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2 • THE MUSIC • 18TH JUNE 2014

THE MUSIC • 18TH JUNE 2014 • 3

themusic 18TH JUNE 2014




Good Vibrations’ Richard Dormer Band Of Skulls Hard-Ons Supersuckers Parkway Drive Tape/Off


Joan As Police Woman APRA’s Ted Albert Award Winner Lindy Morrison The Audreys Wagons The Effect Star Mark Leonard Winter






La Dispute Straight Arrows Teeth & Tongue

REVIEWS Album: Total Control

Live: The Bronx Arts: 22 Jump Street



Cover: The Steady As She Goes


Food/Drink Frontlash/Backlash Indie News This Week’s Releases Indy Features Gig Guide




cinema 4 • THE MUSIC • 18TH JUNE 2014














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

The world’s largest free international music event Fête De La Musique hits Brisbane this Saturday, with the streets of our town being transformed into a giant concert as musicians of all descriptions strut their stuff for your listening pleasure! Libraries, train stations, CityCats, malls, laneways, street corners – you name it and someone will be filling it! Keep your eyes and ears open and be rewarded with beautiful music.

This Saturday the normally sedate Greenslopes Bowls Club (terrible name for a bowls club really) is transformed into a rock’n’roll mecca as local label Sonic Masala holds the inaugural Sonic Masala Festival! There’s an incredible line-ip of mostly local talent including Turnpike, Tape/Off, Roku Music, The Stress Of Leisure, Ghost Notes plus many more, plus there’s cheap beer and it’s all only $10!

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

Everyone likes being mesmerised by magical mayhem, right? And who doesn’t like people nuding up? So there should be something for everyone when local reprobates The Naked Magicians bring their mirth-laden live show to the Brisbane Powerhouse this week! From this Thursday through to Sunday 29 June you can catch this fun-packed, R-rated exhibition from two starkers exhibitionists – nothing up my sleeve indeed! BRISBANE


BAY STREET BYRON BAY (02) 6685 6402

























national news BALL PARK MUSIC




On their Trippin’ The Light Fantastic tour, Ball Park Music will be incorporating 3D imagery that will blow your mind! Okay, let’s be honest, the Brisbane five-piece are already 3D – BPM are squeezing out the lolz – but with an ever bouncy live show and some sweet lighting we can guarantee you gotta see this tour – holograms or not. It happens 25 Sep, Bar On The Hill, Newcastle; 26 Sep, Enmore Theatre, Sydney (all ages); 4 Oct, Forum Theatre, Melbourne; 8 Oct, Karova Lounge, Ballarat; 11 Oct, Wool Exchange, Geelong; 18 Oct, The Tivoli, Brisbane; 24 Oct, Astor Theatre (under-18s can attend with guardian); 25 Oct, Settlers Tavern, Margaret River; and 2 Nov, Alhambra Lounge, Brisbane (under-18s). Proudly presented by The Music.

We’ve already been gifted with a glut of amazing musical acts, but what’s a Splendour bender without some fun on the side, for those times when you just want to chill out and maybe make your own piñata boombox. This year’s Splendour Arts program sees live installation Rumspringer, the Skywhale balloon creature and Lionel Richie’s Head. Don’t ask questions. Splendour In The Craft will be back for a second year, with Beci Orpin, Matt Format and Fancy Free (ft The Grates’ Patience Hodgson) all excited to show you how to make some cool shit. And The Grates’ Brisbane cafe Southside Tea Room will also be appearing as a pop-up food and drink stall, while there’s also live graffiti, theatre and more. Punters be excited for 25 – 27 Jul.




The Amity Affliction have just topped the ARIA charts with their fourth longplayer Let The Ocean Take Me, so there’ll no doubt be plenty of pit warriors excited by the announcement that the Queensland metalcore champions will be returning to big stages around the country to show off their uncompromising new wares. And as always, Amity have put a classy support bill together for these dates, with internationals Architects, Issues and Stray From The Path all visiting for the festivities, while Deez Nuts help wave the Aussie flag high. The all ages tour happens 29 Aug, Red Hill Auditorium, Perth; 31 Aug, Festival Hall, Melbourne; 4 Sep, Hordern Pavilion, Sydney; and 5 Sep, Riverstage, Brisbane, with tickets on sale Friday.



Legendary British reggae act UB40 are bringing their swag of hits Down Under, extending their current world tour to spread their joyous Caribbean sounds with the masses. With a new album pencilled in for a late-2014 release, these shows are shaping up to be an uplifting celebration, so get involved when the group play with Blue King Brown at Red Hill Auditorium, Perth, 5 Dec; Riverstage, Brisbane, 7 Dec; Enmore Theatre, Sydney, 9 Dec; Palais Theatre, Melbourne, 11 Dec.



Sydney’s favourite hip hop misfits True Vibenation will be sharing their wondrous riddims with the country when they launch their forthcoming record On. Bounce with Verbaleyes, Native Wit and Klue 26 Jul, TBC, Brisbane; 27 Jul, The Brewery, Byron Bay; 31 Jul, Shebeen Bandroom, Melbourne; 2 Aug, Rad Bar, Wollongong; 8 Aug, Newtown Social Club, Sydney; 16 Aug, Baroque, Katoomba; 20 Aug, Sosueme, Beach Road Hotel, Sydney; 23 Aug, Transit Bar, Canberra; and 12 Sep, Mojo’s Bar, Fremantle.


Over more than a decade, The Cat Empire have proven themselves to be the ultimate cosmopolitan party starters, and after a summer spent in their second home of Europe, the Melbourne sextet will return home for shows with Madre Monte and Tom Thum, playing 26 Sep, Fremantle Arts Centre; 27 Sep, Metro City, Perth; 4 Oct, Festival Hell, Melbourne*; 10 & 11 Oct, The Tivoli, Brisbane; 12 Oct, Rabbit & Cocoon, Gold Coast; 17 Oct, UC Refectory, Canberra*; 18 Oct, Hordern Pavilion, Sydney*; and 19 Oct, Panthers, Newcastle* (*all ages).


Philadelphia punk rockers The Wonder Years are sharing their emotion-charged odes about boredom in suburbia with Australian audiences later this year, playing dates all around the country as part of The Greatest Generation World Tour. Catch them 4 Sep, The Hi-Fi, Melbourne; 5 Sep, Phoenix Youth Centre, Melbourne (all ages); 7 Sep, Amplifier Bar, Perth; 11 Sep, The Hi-Fi, Brisbane; 12 Sep, The Lab, Brisbane (all ages); 13 Sep, Manning Bar, Sydney; and 14 Sep, The Lair, Sydney (all ages).

Tap into Live Music on The Sunshine Coast

Taps @ Mooloolaba: The only venue in Australia where you pour your own beer THU 19 JUNE










RUMBLEFISH Gig guide, events & venue information:

Follow us @tapsmooloolaba ph: (07) 54 777 222 Cnr The Esplanade & Brisbane Road, Mooloolaba.

THE MUSIC • 18TH JUNE 2014 • 9

local news LUCA BRASI



Coming up to Queensland to help out their pals Violent Soho during their third and final sold out show at The Hi-Fi, 19 Jul, Luca Brasi have just announced that they’ll be doing it for all the kids that didn’t get tickets to that show too, playing a free gig in the 4ZZZ Carpark earlier that same day. Get along from 2pm and hear the Tassie punk legends play tracks from their instant classic of this year, By A Thread, with the quartet supported by Stolen Bikes Ride Faster, Greyface and Columbus.


Little BIGSOUND has confirmed a long list of speakers and artists for the 2014 instalment of the youth music forum, happening at The Edge, Southbank, 21 Jul. Speakers on the day will include musicians like Jeremy Neale and Kahl Wallis (The Medics), radio identities such as Michelle Brown (4ZZZ) and Dan Condon (Double J) as well as Footstomp head Graham ‘Asho’ Ashton, ARIA-winning producer Magoo, APRA’s Chris O’Neill and plenty more. Add this to live performances on the day from Sahara Beck, Youth Allowance and The Missing, and we’ve got one hell of a large event.


It’s time to save rock’n’roll again, and brothers from other mothers The Strums (Brisbane) and Caféïne (Montreal) are dismissing borders to get together next month. Pushing new EP We Are A Fuckin Rock N Roll Band, The Strums guarantee a show that’s all real, no bullshit, while lauded Canadian punk poet Xavier Caféïne has dropped his first eponymous English language album. Push aside pretention and get to The Bearded Lady, 4 Jul and The Loft, Gold Coast, 5 Jul.



A stickler for the stage, Ed Kuepper has responded to the sold out signs going up for his Solo And By Request tour by doing the only logical thing – adding more dates. Supporting his latest record Return Of The Mail-Order Bridegroom, expect new tracks and plenty of acoustic reinterpretations from the classics of his career with The Saints and Laughing Clowns. He plays 9 Aug, Old Museum and 22 Aug, Soundlounge, Gold Coast – tickets can be purchased through the venues direct.

Far removed from the world of electronic music, The Flumes instead spread the joy with more traditional instruments, playing a dreamy kind of psychedelic folk that’s immediately warm and welcoming. Catch the band 28 Jun, Imperial Hotel, Eumundi; 3 Jul, The Joynt; 4 Jul, The Brewery, Byron Bay; 5 Jul, Teneriffe Festival; 17 Aug, Yandina Street Fair; 24 Aug, Caloundra Street Fair; 30 Aug, Maleny Music Weekend; and 13 Sep, Full Moon Dance, Verrierdale Hall, Sunshine Coast.


Megatime Dutch EDM don Hardwell – who is current reigning as the number one DJ in the world according to DJ Mag’s annual Top 100 list – is set to visit Australia for the second time in 2014 with a trio of huge headline shows along the east coast. Check out the 26-year-old at the height of his powers when he puts on a clinic at Brisbane Riverstage, 5 Oct, with Kill The Buzz supporting. Tickets on sale this Thursday.



The brooding, provocative and beautifully haunting alt. country sounds of The Yearlings are drifting up our way, with the Adelaide pair of Robyn Chalklen and Chris Parkinson excited to share a new selection of songs with us, pulled from their newly released fifth album All The Wandering. They gallop in to Lefty’s Old Time Music Hall, 2 Jul; Courthouse Hotel, Mullumbimby, 5 Jul; and Brisbane Powerhouse, 6 Jul for an afternoon session kicking off at 3.30pm. All dates proudly presented by The Music.

local news



It took the dissolution of several other musical ventures for Bristol’s KOAN Sound to be heard, but now they’re kicking and screaming the dance world is definitely taking notice. Having earned the praise of everyone from Aphex Twin and Pendulum to BBC tastemaker Zane Lowe, the British pair are genuine electronic shapeshifters, cutting tracks and playing sets that are worlds away from the ordinary. Catch the duo when they visit Oz at Biscuit Factory, Arena, 5 Jul.



The voice of the Californian desert, John Garcia, has put together a collection of new songs that he’ll be offering to the world in the form of his first solo album, slated for release on 1 Aug. Stand before the great man and soak up that delicious baritone when the Kyuss/Vista Chino vocalist owns the stage 13 Sep, The Zoo; and 14 Sep, The Northern, Byron Bay, heading up Desert Rock Showcase that also brings us Palm Springs’ Waxy and Melbourne thick freaks Mammoth Mammoth.


Born in Dublin, raised in Australia and now based in New York City, Vincent Cross brings all these memories and experiences to the fore with his welcoming roots songs. Hear his heart beat when Cross tours his new record A Town Called Normal, playing 19 Aug, The Bug, New Farm Bowls Club; 20 Aug, The Round, Dowse Bar; and 22 Aug, The Treehouse, Byron Bay.

To meet with the rabid demand for tickets to their (now sold out) Brisbane Entertainment Centre show, 10 Mar, Eagles have just announced a second and final Brissie date, with the legendary rockers set to drive us down the lonely highway once more at the same venue the following night, 11 Mar. Hear all the hits like Hotel California and Take It Easy – tickets are on sale for the last Australian stop on their History Of The Eagles tour through Ticketek.



LA-based folk femme Kina Grannis will be sharing her incredible voice with Australia next month. With almost a million subscribers on her YouTube channel, this is now your chance to see what all the fuss is about. She plays The Tivoli, 19 Jul.



In an incredible career that’s now rolling though its fourth decade, it’s kinda hard to believe that Fearful Wiggings is only Dave Graney’s second record under his own name. Watch him strip things back and get a little introspective when he dons his fedora at Beetle Bar, 18 Jul; Solbar, Maroochydore, 19 Jul; and The Northern, Byron Bay, 20 Jul.

More European dance flavour is coming our way courtesy of Myon & Shane 54, Hungary’s forthright dancefloor directing superstars who are currently sitting pretty in DJ Mag’s Top 100 poll. Their bombastic brand of EDM has become essential fodder in the setlists of some of the biggest DJs on the planet, and you’ll be hearing the best of their bunch when the pair bring their Aussie club tour to Family, 16 Aug.



The infamous Broadway musical Chicago transferred perfectly to the big screen and come Sunday at New Globe Theatre you’ll have an opportunity to re-live the glamour – for only $10! Starring Renée Zellweger, Catherine Zeta-Jones and Richard Gere, the flick tells the story of two murderesses trying to keep themselves from the gallows in 1920s Chicago.



Less of a concert and more of a religious experience – that’s what fans and critics are saying about Agnes Obel’s current live show. The Danish dynamo will show off her singer/ songwriter skills with an all ages performance at Old Museum, 25 Nov. Don’t miss this rare opportunity to see a remarkable talent when she tours her second album Aventine.

Dramatic prog rock maestros Toehider will return to Queensland to launch their forthcoming sophomore full-length. Led by the charismatic Mike Mills, the band get their What Kind Of Creature Am I? tour underway at The Brightside, 11 Jul when they support Voyager alongside Caligula’s Horse and Dark Symphonica. Tickets through Oztix for $20.


