts will be taking to The Tivoli stage on 24 Feb, with Mayday Parade headlining over an undercard featuring The Story So Far and Real Friends. Get some tickets, make this night count and hopefully we’ll get more of this action in the future – head to Ticketmaster now.



Eddie Vedder has called on his old friend Glen Hansard to open up his solo dates this month. A formidable songwriter in his own right, the Irishman has long enjoyed a fond following here in Australia thanks to his individual turns and band work with The Frames and The Swell Season, and makes the perfect poetic accompaniment for the Pearl Jam frontman. Catch these fine musicians at QPAC, 22, 23 and 25 Feb.


local news


SO MUCH FOR A HOLIDAY What was slated as band downtime after touring hard between 2006 and 2011 turned into a mess of records, gigs, pets and babies for Holy Fuck. The Canadians have now realised it’s fruitless trying to avoid music or life, so they figure while they’re here with Groovin’ The Moo they might as well squeeze as much out of the trip as they can. Catch the electronic mavericks 24 Apr, The Zoo – tix through Oztix.


Buzz-saw riffs, smooth stoner rock, and blues and roots stomp will be on the menu at Mojo Burning Festival, taking over New Globe Theatre, 15 Mar. Featuring hard working, hard living bands, you can catch The Fumes, Marshall O’Kell, Transvaal Diamond Syndicate, Lachy Doley, The Floors, Guthrie, La Bastard, Frank Sultana & The Sinister Kids, Wizard Sleeve, The Royal Artillery, Shellfin, Mojo Bluesmen, Brother Fox, My Left Boot, Bonez, Cleveland Blues, Big Blind Ray, Electrik Lemonade, Barefoot Alley and Baskervillain. Happening over three stages from 3pm, tickets can be purchased on the door for $35.



It’s been a god awful wait for fans of LA psych bumpkins The Growlers, but the boys are finally jumping a flight to our parts and can’t wait to plug in and stay up too late. Supports for the tour have just been confirmed with fellow Cali dude Tomorrows Tulips playing both Queensland shows, while The Kramers help out 5 Mar, Black Bear Lodge and TSUN open at Coolangatta Hotel, 6 Mar. Proudly presented by The Music. 14 • THE MUSIC • 12TH FEBRUARY 2014



To sate his feverish fanbase, superstar DJ Eric Prydz has just announced a number of headline dates while he’s in the country for Future Music. The Swede will perform an extended three-hour set with all the bells and whistles at a special FMF After Party happening at Family, 1 Mar, with Jeremy Olander and Fehrplay also on the bill.


After breaking away from his 30-year gig as stadium shredder for Bon Jovi, Richie Sambora is relishing the chance to do things on his terms and connect with his fans in surroundings far more intimate. Recently announced as part of Soundwave 2013, Sambora will also perform a headline Sidewave at The Tivoli, 20 Feb, landing in our city early to rip through some of his most iconic riffs, with Aussie axeman Orianthi supporting on the night. Tickets on sale now.






The peeps behind Eumundi Live on the Sunshine Coast are bringing us the 2014 Sunny Coast Pride Festival Chillout, happening on 23 Feb with powerful indie rockers Art Of Sleeping headlining the event, which also features a super varied undercard of In2nation, The Flumes and Asa Broomhall. Tickets are $22 and can be purchased via GiggedIn.

Off the back of their record breaking crowdfunded film clip for Ain’t That A Bitch, Twelve Foot Ninja are bringing us the aptly titled (if you’ve seen the extravagant clip) Troll Burger Tour. The genre-fucking metal outfit and electro-industrial Frenchman The Algorithm will kick their tour off with two Queensland dates, happening 21 Mar, The Zoo, Brisbane and 22 Mar, Miami Tavern Shark Bar, Gold Coast.

Delightful songwriter Laura Imbruglia is going to be visiting us this week to strum a few Sunday jams. Grab some rays and get on down to Brisbane Powerhouse where Imbruglia will perform a free afternoon slot of Livespark. In the coming weeks you can also catch The Dames (23 Feb) and Asa Broomhall with Pete Cullen & The Salty Cowboys (2 Mar) from 3.30pm.

Melbourne mongrel sextet Harmony have just released their broken sophomore record Carpetbombing, 15 tracks of tortured blues and balladry that will haunt you long after the needle has lifted. Since their inception the group have been a fierce live proposition, so expect some spiky moments when they launch the record at Black Bear Lodge with Gentle Ben and Per Purpose. $12+BF from Oztix.

BAY STREET BYRON BAY (02) 6685 6402
















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Brother Fox Sat 22 Feb

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Ryan Delaney

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LOL-A-PALOOZA Words Baz McAlister, Matthew Ziccone, Dave Drayton, Suzanne Truman and Brendan Hitchens. Cover pic Nick Bezzina.



GOOD MORNING BRISBANE! A freshly-minted ‘morning person’ due to his new job on triple j’s breakfast show, Matt Okine tells Baz McAlister about balancing radio with comedy.


omedian Matt Okine has always had one foot firmly in the world of music. Exhibit A: head to YouTube and witness his rapping alterego, Disco-Matt MC, with his own hip hop crew, The Boilermakers. So now he’s taken over the triple j breakfast slot alongside Alex Dyson, the musical world has opened up to the Brisbane-born comedian. “I wouldn’t say I’ve met any of my musical heroes,” says Okine of his first few weeks in the job, “but I’ve certainly met people I look up to. What I’ve liked about it mainly is how much music I’m getting to see. I’d forgotten how broad my liking of music was. I kind of fell into a bit of a hip hop hole for a while, and now I’m like, ‘That’s right, I like all music... except country and western.’” As we speak, Okine is heading to the airport after his radio gig to fly to Brissie for his first St Jerome’s Laneway Festival. He might be crossing genres for the evening but he’s definitely still dwelling in that hip hop hole, as he talks about flagrantly abusing his newfound power to line up some Boilermakers guest MCs. “Bro, I’m gonna blackmail heaps of dudes into collabing with me,” Okine laughs. “Forget the ABC editorial policy – I’m gonna be bribing dudes with airtime just so I can get them to feature on my sweet bedroom bangers.” Finally, the real reason Tony Abbott’s going after the ABC, The Music suggests? “Exactly! All because of one man’s hip hop delusions.” The number one question Okine says he’s been asked over the past few weeks is about adjusting to the early starts. “I don’t believe in being a morning person. Bro, I’m barely a person. Previously in my life it’s been a very slow build-up to the point of the day where I need to be funny and energetic, and now it’s the complete opposite. As soon as I wake up it’s ‘Go! Right now!’ and from that point on it’s a slow, steady decline into braindeadness. But I am getting into a routine. In reality I was doing so much comedy internationally that was probably destroying my body more than getting up at a set time in the morning. You know what? It’s been an amazing thing just being able to watch the sun rise every day. Doing comedy, I never thought I’d see that again.”


Aside from one of the nation’s most prestigious radio gigs, Okine has been literally kicking goals, securing a hosting spot on SBS A-League show Thursday FC while maintaining momentum in his stellar stand-up career. He recently earned a Best Newcomer nomination

two weeks of the best weather, so I’ve got this totally warped idea London is this beautiful, shining place where people are happy, and I’m just walking through the streets of Soho going ‘Man, I love this place,’ and all my friends who live there are going ‘Dude, this is not real.’ I’m like ‘Man, I could live here forever’ and they’re like ‘Don’t do it, you’ll be miserable in a week.’” Okine’s fresh festival show this year is titled Happiness Not Included, and as with all his shows, he’ll be spending an hour exploring his current headspace. A theme he keeps returning to is money, or lack thereof. Last year’s festival show, Broken Diamond House, delved into the link

“BEING RECOGNISED ON AN INTERNATIONAL SCALE IS AWESOME.” after a month-long run of shows at the prestigious Edinburgh Fringe Festival. The comedian followed up that honour with a successful run of his show Being Black & Chicken and S#%t – partly about his experiences in his father’s native Ghana – at London’s Soho Theatre late last year. “London was probably my favourite overseas experience. I was in London during the summer, so we had

between money and happiness. But surely, after taking a job with Aunty, Okine’s money worries are over? “Let’s just say I’m not on Tony Jones’ wage,” he laughs. “When the next leaked [salary] list comes out, look to the bottom of it! But even if this year’s show is not a show about being broke, it’s about living the way I do. I may be doing well in terms of my comedy life but everything else is as sad and pathetic as it ever was. I’m still buying home-brand shampoo and driving a shitbox. Nothing changes. That’s the real theme of my shows: how much can someone change in a year, and what is going to make you change?”

WHAT: Matt Okine: Happiness Not Included WHEN & WHERE: 28 Feb–2 Mar, Brisbane Powerhouse, Visy Theatre



of the

Sam Simmons tells Dave Drayton about sipping the extremely hot coffee of success.


ate last year a man in his late-30s with a deep brown caterpillar asleep on his top lip, speech oscillating between a mumble and sustained guffaw, dry-humped an unsuspecting audience member on Conan O’Brian’s show. That man was Sam Simmons, and that was his introduction to America. Home again, he’s working for the first time alongside Charlie Garber on the finishing touches for his new show, Death Of A Sails-Man. “What I was going to do was put a photocopier on stage with all this magical shit coming out the side of it. And then I got together with Charlie and he said, ‘Well, nah, it’ll be no good for your stage, it will block all the space and be this big cumbersome thing on stage,’ so I explained my initial idea to him.” Heeding Garber’s advice that having something big and cumbersome on stage was a silly idea, he scrapped the photocopier, replacing it with a sail from a windsurfing rig. “The show is a little bit of a show about death: I’m an arsehole windsurfer and I get blown out into the ocean and it’s me having to face my own mortality and go through all this weird internal shit. It’s awesome – I love it. I mean I always talk up shows, because I’m in them, but I think this one’s going to be a fucking cracker! “Windsurfing looks jerky; what a jerky bloody thing to do. But that’s why I was mucking around with it – what a ridiculous thing to have on stage, and what a ridiculous thing to be doing with your life.” While Simmons has at least had the sense not to pursue the water sport offstage, he’s not saved from a similar existential crisis. “I mean, I look at myself and I say ‘What’s going on with you?’ I mean, I’m about to turn 37 and I’m a clown; it’s a very fickle pursuit, it’s a weird job. It’s not real. I don’t really have any life skills if the world goes to shit. I dress like a fucking adult toddler. So, I dunno, I’m not freaking out too much but there’s always big questions, especially when you’re involved in the arts.” WHAT: Sam Simmons: Death Of A Sails-Man WHEN & WHERE: 18 – 23 Mar, Brisbane Powerhouse, Visy Theatre

SARAH KENDALL Aussie-born Sarah Kendall last played Brisbane Comedy Festival two years ago. We’d pretty much lost her to London for quite a while, but with her welcome return to the local festival circuit, it’s not hard to see why they tried to hang onto her for so long. Fastpaced and punchy, she’s one of the few comedians who can make material about parenting hilarious. On 18 – 23 Mar, Brisbane Powerhouse, Turbine Studio

DAMIEN POWER Fast becoming a festival regular, Toowoomba-born Power is consistently putting together a killer hour of fresh comedy every year, mixing the relatable and the observational with a wicked political bent. Jack Black personally picked him to open for Tenacious D. On 18 – 23 Mar, Brisbane Powerhouse, Rooftop Terrace

FELICITY WARD Even if Felicity Ward’s diminutive frame wasn’t weighed down with awards and she wasn’t one of the funniest comics around, her promo image for The Iceberg is one of the greatest ever created for a comedy show – she’s curled up with an ’80s perm and flowing robes, like a female cousin of The Beastmaster, except with power over a cockatoo. On 18 – 23 Mar, Brisbane Powerhouse, Graffiti Room

PAUL BRASCH Paul Brasch always delivers razor-sharp, smart comedy for pop culture geeks. His attention to detail is second to none when it comes to superheroes, but this year it seems he’s pulled his focus onto his fascination with film – specifically, the horror films of yesteryear. Paul Brasch’s Haunted House will get behind the scenes with the Creature From The Black Lagoon, Dracula, and other classic movie monsters. On 11 – 16 Mar, Brisbane Powerhouse, Graffiti Room

MATT OKINE Brisbane lad Matt is an innately charming, easygoing, likeable performer with an affable manner and some killer yarns from his own life to share. It also helps that he’s bloody funny. On 28 Feb – 2 Mar, Brisbane Powerhouse, Visy Theatre THE MUSIC • 12TH FEBRUARY 2014 • 19







Comedian Alex Williamson’s love of viral video has come full circle into a viral feature film, as he tells Baz McAlister.


From being run out of a country town to opening for Joan Rivers, it’s been a mixed couple of years for comedian Joel Creasey, reports Baz McAlister.


oel Creasey cut his teeth on Perth’s comedy scene, smashing through two rounds of Raw Comedy and putting on his first festival show by the time he was 19. He’s now writing Rock God, his fifth full-hour, and he’s become a regular on the comedy festival circuit. Creasey says his love of theatre shines through in his solo shows. “You can come and see me do stand-up every night of the week,” he says, “but if you want to pay a bit more money and come and see me do a solo show, you should get a proper performance. I’m sooo dramatic. Each show is themed, and there’s some element of costume because I am a cliché. This show is all about how I’m desperately trying to get famous.” If Creasey keeps on the way he’s going, it’s only a matter of time. He’s already becoming a familiar face on national TV and a review from last year called him “Graham Norton’s younger Aussie clone”. “When I got that review, I tweeted it and Graham Norton himself tweeted back to me ‘Awesome review! The comparison, however, is a vile slur. You should sue’. I’ve sent him a copy of my DVD with a note saying ‘Put me on your show, arsehole’.” The greatest achievement, however, of Creasey’s burgeoning career came last November. “I did New York Comedy Festival and I got to open for Joan Rivers on Broadway, which was the highlight of my life,” he says. “I spent some time with Joan and she gave me an awesome quote for my poster. She’s a legend.”

hen Alex Williamson started making YouTube videos a few years back, he probably dreamed of creating a feature film. Now, thanks to the miracle of crowdfunding, he’s hip-deep in shooting his own Aussie zombie movie, Me And My Mates Vs The Zombie Apocalypse. “It’s a very Aussie take on the zombie genre,” says Williamson of the film where he and his real-life and onscreen mates Jim Jefferies and Greg Fleet play telco tradies assailed by the undead. “Expect blood, sex, drugs and hopefully a C-bomb or ten if we get the green light from censorship.” Williamson, known to the internet at large as ‘Shooter’, won a fair amount of fame with his character comedy videos – the best known of which is probably the Loose Aussie Bloke. “People seem to say Loose Aussie Bloke reminds them of one of their aggressive but ultimately harmless friends,” Williamson says. “It’s just a relatable character to young Australian people. Everyone knows a hard man like Loose Aussie. He’s sort of based on Chopper Reid, but a slightly less threatening version. Having said that, I heard Loose Aussie once changed lanes without indicating, so perhaps he is more of a menace to society than Chopper.” The Loose Aussie Bloke featured in Williamson’s comedy festival shows last year, but this year, with Dumb Things I’ve Done, he promises something a little different. “This year I’ll bring back the musical element of my previous shows. I’ve written new songs about watching too much porn as a youngster, and hunting cougars at the local pub, so I’m very much looking forward to unveiling them to the public. I’m expecting a Grammy nomination. But the stand-up will be my main focus. Hell, I might even have a mid-show giveaway like Oprah, where audience members reach under their chair and get a used syringe to take home.”

