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2 • THE MUSIC • 14TH MAY 2014

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themusic \14TH MAY 2014



INSIDE FEATURES The Black Keys Metronomy


Chromeo Yael Stone Robyn Hitchcock


The Living End Ella Hooper Infinity Broke Owen Campbell Mr Hill & Rahjconkas The Hold Steady James Kritzler

REVIEWS Album: Wagons Live: Arctic Monkeys Arts: The Double

THE GUIDE Cover: Gazar Strips Food/Drink Frontlash/Backlash Indie News This Week’s Releases Indy Features Gig Guide







web 6 • THE MUSIC • 14TH MAY 2014




FRI 16 MAY Sat 24 May

Morgan Evans



Fri 22 Aug

Kid Ink (USA)


Sat 4 Oct

Sepultura (BRA) THIS WEEK Wed 14 May

Fleshgod Apocalypse (ITA)  

Fri 16 May

Tue 24 Jun

Joan As Police Woman (USA) Thu 26 Jun

Story of the Year (USA)

High Vibes

28 Jun

Sat 17 May

Crimson ProjeKCt (UK)

Misery Signals

COMING SOON Wed 21 May U18s Thu 22 May 18+

Sat 12 Jul

Violent Soho SOLD OUT Sun 13 Jul

Northlane + Thy Art Is Murder

Violent Soho

Sat 31 May

Violent Soho

SOLD OUT Sat 19 Jul



Fri 6 Jun

Mon 28 Jul

Coroner (SWE)

Corrosion of Conformity

Sat 7 Jun

Schoolboy Q Sun 8 Jun

Propaghandi Fri 13 Jun

Carcass (UK) Sat 14 Jun

Thu 7 Aug

Bodyjar Thu 21 Aug

Anathema (UK) Sat 6 Sep

Anberlin (USA)

The Paper Kites

Sun 28 Sept

Fri 20 Jun

Rebel Souljahz (USA)

La Dispute (USA) Sat 21 Jun

Band of Skulls

Sun 16 Nov












Street Press Australia Pty Ltd


EDITOR Steve Bell



MUSO EDITOR Michael Smith


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



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


QLD SALES Juliet Brooks, Madeleine Budd

ART DIRECTOR Brendon Wellwood

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

ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe

It’s that time of year when a myriad of our funniest stars who’ve been trailblazing at the Melbourne International Comedy Festival hit the road and bring the funny to the rest of the country – yep, it’s the MICF Roadshow! From Wednesday through to Saturday the Brisbane Powerhouse comes alive with laughter, with stars such as MC Brian Nankervis, Hannah Gadsby and Greg Behrendt plying their trade nightly.

This weekend marks the return of the Big Pineapple Festival, the music shindig held – as the name suggests – at Nambour’s largest tropical fruit-related tourist attraction! This year you can catch bands such as Bliss N Eso, The Living End, Art Vs Science, Spiderbait, Dead Letter Circus and many, many more, as well as all of the usual music festival trappings but surrounded by lush rainforest! It’s on this Saturday – get amongst it!

DISTRO Anita D’Angelo


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

We’ve got 25 double passes to give away to a screening of Good Vibrations at Palace Centro, 6.30pm on 21 May. The true story follows Terri Hooley (Richard Dormer) as he opens a record shop called Good Vibrations in ‘70s Belfast, even as the Troubles rage outside. When he starts recording young punks like The Undertones on his new label, he starts a tiny music revolution. Enter at BRISBANE


BAY STREET BYRON BAY (02) 6685 6402
























national news BONJAH



If you’re an Anberlin fan, then don’t let the band call it a day without saying goodbye. The melodic alt-rockers recently announced they were putting a full stop on their 12-year story, but not without a world tour, stopping in their favourite destination (see: Australia). So open your hearts and minds to the Floridian fivepiece one last time when Anberlin perform 3 Sep, Metropolis, Fremantle; 6 Sep, The Hi-Fi, Brisbane; 7 Sep, UNSW Roundhouse, Sydney (all ages); and 9 Sep, Forum Theatre, Melbourne. Making these shows even more memorable for punters will be The Getaway Plan, who will support on all dates.


Melbourne-via-New Zealand four-piece Bonjah are launching their latest record Beautiful Wild with shows right around the country later this year. Experience their explosive grooves live 4 Jul, Cherry Bar, Melbourne; 5 Jul, Yah Yah’s, Melbourne; 14 Aug, The Northshore Tavern, Hillarys; 15 Aug, Indi Bar, Scarborough; 16 Aug, Amplifier Bar, Perth; 17 Aug, Dunsborough Tavern; 19 Sep, Newtown Social Club, Sydney; 20 Sep, Cambridge Hotel, Newcastle; 4 Oct, The Hi-Fi, Melbourne; 10 Oct, The Zoo, Brisbane; 11 Oct, Racecourse Hotel, Ipswich; and 12 Oct, Surfers Paradise Beer Garden, Gold Coast. Tickets on sale now, proudly presented by The Music.


Oz rock fans right around the nation are going to be raising their tins to the news that James Reyne is going to be revisiting the entire songbook of Australian Crawl live on stage with a full band of gun players. Don’t sit on this guys – Reyne assures us that this is the closest thing to a reunion you’re going to get – so make sure you pick up some tickets and experience all Crawl, all night long! Tour happens 1 & 2 Aug, The Palms, Melbourne; 9 Aug, The Tivoli, Brisbane; 15 Aug, Enmore Theatre, Sydney (with special guests Dragon!); and 23 Aug, Astor Theatre, Perth.


New Zealand chanteuse Tiny Ruins will be crossing the Tasman with a three-piece band to run through her luscious new album Brightly Painted One, with the reliably fantastic Shining Bird getting amongst the fun to spread the word about their brand new 7”. Catch the two acts 1 Jul, Black Bear Lodge, Brisbane; 2 Jul, Newtown Social Club, Sydney; 3 Jul, Anitas Theatre, Wollongong; 4 Jul, Goodgod Small Club, Sydney; 5 Jul, Mojo’s Bar, Perth; and 8 Jul, Northcote Social Club, Melbourne.

You might have seen her on The Ellen DeGeneres Show... Or The Tonight Show With Jay Leno... Or Good Morning America. If not, you’ll be able to catch Ingrid Michaelson later this year when she visits Australia for a run of capital city dates. Known for her transcending voice and choice ukulele skills, the indie darling will take the stage at Metro Theatre, Sydney, 19 Sep; Corner Hotel, Melbourne, 20 Sep; New Globe Theatre, Brisbane, 21 Sep; and Fly By Night, Perth, 24 Sep.



Plenty of hard rock lovers were left lingering earlier this year when New Zealand/Brit alt. riff force I Am Giant, but clearly the guys had some epic ulterior motives as they’ve just announced the release of their second full-length Science & Survival (out 4 Jul on Sony). They’ll launch the brand new album – a record the band calls “bigger, heavier and more intense” – with shows at The Rev, Brisbane, 6 Aug; Amplifier Bar, Perth, 7 Aug; Cherry Bar, Melbourne, 8 Aug; and Spectrum, Sydney, 9 Aug.




Ron Pope has done everything himself, on his own terms, which makes his global success even more humbling. At 30 years of age and already ten albums into his career, the Brooklyn musician is showing no signs of slowing down, with an eleventh full-length, Calling Off The Dogs, set for a release early next month, perfectly coinciding with a return to Australian shores. Catch Pope 6 Jun, Princess Theatre, Brisbane*; 7 Jun, Factory Theatre, Sydney*; 8 Jun, Workers Club, Melbourne (afternoon: under-18s; evening: 18+); and 13 Jun, Astor Lounge, Perth* (*all ages).

THE MUSIC • 14TH MAY 2014 • 11

local news SEA LEGS




Garage-rock miscreants Dune Rats have announced supports for their upcoming tour, with Sea Legs, Dead Beat Band and Scrapes all helping out at The Zoo, 28 Jun, and DBB backing up 29 Jun for the under-18s session at Alhambra Lounge. More info about that Alhambra show too: if you’re in high school and want your band to open proceedings, simply send three tracks to stuff@, with a short bio, high school details and a reason why you’d be best fit to party with the Duneys. Get your entries in by 2pm, 21 May. Proudly presented by The Music.


You may have caught Boy & Bear recently on their mammoth national tour; you may have not. Either way, you should get along and check them out later this year when they tour their latest number one record Harlequin Dream for the very last time. The Get Up & Dance Tour arrives at The Arts Centre Gold Coast, 12 Sep and The Tivoli, 13 Sep, with an all ages matinee preceding an 18+ evening show. All three dates will also feature Brisbane/Melbourne act on the rise Holy Holy.


Melbourne rock gang British India have announced supports for their Coopers After Dark shows, with Columbia Buffet getting it done early at Crowbar, 22 May. The headliners have also confirmed a Sunny Coast date while they’re in town, with northern souls able to catch the band at Kings Beach Tavern, Caloundra, 23 May, with Apollo & The Sun and Tongue Tied Thieves.


The gang at New Globe Theatre and local indie cinephile Kristian Fletcher are getting the venue’s cinema back in full swing, screening B-grade classics Cat-Woman Of The Moon and Teenagers From Outer Space, Tuesday night, 6pm, $10. And while you’re there, why not throw back a few special sci-fi cocktails and gorge on the free popcorn available? Good times all around.


To celebrate Defected Records 15th anniversary, the legendary UK dance imprint is bringing superstar Kenny Dope – one half of groundbreaking production duo Masters At Work – Down Under to share his magic. The rug-cutting is going to go down at The Fox, 31 May.


Gifted Irish troubadour James Vincent McMorrow has just confirmed Airling as the support act for his Brisbane headline show, set to take place 23 May, QPAC. Airling is the partnered project of young local talents Hannah Shepherd and Graham Ritchie, a pair who have been refining their chops in recent years as part of Emma Louise’s live band. Tickets for the show can still be purchased through the venue box office.


Heads up Joelistics fans: the hip hop prodigy is still going to rock Fortitude Valley with Dialectrix and N’fa Jones, 30 May, but the gig will now take place at Alhambra Lounge instead of The Tempo Hotel. All purchased tickets will still be valid at the new venue, with a handful still available at Oztix for $23.50.



Celebrating the release of My Second Mistake, the second single and lead track off ARIA top five album Farewell Fitzroy, Busby Marou will look to maintain their reputation as one of Australia’s hardest working bands when the pair hit the road to share their folkie/roots flavour. With cracking supports Darren Middleton and Karl S Williams also along for the ride, the guys will finish a huge tour along the eastern states with a couple of Queensland shows, happening 29 Aug, Soundlounge, Gold Coast and 30 Aug, Eatons Hill Hotel (all ages). Tickets for both gigs can be purchased now.



An already big Gympie Music Muster line-up has just gotten a great deal larger, with Saturday’s festivities now featuring the Department Of Youth program. The concert – that will run from midday until 7.30pm – will welcome the likes of Josh Pyke, Bob Evans, Thelma Plum, Uncle Jed and The Soorleys to the Crowbar stage, the group sure to provide a unique burst of fresh flavour for youngsters attending the event. The event takes place 28 – 31 Aug, Amamoor Creek State Forest Park. Tickets still available at

local news TEETH & TONGUE



After an extended creation process, Grids, the new record from quirky Melbourne artist Jess Cornelius, aka Teeth & Tongue, is garnering plenty of love from all the right places, and rightly so – the album is a stunner, full of layered pop bliss that’s warmer than an open fire and just as inviting too. Marvel as Cornelius brings these songs to the party with a full band when she performs at Beetle Bar, 21 Jun.


That’s what you’re getting with Straight Arrows latest Petrified, the first taste of their forthcoming record Rising. The Sydney four-piece have been well busy in the past few years, dropping records, cassettes and 7” singles on us, touring the States and even playing the Sydney Opera House as part of Vivid LIVE – kul-cha indeed! Now, the garage punks are going to take it to Brisbane – catch them 20 Jun, The Brightside with buddies and pals TV Colours.


A mystical, moody journey into their psychedelic souls, Moonshire is set to be the track to put Tsun in the eyes of everyone. The quartet will release the double A-side – which also includes the lush and limber Short Sighted Times – with a number of launch gigs around our region. Catch the GC lads 23 May for a hometown show at Elsewhere, Gold Coast, before they play 31 May, The Time Machine, Nambour; 5 Jun, The Bearded Lady; and 7 Jun, The Northern, Byron Bay. All dates proudly presented by The Music.





We’d heard rumblings of this tour dominating the US, but now we can tell you straight that you will be able to see Taking Back Sunday and The Used on the same stage, back to motherfucking back. Both bands have new records to promote, plenty of classics in the canon, and a reputation for smashing it live, so punk fans won’t want to miss this co-headline mission when it arrives at Eatons Hill Hotel, 22 Aug. Tickets for the all ages gig can be purchased through Oztix from this Friday.

If you like your breakdowns punishing and your pits of the hectic variety, then you’ll probably want to be in the house at The Brightside, 28 Jun, for a storming set from Hands Like Houses. The Canberra sextet have been destroying on a global scale since they signed to Rise Records in 2012, and with singles and videos still being pulled from last year’s Billboard charting success Unimagine, the post-hardcore kings don’t look like slowing down anytime soon.


The recently reinstated Ladybugs sessions are gearing up for a second instalment this Saturday, with Hits femme fatale Tamara Dawn curating the evening’s affairs. Catch two-up sets from Serinda Jade & Victoria Watson, Skye Staniford & Mel Fraser, Ash Kerley & Emma White, Hanny J & Tamara Dawn, Jacqui Marshall & Sahara Beck. $12 on the door from 8pm.


Spewing out positive energy and infectious good times, FAIM will be taking their Perth punk flair nationwide. Enjoy the anthems and spin along to their two-anda-half minute bursts of mayhem when the quintet launch new single Means To Their Ends 23 May, Chardons Corner Hotel.


There is something in the water out west, with more cracking rock acts than we’ve got time to mention. We’ll tell you about one though: The Love Junkies. The trio destroy live, and will be hitting the road nationally to launch their roaring new EP Flight Test; catch them at Black Bear Lodge, 12 Jun. Tickets for all dates can be picked up through Oztix.