Sydney beatmaker Bass Kleph has been on a mission this past year – his commitment to the road and his passion for his craft seeing him become one of the hottest names in big room electro house and EDM. After tearing up US stages for most of this year, big BK is coming home and he wants you to celebrate with him. He plays Liv Nightclub, Gold Coast this Saturday and The Met, 19 Jul. THE MUSIC • 18TH JUNE 2014 • 11



SONGS FOR UNITY Richard Dormer talks to Guy Davis about portraying the unlikely Terri Hooley in a new film chronicling an oasis of music in the midst of sectarian Belfast during the Troubles.


n the 1970s, when the Catholics and Protestants of the Northern Ireland city of Belfast were exchanging gunfire and throwing bombs in the sectarian conflict known as the Troubles, a local DJ and music aficionado named Terri Hooley responded to the violence the best way he knew how: by dropping the needle and turning up the volume. In a bid to give the kids something to do other than kill one another, and also because he probably had a bit of a problem with any form of authority, Hooley decided to open a record store “on the most bombed half-mile of road in Europe”. And he gave it the name Good Vibrations. That’s also the name of the film telling Hooley’s funny, frustrating, inspirational and irreverent story, which sees his musical crusade stretch beyond his shop to become a tiny but mighty record company that produced tracks from the likes of Ash, Snow Patrol and The Undertones, the punk band behind the awesome Teenage Kicks. For all his enthusiasm and good intentions, though, there are times when Hooley just can’t get out of his own way. “He was incredibly frustrating, and he still is,” says Richard Dormer, who vividly and winningly brings Hooley to life in Good Vibrations (Game Of Thrones fans may remember him as Beric Dondarrion, one-eyed leader of the Brotherhood Without Banners). “He’s a loveable guy but he’s also one of these people who seem to exist on a different plane. He lives for the moment, and that can be detrimental because we have to be aware of consequences. But I don’t think Terri ever was. It’s also a good thing, though, because he never would have done what he did otherwise.” It was Hooley’s ambition to bring people back into the heart of Belfast, a place they were too terrified to set foot in. “He was going to use music to get people back into the heart of the city, which was deserted,” says Dormer, born and raised in the neighbouring town of Armagh (“so I spent my youth in the Belfast area”). “Opening a shop called Good Vibrations under those circumstances is 12 • THE MUSIC • 18TH JUNE 2014

pretty amazing, I think. But Terri’s like an alien, really; he sees the world in a different way. And this was him basically sticking two fingers up at the world and saying he wasn’t going to let any terrorist or paramilitary group tell him what to do.” Dormer believes Hooley was pulling off some pretty revolutionary

stuff. “At the time people just thought he was helping kids – by buying them instruments and getting them to form bands – but looking back on it, he probably stopped a lot of those kids getting involved in political organisations. I think he probably did a lot more for hundreds of teenagers at the time in Belfast, Protestant and Catholic alike, than a lot of the politicians did. There was almost a Pied Piper kind of thing to Terri – he wanted to lead people out of the darkness.” And it was qualities such as these that made Dormer want to get involved with Good Vibrations. “I didn’t know anything about Terri until I heard about the film. I’d heard his name mentioned but I didn’t know what he did


or what he was famous for. What I loved was that this was a film from Northern Ireland that wasn’t about the Troubles. The Troubles are in the background, sure, but it’s about this larger than life character that had a dream. I really think it’s nice to see a character in a film that is so optimistic and fun-loving, that has such a joy of life.” Not to mention a little madness. “There was a craziness to Terri then, and it exists to this day,” laughs Dormer, who admits he shared “a few pints” with Hooley in the name of research. “He’s still slightly mad in the nicest way. But all great creative thinkers are slightly bonkers, you know. You have to be, you have to see the world a bit differently in order to shake it up. And I think that’s what Terri did. There’s a song that’s performed the end of the film, this Sonny Bono song called Laugh At Me, and I think it sums Terri up perfectly.” Despite many ups and downs, Hooley and Good Vibrations have proven indefatigable, with the shop closing its doors and then reopening “something like seven times in the last 12 years”, says Dormer. “Since the film came out, there’s been a lot more interest. And it’s a bit of an historical landmark in Belfast. Terri will be there till he drops. It’s not about money for him – it’s about having a place where people can get together, have a laugh and listen to some old vinyl.” WHAT: Good Vibrations In cinemas now


BEHIND THE GAME The reason one episode of Game Of Thrones a week isn’t enough is because the storyline is so well written and engaging and each actor portrays their character so well.. until they get their head crushed or removed. It’s such an engaging show that the thought of Jaime “The Kingslayer” Lannister or his younger brother, Tyrion, in a modern day setting is almost unfathomable. But the truth is most of them are pretty busy outside of the show. Here’s how some of your favourite Game Of Thrones stars spend their time:

BERIC DONDARRION So Richard Dormer managed to escape the wrath of George R.R. Martin, with his character on the show, Beric Dondarrion, being able to come back to life. Unfortunately, he didn’t get all that much airtime. Luckily for us he’s a well established actor, and you can catch him in My Boy Jack (2007), Five Minutes Of Heaven (2009) and, of course, Good Vibrations.


It’s not a coincidence that Alfie Allen (Theon “Reek” Greyjoy) shares the same last name as a certain English singer. His sister, Lily Allen, said during a Reddit AMA last month that she was asked to do a cameo on the show but declined. After seeing what they did to her brother’s character, it’s no surprise.

HODOR He’s a man of few words on the show – actually, just one word - but off the set Krisitan Nairn (Hodor) is actually a pretty decent Irish DJ and does frequent sets around Dublin. He can lift the mood in any room, much in the same way he lifts Bran Stark. ALFIE ALLEN AS THEON “REEK” GREYJOY IN GAME OF THRONES

THE MOUNTAIN Okay, so this may be a spoiler for some, but if you were fan enough to read this far, surely you’re up to date with season four. If not, shame on you and stop reading now. Iceland’s Hafþór Björnsson portrayed The Mountain in recent episodes. It wouldn’t be surprising if the reason [SPOILER] he was able to so convincingly crush The Viper’s head is because he’s done it before. Bjomsson is a strongman competitor. He also used to be a professional basketball player. The Viper stood no chance.


And last but not least, Peter Dinklage. He’s the first actor credited in the shows intro, and for good reason. As the show’s progressed, he’s become one of our favourites. Starring in X-Men: Days Of Future Past and The Angriest Man In Brooklyn this year, Dinklage is already working on numerous films for 2015. THE MUSIC • 18TH JUNE 2014 • 13


TOUCHING THE VOID Southampton blues rockers Band Of Skulls have consolidated their crushing aesthetic on third album, Himalayan. Russell Marsden explains to Brendan Telford the masochistic process in full.


ince bursting out with their breakneck debut, Baby Darling Doll Face Honey, Band of Skulls have held sway internationally, their brand of crushing riffs on top of a chugging rhythm section and the vocal interplay between Russell Marsden and Emma Richardson striking an indelible chord with a loyal legion of fans. 2012’s follow-up, Sweet Sour saw some slight deviations from this rough and ready path, yet with the release of third album, Himalayan, the trio (Matt Hayward on drums rounds out the unholy trinity) have clearly drawn the line in the sand insofar as what they want to achieve as a band, with a strong focus on rhythm as refinement and backbone as much as a propulsive beast. “I think after we made our first record and were then on tour for a very long time, we made Sweet Sour all in one movement; it all melded into a bit of a blur for us,” Marsden explains. “We had a slight pause to think on how we wanted to [record the new album]; we evaluated everything and took it all upon ourselves to make things the best we felt we could. We decided to be really strict with ourselves in terms of writing and performing and recording, so that whilst there were internal restrictions the benefits of this came out in the music, something that was incredibly focused and powerful. If things didn’t work well the first time we would cut them out, just like that. “We love the two records we made before, but it’s fair to say we wanted to make something better than the two of them combined. We set our own goal posts and we are our own worst critics anyway, so we didn’t allow ourselves to relax. We remained very critical – after each day we’d sit down and talk. ‘What did we actually achieve today?’ We threw ourselves into it; we had to.” It sounds like Himalayan was a gruelling exercise, but Marsden admits the writing process is a serious part of the band for him – up to a point. “I think we like the punishment,” he laughs. “We’ve toured the world now, we have seen what expectations are for different audiences, and we wanted to really

push ourselves so that we could meet those expectations. It’s like going from secondary school to senior school; we feel like the little kids in a bigger school, and we better toughen up if we want to make it out alive, otherwise we will get pummelled. So as much as it’s great

Sweat, the album conveys a level of control and commanding confidence that hasn’t been present in past offerings, another sign that the strict regimen of the writing process brought dividends. “With [Sweet Sour] we were wary of being typecast, so we attempted to broaden our horizons before anyone could tell us what they were. There was rebelliousness to that, to this idea that we wouldn’t be told what to do. Now that we have that out of our system it was important that things be more focused now; there is no need to let fly on a whim when you can control what that whim is and time it and make it important rather than impulsive. We have realised what our sound is, what the crux of the band is, and that is pretty powerful, to know who you are and what you are capable of. Which is weird to think about, this idea of power – when you start out you are throwing everything at the wall and are just happy to get a gig. But really there is a sense of responsibility. It’s almost like having a child, where you have to learn how to look after and nurture it so that it can grow and be its own thing, get it dressed and send it off to school; the album has made us into proud parents.”

“I THINK WE LIKE THE PUNISHMENT.” to tour the world and meet new people, [the band] is essentially a constant battle against ourselves, and it’s something we enjoy.”

It seems prescient that Himalayan became the album’s title then, what with the gruelling selfimposed effort the band imposed upon itself just to reach this peak of achievement. Whilst it wasn’t as considered a choice as that, Marsden admits wryly it sums up the band’s efforts thus far quite nicely.

Slight masochistic undertones aside, Himalayan is an album that presents a band assured of their own abilities and convictions. From the ‘to the floor’ growl of Asleep At The Wheel to the brooding Cold

“Because we had set our goals so high we felt that the album should be called something quite epic. We liked the sound of the word. But then again, even though we like to set the bar high, we’ve outdone ourselves with this one I think.” WHAT: Himalayan (Electric Blues Recordings/[PIAS] Australia) WHEN & WHERE: 21 Jun, The Hi-Fi



No band rocks harder or longer than Supersuckers, who are still pumping out firebrand missives after 25 years at the coalface. Frontman Eddie Spaghetti marvels at their continued debauchery with Steve Bell.


he self-professed ‘greatest rock’n’roll band in the world’ Spersuckers just dropped their ninth studio album Get The Hell, and – while none of their output has been bad by any means – it may be one of their best albums yet, and has all the ball-tearing grit and roughhouse charm that made their early efforts so endearing. “It’s a good record, right?” marvels frontman-songwriter Eddie Spaghetti. “We have no business putting out a record this good this late in the game. We’re stoked on how it came out – we kind of can’t believe how good it is. It harkens back and looks to the future all at the same time. We definitely had a lot of time between records to sort it out and get it right and I’m glad we did.” Fellow rock luminary Blag Dahlia (of The Dwarves fame) mixed Get The Hell, and Spaghetti is effusive about his impact on the album. “He’s the reason it sounds so fucking amazing,” the singer smiles. “Thanks to him I don’t have a single complaint about the way it sounds at all. He was hands on for the mixing process but he wasn’t there for the recording, which we kind of intentionally that because it’s already mental enough when you’re in there recording and to have another mental personality like Blag in there could have been detrimental. But he always has good ideas, so I’m thrilled that he’s involved in it at all.” One of Supersuckers’ main strengths over the journey has been their audacious use of cover versions amidst their rollicking originals. Get The Hell contains two covers – Depeche Mode’s Never Let Me Down Again and Gary Glitter’s Rock On – and while they’ve done plenty of versions by their rock peers (Mötörhead, Flamin’ Groovies) it’s these more left-field renditions of tracks by artists such as Madonna (Burning Up), Outkast (Hey Ya!), Ice Cube (Dead Homiez) and even The Commodores (Sail On) which have benefited most from the Supersuckers treatment. “It’s a very serendipitous event that occurs every time we’re going to do a cover song,” Spaghetti smiles. “The Depeche Mode cover came about because [guitarist] Dan Bolton was so adamant about wanting to record

this song – he’s been on us to record that for well over ten years now and we finally relented and did it, and I‘m glad we did because it sounds great. It came out super cool, it sounds more like a Dead Boys song than some pop number. We’ve always really enjoyed [the more eclectic covers]

laughs. “I just think that’s how rock’n’roll needs to be. Rock’n’roll needs to be about all of the things that you’re not supposed to do and all of the things that you’ll regret – it’s supposed to be a way to live out these regrets and bad life choices, and this is my take on how rock’n’roll ought to be. It’s kinda become passé to Mötley Crüe it up or whatever, but I still believe in those tenets of rock’n’roll – I believe that rock’n’roll should be a dangerous sport for the hardened at heart and tough-skinned.” Of course Supersuckers are best experienced in the flesh, as they’ll no doubt prove on their impending Australian return. “I always say that our live show is the

“I BELIEVE THAT ROCK’N’ROLL SHOULD BE A DANGEROUS SPORT FOR THE HARDENED AT HEART AND TOUGH-SKINNED.” from our Madonna cover to our Ice Cube cover to our Outkast cover to the version we did of (The Chips’) Rubber Biscuit – we’ve been all over the map with our covers. It’s a fun way to flex your muscle.”

one thing that we have that nobody can take away from us,” Spaghetti posits. “It’s the one thing that we have left in our canon that you can’t get any other way than to come and see it live. I liken it to a rollercoaster – you can watch a video of somebody riding the rollercoaster all day long, but until you ride it yourself you haven’t experienced it like you need to. I just feel like we’ve got the fire in us – we’ve just got that something extra that not every band has, and I’m proud of it.”

From a lyrical perspective “liquor, women, drugs and killing” have long been Supersuckers’ go-to tropes, and Get The Hell’s originals are a typically hedonistic batch.

And after 20 years of rocking Down Under they’re rapt to be making the long trek back. “Yeah, Australia’s great because you speak the English,” Spaghetti hams, “so even though I can’t understand a fucking word you guys say, I know that you understand what I’m saying and that means a lot to me. It’s nice to be down there.”

“Once again with the hedonism,” Spaghetti

WHEN & WHERE: 19 Jun, The Zoo THE MUSIC • 18TH JUNE 2014 • 15


THERE WAS A TIME Australian underground legends Hard-Ons are celebrating their birthday but keeping one eye firmly on the future. Founding member Peter “Blackie” Black explains to Steve Bell why this great band just keeps on keeping on.


t’s a strange time for Sydney punk legends Hard-Ons. On one hand they’re in the studio working feverishly to finish their new album – their 11th studio effort – but at the same time they’re about to undertake a massive tour in celebration of the 30-year anniversary of their first official show, looking back to a time when they were brash young punks from Punchbowl with a ton of attitude and the musical chops to match.

death. For me music is everything – I just fucking love music, it’s too good. After all this time the sheer joy and majestic-ness of music has never left us. We’re still here feeding off it!”

To make things even more random they’re meshing two line-ups for the milestone: founding drummer/ vocalist Keish de Silva – who left the ranks in 2001 – is returning to the fold, joining his old sparring partners Peter ‘Blackie’ Black (guitar/vocals) and Ray Ahn (bass), as well as current skinsman Murray Ruse. Together the four will be revisiting the band’s first tenure between 1984-1993 (they took a six-year break at that juncture), although there were apparently some initial reservations about the reunion.

The Hard-Ons sound changed substantially over the years – does this reflect the fact that they love heaps of different music?