With the peaks come the troughs, and one of Creasey’s worst gigs two years ago saw him being chased out of Colac in western Victoria for calling them “backwards”. Undaunted, he returned. “Three months ago I went back with a film crew and the ABC paid me and Rhys Nicholson, another gay comic, to go back and live in Colac for a week.”

Over ten years of touring Stephen K Amos has changed his entire style to something completely different. He talked to Matthew Ziccone about it all.


he whole gig for me,” Stephen K Amos admits, pondering his journey, “has turned from someone just doing jokes about fun stuff to talking about social issues, talking about personal issues, and it’s just a very interesting story.” This year’s show, What Does The K Stand For?, carries the same name as his recent BBC TV show based around his early childhood growing up in a large Nigerian family with a twin sister. “It’s kind of loosely themed around people asking me questions, sometimes personal questions or sometimes questions they just want to know the answers to. I just thought to myself, we all get asked questions on a regular basis, sometimes questions we are uncomfortable with. Questions like if I’m married, what my political persuasion is, how much money I earn, what religious faith do I follow, how old am I, what does the K stand for, etcetera.” For Amos, success on the small screen has taken time. And it’s the lack of diversity in television that Amos is competing with. “We don’t have many black comedy shows; we don’t have many black comics on TV. We don’t even have a black talk show host. In England, we are still so far behind. You’ll see a few dotted around but I know a few British actors and comedians who have just found no place and so they have moved away. If you go further down the ladder there in Australia you are further behind, not only do you have a lack of diversity on the screens but you have a lack of real diversity. It’s really weird for me because people say to me all the time, surely things have changed and things are cool now, but if you come from a family or a culture that you know your grandfather suffered and was discriminated against and had no opportunities then that stuff the sticks with you and doesn’t just disappear over night and we can’t level the playing field as quickly as we should or want to.”

WHAT: Alex Williamson:

WHAT: Stephen K Amos:

WHAT: Joel Creasy: Rock God

Dumb Things I’ve Done

What Does The K Stand For?

WHEN & WHERE: 4 – 9 Mar,

WHEN & WHERE: 15 & 16 Mar,

WHEN & WHERE: 18 – 23 Mar,

Brisbane Powerhouse, Rooftop Terrace

Brisbane Powerhouse Theatre

Brisbane Powerhouse Theatre







Hannah Gadsby brings art back for you and Matthew Ziccone.


t’s not value that people are looking for; they are looking to be represented. In the end it’s not much different than a rich guy getting a self-portrait.”

A hybrid of storyteller and stand-up comedian, Felicity Ward gets brutally candid with Brendan Hitchens.


elicity Ward’s 2011 show, Honestly, was true to its title, while last year’s follow-up, The Hedgehog Dilemma, saw The Age, describe it as “so honest it hurts”. Ward’s latest show, The Iceberg, debuting at the Brisbane Comedy Festival, takes things to another level. “Candour has never been an issue for me,” she says. “I had a story about crapping behind a bus shelter in my second show. It’s just whether it’s funny or not.” Centred on the idea of perspective, The Iceberg traverses a gamut of topical themes. “You can expect bits on twitter bullying, Helena Bonham Carter and Tim Burton, over-30s hotlines, breast cancer awareness campaigns, asylum seekers and our inability as a nation to write good songs to sing at the cricket.” The promo photo for The Iceberg sees Ward sitting with a cockatoo perched on her arm. “Because I was in the UK when we took the photos, the cockatoo cost more than the photographer! The cockatoo and I had a real bond. The owner (cock wrangler?) was bald, so the bird was amazed by my massive hair.” The 33-year-old who grew up on the NSW Central Coast now bases herself between London and Melbourne. “Someone asked me where I live the other day and I couldn’t give them an answer. I have stuff in storage in Melbourne and London. Basically I just like haemorrhaging money and giving myself a real sense of geographical instability.” Relocating to embrace the world-class comedy scene, she says it’s improved her art. “British audiences don’t care that you’ve come along way – there’s an element of ‘We made you. So you better be funny or we will let you know.’ So if you do well, you know you’ve earnt it.” Locally, Ward’s profile rose through television performances on Thank God You’re Here, Spick And Specks and, more recently, a TV commercial for a yoghurt company. “I haven’t really been in Australia to cop any flack. If they’re still playing it when I get home I reckon there’ll be a bit of ‘What a dickhead’ yelled out at some stage. I look forward to seeing what Australia has prepared for me.”

It’s the selfie and its place in the art world Hannah Gadsby is talking about. ‘Selfie’ and ‘Art’ are two words most people wouldn’t put together but then, no one expected the inclusion of selfie in the Online Oxford Dictionary. Gadsby sees it in a more positive light. Her new show, The Exhibitionist, uses her Art History degree and her incredible wit to bring the audience into the world of the self-portrait. “Self-portraiture has been around for centuries and centuries, and essentially with the selfie nothing has changed; just more people have access to it. It used to be only the rich or the talented that could have a portrait and only those that paint could have a self-portrait. But anyone could do a self-portrait but it would be shit and we wouldn’t want to show it to anyone.” Gadsby recently stepped beyond the confines of comedy with three-part series on Australian art, Hannah Gadsby’s Oz. “It’s my take on Australian art. So for anyone who saw the Edmund Capon version, the landmark series on the ABC and the BBC, it’s pretty much like that, except it’s done by me, so it’s a lot, lot different. Basically it’s the smart-arse version of Australian art. “We’re not that savvy to the visual arts anymore because it has become a refined language. So it just rarifies sort of jumpoff points and it makes people feel alienated. I don’t think our culture is to blame for that; there is a certain aspect of cultivation of superiority that is around that should be challenged more. “I generally think it has a very important place in society. If you don’t like art then I say go out to the warehouse district and say that’s what life looks like without art. It’s cement and concrete. But that in itself can be art when you think about it.”

Suzanne Truman chats comedy, careers and kindergarten with the short but crafty Cal Wilson.


hen asked which profession besides comedy she’d be best at, seasoned comedian Cal Wilson humbly hesitates, “I don’t think there’s anything I could do… maybe a kindergarten teacher. You get to do craft – as I’m talking to you I’m surrounded by fake flowers and a glue gun.” It’s from the comic potential of pseudo professions that Wilson has created her new show, It Could Have Been Me. A mix of stand-up and characters, including a dude and a poet, she describes the show as “the people I could have been if I’d made different decisions”. A career in comedy wasn’t always where Wilson had pictured herself. “When I was a kid I remember seeing some stand-up comedy and thinking I would love to do that but I’m not funny. Then I wanted to be an actress and then I started doing theatresports in high school. We ended up starting our own professional company in Christchurch and that’s still going 20-something years later. I just sort of fell into stand-up – I didn’t know that that’s where I was going to end up, but in the last few years I’ve kind of gone, oh well, I guess I’m a comedian.” Wilson enthusiastically explains how “the gratuitous reward of standing on stage and telling a joke and having that immediate reward back from the audience is like when you’re at a party in the funny corner, everyone is telling stories and roaring with laughter. Being on stage feels like that but magnified – you’re in the best corner of the party”. “I think for some reason people will take a lot more from a character than they will from just a straight stand-up comedian”. In the new show, Wilson’s male character “cracks onto the women in the audience”. “Female comedians don’t get groupies the way that male comedians do,” she jokes, adding that perhaps this is her “one chance to try and score a member of the audience”. “I reckon if I was a guy I’d be taller. I reckon I’d have a really nice day reaching all of the things I have to get a step-ladder for”.

WHAT: Felicity Ward: The Iceberg

WHAT: Hannah Gadsby: The Exhibitionist

WHAT: Cal Wilson: It Could Have Been Me

WHEN & WHERE: 18–23 Mar,

WHEN & WHERE: 11–16 Mar,

WHEN & WHERE: 15 & 16 Mar,

Brisbane Powerhouse, Graffiti Room

Brisbane Powerhouse, Visy Theatre

Brisbane Powerhouse, Visy Theatre



ASHER TRELEAVEN Can you give us a tweet-length summary of your show? This year I’ve spared every expense. The glass ceiling’s the limit and nothing is going to hold me back. What profession do you think would provide the best comic material? I think being a fake Evangelist or a pretend Scientologist would be a pretty fertile ground for comedy. Did you know JFK pretended to be in the KKK for five years, and he had some fucking gold on those jerk-offs! What do you f ind unfunny? Facebook. It’s so depressing even the cat movies and food pictures make me unhappy.

JACK DRUCE Can you give us a tweet-length summary of your show? Basically about trying to recapture that childish sense of adventure in the modern life, but I also talk about bravery, fruit and a baby ostriches. What do you f ind funny? I actually watch a lot of stand-up. A lot of comedians don’t, but I got into this because I’m such a comedy nerd. Good original stand-up still makes me laugh more than anything else. What do you f ind unfunny? Farts… Yeah I said it. They’re not funny. They’re just not. Deal with it, world.

Do you have a pre-show ritual? I either dance enthusiastically, or VERY ENTHUSIASTICALLY for up to ten minutes while pissing like a racehorse and having panic attacks.

Do you have a pre-show ritual? Does fear count? Sometimes I write lots of lists if I can’t get my head together but that’s all. I don’t have an onstage persona at all so sometimes it’s nice to just walk on stage in whatever headspace I happen to be in.

Website link for more info?

Website link for more info?

WHAT: Asher Treleaven: Smaller, Poorer, Weaker, Cheaper

WHAT: Jack Druce: Adventure Peach

WHEN & WHERE: 18 – 23 Mar, Brisbane Powerhouse, Rooftop Terrace

WHEN & WHERE: 25 Feb – 2 Mar, Brisbane Powerhouse, Graffiti Room

SIMON KECK Can you give us a tweet-length summary of your show? A multi-award-winning show about life, death and fridge magnets. What do you f ind funny? Pretty much anything you’re not allowed to talk about in polite conversation. For me, the more dark and taboo, the funnier it is. Laughter is like sex – always better when you shouldn’t be doing it. What profession do you think would provide the best comic material? Anything that brings you in close contact with drugs, alcohol, and people: so cab driver or politician. Maybe comedian fits into that list too... Do you have a pre-show ritual? I find a quiet place backstage and centre myself, then I slow down my breathing allowing my chakras to align... Nah, just messing with you. I scratch my butt and sniff it. Website link for more info? simon-keck-nob-happy-sock WHAT: Simon Keck: Nob Happy Sock WHEN & WHERE: 18 – 23 Mar, Brisbane Powerhouse, Graffiti Room



BLOOD ON THE FLOOR With John Butler Trio’s sixth studio record, the ribcage is ripped open more than ever before. But as John Butler tells Benny Doyle, he wanted to explore different emotions this time around.


ccording to John Butler, “every album is like giving birth”, but Flesh & Blood, John Butler Trio’s brand new full-length, has come to the world smoothly and without drama. “It’s kinda like when you go for a run and the first part is a bit tricky and tough, then you get about halfway, three-quarters of the way through, and you start going into this trance, it happens very easy,” he relates. “I don’t know if that is a great metaphor, but the album was easy to record, it was very easy to sing and play, and it all just happened very naturally which is really nice because a lot of times things take a great effort to get over the line.” This lack of complication is the culmination of 15 years hard labour for the American-born, West Australian-bred roots hero. The momentum behind JBT was created long ago, and though there’s been various line-up changes in the trio – the most recent seeing drummer Grant Gerathy replace Nicky Bomba, who departed late last year to focus on his Melbourne Ska Orchestra – the group have found an enduring place in hearts around the globe.

“The majority of the songs are probably always going to be coming from me, just because of the nature of the ship that I created. [But] I’ve always essentially produced albums with my trio, because I realise... I’d bring them a song and they would always make it better. But to

Butler has always written pretty eclectic albums, “My love of NWA, Snoop Dogg mixed with Tool and Gillian Welch, Bon Iver, and Celtic bagpipe music helps that whole thing,” he chuckles. But for the most part Flesh & Blood is noticeably more restrained, recalling JBT’s landmark 2004 record Sunrise Over Sea more so than the group’s previous two LPs. Butler reveals that his


Flesh & Blood is John Butler Trio “standing back from the canvas” and taking stock, not just looking towards the horizon. Some tracks are tributes and based on truths (Wings Are Wide), some are fictional (Livin’ In The City); others were birthed during trips away (Cold Wind) and a couple have come directly from the jam room (Devil Woman). Butler was inspired and driven by every facet of his life – living in the now, for the now – and more than ever his bandmates shared the creative process, the frontman happier to be shown how to do things rather than trying to lead the way into unfamiliar waters.

go, ‘Cool, that’s a great bass line’, and, ‘Oh, that’s awesome drums’, and I’ll do something to your stuff, it can be a bit more of a forum for something to happen as opposed to a forum for my things to happen.

“There was a huge part of my life where I thought I knew it all,” admits the 38-year-old, “and it was my way, the world was the way I saw it. And the longer you go down the road you start realising, ‘Oh, that’s a cool way of doing it, I don’t do that, and that’s a cool way of doing it, and that person does it that way; oh, I actually work with them, they have a lot to offer, maybe I should just shut up and see what happens rather than explaining what I think they should play’,” he laughs.

“It’s always going to be the trio, but it’s just a bit more open. I’ve been working with the primary colours, but there are a lot of other colours out there, and if it works, why wouldn’t you do it? [On] the


last two albums – whatever sounds good; we don’t care whose idea, whose song, whose lyrics, whose instrument, we don’t care if you’re playing the keytar or a double bass – whatever works. The song is in charge, and that’s becoming more apparent and powerful.”

