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2 • THE MUSIC • 25TH JUNE 2014

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themusic 25TH JUNE 2014


INSIDE FEATURES Dune Rats Parquet Courts


Story Of The Year Midnight Oil Tune-Yards Two Faces Frente! Every Time I Die 360 The Vibrators The Orwells

REVIEWS Album: Every Time I Die







Live: Supersuckers Arts: The Last Impresario

THE GUIDE Cover: Far From Paris Food/Drink Frontlash/Backlash Indie News This Week’s Releases Indie Features Gig Guide



reviews 4 • THE MUSIC • 25TH 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

Ever feel misunderstood or a bit of an outsider? Assumedly you grew up feasting on John Hughes’ 1985 coming-of-age classic The Breakfast Club then like the rest of us, and now you can relive that glorious (hindsight rules) era as Brisbane Arts Theatre bring the flick to life with a wonderful stage adaptation. Take detention with all of your favourite stereotypical dropout characters from this Saturday though until 2 August!

Over the last few years West End’s The Joynt has been a bastion of the Brisbane music scene, not only providing for a comfy and fun place to have a few beers while watching live music, but also fostering a strong miniscene of bands, many who have gone onto bigger and better things. This weekend is the venue’s last hurrah as they’ve had their lease revoked – get along and give the place the farewell it deserves, and party in the process!

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


This week as part of GoMA’s Harvest exhibition – exploring the production, consumption and symbolism of food – there’s a new installation opening called Fallen Fruit Of Brisbane: Pineapple Express! for which local Queenslanders have contributed pineapplerelated artwork and ephemera, complemented by a massive pineapple photo-collage which lines the wall. Runs from this Saturday until 21 September – get tropical!


BAY STREET BYRON BAY (02) 6685 6402


























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national news DMA’S



After delivering year after year, we don’t expect anything less than amazing from BIGSOUND Live, but we still can’t help but be shocked by the epic list of acts the industry conference has roped in for the 2014 instalment, happening throughout the Fortitude Valley Entertainment Precinct, 10 & 11 Sep. The varied bill has a little bit of everything, with highlights including Blank Realm, D.D Dumbo, Lanks, DMA’s, Gold Fields, L-FRESH The LION, Kingswood, Luca Brasi, Major Leagues, REMI, The Bennies, Thelma Plum, Bad// Dreems, Sydonia and Yeo. We can assure you, however, that this is just the tip of the iceberg. Get the full line-up at – with the event proudly presented by The Music.


Supported by a small ensemble of musicians, Nick Cave will tour Australia late this year, performing a rare series of solo concerts with tracks selected from across his formidable catalogue. Settle in with one of Australia’s most notorious frontmen when the 56-yearold Prince of Darkness plays 27 & 28 Nov, Fremantle Arts Centre; 3 Dec, Brisbane Convention & Exhibition Centre; 4 Dec, Gold Coast Convention & Exhibition Centre; 11 & 12 Dec, State Theatre, Sydney; and 16 Dec, The Plenary, Melbourne


Long recognised as one of the most technically accomplished guitar players on the planet, Joe Satriani will be taking us to school when he brings his mammoth world tour to our shores. Unstoppable Momentum is the title of Satriani’s latest full-length and, really, you couldn’t sum up the bald professor’s career any better. He plays 4 Nov, The Tivoli, Brisbane; 6 Nov, State Theatre, Sydney; 8 Nov, Palais Theatre, Melbourne; and 11 Nov, Astor Theatre, Perth.


I Killed The Prom Queen, The Ghost Inside, In Hearts Wake, Bury Tomorrow and Hellions – does a bill come much bigger than that? The heavy hitters will unite for the Rise Of Brotality tour, which will rumble through Belconnen Magpies, Canberra, 5 Sep*; Cambridge Hotel, Newcastle, 7 Sep; Byron YAC, 9 Sep*; Arena, Brisbane, 12 Sep; UNSW Roundhouse, Sydney, 14 Sep*; 170 Russell, Melbourne, 19 Sep; Phoenix Youth Centre, Melbourne, 20 Sep*; and Capitol, Perth, 28 Sep (*all ages), but will also hit a load of other venues too. Find the closest gig to you on


For the first time in two decades, Pop Will Eat Itself will touch down on Australian shores, the current line-up featuring original member Graham Crabb, legendary vocalist Mary Byker and powerhouse tub thumper Jason Bowld (Killing Joke). They play 31 Aug, Rosemount Hotel, Perth; 5 Sep, The Zoo, Brisbane; 6 Sep, Manning Bar, Sydney; 7 Sep, The Hi-Fi, Melbourne.



If you’re looking at a Top End holiday, then you might as well tie it in with Darwin Festival, with more than 100 events happening over 18 days, 7 – 24 Aug. International and Aussie music acts include Soweto Gospel Choir, Marlon Williams, Adalita, Seekae and Bobby Alu, while there’s also theatre, comedy, art, cabaret, dance, food, culture and so much more.


The lethal Game Of Thrones season finale has many gagging for season five and, though the world’s most watched television series isn’t back until 2015, all the wonder and intricate details of the seven kingdoms comes to Sydney. If you haven’t seen enough twincest, amputated hands or dead Starks, Game Of Thrones: The Exhibition takes place at the Museum Of Contemporary Art, 1 – 5 Jul, celebrating the release of season four on Google Play.


Once again, Listen Out has served up a bill that completely captures the dancefloor sounds of now, with the 2014 line-up simply huge. Try this on for size: Flume (in his only 2014 Australian shows), Chet Faker, Zhu, Schoolboy Q, Four Tet, YG, Ta-Ku, Totally Enormous Extinct Dinosaurs (DJ set), Shlohmo, Bondax, Yahtzel (DJ set), Young Fathers, Golden Features, Tkay Maidza and more. Get amongst it 27 Sep, Centennial Park, Sydney; 28 Sep, Ozone Reserve, Perth; 4 Oct, Observatory Precinct, Royal Botanic Gardens, Melbourne; and 5 Oct, Brisbane Showgrounds.

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Pop fans best be practicing their twerking when Miley Cyrus brings her Bangerz arena tour to Australia, tongue and all. Expect the outrageous when the divisive 21-yearold makes fans blush 15 Oct, Brisbane Entertainment Centre. Tickets on sale now with prices starting from $100+BF.


You know the warmer months are arriving when Brisbane Festival brings the best in music, comedy and arts to our city, and the 2014 Telstra Spiegeltent line-up is one to truly get excited by. Between 5 – 27 Sep you’ll be able to catch the likes of Damien Jurado, Gareth Liddiard, Dune Rats, The Kite String Tangle, Matt Okine, Darius, The Bombay Royale, Juana Molina, Midnight Juggernauts, Urthboy, Andy Bull, Phil Jamieson, Com Truise, Ronny Chieng, Vancouver Sleep Clinic, Joe Henry, Miami Horror, Steve Nieve (playing Elvis Costello) and Jazz On Sunday sessions. Event website or Qtix for tickets; proudly presented by The Music.


Electronic wunderkind Kilter will be demanding your dancefloor attendance when he crisscrosses the country, touring soon-to-be-released EP Shades. The Sydneysider will be getting ‘er done 9 Aug, Coniston Lane; he’ll also make an appearance at Splendour In The Grass, 25 Jul.


Embarking on their first headline tour in roughly two years, Husky are excited to present new music with single I’m Not Coming Back, the first introductions to a follow-up record to their beautiful debut Forever So. Pull up next to their musical campfire when the guys strum sweetly at Black Bear Lodge, 1 Aug.


Born in the garage, built to destroy – Dwarves are still flying their freak flag high 30 years since emerging on the Chicago scene. No nonsense punk rock is their passion, and it can be yours too when these depraved punks scratch your itch on their Australian tour. They bring their new album The Dwarves Invented Rock ‘N’ Roll to the Crowbar stage, 19 Oct.

A regular visitor in these parts, Jonny Craig (Dance Gavin Dance, Emarosa) will be returning Down Under again later this year, bringing his new project Slaves to our stages for the very first time. Also featuring Hands In Heart guitarist Alex Lyman, Slaves is a band worth bowing down to. Don’t miss them on their maiden voyage when they play The Brightside, 15 Oct.



Can’t wait until Jersey Boys is officially released in cinemas? Then get to Dendy Portside, 2 Jul and enjoy a preview screening of the stage show-cum-feature movie, with the event package including drink and food on arrival, as well as live music from Bee’s Knees Harmonies Quartet. Tickets available through the Dendy website for $33.


A whole batch of new acts have been added to the Gympie Music Muster, 28 – 31 Aug, including Brian Cadd & Glenn Shorrock, Scott Collier, Dean Perrett, Lazy Eye, Merri Creek Pickers, Stealing Lincoln and plenty more. For the full lineup and tickets head to the event website.




Continue to decimate venues and massive festival stages around the world, DevilDriver are the out-of-control freight train that could. The metal champions will carry on with their bone-crushing ways in spring, when the intense Californian unit team up with fellow US punishers Whitechapel for a night of uncompromising heaviness. You can catch the units at The Hi-Fi, 5 Sep, with tickets available now.


For the first time ever, UK post-punk champions Maybeshewill will bring their grand noise to Australia. Their DIY ethos and clear vision has gathered them a fervent following in Europe, Asia and beyond, while their playing chops make their live shows essential. With support from Sydney’s Solkyri, the British fivepiece will plug in at Crowbar, 28 Sep.

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local news EUAN MACLEOD



They barely made it out of Europe without getting arrested, but Sticky Fingers are eager for more mischief. With a new album, Land Of Pleasure, scheduled for a 1 Aug release, there is plenty of reason for the lads to return to the road. Catch them on 12 Sep, The Hi-Fi and 13 Sep, Sunshine Coast Festival.


British lads You Me At Six will team up with Aussie world-beaters Tonight Alive for a series of co-headline dates this spring. The all ages gig happens at Eatons Hill Hotel, 5 Sep, with free shuttle buses set to run between the city and the venue before and after the show (finally!). Tickets and full info through Oztix and Ticketek.


In memory of the late Bob Hoskins, New Globe Theatre is screening Who Framed Roger Rabbit, in which he plays the toon-hating detective Eddie Valiant. For $10 be taken back to 1947 Hollywood and relive the fun story of Roger Rabbit’s fight for innocence after being accused of murder. Catch the outrageous hilarity tonight (25 Jun), doors open 6.30pm.


Archibald Prize-winning artist Euan Macleod will bring South East Queensland’s natural beauty to the fore with new acrylic and oil works in a series entitled Euan Macleod: Moreton Island, The exhibition will be showcased at Museum Of Brisbane, 4 Jul – 12 Oct, with artist and curator talks, hands-on workshops and more from. Bookings are essential for all these events – head to for full dates and details.


After joining Bruce Springsteen’s E Street Band for their 2012 US Wrecking Ball tour following the death of his uncle Clarence Clemons, Jake Clemons’s star has been on a steady rise, and with his debut EP Embracing Light nice and comfortable out in the world it seems like the right time for the 34-year-old to visit our parts for the first time. Experience the ultratalented musician and vocalist at Old Museum, 16 Aug and Byron Bay Theatre, 17 Aug.




In keeping with tradition, Splendour kicks off in fine style early, with the official pre-party at The Northern, Byron Bay, 24 Jul. The lineup suggests this night will be talked about in legendary tones in the future, with Interpol, Future Islands, Buraka Som Sistema, Art Vs Science DJs, DMA’s, Tkay Maidza and Fishing DJs all performing, but you’re going to have to act fast to get tickets. General admissions are on sale Thursday, $65+BF. 12 • THE MUSIC • 25TH JUNE 2014


Originally announcing a 27 Sep date for his Ladies & Gentlemen: The Songs Of George Michael tour, Anthony Callea has had to push that Brisbane Convention & Exhibition Centre show back to 11 Oct.