THE MUSIC • 14TH MAY 2014 • 13


HIGHLY EVOLVED Want The Black Keys to continue sounding the same? Well, according to Patrick Carney, you’re “psychotic”. The drummer tells Benny Doyle why The Beatles are the benchmark and how Danger Mouse made him see things in a different light.


ropping the revs back after the runaway success of 2011 album El Camino, The Black Keys have once again shaken the ideals of what a ‘garage two-piece’ is capable of with their eighth studio offering Turn Blue. A hypnotic body of work – far denser and more lucid than anything the band have created previously – the album sees Carney and longtime running mate Dan Auerbach getting weird and wonderful, with a light psychedelic blanket wrapping up their trademark highway rock’n’roll.

want to push something out as fast as we could,” Carney reasons, “we wanted to take a moment to slow things down.” Burton – who’s currently touring Broken Bells’ second record, 2014’s After The Disco – has been producing The Black Keys since 2008’s Attack & Release, and has long been considered part of the family. “Since the first day we talked to him on the phone we felt connected to him,” smiles Carney. “We’ve known him now for like seven years, and we’ve been working together for seven years so he’s one of our best friends really, and he’s most likely the only producer we’ll ever work with because when we go

I learned from the first time we worked with him that that’s the only way it works, you’ve got to share in the creativity if you’re going to ask for it. “He’s taught me one important lesson: that if you don’t try it, you can’t dislike it. And that is something that I think everybody needs to learn; it’s maybe one of the most important life lessons that I’ve learned, and Brian taught it to me through a very stern conversation in 2007. I was shooting down some idea and he pulled me outside and basically told me that, and since then I’ve had to tell the same thing to five or six bands that I’ve worked with.” Two-and-a-half songs from the Michigan sessions still ended up getting used on Turn Blue though: the beginning of first single Fever “up until the breakdown at the end”, It’s Up To You Now and Gotta Get Away, the “fastest song we’d ever written” according to Carney. “We weren’t going to put [Gotta Get Away] on the record, but we decided that the record was, if you go in on the lyrics, it’s pretty heavy and kinda sad and twisted,” he says. “But we wanted to put that song at the end just to lighten the whole experience a little bit. I know Captain Beefheart used tricks like that on [1967 debut] Safe As Milk, where he put this song I’m Glad right in between the two heaviest songs, just to lighten the mood a little bit. “The thing about those three songs is that they’re the three fastest songs on the record,” Carney adds, “and


El Camino took the band places they could have only dreamed of when they were slugging it out in the bars of Akron, Ohio, a decade before. They headlined Coachella, filled New York’s Madison Square Garden – a sell-out in 15 minutes no less – and the pair once again found themselves on the red carpet at the Grammy Awards, trumping the three gongs they received for 2010’s Brothers by taking home four statues, winning Best Rock Album and Producer Of The Year in the process. Hell, Carney even got into a social media spat with Bieber and his Beliebers. Before those 2013 Grammys the band had been working in a Michigan studio, cutting an entire record in ten days. However, the album the pair were left with sounded like El Camino 2.0. Arguably the songs were solid – great even – but there just wasn’t enough creative evolution. Carney remembers, “After all that shit we just realised that we’d been going at it strong since 2009 and that we should take a little breather.” However, he’s quick to clarify that the “breather” still only equated to four weeks off, the band touring South and North America while frontman Auerbach’s relationship dissolved behind the scenes. Still, it was enough time for the pair to decide they were going to return to the studio with good friend and long-time collaborator Brian ‘Danger Mouse’ Burton, ditching the Midwest for the sunny surrounds of Los Angeles, California to cut another record. “We didn’t 14 • THE MUSIC • 14TH MAY 2014

into the studio it’s like a three-man team, he kinda joins the band for the record – he writes with us, then we all produce it. We all have equal say.”

that makes sense because we were coming straight off the El Camino tour and playing all the fast material from that record and thinking in that world, and we switched gears heavily when we went to LA. But those songs were ones we kept going back to and they seemed to make sense in the context of the record.”

And considering the last two Black Keys’ records have come from entering the studio with no material, the results of the working relationship speak for themselves. “We respect his opinion to the point where he’s able to get things done that he wants to get done, and same thing goes when he’s dealing with us,” says the drummer. “And we always feel pleased with the outcome. A lot of times when you go into the studio with a producer it can be really hard to let go and see where it goes, and Dan and

What strikes you during your first few spins of Turn Blue is how apt the title is for the entire body of work. These are songs that you can get lost in and be held down by. Straight-up stomping rock moments are sparse, drifting guitar solos are plentiful, and the overall dreaminess of the release once again gives The Black Keys’ catalogue a new lean, the record peeling like an onion with every spin. Carney says that his favourite records growing up had that same immersive effect on him. “Led Zeppelin II is a record like that, that I can get really lost in, because they’re almost not songs, they’re just riffs and beats and space and vocal parts, and I think the way they utilised the form of a song that always fascinated me. But y’know, there’s different records, like Pavement’s Slanted And Enchanted – the first time I heard that it was like a fifth generation dubbed cassette, and it had this noise/haze over the whole tape, and it made it feel really mysterious and really detached; it was sloppy, and it was sometimes difficult and sometimes really hooky, at least to me. And I’ve always been

HEAVYWEIGHT HELP Even with the internet making the most absurd personal connections seem possible, it was still weird to be informed late-March about The Black Keys’ new record by earnibbling, tiger-petting, former heavyweight boxing champion of the world Mike Tyson. “I thought it would be cooler if someone else tweeted it, and Mike Tyson, he was the perfect candidate because it feels real wrong but at the same time makes sense,” chuckles Carney. “It makes sense because it makes no sense.” Proving that what you put out you get back, the support came about after The Black Keys gifted Tyson a song of theirs for a documentary the 47-year-old boxer was making. Tyson was real grateful, said if they ever needed a favour just ask, and a drunk text from Carney later, Mike Tyson was punching the keys. “For me part of the fun of putting a record out now is that we have access to more resources, including Mike Tyson,” says Carney. “Dan and I, we take our music really seriously, but we don’t take ourselves that seriously, and that’s an Akron, Ohio mentality; you can do something, but don’t own it, don’t live it, don’t pretend that you’re this... What I’m trying to say is that a lot of record promotions that have been happening recently are kinda self-important. On our radar we definitely wanted to sidestep that.”

fascinated by that, [being] able to make a record that you kinda want to live inside of.” The evolution of The Black Keys sound has been gradual yet inevitable, and Carney wants to keep change as a constant in the future. “To expect someone to not grow musically or personally in like a decade is kinda psychotic,” he scoffs. “I wouldn’t want to be making those [older] records again, I’d actually feel like we’d be the definition of a failure if over the course of a decade our records sounded exactly the same. Dan and I are huge fans of The Beatles, they’re our favourite band, and you go listen to the first record, I Want To Hold Your Hand, and then you hear the B-side of Abbey Road; I mean, you can hear it’s the same voices, but everything’s changed. That’s like the benchmark of success to me, and one day, hopefully, Dan and I can make a record that is somewhere on that scale. We haven’t yet, and I don’t think we ever will, but just knowing that exists, that you can see this band in eight years go from point A to point Z is a reminder why I want to make music.” Those musical heroes that Carney has namechecked during our chat – Beefheart, Zeppelin, Pavement, Beatles – you can hear all those influences and more swirl around in Turn Blue. Because what The Black Keys are doing is

experimenting with past traditions to create something exciting for the present, and even if they don’t continue the golden run they’re currently enjoying, they’ll be satisfied nonetheless. “This record, I think it’s our best record,” Carney gushes. “But I thought Brothers was our best record when we made that, I thought El Camino was our best record when we made that. I’m just really happy with it, but if it’s not as successful as either one of those records I will not be upset, I will actually be completely content with that.

“Dan and I have gone from making a record in a basement and no one really hearing it for a while, and then finally people started paying attention – actually, Australia was the first place where people really started paying attention to our second record [2003’s Thickfreakness]. But we’ve gone from basically playing to no one in the US to headlining festivals around the world, playing these big shows and getting awards, and just having the knowledge of that – the journey from beginning to now – is enough for me to feel content with our career forever.”

WHAT: Turn Blue (Nonesuch/Warner) THE MUSIC • 14TH MAY 2014 • 15


READY TO MINGLE Joseph Mount admits that Metronomy’s latest album doesn’t bring the party, but as Benny Doyle learns, the music is about more than just instant pleasure.


etronomy’s record from earlier this year, Love Letters, has the vibe of a Wes Anderson film. The instrumentation is awkward, the lyrics politely passive, and the overall quirkiness of songs like Love Letters and Reservoir paint the sort of pictures that would probably be shared between Margot and Richie Tenenbaum. But don’t go thinking these Love Letters of Metronomy’s are being sent out into the world from a literal place. Mount clarifies. “I’m not the kind of person that is trying to be a confessional songwriter or anything like that. I take ideas from my life but there’s a point where it becomes a fantasy. It wouldn’t be a very nice thing to do to my girlfriend, I don’t reckon, to get into the nitty gritty of things.” Rather than working for the immediate gratification of others, Mount has made a record that not so much forces people to work for their joys, but more so encourages listeners to hang around and see where the experience takes them. “The first time you listen to this record you’re not going to be like, ‘Whoa! Par-ty!’,” laughs the 31-yearold. “But if there’s something about it you like, even if that’s a tiny something, if you keep going back to it it’ll get more and more rewarding.” The Brit goes on to call Metronomy’s fourth full-length a body of work which is “part of this bigger picture”, but also a record that, on another level, simply reflects where he was at while writing and recording. “This one definitely is the most precise record I’ve made – I feel like the songwriting is refined,” Mount says. “But with each record I definitely feel like I’m getting closer to distilling, or bottling, the essence of Metronomy.” Now a fully formed four-piece – the current state of a gradual evolution which began in Mount’s Devon bedroom, shifted to London in trio form before growing into a four-piece based between London and Paris – Metronomy cut Love Letters in the English capital at Toe Rag Studios, a space that looks more vintage science laboratory than high-tech studio for the stars. It’s an analogue fetishist’s wet dream, and a place where Mount 16 • THE MUSIC • 14TH MAY 2014

was really able to shape the classic sound of the record. “When you’re [recording to] tape and you do little things with it, you realise how so many modern effects basically come from people just screwing around with tape,” he remarks. “And just having

making an LP which is most exciting for Mount. “I really like being able to get ideas out of my head onto a record,” he says. “Being able to make something out of nothing, I’m really into that, and how you can start a day with nothing and finish with a song that never existed. And I don’t have that instant gratification in anything else that I do; I’m not a sculptor or a painter. It’s the only thing that I get that sense of achievement from.” Visiting for Splendour In The Grass, Metronomy will tie their starkly different recordings together – the bedroom electro of Pip Paine... (2006), the nerdtronica

“WITH EACH RECORD I DEFINITELY FEEL LIKE I’M GETTING CLOSER TO DISTILLING, OR BOTTLING, THE ESSENCE OF METRONOMY.” this physical thing makes you look at [the recording process] differently. “I wanted to make myself learn something, and to record like that is a real shock to the system. It’s just a challenge, and I feel happy now to go and spend two years touring the record because when I was making it I sort of gave myself a mental workout... but I’m alright now.” And it’s that sense of wonderment when

across Nights Out (2008) and the tropical yacht rock of 2011’s Mercury-nominated The English Riviera – with an entirely giving live show. Mount calls it “an opportunity to show how they do all come from the same place”. “It makes more sense when you’re seeing those tracks mingling with one another in a set than it would if you were just listening to them all in a mix,” he reasons. “I feel like the live show has really hit a point, and I’m just very proud of it at the moment. There’s something about having that back catalogue, that wealth of material that you can draw on, [which makes it] feel like a complete thing – we’re having a lot of fun with it at the moment.” WHAT: Love Letters (Warner) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands



They bang on about Hall & Oates and boast sounding like George Michael and Roxette, but don’t call it nostalgia. Chromeo’s Dave 1 and P-Thugg convince Andrew Mast they dig new music by Drake as well.


t’s midway through a week of SXSW promo in Austin, Texas but Chromeo are on. The Canadian disco-soul duo attack each interview with the verve of new young things trying to win their first wave of media attention. Propped up in the first floor lounge of the Hampton Inn, P-Thugg (Patrick Gemayel) is blinged out and relaxed into a giant sofa chair while Dave 1 (David Macklovitch) sits excitedly on the edge of his matching chair. Both stylish in black, both in love with their new album White Women. The pair see their fourth album White Women as their most collaborative effort to date – working with Solange and Vampire Weekend’s Ezra Koenig as well as upcoming production duo Oliver. Having previously worked with Solange as she was reinventing herself as a hipster pop princess, Chromeo refuse to take credit for her newfound coolness. “We didn’t help Solange in any way,” says Macklovitch. “She was already killing it – she’s the total package.” But he will take acclaim for another act’s sudden hipster cred. “I’ll take credit for us and Hall & Oates,” boasts Macklovitch. “And Daryl [Hall] would be the first to say that ‘coz we went to war with that band’s name. People went ‘What! Hall & Oates!’ for so long. We went to war.” One track on White Women in particular seems to cement Chromeo’s musical nostalgia, the slow-burning Old 45s. But Macklovitch argues, “This is not us listening to old records but listening to a record like the Drake single – which is the same 100 bpm tempo – and, it’s like, this is a great groove, we should do something at that tempo too. It’s dancey but in a different way.” The last song recorded during the White Women sessions – finished the day before mastering began – is a collab with Oliver. Macklovitch continues, “They have the same sort of hip hop/funk/disco culture as we do. They actually wrote that song… And it’s got that George Michael thing – kinda ‘80s rockabilly effect on the voice, the chorus gets real big and the guitar solo is pure Roxette but it sounds modern. My parents like that.” Ahem, there’s that nostalgia thing again. Macklovitch disagrees, “The thing with us is it could be Leo Sayer or

it could be Blood Orange. We’re not fetishists for old music. Our whole schtick was that we were gonna draw from this whole obscure part of the musical canon that people overlook. Once that’s established we’re in dialogue with… You know, we’ll listen to an Andre 3000 record for inspiration.”

Gemayel adds, “It’s the whole point of what we do – to get it out there. The more the merrier – it’s great to have a little scene, a little competition.” In fact, Chromeo believe they owe Australia some kudos for influencing their own sound. Macklovitch is keen to express his love for “dope Australian underground, slept on ‘80s group Flash & The Pan”. It seems they were put onto the Australian pop duo (made up of iconic Australian musical team and ex-Easybeats, Harry Vanda and George Young) by French electronic producer Philippe Zdar. Macklovitch recalls, “He was like, ‘Dude, it’s so crazy, you sing like one of my favourite singers in the ‘80s, Flash & The Pan.’ But because of his French accent I could

“WE’RE NOT FETISHISTS FOR OLD MUSIC.” But Macklovitch does admit they are best known for being inspired by an ‘80s sound, “I think everybody knows that we went to war for this kind of music. When people thought that the ‘80s began and ended with New Order. And we went to war for the codpiece.”

never understand what the group was. It took me four years for me to be in a room with him and YouTube it – ‘Flash & The Pan… that’s what you were saying!’”