Tin Shed Tales tour in 2012 directed this release, saying those solo dates provided the boost of confidence he needed, while showing him that the most intense and powerful moments were also usually the quietest, “where you can hear a pin drop, and if you breathed the wrong way you could knock the song over”. “Singing in public – you might as well be standing naked,” he admits. “It’s like ripping your chest open and going, ‘Here’s my heart: blub, blub, blub’; it’s a very vulnerable thing, and [with this release] the ribcage is ripped open a little more than it was before. I think I’m just able to explore some different emotions, and I’m interested in exploring them.” WHAT: Flesh And Blood ( Jarrah Records) WHEN & WHERE: 7 Apr, The Tivoli; 19 Apr, Bluesfest, Tyagarah Tea Tree Farm



NEW WORLD ORDER While most would find 20 years in a band an impressive accomplishment, Jimmy Eat World frontman Jim Adkins doesn’t believe aging warrants a celebration. He’s more concerned with what’s next and a new side project. Daniel Cribb auditions.


ver since their debut self-titled record came out in 1995, Arizona pop punk legends Jimmy Eat World have made a name for themselves as a band that pumps out hit after hit. Eight albums in and frontman Jim Adkins still knows his way around a catchy riff or melody, as evident in last year’s Damage. For a man who’s constantly writing, it’s not surprising he can find inspiration in seemingly insignificant subject matter. “My mind was kind of blown there,” Adkins begins, from the band’s rehearsal space. “The hold music was old zydeco, which is not the first thing I think of when I think of Australian hold music. It was kind of bluesy, with a lot of accordion. I think that’s a pretty good band name – Australian Hold Music. That’s going to be my side project.” On top of penning classic hits for Australian Hold Music, he’s also in the midst of jamming for the band’s appearance at Soundwave. The last time Jimmy Eat World played Soundwave was in 2010, when My Chemical Romance withdrew less than a month out from the tour, and they took their place. “When I’ve seen those dudes around, I’ve been like, ‘Man, I feel bad for whatever you guys were going through to cancel, but thank you very much for cancelling’,” he laughs. “The music world is a really strange community. You run into people all the time that you have the most wild connections to and it’s all the time.” As far as Soundwave goes, they’ve toured with Green Day, are good friends with Rocket From The Crypt and AFI, and even stay in touch with Perth’s own Jebediah, with whom they released a split EP in 2000. While the aforementioned bands have been around just as long, if not longer than Jimmy Eat World, and, according to Adkins, “ageing isn’t a choice, so in that regard, it doesn’t feel like so much of an accomplishment”. Apart from changing bass player in ’96, they’ve had the same line-up since playing their first show in February 1994. “It was in the back of a warehouse of a used clothing store. I’m sure it was horrible,” he laughs. “We thought it went well, but I’m sure it was horrible. It was a big


concrete warehouse with a crappy vocal PA and we were probably playing our amps way too loud. It was set up by someone who was our age whose parents had some kind of managerial position at the store, so it was chaperoned – it was a pretty lame party to begin with, and it was our first gig, so I’m sure we were horrible.”

fortunate that we all were relatively sane people deciding to join a band together. If things are going well and you’re having fun, why would you bring in the elements that would mess this up?” They spent the better part of their formative and prime years signed to a major label, and while bands often relay stories of overbearing labels making it hard for them to be creative, Jimmy Eat World have never really had anyone looking over their shoulders. “We mixed and mastered Damage before we even had a record label, we were out of our deal with Universal and we just decided we’d make a record. I don’t even think [Universal] heard the material for Invented until two

“MAYBE WE’RE JUST FORTUNATE THAT WE ALL WERE RELATIVE SANE PEOPLE DECIDING TO JOIN A BAND TOGETHER.” Twenty years later they’re still going strong and are one of few bands who surfaced in the pop punk wave of the late ‘90s that have managed to maintain a steady following with every new record. “When it comes down to it, I don’t see how people mess this up,” Adkins responds when queried on the secret to their success and longevity. “I mean, c’mon man, how do you mess this up? I kind of don’t understand. Maybe we’re just

days before we were mixing, so we never really felt that pressure to play up to whatever the expectations [were] from a record label. Any label that would sign us would know better than to mess with what we’re doing.” Lyrically and sonically, Damage is something of a return to form for the band. “There’s a bit on the title track, Damage, the bridge section on that is probably the oldest thing that exists on that record. That came from an idea that I had maybe in ’98 that for just whatever reason never ended up as a fleshed out part. In some ways things have kind of come back to a simpler mindset. I think we sort of focus on what feels right and trusting our judgement and walking away from it when it’s done” WHEN & WHERE: 22 Feb, Soundwave, RNA Showgrounds


Dave Graney has been a fixture of the Australian independent music scene from before such a thing even really existed. Not one to dwell in the past, he’s focused firmly on the future and talks it through with Chris Yates.


ince forming The Moodists in Adelaide in 1980, Dave Graney has always done his own thing, with a friendly disregard for the conventions or fashions of whatever may be popular at the time. With The Coral Snakes in the late ‘80s and ‘90s he cracked into the Australian psyche in a big way with certifiable indie hits like You’re Just Too Hip, Baby and Rock ‘n’ Roll Is Where I Hide. With a tongue in cheek sense of humour and taking very seriously the art of having fun with music,

his attitude remains practically unchanged from those earlier days. Unsurprisingly he’s ready to go in 2014 with a new project altogether. “It’s a solo record, a ‘Dave Graney’ record,” he says of forthcoming release, Fearful Wiggings. “I like the camaraderie of having a band, but I just wanted to do something a bit different. It’s quite an art pop record – it’s got some beats and bass and electric guitar. Clare Moore my partner plays on it, vibes and keys and sings. There’s a guitarist from the UK called Nick Harper, whose father is noted folk icon Roy Harper who Led Zeppelin

wrote a song about on Houses Of The Holy. Also Lisa Gerard from Dead Can Dance, she liked my music for many years, so she invited me out to her studio to sing my vocals there. She is an Oscar award-winning soundtrack composer so she has an amazing studio with mics that Frank Sinatra would have used,” he laughs.”


Out of 30-ish records Graney has released, this will only be his second solo album and will be preceded by a single, Everything Was Legendary With Robert. The record is being mastered by US producer Roger Seibel, and Graney said it was his work on the last two Bill Callahan albums that inspired him to search him out. “I really loved those records, but I don’t know any earlier Bill Callahan records.” When pressed if he’s been encouraged to check out any of Callahan’s earlier work his response is somewhat surprising. “No I don’t want to,” he says emphatically. “I only want to hear new music. I only got into PJ Harvey on her last album really. I hadn’t tuned into her stuff before but Let England Shake has amazing sounds, and in concert she is very thrilling.” Ever the team player, as well as playing his own show, Graney will join Moore’s band The Dames on guitar for their debut Brisbane performances. Graney says he’s also looking forward to performing in the band alongside Pascale Burton from locals The Stress Of Leisure, who will also be joining The Dames on keyboards for the Queensland shows. “Clare’s songs are very complex but I’m sure Pascale can do it!” WHEN & WHERE: 22 Feb, New Globe Theatre



WEAPONS OF MASS DESTRUCTION A few years back Harmony mastermind Tom Lyngcoln used “mad science” to assemble what he describes as a “threeheaded monster”. He tells Steve Bell how he’s staggered by the evolution of this utterly unique musical creation.


ack in 2011 Melbourne six-piece Harmony introduced their distinct aesthetic to the world in the shape of their eponymous debut long-player, albeit in a comparatively rudimentary form. The outfit was the brainchild of The Nation Blue frontman Tom Lyngcoln, who envisioned a ragged three-piece band whose bleak outpourings were augmented by harmonic female vocals, but at the time of recording Harmony many of the band members were literally just being introduced for the first time as they were ushered into the fold one by one. Nonetheless the potential strength of the dynamic was clearly evident and the results, even at that nascent stage, bordered on mesmerising. Fast forward three years and Harmony have progressed from a tantalising concept to a confident and fully-fledged concern, their second long-player Carpetbombing a massive leap forward in both cohesion and execution. The contrast between Lyngcoln’s malevolent guitar and guttural voice – rhythmically abetted by his wife Alex Kastaniotis on drums and former-Mclusky bassist Jon Chapple – and the gorgeous choir effect provided by the meshed voices of Amanda Roff, Quinn Veldhuis and Erica Dunn is stunningly evocative, the songs’ inherent foreboding menace offset dramatically by the innate beauty of their vocal counterparts. “I had a lot clearer idea this time because I knew what the girls were capable of,” Lyngcoln attests to how experience has broadened Harmony’s peculiar capabilities. “On the last one that was a total shock in terms of how they were able to harmonise and what they could actually do – that’s a level of musicality that’s well above me – so this time I knew I had three particular weapons in the arsenal that I could pull out. That made the writing a little less desperate, because I was pretty comfortable with what I had and knew that I could simplify things a lot more and not clutter things up – leave space for them to do their thing. The title came really early, so I just used that as a guide

in regards to what I wanted to do which was basically a cross-stitch between a horrible, gnarly domestic situation and a city form of warfare.”

(a) I’m too much of a dumb prick to really be helping other people when I can’t help myself; and (b) I finished my studies in 2000 and by 2001 every single bit of info I’d learned was public knowledge or had been printed in the papers after 9/11. I had to use all that somewhere so bombing lyrics always come up – it’s the easiest thing for me to write about, and you can extrapolate on it pretty nicely. I managed to get a whole record out of things that are essentially related to that theme.” And while notions of terrorism aren’t usually synonymous with the Antipodes, Carpetbombing has a distinctly Australian feel – Lyngcoln believes that this is partly due to Harmony’s aesthetic and partly because of the band’s local lineage. “There’s some pretty risky vocal endeavours on this record – the first one had some kinda clichéd backing things at moments, but this one’s pretty intense,” he reflects. “The majority of harmonies come out of the African-American churches in the south of America –

“IT’S NATURAL BECAUSE I’VE GOT SUCH A BOGAN VOICE TO NOT HAVE THE GIRLS BE TOO SUGARY SWEET.” Such grim subject matter seems a rather odd conceptual road to follow, until you take Lyngcoln’s academic history into account. “I pretty much ran with that whole ‘carpetbombing’ theory – the record lyrically and thematically and also aurally adheres to that as much as possible,” he continues. “There are little spot fires of different things, but the major theme arises because I studied terrorism at uni and I was going to go into the field of conflict resolution – I didn’t do that ultimately because,

at least the ones that are most commonly heard in the reference of pop music – so we kind of go out of our way to avoid that sound when we can. There’s some weird-sounding baroque things on this record, and that’s basically trying to avoid stereotypes and clichés with the vocals – it’s a really hard thing to do, but it’s natural because I’ve got such a bogan voice to not have the girls be too sugary sweet and saccharine. You can’t do that American-style harmonising with my voice – it just sounds weird – so they feed off my vocals to a degree, which is a gross injustice but we do build it up in that way so it doesn’t sound like much else that’s out there. “There’s a pedigree there that borrows a lot from the Dirty Three and things like The Drones and Beasts Of Bourbon and X – who are all well-established in the Australian psyche. I love Australian punk rock and that stuff all inevitably ends up in there despite me trying to make it sound as different as possible – it’s always going to filter down.” WHAT: Carpetbombing (Poison City) WHEN & WHERE: 3 Apr, Black Bear Lodge

AS IF YOU WERE THERE The new album from Band Of Horses puts you in the audience, as Ben Bridwell tells Dylan Stewart.


n ambition for every live album that’s ever been released, from The Last Waltz to At Folsom Prison, is for it to be captured warts and all. Artists want to give their listeners a snapshot of the gig as they listen to it in their bedrooms, and Band of Horses’ Ben Bridwell is no different. They worked with the revered Ryman Auditorium in Nashville, and the result is Acoustic At The Ryman. “That room is designed to hear someone singing from the stage and the room’s dynamics just lend themselves to good sound anyway,” Bridwell explains with his slight

Southern drawl. “We had some room mics set up around the venue to pick up the natural reverb bouncing off the walls and to really get a good sense of that room. You can hear the crowd in this thing.” Band of Horses performed two shows on the dusty wooden floorboards of the Ryman in April last year, their sets split into two – acoustic followed by electric. It was the same set-up as the shows they brought to Australia for their 2013 BDO sideshows, and gave them about 80 minutes of music to choose from for Acoustic At The Ryman. “Over those two nights we probably doubled up on a couple of

songs, like No One’s Gonna Love You, and there were some songs that we failed miserably at that could not be included, so it became pretty obvious which ones should be on there. Y’know, there are some good ones that are bonus tracks for vinyl release, like Evening Kitchen and a Gram Parsons cover [the heart-wrenching A Song For You], but honestly there wasn’t a whole lot of material to choose from.”


With hits like The Funeral, Marry Song, Wicked Gil and Factory included though, the ten tracks across the album span the band’s career. One aspect of the shows that was edited out was Bridwell’s between-song banter, although according to him, it was for the best. “It’s funny – I’m really not that comfortable on stage, especially in the acoustic environment where I barely know what I’m doing. Between every song, all I would’ve said was, ‘Thanks y’all’, and it was just so annoying that we had to start cutting that shit out because it sounded like I was on autopilot – it was so embarrassing.” The band is celebrating Acoustic… with a run of North American acoustic dates, although it will depend on Australian audiences as to whether they bring the show Down Under. “If people really dig [this album] and wanna bring us out for this kind of set-up, then it wouldn’t be hard for us to do. There’s less gear to rent and we’re getting more comfortable with it so we’d be jazzed to bring it out as long as people weren’t bummed that we came all that way and just played acoustic stuff.” WHAT: Acoustic At The Ryman (Brown Records/Kobalt)




with, now it can be done via the internet, and be that much more immediate in terms of how you get the music. You don’t have to wait to go to a record store anymore; you can just turn on your phone.”

Look in my eyes, what do you see? Well, a return to Australia by New York rock veterans Living Colour for one. Vocalist Corey Glover talks to Brendan Crabb about Soundwave, milestones and pro wrestling. hen The Music gets Living Colour’s Corey Glover on the line, the singer is doing laundry while wrapping up their tour commemorating the 25th anniversary of platinum-selling debut LP Vivid. He’s reflecting how in some respects zilch has changed regarding the eclectic, socio-politically conscious hard rock/funk metal outfit’s modus operandi.