A decade since it landed in our lives, A Song Is A City, the second record from Eskimo Joe, is coming back on our radar courtesy of a solo acoustic tour from EJ frontman Kav Temperley. Temperley plays 13 Aug, Black Bear Lodge and 14 Aug, Soundlounge, Gold Coast.


Just a few names to converge on Mary Valley in the Noosa Hinterland, 19 – 21 Sep for the Mitchell Creek Rock ‘N’ Blues Fest will be: Stonefield, Sandi Thom, Dallas Frasca, East Coast Queen Bees, Pierce Brothers and plenty more, with the festival also offering free camping and a BYO policy – very nice.


The flute-wielding voice behind Jethro Tull, Ian Anderson, will be injecting new lifeblood into the British band’s renowned back-catalogue, when he presents The Best Of Jethro Tull at QPAC, 13 Dec.

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AN EXCELLENT ADVENTURE The members of Dune Rats have already seen places the rest of us only dream about on the back of their bratty punk nuggets. Guitarist/vocalist Danny Beusa tells Steve Bell how hard work (and weed) can lead to happiness.


iven all that they’ve already achieved in their brief career to date, it’s quite staggering to contemplate that Brisbane hoodrats Dune Rats have only just this month dropped their eoponymous debut album. On the back of three independent EPs and a couple of singles they’ve not only toured Australia extensively but already done stints in the USA, South Africa, Singapore, Malaysia, Indonesia and even China. They would have added Vietnam to that list as well but were denied entry – purportedly after officials caught wind of their bong-smoking heroics in the

to those countries. We were really lucky.” And while Dune Rats’ distinctive brand of infectious punk is ludicrously catchy, it’s still bizarre where it’s taken them in such a short time. “China was fucking crazy, dude!” Beusa continues. “We went right to the Mongol border so we didn’t really stick to the normal tourist spots – we didn’t go to Hong Kong or Shanghai, the normal fucking places people go to, but we went to Xinxiang, Xi’an and Chengdu, places where they look at you, like, ‘Why the fuck is there a white dude with long hair and tattoos in my country town?’ But they were sick – they’d

[2013’s Smile] we were just getting used to the idea of people thinking we were a band,” Beusa laughs. “With the first two EPs we were pretty happy just flying under the radar and having people think we were nothing – just two really shit cunts just jamming around – but by the third EP we’d played in America [and people were noticing]. So when we decided that we were going to make an album and that these were the songs that we were going to be playing [for a] year-and-a-half or two years – hopefully even longer than that – we just sort of thought, ‘Fuck it! We’d rather write songs that we want to play!’ “People were saying, ‘Oh, you should write an album that’s got slower songs and faster songs’ and all that sorta shit, but we went ‘Fuck it!’ and just wrote whatever songs we wanted, including some ones that are pretty different to what we’ve done before. We knew that whatever we did would end up sounding like us anyway, so we were pretty happy just to lock ourselves in a shed for a month or two and just smoke weed and write whatever came out. It was a fucking cracker.” The Dunies purportedly gleaned a lot of inspiration from US producer Steve Albini’s infamous letter to Nirvana prior to the recording of In Utero, in which he argued that if an album takes longer than three weeks to record then “somebody’s fucking up”.


Red Light Green Light film clip – but that blemish hasn’t even slightly derailed their justifiable pride in the achievements they’ve racked up to date. “We’re so fortunate to be an Aussie band doing it DIY for so long, and now we’ve got our own label imprint, but we feel that we’ve done it on our own fucking terms and our own business skills and didn’t really bag any cunt out – it works for you,” marvels guitarist/vocalist Danny Beusa. “We’ve just come back from the States and it was a really fucking fun two months – that’s a big bitch the States so you can’t really expect to make inroads too soon, but we frothed when we were in Hawaii and a couple of people stopped us in the street. It weirds us out just when people overseas order T-shirts and stuff, like some cunt in Ireland will buy something and it’s, like, ‘How the fuck do they even know about us?’ And South Africa was crazy – it just blew our fucking brains being in Cape Town for our first headlining show and there were 600 people there! “For us we literally thought it would be a funny excuse to see some places. We thought if we ever got a manager – which we do now – that they wouldn’t be down with it, so we just decided to travel to as many places as we could with the band money that we’d saved from live shows. It was so fucking worth it, and it ended up working for us because people actually liked our music in the countries we went to and when we came home people actually respected us for going 14 • THE MUSIC • 25TH JUNE 2014

smile at you and feed you, it was so good. “That’s why for us going back to LA was like culture shock – we almost got anxiety about going back into the American storm when you’re so used to a different culture. We’re so fucking lucky, we get to pick the best bits out of every culture and appreciate what we’re doing massively – I guess that’s why we’re always happy!” Now the trio are even happier having finally dropped Dune Rats, a batch of all new originals which expands their horizons without straying too far from what made their early music so great. “It was kinda weird, the last EP we wrote

“BC [Michaels – drums/vocals] stumbled across that letter and got heaps of inspiration from it,” Beusa tells. “I think we’d failed three times with the recording process – which most bands do with their EPs, which is why you do them. We’re a bit more of a live band, and we also needs cunts who are pretty chill with us, because the studio weirds us out. It weirds a lot of people out.” Why does Beusa think that they failed with those early EPs? “Every time we listen to them there’s little things that make us laugh because we can remember what we were going for, like trying to record vocals and not having any idea how to sing – not that we have any idea now!” he laughs. “But we’re a bit more comfortable with everything after a couple of years doing it. “Luckily we had Woody [Annison – producer] there, who took us on pretty much our first-ever proper tour over six months with Children Collide – he tour managed and did sound for that tour, plus he’s recorded sick albums for other bands – so when it came time to record, we pretty much thought that if we could just fucking work on it in the shed and get it exactly how we wanted to sound in there then we’d be cool for the studio. In the past we’d gone in [to the studio] with half-written songs and finished

them off in the studio, and it kind of kills the fucking vibe almost – if you’re writing a song and then you go out and play it for six months, the song is so much different than when you wrote it in the jam room, just because everyone starts to get their bits down pat. So we didn’t want to do the same thing with these songs that we’d written [for the album], and hear them back six months later after touring them and go, ‘Fuck, why did we record them then?’ We wanted to jam out that six months of playing in two months in the shed. We wanted to make sure they were pretty good because we wanted to record them live, so we wanted to practice them a fuckload.”

Luckily The Dune Rats didn’t struggle – like many great live bands – to capture the intensity they muster on stage while in the comparatively sedate environs of the studio. “Woody nailed it – Woody knows how to get it out of us, and that’s why we went to him,” Beusa enthuses. “When we first did that tour with him he saw us on about 30 shows so knew what we were about live, and I think he knew how to get it out of us. We’d play it live and only do about three or four takes – it was like that for most of the songs actually. Woody came up to Brisbane a couple of weeks earlier and we demoed them for him – we just got fucking drunk and played them to him – and he fully got it. When you’re fucking drunk and high or whatever and in a comfortable place you don’t necessarily have to play them all at a million miles an hour, but those slower songs he fully got in touch with them. He was all about capturing that live sound because that’s what we’d really struggled to do on those early EPs. We weren’t really ready. In saying that, when I hear say Sexy Beast off the first EP I love that song and wouldn’t change it for the fucking world.” WHAT: Dune Rats (Ratbag/Warner) WHEN & WHERE: 28 Jun, The Zoo; 29 Jun,


The clip for Red Light Green Light – from 2013’s Smile EP – found Dune Rats in homage mode, making a tribute to their Brisbane buddies’ DZ Deathrays clip for The Mess Up, only instead of smashing Jager shots they were pulling an enviable amount of cones for one three-minute session. While there was inevitable criticism from conservative quarters, Beusa reckons that no one’s confronted the bandmates directly. “Maybe not to our faces,” he laughs when asked about backlash from the stunt. “Our manager has more idea probably, like with that whole Vietnam thing he’d say, ‘Oh, that might have had something to do with it’ – there’s a lot of people out there who are suss on that sort of shit maybe – but I think mostly it’s been a really kooky fluke for us to get that coverage. I think most people have smoked a bong in the past or still smoke bongs. “What I found was pretty funny was when we got over a couple of hundred thousand views online my mum called me up, and I was like, ‘Um, you’ve seen it?’ It was a bit weird talking to her about it, but she just went, ‘Well, at least I know there’s a fair few people out there smoking bongs.’ I think it’s up to nearly 500,000 views now so the scale of it’s pretty funny.”

Alhambra Lounge; 20 Sep, Spiegeltent THE MUSIC • 25TH JUNE 2014 • 15


PET SOUNDS Parquet Courts co-frontman Andrew Savage feeds his cat Frida catnip, wants “a puppy from the pound to hang out with [the band] for an evening” as part of their rider and “one of the best interviews [he] ever did” was conducted by Ratso, a rat hand puppet. Bryget Chrisfield braces herself.


he music video for the title track from Parquet Courts’ latest album Sunbathing Animal features Andrew Savage’s black and white feline friend, Frida. “I’m looking at her right now,” Savage informs from his Brooklyn, New York flat, inside which the clip was filmed. The camera is set up to focus on a particular corner in the Parquet Courts co-frontman’s home in order to capture afternoon happenings. To coax added antics from his usually napping moggie, Savage invested in some catnip from “the pet shop down the street”. “Apparently it arouses cats as well,” Savage shares on the subject of catnip. “I think it acts like speed for them. Um, but, you know, humans take catnip in tea and, yeah, it actually has the opposite – it’s got a kinda calming effect on humans when you drink your tea.”

thought it was kinda silly. I felt good when people started taking our side on the issue… I have a very fuzzy memory of that night, but that is what I do remember.”

Another album track fit to soundtrack Frida postcatnip is Duckin And Dodgin and Savage admits that his band have “played it maybe seven times now and each time it’s been pretty well-received and a lot of people ask about it”. The listening experience conjures images of ferocious mosh pits. Savage laughs, “I dunno if I’ve seen a ferocious mosh pit. Sometimes it can be hard to mosh ferociously to most Parquet Court songs, I think.” Has Savage ever witnessed a circle pit from the stage? “No, no I haven’t, but also that’s maybe Sunbathing Animal – that song – maybe that [track] could cultivate a circle pit.” After remarking that mosh formations can be “kind of a bit corny”, Savage throws it out there: “I’d like to invite the circle pitters down.”

Before Parquet Courts dropped their Sunbathing Animal single, they made it available as sheet music. “We wrote a song with pretty much one note in it,” Savage explains, “and I thought it would be a funny idea if we made sheet music for a song as simple as that one. And, you know, when you look at it, it looks pretty ridiculous.” Have any alternate versions of the song been posted on YouTube as a result? “I haven’t seen one yet, but I would love to,” he deadpans. “Ah, I’d love to see a cover of a blind sight-reading of it.”

