Page 1

# 2 7 • 2 6 . 0 2 . 1 4 • B R I S BA N E • F R E E • I N C O R P O R AT I N G

C U LT U R E WA R R I O R O R S H I T - S T I R R E R ?



future music festival






the music | the lifestyle | the fashion | the art | the culture | you







themusic 26TH FEBRUARY 2014





Phoenix Neko Case The Holidays Gloria Charles Bradley Six60


Gesaffelstein Bullhorn Hardwell The Growlers The Wonder Stuff Mikhael Paskalev Slow Magic

REVIEWS Album: Neneh Cherry Live: Soundwave Arts: INXS: Never Tear Us Apart

THE GUIDE Cover: Phil Smith Food/Drink Frontlash/Backlash Indie News Opinion Gig Guide The End: Beach Surprises









web 8 • THE MUSIC • 26TH FEBRUARY 2014




















Street Press Australia Pty Ltd


EDITOR Steve Bell



MUSO EDITOR Michael Smith

GIG GUIDE EDITOR Justine Lynch gigs@themusic.com.au

CONTRIBUTORS Alice Bopf, Amorina Fitzgerald-Hood, Anthony Carew, Baz McAlister, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Brie Jorgensen, 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, Mitch Knox, Sam Hobson, Sky Kirkham, Tom Hersey, Tony McMahon, Tyler McLoughlan



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



QLD SALES Zac Gould, Madeleine Budd sales@themusic.com.au

ART DIRECTOR Nicholas Hopkins

ART DEPT Brendon Wellwood, Eamon Stewart, Julian DeBono

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

Enjoy an utterly mesmerising evening of song and contemporary circus when local favourite Katie Noonan teams up with performance troupe Circa to create Love-Song-Circus. Happening over five nights at Cremone Theatre, QPAC, 4 – 8 Mar, the show was conceptualised by Noonan and stands as a powerful tribute to the convict women of our past and their place in our nation’s history.

He’s worked on music and performed with Bjork, and generated more than four million YouTube views with his unique musical fusion. Now’s your chance to see Austrian hang genius Manu Delago pair his rhythms with leading European bass clarinet player Christoph Auer live, the two visitors joining forces for their only Brisbane show at Music By The Sea this Saturday. Get to Sandgate Town Hall to see their Living Room project.


DISTRO Anita D’Angelo distro@themusic.com.au

SUBSCRIPTIONS store.themusic.com.au

CONTACT US Phone: (07) 3252 9666 info@themusic.com.au www.themusic.com.au Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006

Australia’s favourite short film festival Flickerfest arrives in our sticky city this week, with a three-night program giving us the best of the Australian and overseas product that was submitted in 2014, plus one tasty little local treat included each night. Happening this Thursday through Saturday from 7pm at Judith Wright Centre, full festival passes are $45, while individual evening tickets can also be purchased from $17 – $20. Contact the venue box office to guarantee your spot and enjoy the most entertaining and inspiring shorts taken from more than 2200 entries! BRISBANE



national news news@themusic.com.au KILLSWITCH ENGAGE




The world’s premier beard-related rock act The Beards are returning with a brand new fourth album, and with it, the most comprehensive Australian tour the band has ever embarked upon. It encompasses city and regional venues in every corner of the country; no beard-owner or beard-lover will miss out. The tour dates include: Prince Of Wales, Bunbury, 31 May; The Astor, Perth, 1 Jun; The Abbey, Canberra, 7 Jun; The Tivoli, Brisbane, 4 Jul; Sol Bar, Maroochydoore, 5 Jul; Karova Lounge, Ballarat, 16 Jul; 170 Russell, Melbourne, 18 Jul; Factory Theatre, Sydney, 26 Jul. See The Guide for the full list of dates. Proudly presented by The Music.


After a hugely successful tour in 2013, our favourite pair of electro bros (literally) will be back in Australia for Groovin The Moo and now headline shows around the country. Disclosure’s debut album Settle reached number five on the ARIA album chart and number two on the ARIA dance album chart, and they’ll prove exactly why when they play Hordern Pavilion, Sydney, 24 Apr; Forum Theatre, Melbourne, 1 May; Eatons Hill, Brisbane, 8 May; and Metro City, Perth, 9 May.


Control your vertigo sticks, guys. Lady Gaga is bringing her artRAVE: The ARTPOP Ball tour to our shores, and little monsters around the country will be gnashing their little teeth with glee. The chart-topping, meat-wearing artist will perform songs off her latest album ARTPOP as well as all the hits when she drops by Perth Arena, 20 Aug; Rod Laber Arena, Melbourne, 23 Aug; Brisbane Entertainment Centre, 26 Aug; and Allphnes Arena, Sydney, 30 Aug.


Robbie Williams returns to Australia for a national tour in support of his latest album, Swings Both Ways. He was last here nearly eight years ago, playing nine stadium shows (which sold out in less than two days, mind you) to almost 500,000 Aussies. Williams is set to rock (dee-jay-ay) the stage at Perth Arena, 11 Sep; Rod Laver Arena, Melbourne, 16 Sep; Brisbane Entertainment Centre, 22 Sep; and Allphones Arena, Sydney, 27 Sep. Gereral tickets go on sale 4 Mar.


After selling out his last Australian tour in 2012, Jeff Dunham is back for more with his new show Disorderly Conduct, ventriloquist dolls and other creepy puppet friends in tow. He’ll be amusing the kind of adults who never read Goosebumps (remember Slappy The Dummy?) at Perth Arena, 14 May; Rod Laver Arena, Melbourne, 16 May; Qantas Credit Union Arena, Sydney, 17 May; and Brisbane Convention And Exhibition Centre, 18 May.


He was last here for Big Day Out in 2012 but with how much he’s done since then, it feels like ages ago. Kanye West is now bringing his Yeezus tour over. Will we get the jewelcrusted masks and mountain set-pieces? Will he lecture us about whatever’s gotten his goat that day? We should be so lucky. Plus, Pusha T makes his Aussie debut as support act. The tour hits Perth Arena, 2 May; Rod Laver Arena, Melbourne, 6 & 7 May; Brisbane Entertainment Centre, 9 May; Qantas Credit Union Arena, Sydney, 10 & 11 May.


More than a decade after Killswitch Engage’s Alive Or Just Breathing album, a watershed moment for metal, the band reunited with original singer Jesse Leach for their newest offering, Disarm The Descent. On top of that, they’re teaming up with supergroup Kill Devil Hill for an Australian tour. Prepare to have your face melted off at their shows: Eatons Hill, Brisbane, 11 Apr (all ages); UNSW Roundhouse, Sydney, 12 Apr; Palace Theatre, Melbourne, 13 Apr; Metro City, Perth, 16 Apr.



The woman we first loved in Killing Heidi, Ella Hooper, continues to stun audiences with her powerhouse vocals. After picking up some extra fans as the “new Myf ” on the rebooted Spicks & Specks and from her forays on radio, she’ll be releasing her debut solo album In Tongues later this year, and is using this tour to celebrate first single Low High. Catch her at Chill Out Festival, Daylesford, 9 Mar; The Vanguard, Sydney, 29 Mar; Northcote Social Club, Melbourne, 4 Apr; ArtBar, Perth, 8 May; Black Bear Lodge, Brisbane, 15 May; Soundlounge, Gold Coast, 16 May; Star Court Theatre, Lismore, 17 May. Proudly presented by The Music.















local news qld.news@themusic.com.au




Chance Waters is hitting the road on the A Transit Officer Beat Up My Brother So I Wrote A Funny Song About Him Tour, in support of his latest single The Ticket Inspector. An extremely infectious, snarky tune combining Waters’ trademark sarcastic wit with elements of pop, hip hop and doo wop, you can hear the track and plenty more at Alhambra Lounge, 16 May, with support from Brendan Maclean.


The Little Stevies’ latest single I Hold My Breath is an honest and telling portrayal of being unattached; one that will break your heart in two before instilling feelings of the warm and fuzzy type inside. The Stephen sisters promote the track at Gasworks, 16 Mar.


Melbourne rock duo The Stiffys are heading up the east coast later this month to launch their second EP, We Are Groovy Boys. The album features new single Boogie Boarding plus other songs with especially cheeky titles. Keep an eye out for these lads as they storm the local scene, one state at a time. They play The Joynt, 22 Mar.


Combining the celebratory jive found in townships right across their country with glorious pop hooks, Mango Groove are seen as an institution in their native South Africa. While they were scheduled to hit Eatons Hill Hotel on 1 Mar, due to unforseen circumstances they’ve had to push the gig back to 30 May at the same venue. Already purchased tickets are still valid, with more available through Oztix.


After a killer album launch a few weeks ago, Halfway will keep the train rumbling on, bringing their brand new album Any Old Love to The Powerhouse on 23 Mar. Support local, live local.


Good-Bye Miss Monroe is a dance-play based on the exciting yet tragic life of Hollywood choreographer and ‘father of jazz dance’ Jack Cole. Starring Matt Young in the lead role, Good-Bye Miss Monroe makes its world premiere at Metro Arts Theatre, 7 Mar.


Iconic Australian rockers Mondo Rock are returning to the road with their classic line-up not seen since the summer of ‘81. Ross Wilson, Eric McCusker, James Black, Paul Christie and Gil Matthews are reuniting for the 33rd anniversary of the band’s breakthrough album, Chemistry, so get along to Eatons Hill Hotel, 20 Jun and enjoy all the hits!


The Fratellis have been creating heartswelling, lung-bursting anthems since 2006. With a short hiatus in 2009, the lads are now back and in career best form with their new album, We Need Medicine. Welcome the jolly Glaswegians back to the touring fold when they play The Tivoli, 3 Apr.


Glass Animals, an Oxfordshire-based quartet with an ear for trip-hop and psychedelic indie pop, have announced their debut trip to Australia. A little bit psychedelic, a little bit synthy and a little bit modern edge, Glass Animals is the product of vocalist David Bayley’s search for the connections between artwork and music. Catch them 4 Apr at The Hi-Fi; tickets through Oztix.


The Andrew Lloyd Webber and Tim Rice musical phenomenon Jesus Christ Superstar will be staged 20 – 29 Jun at the Gold Coast Arts Centre, and the team are currently seeking singers and dancers in a volunteer capacity for this extraordinary experience. If you want to soak in the limelight, you can forward an expression of interest at theartscentregc. com.au, under the ‘opportunities’ section of the website. Auditions take place for anyone over 16 years of age, 23 – 25 Mar.

The always awesome West End Film Festival is back in 2014, the Oz short film competition set to showcase some fine flicks in one of our city’s most vibrant suburbs. Established in 2009, the WEFF will be held at the Rumpus Cinema, a quirky space behind Rumpus Room, on 23 Mar. Head to westendfilmfestival. com.au for more details and tickets.





Babaganouj have dropped a new 7” single Too Late For Love and are getting the new tune out there with a show at Black Bear Lodge, 28 Mar. Hear a whole bunch of other favourites from Sife Lucks when the Brissie four headline, with The Good Sports and Love Signs supporting.


local news qld.news@themusic.com.au THE ACACIA STRAIN


NEW MAN ON THE BLOCK There’s a new Brit superstar on the horizon and it’s 23-year-old young gun John Newman, thanks to his debut Tribute. He’ll be playing some Australian headline shows and also making an appearance at the always glamourous... 56th TV Week Logie Awards, 27 Apr. Swoon over that big voice when he hits Brisbane, 3 May, playing Eatons Hill Hotel.


Touring Australia for the first time since their brutal 2012 album Failed States, Propagandhi bring their combination of punk rock and melodic hardcore here this winter. The Canadian four-piece perform at The Hi-Fi, 8 Jun and Miami Shark Bar, Gold Coast, 9 Jun.


Armed with material from her incredible new album The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, Neko Case is making her long awaited return to Australia. Supporting Neko at all headline shows will be Darren Hanlon, one of Australia’s favourite musicians, with his wonderful mix of folk-rock and memorable pop hooks. They both head to The Hi-Fi, 5 Mar.


On 14 Mar, Coniston Lane’s Pool Party will be taken over by Wafia, Youth Allowance, Andrew Markwell, Barnaby & Scout and Oyster Sauce, before DJ Baxter and Audio Collective DJs hit the decks for a post-midnight rinse out.


The Acacia Strain are heading back to our shores, with guests Aversions Crown and Graves in tow. The Massachusetts deathcore band will rip up the stage at The Lab with an all ages show, 3 May, followed by a set at Coniston Lane that same night, before heading south to level Expressive Grounds on the Gold Coast, 4 May.


SuicideGirls – the sexiest, smartest, most dangerous collection of outsider women in the world – are bringing their full Blackheart Burlesque Tour to Australia. Celebrate alternative beauty and indie culture with the ladies at The Tivoli, 14 Mar. Metropolis Touring for tickets.






Hip hop renegades Public Enemy are poised to fan the flames of our discontent next month with a raucous show at The Hi-Fi, 7 Mar, and things look set to hit the red zone from the get-go with Impossible Odds and Citizen Kay announced as supports. Whether you like your rhymes slick and savvy or a bit more socially conscious, this night’s got it all – grab a ticket via the venue website for $80+BF. UR[BNE] FESTIVAL


Now in its third year, UR[BNE] Festival’s 2014 program will transform Queen’s Wharf into a bustling waterfront playground from 28 to 30 Mar for a weekend of innovative events celebrating Brisbane’s forgotten spaces, local arts and culture. 16 • THE MUSIC • 26TH FEBRUARY 2014

Straight off the back of some killer shows, Sydney producer Elizabeth Rose has unleashed the brand new video for her hit single Sensibility. And now, in addition to her already announced shows at Bleach* Festival on the Gold Coast, 7 Mar and Alhambra Lounge, 8 Mar, she’ll celebrate the release of its parent, her selftitled EP, at The Factory, Maroochydore, 28 Mar. Tickets through elizabethrose.com.au.

Going from a solo bedroom project to a full five-piece band, The Trouble With Templeton have had a massive 18 months, touring the US twice with over 20 gigs throughout the east and west coast, including shows at SXSW, CMJ and CMW. Now they support Irish rockers Kodaline when they head to The Hi-Fi, 1 Apr. Venue website for tickets.

Seminal British post-punk group Gang Of Four – who were scheduled to hit The Hi Fi, 22 Mar – have unfortunately postponed their tour due to “family circumstances of a serious and personal nature”. All tickets will be refunded, with rescheduled dates to be announced soon. Contact your point of purchase for further details.

BAY STREET BYRON BAY (02) 6685 6402 www.beachhotel.com.au







OKA 8:00PM













updates and interacts with users on his Deadmau5 reddit. He supports and regularly references indie game Minecraft, on which he has several in-game skins modeled after the trademark mouse-head (and that whole entire dedicated server). He met an 8-year-old fan backstage at a show in Edmonton, Canada, after the 8-year-old started a Twitter account devoted to images of the mouse-head.

Deadmau5 is what DJ/producer Joel Zimmerman calls himself when he puts a giant mouse head on and performs to sold-out stadiums. When he’s not wearing the giant mouse head, Zimmerman is probably trolling someone on Twitter. He chats about popular music with Callum Twigger. Illustration (cover & opposite) Brendon Wellwood.


lright, to set the tone of things - Joel Zimmerman, aka Deadmau5, roasted Miami nightclub Mansion during a New Year’s Day show he was the star of: “Putting fans in the back and trust fund kids up front is fucking stupid as fuck,” waxed the Torontoborn DJ on the private subscription part of his website, referring to a photo he took of preppy fans taking selfies in the front row. That wasn’t the end of it. On 4 Jan, house DJ/producer Porter Robinson said he was going to Miami and that he loved the city. A fan told Deadmau5 via Twitter, and Deadmau5 started tearing into Robinson via twitter. “He’s a fucking dickhead,” wrote Zimmerman, and things escalated. Robinson bit back hard. “You might want to put less weight into twitter: ie, fewer

City Gas in Montreal, with initial ticket prices set at $100 (plus a $17 service charge). After fans complained (perhaps unfamiliar with what Australians have to fork out) about the prices, Zimmerman announced he was apparently unaware of what was being charred, and he hammered the venue on Twitter: “nice ticket

The Music asked him what the recently launched subscription service section of his website, suckscription, offered fans. “Eh, to be simple about it, I just wanted all my shit in one place for the Deadmau5 fan. Simple as that,” he says. “And by doing so, it kinda costs me a good chunk of change, and, well I’m sure the fans get that, and they contribute, and I give back with all the goods. S’basically it.” Do good by Zimmerman and he’ll treat you good, wrong him and he’ll wrong you worse. The internet being the internet, Zimmerman’s profile as a shit-stirrer is huge. He’s the kind of culture warrior perfect for the click-bait churn that keeps those miserable pop-culture web ad dollars ticking over. But regardless of the perennially banal debate about the legitimacy of alternative/independent going mainstream, Deadmau5’s third record, 2007’s Random Album Title, arguably broke the wave of stadium-sized electronic music for better or worse in America during the late ‘00s. Zimmerman was and is still and transformative figure within the art of popular music, whatever you think of the art. The States gave birth to electronic music, but for two decades the increasingly divergent subgenres of house and trance and D&B et al were largely strangers in their homeland -