They are also aware the sound they drew from that inspiration has itself inspired imitators – especially in Australia. “We’re aware,” says Gemayel pointedly. “I don’t wanna call them imitators,” interrupts Macklovitch.

And there is one stop they have to make when back here. “The Palazzo Versace is waiting for us on the Gold Coast,” confesses Macklovitch. “They’re waiting for P to return all the stolen pillows…” Gemayel adds, “…And glasses and ashtrays and towels.” Macklovitch laughs, “There’s stolen merchandise from the Palazzo Verasce that needs to be returned. So just for that reason we will return.”

He’s hoping they can hook up with Flash & The Pan next time they are in Australia… Which will be when? Well, they’re not exactly sure. “What we would like to do in Australia for once is to do a string of hard ticket [headline] shows – it’s just very hard financially,” muses Macklovitch. Gemayel adds, “We usually go out there for festivals.” Macklovitch: “But we will probably do that again, it’s fun.”

WHAT: White Women (Parlophone/Warner) THE MUSIC • 14TH MAY 2014 • 17


CHASE THAT HIGH 2014 is the Year of the Horse? Think again! 2014 is all about Ella Hooper. She lets Jazmine O’Sullivan in on her plans for world domination.


lla Hooper won the nation’s heart years ago as the frontwoman (or girl) of Killing Heidi, with hits Weir and Mascara reaching numbers two and 14 respectively in triple j’s Hottest 100 of 1999. Fifteen years later, you can now get a weekly dose of Hooper on ABC’s newly revamped Spicks And Specks, where she is a team captain. “It’s my dream job,” Hooper gushes. “I’m so happy and I just feel so lucky and blessed. I’ve always loved the show, and I’ve always loved Alan [Brough] and Myf [Warhurst].” Coming onto the show after such a popular line-up, she admits, “I definitely felt there were some big, big shoes to fill and they’re still a little roomy, but we’re just trying to play our natural game and develop into our own roles. But yeah, the country just adored those people, and rightly so – hopefully one day we’ll be held in the same esteem.” Accompanied on the show by fellow team captain Adam Richard and host Josh Earl, Hooper puts it down to a good friendship that creates the perfect on-screen chemistry. “Josh, Adam and I just really click as people – we hang out, we’re mates, we go and have dinner – working with friends makes it so much easier and I feel helps us work really well.” When she’s not on screen, Hooper also hosts a radio show on 2DayFM, mentors aspiring musicians, and is about to embark on a national tour in support of her music as a solo artist and in particular her debut single, Low High. Quite the busy schedule! “I don’t know how I’m going to fit [the tour] in actually! We’ve been doing big rehearsals whenever the band and I can squeeze them in, but honestly it’s really tough to schedule it in because every day there’s something going on, but I love it. Getting into the rehearsal room and playing the music, I feel like ‘Oh, this is the best bit!’ It’s a bit of a reward.” Branching out for the first time as a solo artist was a brave move for Hooper, who had grown accustomed to having a band around her for many years. While she admits she’s a little nervous to be stepping out on her own this time, she also explains that it’s something she felt she had to do. “I do really love being in a band, and

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I already miss it, but I knew I needed to change up my habits. When I’m in a band I have habits that are lifelong, because I’ve been doing that since I was 13. I just needed to change those habits to work my artistic sensibilities and to shake them up. Branching out as a solo artist for

line and a melody idea. I didn’t actually know what the song was going to be about as I was writing it, which is really unusual for me, but it let the song be so free and that’s why I love it so much. It feels like something I’ve never done before, which is exactly what I wanted to do and challenge myself with for this solo record.” Low High is really just the first taste of what Hooper has to offer as a solo artist, as she plans to follow up the single with the release of her debut album, In Tongues, in the coming months. “I can’t wait to just show all the other sides of my music. There’s some stuff [on the album] that’s harder and darker than

“I KNEW I NEEDED TO CHANGE UP MY HABITS.” me is all about change, embracing change and forcing myself to change.” The idea of change seems to be working for Hooper, who confesses that even when it came to the actual writing of Low High she utilised a whole new approach. “I usually take songs in and workshop them with the producer I’m working with, and we might change the sound slightly and sometimes the order or the rhythm, but this one actually started with a percussion

Low High, and there’s also some stuff that’s funner and lighter, so I really can’t wait to share the whole thing. “The live show is going to be very stripped-back, which is sort of exciting and scary. I’ve got one electric guitarist, Tim Harvey, who is also Clare Bowditch’s guitarist, and another guy called Robin Waters from a band called The Boat People, and he is triggering samples and loops while doing synthesisers and bass, so he’s really busy over there – he’s my octopus! I think I’m stressing him out,” she laughs, “because I’m basically getting him to be the whole band while Tim and I just put the cherry on top! It’s really interesting though, I’m not sure if it will be what people are expecting, but we’ll see.” WHAT: Low High (Independent) WHEN & WHERE: 15 May, Black Bear Lodge; 16 May, SoundLounge, Gold Coast

CREEPY CELESTIALS On the eve of Robyn Hitchcock’s “sixth or seventh” Australian sojourn by his reckoning, he tells Steve Bell about making new musical pals and the diabolical nature of rock’n’roll.


he career arcs of UK songwriting institution Robyn Hitchcock and our own inveterate Steve Kilbey contain some quite fascinating parallels – not just timeframe (they were both born in England just one year and 40-odd kilometres apart), but also where and when they delved for musical inspiration, their eclectic approach to songcraft and their indefatigable nature (between them they’ve released over a hundred albums) – but remarkably they’ve never actually crossed paths. Until now. “I’ve known about his stuff since the early ‘80s – somebody told me about The Church in about ‘82. We were both in the American college charts in the late ‘80s, and our shirts wowed a generation of American youth,”

laughs Hitchcock about his partner-in-crime for the impending Insects & Stars tour. “I was going to come to Australia anyway, and the promoter put us together – Steve I guess was happy with it. We haven’t spoken yet, we’re yet to meet, but I’ve been playing along to his new single on YouTube so I’m getting prepared. “You’ll get the get the full gamut – you’ll get Kilbey and Hitchcock, plus you’ll get Kilbey individually and you’ll get Hitchcock individually, so you’ll probably get at least 50 minutes of me on my own which is more than enough.” Hitchcock’s near fourdecade career has seen him tour in many guises

– from his revered post-punk outfit The Soft Boys to more recent excursions with backing bands The Egyptians and The Venus 3 – but of late he’s more than happy to be entertaining on his lonesome.


“I do enjoy playing solo because the focus is very simple – you don’t have to own control of the whole stage,” he ponders. “I love playing with other musicians, but live sometimes it’s harder to focus on other people. I like seeing what I can do with just my voice and guitar – playing with bands it’s harder to hear the vocals and I lose my voice quite often on tour with a group. It’s such a struggle, you have to sing four times as loud and I find myself straining – I see pictures and my neck is bulging, I look like somebody who’s lifting weights or having a hard time in the bathroom. It’s not a pretty sight. “I mean it’s exciting playing electric music with electric guitars – I think it releases diabolical forces myself. I feel that there’s a kind of insanity involved with playing rock’n’roll, which is why people like it – it just sort of throws you into the abyss. And I’m not sure how much I need to be thrown into the abyss at my age. Plus I like to hear what I’m singing – I’d rather be lowered very gently into the abyss with very good reverb. I like harmonies and hearing harmonies, which is why I’m very interested to work with Steve, because I know we’re going to be doing a little bit of stuff together. I’m not sure who else will be with us onstage but I know there will be no drums, so it’s not going to get into that world.” WHEN & WHERE: 16 May, New Globe Theatre



With The Big Pineapple Complex just around the corner, The Living End bassist Scott Owen breaks out of the nuthouse to chat the state of the Australian festival scene and working with Ash Grunwald with Daniel Cribb.


fter travelling around the country with Soundwave earlier in the year, and being a staple of the Australian festival scene since their formation in 1994, few bands have the ability to comment of the current state of the festival scene like The Living End. And despite concerns surrounding the future of Australain festivals, bassist Scott Owen doesn’t think there’s anything to be too concerned about. “In history the popularity of music has gone up and down due to other trends and stuff and maybe it’s just sort of hit a bit of a lull at the moment. It’s a weird age that we live in - far out, I feel like I’m sounding like a father. I still think that there are a lot of music festivals out there happening, there are a lot of places for band to play, there’s still a shitload of bands around, and there’s still heaps of great music around, so I definitely don’t think we’re in dire straits here, no pun intended,” he laughs, somewhat out of breath. “[I’m] just sort of pacing around the road out the front of my house aimlessly talking on the phone,” he says. “I probably look like a lunatic because I’ve just been sort of walking around in a circle for the past hour, and if anyone’s looking out their window they’re probably thinking, ‘That guy really needs to go back to the nuthouse now.’”

With his schedule as of late, it’s not a stretch to think he may be stressed to the point of admission at times. It’s been a busy two-and-a-half years for The Living End. After releasing their sixth record in 2011, The Ending Is Just The Beginning, they embarked on another stretch of relentless touring, last year tackling Europe, but not before Owen and drummer Andy Strachan hit the studio and toured with Ash Grunwald midyear – an experience that has given the pair a new perspective on The Living End. “It was all very spontaneous,” he tells. “All [The Living End] stuff is very structured –

the songs are arranged as they are and we play them the same way every time and stick to their true arrangement, whereas with Ash there’s a lot more of an improvisational loose jam approach to his songs. It was surprising when we first played them with him… It’s been cool for me and Andy, just realising how much fun we actually have playing together.” After their appearance at Big Pineapple, the rest of 2014 will see The Living End recede into the shadows to take some time off, before regrouping at the start of 2015 to begin work on album number seven. “I really don’t know what the next Living End record will be like – we’ve never got a plan,” Owen says to round out the conversation. “I can hear the ambulance coming in the distance,” he jokes. WHEN & WHERE: 17 May, Big Pineapple Music Festival, Woombye THE MUSIC • 14TH MAY 2014 • 19


THE NEW ORANGE Yael Stone wanted to scare herself. And what better way to do so than to pack her bags and shift to the other side of the world? Guy Davis chats to the actress about Orange Is The New Black.


ydney actress Yael Stone had been racking up some impressive credits on stage and screen at home, but her yearning for “an adventure quest” saw her relocate to New York City. She hadn’t been stateside long before she auditioned for a TV comedy-drama about life in a women’s prison. The show was Orange Is The New Black, adapted from Piper Kerman’s memoir of life behind bars by Weeds creator Jenji Kohan, and Stone landed the role of Lorna Morello, whose red lipstick and distinctive east coast accent has made her one of the series’ most notable characters. Orange Is The New Black



has been warmly received by critics and audiences alike, with a second season set to air soon and a third season recently given the green light.“It’s good to be a little bit terrified,” she says. “I’ve found America has been a little more open for me when it comes to film and television. I was able to do so many wonderful things in the theatre in Australia, and I was so lucky to be able to do that, but working on Orange... here I’ve been able to have a real inventive experience creatively. I’ve been able to create a space around myself and then create something within that space.” Stone initially auditioned for the

role of Nicky Nichols, Lorna’s jailhouse lover, but admits she wasn’t quite right for the role. But the show’s casting directors saw something in her that suited the part of Lorna, and when Stone was given a scene to read she went for it, aware that sometimes the best course of action is “to be willing to fall flat on your face and make an absolute fool of yourself ”. “Sometimes taking that leap of faith is a good move!” she laughs. One of the boldest moves Stone has made in her portrayal of Lorna is the character’s voice, a BostonNew Jersey hybrid that has bemused a few US viewers but delighted more. “I’ll take the delight. I’m just happy no one has asked me to leave the country!” The cast has been praised by admirers of the show, not only for the line-up’s talent but also its diversity. But even though the actors are “black, white, Hispanic, gay, straight, transgender”, the discussion surrounding the actors and their characters has become less about gender and sexuality and more about people and personalities. “We are changing the conversation, and I can’t tell you how extraordinary it is to be part of that.” Orange Is The New Black’s first season is now available on home video, and new episodes will be airing on Showcase in June. Stone says the show will be going deeper and darker in terms of character and storylines. “While it’s essentially a comedy with some dramatic moments, even the comedy has a very black Jenji Kohan feel to it. Season two has a lot more of that.” WHAT: Orange Is The New Black Season 1 is now available (Roadshow). Season 2 will screen on Showcase in June.

TIME GENTLEMEN Jamie Hutchings talks about Infinity Broke’s debut, River Mirrors, with Tyler McLoughlan ahead of their first national jaunt.


ydney outfit Infinity Broke may be a new outfit, but Jamie Hutchings and Jared Harrison have shared Bluebottle Kiss heritage, with the addition of Hutchings’ brother Scott and longterm collaborator Reuben Wills to the line-up.

The resulting work, River Mirrors is raw, dynamic and full of jagged guitars and the character of the western New South Wales shearing shed in which it was created.

over all the hectares of the property. Because I live near the sea, there’s always wind and to be a really long way inland and for it to be dead still or dead silent, it’s got a very Picnic At Hanging Rock kind of meditative atmosphere, and I think that definitely made it’s way onto the record – even though the record gets pretty dissonant and intense, there’s a hypnotic quality to it.”

“We wanted to create, at least for some of the centrepieces of the record like Monsoon and Termites, the type of music that relied a lot on improvisation and having really hypnotic elements to it… And to be able to do it in an environment like this big shearing shed, which had no sound restrictions and where there was no noise or working hours or even telephone reception, it’s quite a meditative environment. You’d wake up and it’d be dead silent and if everyone else was asleep you’d sort of walk out in your undies and sit on one of the rocks and look

As talk turns to J Walker and his criminally overlooked Machine Translations record of last year, Hutchings and his compadres might just land in that similar, special category of Australian music reserved for

“I was thinking of the idea of infinity brokers, like people that would deal with selling infinity – just a silly science-fiction type of idea but I thought that would be a pretty lame band name,” explains Hutchings. “I think people think it means being poverty stricken forever, and it could be interpreted in any number of ways. I kind of like the idea of it being a few different levels – maybe the idea of infinity or forever breaking in two.”