Although the band doesn’t solicit walls of death (“That stuff is reserved for, like, New York hardcore bands. I bet Sick Of It All gets a wall of death pretty regularly”), Parquet Courts shows do tend to get raucous, on and off stage. Last year at The Great Escape festival in Brighton, UK, Savage recalls one of their shows: “We got kicked off after I think about ten minutes of playing and, ah, people were mad about that. And I think the band after us didn’t even end up playing ‘cause, like, in protest even. But I don’t remember who that was.” Savage goes on to say that this occurred “because the show was running late and then they did the trim on the sets and, yeah, we got about a ten-minute set and then they told us that we had to finish to make time for the next band. I

Savage is acutely aware that everything he says during our chat has the potential to be read. When asked if he found it weird to be interviewed by Ratso, a rat hand puppet (aka someone crouching on the ground with their hand up a toy rat), he’s not playing: “No, no, no. Yeah, I mean I don’t wanna spoil the fun for the kids. Ratso, he’s

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one of the best interviews I ever did.” Savage’s favourite interviewer is attached to “an American children’s show, based in Chicago, called Chic-a-Go-Go,” he elaborates. “They regularly have bands on there. If you look up Chic-a-Go-Go on YouTube you can find a lot of different performances on there… It’s kinda like a Sesame Street for kids with, like, rocker parents, you know?” Similar to Yo Gabba Gabba! then, maybe? “Yeah, not too far off. But it has a bit of a public access kind of vibe to it.” Irrespective of how finely tuned your bullshit detector is, it’s difficult to determine whether Savage is taking the piss. “I’d have to say, the snack rider is the reason I do it,” is how he responds when asked if he prefers the recording or performing side of what he does. So what’s on a typical Parquet Courts rider then? “Oh, let’s see,” he hesitates. “We ask for a pack of cigarettes, um, you know, a vegetable tray – we leave the dip up to the promoter for the most part. Um, let’s see, chips

“I’D HAVE TO SAY, THE SNACK RIDER IS THE REASON I DO IT.” and salsa, maybe some, um, some peanuts. You know, I get pretty thrilled whenever someone throws an avocado in the mix.” What about more unconventional requests? Savage offers, “Um, you know, we’ve been asking for a puppy from the pound to hang out with us for an evening, but no one’s done it yet. So if any of you promoters are listening, you’d really make Parquet Courts’ day if you brought a little puppy backstage for us.” Attention: Splendour In The Grass! “I’m trying to get a bigger dog fanbase for the band, but, uh, maybe we’re just not playing in the right frequencies. You gotta hit the high frequencies to really get the dogs’ attention now. Laurie Anderson did the Concert For Dogs.” And Devo conducted a cat listening party for Something For Everybody, their 2010 long-player (the band’s first studio album in two decades). “You know, ah, Devo’s one of my favourite bands so I should know that, but I don’t,” Savage admits. WHAT: Sunbathing Animal (Rough Trade/Remote Control) WHEN & WHERE: 27 Jul, Splendour In The Grass, North Byron Parklands

DRIVERS WANTED MUST HAVE A VAN! Keen reliable couriers wanted to distribute our magazines every Wednesday morning on the Sunshine Coast. tEarly start tGreat part time work tMust have ABN EMAIL:

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vibe in the air, and it’s something that he can tangibly feel from the crowds.

Story Of The Year frontman Dan Marsala tells Benny Doyle how an album about small city America has taken a bunch of friends around the world and back.


t’s weird, it brings back a lot of memories – the mindset that we were in 11 years ago, when we were actually writing the songs and recording them; I was 21 or 22 years old at that point, it was just a whole different world. But it’s cool thinking back to writing those songs and the memories that [they] bring up; so much crazy stuff goes through your head.” Dan Marsala is discussing the personal emotions that have been dug up since Story Of The Year hit the road roughly 12 months ago to celebrate the ten-year anniversary of their 2003 debut Page Avenue, a record that ironically provided the quintet with a ticket out of their hometown of St Louis, Missouri – “a shitty urban city [that] attracts great, sad music” – by reflecting on life in the sprawl. “It was about friendships and growing up in St Louis, and the stuff that goes through your head when you’re a 21-year-old kid trying to make something out of yourself,” explains Marsala. “Every song had an underlying meaning of that somehow.” Self-proclaimed “weird kids” that wouldn’t take no for an answer, Story Of the Year weren’t daunted by cutting their first album. They went for broke from the getgo, enlisting Goldfinger’s John Feldmann to stir their bubbling post-hardcore pot into something digestible, and the end result, Page Avenue, stands as a product of determination and youthful ambition, one that went against the existing local music scene of the time. “There was maybe one or two bands that had ever been signed from St Louis,” Marsala recalls. “At the time we had Nelly, the rapper; he had just blown up and he’s from the same area, but that was it. Rappers were everywhere at that point, but for rock bands it was pretty slim. But us getting bigger and getting signed back in the day and becoming the successful band we are, we have definitely created more of a scene that has come up behind us, because bands from St Louis realised you can be successful from here, that’s possible. It’s the Midwest,

there’s not a lot going on, but we were just lucky.” However, as much as Page Avenue is undeniably St Louis – from the album title and cover art to the lyrical content within – it’s also

“The album has stood the test of time, and people still love it the way they did ten years ago,” the vocalist enthuses. “It was a time when the scene we were in, and kinda currently still are in, it was a time when it broke, and it was a big time for this heavy/screamo/ emo/hard music – whatever it’s classified as now. And it was special to a lot of people. Ten years listening to any album, you’re going to have a lot of memories attached – people are going to grow fond to it.” And that’s why anniversary shows are continually successful – the emotions surrounding them run a little deeper. Because you can come into contact with a song anytime during your day-to-day – at the shops, in a cab, watching TV – but when you listen to a full-length repeatedly, you stop hearing the music and begin living with it, getting intimate with the sonic intricacies, cover art and liner notes. Albums are bodies of work that soundtrack some of life’s great moments, but can also take care of you when things

“TEN YEARS LISTENING TO ANY ALBUM, YOU’RE GOING TO HAVE A LOT OF MEMORIES ATTACHED.” a record that offers a clear message of hope, something that stands unaffected by boundaries and borders. Marsala agrees, admitting that these Page Avenue shows – where the band run through the entire album as well as adding a best-of selection from their catalogue – have really driven home the level of passion people hold for the record, and the band as a whole. There’s a different

go pear-shaped, and they do this while also giving you an intimate insight into the heart and mind of another. It’s pretty much the ultimate form of art. With this considered, Marsala asks that fans be vocal when Story Of The Year arrive. Seek the band out and share your memories with them; he guarantees they’ll listen. “I love hearing people’s interpretations of our music or just something that happened at one of our shows,” Marsala says. “It’s super cool to hear how much crazy stuff [happened] and how much we’ve impacted other people’s lives over ten years. [There’s] a lot of great stuff we’ve been seeing: a lot of tattoos, lyric tattoos especially. [That’s] kinda weird though,” he laughs, “because it’s like, ‘Yeah, I wrote that in my bedroom and now it’s permanently written on your arm.’” WHEN & WHERE: 26 Jun, The Hi-Fi

THE MUSIC • 25TH JUNE 2014 • 19


STAND IN LINE After a lengthy absence everything’s coming up Midnight Oil, with a new exhibition in Sydney being augmented by a hive of activity. Drummer Rob Hirst tells Steve Bell that the band’s legendary passion is still powering.


arlier this month in Manly – the hub of Sydney’s Northern Beaches where iconic Australian outfit Midnight Oil cut their teeth in the late ‘70s and early ‘80s – a new exhibition, The Making Of Midnight Oil, opened tracing the seismic musical and societal imprint that the band left on our nation. “The Northern Beaches of Sydney is where the Oils first pulled a crowd at the Royal Antler Hotel,” drummer Rob Hirst recalls. “About three years ago I started pulling stuff out of my attic, and in there were all these posters dating back to when the band was first called Farm – there were posters and badges and lyrics and stickers and god knows what. So I was walking past Manly Art Gallery and just on a whim I went in and spoke to them about the exhibition, and they said, ‘Yeah, we’re going to do it!’ so I was, like, ‘Oh fuck, we’ve got to get all this stuff together!’ “It’s grown over the last two years, and [we’ve] been able to pull in all of this stuff including the Exxon banner [featured in new DVD Black Rain Falls] and an amazing amount of stage clobber and footage that Bonesy [bassist Bones Hillman] shot of the band backstage that has never been shown, and a new documentary that Rob Hambling made about the making of Ten-To-One [1982 album 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], and I’ve even tried to recreate what it was like in 1979 at the Royal Antler Hotel with sticky carpet and sharp elbows!” It’s not only the exhibition that’s prompted cryptic hints at a potential reformation, with the Oils also releasing the bulk of their catalogue in remastered form and giving the aforementioned guerilla protest documentary Black Rain Falls a long-awaited DVD release. It documents the guerilla protest gig that Midnight Oil played in inner Manhattan in 1990, bemoaning the lack of contrition shown by the Exxon Corporation following the ecological disaster that one of their tankers caused in Alaska the previous year. “We were dragged out of bed at about 11am having rehearsed the night before on the flat-bed truck, which was set up in a big wharf down on the Hudson River, and that was just wheeled out into Manhattan traffic just before midday,” Hirst laughs. “The cops knew about 20 • THE MUSIC • 25TH JUNE 2014

it – I think we’d donated to the Policemen’s Ball or something, everybody had been paid off – and a huge traffic jam formed. “We managed to get six or seven songs, which was great because halfway through the big banner which read, “Midnight Oil makes you dance, Exxon Oil make us

was possible because we were a pretty road-toughened and hardened band, and had been since about ’78 really when we hit the road – back in those days Australia was this incredible testing ground for bands like us and Chisel and The Angels and Rose Tattoo and Acca Dacca and all the others like INXS, so many others. Very quickly we toughened up our act and it was great for our songwriting as well, so by the time we left Australia to do our first shows to college audiences in the States we were already a pretty tough live band and we felt that we could survive anything, so even getting on the stage in that environment seemed like just another gig to us.

“WE FELT THAT WE COULD SURVIVE ANYTHING.” sick” was unfurled, then thousands of people became streaming out of the Rockefeller Centre and the Exxon Building and all of the skyscrapers directly above us at midday, so our small crowd suddenly became a 10,000-people crowd and they started to dance and laugh – they got what we were doing.” What’s really remarkable is how strong the band’s performance is given the somewhat haphazard and no doubt stressful nature of the performance they were attempting. “I think the reason that

“And because we were mid-tour, even though we were wiping the sleep out of our eyes from the gig the night before at Radio City Music Hall, we just switched onto automatic and away we went. You can hear the raggedness in Pete [Garrett]’s voice, and he warms up during the gig, and about halfway through we all started to lock in – it was very early for us to play a gig, even though by then we were getting used to playing impromptu radio shows where we’d just turn up to radio stations in the morning and do acoustic versions of [1987 album] Diesel & Dust songs around a single mic. That was something we learned on the Blackfella/Whitefella tour going out in the bush with [The Warumpi Band], the ability to put the songs in a simpler form with a couple of acoustic guitars and a stomp-box and just sing and make it work.”

WHAT: Black Rain Falls DVD/physical catalogue reissue (Sony)

THE MUSIC • 25TH JUNE 2014 • 21



Screenwriter Hossein Amini talks to Anthony Carew about finally crossing into being a filmmaker.


nce you’re a screenwriter, it can be a struggle to convince people to take you seriously. They assume that you must’ve ended up writing because you’re not particularly visual,” laments Iranian-born Hossein Amini, who grew up in England and longed to be a filmmaker. It took 20 years of screenwriting – with work ranging from Michael Winterbottom’s Jude to Nicolas Winding Refn’s Drive – before Amini would finally make his directorial debut with an adaptation of Patricia Highsmith’s tourists-inGreece crime-thriller The Two Faces Of January, which he first read 25 years ago. “I thought as a film student it’d be easy to get it made, that it’d make a good first film, because it’s really an intimate story of three people.