“AFTER POP CULTURE SHITS OUT EDM, AS IT INEVITABLY WILL... I’M SURE WE’LL MOVE ONTO SOMETHING ELSE.” meltdowns, contrived controversies, marriage proposals, etc,” countered the 21-year-old. “Dickhead status confirmed, little fuckin dickhead” wrote Zimmerman. “lmao dude - don’t you have an anime porn tattoo?” It’s one battle in the online war conducted by Zimmerman against almost anybody and anything that pricks him in the wrong place at the wrong time. He’s called Lady Gaga’s fans “braindead”, and alleged Justin Bieber ruined his chances of “getting on Top Gear”, verbatim: “You little prick. You just fucking ruined every chance I ever had of getting on fucking Top Gear,” tweeted Zimmerman. Depending on your perspective on gamers, the DJ demonstrates the fearless honesty and/or mild sociopathy evident among the 4chan anons and gaming community forums from which Zimmerman drew his name: Deadmau5, the five being (permit a cringe) an S in the 1337-speak of internet yore. In our interview, he is concise and polite. “Twitter is Twitter, tweeters gunna tweet… Mind vomit conduit extraordinaire. Prone. Expected. Not really affected by it,” Zimmerman explains. And at the moment, the self-styled “expert griefer” with his own Minecraft server is playing “just Minecraft and CS Source… maybe a bit of Diablo III”. He is a brawler. There is a duality to the yin of the bullshit he gets into online and the yang of the largesse with which he rewards the faithful: the Machiavellian cliche of ‘I can be your best friend or worst enemy’, gone everywhere by the internet. Case in point: on January 3 of this year, a Deadmau5 show was scheduled at New 18 • THE MUSIC • 26TH FEBRUARY 2014

prices… didnt i do a full production / cube show in MTL for 50$ once? yeah. thanks for throwing me under the bus.” In a matter of hours, Zimmerman announced the price tag had been halved and that an extra show had been added to his tour’s run. “Okay MTL, here we go! tix are now 50$. AND imma do 2 shows for you. :D okie? thanks to @newgascity for working this out with me :D <3 MTL,” he tweeted. Besides the gladitorial spectator sport that is his Twitter feed, Zimmerman does try hard to do right by his online legion. It’s difficult to find another act in electronic dance music of Zimmerman’s profile who gives their fandom such involved love, tempered as it may be by the occasional outburst or tantrum. Zimmerman regularly

dance music’s first wave spent the 90s across the Atlantic, evolving in the clubs of Amsterdam, Berlin, London, Birmingham and Ibiza. Zimmerman’s adopted progressive house sound is an offshoot of continental house music, a distant relation to the Euro-house of Tiesto (which is also good at filling stadiums too). But why is EDM so big in North America? Why now? Who brought it home? “Popular music needed the competition,” argues Zimmerman. “Now, it’s just kinda absorbed it, as it does everything else. Sometimes it works, sometimes it doesn’t. Right Limp Bizkit? ‘Rap-rock is awesome’, they said, ‘it’ll be fun’, they said. And after pop culture shits out EDM as it inevitably will... I’m sure we’ll move onto something else. That’s the basic truth,” he says. The Toronton has been producing music since about the new millennium, his debut record is now almost a decade old: Get Scraped features the sound of genre fossils like trip-hop and chip tune and noise-pop. Random Album Title’s success was also the watershed for Zimmerman’s development as an artist, but he’s circumspect about the record’s impact. “Like I said, it was at a time when I wasn’t so market-savvy, or popular for that matter. In fact rather fringe, at least in my parts”, he believes. “It was nice to be able to carve out an identity at that time... it was the perfect time. A guy wearing a mouse head playing with a five-piece boy band just wouldn’t have worked. Kinda like staking your claim, it’s timing.” he says. If Tiesto didn’t do what Tiesto did at the time, he’d be nowhere on the fucking map right now. But he did, so yay, same with me. The newcomers to EDM now don’t have staying power. They’re fucking in and out, it’s

THE WORLD ACCORDING TO DEADMAU5 A collection of Joel Zimmerman’s sentiments about figures within the arena of popular music. “Dear @justinbieber, would you please grow the fuck up already? In the meantime, put a shirt on, and stay away from nightclubs.” - On Justin Bieber, via Twitter. “That’s your big message to ultra attendies? hipsterspeak for looking for drugs? Fuck off.” - On Madonna, asking an Avicii crowd at Ultra Festival if they were looking for Molly, via tumblr “I fucking hate him. He’s just trying too hard.” - On Kanye, via Vibe

kinda scary. Thank GOD for DJing. 99% of the market would implode in on itself if we weren’t allowed to play shows for 500k whilst playing other fucking dudes’ music. Fucking weird man, but whatever. ‘Hey man, I’m a DJ, you need us’. Why? You don’t buy our shit. You download it off a blog, and play it. Fucking good on ya mate. He prefers production, though. “Of course. While technically most of “us” aren’t fucking Mozart, at least there’s an effort [in producing].” What’s more, he doesn’t believe young producers need to know how to DJ. “What’s wrong with being a young producer? Be a producer.” He’d also advise an up-and-coming producer to give away music through an online platform like SoundCloud. “It’s a good jump-off platform, yeah. Obviously not everyone can just magically start up a subscription model and be all hey, but I think artist development take tiiiime man, lots of it. Ten years in before I made a dime doing anything. Just put in the time,” Zimmerman says. Put in the time.

“What the actual fuck? If some idiot howls in the woods and no ones around, does it make a sound? MYTH BUSTED” - On the art of Lady Gaga, via Twitter “Skrillex isn’t doing anything too technical. He has a laptop and a MIDI recorder, and he’s just playing his shit.” - On Skrillex, via Rolling Stone. Skrillex at one point was signed to Zimmerman’s label, mau5trap, a signing credited with helping to launch his career.

WHEN & WHERE: 28 Feb, Good Life, RNA Showgrounds; 1 Mar, Future Music Festival, RNA Showgrounds



PARLEZ VOUS FRANCAIS? As one of indie rock’s biggest recent success stories, Phoenix were gifted plenty of freedom for their latest album. But as Deck d’Arcy explains to Benny Doyle, being free can be frightening.


ounding even more charming through a tired voice, Deck d’Arcy of Phoenix has just stepped off the plane back home following a whirlwind Asian tour that took the Frenchmen through South Korea, Philippines, Hong Kong, Indonesia, Singapore and Japan in less than two weeks. The bass and keyboard player laments that they didn’t really get a chance to explore much, however, they made time for plenty of local cuisine, a pastime d’Arcy admits is a top priority when on the road. “The main thing we try to discover is the food situation in each country,” he remarks. “We try to discover new sensations and tastes – it’s very interesting.” After more than 80 dates worldwide in support of their fifth studio record Bankrupt!, Phoenix are “finally getting there with the show”, enjoying the challenge of putting the thicker textures of the recording into something which works on stage as well as the studio. “There was a lot of preparation for it, and particularly now we’re finding new ways to rearrange the songs – we’ve got really close to what we want to have,” d’Arcy enthuses. “That’s something we couldn’t have done ten years ago; now we can really translate everything we record live, which is really inspiring.”

disappearing into its own self-importance. “Maybe we weren’t ready [for success] before?” d’Arcy ponders. “It’s true that it took so long, [but] we’d always been happy about the success we had anyway with the albums before Wolfgang, it was just another step. But just putting out an

“It was such a long time ago, it was three years ago. We always have a fake plan, but it’s just a pretence to start an album. We don’t really control what we do, we just go with the flow; we don’t really know how to make a song, we just make a lot of things randomly and eventually there are some little ideas that we take out and out of all that we make a song. It’s not like writing from A to B. Everything we plan from our brain is predictable, so it’s more based on random.”


Phoenix’s current stature as one of the premiere indie rock bands on the planet has come through relentless hard work over more than decade. A turn on the Lost In Translation soundtrack with their song Too Young helped them break into popular culture back in 2003 – it also led to the marriage of frontman Thomas Mars and the film’s director Sophia Coppola in 2011 – but even with that leg-up the quartet continued to glide under the radar for many. Then Wolfgang Amadeus Phoenix happened.

album is already a big success for a young band, making the second one is quite crazy too. We [have felt] really lucky all the way, just being able to make albums in the way we wanted with no compromises – that’s all you need. So if success comes or not it’s kind of [irrelevant].”

The 2009 album was a monster. The new wave joy and synth-driven jangle pop of tracks like Lisztomania and 1901 endeared them to a generation of kids that wanted guitars to make them feel good, and off the back of those singles the record charted around the world. But rather than capitalising quickly and making Wolfgang 2.0, Phoenix spent four years moulding Bankrupt!, a record that fluidly continues the band’s timeline without

And even with full creative leeway for Bankrupt!, Phoenix maintained parameters, aware that they operate better with limitations. “It’s always free,” says d’Arcy,


“but that’s when it’s scary. Too much freedom and you get lost in it.” But as for the original plan this time, the bassist can’t recall.

That mindset will drive the French group’s performances at Future Music Festival this year. Yes, they’re the token guitar band surrounded by a mountain of beats, and sure they established themselves among the thriving Parisian electro scene of the early-tomid-noughties. But even when all outside factors call for change, Phoenix will continue to do what they want. And no doubt it will work, too. “We’re a bit selfish really, we don’t really adapt to the crowd, we are more doing what we want to do,” d’Arcy shrugs. “So I don’t know, we’ll see how we feel around that time. The thing is, Australian crowds are pretty good, they’re very energetic and into shows so it’s not very hard to make a good setlist with an Australian crowd. I don’t know if you guys are still the same, but in the past it’s been a pretty fun gig.” WHEN & WHERE: 1 Mar, Future Music Festival, RNA Showgrounds



DIFFICULT LOVES Sometimes even the darkest of clouds has a silver lining. Neko Case – she with that most gorgeous of voices – tells Steve Bell about fighting the good fight, and the eternal power of friendship.


he career of versatile, velvet-voiced chanteuse Neko Case has taken many fascinating turns and trajectories since she ditched the punkrock that served her adolescence so well in favour of diving headfirst into the world of country music at the tail-end of the ‘90s. Her early records predominantly featured country standards, but once she began penning her own material Case soon found her feet planted firmly in alt-country terrain – an important distinction from the pure country she’d initially embraced – and every subsequent release has inched her towards more traditional singer-songwriter realms, albeit with her penchant for intriguing arrangements still firmly intact. Fortunately this incremental shift in style has found favour with pundits and punters alike. Her 2009 effort Middle Cyclone – her fifth studio album – debuted at #3 on the Billboard 200 and topped the US indie charts, and was also nominated for two Grammys. You’d imagine that this would put a lot of pressure on the follow-up effort for someone whose career had taken so long to scale such heady heights, but Case took this all in her considerable stride. “It’s funny, my friend Kathleen Judge and I did the artwork for the last record, and it was nominated for a Grammy for the music [for Best Contemporary Folk Album] but it was also nominated for the artwork [Best Recording Package] and that really freaked us out!” she giggles. “We were, like, ‘Oh my God, how are we going to do that good again?’ We were so freaked out about doing a good job on the artwork that I wasn’t really worried about the music too much! We both found it pretty hilarious in the end.” The follow-up – the awkwardly titled The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You – also topped the indie charts and garnered a Grammy nomination (this time for Best Alternative Music Album), even though its gestation was fraught with turmoil and hardship. A string of familial deaths led to a deep and debilitating depression, one which dogged the entire recording process. It’s a deeply personal collection – lyrically featuring less of the metaphor rife in her past work – and the effect is 22 • THE MUSIC • 26TH FEBRUARY 2014

both immediate and incredibly touching. “There’s still a few songs with metaphor, but [a lot of it is] pretty straightahead. Some things I just couldn’t make super straight-ahead – on one hand they’re personal and factual, and on the other I was, like, ‘How do you even describe

personal darkness with something so beautiful to her name? “Yeah, I don’t feel like it was for nothing. I learned a lot from it. A lot of people ask me if the recording was cathartic and I can’t lie, it was not cathartic… It was a pretty cruddy time, so the record happened in spite of the fact that I felt so crappy rather than that [bad situation being] the inspiration behind its creation.” With a menagerie of famous friends turning out to help in the studio – including members of her power-pop side project The New Pornographers, My Morning Jacket and Calexico – Case had plenty of familiar shoulders to cry on.

“I DON’T FEEL LIKE IT WAS FOR NOTHING.” feeling like that? How do you even do that?’ “To be totally honest I don’t really remember writing all the lyrics – I don’t really remember writing a lot of it, because I was going through such a hard time. I would work every day, but that doesn’t mean that I remember everything that I worked on. I was going through a hard time and just working because I knew it was good for me and it was something I should do, and I didn’t want to stop because then I’d have to face reality.” Was it at least nice to emerge from that

“Yes, I’m a very lucky person that these kind and talented people are willing to work with me. It wouldn’t even be a record without Calexico. [Longtime backing vocalist] Kelly Hogan and I always refer to them as our ‘husband band’ – if our band had to marry another band we’d basically be married to Calexico. We would have had that marriage for the last 15 years or something – we love them so much. It’s always like a family reunion every time, and that’s one of the nice things about inviting people that you really love to play, it becomes a time in your life – it’s not just a job with a deadline, it’s also really fun going out to dinner afterwards and catching up with everyone. I’m on tour all the time, so it’s like a means to an end – it’s how I can have these amazing people in my life and get the job done at the same time. It serves two purposes.” WHAT: The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You (Anti-/Warner) WHEN & WHERE: 5 Mar, The Hi-Fi



ALWAYS BETTER ON HOLIDAY Creating a single is the hardest part for indie-pop group The Holidays. Now they’ve spent three years perfecting them, and the rest of their second album, they’re set to embark on a national tour. Hannah Story chats to frontman Simon Jones and bassist Alex Kortt.


hen the boys from The Holidays were making their second record, they didn’t succumb to the pressure to take the easy route and create an album similar to 2010’s Post Paradise. Instead, three years in the making, Real Feel explores new territory, as the band made up of Jones, Kortt and drummer Andrew Kerridge, try to steer away from the ‘breezy Holidays sound’. “We didn’t want to do the same thing as the first record again. It wasn’t like we were like, ‘We don’t want to do that’, but we wanted to develop,” says Kortt. “We probably could’ve put out an album like the first one very quickly if we’d wanted to,” Jones adds. But he admits that by the end “it was a process of getting back to it a bit, naturally”. They had in mind a darker, moodier record (although Jones jokes, “Darker than Post Paradise is still not very dark”), one that didn’t necessarily adhere to the versechorus-verse-chorus formula. They were looking to, as Kortt says, “let the song flow. And then for the sake of having some songs that will work on radio, we worked back from there”. The Holidays were keenly aware of the need for singles that were radio-friendly, acknowledging that their record label, Liberation, had to nudge them so they’d begin writing some “songs”. “There was a point when we’d done some things that we really liked that just weren’t sounding like they’d be releasable,” Jones says. “That was kind of a low point of having a meeting with our label, and them saying we’re going to need to get something we can play on radio here, rein it in. That was a low point of ‘Ugh, now we’ve got to really do the hard work, not the fun work’. It took us a while to get out of that slump and then rediscover what we liked about these songs and finish them off.” It was finishing them off that took the most time. The group self-produced Real Feel, so were often found labouring over the little details, thanks to their “unlimited scope to change things”. Kortt and Jones both admit that it’s the singles that take the most effort. “Any band that says that they don’t do it these days is just straight-up lying,” Kortt says of the need to craft singles. “When you’re working on the singles, well 99% of bands have to have singles, that’s so much more stressful than the


other half of the record that are the album tracks. That almost comes easy for us, the stuff where we can let loose.” “For some songs that you know will never be singles,” Jones elaborates, “because they don’t fit the tempo or the feel of a single, you may still have a chorus, you wont agonise

especially for us. That’s been the label’s thing. It’s their job to give you the radio formula, but there is no formula. I think literally it’s just a good song is a good song.” Writing a moodier song didn’t stump Jones though, who is the principal songwriter. “More often than not you’re in a mood that’s not upbeat, sunny bright pop music. That’s not actually hard. The hard bit is getting that stuff and trying to make it fit into what The Holidays are. “It’s kind of hard to describe but I think that one of the main things that we do is songs: song-songs, with choruses and melodies and catchy bits. So as much as

“ANY BAND THAT SAYS THAT THEY DON’T DO IT THESE DAYS IS JUST STRAIGHT-UP LYING.” over ‘Is that the sing-along festival chorus that people talk about?’ You can’t help but overanalyse it a bit because unfortunately the reality is that getting played on radio is an important thing in Australia, and it’s hard not to think about it at all. “That’s kind of the unnatural bit really. You write it and then you think ‘What does it take to make this song more likely to get played on radio?’ and that’s hard to know,

we tried to avoid that to start with, we had to embrace that in the end and realise that that’s what we do.” But now it’s time to turn their attention to playing the songs in a live setting, as they prepare for their first national tour since Post Paradise. They’re looking forward to the upcoming shows and just having a little fun; they’ll be incorporating “lots of strobes. Epileptics beware”. “You get into this vortex of making a record where you’re so focused on the details that you kind of forget to have fun playing it,” Jones says. “And then when all you’ve got to think about is performing it you can really just enjoy it.” WHAT: Real Feel (Liberation) WHEN & WHERE: 6 Mar, Elsewhere, Gold Coast; 7 Mar, The Zoo; 8 Mar, The Spotted Cow, Toowoomba


The lead actress from Sebastián Lelio’s Gloria, Paulina García chats to Anthony Carew about conflating actors with their characters.


ooking for love can be a dispiriting at the best of times, let alone if you’re a 58-year-old divorcée who only wants to meet a man on the dancefloor. Sebastián Lelio’s Gloria presents an affectionate, tragicomic portrait of a titular heroine, Gloria. Since debuting at the 2013 Berlin International Film Festival – where its lead, Paulina García, won the Silver Bear for Best Actress – Gloria has charmed audiences far and wide, proving a break-out for both its director, Lelio


(previously best known, if at all, for 2006’s La Sagrada Familia), and its 53-year-old lead. In Santiago, García is a well known writer, director and actor for the theatre, and Lelio and Gonzalo Maza – the film’s co-writer and producer – came up with the basic premise for the film as an excuse to work with her. “When they first contacted me, they hadn’t even had a line written yet,” recounts García. “They had this role that they wanted to write for me, so they invited me to collaborate on this character from the very beginning.” Though García was intimately involved in the creation of Gloria’s

Gloria, she warns against conflating actor with character. “These weren’t my stories, these were the stories of Gonzalo and Sebastián’s mothers, of their mothers’ friends, and their friends’ mothers. They wanted to talk about these women who are never talked about in films, to put the camera over [their] shoulder, and look in on their lives. They would ask me how I felt about what we were showing, but I wanted to never make it about me.”