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those making challenging records that receive critical acclaim yet little fanfare. He doesn’t mind. “That was the good thing about doing the funding of this record, doing the Pozible campaign – just realising that when you’ve been doing it for some time that there is a lot of people [for whom] it means a lot,” Hutchings says with pride. “It’s a chance for them to contact you and for them to contribute and it’s not just a financial thing; it’s really reassuring to know that your music has reached that far, and that is one of the special things about doing your own thing and being uncompromising and always following what is your own chosen, natural artistic path and just seeing wherever it leads. There’s an audience out there for it, which is nice.” WHAT: River Mirrors (Come To The Darkside/MGM) WHEN & WHERE: 16 May, The Loft, Gold Coast; 17 May, New Globe Theatre

THE MUSIC • 14TH MAY 2014 • 21


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


t’s just a second single release, really,” roots/blues singer-songwriter and guitarist Owen Campbell says of his new single, Remember To Breathe, lifted off his second album, 2013’s The Pilgrim. “I wrote that song when I was living in a city, and any city I find I’m

just not a fan of, so the song is about hating cities and the clip is similar: me just running around a city on a sleepless night encountering various people and places.” The album debuted at #1 on the iTunes Australia Blues Albums Chart, reaching #1 in the iTunes Blues charts in Canada and New Zealand. His debut album, 2012’s Sunshine Road, peaked at #1 on the overall iTunes charts that year, so things are building nicely, regardless of his contentious departure from Australia’s Got Talent’s 2012 grand final. Considering he’d


already been touring independently and internationally for almost six years before he entered, you’d have to wonder why he even bothered. “That served a purpose, and I did well out of it, so I’m happy to have moved on from it.” Not that he did all that well from the experience. Campbell had just set up for another bout of busking when he took the call from The Music. “Before I did the album I was busking on Pitt Street. To get finance even to get a tour started you need a lot of money. Things are going well, but I’m broke!” Over the past eight years Campbell’s performed all over the world, from the highest blues festival in the world in Kathmandu to Ireland, Europe, the UK, India and the US. “I just decided, right, I’m going to go to this country and see if I can book some festivals or gigs, and sometimes I’d just busk and then get gigs that way. The busking funds all of the touring, and the touring satisfies an itch, I suppose!” The new clip’s all well and good, but the more important release for Campbell is an EP called Songs For Syria. “A hundred per cent of the proceeds are going to the Red Cross over in Syria. It’s one of the biggest refugee crises since World War II – it’s between 4,000,000 and 6,000,000 people homeless or displaced or fled the country, and our [Western] media and governments of have taken a very flaccid approach to it... I just thought, instead of sitting there yelling at the radio, I want to do something about it.” WHAT: Songs For Syria (MGM) WHEN & WHERE: 18 May, Royal Mail Hotel; 21 May, The Joynt; 22 – 25 May, Blues On Broadbeach Festival, Gold Coast

TWO BECOME ONE Eamon Hill and Rahj Jordan have come together in the one studio for the first time since partnering as Mr Hill & Rahjconkas. Rip Nicholson finds out about this more organic process and their upcoming tour with Jurassic 5. “I was originally living in Brisbane and Rahj is based in Wagga Wagga,” explains Hill on how they recorded their first two albums. “So it was just done between emails with me recording in Brisbane and sending it down to Rahj.” “We’ve never really written together before,” Jordan interjects. “I’ve now moved down near Sydney and it’s a quick drive down to Rahj’s place, we can get together in the studio and work from scratch.” says Hill, reinforcing the excitement they have heading into recording their third album. “The new album sounds nothing like the old stuff because of how much effort we’ve been able to put into the whole process. It’s really exciting to be able to surprise our whole fanbase with the quality of this album.” Since the Brisbane MC joined the NSW producer in 2011 they have dropped two indie albums featuring singles Warning Signs and Put The Work In, their talent coming to the attention of triple j who named them Unearthed feature artists and awarded them a spot on Sprung festival. In addition, they’ve circled the country with some of our favourite home-grown hip hop acts, including Illy, Drapht and Seth Sentry. It’s incredible progress for both Hill and Jordan given that their first two albums have been packaged together via emails, but adding proximity to

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their game could prove the potency they need to break new grounds. “We vibe off each other much more,” Jordan says, “and you know, we’ve only known each other since 2011 so we’ve had time to really establish a friendship so as we’re going along we’re only getting stronger as partners and as friends, too. We’ve been able to relate to each other a lot easier now that we’re face to face.” Fresh from spitting across stages with the purveyors of ill repute in The Funkoars, Mr Hill & Rahjconkas will soon be headed back out on the circuit, this time with West Coast

US rap-reptilians, Jurassic 5. “It’s just very honourable man,” proclaims Jordan. “It’s different music to us. Many of their songs have been stuck in my head throughout my life so it’s just cool to be a part of the heritage. “Yeah, Jurassic 5 are a very influential band,” Hill continues. “Just to be able to open up for them is huge. This will be the first international act that Rahj and I will be playing with so I’m kinda nervous because of the size of the venue and size of the show and everything that we’re going to be involved with is a bit daunting, but at the same time we’re going to give it 100 per cent and prove to everyone that we deserve that spot and warm everyone up, that’s for sure.” WHEN & WHERE: 22 May, Eatons Hill Hotel; 17 May, Big Pineapple Music Festival, Sunshine Coast

lot more vulnerable, because the quieter music kind of allowed for it, whereas this seemed to feel like I needed to have some characters who were in some particularly dire circumstances – I felt like writing truthfully about my own life wouldn’t be cinematic enough for the music that was coming out.”


Dreams about teeth supposedly reflect anxiety, apprehension and paranoia, so fittingly the characters in Teeth Dreams are a fretful bunch, complete with dubious lifestyles which afford them plenty to be concerned about. “When we started writing the record I met this doctor at a party – a general practitioner here in New York – and he was saying that over half of the people who come into his office come in for anxiety,” Finn continues. “Then I started to look around, and I saw that even the New York Times has a weekly anxiety column, so I thought, ‘Maybe we’re living in particularly anxious times?’ I mean we all have anxiety; I think maybe as a person I’m not all that anxious compared to some of the people I know, but I think we all have it – it’s part of our human nature.


“So I got to thinking about that anxiousness that’s sort of in the air. It’s funny, since we named the record Teeth Dreams so many people have come up to me and said, ‘Oh man, I have those teeth dreams too!’ I wanted it to be like that – I wanted it to be this unifying thing, like, ‘Hey, we all have these,’ and you’ve got to feel okay about it because it’s just part of us.”

Brooklyn-based rockers The Hold Steady’s new album reflects the myriad anxieties inherent in modern society. Frontman Craig Finn tells Steve Bell why the truth just might set you free.

Finn believes that much of this mass anxiety stems from the disconnect between how we represent ourselves in modern society and who we actually are as individuals.


he Hold Steady started their career ten years ago in a flurry of activity, releasing their first three albums – Almost Killed Me (2004), Separation Sunday (2005) and Boys And Girls In America (2006) – in a burst of creativity as driven and garrulous as the characters that inhabited their heady and hedonistic narratives. On these albums their anthemic barroom rock’n’roll was abetted by a stream of interrelated songs, in which characters would flit back and forth while events were dissected from different angles and perspectives. You didn’t need to know who Holly, Charlemagne, Gideon or the Cityscape Skins skinhead gang were to appreciate the songs – crucially they worked perfectly in isolation – but delving into this dark world paid handsome dividends as you began to discern dangerous desires and agendas, more akin to a series of novellas than a cluster of rock albums. After a while, however, this aspect of The Hold Steady’s songwriting – their lyrics the domain of enigmatic and erudite frontman Craig Finn – began to slowly recede into the background. Their following long-players (2008’s Stay Positive and 2010’s Heaven Is Whenever) eschewed specific characterisation for more universal tropes, and while these records had plenty to offer – both musically and cerebrally – the rush of piecing together the puzzle of entwined chronicles seemed a thing of the past. Which is why when their sixth album Teeth Dreams finally dropped – the four-year layoff partly due to Finn’s releasing his comparatively stripped-back solo debut Clear Heart Full Eyes in 2011 – and opened with the lyrics, “I heard the Cityscape Skins are kinda kicking it again’ (on I Hope This Whole Thing Didn’t Frighten You), long-term fans of the band recognised this immediately as a serious statement of intent.

“When I’m saying stuff that harkens back to old records, a lot of that’s trying to create this world for people to disappear in, but I know that the long-time listeners and hardcore fans are going to pick up on that right away, so that’s me wanting to say, ‘We’re back! This world is here and we’re ready to go into it. Let’s dive in there!’” Finn smiles. “And the Cityscape Skins always seemed like a pretty scary bunch, so it kind of kicks off the record on a pretty ominous note. “I really wanted to go back to that storytelling and the characters – I’d gotten away from that, and I’m not sure why. I kind of wanted to do something in that vein, and I think the music called for it – it’s kind of a darker and more sinister record. The solo album was kind of breezy and a lot more ‘me’ and a

“WE ALL HAVE ANXIETY – IT’S PART OF OUR HUMAN NATURE.” “We have so many ways of projecting ourselves out there with Facebook and Twitter and whatnot,” he reflects. “I’m not on Facebook but I’m on Twitter, and one thing I’ve noticed is that I really love Twitter except when I’m reading tweets from people I know in person – then I’m, like, ‘No, you’re not like that! That’s not what you’re into!’ I think that everybody’s just as guilty; we all project something that’s different from ourselves. I use the example of internet dating – you put up the picture that’s you at the best angle, maybe you’re 30 pounds more in shape and you have a better head of hair because the photo’s nine years old. I think there’s anxiety that lives in the gap between the truth, and what you’re putting out there as a representation of yourself. “I think the other thing is that most of the songs mention the truth in some way, or things being true. I had this idea that it’s like the less you lie and the more you tell the truth, the less you have to remember. You don’t have to keep your lies straight, and I was wondering whether telling the truth and representing yourself truthfully is kind of an antidote for this anxiety that permeates our world now.” WHAT: Teeth Dreams (Razor & Tie/Sony) THE MUSIC • 14TH MAY 2014 • 23


AN UGLY TRUTH Author Jimi Kritzler sat down with some of the shining lights in Australia’s rich underground rock scene, and emerged with a fascinating insight into both their music and their souls. He tells Steve Bell about new tome Noise In My Head.


he Australian underground rock’n’roll scene has been in exceedingly rude health in recent years, with what at times seems like an endless stream of bands plying unique and compelling music with little interest in the prevailing idea of what constitutes ‘success’. These outfits and artists are ambitious, but usually in a creative rather than commercial sense. Now this loose scene has been documented in new book Noise In My Head: Voices From The Ugly Australian Underground, a series of fascinating interviews compiled by Melbourne-via-Brisbane author (and former Time Off contributor) Jimi Kritzler. The four-year labour of love had humble beginnings as an Honours thesis until Kritzler realised that he had the beginnings of something far more substantial – the fact that he himself had long been part of this same scene due to membership of bands such as Slug Guts and White Hex definitely helps explain the illuminating candour of his eclectic array of subjects. “It does help if you know the person you’re interviewing,” he concedes. “If you know heaps of things about them and you’ve done heaps of dumb shit together – run amok together – then I guess you have a personal connection; they trust you and know that you’re not going to abuse the privilege of the interview or abuse their story. That’s where this book succeeds – it is extremely personal, and goes so in-depth into people’s warts and all faults and their beautiful fuck-ups. It covers their beautiful moments and their worst moments, and it’s as depressing as it is hilarious and it’s as beautiful and is it is incredibly ugly.” The book’s scope is incredibly diverse, featuring more well known bands such as The Drones, Eddy Current Suppression Ring and HTRK right down to lesseracknowledged – but just as fascinating – acts such as Kitchen’s Floor, HITS and Straight Arrows. “[All of these artists] definitely make a lot of different sacrifices – and in some cases stupid choices and in some cases brilliant choices – to then create in both situations brilliant music,” Kritzler continues. “There’s no overarching theme or sound, it’s all just based on the fact that these bands are unique and create music which is incredibly unique to themselves. The fact that all of 24 • THE MUSIC • 14TH MAY 2014

these bands have emerged in the last give-or-take 15 years is also amazing – especially in the last eight or so years there’s just been a huge amount of Australian bands who are incredibly interesting, and who are being recognised in America and Europe because of this.

themselves – and each band has a really unique personality and a really unique and interesting story to tell.” Kritzler is hoping that Noise In My Head appeals to existing fans as well as acting as an introduction for newcomers to this rich vein of underground homegrown talent.

“I think it’s a valuable insight for people who are already familiar with these bands and who love the records and go to see them play live – it’s like having a really personal conversation with these people and discussing all of the stuff that’s gone on with the band,” he offers. “Some of

“THERE’S NO OVERARCHING THEME OR SOUND – THESE BANDS ARE UNIQUE AND CREATE MUSIC WHICH IS INCREDIBLY UNIQUE TO THEMSELVES.” “[These bands aren’t tied together by their] sound, because they all sound incredibly different. And it’s not an ethos or any kind of aesthetic because their methods and approaches are really different and the aesthetics are all totally different. I’d just say that the overarching thing that links them together in their artistic endeavours is with the music they create they’re all incredibly unique – incredibly unique to

the interviews were almost like therapy sessions, talking about everything from hilarious stuff to the morbid stuff, tales of rampant fucking heroin abuse and prostitution – these fucked scenarios that people from bands found themselves in and people going to mental asylums… “But then there’s hilarious stuff, mainly the fucked-up situations that bands find themselves in on tour, which are often so ridiculous it’s almost unbelievable. So I think it will work for people already into these bands but also for people who aren’t so aware of the scene – people will just find it interesting on a human level regardless. I hope that reading it a few people who haven’t heard particular bands will be encouraged to think, ‘What the fuck does this sound like?’ and then go and check them out.” WHAT: Noise In My Head: Voices From The Ugly Australian Underground (Melbourne Books)

THE MUSIC • 14TH MAY 2014 • 25


★★★★ ½

album reviews



Acid Rain And Sugar Cane Spunk Henry Wagons and his enigmatic band come together once again to unleash their first studio album since 2011’s Rumble Shake And Tumble, this time joined at the helm by the iconic Mick Harvey on production and multiinstrumental duties. Hold On Caroline gently opens the record with its soft and reassuring keys, before Wagons insists, “We’re going to go on the ride of your life.” From here, the tempo, grandeur and urgency increase through bold orchestration, wailing vocals and a militant beat, suggesting we’re in for something bigger and bolder than ever delivered by the band. Subsequent tracks maintain this notion, taking the listener on a high octane journey from Australia’s pubs all the way to America’s swamps, offering chances to recuperate along the way with more demure tracks such as Why Do You Always Cry and Never Going To Leave, before finally coming home to

Wild Crush Domino/EMI

settle down with a whisky in Dust In The Hall. While the journey is brilliantly mapped out, what’s most successful about this record is the fact that for arguably the first time, Wagons’ vocal charisma is matched, and at times even bettered, by moments of sheer genius in instrumentation – the horns in Hold On Caroline, the funky bongo percussion in Hundred Years Or Six Foot Down, the slow-burning synth intro of Search The Streets and the jarring of the flute in amongst Summer Liquor’s rockabilly swagger. With Acid Rain And Sugar Cane we’re gifted an absolutely stunning body of music. Jazmine O’Sullivan


Opener Two Doves On A Lake is brilliant – it’s loud, and full of heavy, reverberating electric guitars. In White Relief emits a gospel melody reminiscent of Edward Sharpe & The Magnetic Zeros, and Love To Pin You Down is a soulful ballad. Cluster Up & Hover stands out as a rich amalgamation of stylised Archie Bronson Outfit distortion, with Windett’s seemingly strained falsetto voice and Garwood’s colourful horn. However, the following track Glory Sweat And Flow fails to maintain the pace as the record hiccups into a twominute light, happy-pop melody. Fortunately, it’s a slight misstep in an otherwise stalwart album. Ash Goldberg

Upside Down Mountain


26 • THE MUSIC • 14TH MAY 2014

Recording for the first time without founding member Dorian Hobday, the remaining duo of Sam Windett and Arp Cleveland have enlisted the services of Kristian Robinson as a live collaborator on production and analogue synthesiser duties. Long-time friend Duke Garwood also provides his baritone sax to five of the nine tracks, giving Wild Crush a vibrancy and lacking in earlier Archie Bronson Outfit works.