But it wasn’t. And I kept on, over the years, trying – and failing – to get it made.” Wait, he thought making a period movie on location in a foreign country was going to be easy? “I was very naive,” Amini laughs. “Even on the eve of production, I don’t think I really knew just how hard it was, even in places like Crete, to find shots that don’t reveal the 21st century.” Amini decided to film freely, taking out offending anachronisms by CGI, an approach at odds with his desire for visual classicism, which came from studying Bernardo Bertolucci’s The Sheltering Sky and “every ‘60s European movie he could find” to get the right visual – and period – tone. “I felt if

I used a non-classical shooting style, it could snap the audience out of that time period. There was a Michael Mann film, Public Enemies, where you were really aware that this was a film shot in the 2000s, and you didn’t get to sink into that time period. I wanted to make sure that [my film] never looked too modern, or got too tricksy, which is an easy trap to fall into as a first-time director, eager to show everyone what you can do.” The Two Faces Of January comes with stars. Both Viggo Mortensen and Kirsten Dunst encountered the script independently and approached Amini. “Those were two really pleasant calls to receive,” Amini admits. The director yearned to cast Oscar Isaac as the third wheel after seeing him on Drive, and at first had to fight for the idea, “but as soon as the Coens cast him in Inside Llewyn Davis, the producers were biting my head off to cast him as soon as possible.” Adapting someone previously brought to screen by Hitchcock, René Clément and Anthony Minghella made Amini feel as if he was “part of a tradition” of Highsmith films. “Even though they’re ostensibly crime novels, Highsmith’s hero was Dostoyevsky and she saw the thriller as just a form to use to explore human psychology. That’s what’s fascinating to me about [The Two Faces Of January]: these aren’t psychopaths; these are very ordinary people that’ve accidentally fallen into an extraordinary situation, this vortex of crime, jealousy, competitiveness. In normal circumstances, they could’ve got along famously. But, it’s Greece, it’s tragedy, it’s a thriller; and they fall into this world where, instead, they only do damage to each other.” WHAT: The Two Faces Of January In cinemas 19 Jun


Frente are celebrating the 21st anniversary of Marvin The Album with a re-release. Angie Hart and Simon Austin sit down at a café with Andy Hazel and reflect on past American stadium tours and feeling “stabbed” by The Late Show’s Accidently Kelly Street pisstake.


ven if you weren’t alive in the early 1990s, listening to Frente sounds like eavesdropping on another era: when acoustic pop sold in droves and international influences were filtered through a local scene instead of downloaded directly. Looking back, Frente’s signature songs Accidently Kelly Street and Ordinary Angels could be seen as ripostes to the overtly masculine Aussie rock of the era. Sitting at a Bourke Street café, guitarist Simon Austin battles to be heard over the sound of a passing tram: “It definitely wasn’t a conscious reaction to anything, but it was different.” “We weren’t capable of playing anything else,” adds singer Angie Hart. “When we started rehearsing in earnest,” says Austin, “we would actually arrange a song. We’d take a day or a week to arrange it. I put these guys through hell!” With ARIA Awards in the bag, Ordinary Angels still charting, Accidently Kelly Street riding high and Marvin The Album on its way to selling over 1.2 million copies worldwide, Frente were riding high. When ABC’s The Late Show joined in the fun with the bullseye pisstake Accidentally Was Released, their local reputation never 22 • THE MUSIC • 25TH JUNE 2014

fully recovered. “I had a real moment of feeling stabbed,” says Austin. “Then I thought, ‘You know what? It’s an Australian thing.’ I know all those guys and they mean it lovingly. To a certain extent, as an Australian, you just have to suck it up. And it’s good. People don’t allow you to get too full of yourself, or full of yourself at all, or even half full of yourself,” he laughs. In the US the band’s pithy take on New Order’s Bizarre Love Triangle cracked the Top 50 and Frente’s opened for Alanis Morrissette’s first major North American tour. “At a

certain point those tours get very, very surreal,” marvels Austin. “That Alanis tour, there were some very strange science fiction moments of people walking [Angie] on stage, it was all very religious. You’d look out into an audience of 30,000 people and there’s 29,900 girls with straight hair and 100 boyfriends standing there like this [impersonates bored tough guy]. It was bizarre.” The opportunity to connect with their audience was behind the reunion. “We all got on the phone to each other around the same time and it was just – now! It’s time,” Austin reflects. “We’re making it as polished as it can be, but mistakes are going to occur. It’s going to be great. We’re going to trip over each other, but that’s Frente.” WHAT: Marvin The Album – 21st Anniversary Edition (Festival/Warner) WHEN & WHERE: 28 Jun, Brisbane Powerhouse


Every Time I Die have always been heading in the right direction – even without GPS. Andy Williams tells Kane Sutton how they’ve again survived under pressure.


t’s easier to forgive a band who sticks to a formula and churns out much of the same-sounding stuff when they’ve been together for 16 years, but according to guitarist Andy Williams that’s not really how his band works. “We have a two-year thing; we go about and tour a record for a couple of years and, you know, the thing for us is, after 16 years, we don’t write what people tell us to write – if I’m writing songs, I’m writing songs for other things that I’m doing, I’m not writing for ETID specifically. We write whatever we feel is relevant to us. At the moment, it’s about writing as much new and relevant stuff as I can; we’re trying to

broaden our horizons. It just gets you hearing in different ways.” Their new record From Parts Unknown was designed to showcases the band’s depth and experience while retaining their traditional musical elements of heavy, frantic rhythms and chaotic hooks. The group brought in Converge co-founder Kurt Ballou, working at his GodCity Studio in Massachusetts. They also had the likes of Sean Ingram (Coalesce) and Brian Fallon of (The Gaslight Anthem) guesting on certain tracks. Williams recounts it as a pretty hectic experience.

“We were supposed to have two months off, and then we got put on A Day To Remember’s tour, so we only had 18 days to write the record – it was like, ‘What the fuck can we do in this time period?’ – it was basically like, ‘Let’s just write, let’s see what we got.’ Jordan [Buckley – guitar] and I have done a lot of transforming as people over the last year or two, and we managed to work from one frame of mind to another with this record. Working with other artists helped too; Sean has one of the gnarliest screams I’ve ever heard, and he knew what he was going to be working with so he was definitely keen. The Brian thing was a little weird because he has such an interesting voice, and I didn’t think it was going to work initially, but thankfully it did and now we have a track on here that adds a completely new element to the record.”


Questioned about a sense of legacy with this new album, Williams has to laugh. “It blows my mind that we lasted for longer than two months. That’s the big thing, man, like, the fact that we managed to progress further than where we did and that we didn’t manage to break up. Like, we’ve been going for 16 years, that still sounds crazy to me. Things have definitely changed too. When we started, there was no GPS, no internet, there was no such thing as an endorsement, there was nothing. You had to hustle to make things happen. There’s a lot of cool shit happening now. There are hardcore bands popping up everywhere now and they’re touring the world more often than ever – it’s definitely heading in the right direction and we’re just so happy to have been a part of it.”

WHAT: From Parts Unknown (Epitaph/Warner)



Matt Colwell aka 360 talks going sober and mental illness as he walks us through the highlights from his new album, Utopia. Still Rap One of the biggest things I cop is being called a sellout but anyone who gets popular and gets commercial success, especially in hip hop, is a sellout. But the definition of a sellout is doing something you don’t want to do just for money or success. I wouldn’t be able to get up on stage and perform if I didn’t like the songs. Man On The Moon I’ve had so many fans contact me saying they were going to kill themselves but they had heard the song about suicide, Closer, that I did with Seth Sentry, and said they wouldn’t do it after that – which is mind-blowing. That song is dark but it has really done positive things for so many. I’m saying, “The sky’s the limit, grow and reach the moon and reach your potential. Move beyond the dark moments. Every negative has a positive.” Purple Waterfall ft Daniel Johns I wanted to write something psychedelic. I really hope people wonder what it is all about like those Beatles songs: “I am the egg man,” – what is that about? I don’t know what the hell that is about. The song has drug themes but I didn’t want it be either positive or negative. I’m just talking metaphorically. Must Come Down I was writing about sobriety. I wrote half this song while

I was still on everything then the rest when I got clean. I strive to be addicted to sobriety – a natural high. I’ve learned you don’t get another rush like performing. I’ve got a very addictive personality and now I’m not doing drugs and partying or drinking I go to the gym six days a week and I’ve proved to myself that if I want something I go for it. Early Warning ft Chris Cheney This is about my older brother. He had migraines as kid; he’d be on the floor screaming and throwing up. A doctor gave him morphine. Dave was a depressed kid, too; he got bullied all the time. For him to have the feeling

of morphine and forget everything and live in a dream, he started faking migraines. One thing led to another. Spiral Down This is about mental illness and depression and coming good and fighting off the demon. It’s based on my ex-girlfriend. She has struggled a lot. Over time I saw her get better. She was in a dark spiral and then I was able to help her through it and saw her come out. Mental illness is always so touchy and people are afraid to talk about it but the best thing for you is to talk. It can be hard to admit but talking is the best thing. It’s All About To End People will think I have a problem with religion but things don’t add up. The Bible is a book. It’s a way people live their lives. Devote yourself to something by all means but I need more proof. There are great points in The Bible but I really believe God is a metaphor for the universe. To me God is the Universe. WHAT: Utopia (Forthwrite Records/EMI) THE MUSIC • 25TH JUNE 2014 • 23



UK punks The Vibrators may not be a household name, but they played a massive role in transforming music as we know it. Founding drummer John ‘Eddie’ Edwards tells Steve Bell about the quest to keep the spirit of rock’n’roll alive.


he Vibrators may never have won the accolades for the battle that punk raged on mainstream music in the ‘70s, but they were definitely at the fighting’s forefront. Forming in 1976, their single We Vibrate was one of UK punk’s first releases, they played with the Sex Pistols at the infamous 100 Club (as well as in Amsterdam) and one of their tracks even gave Stiff Little Fingers their name, but to them it was all about the music. “With the band as it was then people had various different things that they were into – Knox [Carnochan

– guitar/vocals] was into stuff like Iggy Pop and The Velvet Underground, and Pat [Collier – bass] was very much into Mud and glam stuff like Sweet. I was into The Rolling Stones, The Kinks and The Faces – all of those classic rock’n’roll bands – and then we put all of those elements together to try to come up with something different. Of course punk hadn’t been invented then so we didn’t realise it then but we were kind of inventing it in our own way. “Music was getting a bit up its own ass, and there were all these bands getting up on stage dressed as flowers and playing four-hour sets


and releasing one song on each side of an album, and we just thought, ‘This is so boring!’ We wanted to go out and recreate that original spirit that you found in rock’n’roll in the ‘50s and ‘60s with bands like The Who and The Rolling Stones and Chuck Berry – just get in there and play loud and fast and snotty – and not copying what they did but doing it our own way.” The Vibrators epitomised punk’s DIY spirit and emphasis on passion over musicianship. “It was the spirit and energy of it that was important,” Eddie reflects. “I hadn’t played the drums before – I’d played in marching bands and I used to roadie for other bands, but I hadn’t played with a proper drum kit – so I actually bought my first drum kit on the morning of our first gig, so I wasn’t very accomplished. I had a lot of learning and catching up to do!” Luckily that first show was just supporting some local band called The Stranglers. “Yeah, we supported The Stranglers at The Hornsey College Of Art,” Eddie laughs. “No one knew The Stranglers at the time to be honest – they were just a little band that were going around playing the pub circuit. [Drummer] Jet Black had an ice-cream business and they used to put all their gear in his van, so they came around the corner in an ice-cream van. It was a sit in at the college for some protest – The Stranglers thought we were funny and we were a bit crazy, we’d only had two rehearsals so we just played half an hour of loud, snotty stuff. They gave us supports at other gigs and that got the ball rolling for us.” WHERE & WHEN: 28 Jun, Prince Of Wales Hotel


Inspired by The Vines to “fuck up” while on Letterman, Mario Cuomo and Dominic Corso, of unhinged US garage band The Orwells, convince Andrew Mast they are just “some suburban kids”.