The role finds García’s character getting drunk, smoking pot, and eventually settling on a former naval officer as a potential beau, charged with the desperation of someone who “thinks that love will fill that void, that emptiness she feels”. The complexity of the role was something the writers wanted at Gloria’s core. “You can’t always just have the sugar; you have to have other tastes, some salt, some vinegar. It’s like life: sometimes it feels like you’re having the greatest time in your life, but there are many other times in which you’re having a bad time.” It was, as an actor, a treat to play: “I enjoy suffering for a role, and having fun with it, [and] this time I definitely go to do both.” Even if García sometimes struggled to capture the lightness, and innocence, with which Gloria throws herself into her new life. “In my life, I think I keep in darkness, I hide a little bit, I stay in the shadows. I’m not sure I could dance all the time, go out to parties and drink that much. I’m more reclusive, and studious: I’m always working on things, and that can be quite [solitary]. Being an actor is a public life, but I really live quite privately. But Gloria is out there, she has time on her hands, she is, more than anything else, available. She’s been living her life as a supporting character... and now it’s her time to come to the fore, to play a leading role.” WHAT: Gloria in cinemas 27 Feb



WHY IS IT SO HARD? NYC soul man Charles Bradley has finally found success and, as he tells Dan Condon, he did it the honest way.


ife hasn’t been easy for Charles Bradley. Watching the 2012 documentary, The Soul Of America, you see a man desperately wanting to provide for his mother, to get out of his apartment in the dangerous Brooklyn projects and to get by as a performing artist. For years he’d work odd jobs before going into bars at night to perform as James Brown impersonator Black Velvet. Eventually, he met Daptone Records’ Gabriel Roth and, aged 62 in 2011, released his debut record, No Time For Dreaming. A critical hit it saw Bradley traverse the globe performing his impassioned brand of deep soul. “I love what I’m doing, but it is bittersweet,” he admits when asked how he’s enjoying success. “I’ve been wanting this dream and wanting this chance for a long time and at the age of 62, somebody finally found me and gave me a chance. If it happened a long time ago there would be more love in the world, because what I give out is nothing but love.” Asked whether success lives up to his expectations, Bradley begins what will become a theme throughout our conversation: the need to be honest and true. “I tell you, the music road is a hard road, it’s not all about the glitz and glamours and how you look on stage. You got to learn to keep your health up, your integrity, you got to be honest with your spirit and you got to go out there and give it from the heart.” In Bradley’s eyes there’d be no use having success if you didn’t get it honestly. “If I never truly got there, I could at least rest and feel peace in myself and say that I didn’t give up. “I gave my heart, I got on my knees, I did everything – I washed toilet bowls – anything to keep my honesty. I didn’t lie or cheat to get there; I did it from the soul of my heart.” Years on the streets, as a teenager, almost dying after an allergic reaction to penicillin, and waking up to police surrounding his house after his brother was shot and killed are just a few of the rough situations Bradley has found himself in. While the music helps, sometimes it’s hard to get it out. 26 • THE MUSIC • 26TH FEBRUARY 2014

“Heartaches And Pain [from No Time For Dreaming]. I haven’t been singing that for a while because it still bothers me. My music, what it does when I sing it, it opens up the spirit and opens up the moments that I was going through those trials and tribulations. That’s why sometimes it’s hard to sing it, because behind every lyric, behind every

to mix them up, I want everybody to come in and I want to hand pick them. I want people who been through a lot of hardships in life and kept their love and capacity strong, because I know when I get that feeling behind me, when the guys’ getting on stage, they’re gonna rock my soul. That’s one of my dreams. “When the spirit hits me I want to get out of that box, but the music won’t let me get out of that box. When my spirit opens up it opens up to give. If the band don’t know how to capture me and follow me and give me the soul I need, I have to come back and then the music starts being drawn out and I don’t like what I’m doing, I just want to stop.

“THE MUSIC ROAD IS A HARD ROAD, IT’S NOT ALL ABOUT THE GLITZ AND GLAMOURS.” word, there’s a picture in my brains that I see, that I been through, and I have to learn how to deal with seeing that picture again.”

“You can go to school and learn about music theories and music your whole life, but if you ain’t got that deep spirit of music inside you that you were born with, nuh-uh, you’re not gonna get real music, you’re gonna get music that you were taught in school to do.

He’s returning to Australia with His Extraordinaires, a great backing band, but one Bradley doesn’t see himself working with in the long run.

“I ain’t sayin’ it’s that wrong, there’s theories in music that, when I sing, I have to learn myself, but when I get into the spirit, it seems like my spirit already knows those things. People tell me ‘Charles, I thought you said you didn’t know that’. I don’t know what I did, but I did it! I just let my spirit free.”

“I want a universal band; I don’t want just one race, I want

WHEN & WHERE: 4 Mar, The Hi-Fi; 9 Mar, A Festival Called Panama, Tasmania

ANYTHING IT TAKES Although Matiu Walters moans about “cold and wet” Berlin, the European base has helped Six60 open plenty of doors, as Benny Doyle discovers.


ude... We left New Zealand and it was hot as, the sun was out,” sighs guitarist and vocalist Matiu Walters. “We went through New York on the way over here and that was like -15, snowing, and then you come to this concrete jungle.” Berlin’s a long way from Dunedin, but it was a change Six60 needed to grow as a band. Forming almost as an afterthought while studying at university in 2008, the five-piece used positive word-of-mouth and an always-say-gig attitude to generate the kind of buzz

that publicists salivate over. A huge success in their home country, the five friends enjoyed multi-platinum sales via their self-titled debut, but realised that if they were going to make a fist of this music game, they had to head north. Even though they’ve been in Berlin roughly a year, Walters still admits Six60 are out of their comfort zone. However, they’re enjoying some huge opportunities, including one which recently found them walking the red carpet. “Our song Forever is the feature track for this movie called Vaterfreuden, this German rom-com,” he tells. “So we had to go down to Munich and

attend the red carpet with all the famous people. [But] we don’t even speak German so we didn’t know what the movie was about – we [just] had to sit through it.”


As much as they might personally be at odds with their current base though, Six60’s fluid blend of soul, groove, rock and dub seems to soundtrack the ideas of an urban bohemian location perfectly. And although Walters doesn’t think Berlin is affecting their new music, he’s adamant that the ability to travel more freely and enjoy so many foreign experiences has helped the band grow. “[We’re] really taking our time with this second album because despite what we’ve achieved we’re really green in this game; there’s so much to learn and to prove,” he admits. “It’s not too far removed from what we did before, but it’s a lot better, a lot smarter; the hooks are better, the melodies are better, the energy is still there. We’re giving ourselves the best chance because we’re experienced now, so when we do get the opportunity to drop our stuff we’re ready.” Fans can expect that to happen in the second half of the year, with the band currently enlisting some famed production names including David Kahne (Regina Spektor, Paul McCartney) and Printz Board (Black Eyed Peas), as well as, “flexing their own producer muscle”, to get the most of now. “We pride ourselves on our diversity, and we’re not going to lose that, but it’s going to be pro,” Walters enthuses. “We made [our debut] raw, because that’s what we were feeling at the time, that’s what we were at the time. This time we’ve got big names that we trust on board, we’ve got a system we trust. It’s always a risk, the second album, but it’s the place where you maybe lose a few to gain many.” WHEN & WHERE: 2 Mar, The Hi-Fi



KIND COLLABS Cyclone speaks to Mike Lévy aka Gesaffelstein about working with Kanye West (“I was really impressed by the way he works with his team”) and making techno music.


rench techno rebel Gesaffelstein (aka Mike Lévy) has made music for Kanye West’s electro-punk Yeezus. Now he’s dropping his much-anticipated debut album, the techno noir Aleph, led by the searing Pursuit. So why is he reluctant to talk to the media? Lévy has always been secretive. He offers scant biographical guff online. Even in a new press shot the brooding DJ/producer, resembling a dapper European count, is shrouded in mist. “I’m not looking for mystery,” Lévy protests in lilting English.

“I decided to not do interviews and stuff and focused on the music,” Lévy explains. “If you look cool, if you look ‘fashion’, all that stuff, then people are gonna forget about the music. Also I don’t like to talk!” Lévy’s Gallic techno needs no elucidating – or mythologising. “There is nothing special behind that – it’s not like Daft Punk-style or Underground Resistancestyle. I have nothing to say, you know? It’s really, really simple.” dance types were aghast when Lévy contributed to Yeezus – he’s credited as producer on the single Black Skinhead and Send It Up, alongside Daft Punk and Louis


‘Brodinski’ Rogé. Send It Up, industrial ragga, is trademark Gesaffelstein. West had dug Lévy’s 2011 Viol. However, Lévy was unfamiliar with Yeezy’s catalogue – and, he’s claimed in interviews, was no hip hop head. “I discovered hip hop with Brodinski, like, four years ago,” Lévy clarifies. “I’m a newcomer in this world. So it’s not my favourite music. But there are a lot of interesting things in it.” West wasn’t seeking straight hip hop beats, anyway. “It was a good opportunity to add, I think, electronic music to hip hop. The way he asked us to produce music for him was just the best way – because we were like, ‘What do you want to do?’ And he was like, ‘Just do what you want!’ So for us it was just easy, in a way.” He is proud of his involvement in Yeezus. “I was really impressed by the way he works with his team. It’s really different than the way I work in electronic music because, when I go to the studio, it’s a solitary thing. When you go to the studio with Kanye, there are a lot of people with him. Everybody shares ideas, so it’s really different. I was a bit afraid of this process, but the result is really good. I can tell that I’m happy about that – and I think I learned something from that story… maybe.” Lévy is open to (other) pop collaborations – eventually. “I’m gonna go on tour and I don’t think that I’m gonna have a lot of time to go in the studio this [next] year – so maybe in the future. But I would love to do that. At the same time, I have no idea what I’m gonna do. Maybe I’m gonna produce for Kanye again or maybe I’m gonna do a remix again, but I don’t know anything about the future. We’ll see.” WHAT: Aleph (Parlophone/Warner) WHEN & WHERE: 1 Mar, Future Music Festival, RNA Showgrounds

BRIDGING THE GAP Stripping the stuffy reputation from brass instruments, Bullhorn are used to coaxing a crowd into having a good time. Stevie Buchanan shares the “YCV” with Benny Doyle.


here’s sort of two camps in Bullhorn – there’s the older generation and younger. There’s [a few] of us that are all around the 30-yearold mark” – sousaphone demon Stevie Buchanan, Joel Alexander (drums) and Mikael Strand (trombone) of Dubmarine and Tommy Stewart, sax player from The Upsteppers and Darky Roots – “and then the rest are young guns from the [Queensland Conservatorium] that are about 20-odd. But us older guys do a lot of the writing so that ‘90s influence is definitely in there.” Buchanan is giving a little insight into the background of Bullhorn, who have emerged with yet another kicking track in the form of So You Think. The third and final single to drop from a forthcoming LP it again shows a different dimension from a band that have recently brought us the honking sass of Resonate Right and some hip hop punch with Roll Off The Top. The local group clearly aren’t one to shy away from stirring a big pot of styles. “We’re especially proud of this song, it’s a real different direction,” Buchanan beams. “This one’s more ‘90s drum’n’bass and jungle – it’s a rad sound.” The generational divide that Buchanan speaks of clearly works in Bullhorn’s favour, providing the group with not only experience, but exuberance, too. Or as he puts it, “YCV”. “Have you ever heard of that ‘young cunt’s 28 • THE MUSIC • 26TH FEBRUARY 2014

vibe’? It’s totally a thing. But we’ve got a really good dynamic, everyone gets along well and we’re blessed in that way, especially when you’ve got nine people in the band, often it’s inevitable that you’ll get some clashes, but so far it’s been all good.” That vibe flows over on the stage as well, which is the place to absorb the full feeling of Bullhorn. And although some punters might be hard to draw in, once they realise that this isn’t some stiff marching band they’re quick to ditch assumptions and take the group as the party starters they are. “When we first get up you often get people

just standing there clapping politely – they treat it like a concert because of the instrumentation. But you’ll find that one or two songs in you’ll get some bump on the dancefloor, especially with Roman Albert MCing as well, he’s just one of these guys that’s just really natural in front of a crowd. He’s been such an asset to the group, he really breaks down those barriers of us being a weird band and makes us that much more approachable. “It just goes to show you can do anything with any instrumentation really, it’s just a matter of the material you choose and having good players.” WHAT: So You Think (Independent) WHEN & WHERE: 28 Feb, New Globe Theatre; 1 Mar, Solbar, Maroochydore; 18 – 20 Apr, Easterfest, Toowoomba; 24 May, Byron Bay Brewery

JUST THE BEGINNING The future looks even brighter for Dutch EDM champion, Hardwell, aka Robbart van de Corput, who chats to Cyclone about being #1.


he Netherlands’ big room houser Hardwell has sprung from apparently nowhere to become the world’s #1 DJ in the 2013 DJ Mag Top 100 Poll. At 25, van de Corput is the youngestever winner of the influential title – and he’s “still celebrating”. “It’s something incredible,” van de Corput enthuses. “To be honest, I didn’t expect it this year, but I was always aiming for that position – and since it happened right now, I’m really happy. I’m really proud of my team and everything we’ve achieved so far.”

Van de Corput realises his super-DJ status will generate opportunities – and pressure. “Of course, I’m gonna work really hard to keep the [#1] position for a couple of years – then again, I’m really happy so far, [with] what I have achieved. [But] the #1 position is just a number.” Van de Corput would still love DJing if he slipped to “number twenty or thirty – whatever”. Seeking fresh challenges, he’s just aired Dare You, featuring Matthew Koma, the first taste of van de Corput’s debut ‘artist’ album. Van de Corput previewed it via Shazam. “I wanted to do something different. I think making club tracks is

really cool – and I always need those club tracks for my set – but if I continue doing only club tracks, every Hardwell record’s gonna sound the same.” Van de Corput is nearly halfway through cutting his album. He himself digs LPs. “I love the new Eminem album [The Marshall Mathers LP 2] – it’s really great.”


Van de Corput has remixed Eminem’s pal Rihanna and the UK boy band The Wanted. “I wouldn’t say that’s my goal, to work with the big artists… I always wanna work with artists I really love myself – and, if that’s a big pop artist, that’s fine by me. But I love to work with the more underdog singers and songwriters.” Van de Corput is optimistic about EDM’s future. “It’s just beginning, seriously! Everybody is always laughing at me – like, ‘Oh, I think we reached the top of EDM.’ Everybody was saying that when Avicii released Levels. Everybody was like, ‘Okay, this is the top of EDM – it’s not getting any bigger anymore.’ Well, here it is – [The Netherlands’] Martin Garrix, 17 years old, released Animals, Number One in I don’t know how many countries. It’s just an instrumental track, [but] it’s taken the world by storm – and it’s great, you know? “If we change our sound, and if we don’t apply the same formula all over again, [EDM] will stick around forever. I know that for sure ‘cause in Holland dance music has been around for 20 years now and it’s still super-big and still on the radio and it’s super-mainstream and everybody is enjoying it. So I think it’s just the start of EDM and it will be getting bigger and bigger.” WHEN & WHERE: 28 Feb, Good Life, RNA Showgrounds; 1 Mar, Future Music Festival, RNA Showgrounds



KEEPING THE SPARK ALIVE Not even a studio fire can upset the mood of Brooks Nielsen. The Growlers frontman talks candidly to Benny Doyle about new music, drunken revelry gone wrong and being strange. he tide has barely drifted away from Gilded Pleasures, the 2013 mini-album from California surf/psych crew The Growlers, but already frontman Brooks Nielsen is talking up new tunes, admitting that before the northern summer rolls into life, the prolific act will be dropping yet another record to add to their ever-growing catalogue.