“For the 30 years celebration I got talked into doing the tour with Keish,” Blackie explains, “and now that I’m talked into it I think that it’s a really nice idea, but my thing was, like, ‘Oh let’s do fucking shitloads of recording!’ so we’re not just doing the new album we’re also releasing four split seven-inches with friends of ours from across the world. I just thought, ‘Look, we’ve finally got another drummer and it’s working really well, the new stuff ’s really pumping, I just want to go out and play this shit!’ And Ray was like, “I know, I do too – and we will – but it’s been 30 years and we’ve got the best fans, you know they’d love it if we do a ‘pick the setlist’ tour and just did stuff from the Keish era’. “At first I thought that it wasn’t going to be very musically exciting, but for the Record Store Day gig that we did [at Tym Guitars in Brisbane] a couple of weeks ago we not only did [re-released first single] Girl In The Sweater but we also did the B-side I Heard Her Call My Name, which we haven’t played in literally over 20 years, and fuck it was a blast! Suddenly I thought, ‘You know what? I’m going to have fun on this tour!’ All we’ve got to do is dig back in and play stuff we haven’t played in eons, so it’s going to be shitloads of fun. Like Ray says, ‘C’mon, from time to time we deserve to pat ourselves on the back!’ “If you’re a band that does it for this long then you’re a band who does it because you fucking love it to

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“Yeah, fully,” Blackie emphasises. “Totally. The first reason we broke up was because we felt restricted. The last record we did [before the split – 1993’s Too Far Gone] the feedback from it was so strange, and we were like, ‘Far out, really? It’s probably best that we break up then.’ Then when we got back together similar stuff was being fed to us, people suggesting that, ‘This is your sound.’ I went through a bit of a crisis about the band, so I had a pretty good hard look at it and thought, ‘Look, there is a certain perimeter within Hard-Ons and it’s silly to leave that zone,’ and I had to make sure that I could be happy with that musically. In all honesty I thought, ‘Yeah, I can,’ and it almost

became like a musical challenge for me to be happy with myself within that perimeter. “I think I’m pretty lucky that we’ve got pretty broad scope anyway, even from the first record we’ve basically done pop, punk and metal – the three genres that we all grew up with and love a lot. Even on the new record we still really do push it within those boundaries. I would hope that we’d change [over time], because I think that whether an audience wants you to or not if you just stay the same then it’s crap, and I don’t want to be boring.” Blackie is proud about what Hard-Ons have achieved over the journey – chiefly respect, influence and reverence from all over the globe – and that they’ve done so without compromising their distinctive vision. “Totally,” he offers. “Someone asked me the other day, ‘Don’t you wish that you guys were successful?’ and I thought, ‘Well, I could always use more money because I hate the fact that I’ve got to drive a fucking taxi,’

“IF YOU’RE A BAND THAT DOES IT FOR THIS LONG THEN YOU’RE A BAND WHO DOES IT BECAUSE YOU FUCKING LOVE IT TO DEATH.” and I’d kill to be able to do music full-time – it’s unfortunate that in this country you just can’t – but in terms of success I think the example I used was, ‘Well The Strokes were successful, and they were fucking shit!’ So no, success isn’t something that we strive for, we just strive to be good. We just want to be a great band and whatever happens after that happens – you either get lucky sometimes and you’re in the limelight, and at other times no one knows who you are or even remembers that you’re still together and all that sort of shit, but the most important aspect for us is just to be a really good band.” WHEN & WHERE: 19 Jun, The Northern, Byron Bay; 20 Jun, Coolangatta Hotel; 21 Jun, Prince of Wales



Parkway Drive love being the “cancerous thumb” for first-time festival goers. Winston McCall chats with Benny Doyle about his all ages experiences before revealing details of the band’s new record.


hey might be “sticking out really badly” on this year’s Groovin The Moo, but Parkway Drive are revelling in their role says Winston McCall. The frontman phones The Music at the travelling event’s halfway point, and although he still hasn’t had a chance to see The Jezabels and Dizzee Rascal like he wanted to, he admits it’s been one of the best festival experiences he’s ever had. The quintet are also getting familiar with fellow GTM acts The Jungle Giants, Allday and Violent Soho, who they’ll be sharing a stage with once more at underage extravaganza Live It Up. McCall is aware that, like Groovin The Moo, most fans in the crowd won’t have ever seen Parkway Drive live, but he encourages the youngsters getting along to embrace the energy with open arms. “Production budgets may vary but intensity levels remain the same,” he says of a Parkway Drive set. “The experience you’re going to get is the same no matter what is behind us flashing or falling over or exploding; [we] play the exact same whether it’s [to] five or 5000 people. “A lot of people [now] discount how much it means to see a band live because you can just watch it on YouTube, but actually being there in person is completely different, and the impact it has is completely different,” McCall stresses. “You go to your first gig and there’s no way in hell you’re saying, ‘I’d rather watch this on YouTube.’ Once you experience a band live you will not want to see it any other way again.” Champions of the all ages scene after earning their stripes putting on now-legendary shows around Byron Bay a decade ago, McCall remembers the first gig that most of the band went to – Warped ‘98 – as the turning point. He says that witnessing US punk acts like Pennywise and Blink-182 playing in his own backyard made being in a band seems like a legitimate possibility. “That had a huge influence on all of us, especially the accessibility factor, that, ‘Hey, these are normal people on stage doing what you absolutely love.’ That was fantastic – that’s what kinda started the local scene. One gig can be a catalyst to a large change.”

The frontman also remembers the grassroots work that went into putting a gig on back when Parkway were first coming out – the flyering that would see every lamp post, power pole and school noticeboard in the greater Byron area sharing the announcement.

Humble beginnings for sure, but today Parkway Drive are one of our most recognised musical exports, and are arguably the biggest metalcore band on the planet. Looking to maintain their position atop of the heavy food chain, the quintet are currently working on a fifth studio album, and the vocalist enthuses that the group are continuing forwards with the sonic exploration that made 2012’s Atlas such a defining statement for the band and the genre as a whole. “This is going to be a hell of a lot different,” McCall states. “I’m not going to say it’s going to be like a non-Parkway sounding record because we have some

“ONCE YOU EXPERIENCE A BAND LIVE YOU WILL NOT WANT TO SEE IT ANY OTHER WAY AGAIN.” “The first few times we glued them,” McCall laughs, “and then we realised that the flyers didn’t actually come off so there’s still half ten-yearold flyers stuck around Byron. We got a bad rap for that, but literally every aspect of the show you did yourself. When you’re involved on such a personal level I think kids have a sense of pride in the fact that they’re the ones responsible for keeping this thing alive. It’s something that you’ll stand behind.”

absolutely phenomenal songs written that are to a tee Parkway Drive, but the layering and extra work that’s going into it is going to kick it to a whole other level. We [want] to take it completely outside the box and really focus on adding more to the music than we ever have, creating those [experimental] parts in more of a featured way and making it an entire song based around the concept of this being what we can sound like, rather than this can be a tiny bit of the sound we already have. “[Atlas] was a validation and an inspiration in the fact that we can count on our fans to have an open mind to the music that we put out,” he concludes, “and we can count on ourselves to create something different that still sounds like Parkway.” WHEN & WHERE: 21 Jun, Live It Up, RNA Showgrounds THE MUSIC • 18TH JUNE 2014 • 17



Brisbane indie lynchpins Tape/Off have finally dropped their first album – Branko Cosic tells Steve Bell about escaping stagnation.


risbane indie outfit Tape/Off have been stalwarts on the Brisbane scene for years now, building both a fervent following and a solid reputation on the back of two EPs (2010’s Unreel Unravel and 2011’s ...And Sometimes Gladness). Now, after a seemingly interminable wait, they’ve finally unveiled their debut full-length, Chipper. “We were after something pretty different,” explains drummer Branko Cosic. “I think the two EPs were total accidents with the chips falling as they lay, but with the album we knew that we definitely wanted to concentrate on it more. There was a period when we were going for a grant to go to San Francisco


to record with Jay Pellicci who used to do all the Deerhoof records. When we didn’t get the grant we started doing demos at my place because that was our HQ, with a mind to go somewhere else for the actual recording. But then those demos started turning into album tracks. “They way it was written ultimately wasn’t that much different to how the EPs were done, although there’s nothing conventional about the way Tape/Off write and record. Nathan [Pickels – vocals/guitar] will come over to my place and start chugging on some riff, and I’ll open up ProTools and say, ‘I’ll give you a click track, just make up a structure

and we’ll figure it out later.’ He’ll do that and I’ll quickly put drums on it and a dummy bass and it goes from there. Although now with the new unit – with Cam Smith on bass and Ben Green on guitar – we’ve started writing songs in a room together, which is really working well. Beforehand we all had full-time jobs and it was hard trying to pin everyone down to write a full song and get it down enough to go to a studio.” According to Cosic Tape/Off ’s recent line-up changes have really consolidated the band’s aesthetic. “This is probably the most realised version of Tape/Off. When the band started it was mainly Nathan and I – Luke [Zahnleiter – guitar] came along pretty early on, and Brenton [Maybury – bass] came a few weeks before our first gig at The Hangar. We weren’t really from the same scene or musical upbringing; Luke’s totally into the really wacky Deerhunter records, whereas Brenton was a typical ‘90s punk going to Warped fest and things like that and Nathan and I were just big Pavement and Fugazi fans and the like. “Jams were really awkward because there’d be all these different ideas trying to claw together to make something cohesive – sometimes it worked and sometimes it didn’t. But when the line-up evolved I think we read each other a lot better now in the room. We’re starting to talk our own language, which I’d heard about so many bands doing in the past but never quite understood, but now that we understand each other a bit more I totally get that.” WHAT: Chipper (Sonic Masala) WHEN & WHERE: 21 Jun, Sonic Masala Festival, Greenslopes Bowls Club


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


ith 2011’s The Deep Field, the melancholy of Joan Wasser’s torch singing temperament dissipated somewhat in favour of a more life-affirming approach to songwriting, drawing from a richer musical palate. On The Classic, she’s thrown in the influence of bygone soul, brass galore and even crossed doo-wop with beatboxing, changing her entire recording approach in the process.

time human beatbox Reggie Watts was called in to guest on Holy City.

“I think it just continued going in the way that it had been going. I feel like it was a pretty easy move from The Deep Field,” says Wasser, “but I think it also sounds different because we just recorded everything live and didn’t tweak the sounds much after we recorded them. When the song form is over we always continue to play the chord progression because it feels good to play, and in the past I would have faded that down, thinking no one wants to hear that. On this record I was like, ‘Screw that! If it feels good I’m leaving it and I’ll just develop those end sections.’ I just let myself be more free with the form.”

“With the Reggie situation I was being more of a fan – [he’s] the most free, creative musician alive. So I got a mutual friend to introduce us and he was so up for it, it was incredible. He’s so funny, he just starts laughing all the time. He makes me feel ecstasy when he is singing – he is so in the moment and so free and so inspired by everything at every moment that it’s contagious.”

Wasser has impeccable taste in collaborators, having introduced fans to an array of intriguing male voices over the years including the exquisite baritone of Joseph Arthur and the magical gloom of Antony Hegarty. This

Soul, meanwhile, has always been a huge part of Wasser’s underlying appeal,

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though there’s more talk about this side with The Classic’s overt nod to the genre. “It’s interesting because on this record I did the least amount of singing than any record. I’d sing the song through once, twice, maybe three times. In the past I would have thought, ‘Oh I can’t leave this one, I have to sing this one more perfectly,’ whatever that means. [This time], I got rid of that contest, just ‘cause I have more confidence singing and being comfortable with the way my voice sounds in general, and letting it just be how it is rather than trying to make it sound some other way.” There are some changes afoot in the live setting too. “I am now touring as a quartet as opposed to a trio that I’ve always had, so adding that extra member feels like playing with a symphony orchestra. And I’ve got my violin for the first time on this tour. We do a lot of twisting up, a lot of arrangements and instrumentation changing it’s really fun.” WHAT: The Classic ([PIAS] Australia) WHEN & WHERE: 24 Jun, The Hi-Fi

THE MUSIC • 18TH JUNE 2014 • 19



I lecture on the arts and copyrights as well, so I’m also talking to visual artists about their specific case law and their collection societies too.” Having undertaken this string of altruistic industry roles it’s little wonder that Morrison is being recognised with such a prestigious accolade.

During Brisbane’s inaugural hosting of the APRA Music Awards one of our favourite daughters will be honoured. Former Go-Between Lindy Morrison tells Steve Bell why both Brisbane and musicians’ rights are so close to her heart.


ith Brisbane hosting the annual APRA Awards in 2014 for the first time, it’s completely appropriate that a legendary former Brisbane musician is being honoured with the Ted Albert Award for Outstanding Services to Australian Music. Lindy Morrison was not only the drummer for The Go-Betweens during their most fertile period spanning the ‘80s (as well as numerous other bands over the years including Xero and Cleopatra Wong), but she’s also spent years campaigning for musicians’ rights, meaning that this award will sit nicely alongside the Order Of Australia medal that she received last year for her services to the industry. “I’ve been working more hours with the music industry’s own charity Support Act. I’ve been a social worker with them for about 15 years – I have a Social Work degree, I don’t want anyone to think that just because I’m a drummer I became a social worker for the musicians’ benevolent society,” she laughs. “That’s taking more time because I’ve been given more hours as there’s been an increase in need – I suppose people are getting older. Basically we only pay bills for people who get sick, but they must have had career in the industry – lots of musicians, lots of roadies, lately we’ve had some promoters and venue owners. It’s the best thing the industry has ever done. The whole industry is behind it, all the money’s raised by the industry – it really is a decent thing. “I’m also working on a project that I do every year at this time called the Bondi Youth Wave, which is directing groups of young people – we put them in bands and write songs and play on rock instruments and work towards recording and performing. Then there’s the PPCA, which is the Commonwealth collection society for recording artists – I sit on that board. Copyright is one of my big passions – we need recording artists to be looked after properly and have legislation that works in their benefit and not against them.” Morrison’s passion for musicians’ rights can be traced back to lessons gleaned from her own storied musical career.

“It dates from after my time in bands, and it came about because I started looking at our contracts and trying to unravel them – obviously because I was interested

“I’m incredibly happy,” she smiles. “Initially it disturbed me slightly, because getting an award like this is such an honour and you want to be able to live up to that honour – I hope I’m able to. It makes you think about things – how you are and how you act and what you do. You probably think about it too much when you’re first told you’re being bestowed such an honour – it makes you look into yourself too much, which sometimes isn’t too good an idea.” And despite now calling Sydney home, given her background it’s apt that there will be a distinctly Brisbane vibe to Morrison’s role in the ceremony. “[The Go-Betweens’ violinist] Amanda Brown is presenting me with the award, and Robert Vickers

“BRISBANE REALLY SHAPED ME SO I’M REALLY HAPPY THAT I’LL BE THERE TO RECEIVE THIS HONOUR.” in looking at the royalty flow,” she continues. “I was kind of shocked by how the system worked, and I discovered how the recording artists – as far as I was concerned – were really hardly done by in terms of how the law treated them, so I went on a path to try and see things change in favour of recording artists. And of course the more you go into it the more you see that it’s not just recording artists but it involves composers as well, so composers are also going to be affected by any legal changes.