llinois garage-rock adolescents The Orwells left 2013’s SXSW with major industry buzz thanks to performances so manic that many wondered if they were the next next-big-thing-to-be-an-industrycasualty-thing. But they live on and returned to SXSW in 2014 – with a major label deal in hand and a much talked about Late Show appearance behind them. The band’s singer Mario Cuomo and guitarist Dominic Corso express surprise that there is interest from Australian media when they arrive apologetically hungover for this year’s round of interviews in Austin. But that Late Show With Letterman spot was seen globally. That night saw Cuomo not only crawl across the floor but also jump up and sit with Letterman at his desk midsong. And, despite YouTube commenters accusing them of being everything from “high” to “a gimmick” on the show, Letterman invited them back just five months later. Letterman Musical Director Paul Shaffer even reprised his own version of their Who Needs You to play that first night’s show out. Corso recounts, “[Letterman] was excited; it was like a breath of fresh air for him. I think because you have all these bands that go on and they realise they’re on late night television and all these people are going to see them, they try to just hit every note and play the song as perfect as they can. I think it was a 24 • THE MUSIC • 25TH JUNE 2014

breath of fresh air when he saw a kid band go on, well… a young band go on, and just like, fuck up.” Cuomo explains that the performance was parthomage to an Aussie band they admire, “The Vines on Letterman – that was one of the coolest things I’ve ever seen. So I wanted to do something like that”. Corso adds, “Even The Vines on [UK music show Later With…] Jools Holland. Those videos… when I saw those I was like, ‘You can mess around.’ Just because it’s on TV doesn’t mean you gotta treat it differently than a show.” It’s a long way from being shunned by their hometown Chicago

scene. Hailing from outer western suburb Elmhurst, The Orwells found themselves outsiders. “We were never part of any scene,” says Corso. “There wasn’t really any other bands in our town. It was really just us versus the world – that was the way we looked at it ‘cause we didn’t have buddy bands at all. Once we got a little bigger and were able to drive and we started being able to go downtown to a gig, eventually we were meeting these bands down there, [but] there was some hostility to their scene where they didn’t really want some suburban kids being a part of it.” However, despite eventually finding an in with similarly ill-fitting Chicago acts Twin Peaks, Smith Westerns and White Mystery, Cuomo maintains outsider status from the Chicago scene, “I don’t know if they ever really let us join it.” WHAT: Disgraceland (Warner)



Brendan Telford speaks to Tune-Yards ringleader Merrill Garbus about how autonomy and subversion can also be fun.


une-Yards isn’t necessarily an easy proposition, a musical act that revels in both familiar beats and compositions, however colourfully deconstructed, all driven by energetic percussion and a powerful yet acrobatic voice, all from the diminutive yet exuberant frame of Merrill Garbus. Take 2011’s whokill, for example, a second release that shirks the lo-fi, vocal-looped idiosyncrasies of her debut record, Bird-Brains, for a more flamboyant yet chaotic approach, mashing together genres with a freer, more fervent sense of experimentation. Garbus herself was moving from New England to California whilst dealing with the rising acceptance of her musical endeavours with a growing sense of pride yet wanting to push things as far as they could conceivably go. Nikki Nack finds Garbus much more in tune with what Tune-Yards is, and whilst many of the tropes she’s employed previously have become cemented in these new tracks’ DNA; there’s a sing-song simplicity here, a childlike sense of maniacal glee that foreshadows Garbus’ confidence. “The challenge for a musician is that you don’t have all that much perspective on anything until you have the opportunity to get out from under the loud and painful and mysterious place that your own headspace can be,” Garbus laughs. “I’m glad it came out with a playful tone because I wanted to write pop songs and danceable songs, songs that felt lovely to create but then carried with them a whole lot of new challenges.” One such challenge was utilising hip hop beats in many of the tracks. Garbus had to wrestle with the notion of giving up some autonomy in creating the album to get the desired sound she wanted, with producers Malay (Frank Ocean, Alicia Keys, Big Boi) and John Hill (Rihanna, Shakira, M.I.A.) coming into the frame. Garbus is quick to assert that nothing was compromised, only augmented by the experience, as these producers themselves seem to be interested in music that takes something and deconstructs it before putting it back together in an iconic way. “Inviting strangers into my world to be a part of the musical process was really challenging for me, but it ended up being a very comfortable experience. Me and Nate (Brenner) both have a history of listening to hip hop and that being the music we were interested in growing up, so if we

were going to let people become a part of what we do, it would be leaning towards that than, say, a psychedelic rock approach. I will speak for myself when I wanted my love (for hip hop) to show. Having two producers was scary but they brought different experiences and approaches from their standpoint of R&B and

on Tune-Yards too, and I want to be loud about being a woman producer because you don’t hear much about women being a part of that particular process. Many women are producing their own and other people’s music, and I have always wanted to be open and proud that I was one of those people. I cling on to my producer role and I still have that; only five or six songs were truly co-produced by (Hill and Malay). But I think we have moved on from that possessiveness of an album to the point that we just want it to be the most awesome thing that we can make, and they helped us achieve that. We are teaching ourselves, and we are gonna take our lessons where we can get them.”

“I CLING ON TO MY PRODUCER ROLE AND I STILL HAVE THAT.” reggae; they have brought out some of the loudest soul influences in albums of the last decade. There were things that we simply would not have considered, but they in turn considered us and what we wanted to do. “Both of us still found ourselves thinking why do we need anyone, we’ve done it all on our own thus far. We are both essentially trying to make a living producing music; Nate produces other people’s music as it is. I’ve been a producer

Above all else, Nikki Nack showcases Garbus as an idiosyncratic presence whose effervescence and prescient intelligence combine with her eclectic instrumentation and vocal prowess. “I think Nikki Nack shows that we are in this for the long haul. Without sounding pompous and saying we are better this time, I can truthfully say I don’t know what we really did differently. All I can say is this is what happened this year. For me it’s always about improving, about learning to be quicker with my hands or my voice, to be a better musician. I don’t read or transcribe music very well but I do feel that my skills are growing, I’m growing with confidence and learning not to compromise. Basically to be able to play exactly what I hear in my head is getting better. It’s better that it’s out here than cooped up in there.” WHAT: Nikki Nack (4AD/Remote Control) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands THE MUSIC • 25TH JUNE 2014 • 25



album reviews





Few bands are more consistently ferocious than Every Time I Die. With each new record you go in kind of expecting the grip around your neck to loosen a little – you think they’ll mellow out. But then you hit the play button and shake your head in disbelief because those stone-cold motherfuckers continue to outdo themselves.

5 Seconds Of Summer have been running on exceptional luck for a while now: discovered by One Direction’s Louis Tomlinson via YouTube, going from the backyards of western Sydney to opening arena shows for a pop juggernaut, they’ve notched up their fair share of iTunes #1 spots based entirely off pre-orders. Fans will be the first to exclaim that their debut has been a long time coming by pop standards.

From Parts Unknown

From Parts Unknown is like a bolt of lightning hitting the fuse of a rocket up your arse. There is only one period of solace – if you can call it that – Moor, but even that gets ugly after a disjointed piano/vocal introduction. For the rest of the time you are getting brutalised, with every element of the band’s sound beating down on you until you completely surrender. It’s fucking fantastic. As always, Keith Buckley acts as king agitator out front, spitting intellectual venom with the driest of wits, while the twin guitar

5 Seconds Of Summer

attack of Jordan Buckley and bearded hulk Andy Williams manages to operate at the ridiculous warp speed set by drummer Ryan Leger. Converge’s Kurt Ballou does an incredible job finding production balance within detonating tracks like The Great Secret and If There’s Room To Move, while The Gaslight Anthem’s Brian Fallon nails his vocal contribution on Old Light. Continuing to pick up steam right until the final jagged notes of Idiot, From Parts Unknown kicks like a mule from front to back, leaving you dazed by the end of it all, in need of a cigarette and a good lie down. Benny Doyle

What we have here is earnest, by-the-numbers pop-punk music; songs for windmilling across stage with swinging guitars around their necks, to sing to girls with ‘heart’ eyes in the front rows of shows; songs that’ll eventually be played in stadiums with voices echoing all the nagging, catchy choruses. The double-hit opener of She Looks So Perfect and Don’t Stop sets the tone for the record’s entirety: a fun, gallivanting affair of jagged




Dine Alone/Cooking Vinyl

Just a few weeks after the release of previous album Someday World, the particularly fecund collaboration of uber producer Brian Eno and Underworld’s Karl Hyde has yielded yet another album’s worth of tunes. However, High Life stands apart from their previous work in that it isn’t merely a collection of tracks that didn’t quite make Someday World.

Ever wonder what would happen if you combined the talents of the guitarists from City & Colour and Brownout with My Morning Jacket’s drummer and The Black Keys’ producer? Spanish Gold is your answer, and their debut record South Of Nowhere is a funky, soulful compilation.

High Life

The duo have previously flirted with Afrobeat but had inserted it into a fractured and awkward fusion of pop, polyrhythms and minimalist repetition. This time around Eno and Hyde have opted for less of a sound clash, turning out a more straightforward whiteboy Afrobeat funky sound awash with a distinctly English experimental sensibility. For instance, the album’s opener pits a funky rhythm guitar against dreary depressive lyrics. It’s a bittersweet start that blindsides us to the joy of DBF and 26 • THE MUSIC • 25TH JUNE 2014

★★½ guitar riffs, claps, nasal harmonies and a whole lot of heart. The theme is girls; strong girls who are in charge of their actions (Good Girls), girls they miss (Beside You), girls they’re definitely a little infatuated with (Kiss Me Kiss Me). Unsurprisingly, their downfall is a drastic lack of variety. There’s not much to the pop-punk formula, and 5SOS aren’t reinventing it. English Love Affair’s choppy riffs are a rare moment of difference, but they could spend more time exploring the broader scope of the genre they’re emulating. They could stand to drop the American accents too. Sevana Ohandjanian

South Of Nowhere


Moulded Life, which showcase these dudes at their Fela Kuti and James Brown funkiest.

These tunes see the duo shifting away from highly textured synthetic soundscapes for what sounds like a more stripped, almost back band-based approach. The six tracks, clocking in at anywhere between four and nine minutes, have a much looser, improvised feel than their first album. Drifting back into more familiar territory, Cells & Bells finds them working with synths to create a glimmering ambience into which vocodered voices drop lyrics about growth, regeneration and new beginnings. A rewarding listen from a couple of old hands who know how to play this game. Guido Farnell

Inspired by Laredo, the Texas border town where guitarists Dante Schwebel and Adrian Quesada grew up, the album is embedded with electric riffs and heavy bass lines – an apt homage to the frenetic spirit of a dangerous city marred by drug-cartel, gangland warfare. Opener One Track Mind sounds like a Black Keys spin-off, but considering two of Spanish Gold’s members (Patrick Hallahan and Dante Schwebel) supported The Black Keys’ Dan Auerbach on his solo tour, it’s no surprise. The title track follows: a gripping tale

★★★★ of a desperate man, bolstered by a tension-building beat. Middle track Day Drinkin sports a befitting name for a melodic number that should be listened to poolside, with a margarita in hand. And lead single Out On The Street manages to relate the dangers of living on the US/ Mexican border in the form of a very danceable tune. On its first spin you’ll notice that South Of Nowhere has an easy and genuine groove to it. Second time around you might take in more of the dark, lyrical storytelling. And by the third you’ll be wishing you could splice a few other bands together to form a sound as smooth as Spanish Gold’s. Ash Goldberg








Simple Tactics EP

Sub Pop/Inertia




Industrial noise rap has become a thing since Death Grips ripped the music world asunder with their nihilistic vision. Clipping. is the next group to shoot somewhere near the mainstream, signing to Sub Pop and releasing an excellent opening salvo in 2013’s Midcity. Clppng is the surprisingly tempered follow-up. Gone is the staccato production and abrasion, with more focus on Daveed Diggs’ lyrical skills and oddball quirks. The production is intriguing; this album is not. The killer Intro and Take Off notwithstanding, Diggs has taken the foot off the pedal – and Clppng is clipped as a result.