“It’s just a natural thing – you go out on the road and play the same songs, you get home and you want to make more,” he reasons. “You’re a slave to the calendar, you’ve got to be ahead of the schedule in order to get a record out, [but] we constantly want to be putting as much music as we can out – it’s fun to make records. The only way we really work is to have deadlines, otherwise we just kinda fuck off.” Formed in 2006, the Costa Mesa institution offer an absorbing and attractive musical snapshot of their Californian home. The Growlers sound like a hot afternoon; they feel like the salt in your hair. Their wonky and weird songs practically demand that you pile into a beat-up ride and disappear south of the border. However, the making of this new album hasn’t come without its drama, which according to Nielsen is a bit of a theme. “A dipshit friend threw a firework into our space and lit our studio on fire, just being a drunk, which we do all the time, but that one just happened to… he didn’t notice and it lit our merchandise on fire and it lit the whole studio on fire, which got out of control really quick,” he explains. “The last record and this record we’ve had problems right before we made it. Last record we got evicted from our warehouse, so we had to put everything in storage, make the record, and then leave on tour, and the same thing happened this time, our house just burned down so whatever’s left I’ve got to put in storage, then we’re going to make this record and cruise over to Australia and forget about it.” If you haven’t picked up by now, Nielsen is a pretty easygoing character. But don’t be fooled – The Growlers are the real deal. This is a band that has played Rock In Rio and Coachella, and one that has drawn love 30 • THE MUSIC • 26TH FEBRUARY 2014

from the likes of The Flaming Lips’ Wayne Coyne and The Black Keys’ Dan Auerbach. They even called on Auerbach to produce last year’s Hung At Heart, only for them to scrap the sessions to oversee proceedings once more. Their ‘beach goth’ sound is entirely their own

people being total weirdos,” smiles Nielsen. “The industry kind of forces you to do the opposite and just play venues and bars and festivals, and it’s kind of our one time once a year where we can do what we’ve always done which is throw a weird little custom show where we control everything in it. “[At the start], we weren’t [even] sure about being a band really, it was just a fun thing to do,” he continues. “But the more songs we wrote the more apparent it came to us like, ‘Maybe we should be a band?’ And until you’re really getting in trouble for [acting out] it’s just fun. But the lifestyle changed y’know – when we had to work 40

“A DIPSHIT FRIEND THREW A FIREWORK INTO OUR SPACE AND LIT OUR STUDIO ON FIRE.” and they’ll spread those vibes here for the very first time, channelling the camaraderie and community that they’ve helped stimulate at their yearly October parties on the sands of southern Cali. “From the beginning it was always about throwing our own little warehouse parties, finding abandoned spaces and different places and doing underage shows with everyone getting drunk and

hours a week and be in a band it was difficult; at night time we were getting loose and making music, and then the next day [we were having to] put on a uniform and go to work. But as it changed to us not having to go back to the normal nine-to-five, it enabled us to never have to be straight anymore, we could just be weird full-time.” And the band are all out encouraging their Aussie brethren of misfits to get weird with them, although most of Nielsen’s warped threads have been reduced to ash. However, he’s hoping to find some new gear to rock out in while Down Under, so get a wig on, grab your dad’s robe and party like it’s Halloween. “People tend to get more loose when they’re pretending to be something else,” the vocalist shrugs, “so it works out to our benefit.” WHEN & WHERE: 5 Mar, Black Bear Lodge; 6 Mar, Coolangatta Hotel, Gold Coast


exactly the same time. It was a lot of work…” he admits with an exasperated chuckle, expressing an initial doubt over whether the album was any good.

Speaking to the affable Miles Hunt of The Wonder Stuff, Tyler McLoughlan learns why the British outfit snubbed Australia for so long.


nown for a certain brand of self-deprecating pop-rock bravado of the late ‘80s and early ‘90s, The Wonder Stuff imploded a few years after getting famously Dizzy with Vic Reeves and knocking U2 off the top UK chart. Frontman and chief songwriter Miles Hunt, however, is carrying on a name synonymous with the Midlands of Britain and seems to be busier than ever. “I’ve been over the moon to be honest,” Hunt exclaims of the response to seventh studio record, Oh No… It’s The Wonder Stuff, released in 2012. “It was quite a lot of work and it was the first time that I’d decided that

I would produce a Wonder Stuff record rather than get a producer in; I just figured that all these years later if anyone should know how a Wonder Stuff record should sound it should be me. So I took that on and then we were also recording another album at the same time which is an album of cover versions called From The Midlands we’ve done which is packaged with Oh No…, and then also at the same time Erica [Nockalls] our violinist was working on her debut solo album, so in the studio that we were all using there were three albums being recorded at


“Then of course journalists get their hands on it and it was with a great sigh of relief that across the board… they were all positive reviews! We took it out on the road and did a few months [touring]… and again through the joys of social media it was all positive, so yeah it was with great relief that this was received well and now that the panic of actually making the thing is over, I’m like, ‘Yeah, I can listen to that.’ I think to be at this point down the line in our fourth decade it would be – I dunno at least 30 years in the band – then yeah, I think we did a good job and I was thrilled at the reaction we got.” The Wonder Stuff visited Australia for only the second time alongside Jesus Jones in 2011. This third visit provides an opportunity to play their classic third album, Never Loved Elvis, in its entirety. “The record companies for a start would always encourage their bands to get some business going in America because if you can crack that then everybody’s financially doing very well,” says Hunt by way of explanation as to The Wonder Stuff ’s one visit here in their heyday. “I do remember when we were in Australia in the early ‘90s and we absolutely loved it, but then two years later we split up and took six years off, so that would explain the big gap there. And then we’ve been on independent labels since we reformed in 2000, so actually financing the trip… to get to Australia can be very costly… We feel very, very lucky to be coming back.” WHEN & WHERE: 27 Feb, The Zoo



TIMELESS CRUISE Norwegian sensation Mikhael Paskalev brews some coffee and talks movies and music with Brendan Telford.


orwegian singer-songwriter Mikhael Paskalev has had a heady rise over the past two years. From making a play on Risky Business for the film clip of I Spy to some scintillating performances at South By Southwest that caught the attention of Dew Process, who promptly signed him, Paskalev has been living the charmed life, something that feels out of place yet nonetheless is nothing to shirk away from. “I would love to pat myself on the back and say I’ve been working really hard on this for the past six years and my life has been just music, but truth told everything has come in stages,” Paskalev admits. “I have always been working in Norway, and it has trickled out from there over time. But it was really when I signed with Dew Process over at SXSW when things took off. I had no idea they would make this happen for me, where I can play in Australia and get paid for it, you know? It isn’t often that getting up really early in the morning to talk to strangers about myself would sound like a good idea, but I’m really enjoying how everything is going. I feel a connection to Australia and Australians – I feel appreciated. You cannot always say that about places as a musician, so it’s a great feeling.” The key to Paskalev’s process is a timelessness to his music, leapfrogging from not just one genre to the next, but between eras too, a bowerbird of pristine hooks. Paskalev never wants to be seen as cribbing other people’s ideas, but he’s always searching for the melody that will crack his songs wide open. “Timelessness is a massive word; it’s almost as huge as the word magical, so to achieve something like that is like the be all and end all. I feel that I may one day achieve something timeless in the same way that Paul Simon does as opposed to the way Elvis Presley is timeless. I’m not comparing them to me at all, they are classic, but Elvis was pinned down to a fairly specific era, even if what he did was shake things up. Paul Simon seems to truly jump from genre to genre, where something will have an African feel, a country vibe, a pop song. The point is that no matter what he attempts to do, it seems to make sense when he does it. Everything (Simon) does seems to make sense, and that is because it comes down to writing good songs first. 32 • THE MUSIC • 26TH FEBRUARY 2014

That way you don’t have to worry about certain hit genres... the song comes first and everything else comes after.” Even so, Paskalev sees the songwriting process as finding the nuance in the smallest changes to the norm, thus making the song your own, inherent in the way he approaches

too. But in that film clip, I just wanted to have fun and not give a shit, and I think that is very natural. There is a general carefree vibe in the music which is something I try to instil in myself.” It’s not all fun and roses on Paskalev’s album, What’s Life Without Losers, though, as highlight, Suzie, attests. Effectively a song about a dissolved relationship sung without the bitterness and chagrin often associated with that traumatic experience, the song imbues a sense of amiability beneath the melancholy: “I Spy is about frustrations but in a fun way, without anything personal or angle being put into it, and a lot of songs

“TIMELESSNESS IS A MASSIVE WORD; IT’S ALMOST AS HUGE AS THE WORD MAGICAL” everything in his life. It’s most apparent in the now famous I Spy video, where Paskalev dances around in his underwear, and the attitude displayed there is evident at all times. “I don’t want to become a formulaic songwriter – I want to keep playing with the form. I’m not saying what I write is out there, I would say it’s fairly regular-sounding music – you kinda have to follow rules if you want to write pop songs. I have some songs that are quite mellow

can be seen that way. Suzie on the other hand is about a girl I was with for some years, and then it ended. Most people end things on this really horrible note, and I have never wanted to do that. So Suzie is actually my birthday present to her that I wrote after we broke up. We are still friends, you know? Some other songs I take from ideas I get when watching movies, which is one of my favourite things to do. They aren’t my exact experiences, but music is always meant to connect with people regardless of whether they are living this exact same situation or not. I find creating these worlds easier than focusing on my own – my life just isn’t interesting enough to sing about.” WHAT: What’s Life Without Losers (Dew Process/Universal) WHEN & WHERE: 4 Mar, Alhambra Lounge

BANGING THE DRUM Using a rather fetching animal mask for promo shots and live performances, Slow Magic prefers to remain anonymous. However, he broke protocol to chat to Sky Kirkham about his background and breaking down barriers.

shaped the way that Slow Magic approaches his live performances, sometimes in ways that surprise him. “In school I played in marching bands and percussion in jazz bands and sometimes after I play now, someone will ask me if I played marching band. I don’t always realise it, but people will make that connection. Or a hardcore band that I used to go see play, the kind of energy and crowd involvement that happened at that kind of show, I translate that into what I’m doing now.

low Magic’s debut album, 2012’s Triangle, dropped the producer into our collective consciousness, with a bunch of blissed-out instrumental electronic tracks. Since that release, he has crafted an impressive swag of remixes for the likes of Bon Iver, The One AM Radio and El Ten Eleven, and 2013 saw the artist perform a remarkable 144 shows around the world. It almost looks like instant success from the outside, but as is usually the case, there was a lot of hard work going on before the breakthrough.

“I want to break down the barrier between the stage and the crowd as much as I can, either live or with the music itself,” he continues. “I like to go out into the crowd with the drum, and I’ll let people play my drum-pads from the front of the stage some times. A few shows I just put the drum out into the crowd and threw some drum sticks out there and let whoever wanted to play it. A lot of things that… who knows what’s going to happen.” He pauses. “It’s not that hard to hit a drum or whatever – it’s simple. I think it’s fun to let someone do that.”


“I think I was drawn to music before I even knew it,” he reflects. “I started teaching myself drums because my dad had an old drum set lying around – he was in an ‘80s rock band back in the day – and I just started hitting it until I learned what I was actually doing. I was involved in a lot of different things growing up as a kid. Some punk bands, or some… different kinds of bands. But early on I was interested in electronic music and I’ve slowly made a lot of projects that maybe no-one has heard of.” That experience in different projects, and different styles, has


Balancing writing and a hectic touring schedule can be a challenge, but for now it’s one that Slow Magic revels in. His tracks often have a sense of euphoria to them, and that creates a positive feedback loop as he sees people respond. “There’s something about music itself that is this kind of unexplainable force that can make someone happy, or a sad song can make someone feel like they’re not alone. I think I just made what I was feeling or at least desired to feel – like this freedom or escapism to a beautiful place. And to see people react to the music live and enjoy it really inspires me to make more music.” WHEN & WHERE: 27 Feb, Alhambra Lounge




album reviews



Smalltown Supersound/ Balance

The third album from the New Jersey indie band was written in and around various locations in the US and Spain during 2013 and subsequently recorded in Chicago with Matt Kallman (formerly of Girls) adding keys to the now official five-person line-up. It’s a tried and tested formula and as far as the term ‘easy-listening’ goes, these dudes have it in spades. Never aurally offensive, there are remnants of other bands like Wilco and maybe some Pavement along with other faux-country Americana bands, and the record as a whole is a slow-cooked affair, an album that embraces basting in its own juices to ensure maximum flavour.


Blank Project Not capitalising on the phenomenal success that Raw Like Sushi garnered, Neneh Cherry’s illustrious career has only delivered sporadic releases over the intervening years. Blank Project is Cherry’s first album of original material in almost 18 years. Recorded in just five days this album seeks to capture a rough and raw energy that doesn’t give producer Four Tet the opportunity to overthink the mix. Cherry’s collaborators, RocketNumberNine provide her with minimal electro synths and loose vibing beats that aim to work understated dance floors but it’s Cherry’s vocals that prowl at the centre of everything. As she moves from toasting her menstrual cycle on the helter skelter of the title track to acknowledging the obscenity of the day-to-day “bullshit that gets up your nose” on the chilled 422, Cherry still has plenty of honest, streetwise attitude. The


woman who was once friends with Ari Up seems nostalgic for her post-punk Rip Rig & Panic roots but there’s nothing retro about this album; it’s all in the attitude. Across this album, Cherry expresses grave concern for an uncertain future. Across The Water is a spoken word piece about decaying society while the somewhat joyous machinations of Weightless spend up big but talk of economic woe. Out Of The Black, a collaboration with Swedish compatriot Robyn, is a darkly glittering electro-techpop work-out. Cherry defies expectation but coming at us from unexpected tangents she provides satisfying listening. Guido Farnell

The lead single, Talking Backwards lolls about in an incandescent and meandering way, not following any discernible trail, and most of the other songs on the album follow suit. There’s a nice little psych outro on The Bend and indeed the album could be played during any number of moods and situations.




For those looking for some feelgood, feet-stomping, banjo-plucking folk, you could do plenty worse than Twin Forks. This project, and album, was always going to find an audience, simply due to the fact that Dashboard Confessional’s Chris Carrabba is at the helm, but it’s going to connect with plenty more hearts too; people that wouldn’t know or care about the emo scene the 38-year-old made his name in.

Needle In The Hay is one of the few highlights, elevated by some jaunty piano and restrained 34 • THE MUSIC • 26TH FEBRUARY 2014

The accompanying presser itself declares the album conjures “quiet late night drives down wooded highways… and hazy summer evenings spent alone”, but it would also be well suited to a session on the can on a Sunday morning after a big night out the evening before – yes, Atlas will definitely help put you at ease and keep you regular. While some listeners will hear the same song ten times over, others with more aptitude will enjoy the subtle shifts and intricacies, and will certainly appreciate the changes of timbre that permeate backwards and sideways throughout the album; less is certainly more on this one. Adam Wilding

Twin Forks

Hey Daydreamer Hey Daydreamer is Seltmann’s fourth solo album, and it’s a really pretty record. But prettiness is nothing without some kind of weight, some other dynamic that elicits an emotional response, and that’s conspicuously missing here. With songs like Dear Mr Heartless and I Will Not Wear Your Wedding Ring, you expect at least a bit of toughness. But none is forthcoming. Even when Seltmann sings, “I will not wear your wedding ring... go back where you came from”, it’s unconvincing and never really connects. I Will Not Wear Your Wedding Ring also showcases wind instruments that sound a bit like a toneddown Joanna Newsom, and this album definitely could have used some of that artist’s weirdness or innovation.


Dine Alone/Cooking Vinyl

★★ use of Seltmann’s breathy head voice, which often grates across the rest of the album. It’s a very unfortunate (hopefully) coincidence that it shares a name with a much better Elliott Smith song though, because it’s hard not to think of how much you’d rather be listening to that. Catch Of The Day also shows a bit more grit in the percussion and a more convincing vocal, but that’s kind of… it. Seltmann has proven over the last decade that she’s a talented musician, but this album leaves you begging for some kind of strong, interesting melody, a catchy hook or something else to hold on to. Madeleine Laing

It’s cute music – the type of gear that could soundtrack a teen flick or rom-com. Lyrically it shoots straight for romance and nostalgia (Cross My Mind; Kiss Me Darlin), and comes with enough cheese to comfortably cover the margarita pizza you’re sharing with that special someone. But instrumentally it’s played out totally on-point, and produced with just the right balance, letting the songs stand as the hero rather than any particular element within.

★★★ Twin Forks is at its best when it’s at its most celebratory; the big climactic mid-section of opener Can’t Be Broken, or the claps and cries of Scraping Up The Pieces. Suzie Zeldin’s back-up vocals throughout are also welcome, making sure there’s a sweetness to any sort of struggle that’s being documented. But although this project was birthed by Carrabba’s love of trad folk, country and Americana, it’s too glossy and pop to really sit in the same sort of realm as genre modernists like Fleet Foxes and Bon Iver. But that’s fine. Take it for what it is, hold hands and smile. Benny Doyle

album reviews



St Carolyn By The Sea And Suite From There Will Be Blood Deutsche Grammophon/ Universal Outside obligations to Radiohead and The National respectively, Jonny Greenwood and Bryce Dessner have written orchestral compositions. This split disc showcases St Carolyn By The Sea, an extended piece with Dessner evoking coastal scenery, and Greenwood’s compelling presentation of the There Will Be Blood score. Dessner’s guitar recontextualises his post-rock inclinations, while Greenwood’s string arrangements rock like a lullaby and creep with sinister intent.


★★★ ½





Listening to the dark, ethereal sounds of Lowlakes for the first time gives the impression the group arose in a town like Berlin, New York City or Reykjavik. To then discover they hail from Alice Springs – via Melbourne – is somewhat surprising. Their debut album is seductively paced, a rich tapestry of analogue and digitised instruments bringing to mind the wintry landscapes dreamt up by Sigur Ros, but giving them a reality, an immediacy. Lowlakes may appear a little too serious for their own good at times, but Iceberg Nerves is sure to strike a chord deep inside.

Mysterious bloke, patten. He’s thought to hail from London, although no one’s sure. His music is similarly wrapped in enigmatic veils. Like the random splurges of letters making up his release titles, ESTOILE NAIANT seems to operate according to its own logic. Tracks like Drift are densely loaded with drones, machine hiss and sub-bass oozing in and out over so much background noise you’re unsure which sounds are coming from your speakers and which have slipped over from next door, while Key embedded literally sounds like two records playing simultaneously. This one’s for the real heads alright.

Iceberg Nerves

Dylan Stewart


Christopher H James

Guido Farnell


Cooking Vinyl Sheffield indie-pop outfit, Reverend & The Makers, return with their fourth album, ThirtyTwo, celebrating the age of lead singer John McClure (aka The Reverend) and all they love about everyday British life, from relationships to pill-popping. Lead track, Detonator, starts the album with a punch, moving into a new ska-influenced sound on The Devil’s Radio and Nostalgia, which the band pulls off well. Their trademark indie sound returns with McClure’s northern English drawl and distorted guitars on tracks Time and The Only One, before a nod to The Prodigy in the upbeat Your Girl. Helen Lear





Sonic Masala

Fat Possum/Inertia

Brisbane four-piece Roku Music’s album represents the first full-length release for Brisbane label Sonic Masala. While the band is relatively new they’ve wasted no time in cementing a distinct sound. Using easy genre descriptors like shoegaze will get the right music lovers to pay attention, but there’s nothing generic about the sound the band have captured on this record. Recorded by two of the members in their own studio, Nowhere Audio, they’ve taken the time to create a perfect sonic balance to show off the subtle songwriting that’s another of the band’s many strengths.