“It was very important that people got a chance to hear us, which is what we were all really looking for,” Glover

muses. “What I find interesting is that it’s the same now. It’s not the same apparatus, but the idea of people actually hearing music is much more important to me than the idea of it being something big.” Therefore, as the band seeks to complete their first full-length since 2009, flow-on effects of the digital age actually help rather than hinder them. “I think that’s how to get to the music, and cut away the bullshit of the hype of a band,” Glover explains. “That you can get it as it’s happening. In the same way that your friends might have hipped you to a band that you went to school


Also assisting Living Colour reach fresh audiences has been signature anthem Cult Of Personality (from Vivid) experiencing somewhat of a renaissance recently, thanks largely to its inclusion in video games, as well as being utilised as the theme music for World Wrestling Entertainment superstar CM Punk. They performed the track for a reported 80,000 fans at the company’s flagship event, WrestleMania 29, in 2013. “I don’t think the song is ever not going to be relevant in any social strata,” he explains. “There’s always going to be somebody who is famous for being famous, throughout human history… Whether it’s for something they said, or something they did, there will always be famous people and there will always be people who will follow them because of that. [CM Punk] heard that song when he was ten or 12 years old and has always loved it. It fits into his narrative, that I’m important because I say I’m important. ‘I’m the greatest wrestler of all time, because I say I am’. To have a positive mental attitude is just as important as my skills as a wrestler. That’s basically what the song is saying.” However, those planning to investigate their Soundwave set solely to hear said biggest hit before bailing may be pleasantly surprised. “If you know anything about this band you know that Cult Of Personality is not the be all and end all of Living Colour. Once you’re there, it’s an experience to be had all the way through.” WHEN & WHERE: 22 Feb, Soundwave, RNA Showgrounds


Baauer is much more than the viral hit that put him at the top of the charts, as Cyclone discovers.


on’t imagine that Harry “Baauer” Rodrigues is a novelty trap DJ/producer. He refuses to be defined by Harlem Shake, 2013’s dormant viral hit that made #1 both in the US and Australia after being treated to unofficial videos (one courtesy of some cheeky Queenslanders), parodies and memes. Rodrigues had uploaded the tune, produced in his Brooklyn bedroom, to SoundCloud the previous year. Diplo then secured it for Mad Decent. However, Rodrigues never envisaged that Harlem Shake would become a credible pop cultural counterpart to PSY’s Gangnam Style. “That kinda happened on a big worldwide scale, while the rest of my shit is a bit more niche and a bit more forward,” he stresses. “So it was nothing I expected to happen, but I’m glad it did. But it’s not something I’m trying to embrace. I’m still trying to push towards a more forward, weirder, different sound.” Rodrigues toured Australia clubs last year. “I was blown away!” he admits. “I loved it.” Rodrigues’ connection to Harlem is tenuous. He was (apparently) born in Philadelphia. His father a businessman, he’d live in Germany, the UK and Connecticut before moving to New York City to study audio technology. Rodrigues had dug dance music in his teens, learning to DJ and dabbling in electro-house production. He interned at Drop The Lime’s Trouble & Bass stable. 32 • THE MUSIC • 12TH FEBRUARY 2014

Beyond Harlem Shake, Rodrigues has remixed No Doubt, AlunaGeorge and Disclosure. He likewise linked with feted hip hop producer Just Blaze, co-architect of Jay Z’s The Blueprint alongside Kanye West, for another trap banger, Higher, featuring Hova himself. “He’s responsible for songs that pretty much shaped my musical world,” Rodrigues says of Blaze. “I was shocked that he was such a normal guy!” Higher surfaced belatedly on the rebooted Priority Records. But, even before to his mainstream breakthrough, Rodrigues signed to Glasgow’s LuckyMe, the label founded by Hudson Mohawke and pals. He’s currently plotting an LP for

them. “I’m basically working on a big project – whether it be an album or just a collection of music.” Rodrigues does know about drama, and not just legal issues relating to Harlem Shake’s uncleared samples. He was sucked into a Twitter beef with Azealia Banks when, professedly ignoring his pleas not to, she posted her version of Harlem Shake. He got it removed from SoundCloud. Yung Rapunxel subsequently accused him of “coccblockin” and called him a “faggoot”. They’ve since spoken – kinda. “We actually randomly met in a restaurant in Miami, but I’ll say there was definitely no resolution.” The exchange was “polite” – “She looked at me and said, ‘What’s up, funny man?’” – but Banks was soon mocking him again in tweets. “I’ll tell you what – she was scary,” Rodrigues laughs nervously. WHEN & WHERE: 28 Feb, Good Life Festival, RNA Showgrounds; 1 Mar, Future Music Festival, RNA Showgrounds


those bands. And I don’t think it takes away from me or those bands for doing so.

Despite spending the bulk of their career existing like the red-headed stepchild of the rock and metal worlds, HIM have managed to grow up into well adjusted adults. Frontman Ville Valo tells Tom Hersey why they used to get teased in the playground.


s Ville – a charming and articulate raconteur if there ever was one – sees it, two words damned HIM to be forever stuck between two worlds, and it was all initially a joke. Those words, ‘love metal’. A genre the band applied to their sound with tongue firmly pressed in cheek in the ‘90s. “It was to test the sense of humour of metalheads, and rock fans,” the HIM singer says, laughing in reflection. “Some people take it all too seriously. They should sit down for a while and have a cup of tea and unwind.” Ville is unapologetic about deciding that HIM should be the first, and quite possibly only ‘love metal’ band. They even went as far as to rub their silly little genre tag in the face of all those who taunted them when they released their breakthrough fourth

By Ville’s best estimation, those influences – which see HIM take gothrock and throw in some glammy proto-punk swagger and the odd fullblown, face-melter of a metal riff to still create something you could hum along to – are a product of their Finnish roots. Back there, it wasn’t about being cool or liking the ‘right’ bands. No, back in Finland it was all about


“In America though, people seem to be really tied in to the subgenres, if it’s not within their subgenre, they can’t like it. And for me it just feels like it’s still the ‘80s over there, like the old tape-trading times. Like if you didn’t like Twisted Sister or Mötley Crüe you were a loser. And I just don’t understand that. To me, music is music; a good melody is a good melody no matter how it’s being presented. Sure, I’m not a fan of sunshine-pop dance music, but wherever there’s melancholy, or a sad or sentimental core within the music then it doesn’t really matter what kind of genre it is – it could be country and western or black metal. You should find what you like in every single genre, if you even need to think about genres anymore.” For Ville, the joy of music has always been what exists between all of those arbitrary genre labels. For him, and for HIM, music has always been a way to connect with the sense of melancholy that has served the band incredibly well over their career. “What makes music really special for me is bridging those gaps. Finding out what leads me from Christian Death to Depeche Mode to Johnny Cash. It’s the dark heart within the music, that dark spark there, and then people just dress the music up in a way that suits their surroundings.” It’s been the band’s refusal to pay credence to the outward appearance of their own music and instead focus on the ‘love metal’ at it’s heart, that has made

“TAKE YOUR WORK SERIOUSLY, BUT DON’T TAKE YOURSELF SERIOUSLY.” album Love Metal. The way the singer sees it, it’s a ridiculous tag, but it’s no more a ridiculous than anything else used to describe a subgenre of music. “Take your work seriously, but don’t take yourself seriously. There was this whole thing when we started out where people couldn’t figure out what box to put us in, where we fit in the scene… But I grew up with Venom, who more or less invented black metal, and Motörhead and the early stages of speed metal. These are all kind of ridiculous terms for music really, so we wanted our own little ridiculous term. Something that meant we could say we were something else as opposed to saying we were a goth band or a metal band or whatever. Because we have a lot of influences from all over the place.”

finding whatever you could to get your rocks off in the middle of an eight-month long winter. “Where we come from, we’re allowed to listen to whatever we want to. In Scandinavia we can do what we want. Because I can love Depeche Mode as much as I love Cradle of Filth and I don’t have any problems loving both of

life harder than it should have been for a band as talented as HIM. But Ville’s not bitter about anything. The way he sees it, things are working out pretty damn well for HIM. “I’m still honoured and flattered that us, a bunch of not very good-looking guys, get to travel the world. We’ve never really fit in – a lot of metalheads think we’re way too poppy and a lot of pop fans think we’re way too heavy – but we’ve still been able to do this for more than 20 years.” WHAT: Tears On Tape (Razor & Tie/Universal) WHEN & WHERE: 22 Feb, Soundwave, RNA Showgrounds THE MUSIC • 12TH FEBRUARY 2014 • 33


BACK TO THE FUTURE Legendary punk outfit Wire recently revisited the songs they’d left behind when it all came crashing down in the mid-‘70s. Founding members Colin Newman and Graham Lewis tell Steve Bell that it’s all about “subverting the process”.


K art-punks Wire have always been renowned for marching to the beat of their own drum, having been steadfastly doing things their own way since starting out in London back in the heady days of 1976. Hence it’s no real surprise that their latest album, Change Becomes Us, is based predominantly on ideas that had been lying dormant for over three decades. When the band’s original incarnation combusted in 1980 after three albums they left behind a swag of material that had been introduced to their live sets but not yet committed to tape, and even though they’ve been an active concern for much of the intervening period – Change Becomes Us represents their 13th studio effort – they’d never returned to those left behind songs until recently, when they decided to revisit them with fresh eyes and ears. “It was a project actually; it wasn’t necessarily about the material per se, it was more a matter of timing,” explains vocalist/guitarist Colin Newman. “When we did Red Bark Tree – which came out in early 2011 – we did a lot of touring for that, and during that time we were working Matthew Simms into the band, who’d joined us in 2010. We felt by the end of all that touring that we’d got pretty good as a unit, and it would be a pity not to take that energy somewhere. Meanwhile there wasn’t really any new material because we’d been on the road, and writing wasn’t the first thing that anyone was thinking about. This idea had been around for a while – there was a bunch of material post-[1979 third album]154 that didn’t go anywhere really in terms of being recorded simply because the band dissolved. It’s fairly well documented that the band physically fell apart, so there was no band to make the record. Some of that material was really good, and what was absurd about that situation was that musically the band was still very interesting, but socially it was fucked so it was a weird period that the music came from. “The idea to revisit it had been discussed at various times before, usually in terms of us playing live – a few years

ago we had a typical Wire-esque idea of doing a Don’t Look Back-type show of an album that hadn’t been released, in fact had never been recorded, and no one else knew what was on it. Surprisingly there weren’t any takers, so then it occurred to us that maybe

their original ideas and creations after all this time, but one that the band ultimately enjoyed immensely. “For me it’s always been annoying that we had all of those starts – and in some cases very, very primitive sketches – of potential songs,” reflects bassist/ vocalist Graham Lewis, “but it was purely because of circumstances that [revising them] became the right thing to do. We needed some material to work on after 2011 because we’d toured extensively and Matt Simms was very much integrated into the group, and the new version of the band had its own sound – which is always what you’re looking for – and when we were playing the then-new material things were developing and hopefully going forward because the material doesn’t stay in one place, you’re not just trying to emulate it. “So when we went to the pieces with some it was obvious we were going to be able to do something with them, but there were several things where it was really like shots in the dark – perhaps there was a riff which we thought was okay, or a small piece of text or lyrics which we figured might work. Then

“MUSICALLY THE BAND WAS STILL VERY INTERESTING, BUT SOCIALLY IT WAS FUCKED.” we should record it; not like, ‘Let’s record it like we’re going back in a time machine’, but more along the lines of, ‘Here’s a bunch of new material, let’s see what we can do with it’. And of course as soon as the band touched the material it ceased to have anything to do with the past – it was all about the now. It’s always about the now.” Nonetheless it proved a slightly surreal experience revisiting

over the process, with Colin chopping things up and gradually mixing, it became evident what was missing or what needed strengthening, and in terms of lyrics and text there were things that had to be completely rewritten from scratch because they just didn’t stand up. I don’t suppose many people get the opportunity to do something like this – I’m not sure that I’d like to do it again though! And I don’t think it’s possible.” “Ultimately they become new things so at the end of the day it’s a bit of a con – anyone who’s expecting to get the missing fourth album is going to be disappointed,” Newman smiles. “You just physically can’t go back in time.”

WHEN & WHERE: 19 Feb, The Zoo


Dave Gleeson isn’t interested in catering to fuckwits on social media. All he wants to do is rock out with his childhood heroes The Angels and keep the coals burning as this train thunders on, writes Benny Doyle.


n Australian rock circles, there are few shadows more towering than that of Doc Neeson, the iconic lead singer of pub heroes The Angels. Dave Gleeson knows that better than most. Vocalist for The Screaming Jets and radio host on commercial station Triple M, the 44-yearold joined the legendary Adelaide group almost two years ago. Since then the quintet have released an ARIA top ten album in the form of last year’s Take It To The Streets and toured the country as part of A Day On The Green. But for every fan that has embarked on this next part of the journey with the present incarnation of The Angels,

plenty of purists refuse to jump on board. “They’re fans who have been with The Angels through thick and thin, with hard rock obviously being their main arena. But the response has been unreal as far as the fans at the shows,” he beams. “Obviously there are some [people] out there who still won’t accept that I’m the singer in the band. But there’s been a lot of people who have come along and had a look and said to me, ‘Mate, I haven’t seen The Angels like that since 1985’.” Living for the now and doing what feels right has led Gleeson to this point, and although he might seem like a young upstart, the wild-eyed


2013 saw Melbourne party punkers The Bennies sign a record deal, release a new album, tour internationally and have a member stabbed on tour. Vocalist Anty Horgan tells Eli Gould about their wild journey.


lready on the road as part of their 26-show tour throughout Australia, Anty Horgan says this year will be their biggest. “Yeah, it’s been really good,” Horgan begins, speaking of the past few months. “We’ve been really happy with how [the album] has been received, all the reviews have been really good, but I don’t know how much you take them on board. I suppose most importantly we’re really proud of it.” The Bennies are a party band – they play simple chords with catchy melodies, choruses and sing songs about

partying, getting drunk, smoking weed and having fun. Rainbows In Space epitomises this, but Horgan insits he isn’t sure why the album turned out this way. “I mean we love Rancid, The Clash and Sublime and stuff like that – just good time loving punk rock,” he says. “We’re pretty easy going fun-loving guys as well, we like to party and have fun with mates so I think that influence comes through with the songs as well.” It’s a different environment for musicians and bands given the power of online and social media allowing them to reach greater audiences. The Bennies will play

larrikin feels an inherent connection to The Angels. “They’ve been a part of my life since I was probably 14 years old and my brother used to pump [them] in our downstairs bedroom, y’know,” Gleeson remembers with fondness. “Even to the extent where they’ll say, ‘Do you know this song?’ and they’ll play the intro and suddenly I’ll just go, ‘Knocking at the window – is that how it goes?’ It’s just in my head somewhere. Having said that I do have to brush up on a few lyrics and have had to over the last couple of years and learn a lot of songs, because we choose from a pool of about 40 including the [stuff ] on the new album. There’s still another 20 or 30 I have to learn before I get my stripes I reckon.”


No doubt that will happen over the next six months as Gleeson and The Angels – with Sam Brewster filling in for bassist Chris Bailey who, like Neeson, is currently battling cancer – hit every corner of the country, playing pubs, clubs and theatres far and wide. “It’s definitely shot a bit of life and put a bit of fire in it and everyone is feeding off each other, which is all you can ever want in a band,” Gleeson concedes. “They’re inspired so it’s really great to be working with guys like that and it’s nice to be [here] while they have a purple patch. But the sound of The Angels is firmly ensconced in the guitars of Rick and John Brewster. It’s all in their hands. I reckon they could pick up any fucking guitar, anywhere, and it would sound like The Angels. It’s just inherent in them blokes.” WHAT: Talk The Talk (Liberation) WHEN & WHERE: 15 Feb, Harrigan’s Drift Inn, Jacobs Well; 28 Mar, Caloundra RSL; 29 Mar, Coolangatta Hotel; 30 Mar, A Day On The Green, Sirromet Winery, Mount Cotton

the biggest show of their career at Soundwave, courtesy of a simple tweet to Soundwave boss AJ Maddah. Maddah was having difficulty with a ska band booked for Soundwave Melbourne, and Horgan tweeted him saying he should put on The Bennies instead. “[AJ] was like, ‘Yeah I had a listen you guys are unreal – you guys are on’, and that was it,” Horgan recalls. “He emailed us later and told us we we’re on for the Melbourne show – so we got it through Twitter. I don’t check Twitter much but when I came back to check I was like, ‘What the fuck?’”


But Horgan and co. will be the first to admit they’re still shocked at where they are at the moment – given the events from last year. The now-infamous attack on guitarist Jules Rozenbergs shook everyone in the band immeasurably. “We were all pretty freaked out – I mean, Jules couldn’t move his arm for like two months, and I’m sure [the experience] is going to stay with us forever,” Horgan explains. “But Jules handled it so well and he came back with just more purpose than ever.” It was all about being able to take a positive out of a very negative experience for the band. 2014 will also be another huge year for The Bennies. They will be looking at filming a video clip after the tour, and then will head back over to China for a run of festivals. “Then we’re gonna come back to Australia – do another tour, hopefully write and record a new album and then head over to the States, so yeah, that’s the plan,” Horgan finishes with a laugh. WHEN & WHERE: 14 Feb, The Spotted Cow, Toowoomba; 15 Feb, Crowbar; 16 Feb, The Time Machine. Nambour THE MUSIC • 12TH FEBRUARY 2014 • 35



This week: Labor Day falls into a logic trap, King Gizzard & The Lizard Wizard return again in quick time with another new album and I Killed The Prom Queen enter a new era.