Comparisons to the other Josh of the Pyke variety are warranted (the guitar part of Lucy and the opening of Erin), but this Woodford-via-Brisbane folk singer-songwriter has his own voice. Possessing a wonderfully honest Australian accent and smooth vocals, the songs are effortless and well constructed, the sincerity and unaffected performance refreshing. This is a gentle, flowing collection, though with an immediacy to the melodies. The aforementioned Lucy is a touching ode to a daughter never met, and 27 is the soundtrack to any chapter closing. Beautifully produced with an admirably light touch, this is a warm, generous record.

Combine a grunge riff with a layered, gritty vocal melody and ride it for dear life until satiated yet ultimately unsurprised – that’s Seether’s bag, though the thrill of frontman Shaun Morgan’s unhinged hopelessness and fury has been waning since 2007’s Finding Beauty In Negative Spaces. Opener, See You At The Bottom, very nearly gets there, but Watch Me Drown sounds like an Everclear parody and My Disaster’s bass groove is too close to Tool’s Forty Six & 2 for my liking. The attempt at creating a varied dynamic feels forced, making for a scatty listen.


Late night project for Melburnian Sam Gill is all one take improvisations of slow, blessed out ambient goodness. Perfect sounds for insomniacs, slackers, bong heads, or D, all of the above.


Yes Please/Remote Control Second single from forthcoming album Ex Nihilo provides further tantalising evidence that it’s gonna be one of the most exciting releases this year. An abundance of deep and heavy vibes prevail.




Brendan Telford

Light And Sound

Isolate And Medicate

Tyler McLoughlan

Amorina Fitzgerald-Hood

Independent Very young Brisbane artist Faith Ty has a very serious sound on this single and her interesting vocals kinda drift over the simple patterns amongst some ethereal guitars and additional complex instrumentation.


We Are Strangers Independent Big guitars give away for Ali E’s big voice on this pop track which is actually quite minimal and contains heaps of space in all the right places, and it still rocks out when necessary.


Burn Up The Road Create/Control Rocking number from Liam – it’s impossible not to mention the video clip which stars our hero and Kirin J Calinan racing motorbikes in a totally cheesy video game, the best part of which is Liam looking sad in a locker room. Chris Yates






Run For Cover/Cooking Vinyl

Gold Nights

Jimi Kritzler and Tara Green have fully embraced Italo disco with a sinuous underbelly on second release Gold Nights. A half hour of sultry, ticking guitar lines, synth and beats that shake and shudder, just erring on the right side of cheese – clearly dark European touchstones – are burnt deeply into the duo’s DNA. Green’s vocal austerity takes even stronger focus here, a detached siren that equates nonchalance, disdain and vacancy in a tempered performance. From the great opener Only A Game to the stalking Sisters and the Liarsesque Burberry Congo, Gold Nights remains a bewitching listen. Brendan Telford

You’re Gonna Miss It All Contrary to the misguiding bubblegum melodies and twinkly guitar tones, Modern Baseball’s tightly produced follow-up to their 2012 record Sport is not a beacon for positivity, but rather, a brightly-decorated pit of despair. It’s that very juxtaposition (which, too, manifests itself in the woe-is-me lyrical content relayed with such an endearing nonchalance) that makes You’re Gonna Miss It All as charming as it is. Through light-hearted wit and deadpan, honest storytelling, Brendan Lukens shares with us all his neuroticism, frustration and sadness. What results is both tasteful and completely lovable.

Davidson Brothers – Wanderlust Lana Del Rey – Ultraviolence Marlene Cummins – Koori Woman Blues Matthewdavid – In My World The Dagger – The Dagger The Zebras – Siesta Tracy McNeil – Nobody Ever Leaves

Justine Keating

THE MUSIC • 25TH JUNE 2014 • 27

live reviews

SUPERSUCKERS, LOVE HATE REBELLION The Zoo 19 Jun Young Brisbane trio Love Hate Rebellion are faced with quite a sizable crowd of dirty rock ruffians by the time they plug in and kick off, and although they’re coming from a different musical realm entirely than their stage-mates tonight they make a decent fist of warming up the throng. Frontman Jimmy Sky and bassist Ariana Pelser share a tangible chemistry up front while skinsman Anthony Lawrence holds it together behind them, and there’s plenty of promise in tracks

their axes vertically in unison in mock triumph. Indeed so much of this band’s charm is in the way that they exaggerate rock’n’roll tropes to illogical conclusions, the result a mash of laughs and calculated mayhem. Old fave Bad Bad Bad brings some familiarity to proceedings, and they keep things raucous, raunchy and debauched as they power though Evil Powers Of Rock’N’Roll, Paid and the ever-frantic Luck. The way that everything is done with a wink and a smile elevates their live performances, but it’s their unabashed rock’n’roll chops that make tracks like Rock Your Ass and the classic Creepy Jackalope Eye so much fun. They power through How To Maximize Your Kill Count, an instrumental cover of The James Gang’s Funk #49 and Goodbye before invoking their trademark fake encore policy –


like the nuanced Melancholia and brooding closer Sicker. It’s been over a decade since Tucson-bred rock pigs Supersuckers have graced a Queensland stage so the anticipation is tangible by the time the lights dim and an air ride siren signifies the onset of the rock, as four black-clad silhouettes emerge in a flurry of hair, cowboy hats, sunglasses and devil horns – they’re back! Frontman/bassist Eddie Spaghetti is in fine fettle as they tear through a clutch of new tracks to open proceedings – Get The Hell, Fuck Up, High Tonight, Pushin’ Thru and awesome Depeche Mode cover Never Let You Down Again all bleed together like one extended salvo – and every track is concluded by Spaghetti and guitar cohorts Dan “Thunder” Bolton and “Metal” Marty Chandler raising 28 • THE MUSIC • 25TH JUNE 2014

The band hold the crowd to silent, motionless, attention. When they work some of their stuff from their forthcoming record, the dream-like quality of the songs lulls the room into a state of wonderful contentment.

17 Jun

This seems to be what Earth are hoping to do tonight: show off their new material. Or at least provide an indication of what the new record could sound like – it’s been touted that the album will feature vocals, and tonight it’s strictly instrumental fare. Hearing these tunes without any notions of how they should sound or how the band should experiment with the source material is an interesting experience. It’s challenging at times – when you see a band you want to hear the songs you know – but it’s also rewarding. The stories Carlson manages to tell with


With a super-intimate Dylan Carlson solo show at Tym Guitars the night earlier to get everybody pumped up, the crowd seems extra-eager to file down the stairs into Crowbar tonight to witness drone legends Earth. A Savage God kick things off with a nod to the legacy of Earth’s earlier years, where grit remained a concern alongside beauty. The local crew jam out on some heavy and meditative tunes before psych rockers Dreamtime take to the stage and channel the ghosts of all of the members


they refuse to ever walk off and return onstage, and as ever it’s so fun watching them fuck with rock clichés – and continuing on their killer way with Something About You, Gluttonous and Disaster Bastard, all from new record Get The Hell. The super-catchy Pretty Fucked Up would be a crossover smash in a perfect world, they give the crowd a choice of covers and it’s no surprise that AC/ DC’s Rock’N’Roll Singer wins the vote unanimously before they finish as ever with the glorious Born With A Tail which as always finds middle fingers hoisted everywhere amidst Cheshire grins and flying beer. Supersuckers might be taking the piss when they continually call themselves the ‘greatest rock’n’roll band in the world’ but on tonight’s blisteringly fun performance that appraisal really isn’t that far off the mark. Steve Bell



of The Doors who are now dead. Their show has remained one of the most exciting on Brisbane’s underground scene for some time now and tonight everything is suitably dreamy, putting everybody into the properly chilled out headspace for the main event. Seeing Earth’s main man take to the stage at Crowbar is a jarring sight. His poor posture, diminutive frame and an almost totally grey mutton chop beard creates an arresting visual. A legend who has lurked upon the fringes of alternative culture since the late ‘80s, it feels like Carlson’s gravitas has the room entranced before Earth have even played one exquisitely long note. When Carlson does lead his drone crew into the set, every chord he hits sounds like a lullaby – lush and enchanting.

his guitar are engrossing, and devoting the attention required to follow along with him yields moments of intense pleasure. As Carlson’s guitar drifts throughout the room, his band provide tremendous accompaniment for the stripped down interpretations of the material taken from the first Angels Of Darkness, Demons Of Light record. Even when the band step on their distortion pedals and venture into pre-Hex material, the songs still have an ethereal sheen to them. Ouroboros Is Broken, which lives on record as a caustic 18-minute noise bomb, comes across tonight as a tastefully condensed, tonally controlled number that imparts a sense of warmth and peace to the hooked crowd. It’s pretty cool. Tom Hersey

live reviews

LA DISPUTE, BALANCE & COMPOSURE, TO THE NORTH The Hi-Fi 20 Jun Like a tightrope walker tackling a stiff breeze, To The North seem to balance precariously on the edge of disaster, their visceral jazz-tinged experimental hardcore explosive without acting aggressive. The unique style of each band member – the crouched John Stanier-esque drumming, the loose guitar work – makes this quartet so exciting to watch, while the space in the music is just as important as the instrumentation. La Dispute guitarist Chad Sterenberg watches his friends from the wings and seems just as impressed as we are. The most straight-up band on the bill is Pennsylvania’s Balance & Composure, but they need to be – their intense

in us too. A rammed room is quickly in raptures when the Grand Rapids quintet make introductions via HUDSONVILLE, MI 1956 and First Reactions After Falling Through The Ice. Diminutive frontman Jordan Dreyer is all limbs as he swings his left arm wildly, shaking his tambourine constantly in his other hand, before stalking the stage between his bandmates during The Most Beautiful Bitter Fruit. Sterenberg and new guitarist Corey then pull things back for the emotive Woman (In Mirror), and it’s so great to see the crowd getting behind the concept tracks of the band’s new record Rooms Of The House. A Letter and Andria follow, before the night of the unassuming rock star takes an in-your-face turn with Dreyer on the barrier singing All Our Bruised Bodies And The Whole Heart Shrinks with the adoring front row. Following this track the set hits a bit of speed hump – as if the heat in the venue has got the better of the North Americans – but with a flying stage diver and a spike in

emotion and huge walls of riffs would be diluted if they started getting too technical. Instead, the five-piece just go about crushing it, with Jon Simmons singing strong and true from the middle. They begin with old favourites Void and Quake, bleeding the pair to devastating effect, before playing a game of back and forwards between their two albums for the majority of the set. Moving the tempo around during Tiny Raindrop gives the song a real time and place, while Keepsake and Stonehands act as a warning to the emphasis on heavy throughout Enemy. More To Me and Back Of Your Head then make way for a triumphant closing stanza, with the pummelling rhythms of Parachutes and swimming guitar lines found within Reflection leaving an indelible mark on the night. There’s something so honest and real about the way La Dispute go about their business. They’re a band that you can believe in because quite clearly they believe

intensity, New Storms For Older Lovers and Said The King To The River simply floor us. The emotion of the evening then finally gets the better of Dreyer – the vocalist choking up while admitting the band have been saying too many goodbyes recently – before the band regather and present a beautiful version of Woman (Reading), with the song’s reflective nature capturing the mood on stage in stunning fashion. Benny Doyle


arts reviews Jack Nicholson) and his huge collection of photographs and memorabilia that link him to everything from Monty Python to The Rocky Horror Picture Show to Yoko Ono’s early career.