White Women

Just as the party was flagging, Canadian novelty-funksters Chromeo return with a nude cannonball shot into the pool, coming to the surface with a firework between their teeth and a bottle of vodka in each hand. Dave 1 and P-Thugg’s fourth album, White Women, picks up where 2010’s Business Casual left off, with a few tweaks to the mix to keep it interesting. As one would expect the overarching sound is based on the usual, playful, early ‘80s disco-boogiefunk-pop, the dumb fun of opening track, Jealous (I Ain’t With It), ticking (or tickling) all the boxes before the duo begin to mix things up a bit. Toro Y Moi brings a slightly more delicate edge to Come Alive, while Over Your Shoulder shows a more sensitive side to Chromeo as they take on women’s body image issues with an unexpected, yet undeniable, Steve Miller Band influence. A match made in heaven, the

Four years on from the release of their lauded LP Coconut, Archie Bronson Outfit have returned with Wild Crush. Filled to the brim with roaring riffs, ripping guitar solos and heavy distortion, the fourth LP from the English act is a successful production of the kind of psychedelic blues-rock we’ve come to expect from the group.


★★★½ ever-wonderful Solange joins the boys again for Lost On The Way Home; sadly not Losing You 2.0, yet nice stuff just the same. Elsewhere various influences are forced at keytar point into the sound: George Benson-esque jazz fusion on Hard To Say No, OMD-Ringwald ‘80s teen movie nonsense on Play The Fool, old school house on Frequent Flyer and Studio 54 disco-stringsmeets-sax-noodle on closer Fall Back 2U. Where Chromeo could have fallen into cookie cutter comedy tributes to the likes of Prince and One Way, they’ve instead approached White Women with a more widescreen view, and sound all the better for it. Darren Collins

Upside Down Mountain is the ninth solo album for Bright Eyes’ Conor Oberst. That makes it difficult to listen to without remembering the 20-odd years of angst and ‘emo’-indie that led us here, all the way through to his more recent exploration of Americana and alt-country. It’s also impossible to extract this album from the events of the last six months, wherein his other band Desaparecidos dropped out of Big Day Out due to an emerging rape allegation. At just 34 years old, Oberst remains a formidable figure in indie-rock, even as his subject matter has evolved from the free sex, heartbreak and suicidal urges of his youth all the way to his current preoccupation with aging and death. Even after all this time, he remains a clever songwriter and a storyteller, in touch with the emotions that most of us stuff right down into our bellies. He captures

★★★ their rawness, regardless of whether he’s holding an acoustic guitar or sounding anguished, crying out about lost love. At the same time his music now is more subdued, although it still comes with his signature nasal lilt, and the welcome addition of an indie-rock song about boredom and fear. That song is Desert Island Questionnaire, a tune that is at times incisive – “a toast to the ennui of our times” – which is an apt description of the rest of the album. It all floats on by without fully capturing your attention, although the almost upbeat and strangely optimistic Hundreds Of Ways certainly comes close. Hannah Story






Any Given Weekend



Stop Start/Inertia

Brisbane-based composer and sound artist Joe Saxby follows on from his previous independent releases with his most accomplished work to date. If the epic pop masterpiece Street Noise doesn’t pique your interest, check your pulse and also your head.

Assembling a great album can’t be as easy as Northeast Party House make it seem on their debut album. Their schtick, typically, is four-to-the-floor, hands-in-the-air party anthems – something that could wear thin quickly. Luckily, the Melbourne outfit dazzle on each and every track, the overall result achieving great heights of effortless party ambience while exercising good ears for flawless songwriting and meticulous production. The Haunted builds beautifully into a hectic frenzy while Fake Friends slips in sexy disco bass and Valium does anything but induce slumber. Such a winner.

North Carolina’s Sylvan Esso deliver folked-out harmonies, dancefloor beats and wordy, rhythmic lyrics to enchanting effect. It is the perfect marriage of Appalachian-influenced-folk singer Amelia Randall Meath’s vocals and the metallic percussion and whirring synths of Made Of Oak’s Nicholas Sanborn. The chanted repetition and child-like melodies of Hey Mami and H.S.K.T. are mesmerising, Come Down shows off Meath’s a cappella background and the metallic percussion and whirring synths of Coffee hypnotise. Standout tracks are Dress, sexy and dark – like Alt-J fronted by Regina Spektor – and Could I Be is packed with hooks and groove.

Ben Preece

Amorina Fitzgerald-Hood

Human Language


Blue Movie Lost And Lonesome This beautiful track from the forthcoming Lowtide album is on the more ethereal side of the dream pop/shoegaze revival phenomenon – it still has the requisite dark edges buried in the copious layers of strings and reverb.




The Silly Fucking Thing Monday Records Sydney’s Marcus Gordon’s aptly-titled Spookyland project is some kind of folk nightmare, albeit an enjoyable one, with Tony Buchen at the helm to ensure that it’s big and lush.

GEORGE MICHAEL Going To A Town EMI George covers Rufus Wainwright with all the pomp and ceremony he deserves, which is a lot of pomp and ceremony. Chris Yates

THE ICYPOLES My World Was Made For You

Lost And Lonesome Melbourne four-piece The Icypoles are a hard one to pin down. On the one hand, they’re the epitome of twee pap – the merry-go-round nursery rhythms of Round & Round or Happy Birthday are slight to the point of being inconsequential. But there’s a sinuous, atmospheric longing that elevates some of the other tracks on the album. The plaintive lyrics of Babies could have soured into saccharine treacle but instead becomes a stirring ode to life, while Just You is a sparse, dewy-eyed doo-wop whisper that would easily fit into Twin Peaks. Brendan Telford


Bedroom Suck Messy rock’n’roll with a killer hook, the first taste of the forthcoming Brisband Martyr Privates BSR release is enough to remind you how much amazing material this label still has left to plug into your brain.








Jolie Holland – Wine Dark Sea

Tasmania’s The Middle Names have been getting comparisons to San Cisco and The Jungle Giants with these youthful, catchy songs, though thankfully they’re not as calculated or saccharine as either. I Need Space begins strong with Full Friends, emotional and heavy, setting a precedent for punchy vocals and clean ‘90s rock guitar that carries throughout the record. Despite the production being a bit clinical at times, and the whole album running too long (probably more enthusiasm rather than self-indulgence), this is a solid, likeable record from a part of Australia we don’t hear enough of.

After working on seasonal and orchestral releases as well as a musical the past few years, Tori Amos’ 14th studio album is a return to her inimitable contemporary style that largely reflects the stripped-bare piano and vocal of her early career. Filled with meandering character sketches and featuring a touching duet with her 13-year-old daughter (Promise), Amos’ playful side also gets a run; lead single, Trouble’s Lament hints at a Western swing, Giant’s Rolling Pin is childlike in its instrumentation and story, and Rose Dover is both bouncy and innocently sweet. Welcome back.

DeWolff – Grand Southern Electric

I Need Space

Unrepentant Geraldines

Insomnium – Shadows Of The Dying Sun Oasis – Definitely Maybe: Chasing The Sun edition Sarah McLachlan – Shine Kylouris Ensemble – Aera

Tyler McLoughlan

Madeleine Laing THE MUSIC • 14TH MAY 2014 • 27

live reviews

VANCE JOY, GOSSLING, TEETH & TONGUE The Hi-Fi 6 May For whatever reason, Teeth & Tongue is represented solely by frontwoman Jess Cornelius this evening. She wears a shiny skirt with purple tights and looks like the kind of arty girl who you’re sure would be very interesting if you could only hear some of the words she was singing. The sold-out crowd shift their feet and talk amongst themselves as her set overstays its welcome, like soggy cereal. The ethereal and childlike vocals of Melbourne’s Gossling soon

vocal harmonies in place of a horn section. The new songs are as beautifully-detailed as his older work, and Red Eye is a spectacular new addition to the Vance Joy songbook. It’s not hard to imagine this guy achieving the level of success reached by Bernard Fanning with Powderfinger. By Snaggletooth it’s obvious he’s an eyes-closed kind of singer, but he goes solo for new songs Winds Of Change, My Kind Of Man, and All I Ever Wanted, making up for this lack of interaction by giving touching prologues for each of them. Not only does James Keogh – as he is better known to his mum, who he mentions often – come across as probably the humblest chart-topper in recent history, but he is somehow even nicer than Gossling. The band return to the stage to cover Lynyrd Skynyrd’s


sweep through the room. She captures the audience effortlessly with her calm singing, as her drummer and guitarist bring the snap and crackle to her alternative pop. They breeze through Harvest Of Gold and When I Was Young before slowing down into the heartbreaking A Lovers’ Spat. Smoke gets in the audiences eyes as she settles down into a hazy croon during her cover of Chris Isaak’s Wicked Games. She lifts the mood with a mention of free sunflower seeds over at the merch desk, so you could ‘grow your own harvest of gold’. The set finishes with Wild Love, which is light as a feather. The last thirty minutes feel like a dream. The curtains close, and when they open the anticipation has made Vance Joy seem larger than life. He strums straight into From Afar and Play With Fire, bolstering the latter with 28 • THE MUSIC • 14TH MAY 2014

feet, but their faux-psychedelia probably wouldn’t seem as sincere if there was that distance between them. Instead, the five-piece huddle together front-and-centre and make a fantastically colourful racket, their humbling playing chops offset by a cheekiness that’s found in every element of the band, from frontman Nick Allbrook’s awkward banter to guitarist Joseph Ryan’s Elvis-aping gold suit. The cavernous BEC space is crawling with punters when the spiked ‘AM’ lighting rig starts beaming at us and Arctic Monkeys stride out from the wings with the nonchalant cool we’ve come to expect from the band circa-now. The High Green world-beaters are in town plugging arguably their biggest crossover triumph in AM, and they make sure we know it from


Simple Man, and by the time the ‘you are loved’s of Emmylou are finished, the love and conviction in his heart is undeniable. If there was any doubt behind whether Riptide was a love song or not, it is now settled; he has a lump in his throat because its lovely when she sings the words wrong. He lets the crowd sing the final chorus, and rides out on a wave of adoration and applause. The man with the sad voice has made us happy. Roshan Clerke


Brisbane Entertainment Centre 7 May Freewheelin’ Perth rockers Pond aren’t really making the most of the giant stage beneath their

the outset, kicking us in the guts immediately with Do I Wanna Know?, before backing up with another two cuts from the record, Snap Out Of It and Arabella. The latter sees Alex Turner revelling in frontman mode, cutting poses around the stage after freeing himself from his guitar strap. The frontman is quickly back in the saddle, however, to navigate the quartet through an incredible passage that touches on each one of the band’s five records, with highlights including the frantic tempos of Brianstorm – driven by rhythmic powerhouse (and track pants enthusiast) Matt Helders – the thundering riffs of Don’t Sit Down ‘Cause I’ve Moved Your Chair and those dancing verses that earmark Crying Lightning. The stage lighting is puncturing the smoky haze just nicely by now and after we’ve related to Why’d You Only Call Me When

You’re High? and boogied along to I Bet You Look Good On The Dancefloor, we’re pretty much at Arctic Monkeys’ mercy. But instead of dropping the hammer, they choose to let us float off into the night, with No. 1 Party Anthem ironically welcoming in a subdued section that should have only been temporary but turns out to be pretty much permanent. Fluorescent Adolescent and 505 are good to sing along with, but following that we’re given One For The Road and I Wanna Be Yours, which no one wants to hear in an encore. R U Mine? then looks set to salvage the final halfhour, but the PA cuts out just as the song is about to kick off. We’re instead left to take vocal leads as one of the world’s biggest bands struggles to be heard. They do us right though by running


through the song proper a final time, the drama giving the night some unexpected theatrics that arguably were more memorable than the last stanza of songs. Benny Doyle

RUFUS, MOVEMENT, KILTER The Tivoli 10 May With The Tivoli taking a while to fill out, Kilter started the night off with a tough challenge ahead of him: to play to a half empty and distracted room, and make himself the sole focus. And with his fun charisma bouncing through every step and beat, and his swish electronic stylings, Kilter soon held the audience in a stranglehold. Although

live reviews were quite unimpressive, with predictable melodies and slowed backbeats of no further help.

keeping you glued to his set, Kilter managed only to simmer, never quite reaching a boiling point frenzy. A seemingly experimental and impromptu collaboration with Citizen Kay brought a signature hip hop swagger to the mix and, for a brief moment, sparked imitated dancing from the growing crowd. But greater audience engagement, which this crowd seemed hungry for, could have served the up-and-comer well.

In this case, a thankfully quick set from the Sydney group meant the main act was just around a corner, leaving the audience with the challenge to again get pumped up. Alcohol seemed to rescue some, as several took up free-spirited dancing to Hall & Oates as their song came over the stereo system.