A Canadian guitar and drums duo who crank out simple, arse-kicking rock that’s as much about attitude as it is about music. At least, that’s the impression given by the opening tracks on Blame Confusion, owing a debt to Japandroids. As the album rolls on, songs like Cold Hands and Through The Walls make it obvious they’re no derivative rip-off. With more attention to melody and quiet introspection than other blues-based two-pieces who’ve dominated recent years, Blame Confusion finds new areas to mine, offsetting its cocky strut with more than a hint of vulnerability.


Chris Yates


Blame Confusion

Pete Laurie



triple j’s Hottest 100 Volume 21 ABC/Universal Forty-one songs and two hours 38 minutes’ worth of the National Youth Network’s finest selections from 2013 makes its way onto these two discs, and for many of the 173,658 punters who voted in The World’s Largest Musical Democracy™, sliding Volume 21 into their collections next to Volume 20 will feel like closure on an undeniably strong musical year. There’s a safety-first approach to the artists or songs making the cut, but from Daft Punk to Dustin Tebbutt, Volume 21 is a tidy snapshot of triple j as it is – for better or worse. Dylan Stewart

★★★ ½


Fat Possum/Inertia Mississippi’s Water Liars have followed up last year’s debut, Wyoming, with this self-titled album, and it’s even more gutwrenching than ever. With the ghost of Jason Molina permeating every nuance, the 11 tracks on Water Liars beguile and bewitch, the album a poignant grower that tightropes between fuzzed-out Americana (Cannibal, Ray Charles Dream) and haunting country folk (War Paint, Pulp). The harmonies are great, but it comes down to Justin Kinkel-Schuster’s melancholic warble and those lyrics: “I was afloat on a dirty brown river of heroin shivers/Waiting on someone to send me a boat.” Brendan Telford







Fierce Hearts





Sonic Masala

Katie Noonan’s ethereal voice will take you to somewhere out of a dream. Fierce Hearts, filled with Noonan’s high standard of poetic lyricism and classically beautiful voice, is quite a remarkable listen, yet keeps you on your toes with her odd vocal twists. The solely instrumental and refreshing interludes bridge the gaps in Noonan’s story, and add an unequivocal purity and virtue that is mesmerising. An intriguingly complex album, Fierce Hearts flawlessly marries a peculiar couple: orchestral string arrangements teamed with the simplistic, Huck Finninspired plucks of Americana banjo, brought together by Noonan’s equally quirky voice.


Often covered with glitter and little else, no one can accuse Fun Machine of not living up to their name. Constantly shifting tones, instruments and vocalists, Bodies On is a debut unlike any you (or anyone else) has ever heard. You’ll be shouted at on Gin Bar, serenaded by the smooth Side Of The Coin and downright dumbfounded by Set You On Fire. With lyrics about playing Nintendo in the jungle and the joys of taking drugs, you wouldn’t play this record at your grandmother’s birthday party, unless, of course, you have a pretty cool grandmother.

Brie Jorgensen

Lochlan Watt

ROKU MUSIC Second single from Brisbane’s Roku Music is even more tantalising evidence that the album is gonna be a wall of sound and majic.

SHRAPNEL Print And Sign Tenth Court Sam Wilkinson from Sydney’s Day Ravies and Mope City’s first solo outing is predictably excellent, wonky pop music.

DMA Delete I Oh You DMA provide somewhat of a departure from the Jagerdrinking, party-hard antics of their I Oh You labelmates, but perhaps it’s a smoke screen.



Christian metalcore might not be as big a deal in Australia as it is in the USA, but the Gold Coast’s Prepared Like A Bride has definitely stepped up to give their overseas counterparts a run for their money with this debut. Taking more than a few dips into the melting pot of melodic and ‘djent’ influences brought to the mainstream by Northlane, the album is an energetic look at triumphing over adversity and maintaining a positive mindset through the tougher times. It’s far from groundbreaking and not without less memorable moments, but the passion and ability on display is real.

Bodies On

Ash Goldberg



A&R The chorus of Town To Town is delicate and beautiful, with the choir vocals riding the acoustic guitar in a deliberate and haunting echo.






Total Strife Forever

Days Of The Fallen Sun

Drive All Night




Mullumbimby’s favourite gangsta rapper digs into the hip hop archives for lyrical references but the beat is modern and minimal.

London-based self-proclaimed ‘sound architect’ East India Youth, aka William Doyle, has been receiving positive raps for his debut Total Strife Forever, and the praise is warranted for electronica’s young newcomer. The stark noise that is hard to ignore and harder to escape on opener Glitter Recession is a warning sign, but once Doyle drops his fragile vocal into Dripping Down things get more wondrous. There are a lot of influences to dig into for the cautious: Eno’s bombast, Bjork’s lush soundscapes, even a bit of haunting Grizzly Bearlike melody on Songs For A Granular Piano. It’s an ambitious debut, but gosh it’s a stunner.

Sitting somewhere between shoegaze and post-metal, the new release from Boston natives Junius sees them return with an intensified fire. Beautifully apocalyptic, the band has added orchestral elements to their already lush sound, which bring a remarkable sense of urgency given their relatively calm, peaceful nature. They’ve also added a few distorted screams to the vocal mix, which previously only included smooth crooning reminiscent of The Cure. With four tracks each introduced by four ambient interludes, it’s the perfect length for a quick astral journey and dynamic enough to hit repeat a few times.

The Frames singer in even quieter mode than his Swell Season duo work. Centred by the restrained and heartaching Springsteen cover title track – with added Eddie Vedder harmonising groan and The E Street Band’s Jake Clemons underpinning sax – it just seems to have a feeling of being a little too aware of paying its respects rather than being something of its own. Elsewhere, particularly the not-quite-soaring Renata, Hansard comfortably defaults to his Irish-accented soul that obviously owes more natural debt to Van Morrison than the New Jersey boardwalk.

Chris Yates

Carley Hall

Lochlan Watt

Ross Clelland

SASKWATCH Born To Break Your Heart Northside/Remote Control Saskwatch continue to evolve their sound, with the focus being on the song and not the many layers of instrumentation up their sleeves.

IGGY AZALEA Fancy (Ft Charli XCX) Def Jam



live reviews


RNA Showgrounds 22 Feb We’re pretty spoilt being able to see an arena-filling band like Biffy Clyro before lunch, and the shirtless Scots reward us early risers with a set fit for Wembley. Simon Neil wields his axe masterfully, letting his fingers dance through the intricacies of Sounds Like Balloons, and thrashes about like an asylum patient during Black Chandelier. By the end of closer Mountains, you feel like you could climb them. August Burns Red’s Christian subtexts hold no sway in the brutal music that spews forth, made more potent by the dim stadium feel and the punters squeezed within. Jake Luhrs and bassist Dustin Davidson growl


their way through Whitewashed and Fault Line, and it’s clear the sound needs to be tweaked to a less overblown level, but they’re a worthy first cab off the rank. You can’t help but get your skank on to the ska-leaning punk of Less Than Jake, and the circle pit is in full swing from the outset. Chris DeMakes and Roger Manganelli work the tent with their back and forwards shit talk, and fan faves like History Of A Boring Town and All My Best Friends Are Metalheads go down a treat. There’s even a fucking conga line! Sweden’s Graveyard bring their old rock’n’roll out for an early afternoon airing, and they do so with feeling. A better place on the bill may have given them the quality of sound that their music deserves, but they don’t let that stop them from delivering 38 • THE MUSIC • 26TH FEBRUARY 2014

a killer set. And yeah, it’s a little too short, but goddamn it’s sweet. Things take a turn for the serious when Alkaline Trio step up to the plate, and they make no apologies with barn-storming opener Time To Waste. Their punk is to the point, but when you break it down to its individual elements the players are absolute dynamite. Bassist Dan Andriano takes vocal leads for Every Thug Needs A Lady and you have to raise a fist. Thrash lords Testament look evil as hell on this dim, gloomy afternoon with skulls on pentagrams spitting smoke and a fierce-looking backdrop. More importantly, they sound just as foreboding and far more aggressive; the double kick of Gene Hoglan thunders through our bodies, the shredding of Alex Skolnick is as impressive as expected and Chuck Billy

It’s absolute bedlam but it’s great fun. Fun as it is though, you can’t help but wish that, at times, they’d take the songs a little more seriously and deliver something a little closer to what we’ve heard on record. It’s a sad moment for Stone Temple Pilots fans, but a celebratory moment for some as their replacement The Living End take to the stage and launch straight into Second Solution. They really ham up the Australiana to the max, covering both Waltzing Matilda and AC/DC’s Jailbreak. And of course the obligatory Prisoner Of Society sends most of the crowd stir-crazy. Californian stalwarts AFI are no strangers to the Soundwave stage; their last visit in 2009 was at the height of their ascent to the emo throne. Frontman Davey Havok has been doing this caper


roars through the set, sounding particularly devastating on More Than Meets The Eye. Another great example of old school thrash still kicking serious arse in the modern day. New Orleans alt-rockers Mutemath burst onto the stage with lunatic frenzy, and being one of the few funkier rock acts of the day they’re a welcome change of pace. Singer Paul Meany plunges the four-piece into a set canvassing an assortment of old and new including Armistice’s Spotlight, right through to Reset, leaving Prytania and Blood Pressure to represent the newbies. Trash Talk play for 20 minutes: they’re aggressive, they’re loud and they incite absolute mayhem. Vocalist Lee Spielman spends most of the set in the crowd, before telling the masses to get on stage and join the band.

so long he’s a pretty much a veteran. He whips his lithe body around during Girl’s Not Grey and the mandatory Miss Murder and Love Like Winter. These guys have a stack of talents shared amongst everyone and the sound delivers, as always, a result. Delivering on all the gory promise, Gwar are a joyous little spectacle. It’s not long before the front rows are soaked by a spray of fake blood, and the ride is all wacky monsters, swords, and spiky penises from there on. Much like their studio output, their music doesn’t hold the weight you’d expect given their image, but they’re still a lot of fun all the same. Dir En Grey are a sight to be seen. Strongly following the Japanese movement of visual kei, Dir En Grey embrace make-up, wild hair and androgynous dress

styles. Drummer Shinya graced the Brisbane stage in a flowing white gown while the rest of the members look like the cast of The Matrix. Their musical sound is just as dynamic. Vocalist Kyo changes from anthemic rock vocals to guttural growls to shrill screams. The overall sound is something like NIN crossed with nu-metal – the crowd loves it. London-born alt-rockers Placebo’s reigning popularity is unquestionable as roars erupt when they kick off with Post Blue. Brian Molko is still at his intriguing, androgynous best, ripping through tantalising tales of sex and drugs in Every You Every Me and Too Many Friends. Despite Molko looking a little careworn, they’re a buzzing spark among their more metal cohorts, ensuring upbeat favourites Black-Eyed and Special K stand out against the brooding Meds and Bitter End.


There’s nothing like seeing a built-for-festivals band play a big afternoon slot at the height of their powers, and A Day To Remember are downright nasty. The breakdowns are huge, the singalongs are even larger, and between the likes of All I Want, Homesick and Right Back At It Again, they give us the best of their catalogue while comfortably owning the stage. Is a harmonica still a thing in rock these days? Clutch believes so; then again, these Maryland rednecks know how to rock – it makes sense that this is the set where boobs are flashed. The band seem even more energised since the release of new album Earth Rocker, and today come across as the reason why Lynyrd Skynyrd’s plane came down. It’s the ultimate celebration of legacy for the thousands of

live reviews believers in the pit at Pennywise, and Hermosa Beach’s finest, reinvigorated by the return of original frontman Jim Lindberg, make every second count. Same Old Story, Perfect People and Society still arrive with the same force that they did two decades ago, while Bro Hymn (Tribute) remains the ultimate closing stand.

Another band celebrating the return of old faces is Korn, and even with their slightly comical trash media backdrop they power through a set that you can’t help but take seriously. With Munky and Head together again, the riffs are thundering, and new tracks like Love & Meth play nicely with classics like Got The Life and Blind.

It would have been a lot better to see Baroness play a night-time slot, but they do their best in the late-afternoon light, and it all goes down pretty well. Take My Bones Away and March To The Sea highlight the ever developing maturity of their songwriting craft, but it’s the selections from early albums Red and Blue that really bring the pain and get the heads banging.

Jimmy Eat World bring passion and heart to the main stage after dark, and give long-time fans plenty to smile about. When Jim Adkins sings that stellar concluding hook in A Praise Chorus it sounds absolutely magic, while the closing Bleed American triple hit of that album’s title track, The Middle and Sweetness make sure our throats are raw and dry by the end.

Nothing written will do justice to Glassjaw’s performance tonight, the influential NYC post-hardcore group laying all pretenders to waste with a set of brutal perfection. Although clearly not in the best health, Daryl Palumbo rose to the occasion on the mic, owning the fuck out of classics like Mu Empire and Tip Your Bartender, while Justin Beck’s guitar work was the perfect complement up front.

Seattle stalwarts Alice In Chains are testament to a band’s mettle. William DuVall has been leading

French death metal titans Gojira are stupendously good in the live

The Dillinger Escape Plan are still as furious as ever. Their sheer energy is really

corpse rag garb with his players for Dead City Radio..., and gets all the guys to hoist their girls up for Living Dead Girl. That instantly recognisable saucy opening to sludge classic More Human Than Human rings out and shit is lost across the field, before Zombie plunges the set back to Dragula.


the four-piece for close to a decade with the greatest respect to original singer Layne Staley and his legacy. It’s near bedlam in the pit when they kick off with Them Bones. The distinctive melding of DuVall and Jerry Cantrell’s voices is unbeatable in Hollow, Man In A Box, Check My Brain and Would? Newbie Stone ups the sludge before they close with a veritable salute to Staley in Rooster. Pepper Keenan’s signature slow, swingin’, stoner riffs take hold of the crowd and don’t let go for the entire duration of Down’s glorious set. After smashing himself in the head with the mic a short way in, a bloody Phil Anselmo sings praise to local metal legends Portal, and then continues on his own legendary course of performance. Epic closer Bury Me In Smoke is a real highlight.

setting, and with the added bonus of a night-time slot this time around they do not disappoint. The sound is as close to perfect as one could hope for in a festival setting and this allows for the dynamics of their music to translate wonderfully. The near flawless set is bookended by two real standouts of their catalogue, Explosia and Toxic Garbage Island, and is one of the true highlights of the day. The Ghost Inside give their fans plenty to go nuts over. The enclosed room is pretty packed out, and the contained setting adds to the intensity of their set. Like a highly charged hand grenade it all feels like it’s going to burst at any moment. Rob Zombie still has the ability to present a show that’s like nothing else. The veteran horrorrock specialist emerges in full

something else, and tonight they supercharge it. From the moment opener Prancer begins it’s nothing but pure madness. Their frantic eruptions hit a peak with Greg Puciato climbing high on the stage scaffolding, and then again later with Ben Weinman playing guitar while standing on the crowd. Like a rabid dog let off a chain after being starved for a week, Jason Aalon Butler runs rampant across the stage, his beard dripping in sweat, his eyes darting with madness. Letlive. maul our bodies with their neck-snapping riot music, and the LA fivepiece leave nothing in the tank during a set full of sonic chaos. The mighty Mastodon deliver on all fronts with great power and precision, proving they are more than worthy of their headlining slot of Stage 4. The ever

impressive Black Tongue fronts a set that draws heavily from 2011’s opus The Hunter, and sheds even greater light on its brilliance. While their earlier albums get a lot less of a lookin, gems Crack The Skye, Crystal Skull, Iron Tusk, and March Of The Fire Ants are powerful enough to speak volumes beyond their own contained form. A very fitting way to end the night. Californian metal miscreants Avenged Sevenfold don’t believe in doing things by halves. Emerging under a burst of fireworks, flames and a stage set of Steven Spielberg proportions, the five-piece look quite at home. Sunglassessporting singer M. Shadows hurtles his troops through crowd favourites including Beast And The Harlot, Hail To The King and the moving Fiction for late drummer ‘The Rev’.


With almost three hours of Green Day you’re gonna get a bunch of everything: old stuff, new stuff, stadium rock posturing and covers – plenty of covers. It all works well – though three hours is far too long – with classics (2,000 Light Years Away, Basket Case and Burnout) not seeming too at odds the likes of the pompous Jesus Of Suburbia or Stop When The Red Lights Flash. There are lots of covers though; from Men At Work and Rick Springfield to AC/DC and Ramones, The Beatles to Queen and a version of Operation Ivy’s Knowledge that is absolutely ruled by Lara, a young audience member, who’s dragged up to play. Dan Condon, Benny Doyle, Tessa Fox, Carley Hall, Jake Sun, Brendan Telford For our full comprehensive review, head to themusic.com.au THE MUSIC • 26TH FEBRUARY 2014 • 39

arts reviews


INXS: NEVER TEAR US APART DVD out 26 Feb (Beyond Home Entertainment)

Part 1 of this two-part miniseries kicks off with a recreation of INXS’s 1991 Wembley Stadium concert, when the band performed before 72,000 fans. Real footage of the crowd is spliced in and serves as a startling reminder of just how untouchable the band of Farriss brothers, plus three friends, were in their prime. Immediately, Luke Arnold nails the physicality of Michael Hutchence and Damon Herriman is wonderfully ruthless as the band’s manager, Chris

Murphy. Even diehard INXS fans will learn something extra about the band and be swept up in their career trajectory from hard-working Aussie pub band to even harder partying international superstars. We finish Part 1 frothing to see Part 2 and make a mental note to bring the Kleenex out next time. Part 2 commences on Hutchence’s final night. During this second part, flashbacks become confusing (especially when you factor in commercial breaks). There are some glaring omissions: no mention of Dogs In Space? Hence Hutch’s desire to make music with Ollie Olsen via Max Q makes little sense. Okay, we get that Hutchence was a changed man after his head injury, but certain incidents painted with the band’s brush (Hutch not making it to Mrs Farriss’ funeral) see him portrayed as a villain. The Bono character bears little resemblance and needs announcing courtesy of Arnold (“Yes, Bono”) to clarify his identity. The pacing of this second ep is sluggish. Cutting into archival footage of the real Hutchence performing to close is genius, however.