In cinemas 26 Jun ‘The most famous person you’ve never heard of ’ is a great tagline; it makes you want to watch this doco, even before you know anything about its subject. From then on you’re not disappointed; the subject of The Last Impresario, Michael White, is as interesting as you could guess, thanks to liberal namedropping (he’s friends with everyone from Kate Moss to Mick Jagger to

But it’s in the execution, rather than the subject matter of Gracie Otto’s first feature, that the film falls flat. The sometimes shoddy camera work is understandable considering the first year of filming Otto was on her own, camera in hand, but it’s a failing that’s difficult to get past. Controversial aspects of White’s life, from production deals gone wrong to romantic conflict, are glazed over in favour of sequences that do feel heavy-handed – by the film’s conclusion you’re meant to feel sad: White has no money yet he gambles, needs two walking sticks to move around yet stays out until 4am, is 80 years old yet hangs out with beautiful women in their 20s. But boy is he interesting. Hannah Story


In cinemas How To Train Your Dragon was one of the most pleasant surprises of recent years, brimming with heart, humour and spectacle. For the most part, How To Train Your Dragon 2 does an admirable job following in its footsteps, surpassing its predecessor in some ways – especially technically, with the fluidity and expressiveness of its animation moving ahead leaps and bounds – while not quite equalling it in others.

Five years after young Viking Hiccup ( Jay Baruchel) went against years of tradition – and the wishes of his gruff father Stoick (Gerard Butler) – by taming and then befriending a wounded little dragon, Hiccup’s island home of Berk has become Dragon Central, man and beast living in harmony. But our hero and his scaly pal’s explorations bring them into contact with the evil Draco (Djimon Hounsou), who’s trapping dragons to build an all-conquering army, and the mysterious Valka (Cate Blanchett), who’s spent years keeping the creatures safe from harm. It’s mostly kids’ stuff, but HTTYD2 is a bighearted, free-spirited delight. Guy Davis



30 • THE MUSIC • 25TH JUNE 2014

the guide

FAR FROM PARIS Member answering/role: Peter Horne – vocals How long have you been together? Far From Paris have been together around four years now. How did you all meet? We all met through school and big nights out in the Valley seeing bands. You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? The Getaway Plan! Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Hank Williams for sure – he is the man! Which Brisbane bands before you have been an inspiration (musically or otherwise)? Avalon Drive, The Butterfly Effect, Repeat Offender, Nina May. What part do you think Brisbane plays in the music you make? Brisbane plays a major part in the music we write, it’s who we are and it will always reflect in the music we make. Is your band responsible for more make-outs or break-ups? Why? Far From Paris is responsible for make outs for sure – our music oozes sexy vibes! What reality TV show would you enter as a band and why? My Kitchen Rules because the boys can cook and I love eating food. If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Lawn bowls. We would be triumphant because Far from Paris 100 per cent know how to handle balls. What’s in the pipeline for the band in the short term? We are looking at touring our brand new EP Lionheart into New South Wales and Victoria. Far From Paris play YAC, Byron Bay on Friday 27 June (all ages) and Upstairs 199 on Sunday 29 June (all ages).

Pic: TERRY SOO THE MUSIC • 25TH JUNE 2014 • 31

the guide




The APRA Awards were held in Brisbane for the first time and rolled out a brilliant night notable for a swag of great music from some of Australia’s biggest talents.

ROCK OF AGES The Sonic Masala festival further highlighted how many great bands we have in our midst – so much great music from the 20 bands featured on the bill made it a memorable day from start to finish!

SOUTH RISING AGAIN And just to prove we’re not just parochial with our praise, the Straight Arrows’ launch for new album Rising was a cracker on the weekend, with Canberra’s TV Colours also killing it on their first trip north.




For the first time in almost ten years, Johnny Pav and Tim J. Quinton are coming together to offer the artistry they’re renowned for. Catch them at The Cave, Gold Coast, 12 Jul or Lucky Duck Café & Bar, 13 Jul.

Melbourne five-piece Jakubi are excited to announce the upcoming release of new single Couch Potato. They’ll be hitting the road to celebrate, playing Beach Hotel, Byron Bay, 11 Jul; New Globe Theatre, 12 Jul; and Rumpus Room, 13 Jul.

Ben Gumbleton, lead singer of blues’n’roots band Benjalu, is home from Europe and keen to continue rolling solo. Catch him in acoustic mode 18 Jul, The Spotted Cow, Toowoomba; 19 Jul, The Loft, Gold Coast; and 20 Jul, Dowse Bar.




Sydney alternative avantgarde collective Ensemble Offspring have put together a new program, Plekto, and with the help of Berlin-based Mexican composer Juan Felipe Waller they’ll perform at Fireworks Gallery, 11 Jul.

The party never ends for Vinnie La Duce. Underneath the bass heavy, dizzyingly affected vocals and well-crafted beats is pure infectious songwriting that gets everyone going. Performing with Jonny Ruddy and Morgan Jenkins at Dowse Bar, Sunday.

Telling tales of the everyday and the extraordinary, roots quintet Soldiers Of The Sun will play tracks from their debut record on Sunday at Swingin’ Safari, Gold Coast; 4 Jul, Ric’s Bar; 12 Jul, Scratch Bar and 19 Jul, Sheoak Shack, Fingal Heads.




The Brightside is serving up two consecutive nights of melodic punk flair this week. Alternativerock lads Young Lions will be stopping by on Thursday and the energetic, synth-flavoured Red Beard, pictured, will be blowing the roof off, Friday.

One of triple j’s 2013 Unearthed High finalists, 16-year-old Faith Ty, aka Cypher, continues to unlock her creativity with a guitar in hand. See her talents live when she launches new track Light & Sound at Brisbane Powerhouse, 3 Aug.

Helping to wear in the floorboards at West End’s newest venue The Motor Room, The Good Ship will be wheeling out their powerful canon, 4 Jul with support from Liam Bryant & The Handsome Devils and DJ Jimi Beavis.




Good-time indie pop dudes Hey Geronimo are looking after the Trainspotters bill at Grand Central Hotel for a series of nights, with My Own Pet Radio, Bilby and Born Joy Dead making up the first free bill, 12 Jul.

Drawing inspiration from bluegrass, world music and jazz, the ever-charming Sian Evans will be showing off her creative endeavours at Dowse Bar this Friday. Be sure not to miss out on Evans’ charming genre-blending ways.

Two fresh bands to keep an eye on are rockin’ good times providers Mary Handsome and those catchy melodic punks Worse For Wear. They’ll be carving up The Zoo, 17 Jul; $8 cover on the door.



Brisbane Lions legend Jonathan Brown has called time on his storied career after yet another concussion. Three flags and some of the most fearless acts ever undertaken on the footy field will ensure that the great man is never forgotten.

SO CLOSE Oh well, the Socceroos may not have qualified for the next round at the World Cup in Brazil but they had a red hot crack and distinguished themselves in the process.

TYRANNY OF DISTANCE Why are we so far away from everything? A Delaware brewery is celebrating the 20-year anniversary of Guided By Voices’ classic album Bee Thousand with a new drop called Beer Thousand.

32 • THE MUSIC • 25TH JUNE 2014


the guide





Christchurch lass Aldous Harding will be helping out her fellow countrywoman Tiny Ruins at her Black Bear Lodge show on Tuesday, performing tracks from her stunning selftitled debut with the help of vocalist Simon Gregory.

At Black Bear Lodge, 14 Aug, Spender does his thing in celebration of his new single, Lake. Get a view of the Melbourne producer and multi-instrumentalist when he delves deeper into the world of dark, experimental pop.

After earning her stripes on just about every Gold Coast stage you can think of, Amy Shark is ready to take advantage of her moment. Hear new single Spits On Girls at The Loft, GC, 4 Jul, and Teneriffe Festival, 5 Jul.




After the sailing success of Black Bear Lodge’s first Yacht Rock sessions, The Second Wave is taking us further towards the sunset, 5 Jul. Don some pastels, dust off the boat shoes and enjoy free entry and drink specials all night. There’ll even be karaoke!

Presented by GC roots duo Hussy Hicks, the upcoming Circle Of Friends showcase at Miami Marketta, 6 Jul, features sets from Lachy Doley, Daniel Champagne and Lani Motiekaitis, as well as the Hussy pair. Music from 2pm.

Channelling the spirit of Chicago bluesmen past and present, Doc Span is well-travelled but far from weary. The adopted Aussie will be clutching his harmonica tight when he leads his band 13 Jul, Cafe Le Monde, Noosa. Brodie Graham supports.




The Rock n Roll Dungeon happens at New Globe Theatre this Saturday, featuring sets from The Royal Artillery, Kill The Apprentice, Whiskey & Speed, Baskervillain, pictured, Obserd, Bare White Knuckles ,Deadwight Express and more.

The lads from Pretty City are hitting the road again, checking in to The Loft, Gold Coast, 11 Jul and The Bearded Lady, 12 Jul. Expect to be bowled over by explosive riffs before you’re massaged better with head-nodding grooves.

So much for being an experimental bedroom project; Sleepy Tea is now an expansive five-piece, fleshing out the lush compositions of Tom Wearne. They play Vision Gallery, 31 Jul & 1 Aug, launching new song Hold On To Your Breath.




Local songwriter Phill McKenna and his band The Water Signs have just released new LP Changing Light, and will launch the disc at Brisbane Powerhouse, 13 Jul. Hear how McKenna has fleshed out his field recordings for yourself.

LA rap sensation Kid Ink will be driving at full speed when he brings his My Own Lane tour Down Under, and with supports Fortafy and Savo confirmed as well, Ink’s show at The Hi-Fi, 2 Aug is shaping up massively.

The Australian cult classic Razorback will kick off New Globe Theatre’s Ozploitation series on Sunday. Watch as a wild boar terrorises the Aussie outback, and enjoy the can’tfail combo of low budget horror, comedy and action.


THIS WEEK’S RELEASES… EVERY TIME I DIE From Parts Unknown Epitaph/Warner SEETHER Isolate And Medicate Caroline THE ZEBRAS Siesta Lost And Lonesome BOK BOK Your Charizmatic Self Night Slugs/Inertia THE MUSIC • 25TH JUNE 2014 • 33


AUSSIE ARTISAN WINE After searching and sampling new varieties and reworkings of old classics, here’s Jess Ribeiro’s top five wines from Aussie winemakers. Illustrations Brendon Wellwood.



I spoke to William Downie, a winemaker from Victoria, and asked him if an unsophisticated person like myself could choose a good wine based on the label. Downie thinks so: “In the new world if you don’t know anything about wine then choosing it based on a picture has a level of integrity. It usually gives you a feeling of the wine makers aesthetic and personal tastes.”

I bought this wine to try out an organic option. It’s preservative- and chemical-free and made with wild, naturally fermented yeasts. It’s made by a husband and wife duo who are into organics and bio-dynamics. Their goal is to tread lightly on the earth. They live and work on their vineyard and consider themselves to be ‘Lo-Fi’ natural growers.

Downie believes current wine trends in Australia are becoming more diverse and progressive. “We are pushing boundaries and celebrating quirky wines that are less traditional and even faulted.” Witness Point Pinot Noir sits comfortably in this category.

For: The Greens.

For: Arty types

TWO ITALIAN BOYS (NSW), NEBBIOLO 2010 The label says; ‘Two Italian Boys, Pick Us Up Tonight,’ so I bought it purely as a joke. But when I went to the counter the seller gave me an approving nod which made me feel like I knew what I was doing. These two Italian boys from New South Wales are making wines based on traditional Italian styles, light and good to drink with food and friends. It’s a wine made with the idea that drinking is about being social. For: Party people. You will have to buy more than one bottle of this.

GLAETZER-DIXON FAMILY WINEMAKERS (TAS), PINOT NOIR 2013 A festive label, this wine was made in Tasmania by Nick Glaetzer, one of the youngest and most celebrated Australian winemakers. This red is inspired by the French Nouveau wines. It’s unique because there’s no long fermentation process. Grow it. Press it. Drink it. For: Those who want instant gratification.

YALUMBA, BAROSSA [SA] OLD BUSH VINE GRENACHE 2012 I bought this because it looked trustworthy and traditional. Like something your grandparents would drink during the Christmas holidays. It’s also suitable for vegetarians and vegans. For: The safe and reliable.