– the bass player from The Go-Betweens – is flying out from New York, and the three of us will be doing [Go-Betweens track] People Say,” she enthuses. “Robert Forster was unable to do it with us, but the band Big Scary are flying in from the States to play – we’ll have two drum kits onstage, Tom [Iansek] is singing. It’s going to be brilliant. “And I also have to do a speech, so I’m talking about Brisbane and the effect it had on me. The things that happened in Brisbane that shaped me – there are a few stories that Brisbane people will find really interesting. The fact that it’s the first time that [the APRA Awards] have happened in Brisbane meant that I had to [take that approach]. Brisbane really shaped me so I’m really happy that I’ll be there to receive this honour.” WHAT: 2014 APRA Music Awards WHEN & WHERE: 23 Jun, Brisbane City Hall


Taasha Coates from The Audreys spoke to Liz Giuffre about getting ready for the road, being real when talking to fans and only being kinda sorry about her potty mouth.


he Audreys are hitting the road to support new album, ‘Til My Tears Roll Away. Despite an ability to deliver a killer acoustic set with angelic precision, The Audreys are really quite wicked. It’s a spark that makes their shows always just a little unpredictable, and has seen interpretative dance iPad and ukulele solos just as likely to appear as big ballads and sweeping tear-jerker moments. “With the ukulele, I only started because I wanted to have something I could play standing up; I didn’t want to have to sit behind a piano. So I picked up a guitar and thought, ‘Six strings, too hard,’ so then there was a ukulele and it was, ‘Four strings, I can deal with

that,’” Coates suggests with the modest mild dismissiveness only someone who only knows music stuff can. When it comes to taking ‘Til My Tears Roll Away on the road, Coates is pretty clear about just going with the flow of the moment, rather than what it was in the studio or in a review months or years back. “It’s just whatever you feel. And once you’ve been doing it for a while people will come back – there are those that want things to stay the same to a degree, which they do, but they also want variety… You just can’t think about what people’s expectations are about what you do, you can’t let them limit your ideas and

creativity, you know what I mean? If I’m mucking around on an app and find a really great sound that’s fun then I’ll play it on stage; I’m not going to stop and think, ‘oh, it’s a folky crowd,’ – I’m not going to care about that.


“We once had someone call a venue really quite upset because we’d had been drinking on stage and we swore. And when we got the call from the venue we were just like, ‘Dude, it’s rock and roll!’” Coates laughs. “But that audience member sounds like a hoot, I hope they come back!” It seems the band’s drinking and potty mouths aren’t the only thing that can get them in trouble, with those expecting spelling to match their personal preference in danger of significant disappointment. “We’ve also had someone complain on Facebook about the way we spelt our album title ‘Til My Tears Roll Away with one ‘L’ rather than two. Well it was a public message on Facebook and I left it there, but at first I said, ‘We’re using the word in a different way. It’s not the word ‘till’, I know what that is, we’re using it in a slang way.’ I thought we had a perfectly reasonable explanation rather than sending a diatribe with links to dictionaries and all that. But then [the protester] signed off with, ‘I was going to buy your album until I realised you couldn’t spell, how embarrassing for you.’” And is this type of 24-hour feedback something that gets Coates’ goat? She channels her best ‘angry ABC viewer complaint’ voice. “See, I find that exchange deeply amusing.” Take that, musical media watchers. WHAT: ‘Til My Tears Roll Away (ABC/Universal) WHEN & WHERE: 19 Jun, The Byron Theatre; 20 Jun, Sound Lounge, Gold Coast; 21 Jun, The Zoo; 22 Jun, Sol Bar, Sunshine Coast



Wagons’ new album lifts the lid on the strange things that happen backstage and beyond. Henry Wagons tells Steve Bell about their new take on things.


elbourne’s Wagons recently re-emerged armed with their sixth long-player, Acid Rain And Sugar Cane. It’s a grandiose collection that finds ‘70s classic rock colliding at full gallop with the Americana-tinged country that’s always been their stock-in-trade, but still replete with plenty of their trademark humour and frontman Henry Wagons’ inimitable worldview. “I feel like we’re finally figuring out how to make good records,” the singer smiles. “We’ve definitely made records in the past that we’ve been really happy with, but none more so than this one. We had such a good time making this one, and we devoted all of our time and energies into working with people that we respect and admire and also creating a really comfortable environment to record in at my studio, which was more or less set up for this album. It was just a really, really sweet process where we could all express our wildest desires on record in a kind of more live way than we’ve ever done it before. “I think we’re definitely less country than we were, and I think that reflects everyone’s musical tastes – we’ve slowly been drifting away from that. When Wagons

first started I was right into the Johnny Cash Rick Rubin recordings, and I’d discovered my Dad’s Marty Robbins collection and Mum took me to a Neil Diamond concert and I’d just seen Dead Man at the cinema – all of these things with a trippy Wild West aspect really inspired me starting the project. I feel that this record is still pretty trippy Wild West, but maybe we’ve headed more in a psychedelic Lee Hazelwood direction as opposed to the Johnny Cash direction, but it’s all channelling a similar kind of thing.

“These songs were culled together at the end of a lot of North American touring, which involves a lot of drinking; a lot of it’s drowning homesickness, so there’s a lot of drinking songs,” Wagons chuckles. “It’s kind of a behind-the-scenes retrospective of all of the weird places that we’ve been taken to after the stage lights go out. You’ll never imagine the strange corridors and hessian tapestries and weird scents and so on that we actually get dragged into post-1.30am – you look around and go, ‘Where the fuck is this? Where am I?’ That time between striking the last chord on the stage and then about 2pm the following day – that kind of drunk, hungover but also strange, weird party time – I think all of the songs happen between those hours.”

WHAT: Acid Rain And Sugar Cane (Spunk) WHEN & WHERE: 20 Jun, The Zoo THE MUSIC • 18TH JUNE 2014 • 21


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


ou’ve caught me at crunch time,” says Mark Leonard Winter, on the phone from Brisbane where, in three days time, previews commence for Lucy Prebble’s The Effect. “It’s at that moment where the piece is just trying to find its feet and emerge fully. It’s been a joyously challenging experience trying to get it together.” Were it another actor, the sentiment could appear to rest on some vague faith, especially given the short



time remaining before audiences fill seats. Winter, however, has a history of letting works find their feet on the floor; he made his start in theatre working in collaborative teams putting on devised and often co-written works as part of The Hayloft Project (with Simon Stone) and The Black Lung. This time around he’s discovering how to allow a work to find its feet while learning, not writing, the script. There are worse scripts one could be required to strictly adhere to. Prebble (author of the West End hit ENRON and TV’s Secret Diary Of A Call Girl) premiered The

Effect in late 2012 at London’s National Theatre and it received the UK Critic’s Circle Award for Best New Play. Love is far from clinical, but that doesn’t mean it can’t blossom in such an environment, which is exactly how things play out for Winter’s character of Tristan (an unemployed drifter) and psychology student Connie (Anna McGahan) – under the scientific eyes of psychiatrist Lorna (Angie Milliken) and her supervisor Toby (Eugene Gilfedder) – in a drug trial for antidepressants. Though distinguishing between the natural chemistry of love and the engineered chemistry of its manufactured doppelganger isn’t simple. “Mental health is a huge issue currently in a world and I’m interested in ways of dealing with it, and ways of talking about it, and ways to medicate it. To combine that with how love can exist in our contemporary world thematically creates very rich, interesting themes,” explains Winter. “There’s four characters, all who have very different and specific opinions on the themes of the show, and essentially you lock them in a sealed ward, feed them drugs, and watch and see what happens – so it becomes a really active, exciting engagement in the ideas and the feelings behind that. “I literally don’t think I’ve ever done a straight piece of writing, so I was a bit confronted at first, I was like, ‘I actually have to say the actual words?’ And that was really strange. But I could recognise that this was a work that had been made in a room with actors working together to make it work, so I could see the organic process that had gone into the original work.” WHAT: The Effect WHEN & WHERE: 7 Jun – 5 Jul, QTC, Bille Brown Studio


Reaching into his heart and personal history, La Dispute frontman Jordan Dreyer has made the most common stories capture your imagination, writes Benny Doyle.


ne of the more literary albums you’ll hear this year is coming direct from Grand Rapids, Michigan. Well, more precisely, it came from the remote forests of Upper Peninsula, Michigan, where post-hardcore five-piece La Dispute knocked together the nuts and bolts of their latest LP, Rooms Of The House.

There’s quite a bit on the record where it just came from things [suddenly] making sense, and then everything falling into place after that.”

“It’s more rural Ontario, Canada than it is the lower half of our state where I live, so it’s a big camping, hunting, logging and mining hotspot,” says frontman Jordan Dreyer. “It’s definitely more wilderness, more remote and a lot quieter – it’s beautiful; it’s one of my favourite places in the world, so getting to spend five weeks up there writing, I couldn’t have asked for a better situation.”

A very deliberate album on a sonic level, the five friends were focused on keeping things sparser than on previous recordings, relying on brevity to challenge themselves. “It was something that as a band we decided [to do] going into it, but also the subject matter lent itself to that, talking about less dramatic and grandiose moments and focusing more on the everyday and the ordinary.”

As much as they were there to flesh out the album though, La Dispute knew it wasn’t entirely healthy to be cooped up in the cabin night and day, so band members would branch off to enjoy their own activities: bushwalks, boating, fishing. This individual downtime was just as important for the quintet as their time together, offering a period of solitude where they could let ideas blossom before bringing them back to the band room to be realised. “ And that’s often the case,” Dreyer adds. “I often hear people say, ‘My best ideas come in the shower,’ but that’s true to an extent for me; it’s in those moments of relaxation where you’ll suddenly have that spark. 22 • THE MUSIC • 18TH JUNE 2014

That common existence on Rooms Of The House is developed

around two central characters and the dissolution of their relationship in a shared space, but looks at the situation through a different lens, away from individual emotions. “It’s about how objects retain history and shared memories long after they’re taken out of context or put away,” explains Dreyer. “That was the big theme that I wanted to put across on the record.” And by delving into his family history, as well as imagining some historical fiction, the vocalist managed to not only source inspiration for these rich musical tales, but also connect more tightly to his own bloodline in the process. “It was pretty special to get to base stories off of things that have happened to [my family],” he agrees. “Delving into their lives, it definitely gives you [better] understanding on what they may have felt in a certain instance.” WHAT: Rooms Of The House (Better Living/Resist) WHEN & WHERE: 19 Jun, Trinity Hall (all ages); 20 Jun, The Hi-Fi


Sydney’s Straight Arrows could never be accused of taking themselves too seriously. Frontman Owen Penglis tells Steve Bell why lack of practice makes perfect.


t’s been four years now since Sydney garage aficionados Straight Arrows dropped their debut platter It’s Happening, a prescient title indeed given how much has actually happened for the band since its release. The four-piece have carved a strong niche both at home and abroad with their charmingly ramshackle live show, and now they’ve returned to the studio – well, half to the studio and half to frontman Owen Penglis’ house – to conjure up second effort Rising. A psych-tinged, fuzz-laden romp through the guitar sounds of yesteryear, Rising covers a lot of sonic territory while never steering too far from the core Straight Arrows sound.

“I always start out with ideas, but you set off to do one thing and it goes the other way,” Penglis chuckles. “I had this idea that it was going to be this punk album, and then I started writing these bubblegum songs, and then I started writing these dark, heavier songs – and then they all just ended up on there. I mainly like albums that have got a bit of weirdness to them and divert a bit from where you expect them to end up. I get bored trying to write the same kind of song more than once.” Penglis believes that experience has bonded the

tight-knit group since It’s Happening, hence the album’s slightly more mature essence.


“We can play our instruments now a bit better,” he laughs. “On our first record we didn’t know what the fuck we were doing. We just booked three days in a friend’s studio in his house, and pretty much just played the songs – we’d keep playing one until we got it right and then move onto the next one. So we took a little bit longer with this, not just trying to get a correct take but a good one or the best one. “I guess it’s a product of touring and playing a bit more together because we don’t really like practicing. We’re going to have to practice now to learn all these songs again, and even then we’re all, like, ‘Fuck, do we have to practice?’ Some people love practicing but we find that the shows are like practice. It’s fun to hang out – we’ll go and get pizza and some beers and then go practice, but after an hour or so everyone’s a bit pissed off.” There’s even an expanded lyrical palette on Rising. “I guess the first record’s a bit more juvenile and outsider,” Penglis reflects. “This one’s a little bit more introspective and a bit weirder, and maybe a tiny bit more mature. I think the whole record is about growing up a bit and seeing the world slightly differently, maybe a slightly wiser view of where I’m at given my experiences. [Straight Arrows’ guitarist] Al Grigg in Palms has a very strong aesthetic and his lyrics are all kind of yearning and a bit romanticised, whereas mine are all a bit introspective and on the weirder side of things. It’s almost psychedelicbased, but not in a modern fuckwit kind of way.” WHAT: Rising (Rice Is Nice) WHEN & WHERE: 20 Jun, The Brightside



Beguiling chanteuse Jess Cornelius has pushed herself to the limits of control as Teeth & Tongue. She talks to Brendan Telford about playing the long game.