††† †††




Released without the hype that subsequently took the fun out of Chino Moreno’s Team Sleep side project, the Deftones frontman quietly got involved with the similarly minimalist vibes of Far guitarist Shaun Lopez and producer Chuck Doom to release EP † in 2011 with little fuss online. It spread organically; it felt natural. The trio proved what heavy could sound like without a barrage of guitars and hardhitting drumming. First taste, This Is A Trick, the opening track of ††† (Crosses) eponymous debut long-player that packages EP † and 2012’s EP †† with five newbies, draws the uniquely gentle and hostile subtleties of Moreno’s vocal across dark synth, fuzzy bass (of Duff McKagan, no less) and percussive rhythms. Bitches Brew epitomises the ‘beautiful gloom’ tag that is so befitting of this project – opposite ends of the sound range are engaged for maximum dramatic effect, though delicate electro structures and flourishes offset the conflicting textures, as does an underlying pop sensibility that soothes, swells and reveals. Elsewhere there are nods to trip hop, ‘80s rock, electro funk moves, dirty guitar grooves and even a possible club floor moment as The Epilogue blooms into sunny synths and echoing drum pads.

1. This Is A Trick

9. Nineteen Ninety Four

2. Telepathy

10. Option

3. Bitches Brew

11. Nineteen Eighty Seven

4. Thholyghst

12. Blk Stallion

5. Trophy

13. Cross

6. The Epilogue

14. Prurient

It’s a dynamic record, playing with pace, samples, a veritable shit-ton of sounds and most importantly, mood. It’s exciting to hear Moreno in this framework, though there are so many intricacies to be discovered in the work of Lopez and Doom that ††† contains a magic even greater than that which each individually accomplished musician brings.

7. Bermuda Locket

15. Death Bell

Tyler McLoughlan

8. Frontiers THE MUSIC • 12TH FEBRUARY 2014 • 37

album reviews





Epitaph/Warner “Never again will it be like it was before.” These words, uttered during Bright Enough, reiterate that after a lengthy period between drinks (for those members who aren’t straightedge, that is), post-hiatus and several line-up shifts later this represents an entirely new era for Australia’s metalcore royalty. Axeman/clean singer Jona Weinhofen is the sole remaining founding member, but despite an eight-year gap they’ve segued between LPs so fluently as to suggest this could have been issued within mere months of predecessor Music For The Recently Deceased. Strings and synths add extra spice, as does Soilwork (still a major influence; see Thirty One & Sevens) frontman ‘Speed’ Strid, contributing his golden tones to Calvert Street. New growler Jamie Hope, formerly of muchmissed The Red Shore, lends

Flightless/Remote Control

★★★½ a brutal edge to proceedings, while not being a million miles removed from ex-grunter Ed Butcher. Metal mastermind Fredrik Nordström returns as knob-twiddler, affording a sheen cleaner than a school dormitory on inspection day. Meanwhile, the presence of more blood-splattering beatdowns than a UFC payper-view will sate pit ninjas. Ultimately, Beloved is a slick, hook-heavy albeit familiar record and perhaps in 2014 won’t resonate as it would had it been unleashed a half-decade ago; it’s penned with satisfying their dedicated following in mind and succeeds. Brendan Crabb

Another day, another King Gizzard release. The sevenheaded beast is back with Oddments, a brace of songs that marks their fourth LP in two years. Churning out material at high velocity has worked well until now – the garage dirge fun times of 12 Bar Blues, the idiosyncratic Spaghetti Western spoken word headtrip Eyes Like The Sky, and the psych-tinged playground Float Up – Fill Your Lungs have all been received exceptionally well. But pumping out albums at a lightning pace doesn’t always equal quality, and Oddments stands as an unintentionally prescient validation, as the album struggles to hang together, a warped paisley psych melange of diminishing returns. Alluda Majaka kicks things off with a ‘60s instrumental smash-





Time to get those hoop earrings swinging once more. Three years since going On A Mission, Kathleen Brian, aka Katy B, is back with a little more of everything. The beats have stepped up, guest turns by Jessie Ware and Sampha are welcome – it’s a solid sophomore offering.

Edwyn Collins’ physical recovery and artistic renaissance makes a handy history lesson. As punk’s first spit dried up at the start of the 1980s, the music that followed could be political; the angular, spiky pop, and Glasgow’s Postcard Records’ “Sound of Young Scotland”. In Orange Juice’s case, it was a mix of pop nous and arched wit, with a bunch of soul records and a couple of Jean Genet novels under the young Edwyn’s arm.

Little Red

While the club bangers on Little Red offer nothing but euphoria, the few ballads tossed in miss the mark completely. Crying For No Reason is the first hint at the chink in Katy B’s armour, the track sounding like a bleating B-side pulled off any studio floor. Closer Still is pretty lukewarm as well, though the production ping gets it over the line. Yeah, yeah, variety is the spice of a record or whatever, but little B’s voice just gets too warbly to make these excursions affecting. It’s when she’s working the London club sound – all polished post-dubstep, moody house and prickly electro undercurrents – that she’s in her 38 • THE MUSIC • 12TH FEBRUARY 2014

★★ ½ grab of influences, sounding like The Avalanches going samplehappy in a “vintage” antiques shop – not bad, but not heartening. Vegemite is a cute oddity that grates three listens in, while fanciful interludes like ABABCd or Pipe-Dream feel more realised than some of the actual songs. The sleepy warble of Work This Time is a clear sign of what this band can do. Nevertheless, Oddments doesn’t leave much to grasp onto. Six-month turnarounds can be great, but even great proliferators like Robert Pollard or John Dwyer need to take the foot off the pedal once in a while. Brendan Telford


★★★ element, her confident delivery and humbling range giving Little Red a strut that’s walking straight for the dancefloor. The deluxe edition of this record is fairly bloated, but there’s some genuine gold, namely Blue Eyes, which shows that the 24-year-old Londoner isn’t afraid of a little journey. This isn’t Dark Side Of The Moon shit by any stretch, but the track’s ins and outs, highlighted by a sweet late tempo change, show that Brian is pushing herself while staying true to her strengths, a tough balance for anyone. Benny Doyle

Loved indie singles led to major label signing, and You Can’t Hide Your Love Forever, Collins’ songs harnessing some watery sunshine of his homeland, a deadpan cover of Al Green’s L.O.V.E., Love, a nod to those old Motown discs. Emboldened, they survived the typical lineup changes of a band settling, and delivered Rip It Up – their first high water mark. Bright, as funky as a boy from Edinburgh could be, and that happily choppy title song still stands up.

★★½ Things got wobbly, as they do. The big label puzzled, but the short sharp six-track shove of 1984’s Texas Fever was almost thickly dubby in parts, and found Collins’ songs going well past moon, spoon and June. The band splintered again, but with typical Caledonian stubbornness, the singer remade them again, and then knocked out the until-now hard-tofind The Orange Juice album, altogether more world-weary, but with a knowing smirk at its heart – the aware Lean Period knowing exactly where he stood. And so, Orange Juice seeped away, a decade to pass before Collins found A Girl Like You. Ross Clelland







True Colors



Esteemed not only for his highly distinctive electronic music but also his prodigious weed consumption, Darren “Actress” Cunningham has abandoned the highly detailed audio-mosaics that made his last album, R.I.P., twinkle with such supernatural clarity. They’re replaced with a cloying, murky – inhuman almost – sound, as the mechanoid drums on the likes of Street Corp and Corner stagger through thick, green clouds of disorientation. Cunningham is still way out doing his own thing. You won’t hear much else like it in 2014 for sure, but fans may find it a comedown after R.I.P.

One half of Ratatat and another dude making ambient, hipster beats with heaps of hooks. Fantastic familiar sounds, including that cool noise from Kid Cudi’s Pursuit Of Happiness.


Invisible Universal There’s a bunch of fakes of this on YouTube, people changing the title of their video to score hits then changing it back. All of them are better than this song, which also signals the death of producer Danger Mouse’s credibility. RIP.


Christopher H James

Too Much Water In The Boat

Silver Stamp/Rocket Each of the Ice Cream Hands singer’s half-dozen albums have distinct musical flavours, from the expected hooky guitars to odder turns of 20-piece string sections. There’s a folky rollick in parts of this, to overarching themes of our rivers and oceans. Sir Charles’ wry view remains intact, evidenced by titles like 7 Creeks (The Crossdresser Steve Hart), a very different angle on Ned Kelly’s sideman. There are other stories that speak of this country, from scuba-diving Prime Ministers going missing to those boats (and bodies) bobbing off Christmas Island. Ross Clelland




Wichita Recordings/ [PIAS] Australia The key to good shoegaze music lies in textural awareness. Knowing how to mould the sound to have tangible feeling and sensuality is what separates the MBVs from the forgottens. Striking somewhere in the middle is Cheatahs, who hit lush heights on tracks like Mission Creep but fall into generic grunge on Get Tight, which sums up the album too well. Cheatahs continue in the fashion of nugazers like Ringo Deathstarr and Yuck. That’s to say, it’s entirely enjoyable, occasionally brilliant, but ultimately only really essential for diehard fans of the genre. Andrew McDonald


Come To The Darkside/ MGM Jamie Hutchings’ new project will be a delight for Bluebottle Kiss fans, but stands on its own. Sinless is dark with a chorus that contrasts like the sun cutting through the clouds.

THE NEIGHBOURHOOD Sweater Weather Sony Rolling Stone magazine calls this middle of the road AOR one of 2014’s hottest buzzbands. The best bit about this is that Rolling Stone said ‘buzzband’.


Goodbye Future Modular The Presets eschew the future by copying Bronski Beat but without the sense of doom that they’re risking being killed by hateful bigots. Chris Yates







Pop Noire/[PIAS] Australia


Plus One

The internal conflicts in northern Mali have seen Tuareg musicians Tinariwen recording away from their homeland for the first time, but they’re still in the desert, in stoner rock territory: California’s Joshua Tree, ably assisted by Red Hot Chili Peppers guitarist Josh Klinghoffer, Matt Sweeney (Chavez), Nashville fiddler Fats Kaplin and poet Saul Williams. Whilst wherever they are they’ll always possess the soul of the Mali blues, with one of the most evocative electric guitar sounds around, six albums down it’s these subtle crosscultural communications that see them expand their palette and continue to feel vital.

From the endearing cover showing every line of his face, the storytelling and warm, imperfect vocal delivery to the sense of folk adventure that allows strings, brass, jazz structures, country flourishes and even an excellent take on Australian Crawl classic Reckless to thrive together on Beneath The Sun, Tom E. Lewis feels instantly like good company. A world-travelling jazz-didge virtuoso of the ‘90s and stage and screen star best known for his lead role in The Chant Of Jimmie Blacksmith, one can’t help but be drawn to Lewis – music from a life thoroughly lived.

Taking a decidedly more country approach on their third album, Queensland folk troubadours Women In Docs are still dishing out finely crafted harmonies and well arranged compositions, with the added cohesion of writing together for the first time. The beautifully intuitive fiddle style of Silas Palmer features on the title track lead single, recalling the duo’s DIY, follow-your-dreamsand-jump-in-a-van beginnings, while Raining On Me features an impressive gang-vocal outro that offers a soulful, gospeltinged take on folk. A version of Bob Dylan’s Wagon Wheel underlines the appeal of Women In Docs – instinctive melodies and good clean fun musical times.


Bob Baker Fish

Beneath The Sun

Tyler McLoughlan


Tyler McLoughlan THE MUSIC • 12TH FEBRUARY 2014 • 39

live reviews

JEFF MARTIN & SARAH MCLEOD, THE FIRETREE Black Bear Lodge 9 Feb Byron Bay duo The Firetree fill the small stage with their bohemian presence. Dale and Josie evoke a sound of yesteryear folk, dotted with rock and bluegrass. New single Star Dreamer and a cover of Pearl Jam’s Given To Fly signal a harmonious start, and with their raw talent shining on their respective guitars they leave a grateful audience in their wake. The always entertaining and likeably brash Sarah McLeod from The Superjesus recently took up the chance to share

McLeod firing quips at Martin’s sinking shoulders about, among other things, the lemon stuck in his beard. But musically it’s clear there’s a chemistry they’re tapping into. The tour’s namesake is in the form of dark single Man The Life Boats, a moody sea shanty rollick, followed by an intriguing set of a Coldplay mash-up of Fix You and INXS’s Never Tear Us Apart. With Martin’s rumbling tenor and McLeod’s brusque wail, magic can’t help but unfold, underpinned by the dense thump of both acoustics. When a solo Martin emerges after to play a few Tea Party tunes like The Bazaar and Requiem, there’s a noticeable shift in energy. As epically talented, enigmatic and humane as Martin is, that earlier dose of McLeod is what most will take home tonight. Carley Hall


the stage with Martin ahead of a collaborative release. A thoughtful match-up, especially when McLeod emerges onstage to Bobby Darin’s Beyond The Sea, clicking fingers and tapping toes. But as her latest EP is an exploration of her penchant for Motown, it seems that’s what we’re in for. After getting saucy with In The Mood, there are two reasons why it wouldn’t matter what McLeod did tonight: a) her minx-to-vixen vocal is as breathy and brassy as ever, and b) she’s a fucking riot. Between dragging a fan onstage to do “the worst tambourine playing” yet for Scout’s Honour, to ribbing Martin’s exasperated temperament, she’s in serious danger of stealing the entire show. Sides are sore when she closes with He Doesn’t Love You. When she returns it’s with Jeff Martin and the playful jabs start up immediately between the two, 40 • THE MUSIC • 12TH FEBRUARY 2014

a guitar, beginning with simple chords then moving to distorted squalls, filling the acoustic space around the footsteps. After around 15 minutes he swaps to the drums, and the recordings slowly fade away over the remainder of the set. Not your usual solo, the drums creak, groan and unsettle things: organic and human. A snare is played with a cymbal dragged harshly on its outer rim, while an almost tribal kick pattern runs below. A variety of percussion instruments are used, by themselves and in place of drum sticks. There’s no obvious collection of motifs here but there is coherence within the changing sounds, so despite the mix of instruments this never sounds like anything other than a single piece. Buck not only shows his deftness at propelling music



Brisbane Powerhouse 8 Feb Originally intended as a performance by The Necks, tonight’s show has been changed due to personal tragedy keeping bassist Lloyd Swanton away. Instead, the two remaining members have decided to play solo sets, a welcome alternative under the circumstances. Tony Buck and Chris Abrahams flip a coin to decide who plays first. Buck wins and settles behind his drum kit. Tonight he begins with field recordings – footsteps and jangling keys, a simple domestic set of sounds stripped of context and given a new intensity through volume and setting. Buck strums