Do we gain further insight into those final hours in the Ritz-Carlton? No. In fact we learn more from the special on Channel 7’s Sunday Night, which aired a week after the mini-series. We are now definitely salivating for Richard Lowenstein’s Michael biopic, which has received funding from Screen Australia and is expected to start shooting at the tail end of 2014. Bryget Chrisfield


In cinemas “The wind is rising! We must try to live!” So goes the quote from the Paul Valéry poem, The Graveyard By The Sea, which is spoken in this film and gives it its philosophical basis. This animation by retiring master, Hayao Miyazaki, tells of aeronautical engineer, Jiro Horikoshi, who designed the Zero fighter planes used by the Japanese in WWII. It’s a romanticised view of an idealistic young man, with the

film managing to skirt around some sensitive political issues. Naturally the animation is beautiful, as you’d expect from the person who gave us Howl’s Moving Castle, Spirited Away and Ponyo. It’s truly a delight early on to soak up the visuals, including a fantasy sequence where young Jiro (Hideaki Anno) meets his hero, Italian aeroplane designer, Count Caproni, as they soar over the countryside in one of his designs.We follow Jiro as he grows up, falls in love with the frail Naoko (Miori Takimoto), studies aeronautical engineering and then works for Mitsubishi. Although charming, it tends to lack the magic of some of Miyazaki’s other works and there’s not a lot to become involved in character-wise, making the film drag at times. The 1923 Kanto earthquake is depicted to stunning effect but the war itself hardly figures, which is understandable – the fact that Jiro’s planes were used for destruction is perhaps an unwelcome coda to this personal story of a young man working to attain purity in design. Vicki Englund

CULTURAL CRINGE ARTS NEWS WITH MANDY MCALISTER Last year Todd Sampson scored a ratings winner for the ABC with Redesign My Brain. Sampson undertook brain training to make his thinking quicker and more acute, and developed a mindbody connection that enabled him to perform an underwater escape trick that definitely falls into the “don’t try this at home” category. Since then, the popularity of brain training programs such as Luminosity and BrainHQ has skyrocketed in Australia. With Redesign My Brain winning the ACTA award for Best Documentary recently, Cringe considers the advantages of brain training. Considering that most Australians don’t have access to pioneering neuroscientists, many of us looking for a similar experience to Sampson’s are probably going to be disappointed. Without going to serious expense, the most common methods of brain 40 • THE MUSIC • 26TH FEBRUARY 2014

training are to use apps like Luminosity to climb the leader board on brain training apps. There’s not much evidence to suggest this will increase your fluid intelligence – which is responsible for quick reasoning and abstract thinking. However, among the many studies on the effectiveness of brain training, there is evidence to suggest that brain training games will make you better at brain training games. Realistically, the results of studies on brain training, which, with their myriad tools and methods for measuring gains in intelligence make them problematic to compare, are too inconsistent to determine one way or the other if improved scores can indicate increased fluid intelligence. Additionally, brain training games marketed at professionals looking to boost their brain power so as to become more successful are often spoken about in the


same way as those aimed at preventing cognitive decline in the elderly. Surely studies on the latter should not be indicated to prove benefits for the former. Some studies agree that if the games become fun and easy, they’re no longer working. At least anecdotally, this makes sense. The brain is a physical organ; why shouldn’t the old meat-head mantra “no pain, no gain” apply? If this is the case then perhaps I should engage in games I find far more difficult than those offered by BrainHQ, such as anything on Xbox that requires the use of what I think is an incredibly complicated controller. Or if it’s a matter of hurting your brain in order

for it to grow, you could try arguing with a creationist. In short the jury is still out on the effectiveness of brain training games, except to say you’ve got nothing to lose except the cost of a subscription for premium content and those minutes spent engaging in gameplay. However, Sampson’s experiment did include a few tips for brain training that are free or cheap and have practical applications such as learning to juggle, which is at the very least a neat party trick, and doing small tasks, such as brushing your teeth with your nondominant hand (try it and you’ll realise that one of your limbs is really holding the team back).



the guide


Member answering/role: Phil Smith/guitar and vocals How long have you been performing? Twelve years as a guitarist, ten as a singer/songwriter. You’re on tour in the van – which band or artist is going to keep you happy if we throw them on the stereo? Van Morrison. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Ummmm, shit. I’m kind of over being broke. Could I meet you in the middle somewhere? Hank died alone in the back of his car. Which Brisbane bands before you have been an inspiration (musically or otherwise)? The Go-Betweens… Halfway. What part do you think Brisbane plays in the music you make? Well, it’s where I cut my teeth in terms of live playing, and its streets, bars, the jobs I’ve had here and the people I’ve met are the inspiration behind a lot of the songs. Is your music responsible for more make-outs or break-ups? Neither... well, actually, maybe 50-50 because I write candidly about both. If you had to play a sport instead of being a musician, what would it be? Formula 1. Because I’m crazy. What’s in the pipeline for you short term? Launching this album, mixing another which was recorded in 2012 and heading to the States to hopefully play a bit, and drive a lot, and write the rest of another album I will record at the end of the year. Phil Smith launches Year Of The Dog at The Old Museum on 8 Mar, with support from Megan Cooper. Photo by TERRY SOO.



KEEP WINING ABOUT IT Illustrations Brendon Wellwood.



Did you know that cask wine was invented in Australia? It was patented by the South Australian company Angove’s in 1965. Typically cheaper than bottled wines, although premium boxed wines have sprung up in the last ten years, boxed wine is also lighter and more environmentally friendly and much easier to handle and transport. Goon’s given boxed wine a bad rep, but the bag-in-box packaging actually prevents oxidation of the wine during dispensing and can stay fresh for weeks after opening, so if you’re on a budget it’s a worthy alternative to bottled wines. Companies like thewinesmiths. com will deliver it right to your door.

Certain stores around Australia have a refill service. They vary, but options include bringing your own bottle or bag to fill up in store and charging a deposit for bottles which the customer returns to the store to reuse. Not only does refilling wine save you dollars, but it’s a good way of recycling.

2-FOR-1 DEALS Woolworths/ BWS offer 2-for1 liquor receipt rewards. The wine on offer rotates every few weeks, and unless you’re really picky, you’ll probably find them to be pretty decent selections. Split with a pal to get half-price wines!

BULK Everything’s cheaper in bulk! This would suit those who have a favourite wine they could drink forever and never tire of. Or buy in bulk with a group of friends and split the cost; the hard part would be agreeing on a wine.

CLEANSKINS Because sometimes you pay extra for a brand name, and most of us casual wine drinkers probably wouldn’t taste that much of a difference*. *Don’t blame us if you do.



Monday Ribs, Rumps & T-Bone ALL $24 Tuesday Ribs, Rumps & T-Bone ALL $24 Wednesday Food Specials | Live Band Thursday 1kg Mussels $20 | Live Band Friday Live Band | Drink Specials Saturday Live Bands All day Sunday Live Band | Sunday Jugs 18+ Arbour Bar Now Open Wed-Sun THE PLOUGH INN | www.ploughinn.com.au


eat/drink WHO’S BREWIN’

PALLET CAFE 501 Adelaide Street, Meriton Soliel, Entrance on Boundary Rd City, Brisbane Answered by: Karpin Lim

coffees in the whole of wide world of Pallet Cafe.

What’s the design/ atmosphere of your cafe? Industrial, fun, boutique cafe.

What breakfast meal is the best hangover cure? Our Big Breakfast is a decent hangover cure as it is a decent serving for a fair price. Also for peace of mind we only use barnlaid, cage-free accredited eggs; when washed down with a glass of orange juice it is likely to satisfy those who are in search of some vitamins and amino acids to cure yourself of the aftermath of the previous night’s events.

Who is serving/cooking and what makes them special? Marika Kollberg because she makes the best

Where do you eat out? All over the place as I am actively interested in people’s interpretation

of good food, what’s new and the experiences that go with that. What ingredient can’t you live without? Eggs: nutritious, wholesome and delicious! What more would you need?


What’s the best way to have eggs? Poached and runny served with a little soy and a hint of pepper. If you have a “Big Breakfast” what is on the plate? Bacon, eggs, tomato, hash brown, mushrooms, breakfast sausages and toast. We also do a vegetarian/vegan version of this which is different depending on the customer’s needs.

Dips If it’s something fruity, there needs to be a hint of sweetness in the wine. Same goes for hot or spicy dips. More savoury dips like avocado, spinach or artichoke go well with crisp, dry whites. Cheese

WHAT WE DRINK Source: Australian Bureau of Statistics

BEER 41.2%

According to the ABS findings, there were 183.5 million litres of pure alcohol available for consumption from alcoholic beverages in Australia in 2011-12. That’s divided into: beer contributed 41.2 per cent,

Pair harder cheeses like cheddar or parmesan with astringent wines such as shiraz. Salty ones like blue cheese need a sweet counterpoint like Port. Creamy cheeses balance out more acidic wines like chardonnay.

wine 37.8%,


spirits 12.6%,

Seedless grapes, peaches, lady apples, blueberries go nicely with champagne; kiwi fruit with dessert wines; bananas with light red wines; figs, melon, cherries with port; and blackberries and guava with riesling.

ready-to-drink beverages (RTDs) 6.8%. cider contributed a further 1.7%.


DONALD LAUDER @ BLACKSTAR COFFEE ROASTERS 154 Roma St, Brisbane facebook.com/ contessablackstar Three words that describe your cafe? Wabi-sabi, exposed, open. What’s the price of a regular coffee? $3.80. What style of coffee should you start the day with? Piccolo.

What kind of music do you play at work? Mainly indie, alternative and chilled-out. Depends on the day. What artist/band would you most like to make coffee for and what style would you serve them? At the moment probably House Vs Hurricane to thank them for their final shows they played recently. Also being from

Melbourne I’m sure they would enjoy great coffee.

really delicious dark chocolate flavours.

What style would you serve them and why? A piccolo on one of our single origin espressos. Most likely the Colombian; it has

You hate it when people ask for... Anything larger then a 12oz coffee. Too much espresso and milk for one sitting, I fear. THE MUSIC • 26TH FEBRUARY 2014 • 45

the guide qld.live@themusic.com.au




No matter where you were moshing at Soundwave on Saturday you were sure to have won. Pennywise, Glassjaw, AFI, Mastodon – our neck is ruined, but it was oh so worth it.

EVERYTHING, EVERYTHING Foals frontman Yannis Philippakis has been working on new tracks with Underworld’s Karl Hyde. Collaboration dreams can come true people!

SWELL SEASON No surf, no worries. Australia’s first artificial wave pool looks set to arrive in SEQ in 2015. And with the ability to produce 500 waves per hour, there should be barrels for all.-



Grant Hackett wasn’t the model man a few years ago, but to hang him out to dry for his “dramatic appearance” (barefoot and shirtless) while searching for his son at Crown is pretty weak. Surely there’s some real news to report on?

SNOOZEVILLE Can someone tell us when Downton Abbey actually gets good? Does it get good? There are some TV executives in England rolling about on the floor: “They’ll seriously watch anything!”

CHOOSE LIFE If you throw a punch at someone you’re a disgusting thug. We wouldn’t be constantly battling against band-aid lock-out measures if the feral one per cent stopped this shit behaviour. Just walk away. 46 • THE MUSIC • 26TH FEBRUARY 2014



Current single Overflow demonstrates the hypnotic and melodic side of Bootleg Rascal, backed with enough solid groove and hip hop breaks. The boys play The Zoo this Friday and Coolangatta Hotel, Saturday, supporting Sticky Fingers.

Coming up for New Globe Theatre’s Wednesday night Campfire Tests: The Mistaeks, Brodie Graham and Ilona Harker, tonight; Amela & Alex Crook with The Company, 5 Mar; and Silver Sircus, Tigerlily and Rory J Dawson, 12 Mar.



Bremen Town Musician brings her unique style of violindriven avant folk to the Waiting Room, Saturday to launch her new album Echo Dust Is All That’s Left Of Us, with support from Andrew Tuttle, Secret Black and Cedie Janson.

The first Sic Transit party is happening at the Coolangatta Hotel, Sunday, headlined by synth wizard Touch Sensitive, pictured, and featuring sets from Millions, DZ Deathrays (DJ set), The Ottomans, Drag Mondays, Vices DJs and Twocans.



Fuzzed-out guitars and euphoric, melancholic post-punk vocals from CactusDemonDoom will have you droning along in an intense, dream-like state. Catch them Thursday at Trainspotters with Horror My Friend and Columbia Buffet.

World-class trio Jaaleekaay bring audiences an exciting blend of virtuosity and crosscultural depth, exploring the universality of music that brought them together in west Africa. They play at Queensland Multicultural Centre this Friday.

THIS WEEK’S RELEASES… DAVIDGE Slo Light Permanent/Shock SALLY SELTMANN Hey Daydreamer Caroline TWIN FORKS Twin Forks Cooking Vinyl VARIOUS Triple J Hottest 100 Volume 21 ABC/Universal


the guide qld.live@themusic.com.au






Super talented Caitlin Park is hitting the road once again to showcase Hold Your Gaze, the first single off her followup LP to 2011’s Milk Annual. Catch this eclectic rising star at Black Bear Lodge on 27 Mar.

Brisbane’s hip hop, jazz-folk and spoken word band Rivermouth played at Woodford Folk Festival over the summer. They bring their politically inclined show to 5 Vulture Street on 8 Mar. Ofa Fanaika (Chocolate Strings) and Moski Jo support.

Name: Tom Gordon Single title: Nothing What’s the song about? People who get really drunk to be more sociable, but instead ruin everyone’s night and their own. How long did it take to write/ record? It was recorded in three days along with five other songs. Took about ten minutes to write, it was weirdly easy. Is this track from a forthcoming release? Yeah, there is a full EP coming up later in the year, not sure when it’s due yet.



Long-standing Brisbane metallers Planet Fiction guarantee an interactive, high-energy performance that will convince any non-believers. They play The Tempo Hotel on 29 Mar with Maybe Logic, Ghosts Of Gravity and SecondHeart.

Debuting new tracks off their follow-up EP Part II, The Iron Eye play a show at Beetle Bar, 21 Mar. They’re joined by powerhouse duo The Keepaways plus Midnight Show and upcoming band The Jaguars.

What was inspiring you when writing and recording? The Cribs’ latest album In The Belly Of The Brazen Bull, Pulled Apart By Horses and of course Sonic Youth. We’ll like this song if we like... Big riffz, big bass, big beatz. ‘90s grunge/noise and ‘00s indie-rock. Do you play it differently live? Nah, it’s pretty much the same. Horror My Friend play Trainspotters, Grand Central Hotel on 27 Feb and the Loft, Gold Coast on 1 Mar.



To support anticipated album Sound The Underground, rock two-piece King Of The North are heading out on a national tour. Catch them at The Northern, Byron Bay, 16 Apr; The Joynt, 17 Apr; and Solbar, Maroochydoore, 24 Apr.

The Lachy Doley Group bring their mix of soul, blues and roots to The Loft, Gold Coast on 14 Mar. There’s a chance you won’t have seen the Hammond organ or whammy clavinet used like this before. With guests Mojo Bluesmen and Kenny Slide.


LITTLE EARTHQUAKE Name: Justin Hyland EP Title? Universal Mind How many releases do you have now? This is our debut EP. Was anything in particular inspiring you during the making? Recently having an awakening and coming into an understanding that we are more connected to the universe than we are brought up to believe and how your reality is created by your words and thoughts. What’s your favourite song on it? John Lennon. The dream I talk about in that song really happened and it saved me from a dark place. We’ll like this EP if we like... MGMT, James Blake, Daft Punk, Foster The People. Little Earthquake play Ric’s Bar on 28 Feb.


the guide qld.live@themusic.com.au








What is it about the venue that makes you want to a run of shows there? I had a riot playing Scratch for the first time last year, so I’m back for a whole month in March. I love residencies, craft beer and original intimate shows – it’s like singing in my lounge.

Name: John Bowker

Old Pines, the latest project for Brisbane singer-songwriter Stephen Smith, are excitedly preparing for their upcoming EP launch at The Zoo on 13 Mar. Supporting them will be Weathered and Malo Zima.

With The Luxury Of Wasted Space out soon, Holidays On Ice are hitting the road. Made up of Frente!’s Angie Hart, Leonardo’s Bride’s Dean Manning and Warpaint’s Stella Mozgawa, this supergroup (minus Mozgawa) will hit Dowse Bar, 27 Apr.



Self-described ‘drone pop, mood rock’ band Morning Harvey have an east coast tour coming up to celebrate the first single off their next release. Help ‘em party when they stop off at Black Bear Lodge, 5 Apr.

Hailing from NSW’s Central Coast, female-fronted hard rock band Smokin’ Mirrors have just unleashed their debut EP Set To Ignite. Hear them perform material from it in a live setting when they visit Ric’s Bar, 6 Mar.



Holy Holy will showcase new single House Of Cards on the road supporting Ball Park Music. Catch the Brissie double bill at Coolangatta Hotel, GC, 10 Apr; The Tivoli, 11 Apr; The Northern, Byron Bay, 12 Apr; and Alhambra Lounge, 13 Apr.