he strength of Jess Cornelius and her “not quite a solo act, not quite a band” Teeth & Tongue is the intricacy that goes into both the craftsmanship of the instrumentation and the sinuous emotion in her lyrics, bound together by her buoyant yet beguiling delivery. After the depth of construction that went into 2011’s Tambourine, Cornelius was intent on making the creative process for third album, Grids, much more fluid and simple. That didn’t go as planned… “Far from it!” Cornelius laughs. “There are certainly drawbacks to having a complicated process of making music; maintaining focus over a long, protracted period can be really difficult. But there are a lot of benefits that come from it too I think. I didn’t come to the studio with 11 succinct, mapped-out songs. Instead I had a handful of songs that I could play around with and I kept writing. I didn’t think I was ready to make another album; in fact I didn’t want to make another album. I was so withdrawn from it all; I didn’t want to embark on that journey, that process again. “I had finished Tambourine but that is really only the start; you have so much work to do pushing that record even if you want to go and do other things. So I was tired and pretty unsure of myself, and wanted everything to be simple, but as soon as I got into writing songs again I found the process kind of needs this layering,

because I would enjoy writing the songs but then keep changing my mind on things. I would cut songs, add guitar, take out lyrics and add more. It’s maintaining consistency at the end of the day that’s the real worry, the real struggle, but I think the perseverance shows. I still maintain that I’d like to make an album in a week; that is a lovely round-sounding figure, but we will see whether that ever comes about.” Grids is indeed an intricatel -layered pop experiment, yet there’s a marked shift between a Teeth & Tongue performance and her recordings. Cornelius’ voice

becomes at once playful and assertive, and a lot of that has to do with her band. “It’s always fun, but there is always that bit of trepidation too where you aren’t quite sure how things will pan out. But we are all good friends in the band. Marc [RegueiroMckelvie] and Damian [Sullivan] I’ve been playing with for quite a number of years, Marc in particular played all over Tambourine. So we played as a trio for some time before James [Harvey] came on board, and he is playing all the drum machine parts in a more organic drummer’s role. He is the difference; we are playing in real time with him, so there is a flexibility and spontaneity that comes along with that, we aren’t hindered by what the drum machine does. And with Jade [McInally] now joining us to sing harmonies, there is a shift of balance – it’s nice to have another lady in the band.” WHAT: Grids (Dot Dash/Remote Control) WHEN & WHERE: 21 Jun, The Beetle Bar THE MUSIC • 18TH JUNE 2014 • 23


album reviews


MASTODON Once More ‘Round The Sun

Typical System



Independent/Inertia There has always been a flippant expectation lent to Total Control by certain undiscerning factions of the music “industry”, ready to lump the Melbourne five-piece either within the garage-rock melange, the pigfuck mongrels, the nascent dolewave zeitgeist, the synth darlings or the industrial dirgelings. All hold flimsy weight, and are destined to flounder – you will find no palpable pigeonhole here. But this only accentuates the fact that Total Control control the listener – never is there a moment when they paint themselves into a corner, when they offer up a straight answer. Like one of member Mikey Young’s many other bands, Ooga Boogas, Total Control are victims only to their imagination and whims, albeit with a harsher, oft militaristic bent. Typical System highlights this, but there is nuance amongst the primitivism. Single and

clear standout Flesh War is a glorious new wave. 2 Less Jacks take the nihilist muzzle off to out-Iceage Iceage; Systematic F**k and Expensive Dog provide the blacked-out garage-punk bite. There is that languid, freeform nature the aforementioned Ooga Boogas excel in on Liberal Party (complete with saxophone solo), the synth twilight futurist expands on The Ferryman, and on seven-minute Black Spring we get a motorik post-punk behemoth of twitching, fevered tension. If there is a typical system on Typical System, it’s that Total Control will do whatever the fuck they want – and do it better than most. Brendan Telford


24 • THE MUSIC • 18TH JUNE 2014

waylaid, but it’s only so long until Mastodon fall back on their old ways. Guitarists Bill Kelliher and Brent Hinds burn on Halloween, supremely gifted stickman Brann Dailor does his best impression of a drumming millipede on Ember City while Aunt Lisa is a real pearler, with processed screaming, Dr Who noises and a cheerleader-laden finish. Once More ‘Round The Sun is another epic journey, but no matter how much Mastodon explore their outer and inner limits, they always come back sounding like Mastodon – and for that we should be truly grateful. Christopher H James

What Is This Heart?

Elefant Traks/Inertia

Then there’s How Many People, which challenges the listener’s attitudes towards addiction and those living with it. Joel Ma frequently illustrates that you don’t have to be guilty of an unpopular use of your vote to be lacking in compassion for

The new(-ish) direction starts off bright and breezy. If High Road doesn’t get them back in the charts, nothing will. Its chugging riff lays all before it and is as cavernous and catchy as anything they’ve done before. Hidebound fans may groan that for the first 20 minutes the unhinged, synapse-exploding solos and prog-inspired sprawl are mostly



Blue Volume

Aussie hip hop isn’t dead! Artists such as TZU frontman Joelistics (here delivering his second solo album) prove the often lumpen genre can still be something to be proud of. Blue Volume is ripe with earnest commentary that incites plenty of “I’ll drink to that!” empathy from anyone tired of Tony Abbott’s tyranny (fans of our PM should probably avoid Not In My Name). At least the despair is chronicled with ample moving of the feet. “Oh no, here come the idiots,” he warns in opener Say I’m Good, which jumpstarts the masses like a Quad City DJ’s revival. It’s followed by Connect, which rollicks hard enough for Top Gear fans to drive fast to.

What’s going on here? Anthemic verse-chorus-verse-chorus songs? Crystalline vocals? A comparative lack of convoluted D&D themes? Are Mastodon out to capitalise on the chart success of The Hunter? Typically strange and semi-lucid comments have emerged from the studio regarding Once More ‘Round The Sun’s conception, such as “letting it flow”, “not over thinking” and “trying to have the album come to me in my dreams”. All of which might be Mastodon-speak for just doing what comes naturally.


★★★★ your fellow man, concluding, “I aint trying to judge nobody’s ache.” Occasionally sounding like an episode of Bogan Hunters, in which everyone is informed and perfectly articulate, Wil Wagner’s startlingly haggard guest vocals on Nostromo are particularly affecting and provides one of several highlights. While bling’n’booty-obsessed R&B continues to rain genocide upon the nation’s brain cells, Blue Volume – much like TZU’s criminally ignored 2012 comeback – confirms that homegrown hip hop is best when people keep their heads screwed on. Mac McNaughton

What Is This Heart? is the third album from American artist How To Dress Well (aka Tom Krell) who made his name back in 2010 delivering cold and moody electronic music with warm R&B vocals on his debut Love Remains. This record gets off to a shaky start with opener 2 Years On, Shame Dream; its twanging, almost baroque-esque acoustic guitar and forgettable vocals as the only instrumentation hint at a new, much more boring direction. Thankfully this song is more the exception than the rule, and second track What You Wanted bursts open in the chorus with heavy drums and smooth vocals, before the dark and super modulated Face Again confirms that Krell hasn’t completely run out of ideas just yet. What Is This Heart? is a lot less optimistic or delicate than 2012’s Total Loss; beats pulse and horns and strings are scattered around

★★★½ in beautiful chaos, but Krell’s voice is still the most striking element. Even after three records his ability to harmonise with himself using loops and layers to highlight the dynamics of his voice, especially on highlight A Power, is incredibly impressive. On Very Best Friend he croons, “I know I can be extra sentimental/ Yeah it’s dumb but sometimes it’s just right” and this attitude runs through the rest of the record, with lyrics that are often clumsily, but unapologetically, emotional. On this record Krell’s wrapped his sometimes painfully guileless honesty in music beautiful enough to soften the blow. Madeleine Laing








Be Jealous





After 2010’s hot and cold Surfing The Void, Klaxons have got out of the pit and reacquainted themselves with the dancefloor once again, returning with a collection of bangers that should see the Londoners take back their nu rave crown. The electrocentred release moves from industrial ecstasy (New Reality) and post-dubstep pop (Show Me A Miracle) to climatic euphoria (Atom To Atom). And on the odd occasion where a six-string is picked up, it’s used to devastating effect. Refusing to be a sidenote in musical history, Klaxons have quietly returned with the most brilliant noise of their entire career. Let the glow sticks crack and illuminate once more.

True to form, Canadian punkrock trio White Lung cram the ten tracks of their third LP Deep Fantasy into a teasingly short 22-minute package, packing one hell of a punch as they do so. Not once does the album drop momentum, dazzling with the doom-like sounds of opener Drown The Monster, the melodic tones of Down It Goes and the incredible guitar work of (all tracks, but particularly) Face Down and Sycophant. I Believe You and Lucky One are two of the shortest songs here, yet stand out as highlights for their unabashed ferocity. Yes, yes, yes!

French multi-genre multiinstrumentalist Remi Gallego returns with his electronic djentstyle project The Algorithm with second album Octopus4. Gallego’s buzzing fusion of scatty beats with clean-cut melodic synth lines scaling the high wire in tracks like Discovery and Pythagoras almost always give way to a sudden burst of that psyche-satisfying metal djent crunch, and it’s what pushes this album beyond the ordinary. The man has a way with not only weaving a complex array of lines in Damage Points, for instance, but also moulds what could be unwieldy beasts into cohesive tracks with soundscapes and motifs that continually delight.

WEAKLING Brisbane producer moving away from his more stark earlier releases to get a moderate groove going on with some heavy soul cut up vocals acting as a necessary hook.


Hangover (Ft Snoop Dogg) Universal Snoop used to be a pimp, now he’s the prostitute. I can’t even imagine how much money he got for this. I’m sure he’ll put it to good use (buying marijuana/ marijuana accessories).

LOW LIFE Dogging

Love Frequency

Deep Fantasy

Jazmine O’Sullivan

Benny Doyle


Carley Hall

RIP Society/Disinfect Title track from Sydney group’s long-awaited debut album sees Low Life getting under the skin of regular type folks doing awful, ordinary things. Part satire and part damning indictment on ‘modern society’.


Rent I Pay Spunk A massive rock production and overblown lyrics see Spoon move even further into some kind of generic rock format, but if you’re a fan of the band’s songs I guess this won’t matter to you too much.


Stones Throw MNDSGN (Mind Design) brings a unique background to the Stones Throw aesthetic, even if he fits with the label sound like a glove. Born in the Philippines and raised by political dissident parents, his story is as interesting as his beats. Chris Yates






Equal Vision/UNFD

This debut album is as laconic as singer Clemens Rehbein’s slurred vocals. The German duo – Rehbein and producer Philipp Dausch – are from a small town called Kassel, and have released an album of equally modest proportions. Its singles, Stolen Dance and Down By The River, are wiggly earworms, but the rest of this subdued collection struggles to lift itself beyond its own complacency. While not being able to sing has never stopped talented songwriters in the past, Rehbein sounds like a German exchange student with indigestion. Sadnecessary is an acquired taste.

The sixth LP from Say Anything plays out like punk rock theatre, with sole-surviving originator Max Bemis swapping out the expected riffs, rhythms and roars for quaint keys, strings, electronica and 16 (!) guest vocalists, including Blink-182’s Tom DeLonge and Keith Buckley from Every Time I Die. It’s an arresting listen – childlike in its instrumentation, raw and unbridled from a vocal standpoint. But although there are highlights like Kall Me Kubrick and Push, the album’s a dog’s breakfast when it comes to flow. Still, there’s no denying that Hebrews is completely unto its own, which, creatively speaking, is more than many accomplish.


Roshan Clerke


Alexis Taylor – Await Barbarians Antlers – Familiars Confession – Life And Death David Gray – Mutineers Nightmares On Wax – N.O.W. Is The Time Vacationer – Relief

Benny Doyle THE MUSIC • 18TH JUNE 2014 • 25

live reviews

THE BRONX, HIGH TENSION Crowbar 15 Jun Melbourne’s guys and gal hardcore fiends High Tension have been handed the reins to warm up an already unwieldy sold out crowd in the snug Crowbar tonight. This powerhouse foursome, reconfigured from members of The Young & Restless and The Nation Blue, shout the early Sunday night riff raff a devastatingly good time. Frontwoman Karina Utomo is the ultimate smiling assassin, letting her petite frame inspire subconscious doubts before letting that brutal vocal rip for popular newbie

knows that Caughthran and co. look mean and seasoned, but that sincere appreciation for their audience peels back the tough guy veneer, despite the violent sentiments of “Motherfucker I want your blood” in History’s Stranglers.


It’s at this point that Caughthran goes skyward, becoming a tangle of feet, arms and mic cord in the sweaty pit. If the crowd were whipped up, now they’re frothing when he leaps even further afield for LA Lady, claiming he’s found the Crowbar’s “G spot” in the centre of the room, and celebrates by lapping up many a slap on his bald noggin while getting amongst it for the song’s entirety. Muchloved oldies and newbies False Alarm, Past Life and Inveigh work their riff-laden

A healthy crowd greets Airling, moniker of Brisbane’s Hannah Shepherd (of folk acts Charlie Mayfair and Emma Louise) and partner in crime Graham Ritchie (of Skinny Jean and also Emma Louise). Steeped in pulsating, gauzy synths and bracketed by uncluttered hip hop beats, Shepherd’s voice is nestled like a precious stone in velvet. It’s beautiful, with a little more body than most female vocals produced so dreamily. The melodies are heartfelt but effortless, and often


High Risk, High Rewards. They’re something of a visual spectacle, with Utomo’s shiny black mane whipping things down front into chaos as they run through most of their catalogue, from Are You Safe to Lucky Country, before bidding adieu. For their young years as a band they certainly sound like anything but newcomers. When LA’s most successful, likeable homage to the east coast takes the stage it’s to the roar of fans who haven’t seen The Bronx on our shores since their Groovin The Moo visit over a year ago. Needless to say there’s some intense jubilation spilling forth, nicely paired with sticky booze suddenly flying through the air as leading dude Matt Caughthran plunges the five-piece into Kill My Friends. Anyone who’s lived and loved this band 26 • THE MUSIC • 18TH JUNE 2014

14 Jun


magic, and the snappy oldskool White Tar gets High Tension’s leading lady hoisted over some sweaty heads down the front. Around The Horn’s extended guitar shred seals the deal for the set with that jarring offset snare. The crowd is clearly insatiable though, and a brief lapse is all that’s needed to get the quintet back out for Shitty Future, prefaced by a rant about our “shitty dancing, but it’s the effort that counts”, and classic facemelter Heart Attack American, in which Caughthran drops his bulk into the front row like a bomb. Blood, sweat and most likely tears for what seems like a set that just came and went far too quickly make The Bronx boys living legends of LA punk rock. Carley Hall

The Hi-Fi

in a music theatre production, to an Imogen Heap-territory auto-tuned number. Though talented indeed, Starr doesn’t quite own the stage. While electronics and a synth are part of the set-up, a decidedly more acoustic mood is set with all manner of guitars swapped back and forth between members of The Paper Kites. Melbourne’s indie-folk darlings are a study in texture, interludes playing as the band rearrange themselves, the songs floating and flowing into one another. The effect is immersive, though at points the mood sags with monotony, the songs similar as they are in tempo and colour. The vocal performances are shared by Sam Bentley – who sings a solo number to an enraptured silent crowd – and Christina Lacey,


haunting, like the hypnotic Ouroboros. Some ballads fail to develop as strongly, but Wasted Violets – singled out as a favourite of the headline act on previous nights for good reason – lifts with its wordy rhythmic vocals and plaintive synth hook in the chorus. Where Airling draw you in and smooth you out, Sydney’s Phebe Starr has sharp angles instead of smoke. Brighter and bolder, the slinky beats are traded for straight four-to-thefloor, layered with powerful, belting vocals into chanted, animalistic loops. A diva with a voice and style that evokes her contemporary Kimbra, Starr gives a strong performance but looks a little dwarfed by the space. Her songs are eclectic, from the epic build of Alone With You, to a ballad that wouldn’t be out of place

offering necessary variation. There’s a mix of old tracks and new: Featherstone, Living Colour, Woodland and beautiful, psychadelic-tinged closer, A Lesson From Mr. Gray. They’re anchored by the meatier lead guitar lines and steady drum beat, balancing the dreamy prettiness. This is fine; the packed-out Hi-Fi is not here to party on this Saturday night. This is a gently-swaying, politely-listening crowd, apart from a rambunctious few up the back that draw withering glances with each oddly-timed heckle. The biggest cheer of the night is for the perfectly-written love song, Bloom. It brings together every folk trope around but is sweet and sincere, and the crowd softly singing along is one of the best moments of the night. Amorina Fitzgerald-Hood