Old Museum 8 Feb

A sell-out crowd of converts old and new has assembled tonight at the Old Museum to officially launch Halfway’s stunning fourth long player, Any Old Love. Local four-piece Silent Feature Era start with a hypnotic build, the intuitive guitar interplay between Greg Cathcart and Adrian Mauro meshing well with the gothic folk vibe being channelled. Rhythm section Luke Sullivan and Liam Eaton keep it tight and brooding


forward, he also challenges the audience’s perception of what is possible with a drum kit. Chris Abrahams begins as the more obviously musical part of the night, as pretty, melodic notes spark off the piano. This quickly shifts into a more challenging mixture of sounds, with notes sustained to the point of abrasion. Quieter moments are welcomed but rare, and the piece risks ending up more virtuosic than entertaining – extended periods focused on lower and upper octaves almost seem endurance tests. Towards the end though, the sound centres and spreads, returning to the original motif. And as the music rises and falls like waves, the elements of the piece – melodic and dissonant – come together in a deeply satisfying finale. Sky Kirkham


as these subtle, nuanced stompers combine innate harmonies and experimental touches to fantastic effect. They close with a new song These Soiled Hands whose cacophonous Mogwai-esque finish doesn’t outstay its welcome. Paddy McHugh & The Goldminers take the stage next, McHugh proving a versatile and multi-layered performer, offering a take on country spliced through rockabilly and folk. The Goldminers provide solid back-up throughout as Paddy is joined by Jimmy on didgeridoo for a quieter ballad then later delving into fast-paced hoedowns. A particularly affecting Dan O’Halloran points to shades of an antipodean Shane MacGowan as the band’s set concludes. Complete with accompanying visuals and classical music intro, Halfway are welcomed to huge cheers as they commence the

live reviews new album in its entirety with openers Drop-Out and Honey I Like You. These are real tales, filled with dust, booze, loss and redemption. John Busby leads us through Dulcify, the old school race footage visuals flooding the senses with equine imagery. The Shakespeare Strings are then welcomed to the stage for classic mid-album tune Shakespeare Hotel, John Wilsteed’s genius guitar line and swelling strings adding to its timeless appeal. Factory Rats then gets the crowd rockin’ before the honeyed tones of Chris Dale grace a velvety Erebus & Terror, a tale of lost Arctic ships and life journeys. The band then shares around the vocals for breathtaking album highlight Sunlight On The Sills before a gentle In The Waking Hours combines its bewitching refrain with the refined attention-to-detail that sets this band apart. Messrs Peacock, Fitzpatrick, Johnson and Hawtin are all essential cogs throughout. It’s then time for some old favourites post-encore with particular mention to classic performances of Oscar, 110 and Patience Back that bring

such an infectious warmth from the crowd. There’s a real majesty to this band when in full flight and tonight is a victory for the battlers, the burnouts, the dreamers. A special night to be a part of. Ed Matthews

BLANK REALM, FOUR DOOR, LUCY CLICHÉ, SEWERS, THIGH MASTER The Underdog 8 Feb Tonight will be a cavalcade of harsh, warped delights if Thigh Master are to be trusted. Not that the newly-minted fourpiece are particularly abrasive, but the addition of a rhythm guitar to underpin Matt Ford’s slack-jawed howls provides a steeliness that had been missing. Sewers have also been fleshing out the line-up, with Harry Byrne on guitar to free up Shan Corrigan to rant and bark his way

through a blistering set. Funnily enough it’s Byrne’s performance tonight that is the more visceral – flailing and loose, pushing and shoving Corrigan as if to get a rise out of him. This doesn’t happen, with the frontman remaining a laconic contradiction to the acerbic dankness he drawls. Naked On The Vague are here, but performing under separate guises. Lucy Cliché offers her synth pop meanderings. The sweeping electronica holds one dejected hook after another, adhering to romantic new wave extremities and despondent futurist wistfulness – a sound for the future isolationist with a look to love. NOTV alum Matthew Hopkins joins with Jonathan Hochman for a Four Door set that builds on Cliché’s understated machinations, their dark jazz seductions infusing with synth shadows and sonic stutters, a lurching netherworld of bubbling minimalist psychological horror. Both sets bleed into each other, becoming a elongated interlude into the unknown. The night though belongs to local heroes Blank Realm whose excellent new album Grassed

Inn is being launched. Their set is typically, lush, energetic and fun – it’s impossible to not enjoy yourself. Perennial favourite Falling Down The Stairs rules again, with the band having tapped the winning formula that exemplifies their DNA – Sarah Spencer’s brisk, spidery keys filled with light and Luke Walsh exemplifies a guitar jangle as Luke Spencer locks down the band from flying into the sun. Dan Spencer keeps the beat and delivers the vocals with his usual panache, yet it’s the breakaway from the chorus where everything feels like it will run off the tracks that indicates true brilliance. Back To The Flood is a joyous escapade, while Bulldozer Love highlights the marriage of pop and krautrock that the band has come to epitomise. The mixture between euphoria and melancholia inherent in Spencer’s lyrics for Reach You On The Phone is a deft touch, and showcases how far these guys have come. There is time for a couple of oldies though, with Cleaning Up My Mess a pleasant inclusion. Brendan Telford

arts reviews they don’t really mind; they bake things. It is the kind of movie that could have a really exciting ending but opted for one that ties everything together nicely.



In cinemas Jason Reitman is one of those directors who audiences come to expect exceptional things from. Juno and Up In The Air are films that are hard to find critics for, but his latest film venture, Labor Day, falls into a real logic trap as you leave the cinema. The film is summarised in it’s trailer pretty well. Guy escapes prison; kind of takes family hostage but

It was the narrator telling the audience what was going on. It was the abuse of tension in the soundtrack. At times the film felt smart, the dialogue was sharp but then it would flip on itself and go for the more simple explanation. The film’s opening half hour is incredibly strong, but once that tension is there the film just doesn’t know what to do with itself, and a lot of sweetness that was intended became laughs of disbelief. Even though the film is based on the book, and the story may have played out the same, the way the tension is built and the narration let this film sadly fall into a stereotypical target audience piece for my mother. Matthew Ziccone

Free Snacks S3, E6 This Week On Girls: Hannah may think of herself as a writer writer, but she’s off to type sponsored content for GQ in an episode that feels like meta-sponsored-content (Yum, SunChips®!). Powwowing with new office-homies Jenna Lyons, Jessica ‘Daily Show’ Williams and Benji from Frances Ha, Hannah’s “rapid-fire mind-pace” makes her perfect for spitballing Field

Guide For The Urban Male archetypes (Kewl Dad ahoy!). Harbouring the pain of a stalled e-book and an under-retweeted article, the praise of her creative peers (save Amir Arison, who just hates her face) is balm for Hannah’s existential insecurity. But soon she sees the cracks in the utopia of Free Snacks: the staff writers like the hutch rabbits in Watership Down, comfortable yet glassy-eyed, kept pets whose days of wild freelancing are long past. Meanwhile, in Fuck Buddy News: Shosh is boning ex-flings to vet them as serious boyf material; and Ray uses “semantic invention to sound accessible” enough to fuck Marnie some more, the thrill of the first-time soon fading into a mutually-dependent pseudorelationship, all public arguments and depressing dumpling dinners. Hannah Nudity Watch: Totally office-clothed. Shosh Amaze Meter: Enviously revved by Ray’s write-up in a popular service publication. The Tao Of Adam: “People are fucking stupid.” THE MUSIC • 12TH FEBRUARY 2014 • 41


the guide


Member answering/role: Raymond – keyboards How long have you been together? Just ticked over to three years. How did you all meet? Mark (guitar) met Jeremy (bass) very close to time of birth but didn’t consciously realise it for a while after. They met me in a relatively uninteresting way, but it was interesting that we all wanted to combine psychedelia and prog with a dose of funk. Dave (drummer) was a recommendation to us (who fit perfectly) and Leon (vocals) offered to sing after hearing us play an instrumental set. It was almost like fate... 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? Mark showed me False Priest by Of Montreal recently and holy shit, it’s done things to me. But your safest bet is going to be Pink Floyd’s Wish You Were Here. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? The dream is to be able to see the world just by playing music, so Metallica (only in that sense), while also being revered in a big way. Which Brisbane bands before you have been an inspiration (musically or otherwise)? LeSuits and Dubmarine stand out from the crowd in a big way. They’re both bands that have surpassed the line between really good and absolute fucking class. What’s in the pipeline for the band in the short term? Get this single (Black Satin White Hot) out and hope that people take the time to listen to it. We feel that it’s pretty different to most things coming out of Brisbane, especially in terms of sonic depth. Magenta Voyeur play Trainspotters, Grand Central Hotel on Saturday 22 Feb. Photo by TERRY SOO. THE MUSIC • 12TH FEBRUARY 2014 • 43

bar culture

AFTER CLOSING TIME Bartenders: they see us at our most debauched. But besides dealing with drunkards, they must get to enjoy some perks as part of their job. Here’s a sordid tale about being a bartender. Illustration Sophie Blackhall - Cain.


an I smoke?” I ask, and in her French accent she replies, “You can smoke.” That was me being extra cheeky, adding my own touch of Don Draper-goes-porno. It’s 3am on a Monday night and I’ve found myself having sex with a crazy hot girl I’ve just met on a brocaded couch in my place of employment. She’s a stripper on a night off, but that’s beside the point. Actually, her two friends are strippers too, and they’re also nude and having sex in the room with us. So are my two mates. I mean they’re nude and in the room having sex; the six of us are in the room having sex. I light up, take a swig of vodka, while I’m going disco from behind. She looks back at me, I lean down, and we make half-French babies with our tongues. Seriously multi-tasking here. Across the way, within arm’s reach, my two mates are doing the same thing: legs around shoulders, nipple sucking, cushions and writhing hips. The core explanation for our good fortune, I reckon, is that this is what happens to bartenders. While they come to be fabled variously as good for a yarn, party people, down-and-outers, mixologists who bring their own ice, or good old fashioned piss-heads, most bartenders make pretty humble starts. Mine was in a shitty little bar in Melbourne’s eastern suburbs. It changed names, owners, and clientele every six months, and each reincarnation was just as shitty as the shitty, shitty one before. It was run by a mob-affiliated ex-convict and I got paid $10 an hour. There were bar flies, gum-stains on the ‘banquettes’,


and a horrible mélange of losers for punters. I think an ex-footballer played an acoustic set there every Tuesday night subtitled something thrilling like ‘Unplugged’ or ‘Unwired’ or ‘Ugh’. Make no mistake about it: bartending degrades what media hysterics might call ‘your moral fibre’. More than most, bartenders get high, rude, belligerent, manipulative, arrogant and really fucking loose. Loose for no reason. Loose because they get paid to get loose and bartenders let ‘getting loose’ shape their entire existence. Even if they swear that lifestyle’s not for them. Alternately, there are worthy bartenders. Industrious, cleanly souls committed to

providing a ‘super!’ experience to their customers within the bounds of their obligations to Responsible Service of Alcohol regulations. They know the ‘terroir’ that birthed each wine on the list and can tell you why a Sidecar’s called a Sidecar. We call all these bartenders ‘Tom Cruise’. They know the Orgasm, the Death Spasm, the Singapore Sling, and the Ding-a-ling and they’ll spill more booze trying to flare than ever gets into your glass. Think a bartender’s a knob? Say, ‘Hey, Tom Cruise, can I get a beer?’ and he’ll probably shut the fuck up. Because the difference between a good bartender and a bad bartender is his chat. A good bartender can hit on your girlfriend, become your best mate, teach you a few things you won’t remember, take all your money, go home with your girlfriend’s best friend, and make you want to do it all again next weekend. A bad bartender will talk about himself and make you think about getting to the gym early tomorrow. While there are millions of ‘Sav Blanc nights’ behind the bar – uneventful, predictable, annoying – there is also always the chance of something remarkable happening. You never know what might trigger it. You might lock eyes with a celebrity. Someone might throw a glass. Most of these little, potentially catalytic events disappear into insignificance as quickly as they arrived. But, as a bartender, you’re there to witness them all and one in a hundred might turn into something special.


the guide




We’re on the world map Queenslanders, Bieber made a sex tape while he was here and the whole world will soon be watching! Bum slapping, nipple biting – this one’s got everything!

DATA SOURCE Kudos to BCC for extending Brisbane’s free Wi-Fi capabilities to more expansively cover the inner-city, soon to be available at Southbank and Queen St Mall. Welcome to the 21st century…

MORE? People are well-excited that Jamie Oliver is opening a new restaurant in Brisbane. Not because they want to eat there, but they’re hoping it will keep the git off TV. Dreams are free…



Axl Rose is slagging off RHCP for not playing their instruments live during Superbowl halftime? Umm Axl, remember last time GNR played Brisbane and after you stormed offstage we could still hear your vocals? No?

THE LAW’S AN ARSE So if that weird lady who said Schapelle would roll a big spliff upon release isn’t her old lawyer then who the fuck is she?

BUM MOVE Speaking of Ms Corby, what a bitch move by Channel 9 to put the Schapelle telemovie on the same time as the INXS one? Lucky we all have recording capabilities these days, lets you fast forward the ads anyway… 46 • THE MUSIC • 12TH FEBRUARY 2014



Emerging from the sunny GC, rock powerhouse Paging Jimi will treat their local brethren to a hometown show at The Loft, Chevron Island this Saturday night. Hot supports too with David Aurora, Sarah Shah and Josh Caldwell also performing.

On the cusp of releasing their debut EP next month, Smoking Martha will rock the socks off Vibe Valentines Rock at Indooroopilly Hotel, along with Smokin’ Mirrors, Thrashed, Black Diamond and Hobo Magic. $15 entry on the door.



Enjoy some affecting roots music courtesy of Saritah, when the songstress plays The Joynt, Thursday; SoundLounge, GC, Friday; Verrierdale Hall, Sunny Coast, Saturday; and Earth Frequency Festival, Ivory’s Rock, Sunday.

Jump on the feeling! Eight-piece roots train Kooyeh will be rolling into the following stops this week: Nimbin Hotel, Thursday; Solbar, Maroochydore, Friday; Coolangatta Hotel, Saturday; and Beach Hotel, Byron Bay, Sunday.



Some of Brisbane’s finest rock’n’roll degenerates will be plugging in at Beetle Bar this Saturday on a bill that features New Jack Rubys, pictured, Marville, Gravel Samwidge and Roth. Get your fuzz on for $10.

Fall into the fresh sounds of good time indie troupe Old Love when they play The Tempo Hotel on Thursday with Stimulation, Dead Wolves and Lachy Lyne. But if you can’t make that show don’t fret – they’ll also play Ric’s Bar, 23 Feb.

THIS WEEK’S RELEASES… KING GIZZARD & THE LIZARD WIZARD Oddments Flightless/Remote Control I KILLED THE PROM QUEEN Beloved Epitaph/Warner KATY B Little Red Sony AUGUSTINES Augustines Caroline



the guide


YOUNG FRANCO Name: Joey Da Rin EP Title: FUTUREFUNK How many releases do you have now? One. Was anything in particular inspiring you during the making? A lot of things, particularly artists like Darius, Onra and some Australian artists like Renz, Kilter and Wolfwolf. What’s your favourite song on it? FAT. It’s my favourite song to play out and was the last song made on the EP. We’ll like this EP if we like... Anything with disco, funk, dance and summer vibes. Artists like Kilter, Rufus, Motez, His Majesty Andre, Darius and Airwolf. Young Franco plays Daydream Festival 2014, Fortitude Valley (early) and Komune, Gold Coast on Saturday 15 Feb and Bowler Bar on Saturday 15 Mar.