Melbourne’s prog-rock stalwarts Toehider are heading on a national tour with Wollongong’s Troldhaugen. Hear new tracks from their crowdfunded second album on 27 Mar at Crowbar and 28 Mar at Miami Shark Bar, Gold Coast.

Same set every week or mixing it up? My set will switch up each week; I’ll endeavour to write a new song for each show. So come down bring ya stories or cause a drunken scene, I may need some plot material. Any special guests going to make an appearance during your tenure? The brilliant Pete Cooper on guitar as well as Sallie Campbell, a great Brisbane-based fiddler who I met in Tamworth last week. You’re welcome to jam too. Favourite position at the venue when you’re not on stage? When not on stage you’ll find me cutting it up on the dancefloor, or on the loo busily trying to finish the chorus to one of these blinking new songs I’ve promised to write for every show.

Single title: Good Times Jimmy What’s the song about? It’s about a guy called Jimmy that had a rough childhood. He grew to become a massive party animal. How long did it take to write/ record? The basic parts were written within a couple of rehearsals. It was then refined over several months and was recorded in about a week. Is this track from a forthcoming release/existing release? We intend to include this tune on our debut record which will hopefully be available later this year. What was inspiring you during the song’s writing and recording? I just wanted to write a song with a storyline. The name ‘Jimmy’ came to me and conjured up a bunch of imagery. The lyrics then came fairly quick. We’ll like this song if we like... Music that is not shit. Do you play it differently live? We drag out some bits occasionally... like awesome rock lords. Born Lion play Lismore Unibar on 27 Feb and Ric’s Bar on 1 Mar.

Liam Gerner plays every Tuesday in March (4, 11, 18, 25) from 8pm at The Scratch.


The MUSIC • 26th FEBRUARY 2014 • 49

opinion ROOTS DOWN







In recent years the traditionally ‘dance’ Future Music Festival has secured hot urban acts, with Pharrell Williams a late addition in 2014. But what can we expect from the new Cat In The Hat? His finest solo moment, Frontin’? N*E*R*D stuff? The Academy Award-nominated Happy? Those smash collabs Blurred Lines and Get Lucky?

I’m embarrassed to have missed the chance to pay tribute to Pete Seeger, who passed away towards the end January aged 94 of natural causes, in my previous column, so I’d like to take a moment to reflect on his genius. Musically he’s never been my favourite folkie, but I’ve always had enormous respect for the trail he blazed as a songwriter and performer with a social conscience. He saw the power in music and he used it to its full potential – there aren’t many who can claim that. There’s a reissue of Bob Dylan’s The 30th Anniversary Concert Celebration that was initially released back in 1993 coming. Given Dylan is essentially God, he was able to attract a pretty amazing crew to help celebrate and, as such, the record features Neil Young, Tom Petty, George Harrison, Johnny Cash, Lou Reed, The Band, Pearl Jam, Eric Clapton, Stevie Wonder, Willie Nelson, John Cougar Mellencamp and Richie Valens. There are a few bonus tracks, including a version of Gotta Serve Somebody by Booker T & the MG’s, which will probably rule. It’s out Friday 7 March through Sony Legacy. If you missed the half-time show at the NBA All Star Game in New Orleans on YouTube, check it out. Trombone Shorty and Orleans Avenue lead Dr John, Janelle Monae and Gary Clark Jr through a few tunes before Earth, Wind & Fire bring it home. rootsdown@themusic.com.au



The mighty Killswitch Engage are returning to Australia in April and I’m excited! The band’s last two visits to Australia were in 2008 and 2013 for Soundwave, although this will be their first run of non-festival shows since their epic 2006 tour with Lamb Of God and Unearth. It will also be their first club dates since original vocalist Jesse Leach rejoined the group in 2012, having left the band just after the release of their Roadrunner Records debut in 2002. I’ve never missed a Killswitch tour… if you count getting kicked out for trying to sneak into the Arena and listening to their set from outside as an underage fanatic back on their first tour in 2004. I later hung out with their bassist Mike D’Antonio out the back of the venue, and denied his offer of a toke on a joint because, “I don’t do drugs”. Well then. Anyway, this time around they’ll be joined by Kill Devil Hill, a relatively new group (despite having already released two albums) that features former Pantera bassist Rex Brown and former Black Sabbath and Dio drummer Vinny Appice. With stops in all the major capitals, check out soundwavetouring.com for dates. Speaking of Killswitch, their now-former vocalist Howard Jones is currently in Australia for Soundwave, where his brand new band Devil You Know is undertaking their first-ever tour. The band was formed by Australian ex-pat and Devolved drummer John Sankey and All Shall Perish guitarist Francesco Artusato, and have since been joined by Bleeding Through bassist Ryan Wombacher. Their debut album The Beauty Of

Destruction will be released through Nuclear Blast on 25 Apr, yet so far the only recorded taste we’ve been given is killer demo track, Shut It Down. The year is starting to get busy again for heavy Australian acts taking their wares overseas. King Parrot are hitting up the USA with incredible, experimental black metal group Vattnet Viskar, including an appearance at SXSW, which fellow Melbournites High Tension will also be at. One week after Soundwave is done, metalcore pioneers I Killed The Prom Queen are also off to spend the better part of 2014 on the road all over the USA and Europe with The Devil Wears Prada and The Ghost Inside. Buried In Verona is also hitting up Europe again, this time in support of Born Of Osiris. Thy Art Is Murder ain’t slowing down either, with the deathly dominators again hitting the USA after Soundwave for a huge run of shows with the pretty average but somehow massive Emmure. What else is news in the world of the heavies? You get about a month for your wallet to recover after Soundwave before post-metal giants Russian Circles return in April, as well as metalcore juggernauts The Acacia Strain and French electrometal duo The Algorithm. Iwrestledabearonce will also be here at the end of March. Northlane will headline an Australian tour in May, with support from Perth’s Make Them Suffer and the USA’s Volumes, plus two more acts, yet to be announced.

Williams isn’t FMF’s only superproducer. Naughty Boy (aka Shahid Khan) is among the fest’s less-hyped attractions. And Khan will be appearing with a band, albeit playing keys/MPC. Last year Khan relished a UK number one (and Australian hit) with the two-step La La La. However, Hotel Cabana, his unusual concept album about fame, slipped under the radar here. It boasts stellar guests – Tinie Tempah, another FMF headliner, ‘90s soul diva Gabrielle, Bastille and Ed Sheeran. Khan’s current single, the tough urban cut Think About It (with Wiz Khalifa and Ella Eyre), has been synced for the Vampire Academy soundtrack. Today Khan is an in-demand hitmaker – he’s attached to the MKS (former Sugababes) comeback – but balancing these commissions with his desire to be “an all-round artist” and gigging is proving challenging. He lately admitted to OG Flavas that a song with Britney Spears didn’t happen due to time constraints. (“I was a bit upset.”) Nor did Khan work on Sam Smith’s debut, In The Lonely Hour. Nonetheless, he’s well into producing Sandé’s second – the pair will build on the mega Our Version Of Events, “but still change up the music a bit,” he teases. @therealcyclone


the guide qld.gigguide@themusic.com.au Underground Fest feat. Travy P + Shortymain + Christian James + more: The Hi-Fi, West End

THE MUSIC PRESENTS Caravãna Sun: Beach Hotel 28 Feb, Rabbit And Cocoon 2 Mar, Solbar 7 Mar, Cafe Le Monde 8 Mar Future Music Festival: RNA Showgrounds 1 Mar Mikhael Paskalev: Alhambra Lounge 4 Mar The Growlers: Black Bear Lodge 5 Mar, Coolangatta Hotel 6 Mar Bleach* Festival: Gold Coast 7-23 Mar A Festival Called Panama: Tasmania 8-9 Mar Billy Bragg: The Tivoli 20 Mar Caspian: The Tempo Hotel 20 Mar Melbourne Ska Orchestra: The Hi-Fi 21 Mar

The Strums: The Hideaway, Fortitude Valley

Suzanne Vega: Brisbane Powerhouse 15 Apr

D At Sea + Millie Tizzard + Alisha Todd: The Loft, Chevron Island

Allen Stone: The Zoo 16 Apr The Wailers: The Tivoli 16 Apr Cloud Control: Brunswick Hotel 16 Apr, Beach Hotel 16 Apr, Story Bridge Hotel 12 Apr, Paddington Tavern 13 Apr, Komune 13 Apr, Noosa Heads SLSC 17 Apr, Solbar 17 Apr, Jubilee Hotel 19 Apr, Boardwalk Tavern 19 Apr, Coolangatta Hotel 20 Apr, Byron Bay Bluesfest 2014: Tyagarah Tea Tree Farm 27-21 Apr KC & The Sunshine Band: The Tivoli 19 Apr India.Arie & Joss Stone: The Tivoli 20 Apr Jake Bugg: The Hi-Fi 23 Apr

Auditree with Derrick Carter: The Tempo Hotel (Bowler Bar), Fortitude Valley


Raygun Mortlocks + Big Bongin Baby + Dr Bombay: The Underdog, Fortitude Valley

Monkey See, Monkey Do: Empire Hotel, Fortitude Valley

Jazz & Shriaz feat. various: The Vault (4pm), Southport

Solar Rush: Hamilton Hotel (Public Bar), Hamilton

Bec Whitehead: The Vault (7pm), Southport

Jabba + B-Rad: Irish Murphy’s, Brisbane

Sticky Fingers + Bootleg Rascal: The Zoo, Fortitude Valley

D At Sea + guests: Solbar, Maroochydore

Motion DJs: Irish Murphy’s (upstairs), Brisbane

Victoria Qualischefski: Taps Australia, Mooloolaba

Dave Flower Duo: Lock ‘n’ Load Bistro, West End

4 Day House Party feat. The Lazy Valentines + more: Victory Hotel, Brisbane

Drawn From Bees + Skye Staniford: The Hideaway, Fortitude Valley

Seductive Soul: Logan Diggers Club, Logan Central

Switchblade Suzie + Elvis Got Fat + DJ Valdis: Ric’s (downstairs), Fortitude Valley Dave Williams + Jimmy James Eaton + more: Sit Down Comedy Club, Brisbane

Ozomatli: The Zoo 23 Apr

The Jungle Giants: Rics Big Backyard 29 Mar, Alhambra Lounge 30 Mar (U18)

The Jezabels: The Tivoli 6 May

Monster Magnet: The Hi-Fi 5 Apr

Ella Hooper: Black Bear Lodge 15 May, SoundLounge 16 May, Star Court Theatre 17 May

The United States Of Oz + Just Monday + Tash Le Strange + Conspiracy Of One: The Loft, Chevron Island

Northlane: The Hi-Fi 22 May

Renae Suttie + Sean Flynn + OJ Newcomb: The Piano Bar, Maroochydore

Loon Lake: The Zoo 5 Apr Sally Seltmann: Black Bear Lodge 10 Apr Steve Earle & The Dukes: The Tivoli 15 Apr

WED 26

Stu Larsen: Black Bear Lodge, Fortitude Valley

Bruce Springsteen & The E-Street Band: Brisbane Entertainment Centre, Boondall Garden Of Swing: Cloudland, Fortitude Valley Locky: Irish Murphy’s, Brisbane Open Mic Night feat. various artists: Mick O’Malley’s, Brisbane Looking Through A Glass Onion with John Waters: QPAC, Southbank Unipalooza feat. Tourism + Hound: QUT - Kelvin Grove, Kelvin Grove Le Parti Soul feat. Mike Scala + The Dawn Chorus + DJ Redbeard: Ric’s (Downstairs), Fortitude Valley DJ Indy Andy + Ramjet: Royal Exchange Hotel (Beer Garden), Toowong

Arctic Monkeys: BEC 7 May

The Beards: The Spotted Cow 2 Jul, SoundLounge 3 Jul, The Tivoli 4 Jul, Solbar 5 Jul, The Northern 6 Jul

Rockaoke feat. various artists: The Tempo Hotel, Fortitude Valley Hanlon Brothers: The Vault, Southport

THU 27

Elston Gunn + Dead Zephyr + Nila Bonda: Beetle Bar, Brisbane Georgia Potter + Amy Shark + Eden Mulholland: Black Bear Lodge, Fortitude Valley Josh Boyd Quartet: Brisbane Jazz Club, Kangaroo Point Soul’sa: Cloudland, Fortitude Valley B.O.S.S.: Empire Hotel, Fortitude Valley Trainspotters feat. Horror My Friend + Columbia Buffet + CactusDemonDoom: Grand Central Hotel, Brisbane Jabba: Irish Murphy’s, Brisbane

DJ Simon Says: Royal Exchange Hotel (Public Bar), Toowong

JMI All Stars feat. various artists: JMI Live, Bowen Hills

Raw Comedy Heat 7 feat. Andrew Nason: Sit Down Comedy Club, Brisbane

The Hummin Quartet: Lock ‘n’ Load Bistro, West End

Velociraptor: The Elephant Hotel, Fortitude Valley Ruckus Slam: The Hideaway, Fortitude Valley Open Mic Night feat. various artists: The Loft, Chevron Island The Pressure: The Press Club, Fortitude Valley

Russell Hinton: Logan Diggers Club, Logan Central Ballad Boy: Loving Hut, Mount Gravatt Open Mic Night feat. various artists: Mick O’Malley’s, Brisbane Looking Through A Glass Onion with John Waters: QPAC, Southbank

Madeleine Peyroux: The Tivoli, Fortitude Valley

Pirates Alive + Elegant Shiva: Elsewhere, Surfers Paradise

Unipalooza feat. Babaganouj + The Good Sports: QUT Kelvin Grove, Kelvin Grove

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

Groovin’ The Moo: Townsville 4 May

Three Mile Road + Georgia Mae + The Moose + The Tiger & Me: The Tempo Hotel, Fortitude Valley

Wil Wagner + Max Stern: The Spotted Cow, Toowoomba The Music Kitchen feat. Maja + The Barefoot Experience + Ages Of Earth + more: The Tempo Hotel, Fortitude Valley

Cookie Jar feat. various DJs: 633 Ann, Fortitude Valley

Bullhorn: New Globe Theatre, Fortitude Valley

Psych-High-Way feat, Smoke + Doomphin + Hobo Magic + Windrest: Beetle Bar, Brisbane

Looking Through A Glass Onion with John Waters: QPAC, Southbank Aquila Young: Queen Street Mall, Brisbane Jaaleekaay: Queensland Multicultural Centre, Kangaroo Point

Frazer Goodman + Friends: The Vault, Southport

Youth Allowance + Little Earthquake + DJ Valdis: Ric’s (downstairs), Fortitude Valley

The Wonder Stuff + Ups & Downs: The Zoo, Fortitude Valley

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

4 Day House Party feat. various: Victory Hotel, Brisbane

Good Life Festival 2014 feat. Deadmau5 + Macklemore & Ryan Lewis + Hardwell + Rudimental + Knife Party + Kaskade + Porter Robinson + Baauer + Dada Life + Arty + Chuckie + R3HAB + more: RNA Showgrounds (13-17 years), Bowen Hills

FRI 28

Blink-182 show: Albany Creek Tavern, Albany Creek Forever Road: Beenleigh Sports Club, Beenleigh Magic Bones + The Bloodpoets + Wolver + Hushka: Beetle Bar, Brisbane Down 311: Brisbane Brewhouse, Woolloongabba Jeff Usher + A Love Supreme Super Band: Brisbane Jazz Club (6.30pm), Kangaroo Point Mouthguard + Whiskey & Speed + Le Murd + The Incoherent + Punxie & the Poison Pens: Chardons Corner Hotel, Annerley Fishlane: Cloudland, Fortitude Valley Cut Snake + DCUP + Tom & Jarry + Teknizm + Benjo: Coolangatta Hotel, Coolangatta Wil Wagner + Max Stern + Pinch Hitter: Crowbar, Fortitude Valley Dave Di Marco: Dowse Bar (Iceworks), Paddington

SAT 01

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

Shannon Watkins: Royal Exchange Hotel (Beer Garden/4pm), Toowong

Locky: Brisbane Brewhouse, Woolloongabba Caxton Street Jazz Band: Brisbane Jazz Club, Kangaroo Point Thriller feat. Against + Stories + The Construct + Deadlift + Dead Yet + I As One: Coniston Lane, Fortitude Valley Sticky Fingers + Bootleg Rascal: Coolangatta Hotel, Coolangatta D At Sea + guests: Crowbar, Fortitude Valley Wildlife Recordings Launch Party feat. Awesome Tapes From Africa: Depo, West End Eric Prydz: Family Nightclub, Fortitude Valley Tom Foolery + Deon Powter: Hamilton Hotel (Public Bar), Hamilton Jordan O’Farrell + Lifeboat: Imperial Hotel, Eumundi

Jeff Carter: Royal Exchange Hotel (Beer Garden/8pm), Toowong

Motion DJs: Irish Murphy’s (upstairs), Brisbane

Kate Meehan & The Wise Fools: Royal Mail Hotel, Goodna

About Time: Lock ‘n’ Load Bistro, West End

The Zone: Saltbar, South Kingscliff

Musique: Logan Diggers Club, Logan Central

Dave Williams + Jimmy James Eaton + more: Sit Down Comedy Club, Brisbane

Wasabi + Tullamore Tree + Ger Fennelly: Mick O’Malley’s, Brisbane

Tijuana Cartel + guests: SoundLounge, Currumbin

King Leo + Mark Frost Band: Morrison Hotel, Woolloongabba

Amos Pella: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar/10pm), Kangaroo Point Hayden Hack Infusion: Taps Australia, Mooloolaba

Creme Friday feat. various DJs: East Broadbeach, Broadbeach

The Steady As She Goes + Bryce Schneider: The Crosstown Eating House, Woolloongabba