THE MUSIC • 18TH JUNE 2014 • 27

live reviews

GRAVEYARD TRAIN, SUICIDE SWANS, CHERRYWOOD The Zoo 13 Jun It’s Friday the 13th – the perfect night to be witnessing a band singing about things that go bump in the night – but first we’re treated to a set by Melbourne outfit Cherrywood, the country-punk four-piece delivering a string of anthemic tales about hardlovin’ and even harder livin’. Their hillbilly aesthetic draws a hearty response, and they utilise ominous gang vocal harmonies not unlike tonight’s headliners. Pentridge brings a decidedly Aussie tone to proceedings, and they finish strongly with the frantic hoedown romp Book Of Matches and the powerful Heavy Stones. A most excellent surprise. Up next, Toowoomba-viaBrisbane quintet Suicide

Swans bring a delectable slice of up-tempo country boogie to proceedings, the wellhoned outfit seeming to get better with every appearance. They veer between the ‘70s Americana of yesteryear and a more contemporary strain like early The Felice Brothers, but on tracks like Great Divide, Jesse James and Jeremiah Joe they till their own fertile ground to great effect. It’s cool how we have these genuinely great bands nestling in our midst who raise their heads occasionally to remind us how talented they are. There’s a large and welllubricated crowd ready for action by the time the six members of Graveyard Train file onto stage and elicit their mass doom-choir skills, A Tall Shadow ushering in as hypnotic a groove as it’s possible to manufacture when one of the guys (Adam Johansen) is smashing a chain with a hammer. Despite recent unrest in the ranks they display a notable

camaraderie and during the harmonica-laden Ballad For Beelzebub a section of the crowd is holding their boots in the air like we’re at Golden Plains or Meredith. Steel guitar player and co-frontman Beau Skowron is looking more and more deranged as the set drags on – his mad eyes and crazed demeanour evoking One Flew Over The Cuckoo’s Nest – and the deep massed voices are almost orchestral (if Deadwood had an orchestra) as they move through Close The Book, Get The Gold and the stirring Life Is Elsewhere. As always, live fave I’m Gone lifts the rock quotient, and when they move onto the creepy-yetboisterous One Foot On The Grave the crowd bangs their feet in unison so much that the floor literally starts to tremble, before restraint is restored with newbie Takes One To Know One and the moody Mary Melody. Chief vocalist Nick Finch seems genuine when he expresses how much they love playing

in Brisbane and assures they’ll be back soon, before they end with The Priest and the rousing Bit By A Dog. No encore is necessary – the crowd reciprocates Graveyard Train’s love for Brissie completely and utterly already. Steve Bell


My Friend The Chocolate Cake @ New Globe Theatre Carcass @ The Hi-Fi

arts reviews boss Ice Cube to flush out and foil the distributor of a hot new drug offering the rush of speed and the trip of acid.



In cinemas 19 Jun We may have reached Peak Bro. 22 Jump Street, the sequel to the unexpectedly hilarious big-screen reimagining of undercover-copsin-high-school TV series 21 Jump Street, wrings every drop of sublimated sexual and romantic tension out of the relationship between mismatched police partners Schmidt ( Jonah Hill) and Jenko (Channing Tatum) as the dynamic duo are dispatched to college by hot-tempered 28 • THE MUSIC • 18TH JUNE 2014

Wait, wasn’t that pretty much the plot of the first movie? Why yes, it was... and 22 Jump Street directors Phil Lord and Christopher Miller (of LEGO Movie fame) really want you to know they’re just as aware of the tried-and-true traditions of sequels as you, smarty-pants. If the movie has a flaw, it’s that it mashes down pretty heavily on the self-awareness button, throwing out meta-gags ten to the dozen. It’s fun for a while but does get wearying. (That said, the closing credits takes the gag and runs with it. Stick around for that.) 22 Jump Street is much more fun when it allows Hill and especially Tatum (seriously funny here) to cut loose. Watch out also for Workaholics and Eastbound & Down star Jillian Bell. Guy Davis


In cinemas 19 Jun A fictionalised account of indeed, a real person, Frank is a film ultimately about creativity: how we desire it; how, in its purest form, it feels unattainable; and importantly, how the search for creativity has motives which can define its long-term winners and losers. Michael Fassbender stars as the film’s surreal title character – a man who, for the majority of the film, stays obstructed within a giant cartoon head-mask. Frank is the vocalist for a group of incongruous outsiders (with an unpronounceable band name), who one day are joined by amateur keyboard player, and aspiring creative, Jon (Domhnall Gleeson). The head, which is inarguably a very symbolic trait, is an interesting device. Having the same, bold intentions as the film’s blank slate title, the head allows Frank to encompass all the enigma of unattainable creativity; it keeps him and his talent at

arm’s length from the desperate Jon. Frank is aloof and divine, tantalisingly unknowable. In his desperate quest to be Frank, Jon turns from affable audience conduit to the band’s Yoko Ono, a bitter Nick Carraway whose motivations reveal (never to him, interestingly) a disingenuousness that leads to both his and Frank’s downfall. Ultimately, Frank is revealed as the natural creative where Jon most definitely is not. Frank’s not who he is by divine right, or by having pushed himself through some extended phase of suffering; he’s there, as it’s put at the film’s very end, “because he was always quite good at music”. Sam Hobson


the guide

THE STEADY AS SHE GOES Member’s name/role: Tal Wallace – guitar/vocals How long have you been playing in this format? About 18 months. You’re on tour in the van – which band or artist is going to keep you happy if we throw them on the stereo? 16 Horsepower or Karma To Burn both satisfy tastes and make an excellent driving soundtrack. I’ve been told that Sleep’s Dopesmoker album has magical powers when played in a tour van. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Hank Williams the Third! That way you get to be a Hank Williams and play metal. Which Brisbane bands before you have been an inspiration (musically or otherwise)? We stole approximately 97 per cent of our schtick from Golden Bats. The remaining points go to Occults, Frown and Hits. We’d also like to thank New Jack Rubys for the stickwithitiveness. What part do you think Brisbane plays in the music you make? Brisbane feels like it could tip into the swamp at any second. Summers have a particular unease that weighs heavy and seeps into the cracks of the sturdiest structures. Some Brisbane bands respond to this with vicious lyrical savagery; we react with acres of reverb. Is your band responsible for more make-outs or break-ups? Why? We’re miserable-sounding enough to prompt both. What reality TV show would you enter as a band and why? The Most Dangerous Game. But only if we get to be on Leslie Banks’ team. What’s in the pipeline for the band in the short term? We’re putting out a split release and taking part in a spaghetti western/Morricone-style compilation. The Steady As She Goes play Sonic Masala Festival at Greenslopes Bowls Club on Saturday 21 Jun.

Pic: Terry Soo

THE MUSIC • 18TH JUNE 2014 • 29



Illustration Brendon Wellwood.

FRESH/WHEY Soft and spreadable things like ricotta, quesa fresco, cottage cheese, goat’s milk chevre and even mozzarella fall into this category. They’re often lumpy and moisture-filled items you can put in sauces, desserts and baked goods. Mmm, lumpy.

MEDIUM-HARD The sharp-tasting, holey ones: gouda, jarlsberg, gruyère. The cheeses you use in sandwiches where the cheese is meant to be the hero.




Get your mind out of the gutter. This is the stuff that’s good for eating by itself, or on crackers, like cheddar (smoked cheddar tastes like bacon-flavoured cheese!) and colby, and also stuff that’s good for grating like parmesan.

When people think mouldy cheese, blue cheese like gorgonzola springs to mind; real cheese-lover’s cheese, the smelliest and ugliest of the lot. That definitely falls into the category, but so do gooey varieties like brie and camembert, two of the most inoffensive and accessible-tasting cheeses. Try gorgonzola on pizza or paired with pears, or bake a little wheel of brie or camembert in a ramekin in the oven to make a mini-fondue thingy.

Brined cheeses include feta and halloumi – they’re largely the salty and crumbly kind. People who don’t like these cheeses often have issues with the odour, which can be compared to sweaty feet.

SOY/CASHEW/IMITATION For vegans and the extremely lactose-intolerant: totally dairy-free. Some brands are passable, while some taste like the opposite of what cheese is supposed to taste like. Vegan cheesecakes made primarily from nuts and oil can be surprisingly creamy and delicious though.

GETTING SAUCY Bechamel: Who knew that a crapload of butter, flour, milk and cheese could result in something so arterycloggingly tasty? Serving suggestion: as a layer in lasagne, with or without the meaty tomato sauce. Mornay sauce: Now that you’ve learnt how to make bechamel you can go a step further and turn that into French Mornay sauce by adding egg yolks, cream and nutmeg. Serving suggestion: over pasta, fish or vegetables – probably like once a month at most, unless you want your cholesterol levels to skyrocket. Swiss Fondue: Get a fondue set, melt Swiss cheese and mix with ingredients like cream, crushed tomatoes, white wine, mushrooms, peppers, chillies and Kirschwasser

30 • THE MUSIC • 18TH JUNE 2014

(depending on the cheese). Serving suggestion: dip in some bread or potato, and have with sides of pickled gherkins, onions and olives. Four-cheese sauce: Heavy cream, butter, mozzarella, parmesan, provolone and romano cheeses. Serving suggestion: with gnocchi or whatever your fave pasta is. Approach with caution.

THE MUSIC • 18TH JUNE 2014 • 31

the guide




As the mass murder rate in the States escalates, it’s cool that Obama is looking to our example in regards gun control. Not that it will make a difference with their ludicrously powerful gun lobby…

HALLELUJAH! A judge down south finally told a plaintiff to watch where they’re going instead of awarding huge damages for falling over! A judge advocating (and using) common sense? Maybe there’s hope for the legal profession yet!

FAREWELL THE JOYNT The Joynt – a local institution of recent years – is shutting its doors. They fostered their own vibrant West End scene; so long and thanks for the (often blurry) memories.




Those gargantuan alt-rockers from Sydney Breaking Orbit, pictured, have been confirmed as the support for sleepmakeswaves national tour. It comes to The Northern, Byron Bay, 18 Jul and The Zoo, 19 Jul, proudly presented by The Music.

Hott Mess is hosting a sweaty-as-hell launch party at Ellement this Friday, with American alt-hop artist and poet Mykki Blanco, pictured, headlining, with Ribongia, Mouvment, Sammy K, Cvlt Teens and more supporting.

Scott Spark has never sounded more alive and comfortable in his own skin than he does on new record Muscle Memory. Get lost in his escapist lyrics and undeniable charm when he plays Brisbane Powerhouse, 5 Sep.




Having just completed their debut EP, Loobs are checking in to Trainspotters, Grand Central Hotel, 28 Jun and will be joined by Melbourne rockers McBain. Get ready for a night of loud tunes; doors open at 9pm, and as always it’s free of charge!

You can always count on good things coming together, so it’s no surprise that The Gonzo Show and Stone Vandals have announced that they’ll share the stage at The Bearded Lady, 28 Jun. We be jammin’, alright.

Classical-cum-club gig Dots+Loops have just announced a return to SYC Studios, 3 Jul, with New York composer Nico Muhly’s Drones being presented by Sam Mitchell, Courtenay Cleary, Kieran Welch and Ben Heim.




Powerful pop princess or not – Katy Perry doesn’t do things alone. She’s announced supports for her BEC dates, 27, 28, 30 Nov and 1, 15 Dec, with NYCbased Aussie starlet Betty Who, pictured, and Swedish popster Tove Lo joining the bill.

This is that time for Caitlin Park. The Sydney lass tickled us a few months ago with playful, handclap-aided single Hold Your Gaze, and now she’s ready to reveal her sophomore album The Sleeper. Her all ages show hits The Hive, 2 Aug.

Yo Gabba Gabba! are finishing up their Live! Aussie tour at Powerkids Festival, Brisbane Powerhouse, 1 – 4 Jul, and they’re signing off with a bang, announcing Little Odessa, pictured, Shag Rock and Cub Sport as supports for the shows.




Six months on since the release of his Circle Of Lies EP and Dane Adamo is excited to present new tracks with a full band at Black Bear Lodge this Sunday. Adamo plays with Faleepo Francisco and Liam Bryant & The Handsome Devils.

Starting this Friday and carrying on throughout winter, Seed Project returns to South Bank, bringing free original music to the Brisbane riverbank from 5pm. Jackson James Smith, Tinker, David Baker and Taylor Moss all perform this week.

Honey-voiced hardcore bloke D At Sea is set to play his first ever full-band show, launching his new EP Anchors & Diamonds at The Brightside, 10 Jul. He’ll also play another local gig the following day, though venue hasn’t been confirmed yet – stay tuned!



Incredibly sad news with the passing of UK comic Rik Mayall. His performance in The Young Ones will never be forgotten. The world seems slightly less absurd, and not in a good way…

RIP JIM KEAYS Closer to home we lost a music legend with the death of former The Master’s Apprentices frontman Jim Keays. Our thoughts are with his many friends and family.

OUT OF THE BAG This month marks 50 years since Bob Katter threw eggs at The Beatles when they arrived in Brisbane (seriously). Consequently, they hated our city. Why do politicians have to completely fuck everything?

32 • THE MUSIC • 18TH JUNE 2014


the guide





Talking Through Walls is the latest track from The Rider, and once again it shows just how a sharp narrative can take a song to the next level. Get onboard that rollicking drum beat at Ric’s Bar, 17 Aug when the Sydney quartet play a free show.

Even though they’re popping up waving a White Flag in the form of their new single, those GC pop-punk characters Double Lined Minority won’t be giving up on us. They launch with all ages shows, 18 Jul, Griffith Uni GC and 19 Jul, Upstairs 199.

At least, that’s what Ashei’s straight-up EP title tells us anyway. The Kiwi rock quartet have used their determination as a foundation and put together a record full of riff-centric surprises. They shake things up at The Bearded Lady, 17 Jul.




Vulvapalooza happens at New Globe Theatre, 27 Jun, with an all-conquering lady cast including Kristy Apps, Nikolaine Martin, Switchblade Suzie, Tricky, Love Like Hate, DJ Suma, Joy French, Animalinda. Music, DJ sets, visual art, cabaret and more.

The local indie rock roadshow that is Generation Jones is wheeling their new album Brand New Beggars through The Underdog on 28 Jun, with Mick Medew & The Rumours, Cannon and Black Tag Parade taking care of supports.