Member’s name: Chris Perren

Five psych-rock lads with a slight lean for prog, Magenta Voyeur want you to look inside a new dimension when they launch their new release Strigiformes at Trainspotters, Grand Central Hotel, 22 Feb. Blonde On Blonde and Windrest also perform.

Birthed from the northern beaches of Sydney and built for mass destruction, metal five-piece Stories will launch their brand new single Dreamwork with two Queensland shows, happening at Thriller, Coniston Lane, 1 Mar and the Lab, 2 Mar (all ages).



Get a taste of the devil’s life when Desert Blues Cartel and international burlesque star Lola The Vamp team up at Nimbin Hotel, 21 Feb; Cardigan Bar, 22 Feb; and Lefty’s Old Time Music Hall, 23 Feb.

Mi Casa Su Casa celebrates the varied 123 roster, with the likes of Tales In Space, Stillwater Giants, pictured, Blonde On Blonde, Yeo and Gena Rose Bruce set to play 7 Mar, Alhambra Lounge; 8 Mar, Solbar, Maroochydore; and 9 Mar, Byron Bay Brewery.



Army Of Champions, pictured, have just been added to the bill for the upcoming Brisbane show from The Smith Street Band. Get in early for a nice bit of local noise, with The Menzingers and Grim Fandango also playing 14 Mar at The Zoo.

The Met is the club to party at on 15 Mar with Melbourne production pair SCNDL bringing the bouncing bass to the Valley. Yet another Aussie name doing massive things on the EDM scene, get these guys before they’ve exploded.

How did you get together? The seven of us pulled together initially just to play a few pieces for my composition PhD, but we realised Brisbane needs a weird string quartet/indie/post-rock group, and so we just kept going. Sum up your musical sound in four words? Cinematic Cerebral Indie Classical. If you could support any band in the world – past or present – who would it be? Philip Glass – I wonder if he would let us use his backline? You’re being sent into space, there’s no iPod, you can only bring one album – what would it be? Flying Lotus – Until The Quiet Comes. Greatest rock’n’roll moment of your career to date? Loading out of Harvest Festival 2012 in an apocalyptic hailstorm, hurling soaked instruments into the back of a maxi taxi, and later returning to the festival in time to see Sigur Ros. Why should people come and see your band? You should come if you’re sick of rock bands, and you want something a little more challenging and unusual. Nonsemble play Syc Studios on Saturday 22 Mar.













opinion ROOTS DOWN







The return of the Juke Joint, as announced last week, is definitely a good thing for Bluesfest and the old blues heads who attend it. I’m not exactly old per se, so I missed a lot of the legendary Juke Joint shows back in the Red Devil days – RL Burnside in the Juke Joint is up there as one of the shows I’d have killed to see – but some of my earliest education in the blues came from that sweaty old rugby league club. Having a centralised blues hub at the Bluesfest makes sense for a few reasons. People who still come to Bluesfest to discover new blues artists will know where to get it, and having a stage like this means some of the less popular but still superb acts won’t necessarily be relegated to early afternoon slots. A wonderfully unexpected wildcard in the latest announcement is New York’s Garland Jeffreys, who is reportedly in as good form at the age of 70 as ever. Of course local guns like Mojo Webb, Ray Beadle, Hat Fitz & Cara and Backsliders are always essential as well and serve to prove to any naysayers that we do have a genuinely amazing blues scene. Already announced acts like CW Stoneking, Chain, The Paladins and the Music Maker Foundation will be there too, so here’s hoping for some good vibes to emanate from that part of the farm this Easter – the music is sure as hell right for it. 50 • THE MUSIC • 12TH FEBRUARY 2014

If you had any doubt, I can categorically assure you there is both sense and goodness in this world. Tony Abbott’s YouTube account was recently suspended for “commercially deceptive content”. This came after Tony posted a message called “delivering on our promises”. The promises on which our Speedo spokesman Prime Minister claimed to have delivered included stopping the boats (by causing irrevocable damage to relations with our nearest neighbours); being in the process of scrapping the carbon tax (but not actually having done so); and getting the budget under control (by dismantling vital services). Many YouTube users thought someone had managed to hack the PM’s account, but YouTube put rumours to rest by referring to its terms of conduct, which state, “We review the video to determine whether it violates our Terms of Use... If we remove your video after reviewing it, you can assume that we removed it purposefully, and you should take our warning notification seriously.” Take that Prime Minister. Apparently Tony underestimated how many people were paying attention to the promises made in the lead-up to the election, and some were even attentive enough to notice that no, PM Rabbit had not delivered and yes, he is a deceitful little bunny. His account is now back up and running, so he can spout whatever nonsense he sees fit. Here’s hoping he learns his lesson and next time, when delivering a carefully choreographed speech, he uses funny gifs, and memes

involving cats in various human-like positions. Maybe he could perform a Prime Ministerial rap explaining why coal seam gas is awesome or a live stream of our Navy turning back leaky boats filled with desperate, terrified refugees. Seeing that the leader of the nation can have his social media shut down, one has to wonder why it’s not as easy to get rid of other Facebook/Twitter/ Instagram-happy arseholes. Imagine a world in which we could delete Justin Bieber’s Instagram for his frequent demonstration of what a complete douchebag he is. Every time he put on his trout pout and posed naked but for visible underwear and pants baggy enough to have come straight out of 1999, the public could freeze his access until he learnt that nobody gave a single shit about his budding manhood, and would continue to not give a single shit until such a time as he needed to shave or was sent to rehab. Imagine the relief of being able to suspend your selfie-happy friend’s Facebook account because they’ve overstepped their allotted amount of daily narcissism. No longer would you have to tolerate photos taken with apparently elastic arms. Those photos in which your irritating friend pouts and shows off their ability to pose at inhuman angles could be gone in a second. Imagine a world where, with a single click of a button, you could prevent them from bombarding you with their “spontaneous” self-portraits. I beg of you, Mark Zuckerberg and whoever is in charge of Twitter and Instagram, make it so.



It was a hip hop feast at St Jerome’s Laneway Festival. After becoming the first MC to perform at the event in 2013, El-P returned with Killer Mike as Run The Jewels. Odd Future’s Earl Sweatshirt also appeared – looking very boyish yet putting on a solid show. Earl, whose mystique grew when his mum sent him off to boarding school in Samoa, lately resurfaced with the ‘mature’ Doris LP, Wu-Tang Clan’s mastermind RZA actually contributing the raw Molasses. Then there was the cult Danny Brown, back in Oz… The rapper’s hometown of Detroit, which gave us Motown, techno and Eminem, has been declared bankrupt. However, in 2013 Laneway debuted triumphantly in metro Detroit. By contrast, an unrelated 2012 proposal to turn one of the city’s rundown neighbourhoods into a zombie theme park, Z World, generated heat. If anything, Brown is an anti-zombie with his animated stage presence. In Melbourne he experienced technical issues early, but quickly recovered. Fans chanted along to his A-Trakproduced party tune Smokin & Drinkin. Brown’s recent critically-acclaimed commercial breakthrough, Old, is worth investigating. The versatile MC recruited edgy electrohop producers Rustie (Dope Song) and the Bruiser Brigade’s lesser-known SKYWLKR (Kush Coma ft A$AP Rocky), who is also his tour DJ. Brown even recorded Float On with Charli XCX and Canadian hip hop jazzers BADBADNOTGOOD. Another ‘urban’ highlight at Laneway? A deep disco DJ set by nightbus auteur Jamie xx. @therealcyclone

the guide Capitol Groove: The Press Club, Fortitude Valley


Loon Lake: The Zoo 5 Apr

Future Music Festival: RNA Showgrounds 1 Mar

Steve Earle & The Dukes: The Tivoli 15 Apr

Mikhael Paskalev: Alhambra Lounge 4 Mar

Suzanne Vega: Brisbane Powerhouse 15 Apr

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

Allen Stone: The Zoo 16 Apr

Bleach Festival: Gold Coast 7-23 Mar A Festival Called Panama: Tasmania 8-9 Mar Billy Bragg: The Tivoli 20 Mar

Various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley

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

Diamond Dave: The Underdog (Public Bar), Fortitude Valley

KC & The Sunshine Band: The Tivoli 19 Apr India.Arie & Joss Stone: The Tivoli 20 Apr

Melbourne Ska Orchestra: The Hi-Fi 21 Mar

Jake Bugg: The Hi-Fi 23 Apr

The Jungle Giants: Ric’s 29 Mar, Alhambra Lounge 30 Mar (u/18) Monster Magnet: The Hi-Fi 5 Apr

WED 12

Michael Paynter + Imogen Brough: Black Bear Lodge, Fortitude Valley Garden Of Swing: Cloudland, Fortitude Valley Devin The Dude + guests: Coniston Lane, Fortitude Valley Locky: Irish Murphy’s, Brisbane Open Mic Night feat. various: Mick O’Malley’s, Brisbane Le Parti Soul feat. King Kongo + Thee Hugs + DJ Redbeard: Ric’s (downstairs), Fortitude Valley Wolfmother + She Rex: Solbar, Maroochydore Elephant Unplugged feat. various: The Elephant Hotel, Fortitude Valley

Ozomatli: The Zoo 23 Apr Groovin The Moo: Townsville 4 May The Jezabels: The Tivoli 6 May Arctic Monkeys: BEC 7 May Northlane: The Hi-Fi 22 May

Spaghetti Rock with Lovecraft: The Underdog, Fortitude Valley Hanlon Brothers: The Vault, Southport DJ Daniel De Niro + Brent Dee: Vanity Nightclub, Surfers Paradise

THU 13

Crooked Colours: Alhambra Lounge, Fortitude Valley Eat City + 6 O’Clock Knock + Without Myth: Beetle Bar, Brisbane Soul’sa: Cloudland, Fortitude Valley Wolfmother + She Rex: Coolangatta Hotel, Coolangatta B.O.S.S.: Empire Hotel, Fortitude Valley Jabba: Irish Murphy’s, Brisbane

Open Mic Night feat. various: The Loft, Chevron Island

Atienne B-Szumer Quintet + Helen Russell Trio: JMI Live, Bowen Hills

The Pressure: The Press Club, Fortitude Valley

High Noon: Logan Diggers Club, Logan Central

Acoustic Sessions feat. various: The Tempo Hotel, Fortitude Valley

Ballad Boy: Loving Hut, Mount Gravatt

Ed Kowalczyk: The Tivoli, Fortitude Valley

Chasing The Jeffrey + Young Griffo + The Kinetics + Lucy Street: The Tempo Hotel, Fortitude Valley

The Wailers: The Tivoli 16 Apr

Caspian: Tempo Hotel 20 Mar

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

The Bennies + Apart From This: The Spotted Cow, Toowoomba

Underground Sounds Open Mic Night feat. various: Mick O’Malley’s, Brisbane

GIG OF THE WEEK JOSH PYKE: 15 FEB, OLD MUSEUM The Aston Shuffle: Oh Hello!, Fortitude Valley

Various DJs: Eatons Hill Hotel, Eatons Hill

The Stats + Zeke Foster + DJ Valdis: Ric’s (downstairs) , Fortitude Valley

The Aston Shuffle: Elsewhere, Surfers Paradise

Songwriters Circle with Jac Stone + Jimmy Davis + Zac Gunthorpe: Solbar, Maroochydore Saritah: SoundLounge, Currumbin Out Of Abingdon: The Coffee Laboratory, Kelvin Grove Saritah: The Joynt, South Brisbane The Storytellers + Calan Mai + Julie Hayes + Eleea Navarro: The Loft, Chevron Island Renae Suttie + OJ Newcomb: The Piano Bar, Maroochydore Ladi Abundance: The Press Club, Fortitude Valley The Music Kitchen feat. Old Love + Simulaton + Dead Wolves + Lachy Lyne: The Tempo Hotel, Fortitude Valley Waves with Trippy Turtle: The Tempo Hotel (Bowler Bar) , Fortitude Valley Open Mic Night feat. various: The Underdog, Fortitude Valley Frazer Goodman + friends: The Vault, Southport Deadweight Express + Jade Haven + Stone Fox: The Zoo, Fortitude Valley Stevie Z + DJ Daniel De Niro + Jake Carmody: Vanity Nightclub, Surfers Paradise

FRI 14

The Miscounts + Los Trios Cardios + The Sunday Bests: Beetle Bar, Brisbane World’s End Press + Young Franco + Palindrome: Black Bear Lodge, Fortitude Valley Rick Price: Brisbane Jazz Club, Kangaroo Point Magget Death + Asylum + Secondheart + Climb The Heirarchy: Chardons Corner Hotel, Annerley Shannon Noll: City Golf Club, Toowoomba


Fishlane: Cloudland, Fortitude Valley

Monkey See, Monkey Do: Empire Hotel, Fortitude Valley Greg Aspeling & Trio: Harrigan’s Drift Inn, Jacobs Well Smoking Martha + Smokin Mirrors + Thrashed + Black Diamond + Hobo Magic: Indooroopilly Hotel, Indooroopilly Tackyland feat. Motion DJs: Irish Murphy’s (Upstairs) , Brisbane Berst + B-Rad + more: Irish Murphy’s, Brisbane Sylk: Logan Diggers Club, Logan Central DJ Turhan: Love Nightlife, Broadbeach

Valentines Day with Who are you Lutre Lutre: The Underdog (Doghouse), Fortitude Valley Jazz & Shriaz feat. various: The Vault (4pm) , Southport Bec Whitehead: The Vault (7pm) , Southport Amateur Childbirth + Curlew + Leighton Craig (Primitive Motion) + High Beamz: The Waiting Room, West End Wolfmother + She Rex: The Zoo, Fortitude Valley Brent Dee + Jake Carmody: Vanity Nightclub, Surfers Paradise Valentines Day Traffic Light Party + DJ Emily Scott + more: Victory Hotel, Brisbane

SAT 15

4zzz Fundraiser feat. The Wrong Man + Slagroom + Statler & Waldorf + Karl Stefanovic’s Dog: 4ZZZ (Car Park / 2pm) , Fortitude Valley

Strings For Ammo + Locky: Mick O’Malley’s, Brisbane

New Jack Rubys + Marville + Gravel Samwidge + Roth: Beetle Bar, Brisbane

Mecha Mecha + Lighters Are Fluid + DJ Valdis: Ric’s (downstairs) , Fortitude Valley