We All Want To: Eat Street Markets, Hamilton

Berst: The Elephant Hotel, Fortitude Valley

Bluesville Station: Palmwoods Hotel, Palmwoods Hipstock feat. Stone Chimp + Fun With Explosives + Spike City + Antichrists Anonymous + more: Prince of Wales Hotel, Nundah Looking Through A Glass Onion with John Waters: QPAC, Southbank Born Lion + The Mercy Arms + DJ Valdis: Ric’s (downstairs), Fortitude Valley


the guide qld.gigguide@themusic.com.au Horror My Friend + Dead Books + Take Me North + Pirates of the Tempest: The Loft, Chevron Island

Seavera + more: Dowse Bar (Iceworks), Paddington

Kick The Butterfly + We Become Ghosts + Ages Of Earth + Triplickit: The Tempo Hotel, Fortitude Valley

Soul Simple: Lock ‘n’ Load Bistro, West End

Spike: Hamilton Hotel (Public Bar/2pm), Hamilton

Future Music Afterparty feat. various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley Forty Five + Army Of Champions + Friends With The Enemy + Kingston Stompers: The Underdog, Fortitude Valley


Boss Sounds: The Underdog (2pm), Fortitude Valley DJ Ryan: Ric’s (upstairs), Fortitude Valley

Bullhorn: Solbar, Maroochydore

Future Music Festival 2014 feat. Deadmau5 + Macklemore & Ryan Lewis + Knife Party + Hardwell + Eric Prydz + Cut Copy + Kaskade + Paul Van Dyk + Baauer + Markus Schulz + Porter Robinson + ATB + Dada Life + Chuckie + Arty + Rudimental + Tinie Tempah + Luciano + Will Sparks + more: RNA Showgrounds, Bowen Hills

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

Wil Wagner + Max Stern + Pinch Hitter: Sun Distortion (all ages), Brisbane

Alex Smith + Soul Simple + The Uncanny: The Zoo, Fortitude Valley

John Malcolm: Taps Australia, Mooloolaba

4 Day House Party feat. various: Victory Hotel, Brisbane

Bart Freebairn + Aaron Gocs: Room 60, Kelvin Grove

SUN 02

DJ Josh: Saltbar, South Kingscliff Manu Delago + Christoph Auer: Sandgate Town Hall, Sandgate

Ironside + The Con & The Liar: The Hideaway, Fortitude Valley

Dave Williams + Jimmy James Eaton + more: Sit Down Comedy Club, Brisbane

KryptamistiK + Reverse Polarities + Rivermouth: The Joynt, South Brisbane

Looking Through A Glass Onion with John Waters: QPAC, Southbank

Exposed Competition #6 (Heat 5) feat. Baltimore Gun Club + Headshow + Junkyard Express + Midnight Show + Dead Books: Ric’s, Fortitude Valley

Bremen Town Musician + Andrew Tuttle + Secret Black + Cedie Janson: The Waiting Room, West End

Free Thought + Lagerstein + Echotide + We Live Forever: The Hi-Fi, West End

Brian McKnight + Mark Lowndes + Rymone: QPAC, Southbank

Caravana Sun: Rabbit And Cocoon, Gold Coast

Frazer Goodman + friends: The Vault, Southport

DJ Ritchie: Story Bridge Hotel (Shelter Bar/10pm), Kangaroo Point

Alter Egos: The Elephant Hotel, Fortitude Valley

Barry Charles & The Deeper Beat + Kate Meehan & The Wise Fools: Royal Mail Hotel (12.30), Goodna

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

Raw Comedy Heat 8 feat. Dave Williams: Sit Down Comedy Club, Brisbane Big Kitty: Story Bridge Hotel (Outback Bar/3pm), Kangaroo Point Adam Scriven: Taps Australia, Mooloolaba

Swing Central feat. Brad Leaver: Brisbane Jazz Club, Kangaroo Point

Touch Sensitive + Millions + DZ Deathrays (DJ Set) + The Ottomans + Drag Mondays: Coolangatta Hotel, Coolangatta

Li Li Kite + Sleep Tea + Alekka + Statler & Waldorf: The Bearded Lady, West End Loose: The Elephant Hotel, Fortitude Valley Six60: The Hi-Fi, West End


PRINTING Premium Eco CD Replication - print@ austepmusic.com.au Ad ID: 4-13673


PA and lighting hire located 20-30 mins north of the Brisbane CBD. We offer dry hire of sound and lighting equipment as well as full production for touring bands, corporate acts, tribute shows and everything in between. We use brands such as KV2 audio, Turbosound, Yamaha, Allen and heath, Shure and Audix to name a few. www.gigawatt. com.au www.facebook.com/ gigawattsoundandlighting

Established 1998. Hugenew-Studio-now-in-West End. Lots-of-in-house-instruments. Tape-options-and-the-latest-indigital-recording. Ring-to-book in for a free studio tour----0407630770----www.alchemix.com.au----sound@ alchemix.com.au----we-typicallyrecord-singles-eps-albums-&-livejams. Dry-hire-options-available-too...

Ad ID: 4-13690

Ad ID: 4-13183


INCREMENTAL RECORDS Professional recordings in a relaxed atmosphere at affordable prices. Clients include Velociraptor, Dune Rats, No Anchor, Nikko, Dick Nasty, Millions and more. www.incrementalrecords.com 0409830607 incrementalrecords@gmail.com


Ad ID: 4-13340

THE WHITE ROOM Mt Nebo. 30 minutes from CBD. Clients include DZ DEATHRAYS, The John Steel Singers, The Good Ship, The Grates, Yves Klein Blue, The GoBetweens. www.whiteroomstudio. com 3289 8185 Ad ID: 4-13344

Brisbane instrumental band: Immigrant is currently auditioning funk/rock drummers to replace a previous band member who has moved over seas. The band is in the process of finishing an album (songs already completed) and starting to gig in and around Brisbane. The successful drummer will have their own transport and a love for finding the groove! Samples of Immigrant’s music can be found at: www.reverbnation. com/immigrant If interested, please contact Richard (bassist) on 0409 821 829 (richardgwdurocher@gmail.com) Ad ID: 4-13646


Stories: The Lab, Brisbane Sunday Sessions feat. various Artists: The Tempo Hotel (5pm), Fortitude Valley Wil Wagner + Max Stern + Pinch Hitter: The Time Machine (all ages), Nambour Sunday Rock N Roll BBQ feat. JJ Speedball + BMX Ray + Monkey Island + Unpeople: The Underdog (12pm), Fortitude Valley 4 Day House Party feat. various DJs: Victory Hotel, Brisbane

TUE 04

Mikhael Paskalev + Little May: Alhambra Lounge, Fortitude Valley The Bug feat. Sian Evans + Andy McDonnell + Tim Devereaux: New Farm Bowls Club, New Farm Love-Song-Circus feat. Katie Noonan + Circa: QPAC (Cremorne Theatre), Southbank Charles Bradley & His Extraordinaires + Jordan Rakei: The Hi-Fi, West End Milk Crate Comedy Nightfeat. various artists: The Loft, Chevron Island Liam Gerner: The Scratch, Milton Jam It Together: The Tempo Hotel, Fortitude Valley Heather Peace + special guests: The Zoo, Fortitude Valley

tour guide qld.gigguide@themusic.com.au


Lior: Old Museum 6 Mar

Bruce Springsteen & The E Street Band: BEC 26 Feb

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

Velociraptor: The Elephant Hotel 26 Feb

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

The Wonder Stuff: The Zoo 27 Feb

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

Slow Magic: Alhambra Lounge 27 Feb

Jakarta Criers: Oh Hello! 7 Mar, The Loft 8 Mar

Derrick Carter: Bowler Bar 28 Feb

Elizabeth Rose: Alhambra Lounge 8 Mar, The Factory 28 Mar

Madeleine Peyroux: The Tivoli 28 Feb

Dan Sultan: The Zoo 8 Mar

Eric Prydz: Family 1 Mar

Yacht Club DJs: Elsewhere 11 Apr, Oh Hello! 12 Apr, Beach Hotel 13 Apr Greenthief: The Northern 11 Apr, Norville Hotel 12 Apr, Crowbar 18 Apr, Kings Beach Tavern 19 Apr 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

Brian McKnight: QPAC 2 Mar

Nina Las Vegas: Bowler Bar 8 Mar

Six60: The Hi-Fi 2 Mar

John Farnham: BEC 10 Mar

Buried In Verona: Crowbar 19 Apr, The Lab 20 Apr (AA)

The Smith Street Band: The Zoo 14 Mar

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

The Gin Club: The Underdog 14 Mar

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

Charles Bradley: The Hi-Fi 4 Mar Mikhael Paskalev: Alhambra Lounge 4 Mar


Neko Case: The Hi-Fi 5 Mar

3 Inches Of Blood: Crowbar 10 Apr

Disclosure: Eatons Hill Hotel 8 May

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

Killswitch Engage: Eatons Hill Hotel 11 Apr (AA)

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

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

Tyga: Arena 12 Apr

Kanye West: BEC 9 May

Suzanne Vega, Seth Lakeman: Brisbane Powerhouse 15 Apr

Michael Buble: BEC 12 May

Baby Animals: Eatons Hill Hotel 14 Mar, Coolangatta Hotel 15 Mar, Racehorse Hotel 4 Apr, Alexandra Hills Hotel 5 Apr

Fleshgod Apocalypse: The Hi-Fi 14 May

Young Franco: Bowler Bar 15 Mar

The English Beat: The Zoo 18 May

Illy: The Zoo 15, 16 Mar

Neil Finn: Nambour Civic Centre 6 Mar, QPAC 7 Mar Bruno Mars: BEC 7 Mar

Steve Earle & The Dukes: The Tivoli 15 Apr

Public Enemy: The Hi-Fi 7 Mar

Allen Stone: The Zoo 16 Apr

Lionel Ritchie: BEC 10 Mar

The Wailers: The Tivoli 16 Apr

Yo La Tengo: The Zoo 11 Mar

Kris Kristofferson: Lismore Workers Club 16 Apr, Empire Theatre 17 Apr, QPAC 18 Apr, Jupiters Theatre 19 Apr

Pharrell Williams: The Marquee 12 Mar (AA) Gretchen Wilson: Eatons Hill Hotel 13 Mar Iced Earth: The Hi-Fi 14 Mar Toby Keith: BEC 14 Mar Queens of the Stone Age, Nine Inch Nails: BEC 17 Mar Martha Davis & The Motels: New Globe Theatre 19 Mar Baths: Alhambra Lounge 20 Mar

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 India Arie, Joss Stone: The Tivoli 20 Apr

We Are Scientists: The Zoo 29 May Mango Groove: Eatons Hill Hotel 30 May James Blunt: BCEC 2 Jun Armin van Buuren: BEC 4 Jun Ellie Goulding, Broods: BCEC 5 Jun (AA) Propagandhi: The Hi-Fi 8 Jun, Miami Shark Bar 9 Jun Bastille: BCEC 13 Jun (AA) Finntroll: The Zoo 18 Jun

Sunnyboys: The Northern 14, 15 Mar, The Tivoli 28 Mar

The Little Stevies: Gasworks 16 Mar The Stray Sisters: The Zoo 18 Mar

Keith Urban: BEC 17 Jun

The Stiffys: The Joynt 22 Mar Halfway: Brisbane Powerhouse 23 Mar Calling All Cars: The Spotted Cow 27 Mar, Beach Hotel 28 Mar, The Zoo 29 Mar, Solbar 30 Mar Toehider: Crowbar 27 Mar, Shark Bar 28 Mar

Chicks On Speed: Alhambra Lounge 21 Mar

Dizzee Rascal: Eatons Hill Hotel 24 Apr

Band Of Skulls: The Hi-Fi 21 Jun

Scientists: Transcontinental Hotel 27 Mar

Jurassic 5: Eatons Hill Hotel 22 Mar

Holy Fuck: The Zoo 24 Apr

The Crimson Projekct: The Hi-Fi 28 Jun

Toehider: Crowbar 27 Mar, Shark Bar 28 Mar

Adolescents: The Tempo Hotel 3 Jul

Babaganouj: Black Bear Lodge 28 Mar

Andrew Strong: The Commitments: The Tivoli 25 Jul

The Angels: Caloundra RSL 28 Mar, Coolangatta Hotel 29 Mar; Caloundra RSL 20 Jun, Queensland Lions Club 8 Aug, North Leagues & Services Club 9 Aug

Shapeshifter: The Northern 23 Mar Orphaned Land: The Rev 23 Mar Thirty Seconds To Mars, White Lies: Brisbane Riverstage 30 Mar (AA)

Front Line Assembly: Transcontinental Hotel 24 Apr Skid Row, Ugly Kid Joe: Eatons Hill Hotel 26 Apr D.O.A: Prince Of Wales 27 Apr Russian Circles: Crowbar 29 Apr KT Tunstall: The Zoo 30 Apr

Lady Gaga: BEC 26 Aug Robbie Williams: BEC 22 Sep


Kodaline: The Hi-Fi 1 Apr

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

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

Hugh Laurie: QPAC 2 May

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

John Newman: Eatons Hill Hotel 3 May

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

The Acacia Strain: The Lab 3 May (AA), Thriller 3 May, Expressive Grounds 4 May (AA)

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

The Rolling Stones: Brisbane Entertainment Centre 2 Apr Kylesa: The Hi-Fi 2 Apr A$AP Ferg: The Hi-Fi 3 Apr The Fratellis: The Tivoli 3 Apr

The Naked & Famous: The Hi-Fi 5 May

St Lucia: The Zoo 4 Apr

Jason Derulo: BEC 5 May

Glass Animals: The Hi-Fi 4 Apr

Cults: The Zoo 6 May

Monster Magnet: The Hi-Fi 5 Apr

Arctic Monkeys: BEC 7 May Temples: The Zoo 8 May

Northlane: The Hi-Fi 22 May

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

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

Absu: Crowbar 23 Mar

Chance Waters: Alhambra Lounge 16 May

The Paper Kites: The Northern 13 Jun, The Hi-Fi 14 Jun

Michael Franti & Spearhead: The Tivoli 23 Apr

Toxic Holocaust, Skeletonwitch: The Hi-Fi 24 Apr

Ella Hooper: Black Bear Lodge 15 May, SoundLounge 16 May, Star Court Theatre 17 May

Melbourne Ska Orchestra: The Hi-Fi 21 Mar

Jake Bugg: The Hi-Fi 23 Apr

Sebadoh: The Zoo 23 Mar

Rüfüs: Coolangatta Hotel 9 May, The Tivoli 10 May, Beach Hotel 8 Jun

The Presets, Australian Chamber Orchestra: QPAC 26 May

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

Ozomatli: The Zoo 23 Apr

Vance Joy: The Hi-Fi 6 May

Twelve Foot Ninja: The Zoo 21 Mar, Shark Bar 22 Mar

La Dispute, Balance & Composure: Trinity Hall 19 Jun (AA), The Hi-Fi 20 Jun

Caspian: The Tempo Hotel 20 Mar

The Jezabels: The Tivoli 6 May

Boom Crash Opera: Lone Star Tavern 28 Mar, Racehorse Hotel 29 Mar, Sirromet Wines 30 Mar

Mondo Rock: Eatons Hill Hotel 20 Jun The Beards: The Spotted Cow 2 Jul, SoundLounge 3 Jul, The Tivoli 4 Jul, Solbar 5 Jul, The Northern 6 Jul

FESTIVALS Good Life: RNA Showgrounds 28 Feb Future Music Festival: RNA Showgrounds 1 Mar Mojo Burning Festival: New Globe Theatre 15 Mar Bluesfest: Tyagarah Tea Tree Farm 17-21 Apr Easterfest: Queens Park 18-20 Apr Groovin The Moo: Townsville Cricket Grounds 4 May Hits & Pits Round 3: The Hi-Fi 9 May, The Northern 10 May Brisbane International Jazz Festival: BEMAC 4-8 Jun

The Jungle Giants: Ric’s 29 Mar, Alhambra Lounge 30 Mar (U18) Jimmy Barnes: Sirromet Wines 30 Mar Harmony: Black Bear Lodge 3 Apr

Caravãna Sun: Beach Hotel 28 Feb, Rabbit And Cocoon 2 Mar, Solbar 7 Mar, Cafe Le Monde 8 Mar

Loon Lake, Jeremy Neale: The Zoo 5 Apr

Sticky Fingers: The Zoo 28 Feb, Coolangatta Hotel 1 Mar

Sally Seltmann: Black Bear Lodge 10 Apr

Kate Miller-Heidke: The Tivoli 5, 6 Apr


the end


A 76,741 metric ton ship carrying cargo, “lube oil” and no sense of direction.

WHERE THE HELL AM I? Washed up on the semi appropriatelynamed Nobby’s Beach after a storm.

STICKYBEAK FACTOR Hundreds of people turned up to gawk/pretend they could pilot a 2km-long ship better.

SINK OR SWIM? Made it to Japan for repairs, but hasn’t been heard of since 2008. Go figure.


A five-foot long new species of jellyfish that has been adorably christened “Big Snotty”.

WHERE THE HELL AM I? The Southern Tasmanian coast – briefly troubled MONA FOMA’s news space.

STICKYBEAK FACTOR Scientists are enthralled; regular punters are kind of all going, “Ewww.”

SINK OR SWIM? It’s hard to tell, but we’re pretty sure it’s dead. Maybe.


Oscar-winning actor, shrimp restaurant founder, religious scholar, Cast Away.

WHERE THE HELL AM I? An island somewhere in the Pacific. No idea, it’s a big place.

STICKYBEAK FACTOR $500 million box office? That’s just straight-up voyeuristic.

SINK OR SWIM? His wife remarried :(. But hey, a Golden Globe. Swings and roundabouts.




Profile for TheMusic.com.au

The Music (Brisbane) Issue #27  

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

The Music (Brisbane) Issue #27  

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