If you like your American rockabilly hard and fast, then set your sights on US visitors Ruby Dee & The Snakehandlers. The Texan group arrive as a part of Greazefest, 3 Aug, but will also play a headline slot at Lefty’s Old Time Music Hall, 2 Aug.




After announcing launch dates for their new EP The Pacific, Holy Holy have just confirmed their Brisbane supports, with Gold Coasters TSUN, pictured, and The Furrs warming the crowd at Black Bear Lodge, 4 Jul.

Head to the Imperial Hotel, Eumundi, 4 – 6 Jul and get your stripped-back fix at Eumundi Goes Acoustic. Over 25 acts will play during the free three-day event, including Sally Skelton, Shannon Carol, Ziggy Alberts, pictured, and Ava Dunstan.

Much-loved Brisvegas rambler Ben Salter will share that big, bold voice of his with us fine folks at Junk Bar, 27 Jun. The Gin Club leader is rather prolific, so expect some new tunes as well as plenty of old favourites and covers.




This Thursday The Brightside is hosting a Punk Goes Pop party, with Forever Sounds Sweet, Malibu Stacy and November Thirst all covering the finest cuts from the Punk Goes Pop, 90s and Acoustic compilations. Relive the classics!

The Deez Nuts, Confession, Hand Of Mercy and Thorns Rampage Tour will now happen on two nights at Crowbar. Local supports will also be Daybreakers (Thursday) and Time Crisis (Friday).

Get ready for Sonic Masala Fest with a pre-party on Thursday at The Bearded Lady featuring the likes of Scul Hazzards, Frown and Occults. Meanwhile, Keep On Dancin’s have been added to the festival, happening on Saturday at Club Greenslopes.


THIS WEEK’S RELEASES… TOTAL CONTROL Typical System Inertia MASTODON Once More ‘Round The Sun Warner JOELISTICS Blue Volume Elefant Traks/Inertia VACATIONER Relief Downtown/Create Control THE MUSIC • 18TH JUNE 2014 • 33

the guide



over about nine months. Too long really. We’ll be quicker next time.

of years now. We improvise around a loose song structure so the songs keep evolving or devolving. The recording session for Aussie Dream was one day.

Was anything in particular inspiring you during the making? A select few: John McEntirerelated albums, Cassavetes movies, Murakami books, Ballarat, panang curries and a drink called The Jesus With Sunglasses.

I, A MAN Member answering: Daniel Moss Album title: Gravity Wins Again Where did the album title come from? A track that didn’t make the cut for the record. The song title originally came from a Mitch Hedberg joke, which is much more hilarious than our album. How many releases do you have now? This is our first full-length album. But we have two EPs: You’re Boring Us All and Fifteen Thirty Three. How long did it take to write/ record? About six months to write and then all up maybe a month to record and mix, though spread out

What’s your favourite song on it? This probably changes depending on what day you ask me but today I’ll say Bandwidth. Will you do anything differently next time? Hopefully a lot. Though definitely work faster. When and where is your launch/ next gig? It’s this Saturday at Trainspotters, Grand Central Hotel. We’ll be playing with Mosman Alder, Love Signs and Little Scout DJ’s. I, A Man play Trainspotters, Grand Central Hotel on Saturday 21 June.

TRALALA BLIP Member answering: Randolf Reimann Album title: Aussie Dream Where did the album title come from? Aussie Dream was the title of the illustration used for the cover of the LP. It was done by band member Mat Daymond. Disembraining Machine really liked the title so we went with it. How many releases do you have now? Three: Tralala Blip Meets Muttboy In Atlantis, Submarine Love Songs and Aussie Dream. How long did it take to write/ record? We’ve been playing these songs live for a couple


Was anything in particular inspiring you during the making? Not really. Each song was inspired by individual stimuli. Soccer In Space came from a love of soccer and outer space, while Dogboy Soldier was inspired by some art hung in Lismore Regional Gallery for example. What’s your favourite song on it? Umm, Soccer In Space maybe. but If You Love Me I’ll Love You Back is great fun to play live. Will you do anything differently next time? The recording process may be similar next time, but our sound and songwriting is continually developing so I doubt we will be repeating ourselves. We may record underwater next. Tralala Blip play Red Mecca 002, The Underdog on Friday 20 June.


unique blend of cross-dressing stage presence and straight-up hip hop. Ribongia co-headlines with his Afrobeat hip hop. Expect big sound and big visuals.

HOTTMESS @ ELLEMENT Have you been? You probably haven’t, because Hottmess launches this Friday, 20 June at Ellement. What can punters expect? Something very different in the Brisbane nightclub landscape. Hottmess is bringing a weekly club night that features a mixture of progressive music: hip hop, indie, electronic. If you love triple j, Hottmess will be right up your alley. Who’s on the bill for the launch? Special effort has gone into creating an impact for the launch with US enigma Mykki Blanco, pictured, delivering his 34 • THE MUSIC • 18TH JUNE 2014

What’s coming up? LA powerhouse Bixel Boys with their electro underground tunes for big rooms. Ellement will also be launching new Saturday nights in July, so watch this space, shit’s about to get real! Website link for more info: Limited early bird tickets from Check out Hottmess opens this weekend at Ellement (206 Wickham St, Fortitude Valley).

FOREVER THE OPTIMIST Member answering: Jamie Page Album title: Arecibo Where did the album title come from? It stems from ‘The Arecibo message’, the first message sent into space by humans... In the same light, the album is our first message... How many releases do you have now? This is our debut. How long did it take to write/ record? About two years. During that time was a whole lot of learning... We were able to really ‘get in and have a look around’. Was anything in particular inspiring you during the making?

Inspiration can be found in some odd places. If you’re willing to look, then you will find; eventually somewhere at least, amongst the endless realms of indecisiveness and whatnot... What’s your favourite song on it? It’s hard to pick, but my favourite would be the focus track End Of Antics. Will you do anything differently next time? I think we would like to speed up the process a bit next time we record. Having the experience from recording Arecibo is obviously invaluable in this. Forever The Optimist play New Globe Theatre on Saturday 21 June.

THE MUSIC • 18TH JUNE 2014 • 35

the guide Forever The Optimist + Guards Of May + Aerials + Balloons Kill Babies + Colibrium: New Globe Theatre, Fortitude Valley

THE MUSIC PRESENTS Hard-Ons: The Norther 19 Jun, Coolangatta Hotel 20 Jun, Prince Of Wales 21 Jun The Audreys: The Byron Theatre 19 Jun, Soundlounge 20 Jun, The Zoo 21 Jun, Solbar 22 Jun Frente!: Star Court Theatre 27 Jun, Brisbane Powerhouse 28 Jun

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

Hello Hoikkaido + Aerials + Guards Of May + Balloons Kill Babies + Colibrium: New Globe Theatre, Fortitude Valley

The White Album Concert: QPAC 13 Jul (matinee & evening)

Hard-Ons + Spike City + Antichrists Anonymous + Le Murd: Prince of Wales Hotel, Nundah

Remi: Solbar 17 Jul, Coniston Lane 18 Jul, The Brewery 19 Jul

Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun

Melody Pool & Marlon Williams: Black Bear Lodge 7 Aug, St Martin’s Parish Hall 8 Aug

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

BIGSOUND 2014: Fortitude Valley 10-12 Sep

In Hearts Wake: The Sands Tavern 29 Jun

Bonjah: The Zoo 10 Oct, Racecourse Hotel 11 Oct, Surfers Paradise Beer Garden 12 Oct

Hard-Ons + Hits + Raygun Mortlocks + Loud Goes Bang: Coolangatta Hotel, Coolangatta

Ball Park Music: The Tivoli 18 Oct, Alhambra Lounge 2 Nov (U18)

Deez Nuts + Confession + Hand Of Mercy + Thorns + Time Crisis: Crowbar, Fortitude Valley

Gorguts: Crowbar 16 Nov

The Phoncurves + Ball of String: Eat Street Markets, Hamilton

The Beards: The Spotted Cow 2 Jul, Soundlounge 3 Jul, The Tivoli 4 Jul, Solbar 5 Jul, The Northern 6 Jul The Yearlings: Brisbane Powerhouse 6 Jul Little Bastard: Black Bear Lodge 10 Jul, Solbar 11 Jul

Thy Art Is Murder: Crowbar 20 Dec, 21 Dec (U18)

Emma Russack + Soda Eaves + Dag 8:*Black Bear Lodge, Fortitude Valley

The Brodie Graham Band: Solbar, Maroochydore Seasons Of Viddora: Taps Australia, Mooloolaba

Keith Urban + Sheppard:*Brisbane Entertainment Centre, Boondall

Sonic Masala Pre Party with + Scul Hazzards + Frown + Occults + Roku Music: The Bearded Lady, West End

Miss Elm:*New Globe Theatre, Fortitude Valley

The Sinking Teeth + Grenadiers: The Beer Garden, Surfers Paradise

Le Parti Soul feat. + Devel + Headshow + DJ Redbeard:*Ric’s, Fortitude Valley

Punk Goes Pop feat. Forever Sounds Sweet + Malibu Stacey + November Thirst: The Brightside, Fortitude Valley

Black Deity:*The Bearded Lady, West End Ronnie Walker:*The Plough Inn, Southbank

THU 19

Coin Banks + Loose Change: Alhambra Lounge, Fortitude Valley The Badlands + Elegant Shiva + Carberry + Duthie:Beetle Bar, Brisbane Bec Laughton: Black Bear Lodge, Fortitude Valley Lateo: Brisbane Jazz Club, Kangaroo Point Russ Walker + DJ J-Mixx: Chalk Hotel, Woolloongabba Deez Nuts + Confession + Hand Of Mercy + Thorns + Daybreakers: Crowbar, Fortitude Valley Dertywerd + Eigen Lights + Ashosan + more: Indooroopilly Hotel, Indooroopilly Tim Clarkson Trio: JMI Live, Bowen Hills The Willow Seed + Katherine Cooper + Son Semilla: New Globe Theatre, Fortitude Valley

Mondo Rock: Eatons Hill Hotel (Grand Ballroom), Eatons Hill Mikki Blanco + DJ Larry B + Ribongia + Mouvment + Bixel Boys + more: Ellement Lounge, Fortitude Valley

Something For Kate: The Tivoli 11 Jul

WED 18


Beaten Bodies + Inigo: The Joynt, South Brisbane Ty Fader: The Plough Inn, Southbank Young Pups Open Mic + various artists: The Underdog Pub Co (Public Bar/6pm), Fortitude Valley Supersuckers + Love Hate Rebellion + Release The Hounds: The Zoo, Fortitude Valley La Dispute + Balance & Composure: Trinity Hall (All Ages), Fortitude Valley Dragon: Woombye Pub, Woombye

FRI 20

The Holidays + Thief: Alhambra Lounge, Fortitude Valley Zed Gives A Folk feat. Big Iron + Gonzovillain + Virginia Sook + Gavin Cook: Beetle Bar, Brisbane The Creases + Babaganouj + Opener: Black Bear Lodge, Fortitude Valley The Angels: Caloundra RSL, Caloundra

Pharaoh’s Playground + Hangman’s Jury: New Globe Theatre, Fortitude Valley

Metal of Honor feat. + The Unprettier + Sons Of The Soil + Charlie Fingers + The Green Whistle + The Cilikis Progressio Project: Chardons Corner Hotel, Annerley

Little Earthquake + Kolorsol + DJ Valdis: Ric’s (Downstairs), Fortitude Valley

Allday + Jackie Onassis + Mikey Hundred: Coniston Lane, Fortitude Valley

Josh Pyke + Jack Carty: Empire Theatre, Toowoomba James Blundell + Band: Hamilton Hotel, Hamilton Dragon: Kedron Wavell Services Club, Chermside South Psycroptic + Aborted + The Schoenberg Automaton + Rome: Miami Tavern (Shark Bar), Miami Double LP Tribute: Thriller & Sticky Fingers + His Merry Men + Jimi Beavis + Sahara Beck: New Globe Theatre, Fortitude Valley Alex Crook + Kip Casper + Interalia + Emmerich + Louise Gilroy + more: New Globe Theatre, Fortitude Valley Alan Boyle: Padre Bar, Woolloongabba Forward Beast + Phantom Lighter Thieves + Buttermilk + The Incoherent: Prince of Wales Hotel, Nundah Seed Project feat. + Jackson James Smith + Tinker + David Baker + Taylor Moss: QPAC (Melbourne Street Green/5pm), Southbank Mercians + thebeforeparty + DJ Valdis: Ric’s (Downstairs), Fortitude Valley Loose Change: Solbar, Maroochydore The Audreys + Brendan Gallagher: Soundlounge, Currumbin Transvaal Diamond Syndicate: Taps Australia, Mooloolaba Boss Moxi + The Baskervillans + The Skinnie Finches: The Bearded Lady, West End Straight Arrows + TV Colours: The Brightside, Fortitude Valley La Dispute + Balance & Composure: The Hi-Fi, West End Steve Smyth + Karl S Williams + Ashleigh Mannix: The Joynt, South Brisbane Fettler + Elbury + Kate & Lisa + Eliza Pickard: The Loft, Chevron Island

Mike Blundell: The Plough Inn, Southbank Allday + Jackie Onassis + Mikey Hundred: The Tempo Hotel, Fortitude Valley

Live It Up feat. Parkway Drive + Violent Soho + The Jungle Giants + Allday + In Hearts Wake + The Creases + Lunatics On Pogosticks: RNA Showgrounds, Bowen Hills Rattlehand: Royal Mail Hotel (12.30pm), Goodna

Chet Faker + Yumi Zouma + Rat & Co: The Tivoli, Fortitude Valley

Lachlan Bryan & The Wildes: Royal Mail Hotel (4pm), Goodna

Shandy: The Underdog Pub Co (Doghouse Bar / 1am), Fortitude Valley

Dead Pixel + Andy Dub + Mindcontrol + DJ More Vibes: Solbar, Maroochydore

Red Mecca 002 feat. Tralala Blip + Soft Power + Abstract Mutation + Dust Storm Jogger + Multiple Man: The Underdog Pub Co (The Pound), Fortitude Valley

Acorea + Feed + The Molotov + Flannelette: Stones Corner Hotel, Stones Corner

Diamond Dave: The Underdog Pub Co (Public Bar), Fortitude Valley Solid Gold with DJ Mikey: The Underdog Pub Co (Public Bar / 10pm), Fortitude Valley Wagons + Good Oak + Coco Baulch: The Zoo, Fortitude Valley