The Best of Soul Train + Various DJs: Black Bear Lodge, Fortitude Valley

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

Robin Brown Quintet: Brisbane Jazz Club, Kangaroo Point

Adam Brown: Royal Mail Hotel, Goodna Caboose: Saltbar, South Kingscliff Kooyeh + The Flumes: Solbar, Maroochydore Saritah + Fyah Walk: SoundLounge, Currumbin Amos Pella: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar) , Kangaroo Point Rubi Matthews & Dom Smith + Holly Tollis: The Crosstown Eating House, Woolloongabba Oh Pep! + One Up Two Down: The Danish Club, Newstead The Veal: Late Night Comedy feat. various: The Hideaway, Fortitude Valley Ingrid James + Julian Jones: The Lido Cafe & Restaurant, Ascot Street 66 + Astro Travellers + Anika Mantell: The Loft, Chevron Island

Darren J Ray: Brothers Ipswich, Raceview Kooyeh: Coolangatta Hotel, Coolangatta The Bennies + Apart From This: Crowbar, Fortitude Valley Trainspotters feat. Youth Allowance + Modern Strangers + Sherekhan + Singles: Grand Central Hotel, Brisbane Suzi Quatro + The Angels + The Black Sorrows + Shannon Noll + Russell Morris: Harrigan’s Drift Inn, Jacobs Well Emma Rumble + The Vast: Imperial Hotel, Eumundi WKD Saturdays + Motion DJs: Irish Murphy’s (Upstairs), Brisbane Jabba + Locky: Irish Murphy’s, Brisbane Young Franco: Komune Resort, Coolangatta One Sound: Logan Diggers Club, Logan Central


the guide

SUN 16

DJ Turhan: Love Nightlife, Broadbeach Superfreak + Murphy Pigs + Ger Fennelly: Mick O’Malley’s, Brisbane

Epithets + Sleep Decade + Bigstrongbrute + Corners: Black Bear Lodge, Fortitude Valley

Mick Diggles: Morrison Hotel, Woolloongabba

Open Mic Night feat. various: Chardons Corner Hotel, Annerley

Pussy Love with Bertie Page Clinic: New Globe Theatre, Fortitude Valley


Josh Pyke: Old Museum, Bowen Hills Joel Fletcher: Platinum Nightclub, Broadbeach Heavy Roller + Junkyard Diamonds + Muddy Chanter + Brutet Ben: Prince of Wales Hotel, Nundah Demodocus + Eternal Torment + Wisdoms Realm + Home By Sudden Landslide + Dead Books + Brett Bites: Prince of Wales Hotel, Ipswich Max Quinn + Ben Fahey + Fraser Coker + DJ Valdis: Ric’s (Downstairs) , Fortitude Valley

Ben Salter: Citron Restaurant, Wilston Seventh Avenue: Cloudland, Fortitude Valley

Yank Tank + The Meqano + 3 Miles From Texas + Relatively: The Tempo Hotel, Fortitude Valley The Bennies + Apart From This: The Time Machine, Nambour DJ Daniel De Niro + Jake Carmody: Vanity Nightclub, Surfers Paradise

MON 17

Rob Hackwood Duo: Irish Murphy’s, Brisbane

The Very: Story Bridge Hotel (The Corner Bar), Kangaroo Point

The Decoys + Electric Samurai: The Tempo Hotel, Fortitude Valley

DJ Ritchie: Story Bridge Hotel (Shelter Bar), Kangaroo Point

Ted Dark Lab: The Underdog (Public Bar), Fortitude Valley

Ragdoll + Mick McHugh: Irish Murphy’s (12pm), Brisbane

Los Trios Cardios + The Buzzrays + Myrtle Place: The Underdog, Fortitude Valley

Strings For Ammo + Ger Fennelly: Mick O’Malley’s, Brisbane

Trem One + Brad Strut: The Hi-Fi, West End

Central Street: The Vault, Southport

Exposed #6: Heat 3 feat. various: Ric’s, Fortitude Valley

Big Iron + Angharad Drake: The Hideaway, Fortitude Valley

Sleep Decade + Perfume Garden + Heir Fuller: The Waiting Room, West End

Jazz, Swing & Rock at + Various: Robina Bowls Club (1pm), Robina

The Bug feat. Bart Thrupp + Mark Cryle & The Civil Union: New Farm Bowls Club, New Farm

Clint Francis: Solbar (2pm), Maroochydore

Mark Sheils: Samford Valley Hotel, Samford Valley

DJ Ritchie: Story Bridge Hotel (Shelter Bar/3pm), Kangaroo Point

RiffRaff: The Press Club, Fortitude Valley

Rick Price + Casey Barnes: The Arts Centre Gold Coast (The Basement), Surfers Paradise

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

Frank Sultana & the Sinister Kids: The Joynt, South Brisbane

Bluesville Station + Fiona Boyes + Method: Royal Mail Hotel (11am), Goodna

Paging Jimi + David Aurora + Sarah Shah + Josh Caldwell: The Loft, Chevron Island

DJ Jase: Saltbar, South Kingscliff

SCNDL: The Met, Fortitude Valley

Stevie Z + Jake Carmody: Vanity Nightclub, Surfers Paradise

The Aston Shuffle + Paces + Thief: Solbar, Maroochydore

Ben Pearce: The Tempo Hotel (Bowler Bar) , Fortitude Valley

Saritah: Verrierdale Hall, Verrierdale

The Kinetics + Street Pieces + Plastic Fangs + Headshow: The Zoo, Fortitude Valley

Silver Sircus + Sissybones: Dowse Bar (Iceworks), Paddington

Angels Ink + Ultra Material: The Bearded Lady, West End

Acoustic Session with Luke May + Jye Whiteman + Michael David: The Tempo Hotel, Fortitude Valley

TUE 18

Woody Lives Here: Irish Murphy’s, Brisbane

Lesyah: The Vault, Southport

Three: The Press Club, Fortitude Valley



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tour guide


Absu: Crowbar 23 Mar

Ed Kowalczyk: The Tivoli 12 Feb

Shapeshifter: The Northern 23 Mar

Ben Pearce: Bowler Bar 15 Feb

Orphaned Land: The Rev 23 Mar

Wire: The Zoo 19 Feb

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

Eminem: Suncorp Stadium 20 Feb Richie Sambora: The Tivoli 20 Feb Clutch: The Zoo 21 Feb Skream: Bowler Bar 21 Feb

Kodaline: The Hi-Fi 1 Apr Bobby Keys & The Suffering Bastards: Eatons Hill Hotel 1 Apr

Dolly Parton: BEC 21, 22 Feb

The Rolling Stones: Brisbane Entertainment Centre 2 Apr

Detroit Swindle: Bowler Bar 22 Feb

Kylesa: The Hi-Fi 2 Apr

Mother’s Cake: Beetle Bar 22 Feb Eddie Vedder: QPAC 22, 23 Feb Singer Mali: Dowse Bar 23 Feb Mayday Parade, The Story So Far: The Tivoli 24 Feb

A$AP Ferg: The Hi-Fi 3 Apr Monster Magnet: The Hi-Fi 5 Apr

Tyga: Arena 12 Apr

Bruce Springsteen & the E Street Band: BEC 26 Feb

Suzanne Vega, Seth Lakeman: Brisbane Powerhouse 15 Apr

The Wonder Stuff: The Zoo 27 Feb

Steve Earle & The Dukes: The Tivoli 15 Apr

Slow Magic: Alhambra Lounge 27 Feb

Allen Stone: The Zoo 16 Apr

Derrick Carter: Bowler Bar 28 Feb Madeleine Peyroux: The Tivoli 28 Feb Eric Prydz: Family 1 Mar Brian McKnight: QPAC 2 Mar Six60: The Hi-Fi 2 Mar Charles Bradley: The Hi-Fi 4 Mar Mikhael Paskalev: Alhambra Lounge 4 Mar

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

Neko Case: The Hi-Fi 5 Mar

India Arie, Joss Stone: The Tivoli 20 Apr

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

Ozomatli: The Zoo 23 Apr

Everlast: The Zoo 5 Mar, Solbar 6 Mar, Byron Bay Brewery 7 Mar


3 Inches Of Blood: Crowbar 10 Apr

Jake Bugg: The Hi-Fi 23 Apr Holy Fuck: The Zoo 24 Apr

Finntroll: The Zoo 18 Jun Dragon: Kedron Wavell Services Club 20 Jun, Twin Towns 21 Jun The Crimson Projekct: The Hi-Fi 28 Jun Adolescents: The Tempo Hotel 3 Jul Andrew Strong: The Commitments: The Tivoli 25 Jul

NATIONAL Wolfmother: Solbar 12 Feb, Coolangatta Hotel 13 Feb, The Zoo 14 Feb, Byron Bay Brewery 16 Feb The Aston Shuffle: Oh Hello! 13 Feb, Elsewhere 14 Feb, Solbar 15 Feb, Byron Bay Brewery 16 Feb

Rick Price: Brisbane Jazz Club 14 Feb, Gold Coast Arts Centre 15 Feb The Bennies: The Spotted Cow 14 Feb, Crowbar 15 Feb, The Time Machine 16 Feb

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

Josh Pyke: Old Museum 15 Feb

D.O.A: Prince Of Wales 27 Apr

Young Franco: Komune 15 Feb, Bowler Bar 15 Mar

Gretchen Wilson: Eatons Hill Hotel 13 Mar Iced Earth: The Hi-Fi 14 Mar

KT Tunstall: The Zoo 30 Apr D.R.I: The Hi-Fi 1 May Jason Derulo: BEC 5 May Arctic Monkeys: BEC 7 May

Toby Keith: BEC 14 Mar

Temples: The Zoo 8 May

Queens of the Stone Age, Nine Inch Nails: BEC 17 Mar

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

Martha Davis & The Motels: New Globe Theatre 19 Mar

Michael Buble: BEC 12 May

Caravãna Sun: Beach Hotel 28 Feb, Solbar 1 Mar, Brunswick Heads Hotel 2 Mar Sticky Fingers: The Zoo 28 Feb, Coolangatta Hotel 1 Mar Lior: Old Museum 6 Mar The Holidays: Elsewhere 6 Mar, The Zoo 7 Mar, The Spotted Cow 8 Mar Christine Anu: Southport RSL 7 Mar, Old Museum 8 Mar Frenzal Rhomb: Coolangatta Hotel 7 Mar, The Hi-Fi 8 Mar

Dan Sultan: The Zoo 8 Mar

Front Line Assembly: Transcontinental Hotel 24 Apr

Pharrell Williams: The Marquee 12 Mar (AA)

Loon Lake, Jeremy Neale: The Zoo 5 Apr

Shannon Noll: City Golf Club 14 Feb

Bruno Mars: BEC 7 Mar

Yo La Tengo: The Zoo 11 Mar

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

Elizabeth Rose: Alhambra Lounge 8 Mar

Toxic Holocaust, Skeletonwitch: The Hi-Fi 24 Apr

Lionel Ritchie: BEC 10 Mar

Harmony: Black Bear Lodge 3 Apr

World’s End Press: Black Bear Lodge 14 Feb

Neil Finn: Nambour Civic Centre 6 Mar, QPAC 7 Mar

Public Enemy: The Hi-Fi 7 Mar

D At Sea: Solbar 27 Feb, The Loft 28 Feb, Crowbar 1 Mar

Architecture In Helsinki: The Hi-Fi 12 Apr Cloud Control: Story Bridge Hotel 12 Apr, Paddington Tavern 13 Apr, Komune 13 Apr, Brunswick Hotel 16 Apr, Beach Hotel 16 Apr, Noosa Heads SLSC 17 Apr, Solbar 17 Apr, Jubilee Hotel 19 Apr, Boardwalk Tavern 19 Apr, Coolangatta Hotel 20 Apr Bliss N Eso, Horrorshow, Seth Sentry: Riverstage 24 Apr

Nina Las Vegas: Bowler Bar 8 Mar John Farnham: BEC 10 Mar

The Jezabels: The Tivoli 6 May

The Smith Street Band: The Zoo 14 Mar

Northlane: The Hi-Fi 22 May

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

Laura Imbruglia: Brisbane Powerhouse 16 Feb

Illy: The Zoo 15, 16 Mar

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

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

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

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

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

Kate Miller-Heidke: The Tivoli 5 Apr

The Stray Sisters: The Zoo 18 Mar Twelve Foot Ninja: The Zoo 21 Mar, Shark Bar 22 Mar Melbourne Ska Orchestra: The Hi-Fi 21 Mar

The Presets, Australian Chamber Orchestra: QPAC 26 May Keith Urban: BEC 17 Jun

FESTIVALS Daydream Festival: Acland Lane 15 Feb Soundwave: RNA Showgrounds 22 Feb Good Life: RNA Showgrounds 28 Feb Future Music Festival: RNA Showgrounds 1 Mar Mojo Burning Festival: New Globe Theatre 15 Mar

Baths: Alhambra Lounge 20 Mar

Fleshgod Apocalypse: The Hi-Fi 14 May

Caspian: The Tempo Hotel 20 Mar

The English Beat: The Zoo 18 May

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

Billy Bragg: The Tivoli 20 Mar, The Northern 21 Mar

We Are Scientists: The Zoo 29 May

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

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

Chicks On Speed: Alhambra Lounge 21 Mar Gang Of Four: The Hi-Fi 22 Mar

James Blunt: BCEC 2 Jun

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

Toehider: Crowbar 27 Mar, Shark Bar 28 Mar

Groovin’ The Moo: Townsville Cricket Grounds 4 May

Jurassic 5: Eatons Hill Hotel 22 Mar

Ellie Goulding: BCEC 5 Jun (AA)

The Kite String Tangle: The Zoo 22, 23 Feb

The Jungle Giants: Ric’s 29 Mar, Alhambra Lounge 30 Mar (U18)

Hits & Pits Round 3: The Hi-Fi 9 May, The Northern 10 May

Sebadoh: The Zoo 23 Mar

Bastille: BCEC 13 Jun (AA)

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

Jimmy Barnes: Sirromet Wines 30 Mar

Brisbane International Jazz Festival: BEMAC 4-8 Jun

Armin van Buuren: BEC 4 Jun

Luca Brasi, Postblue: Crowbar 22 Mar, The Lab 23 Mar (AA)

Bluesfest: Tyagarah Tea Tree Farm 17-21 Apr Easterfest: Queens Park 18-20 Apr


the end



KEY LYRICS “I masturbated to the songs you wrote… It’s not because I like you, man, it just helps me get to sleep, and it’s cheaper than Temazepan.”

HOW ROMANTIC! (Consensual) sexual content is always romantic.

NOT REALLY… She doesn’t really like you, man, then acknowledges that she underestimated his intelligence. Fair nuff.

ACCOMPANYING VDAY GIFT Vaseline and tissues


KEY LYRICS “We made it to Thanksgiving, so hey, maybe we can make it to Christmas... We can still make it to the church steps.”

HOW ROMANTIC! West definitely loves Kim Kardashian. This song and its selfawareness prove it. Even if he doesn’t remember when they first met.

NOT REALLY… He’ll turn the plane around if she keeps complaining.



My Kind Of Woman

KEY LYRICS “You’re my, my, my kind of woman. My, oh my, what a girl.”

HOW ROMANTIC! She makes him crazy, everything’s alright as long as she’s next to him, he doesn’t understand why she’s still with him…

NOT REALLY… There are not enough lyrics in this song for us to draw a real conclusion.





The Music (Brisbane) Issue #25  

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