After a surprisingly short set for Kilter, again the lights dimmed and three young men walked on stage, leaving many unsure if this was, all too suddenly, the main act. But no, it was just Movement. Although an undeniably talented group with chilled keyboards and perfectly smooth vocals, Movement were, well, kind of a dud. Lacking the energy and spirit to fuel a Saturday night, Movement sent people back to meaningless chit-chat or Facebook while they waited their set out. Performing more a lullaby-laden soundtrack to a dream, Movement

The lights dimmed and this time the crowd roared. From the darkness of the stage beamed an introductory light show, setting the scene for an otherworldly performance. One by one, Rufus entered the stage – you could only just make out each mysterious figure behind the blackened smoke. Opening with the slick keys of Sundream, Rufus quickly lived up to their indie-darling status as the contradictorily mellow yet brimming audience let themselves go with every groove and grind. Demanding some love during Rendezvous (“be my lover”), the crowd all too happily obliged, as

shoulders became choice seating and shirts were stripped to reveal bare, sweaty chests. At this point, Rufus knew the power they held – something of extraterrestrial proportions. Cooler than cool lead singer Tyrone Lindqvist threw his used and empty plastic water bottle into the animalistic crowd, resulting in a fight for a piece of trash, while bandmate Jon George tried his hand at crowd surfing. Masters of the art of live performance, Rufus built the crowd up with each tantalising pulse only to send them crazy with anticipation for the next palpable drop as Tonight and Take Me transformed The Tivoli into a pounding, deep-house dance party. Performing through their charmingly-crafted Atlas album, taking you from the rim of the Pacific to the edge of Pluto, Rufus proved the perfect balance between adventure and mystery, and perpetuated the magic of the unknown.



HITS @ The Underdog DZ Deathrays @ The Zoo The Naked & Famous @ The Hi-Fi Collusion @ Oh Hello! The Jezabels @ The Tivoli

Brie Jorgensen

arts reviews



In cinemas Richard Ayoade’s second feature film is a morbid, darkly funny, offkilter offering that sees awkward but hardworking clerk Simon ( Jesse Eisenberg)’s world turned upside-down upon the arrival of James, who looks just like him but is his opposite in personality: confident, assertive, manipulative and charismatic. As James starts taking over Simon’s life, things take a turn for the surreal. Based on Dostoyevsky’s novel, Ayoade has crafted an insular, shadowy,


almost-dystopian world, lit with glowing lamps. The snappy editing and markedly unrealistic dialogue is not as much in the foreground as in Ayoade’s debut Submarine, but the comedic and absurdist edge still remains, which keeps the film from taking itself too seriously. Andrew Hewitt’s score stands out as particularly impressive; even sound effects like footsteps are turned into an unsettling percussion piece. The Double is a solid step on the ladder of Ayoade’s career as a filmmaker; he’s got a distinctive style and staple actors to his work already. Stephanie Liew THE MUSIC • 14TH MAY 2014 • 29

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the guide


Member answering/role: Marty Taylor – drums How long have you been together? Jon (guitar/vocals) and I have been playing together for about seven years – one failed band, a bunch of kicking around time and now Gazar Strips. Atlas, Jon and I have been going since 2011. You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? Soft Moon, Bauhaus and anything from Factory Records. If we had Total Control’s new tune on repeat we’d all be pretty happy and entertained for at least an hour. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Hank Williams – a shadow of intelligence through the veil of excess. Which Brisbane bands before you have been an inspiration (musically or otherwise)? I really enjoy listening to James X Boyd & The Boydoids’ Super Low when working. It’s the perfect soundtrack for menial tasks. Then there’s The Steady As She Goes and Barge With An Antenna On It. What part do you think Brisbane plays in the music you make? There’s something about moving overseas, just getting really settled in a world class city, and then being moved back to where you grew up and made all of your pre-pubescent mistakes. I guess some of the sentiments that come with that have been written into our tunes in one way or another. Plus the heat is retarded sometimes. Is your band responsible for more make-outs or breakups? Why? Very, very, very heavy break-ups. What’s in the pipeline for the band in the short term? We’re playing a lot of shows at the moment to support our second EP Sparkling – Melbourne, Sydney and then back in Brisbane on 23 May for one of the last gigs at The Hideaway. After that I think we’ll be looking at writing/recording an album. Gazar Strips play The Hideaway on Friday 23 May. New EP Sparkling (Sonic Masala) out now. Photo by TERRY SOO. THE MUSIC • 14TH MAY 2014 • 31


HOMEBREWING Need a hobby? Love beer? Well, maybe you should learn how to brew your own beer in the comfort of your own home. Here’s the basics of how it’s done. Illustration Sophie Blackhall-Cain.

2. FERMENT The concoction you’ve got so far is called wort, and is cooled to room temperature (the faster you can cool it the better), before being siphoned into a fermenter (plastic/glass carboy). Strain the wort as your pour to remove the hops. Splashing is encouraged because the more air the yeast gets the better. Add water, then yeast. Put the lid/stopper onto your fermenter, sealing it for one to two weeks. You should notice bubbling after 24 hours and if it ain’t then something’s gone wrong!

3. BOTTLE Here’s where you add priming sugars, which will assist in carbonating your beer. The now fermented beer is then siphoned into bottles; be careful not to disturb the sediments at the base of the carboy or splash the beer too much as that can lead to oxidation (cardboard-ish taste). There should be a little airspace at the top of the bottle. Screw bottle caps on tightly.

4. AGE Now let your bottled beer sit at room temperature; some people recommend for at least a week, others recommend for a month, but the flavour only improves with age. As well as carbonating during this time, the beer will also rid itself of unwanted sediments like excess yeast and protein, thus making the beer even more tasty.



Put specialty grains into a mesh bag and steep in a large stock pot filled with boiling water; this is for colour and flavour complexity. Add malt extract, which provides the sweet base for the yeast to feed on to make alcohol. Add hops, which sterilises the extract and, depending on how early/late you add it, will affect how bitter the beer is.

When you think the time’s right, or can wait no longer, pop the bottles in the fridge to chill and then you can drink up your own (hopefully) glorious brews.

CHECK OUT TV SHOW ALCOHOL There have been imitations before but this is the first time the official Duff Beer – a true premium lager that holds a clean, crisp and refreshing taste, featuring a deep golden colour with caramel aromatics and a hint of fruit – packaged in that iconic can – will be released globally. In Australia, it’ll be available at BWS and Dan Murphy’s from 28 May. On the other side of the spectrum, Real Housewife Of Melbourne Jackie Gillies and her husband Ben-who’s-a-rockstar have released their ready-to-drink cocktail range, La Máscara, in flavours Cloud Apple & Mint Mojito, Raspberry & Lime Cosmo and Espresso Martini. It’s available now from Dan Murphy’s. 32 • THE MUSIC • 14TH MAY 2014

the guide




The first official version of Duff beer in the world launches in Australia this month! It does make you wonder why they shut down that other brewery making Duff here all those years ago though…

BOYS LIGHT UP! We’ll never get to see the real Aussie Crawl again due to members passing on, but James Reyne assembling a band to tour just the Crawl material is pretty damn close. Live now, pay later!

DOSE OF REALITY Of course the guy charged with insider trading paid overs for the apartment from The Block. Those horrid twins might lose their profits, greatest reality twist ever…




Hear Phil Smith’s latest collection of songs, Year Of The Dog, 7 Jun, The Bearded Lady; 12 Jun, Cafe Le Monde, Noosa; 13 Jun, Mandala Organic Arts Cafe, Gold Coast; and 14 Jun, The Treehouse, Byron Bay.

Visiting our side from the WA coast, acclaimed Perth hip hop player Coin Banks is flipping verses for us at Alhambra Lounge, 19 Jun. Hear the former Stoops member run through tracks from his new EP Heads.

Get your quirky pop fix at Black Bear Lodge, 3 Jul, when Tales Of Space bring their Formula tour to the venue. Full of catchy gems, the album perfectly reflects the energised live show that the band always deliver.




Blues renegades Transvaal Diamond Syndicate want to make a night of it with you, with the boys set to stomp all over the Irish Club, Toowoomba, 29 May; Coolangatta Hotel, Gold Coast, 30 May; and New Globe Theatre, 7 Jun.

Classic glam revivalists Bonney Read are venturing north to bring their beer-soaked, lipstick-smeared rock’n’roll to Queensland audiences. The powerhouse Sydney foursome play Beetle Bar, 29 May.

Thanks to an insatiable urge for touring, Waax have become a force to be reckoned with on stage, getting the kids all wound up with their punkinfused rock’n’roll. Catch them with The Skinnie Finches 23 May at The Joynt.




Limes Hotel is hosting some jazz sessions every Thursday on their recently refurbished rooftop, with artists performing in the coming weeks including Coisa Linda, pictured, and Ingrid James. Wine, cheese, tunes – yes, please.

Brilliant local lass O’ Little Sister has been announced as the support act for ‘90s artpunk icon Kristin Hersh when the Throwing Muses founder performs at Black Bear Lodge, 8 Jun. Tix $40 through Oztix.

Hear Josh Rennie-Hynes debut record February live when the singer-songwriter plays 11 Jun, Black Bear Lodge; 12 Jun, Solbar, Maroochydore; 15 Jun, private house concert, Murwillumbah; and 12 Jul, Tallebudgera Hall, GC.




Catch Lulu & The Cutthroats at The Zoo this Saturday night when they celebrate the release of new EP Skeletons. Hear their powerful yet ambient sound along with tunes from The Halls and Switchblade Suzie.

The world’s most daring flamenco singer Diego El Cigala is visiting Brisbane for one show only, with the Spaniard set to share his earthly and uplifting tones with our city 22 Aug, QPAC. Tix available through the box office.

Things will be going off with a bit of a bang at The Hideaway on Friday night with steaming rock’n’roll courtesy of The Killing Stroke, Midnight Show and Windrest. Do right by Brisbane – get behind the local product.



Holy crap, Tommy Lee playing with The Smashing Pumpkins? What an amazing meeting of musical minds, you couldn’t make this shit up…

POOR JACKO How many albums can they release post-Michael Jackson’s passing? Surely they’ve reached the bottom of the barrel where he wouldn’t have wanted this stuff released – or wouldn’t he have released it?

PICTURES OF LILY So Lily Allen reckons that pop stars “don’t get paid enough”, and have to resort to making paid appearances at fancy soirees to supplement their revenue streams? Poor darling, get a job perhaps?


the guide





Taking a break from recording their debut and learning Japanese, playful punks Nerdlinger will be hitting the road with Revellers on the Friends With Benefits tour, playing X&Y Bar, 13 Jun and Fat Louie’s, 14 Jun.

The week after their new EP The Night Tree gets a release, multi-faceted Melbourne siblings Pierce Brothers will launch the uplifting, powerful record at Black Bear Lodge, 4 Jun; Solbar, Maroochydore, 5 Jun; and Hotel Brunswick, 8 Jun.

Get some QLD prog into ya when Red In Tooth, pictured, Thanartist and Fifth Day Of Ice play 28 Jun, The Sands Tavern, Maroochydore; 29 Jun, Expressive Grounds, Gold Coast (AA); 30 Jun, YAC, Byron Bay (AA); and 2 Jul, Upstairs At 199 (AA).




The Cassingles are bringing their fast and fun punk back to the Ric’s Bar stage for a night of spitfire riffs and cutting social commentary. Hear tracks off latest CD Nevermore on 25 May, with Diva Demolition supporting.

After soundtracking the Vinyl Fair last weekend, The Wet Fish are going to continue slapping us with their sounds. Catch their instrumental surf styles at Lefty’s Old Time Music Hall, 22 May and Beetle Bar, 23 Aug.

Sean Simmons, the frontman for dark Melbourne balladeers The Spoils, is going things alone on this upcoming jaunt north, bringing his guitar, loop pedal and drone box to Junk Bar, 21 Jun and Brisbane Powerhouse, 22 Jun.




The Buzzbees were due to launch new single The Drifter at The Tempo Hotel, but we all know what happened there, so the band will instead headline the celebrations at Black Bear Lodge this Friday, with supports George Higgins and The Vultures.

We’re not sure what an Aquaslum is, but we’re happy for indie eccentrics Hoy to explain it to us. They launch their debut Thursday, The Treehouse, Byron Bay; Friday, Beach Hotel, Byron Bay; Saturday, The Underdog and Sunday, Queen Street Mall.

Exploring rock’n’roll with a lot more grandeur and poise than most, Drawn From Bees remain an ever intriguing live proposition. Gold Coast fans can get their fix of the band at Soundlounge when the group play 6 Jun with special guests.




After kicking things into gear last week, the Tuesday night La Familia residency will continue at The End all throughout May, with the communal collaboration featuring members from Morning Harvey, The Furrs, The Belligerents and more.

Following a short break from touring, local favourites Jack & The Giant Killers are getting back to what they do best at Beetle Bar, 24 May. Joining them will be TJ Quinton & Ahliya Kite in acoustic mode and The Roseberys.

Ashleigh Mannix and Justin Carter will let their blend of folk, rock and blues co-exist on a dualheadline tour of the east coast. They kick things off with a show at The Loft, Gold Coast, 31 May with Marcus Blacke as support.


THIS WEEK’S RELEASES… CONOR OBERST Upside Down Mountain Nonesuch/Warner WAGONS Acid Rain And Sugar Cane Spunk NORTHEAST PARTY HOUSE Any Given Weekend Stop Start/Inertia LCD SOUNDSYSTEM The Long Goodbye: Live At Madison Square Garden Parlophone/Warner

the guide


ALBUM FOCUS Although two of the tracks were half-written quite a while back – but the rest are within this containable period.


What’s your favourite song on it? Hard to say there is a general consensus on one particular track. Each song speaks to us differently.

Member’s name: Moeaki Bloomfield EP Title: East Of Ely How many releases do you have now? The upcoming EP is our debut release. Some tracks can be found on SoundCloud though. Was anything in particular inspiring you during the making? The time spent once bed tracks are in place is always most inspiring. Our sound engineer went out of his way to record instruments unconventionally and created some magical moments...

We’ll like this EP if we like... Tasty pop vibes in the vein of Panama, Chvches, The Naked & Famous. East Of Ely play The Brightside on Friday 23 May.

ISAAC DE HEER Name: Isaac de Heer Album title: Summer Where did the title of your new album come from? My late grandfather’s poem. It was amazing how the words just fell into the music. Summer seems perfect – especially because we are heading into the depths of winter, it’s looking for something that can’t be. How many releases do you have now? This is my third full-length release. How long did it take to write/ record? It was written in intense bursts over a couple of years.


KIM CHURCHILL Name: Kim Churchill Album title: Silence/Win Where did the title of your new album come from? I took one of the lyrics, “silence win”, and tried to break it down to the most common denominator. I felt the two words were working paradoxically. So I separated them, finishing with Silence/Win. How many releases do you have now? Three releases. More like seven or eight albums – some have been deleted from history while others are limited releases. How long did it take to write/ record? About three months

Was anything in particular inspiring you during the making? Yes – learning, travelling and getting some different instruments in South America halfway through the process made the whole thing playful again, because I didn’t have a clue as to how to play these instruments properly! What’s your favourite song on it? Memory; it’s just under two minutes and is full of snippets of strange percussive noises. Will you do anything differently next time? Maybe I’d ask for a little more help recording the tracks. I’d often add an extra half-a-minute recording time in order to run around to the drums. Isaac de Heer plays Junk Bar on Thursday 22 May, The Treehouse, Byron Bay on Friday 23 May and Lefty’s Old Time Music Hall on Sunday 25 May.


all up. Some songs I had from past collections of writing, but most were nailed down in the lead up to recording.

a busy time with gigs but we needed to write a debut album so there were solid rehearsals and writing sessions in between.