SAT 21

Terace: Alhambra Lounge, Fortitude Valley Teeth & Tongue + Denmark + Bent: Beetle Bar, Brisbane Di Clark Quartet: Brisbane Jazz Club, Kangaroo Point Sonic Masala feat. Roku Music + Gazar Strips + Tape/Off + Cobwebbs + Ghost Notes + Nana Vigilante + Brainbeau + Barge With An Antenna On It + Turnpike + The Stress Of Leisure and more: Club Greenslopes (12pm), Greenslopes Bass Kleph: Club Liv, Surfers Paradise The Sinking Teeth + Grenadiers: Crowbar, Fortitude Valley The Phoncurves + La Mont: Eat Street Markets, Hamilton Boney M feat. Maizie Williams: Eatons Hill Hotel (Grand Ballroom), Eatons Hill Cheated Hearts presents Poetic Justice with + DJ DZYR + Dimestore Diamonds + Lu-Na + various DJs: Ellement Lounge, Fortitude Valley Trainspotters feat. I, A Man + Mosman Alder + Love Signs + Little Scout (DJ Set): Grand Central Hotel, Brisbane

Asher Chapman + Agnes J Walker: Taps Australia, Mooloolaba Psycroptic + Aborted + The Schoenberg Automaton + Kyzer Soze: The Brightside, Fortitude Valley Band of Skulls + Apes: The Hi-Fi, West End Steve Smyth + Robbie Miller: The Joynt, South Brisbane Miss Elm + Alexandra + Holly Terrens + Maple: The Loft, Chevron Island Josh Pyke + Jack Carty: The Majestic Theatre, Pomona Chet Faker + Yumi Zouma + Rat & Co: The Tivoli, Fortitude Valley An Evening with + Monkey Island + Jade Haven + more: The Underdog Pub Co (Doghouse Bar/8pm), Fortitude Valley The Audreys + Brendan Gallagher: The Zoo, Fortitude Valley Dragon: Twin Towns, Tweed Heads

SUN 22

JezStock feat. Hits + Lords Of Wong + The Grills + Dirty Liars + The Buzzrays + Motorway Ends + Spook Hill: Beetle Bar (11.30am), Brisbane Dane Adamo + Faleepo Francisco + Liam Bryant & The Handsome Devils: Black Bear Lodge, Fortitude Valley Laneway + Sean Simmons (The Spoils): Brisbane Powerhouse (Spark Bar/3pm), New Farm La Mont + Slip On Stereo + Brother Fox: Dowse Bar (Iceworks) (4pm), Paddington

Matt Breen: Imperial Hotel (The Green Room), Eumundi

Fat Picnic: Eat Street Markets, Hamilton

Sean Simmons (The Spoils): Junk Bar (Skukum Lounge), Ashgrove

Chet Faker + Yumi Zouma: Lake Kawana Community Centre, Bokarina

The Van Bams + The Badlands + Hell n Whiskey: Miami Tavern (Shark Bar), Miami


Little Earthquake: Ric’s, Fortitude Valley

Katchafire + The High Grade: Miami Marketta, Miami

the guide

classies Midnight Show + guests: Ric’s, Fortitude Valley The Audreys + Brendan Gallagher: Solbar, Maroochydore Leah Flanagan + Emma & The Hungry Truth: The Bearded Lady, West End Angela Fabian: The Joynt (4pm), South Brisbane Psycroptic + Aborted + The Schoenberg Automaton + Widow The Sea + I Shall Devour: The Lab (all ages), Brisbane

Sunday Rock N Roll BBQ feat. Heavy Roller + Angie + Valhalla Lights + Unpeople + Cured Pink: The Underdog Pub Co (12pm), Fortitude Valley

MON 23

La Mont + Slip On Stereo + Brother Fox: Dowse Bar (Iceworks), Paddington

TUE 24

Cass Eager Duo: Howl At The Moon, Broadbeach

The Bug feat. Rebecca Wright & Donald McKay + Ask Mary: New Farm Bowls Club, New Farm Joan As Police Woman + Roesy: The Hi-Fi, West End



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THE MUSIC • 18TH JUNE 2014 • 37

tour guide


Kid Ink: The Hi-Fi 22 Aug

Powerhouse Theatre 8 Aug

Finntroll: The Zoo 18 Jun

Taking Back Sunday, The Used: Eatons Hill Hotel 22 Aug

Supersuckers: The Zoo 19 Jun

Knapsack: Crowbar 23 Aug

The Angels: Queensland Lions Club 8 Aug, North Leagues & Services Club 9 Aug

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

King Buzzo: Black Bear Lodge 24 Aug

James Reyne plays Australian Crawl: Eatons Hill Hotel 8 Aug, The Tivoli 9 Aug

Bob Dylan: BCEC 25 Aug

Spiderbait: The Hi-Fi 9 Aug

Mykki Blanco: Ellement Lounge 20 Jun

Lady Gaga: BEC 26 Aug


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

The Dandy Warhols: The Tivoli 30 Aug

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

Kids In Glass Houses: The Brightside 30 Aug, The Lab 31 Aug (AA)

The Sinking Teeth: Surfers Paradise Beer Garden 19 Jun, Tatts Hotel 20 Jun, Crowbar 21 Jun

Band Of Skulls: The Hi-Fi 21 Jun

Biffy Clyro: The Tivoli 4 Sep

Katchafire: Miami Marketta 22 Jun

Protest The Hero: The Hi-Fi 4 Sep

The Audreys: The Byron Theatre 19 Jun, Soundlounge 20 Jun, The Zoo 21 Jun, Solbar 22 Jun

Joan As Police Woman: The Hi-Fi 24 Jun

Anberlin: The Hi-Fi 6 Sep

The Holidays: Alhambra Lounge 20 Jun

The Wonder Years: The Hi-Fi 11 Sep, The Lab 12 Sep (AA)

The Creases: Black Bear Lodge 20 Jun

Cannibal Corpse: The Hi-Fi 13 Sep

Wagons: The Zoo 20 Jun

Story Of The Year: The Hi-Fi 26 Jun Tinie Tempah: The Met 27 Jun The Upbeats: Ellements Lounge 28 Jun The Vibrators: Prince Of Wales 28 Jun The Crimson Projekct: The Hi-Fi 28 Jun Tiny Ruins: Black Bear Lodge 1 Jul

Kanye West: BEC 15 Sep The High Kings: Eatons Hill Hotel 19 Sep, Maroochy RSL 20 Sep, Empire Theatre 21 Sep, Southport Sharks 23 Sep Ingrid Michaelson: New Globe Theatre 21 Sep Robbie Williams: BEC 22 Sep

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)

Bell X1: The Zoo 4 Jul

Veruca Salt: The Zoo 24 Sep

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

Caféïne: The Bearded Lady 4 Jul, The Loft 5 Jul

Justin Timberlake: BEC 26, 27 Sep

Allday: Coniston Lane 20 Jun

KOAN Sound: Arena 5 Jul

Sepultura: The Hi-Fi 4 Oct

Deez Nuts, Confession: Crowbar 19, 20 Jun

Lloyd Cole: Brisbane Powerhouse 10 Jul, Soundlounge 11 Jul, Star Theatre 12 Jul

Hardwell: Riverstage 5 Oct

Henry Fong: The Brightside 11 Jul, Platinum 19 Jul Gareth Emery: Platinum 17 Jul, The Met 18 Jul Kina Grannis: The Tivoli 19 Jul Lorde: Riverstage 20 Jul Pelican: The Zoo 24 Jul Corrosion Of Conformity: Crowbar 24 Jul Andrew Strong: The Commitments: The Tivoli 25 Jul, Twin Towns 26 Jul A Great Big World: The Tivoli 2 Aug Ruby Dee & The Snakehandlers: Lefty’s Old Time Music Hall 2 Aug Neurosis: The Hi-Fi 4 Aug Hanson: The Tivoli 5 Aug, Coolangatta Hotel 6 Aug I Am Giant: The Rev 6 Aug Coolio: East 88 7 Aug, Coniston Lane 12 Aug Twenty One Pilots: The Zoo 10 Aug Vincent Cross: New Farm Bowls Club 19 Aug, Dowse Bar 20 Aug, The Treehouse 22 Aug Courtney Love: Eatons Hill Hotel 20 Aug Anathema: The Hi-Fi 21 Aug Forever Came Calling: Snitch 21 Aug, The Lab 22 Aug (AA)

Rick Springfield: Eatons Hill Hotel 9 Oct, Twin Towns 10 Oct Slaves: The Brightside 15 Oct More Than Life: Snitch 6 Nov, Tall Poppy Studios 7 Nov (AA) Gorguts: Crowbar 16 Nov Accept: The Hi-Fi 16 Nov The Rolling Stones: Brisbane Entertainment Centre 18 Nov Toxic Holocaust: The Northern 19 Nov, Crowbar 20 Nov Rick Astley: The Tivoli 21 Nov, Twin Towns 22 Nov Agnes Obel: Old Museum 25 Nov Katy Perry: BEC 27, 28, 30 Nov, 1, 15 Dec UB40: Riverstage 7 Dec Passenger: Riverstage 25 Jan Roxette: BEC 10 Feb One Direction: Suncorp Stadium 11 Feb Eagles: BEC 10, 11 Mar


Keith Urban, Sheppard: BEC 18 Jun Emma Russack: Black Bear Lodge 18 Jun Loose Change: Alhambra Lounge 19 Jun, Solbar 20 Jun Hard-Ons: The Northern 19 Jun, Coolangatta Hotel 20 Jun, Prince Of Wales 21 Jun

Sean Simmons: Junk Bar 21 Jun Teeth & Tongue: Beetle Bar 21 Jun I, A Man: Grand Central Hotel 21 Jun Bass Kleph: Liv Nightclub 21 Jun, The Met 19 Jul Chet Faker: The Tivoli 21 Jun, Lake Kawana Community Centre 22 Jun

3 Jul, Racehorse Tavern 5 Jul, Swingin’ Safari 6 Jul The Cairos: The Northern 3 Jul, Alhambra Lounge 4 Jul, The Spotted Cow 5 Jul, Broadbeach Tavern 6 Jul, Solbar 12 Jul Holy Holy: Black Bear Lodge 4 Jul Little Bastard: Black Bear Lodge 10 Jul, Solbar 11 Jul, The Rails 12 Jul Jesse Davidson: Alhambra Lounge 10 Jul Thelma Plum: Old Museum 10 Jul D At Sea: The Brightside 10 Jul, TBC Brisbane 11 Jul Toehider: The Brightside 11 Jul Voyager: The Brightside 11 Jul Something For Kate: The Tivoli 11 Jul Jeff Lang: Mullumbimby Town Hall 11 Jul, Brisbane Powerhouse 12 Jul Miracle: GPO 12 Jul, East 29 Aug Violent Soho, The Smith Street Band: The Hi-Fi 12, 13 Jul The White Album Concert ft Tim Rogers, Chris Cheney, Phil Jamieson and Josh Pyke: QPAC 13 Jul (matinee & evening) Remi: Solbar 17 Jul, Coniston Lane 18 Jul, The Brewery 19 Jul Buried In Verona: The Brightside 17 Jul, The Lab 18 Jul (AA) Beni: Elsewhere 18 Jul

Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun

Dave Graney: Beetle Bar 18 Jul, Solbar 19 Jul, The Northern 20 Jul

Ben Salter: Junk Bar 27 Jun

sleepmakeswaves: The Northern 18 Jul, The Zoo 19 Jul

Mojo Juju: The Joynt 27 & 28 Jun Frente!: Star Court Theatre 27 Jun, Brisbane Powerhouse 28 Jun Hands Like Houses: The Brightside 28 Jun Dune Rats: The Zoo 28 Jun, Alhambra Lounge 29 Jun (U18) In Hearts Wake, Dream On Dreamer: The Brightside 15 Jun, The Sands Tavern 29 Jun The Beards: The Spotted Cow 2 Jul, Soundlounge 3 Jul, The Tivoli 4 Jul, Solbar 5 Jul, The Northern 6 Jul Dan Sultan: Solbar 2 Jul, The Spotted Cow 3 Jul, Soundlounge 4 Jul, Eatons Hill Hotel 5 Jul, The Northern 8 Jul

Dave Graney: Beetle Bar 18 Jul, Solbar 19 Jul, The Northern 20 Jul

Ed Kuepper: Old Museum 9 Aug, Soundlounge 22 Aug Seekae, Jonti: The Zoo 12 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) Dead Letter Circus: New Globe Theatre 4 Sep The Amity Affliction: Riverstage 5 Sep 360: Arena 6 Sep (U18 matinee/18+ evening) Sticky Fingers: The Hi-Fi 12 Sep Boy & Bear: The Arts Centre Gold Coast 12 Sep, The Tivoli 13 Sep Icehouse: SEQ Outdoor Concert 20 Sep, Twin Towns 21 Sep Reece Mastin: Brisbane Powerhouse 30 Sep Bonjah: The Zoo 10 Oct, Racehorse Hotel 11 Oct, Surfers Paradise Beer Garden 12 Oct The Cat Empire: The Tivoli 10, 11 Oct, Rabbit & Cocoon 12 Oct Ball Park Music: The Tivoli 18 Oct, Alhambra Lounge 2 Nov (U18) Björn Again: QPAC 28 Nov Thy Art Is Murder: Crowbar 20 Dec, 21 Dec (U18)


Live It Up: RNA Showgrounds 21 Jun

Crooked Colours: Alhambra Lounge 19 Jul, Beach Hotel 24 Jul

Sonic Masala Fest: Greenslopes Bowls Club 21 Jun

Perfect Tripod: QPAC 25 Jul

Vulvapalooza: New Globe Theatre 27 Jun

Jen Cloher: Junk Bar 25 Jul Monique Brumby: The Treehouse 26 Jul, Dowse Bar 27 Jul Hugo Race: Junk Bar 26 Jul, Brisbane Powerhouse 27 Jul True Vibenation: TBC Brisbane 26 Jul, Byron Bay Brewery 27 Jul Caitlin Park: The Hive 2 Aug (AA) Bodyjar: The Hi-Fi 7 Aug

Alison Wonderland: Southern Cross Unibar 3 Jul

Kate Miller-Heidke: Empire Church Theatre 7 Aug, QPAC 8 Aug

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

Melody Pool & Marlon Williams: Black Bear Lodge 7 Aug, St Martin’s Parish Hall 8 Aug

Nine Sons Of Dan: Snitch

Clare Bowditch, Adalita:


Kilter: Coniston Lane 9 Aug

Jam’n’Beats: Club Greenslopes 28 Jun WinterSun Festival: Eumundi Amphitheatre 29 Jun Splendour In The Grass: North Byron Parklands 25-27 Jul Gympie Music Muster: Gympie 28-31 Aug UBERfest: Jubilee Hotel 30 Aug BIGSOUND: Fortitude Valley Entertainment Precinct 10-12 Sep Mitchell Creek Rock ‘N’ Blues Fest: Mary Valley 19 – 21 Sep Listen Out: Brisbane Showgrounds 5 Oct Soulfest: Riverstage 25 Oct













THE MUSIC • 18TH JUNE 2014 • 39

40 • THE MUSIC • 18TH JUNE 2014

The Music (Brisbane) Issue #43  

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 #43  

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