Was anything in particular inspiring you during the making? I divided my writing time between a small town in Mexico called Troncones and Montreal, Quebec. One was inspiring because of its cultural electricity, whilst the other was brilliant for the feeling of complete isolation.

Was anything in particular inspiring you during the making? I think we were both ready to present a debut album so we were motivated more than inspired if anything. We’re constantly inspired to create and keep moving forward.

What’s your favourite song on it? Rage. The self-critic in me rests easy and I enjoy it more for this reason. Will you do anything differently next time? Probably… My biggest fear is stagnation. Kim Churchill plays The Northern, Byron Bay on Thursday 15 May, The Brightside on Friday 16 May, Big Pineapple Festival, Sunshine Coast on Saturday 17 May and Soundlounge, Gold Coast on Sunday 18 May.

KING OF THE NORTH Member’s name: Danny Leo Album title: Sound The Underground Where did the title of your new album come from? From sitting around and thinking of a title, but that one stuck out when my bandmate Higgsy came up with it. I guess it represents the sound of underground bands also. How many releases do you have now? Two: a self-titled EP released in May 2012 and now Sound The Underground released in March this year. How long did it take to write/ record? About a month. It was

What’s your favourite song on it? I like Wanted and Running Out Of Reasons, they’re great to play on drums. Will you do anything differently next time? I’d bring two identical kick pedals and two ride cymbals in because they both broke while recording. What we did worked for this album, next time may be different. King Of The North play The Northern, Byron Bay on Friday 16 May, New Globe Theatre on Saturday 17 May and Solbar, Maroochydore on Friday 23 May. THE MUSIC • 14TH MAY 2014 • 35

the guide

THE MUSIC PRESENTS Ella Hooper: Black Bear Lodge 15 May, Soundlounge 16 May, Star Court Theatre 17 May Owen Campbell: The Royal Mail 18 May, The Joynt 21 May Free Your Mind ft Northlane, Thy Art Is Murder: The Hi-Fi 22 May TSUN: Elsewhere 23 May, Time Machine 31 May, Bearded Lady 5 Jun, The Northern 7 Jun

Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun Dune Rats: The Zoo 28 Jun, Alhambra Lounge 29 Jun (U18) The Beards: The Spotted Cow 2 Jul, Soundlounge 3 Jul, The Tivoli 4 Jul, Solbar 5 Jul, The Northern 6 Jul Little Bastard: Black Bear Lodge 10 Jul, Solbar 11 Jul

Kingswood: The Hi-Fi 31 May

Something For Kate: The Tivoli 11 Jul

Our Man In Berlin: Alhambra Lounge 5 Jun

Violent Soho: The Hi-Fi 12, 13 & 19 Jul

New Empire: Old Museum 7 Jun

The White Album Concert: QPAC 13 Jul

The Bronx: Crowbar 15 & 16 Jun In Hearts Wake: The Brightside 15 Jun, The Sands Tavern 29 Jun Hard-Ons: Coolangatta Hotel 20 Jun, Prince Of Wales 21 Jun The Audreys: The Zoo 21 Jun Frente!: Star Court Theatre 27 Jun, Brisbane Powerhouse 28 Jun

WED 14

Garden Of Swing: Cloudland, Fortitude Valley The Round with Mike David + Lee Fielding: Dowse Bar (Iceworks), Paddington Joe Camilleri + Richard Clapton + Russell Morris + Leo Sayer: Empire Theatre, Toowoomba Locky: Irish Murphy’s, Brisbane Underground Sounds Showcase Night feat. various artists: Mick O’Malley’s, Brisbane Bec Plath + Hannah Rosa + Unison: New Globe Theatre, Fortitude Valley Not A Lemur + Henry James + DJ Redbeard: Ric’s, Fortitude Valley UV Mayhem Party + various DJs: Royal Exchange Hotel, Toowong Debauchery Behind The Beard Vol 4 feat. various artists: The Bearded Lady, West End Elephant Unplugged feat. various artists: The Elephant Hotel, Fortitude Valley Septicflesh + Fleshgod Apocalyspe + The Schoenberg Automaton: The Hi-Fi, West End

BIGSOUND 2014: Fortitude Valley 10-12 Sep Bonjah: The Zoo 10 Oct, Racecourse Hotel 11 Oct, Surfers Paradise Beer Garden 12 Oct

Owen Campbell: Armidale Ex Services Club, Armidale Underwood Mayne + The Kinetics + Hyde & The Hitcher: Beetle Bar, Brisbane Ella Hooper + Gena Rose Bruce: Black Bear Lodge, Fortitude Valley Lisa La Celle Quintet: Brisbane Jazz Club, Kangaroo Point Russ Walker + DJ J-Mixx: Chalk Hotel, Woolloongabba Soul’sa: Cloudland, Fortitude Valley Poison Idea: Crowbar, Fortitude Valley B.O.S.S Productions: Empire Hotel, Fortitude Valley Tuffy: Hamilton Hotel (Public Bar), Hamilton Jabba: Irish Murphy’s, Brisbane Hayley Cox + Joe Marchisella: JMI Live, Bowen Hills Coisa Linda: Limes Hotel, Fortitude Valley Thursday Night Blues with The Enterprise: Lock ‘n’ Load Bistro, West End Peter Fox: Logan Diggers Club, Logan Central

Luna Junction and friends: The Joynt, South Brisbane

Ballad Boy: Loving Hut, Mount Gravatt

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

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

The Pressure: The Press Club, Fortitude Valley Bob Saget: The Tivoli, Fortitude Valley Thank God It’s Wednesday feat. Subvert + Exiled In Eden + Dethrone The King: The Underdog (Doghouse), Fortitude Valley

THU 15

Gang Of Youths: Alhambra Lounge, Fortitude Valley


REMi: Solbar 17 Jul, Bowler Bar 18 Jul

Slow Riots + Skin & Bones + Reud Mood + The Orchard: New Globe Theatre, Fortitude Valley Joe Camilleri + Richard Clapton + Russell Morris + Leo Sayer: QPAC (Concert Hall), Southbank 8 Bit Love + Yellowcatredcat + Little Aztec + DJ Valdis: Ric’s, Fortitude Valley Kiara Jack & The Jills: Solbar, Maroochydore Delirium: The Bearded Lady (6.30pm), West End

Dead Letter Circus + Like Thieves + Guards Of May: The Beer Garden, Surfers Paradise Caulfield + Akuma Valley + Climb The Heirarchy + Hope In Hand + Punchdagger: The Brightside, Fortitude Valley Renegades of Munk + Impossible Odds + Dukebox + Classik Nawu: The Joynt, South Brisbane Foundation: The Lab, Brisbane Open Mic Comedy feat. various artists: The Loft, Chevron Island Quinn Band: The Press Club, Fortitude Valley Open Mic Night feat. various artists: The Underdog (Public Bar), Fortitude Valley Rivermouth + Formidable Vegetable Sound System + Street 66: The Zoo, Fortitude Valley

FRI 16

DJ Indy Andy: Albany Creek Tavern (Creek Bar), Albany Creek My Echo + Release The Hounds + Columbia Buffet + Columbus: Beetle Bar, Brisbane The Buzzbees + The Vultures + George Higgins: Black Bear Lodge, Fortitude Valley Doyna: Brisbane Jazz Club, Kangaroo Point Share House + Topology: Brisbane Powerhouse (Visy Theatre/7.30pm), New Farm

Monkey See, Monkey Do: Empire Hotel, Fortitude Valley Rave Radio: Family Nightclub, Fortitude Valley Brooksy & Co: Hamilton Hotel, Hamilton Berst + Brad: Irish Murphy’s, Brisbane Upstairs At Murphy’s feat. various DJs: Irish Murphy’s, Brisbane Le Breeze: Lambert’s Restaurant (6.30pm), Kangaroo Point Various DJs: Limes Hotel, Fortitude Valley Bear & Fox: Lock ‘n’ Load Bistro, West End Family Affair: Logan Diggers Club, Logan Central Black Diamond + Smoking Martha + Stellar Green: Miami Tavern (Shark Bar), Miami La Sala feat. Latin Scape: Mick O’Malley’s, Brisbane Robyn Hitchcock + Steve Kilbey: New Globe Theatre, Fortitude Valley What So Not + Golden Features: Oh Hello!, Fortitude Valley Green Jam Sessions with Marc Jozinovic: QPAC (Melbourne Street Green), Southbank Dead Letter Circus + Like Thieves + Guards Of May: Racehorse Hotel, Booval

Diesel: Brothers Leagues Club, Cairns

Doom Mountain + The Shakeouts + DJ Valdis: Ric’s, Fortitude Valley

Town Hall Sessions feat. Desert Blues Cartel + Lovecraft: Cardigan Bar, Sandgate

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

Metal of Honor feat. Decryptus + Universe + Secondheart + System Trashed + Wartooth: Chardons Corner Hotel, Annerley

Knikki & Mike Beale: Royal Mail Hotel, Goodna Jon Bradley: Saltbar, South Kingscliff

Darren J Ray: City Golf Club, Toowoomba

Renegades of Munk + Impossible Odds: Solbar, Maroochydore

Willy Angelo & The Basement Hustle: Cloudland, Fortitude Valley

Ella Hooper + Gena Rose Bruce: Soundlounge, Currumbin

Various artists: Coolangatta Sands Hotel (Sand Bar), Coolangatta

Quenel Mott: Story Bridge Hotel (The Corner Bar/9pm), Kangaroo Point

Twitching Tongues + Foundation + I Exist: Crowbar, Fortitude Valley

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


Monster Guitars – Adam Hole & Mark Easton: Taps Australia (5pm), Mooloolaba Delirium: The Bearded Lady (6.30pm), West End Kim Churchill + guests: The Brightside, Fortitude Valley Santelmo + Tremors: The Crosstown Eating House, Woolloongabba High Vibes Hip Hop feat. Danskee + Shortymain + Travy P + DJ Droes + more: The Hi-Fi, West End Late Night Comedy feat. various artists: The Hideaway (10pm), Fortitude Valley The Killing Stroke + Midnight Show + Windrest: The Hideaway, Fortitude Valley The Rooftops: The Joynt, South Brisbane Ingrid James Duo + Louise Denson: The Lido Cafe & Restaurant (7.15pm), Ascot Infinity Broke + Tall Tails + David Baker: The Loft, Chevron Island Firebeatz: The Met, Fortitude Valley Pocketlove: The Press Club, Fortitude Valley Diamond Dave: The Underdog (Public Bar), Fortitude Valley The Horrortones + Thee Hugs + Brat Farrar + Mad Macka & Panhandler: The Underdog (Doghouse), Fortitude Valley Solid Gold with DJ Mikey: The Underdog (Public Bar/10pm), Fortitude Valley Thundamentals + Astronomy Class + Fozzey + Van C: The Zoo, Fortitude Valley Joe Camilleri + Richard Clapton + Russell Morris + Leo Sayer: Twin Towns, Tweed Heads Rob Keith: Twin Towns, Tweed Heads

SAT 17

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THE MUSIC • 14TH MAY 2014 • 37

the guide


Ladybugs curated by Tamara Dawn feat. Serinda Jade + Victoria Watson + Skye Staniford + Mel Fraser + Ash Kerley + Emma White + Hanny J + Tamara Dawn + Jacqui Marshall + Sahara Beck: Beetle Bar, Brisbane Greg Aspeling Quintet: Brisbane Jazz Club (6.30pm), Kangaroo Point


Share House + Topology: Brisbane Powerhouse (Visy Theatre/7.30pm), New Farm


Dezzie D & The Stingrayz: Brothers Ipswich, Raceview


Honey + various DJs: Chalk Hotel, Woolloongabba La Boum: Cloudland, Fortitude Valley




Lurch & Chief + guests: Coniston Lane, Fortitude Valley



Delirium: The Bearded Lady (6.30pm), West End

Various artists: Coolangatta Sands Hotel (Sand Bar), Coolangatta

M4Sonic + Goodwill: Family Nightclub, Fortitude Valley

Allure: Dowse Bar (Iceworks), Paddington

Mick’s Trivia: Mick O’Malley’s, Brisbane

2Cellos: Eatons Hill Hotel, Eatons Hill

Impro Mafia feat. various artists: The Underdog (Doghouse), Fortitude Valley

Berst + Locky: Irish Murphy’s, Brisbane

Big Pineapple Music Festival feat. Bliss N Eso + The Living End + Art Vs Science + Spiderbait + Dead Letter Circus + The Funkoars + Alison Wonderland + Peking Duk + Tuka + Diafrix + Redcoats + Hat Fitz & Cara + Kingfisha + Lurch & Chief + more: The Big Pineapple Complex, Woombye

Upstairs At Murphy’s feat. various DJs: Irish Murphy’s, Brisbane

Cartel + Arms Attraction + LLC + The Effects Of Boredom: The Brightside, Fortitude Valley

Various DJs: Limes Hotel, Fortitude Valley

Misery Signals + Stories: The Hi-Fi, West End

Rohan & The Staplers: Lock ‘n’ Load Bistro, West End

May-hem with Jack Flash + The Dead Ringers + The Loveless Union: The Hideaway, Fortitude Valley

Slop Rock + DJ Trademark: Hamilton Hotel (H Lounge), Hamilton





Radio Flyer: Logan Diggers Club, Logan Central




Off The Leash + Murphy’s Pigs + Ger Fennelly: Mick O’Malley’s, Brisbane King of the North + Ezekiel Ox + The Royal Artillery + Guards Of May: New Globe Theatre, Fortitude Valley






MON 19

Various artists: Coolangatta Sands Hotel (Sand Bar), Coolangatta

Stewart Fairhurst + Jeff Carter Duo: Hamilton Hotel, Hamilton



Icarus Complex + Acorea + Amicable Treason + Undermine The Supremacy + DTAK + It Came From The Sky: Club Metro, Ipswich

Infinity Broke + The Stress Of Leisure + The Scrapes: New Globe Theatre, Fortitude Valley Firebeatz: Platinum Nightclub, Broadbeach The Medicine Show + special guests + DJ Valdis: Ric’s, Fortitude Valley DJ Ryan: Ric’s (Upstairs), Fortitude Valley

The Rectifiers: Royal Mail Hotel, Goodna

Jabba + Mick McHugh + Ragdoll: Irish Murphy’s, Brisbane Various artists: Limes Hotel, Fortitude Valley Locky + Ger Fennelly: Mick O’Malley’s, Brisbane Hoy: Queen Street Mall, Brisbane Your Man Alex Smith: Ric’s, Fortitude Valley Owen Campbell: Royal Mail Hotel (2pm), Goodna

Desert Blues Cartel: The Scratch, Milton

Kim Churchill + special guests: Soundlounge (afternoon), Currumbin

Hoy + guests: The Underdog (Doghouse), Fortitude Valley Dancehall Fever + Ghetto Fire Sound + more: The Underdog (Upstairs), Fortitude Valley

Craft Beer, Cider & Wine Festival + Mental As Anything + more: Stones Corner Hotel, Stones Corner

Blood Money 2 feat. Real Talks + more: The Underdog (The Pound), Fortitude Valley

Quenel Mott: Story Bridge Hotel (Shelter Bar/3pm), Kangaroo Point

The Wolfe Brothers + special guests: The Venue, Townsville

Renegades of Munk: Studio 188, Ipswich

Lulu & The Cutthroats + The Halls + Switchblade Suzie: The Zoo, Fortitude Valley

Dead Letter Circus + Like Thieves + Guards Of May: Tattersalls Hotel, Toowoomba

Request Night with DJ Jase: Saltbar, South Kingscliff

Megan Cooper & The Pretty Pennies + Harmony James + Jen Mize: Black Bear Lodge (7pm), Fortitude Valley

One Eyed Pilots: Story Bridge Hotel (The Corner Bar/9pm), Kangaroo Point

Saskwatch + Onyx Reign: Bond University (ADCO Amphitheatre), Bond University

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

Jeff Dunham: Brisbane Convention and Exhibition Centre, South Bank

Drawn From Bees + Kasey Michelle + Fire & Whistle Theory: Studio 188, Ipswich

The Soundscapes Trio: Brisbane Jazz Club, Kangaroo Point

Fieu + Meredith: The Bearded Lady (5pm), West End

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

Jahkaya + B For Bandit + Kere Keelan: The Loft, Chevron Island

SUN 18

Angela Fabian: Royal Mail Hotel, Goodna

Gideon + Vices + Perspectives: Expressive Grounds, Palm Beach

Share House + Topology: Brisbane Powerhouse (Visy Theatre/5pm), New Farm

TUE 20

RnB Jam Night feat. various DJs: Empire Hotel, Fortitude Valley Tuesday Night Jazz feat. Herbert: Lock ‘n’ Load Bistro, West End The Bug feat. Mark Davidson+Jumping Fences: New Farm Bowls Club, New Farm Mark Sheils: Samford Valley Hotel, Samford Valley La Familia feat. various artists: The End, West End Zac Gunthorpe: The Scratch, Milton

Delirium: The Bearded Lady (6.30pm), West End Steve Skinner: The Joynt (4pm), South Brisbane Misery Signals + Stories: The Lab (all ages), Brisbane Burlesque: The Press Club, Fortitude Valley Rock n Roll BBQ feat. CactusDemonDoom: The Underdog (12pm), Fortitude Valley The English Beat + Kingston Stompers + Boss Sounds: The Zoo, Fortitude Valley Lone Wolf: Twin Towns, Tweed Heads



tour guide

INTERNATIONAL Fleshgod Apocalypse: The Hi-Fi 14 May Robyn Hitchcock: New Globe Theatre 16 May Misery Signals: The Hi-Fi 17 May, The Lab 18 May (AA) The English Beat: The Zoo 18 May

Bell X1: The Zoo 4 Jul Lloyd Cole: Brisbane Powerhouse 10 Jul, Soundlounge 11 Jul, Star Theatre 12 Jul

Janelle Monae, Kimbra: BCEC 21 May

Corrosion Of Conformity: The Hi-Fi 28 Jul

Phfat: Bowler Bar 23 May

A Great Big World: The Tivoli 2 Aug

Gary Numan: The Tivoli 27 May We Are Scientists: The Zoo 29 May Meat Puppets: The Zoo 30 May

Hanson: The Tivoli 5 Aug, Coolangatta Hotel 6 Aug I Am Giant: The Rev 6 Aug Anathema: The Hi-Fi 21 Aug Taking Back Sunday, The Used: Eatons Hill Hotel 22 Aug Knapsack: Crowbar 23 Aug

Mango Groove: Eatons Hill Hotel 30 May

Lady Gaga: BEC 26 Aug

Kenny Dope: The Fox 31 May

The Dandy Warhols: The Tivoli 30 Aug

James Blunt: BCEC 2 Jun Gabrielle Aplin: St John’s Cathedral 3 Jun Armin van Buuren: BEC 4 Jun

Nine Sons Of Dan: Snitch 3 Jul, Racehorse Tavern 5 Jul, Swingin’ Safari 6 Jul

Pelican: The Zoo 24 Jul Andrew Strong: The Commitments: The Tivoli 25 Jul, Twin Towns 26 Jul

Brant Bjork: The Zoo 23 May, The Northern 24 May

Northeast Party House: Alhambra Lounge 3 Jul, Solbar 4 Jul, The Spotted Cow 5 Jul

Gareth Emery: Platinum 17 Jul, The Met 18 Jul

2Cellos: Eatons Hill Hotel 18 May

James Vincent McMorrow: QPAC 23 May

Dan Sultan: Solbar 2 Jul, The Spotted Cow 3 Jul, Soundlounge 4 Jul, Eatons Hill Hotel 5 Jul, The Northern 8 Jul

Bear Lodge 1 Jul

Biffy Clyro: The Tivoli 4 Sep Anberlin: The Hi-Fi 6 Sep Kanye West: BEC 15 Sep

The Cairos: The Northern 3 Jul, Alhambra Lounge 4 Jul, The Spotted Cow 5 Jul, Broadbeach Tavern 6 Jul, Solbar 12 Jul

KRISTIN HERSH: 8 JUN, BLACK BEAR LODGE Saskwatch: Bond University 18 May (1pm), Soundlounge 13 Jun, The Zoo 14 Jun British India: Crowbar 22 May, Kings Beach Tavern 23 May Free Your Mind ft Northlane, Thy Art Is Murder: The Hi-Fi 22 May Dustin Tebbutt, The Tambourine Girls: Alhambra Lounge 23 May Sydonia: Crowbar 23 May, Coolangatta Hotel 24 May, The Northern 25 May King Parrot: Miami Shark Bar 23 May, Thriller 24 May, The Lab 25 May

Ellie Goulding, Broods: BCEC 5 Jun (AA)

Ingrid Michaelson: New Globe Theatre 21 Sep

Ejeca: Coniston Lane 6 Jun

Robbie Williams: BEC 22 Sep

TSUN: Elsewhere 23 May, The Time Machine 31 May, The Bearded Lady 5 Jun, The Northern 7 Jun

Ron Pope: Princess Theatre 6 Jun

Veruca Salt: The Zoo 24 Sep

Sampology: Bowler Bar 24 May

White Lung: Alhambra Lounge 6 Jun

Justin Timberlake: BEC 26, 27 Sep

The Disappointed: Grand Central Hotel 24 May

Slim Jim Phantom: Racecourse Hotel 6 Jun

Rick Springfield: Eatons Hill Hotel 9 Oct, Twin Towns 10 Oct

Hot Chip DJs, Matthew Dear: Oh Hello! 6 Jun

Accept: The Hi-Fi 16 Nov

Alison Wonderland, Wave Racer: Brisbane 24 May, Gold Coast 31 May

ScHoolboy Q: The Hi-Fi 7 Jun TLC: Eatons Hill Hotel 7 Jun Kevin Mark Trail: The Loft 7 Jun, Dowse Bar 8 Jun Kristin Hersh: Black Bear Lodge 8 Jun Propagandhi: The Hi-Fi 8 Jun, Miami Shark Bar 9 Jun Bastille: BCEC 13 Jun (AA) Carcass: The Hi-Fi 13 Jun The Bronx: Crowbar 15, 16 Jun Earth: Crowbar 17 Jun Finntroll: The Zoo 18 Jun Supersuckers: The Zoo 19 Jun La Dispute, Balance & Composure: Trinity Hall 19 Jun (AA), The Hi-Fi 20 Jun Dragon: Kedron Wavell Services Club 20 Jun, Twin Towns 21 Jun Band Of Skulls: The Hi-Fi 21 Jun Joan As Police Woman: The Hi-Fi 24 Jun Story Of The Year: The Hi-Fi 26 Jun The Vibrators: Prince Of Wales 28 Jun The Crimson Projekct: The Hi-Fi 28 Jun Tiny Ruins: Black

The Rolling Stones: Brisbane Entertainment Centre 18 Nov Katy Perry: BEC 27, 28, 30 Nov, 1, 15 Dec

NATIONAL Boy & Bear: Lismore Workers Club 14 May, The Arts Centre Gold Coast 12 Sep, The Tivoli 13 Sep Russell Morris: Empire Theatre 14 May, QPAC 15 May, Twin Towns 16 May Gang Of Youths: Alhambra Lounge 15 May Kim Churchill: The Northern 15 May, The Brightside 16 May, Soundlounge 18 May

The Presets, Australian Chamber Orchestra: QPAC 26 May Vancouver Sleep Clinic: Black Bear Lodge 28 May

Twin Beasts: The Loft 12 Jun, Solbar 13 Jun, Beetle Bar 14 Jun The Paper Kites: The Northern 13 Jun, The Hi-Fi 14 Jun

Lancelot: Elsewhere 13 Jun, Oh Hello! 14 Jun

Violent Soho, The Smith Street Band: The Hi-Fi 12, 13 Jul

My Friend The Chocolate Cake: New Globe Theatre 14 Jun

The White Album Concert ft Tim Rogers, Chris Cheney, Phil Jamieson and Josh Pyke: QPAC 13 July

Freak Wave: Crowbar 14 Jun, Tym Guitars 15 Jun Keith Urban, Sheppard: BEC 17, 18 Jun Emma Russack: Black Bear Lodge 18 Jun Hard-Ons: The Northern 19 Jun, Coolangatta Hotel 20 Jun, Prince Of Wales 21 Jun Wagons: The Zoo 20 Jun Mondo Rock: Eatons Hill Hotel 20 Jun Straight Arrows: The Brightside 20 Jun Josh Pyke: Empire Theatre 20 Jun (AA), Majestic Theatre 21 Jun (AA), Byron Cultural & Community Centre 22 Jun (AA)

Safia: Beach Hotel 30 May, Alhambra Lounge 31 May

Allday: Bowler Bar 20 Jun

Joelistics, Dialectrix: Alhambra Lounge 30 May, Solbar 31 May Kingswood: The Hi-Fi 31 May

Something For Kate: The Tivoli 11 Jul Jeff Lang: Mullumbimby Town Hall 11 Jul, Brisbane Powerhouse 12 Jul

Psycroptic: Miami Shark Bar 20 Jun, The Brightside 21 Jun, The Lab 22 Jun (AA)

The Waifs: The Tivoli 31 May

Little Bastard: Black Bear Lodge 10 Jul, Solbar 11 Jul, The Rails 12 Jul

Amaya Laucirica: The Treehouse 13 Jun, The Bearded Lady 14 Jun

Closure In Moscow: Solbar 30 May, Crowbar 31 May

Heads Of Charm: The Waiting Room 30 May (AA), Grand Central Hotel 31 May, The Underdog 1 Jun

Holy Holy: Black Bear Lodge 4 Jul

The Audreys: Soundlounge 20 Jun, The Zoo 21 Jun, Solbar 22 Jun Deez Nuts, Confession: Crowbar 20 Jun Teeth & Tongue: Beetle Bar 21 Jun I, A Man: Grand Central Hotel 21 Jun

Remi: Solbar 17 Jul, The Brewery 19 Jul Dave Graney: Beetle Bar 18 Jul, Solbar 19 Jul, The Northern 20 Jul Bodyjar: The Hi-Fi 7 Aug The Angels: Queensland Lions Club 8 Aug, North Leagues & Services Club 9 Aug James Reyne plays Australian Crawl: The Tivoli 9 Aug Freedman Does Nilsson: Soundlounge 15 Aug, Old Museum 16 Aug Tina Arena: Jupiters 23 Aug, BCEC 24 Aug The Aston Shuffle: The Zoo 29 Aug Busby Marou: Soundlounge 29 Aug, Eatons Hill Hotel 30 Aug (AA) The Getaway Plan: The Hi-Fi 6 Sep Bonjah: The Zoo 10 Oct, Racehorse Hotel 11 Oct, Surfers Paradise Beer Garden 12 Oct

FESTIVALS Cooly Rocks On: Coolangatta/ Tweed Heads 30 May-9 Jun

Our Man In Berlin: Alhambra Lounge 5 Jun

Chet Faker: The Tivoli 21 Jun, Lake Kawana Community Centre 22 Jun

Brisbane International Jazz Festival: BEMAC 4-8 Jun

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

Eurogliders: Lismore Workers Club 6 Jun, City Golf Club 7 Jun, Buderim Tavern 8 Jun

Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun

Caxton Street Seafood & Wine Festival: Caxton Street 8 Jun

Kim Churchill: The Northern 15 May, The Brightside 16 May, Soundlounge 18 May

New Empire: Old Museum 7 Jun

Frente!: Star Court Theatre 27 Jun, Brisbane Powerhouse 28 Jun

Live It Up: RNA Showgrounds 21 Jun

Hell City Glamours: Crowbar 7 Jun

Hands Like Houses: The Brightside 28 Jun

WinterSun Festival: Eumundi Amphitheatre 29 Jun

Dead Letter Circus: Surfers Paradise Beer Garden 15 May, Racehorse Hotel 16 May, 18 May Tatts Hotel

Drunk Mums: Grand Central Hotel 7 Jun

Dune Rats: The Zoo 28 Jun, Alhambra Lounge 29 Jun (U18)

Splendour In The Grass: North Byron Parklands 25-27 Jul

Rüfüs: Beach Hotel 8 Jun

Thundamentals: The Zoo 16 May

The Bennies: Crowbar 8 Jun

In Hearts Wake, Dream On Dreamer: The Brightside 15 Jun, The Sands Tavern 29 Jun

Gympie Music Muster: Gympie 28-31 Aug

Chance Waters: Alhambra Lounge 16 May

Graveyard Train: The Northern 11 Jun, The Zoo 13 Jun

Infinity Broke: The Loft 16 May, New Globe Theatre 17 May

The Love Junkies: Black Bear Lodge 12 Jun

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

BIGSOUND: Fortitude Valley Entertainment Precinct 10-12 Sep Soulfest: Riverstage 25 Oct


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The Music (Brisbane) Issue #38  

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 #38  

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