USES FOR WINE BESIDES DRINKING IT Use red wine to dye clothes. Put in a spray bottle to disinfect vegetables and fruit. Make vinegar with leftover wine that’s not that great for drinking any more. Use it as a facial toner, or better yet pour a bottle in the bath and bathe in it. It’s full of antioxidants. Turn it into car fuel. Pour it onto a piece of stale bread and apply it to an inflammation. This will help reduce swelling. White wine works great as a cleaner, stain remover and disinfectant. Make jelly out of it: just add water, pectin and fruit. Freeze it to use in cocktails, sangria, etc or to add to cooking. 34 • THE MUSIC • 25TH JUNE 2014

the guide


ALBUM FOCUS was lucky enough to have Jeff Lang as the producer, so it was tracked over the winter of 2012, mixed and mastered in 2013.

JAKARTA CRIERS Answered by: Seaton Fell-Smith Single title? Long Way Around What’s the song about? The song portrays the hesitations and uncertainty that life presents, making difficult decisions... all that fun stuff. How long did it take to write/ record? Long Way Around took a while. It had a previous life in a very different form yet the same recognisable guitar lines. Finding an organ on the side of the road may have helped. Is this track from a forthcoming release/existing release? Not at this stage...

What was inspiring you during the song’s writing and recording? Hoes and tricks. Plus the beautiful surrounds and atmosphere of Applewood Lane Studios which is now sadly up for sale... We’ll like this song if we like... The National, Birds Of Tokyo, Sir Paul Dempsey. Do you play it differently live? Not overly; a little heavier if anything. It does give one of us a chance to play some keys, which is nice. Jakarta Criers play Black Bear Lodge on Thursday 26 June.

JUSTIN BERNASCONI Album title? Winter Pick Where did the title of your new album come from? Winter Pick is the title track of my album. The track itself is an instrumental acoustic guitar tune about winter which I wrote it in my dank Melbourne kitchen, dreaming of bright, snowy hedgerows and trees. How many releases do you have now? This is my debut solo album! But I’ve released three albums with my main band, The Stillsons. How long did it take to write/ record? Most of the tunes were new, a few were old. I


Was anything in particular inspiring you during the making? I was writing a lot instrumental guitar tunes and was listening to John Fahey, Leo Kottke and some classical guitarists. One guitar could sound like an orchestra! Their music transported me into a different world. What’s your favourite song on it? I think I’m most proud of the title track Winter Pick. Very dark, intense piece of music. Will you do anything differently next time? No. I loved recording to analogue tape and would like to do that again. I’d like to think the next album will be as rewarding and fun! Justin Bernasconi plays Brisbane Powerhouse (afternoon) and Lefty’s Old Time Music Hall (evening) on Sunday 6 July.


is a single that stands on its own but is a part of our new sound. We feel like we have reached a professional level with this single and we ain’t going back now!

KOLORSOL Answered by: Damien Robertson Single title? Diablo What’s the song about? Diablo is about self-doubt and the inner battle you have with yourself when the odds seem stacked against you. How long did it take to write/record? The song took 12 months to write and was constantly evolving right up until the last week before we recorded. We knew this was a very special song from the start! Is this track from a forthcoming release/existing release? Diablo

What was inspiring you during the song’s writing and recording? The bridge section of the song is fuckin’ amazing as Ash’s vocals hit the perfect notes over a chromatic build-up to the dominant chord before finishing on a new key centre – perfection. We’ll like this song if we like... A bluesy soul sound with an indie-rock edge like Amy Winehouse playing with The Alabama Shakes featuring Nick Valensi. Do you play it differently live? We keep the sound raw and use our live performance equipment in the studio, including pedals. There are some single note lines complementing the lyrics that I don’t play live. Kolorsol play Jam’N’Beats Festival at Greenslopes Bowls Club on Saturday 28 June.

YEO Single title? Kobe What’s the song about? Leaving town and making some tough decisions, and looking forward to the future. How long did it take to write/ record? Approximately two weeks, including a heavy editing period. It has since been re-arranged and remixed, which took another two weeks. Is this track from a forthcoming release/existing release? This track is from a forthcoming EP release, due for this year. It is the second single, one of four songs. What was inspiring you during

the song’s writing and recording? Dancing, Japan, love, the possible end of love, experience and conversations with friends, long distance relationships and the need for change. We’ll like this song if we like... Clams Casino’s I’m God, Phantogram’s Don’t Move, and the idea that following your heart is risky but without regret. Do you play it differently live? Slightly differently – there’s extra beats and a helluva lot more energy/shape-pulling. Yeo plays Alhambra Lounge on Friday 27 June and Solbar, Maroochydore on Saturday 28 June. THE MUSIC • 25TH JUNE 2014 • 35

the guide Ego + A Purple Heart + Cutloose: Alhambra Lounge, Fortitude Valley

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

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

Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun

Remi: Solbar 17 Jul, Coniston Lane 18 Jul

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

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

In Hearts Wake: 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 The Yearlings: Brisbane Powerhouse 6 Jul Little Bastard: Black Bear Lodge 10 Jul, Solbar 11 Jul Something For Kate: The Tivoli 11 Jul Violent Soho: The Hi-Fi 12, 13, 19 Jul

WED 25

I Shall Be Released: A Tribute To Bob Dylan with Karl S Williams + Bree Bullock + Pat Tierney + Jen Mize + Cesar + The Altais + Alex Henriksson + Meredith: Black Bear Lodge (7pm), Fortitude Valley

BIGSOUND 2014: Fortitude Valley 10-12 Sep Bonjah: The Zoo 10 Oct, Racecourse Hotel 11 Oct, Surfers Paradise Beer Garden 12 Oct Ball Park Music: The Tivoli 18 Oct, Alhambra Lounge 2 Nov (U18) Gorguts: Crowbar 16 Nov Thy Art Is Murder: Crowbar 20 Dec, 21 Dec (U18)

The Prehistorics + The Dangermen + The Busymen + Stink Bugs: Beetle Bar, Brisbane UQ Big Band: Brisbane Jazz Club, Kangaroo Point

GIG OF THE WEEK THE UPBEATS: 28 JUN, ELLEMENT LOUNGE Twisted Thursday + Chris Royal + Billie Diego + J-Dub: The Underdog Pub Co, Fortitude Valley Dan Sultan + Stonefield + Way Of The Eagle: The Venue, Townsville I Used To Skate Once 10 + Roku Music + Statler & Waldorf + Goon Sax: The Zoo, Fortitude Valley Pure + Various DJs: Zuri Bar, Fortitude Valley

FRI 27

Lauren Lucille + Matt Luff Quartet: JMI Live, Bowen Hills

Yeo: Alhambra Lounge, Fortitude Valley

Des Reid: Loving Hut, Mount Gravatt

Karen Anderson & The Fortunate Sinners: Brisbane Jazz Club, Kangaroo Point

The Pressure + Various Artists: The Press Club, Fortitude Valley TGIW feat. Junkyard Express + Soul Solitude: The Underdog Pub Co (Doghouse Bar), Fortitude Valley Russ Walker: The Underdog Pub Co (Public Bar), Fortitude Valley

THU 26

Govs + Yeo + 7bit Hero + Fossils: Alhambra Lounge, Fortitude Valley The Familiars + Jakarta Criers + Waax!: Black Bear Lodge, Fortitude Valley Dana Gehrman: Brewski, Brisbane Trent Bryson-Dean: Brisbane Jazz Club, Kangaroo Point Russ Walker + DJ J-Mixx: Chalk Hotel, Woolloongabba B.O.S.S Productions: Empire Hotel, Fortitude Valley

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

Divine Devilles, Ali Penney & Dorothy-Jane: Taps Australia, Mooloolaba

Peace Train - The Cat Stevens Story: Gympie Civic Centre, Gympie

Ronnie Walker: The Plough Inn, Southbank

Tijuana Cartel: Soundlounge, Currumbin

Jeremy Peter Allen: Alderley Arms Hotel, Alderley

The Babe Rainbow + The Furrs + The Family Jordan: Black Bear Lodge, Fortitude Valley

Danny Widdicombe + DJ Black Amex: The Bearded Lady, West End

Bassidi Kone: Solbar, Maroochydore

The Beards + Franky Walnut: Harvey Road Tavern, Gladstone

Sounds of the Supremes: Logan Diggers Club (Crystal Palace), Logan Central

Venus Envy: Royal Exchange Hotel, Toowong

John Fegan: Royal Mail Hotel, Goodna

Dan Sultan + Way Of The Eagle: Tanks Arts Centre, Cairns

Slayer Tributaka + F.U.C + Asylum: Beetle Bar, Brisbane

Le Parti Soul feat. The Badlands + Mescalito Blues + DJ Redbeard: Ric’s, Fortitude Valley

Kim Sheehy + Chester: Royal Exchange Hotel, Toowong

Jon Stevens + Guests: Acacia Ridge Hotel, Acacia Ridge

Eugene Ellison: Logan Diggers Club, Logan Central

Underground Sounds Showcase & Auditions Night + Various Artists: Mick O’Malley’s, Brisbane

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

Peace Train - The Cat Stevens Story: Empire Theatre, Toowoomba

Garden Of Swing + Various Artists: Cloudland, Fortitude Valley

Locky: Irish Murphy’s, Brisbane

Sunday Chairs + Centre & The South + DJ Valdis: Ric’s (Downstairs) , Fortitude Valley

Boney M feat. Maizie Williams: Mackay Entertainment & Convention Centre, Mackay

Jimi Beavis: Cardigan Bar, Sandgate

Quasar + DJ Black Amex: The Bearded Lady, West End Red Beard + Call The Shots + The Lost Knights + Between Kings: The Brightside, Fortitude Valley We All Want To + Malo Zima: The Crosstown Eating House, Woolloongabba Peace Train - The Cat Stevens Story: The Events Centre Caloundra, Caloundra

Underground Sounds Open Mic Night Competition + Various Artists: Mick O’Malley’s, Brisbane

No Idea + Deputy Dipshit + The Black Market + Bloodgin + more: Chardons Corner Hotel, Annerley

Lucha Libre + Various Artists: New Globe Theatre, Fortitude Valley

Donnelle Brooks + Sarah Alice + George Higgins: Coorparoo Bowls Club (Green Bar) , Coorparoo

Motez: The Factory, Maroochydore

Monkey See, Monkey Do: Empire Hotel, Fortitude Valley

The Beards + Franky Walnut: The Lionleigh, Rockhampton

Than Artist + Fifth Day of Ice + Red in Tooth + Let’s Change History + Sanctum & Solace: Gladstone Tennis Club (All Ages) , Gladstone

Jack & The Giant Killers + Tuesday’s Good + Scott Dalton: The Loft, Chevron Island

In Hearts Wake: North Cairns Tigers Club, Manunda Lulu & The Cutthroats + Dream Girls + DJ Valdis: Ric’s, Fortitude Valley Jeff Carter: Royal Exchange Hotel, Toowong Hayden Hack Infusion + Bassidi Kone: Solbar, Maroochydore Hannah Rosa + Fieu: The Bearded Lady, West End Young Lions + Alibrandi + Burning Brooklyn + The Scrapes: The Brightside, Fortitude Valley Story Of The Year + Take Us To Vegas + Dollarosa: The Hi-Fi, West End Wren Klauf + The United States of Oz + Illuminate + more: The Loft, Chevron Island Ty Fader: The Plough Inn, Southbank The Phats: The Press Club, Fortitude Valley State Coach Country Music Launch Party with Terry Clarke Band + Jared Porter Band + Seleen McAlister: The Underdog Pub Co, Fortitude Valley

In Hearts Wake: Greek Community Hall, Townsville The Green Sinatras: Hamilton Hotel (Public Bar) , Hamilton Electric Samurai + Nick Tango: Irish Murphy’s, Brisbane Ben Salter: Junk Bar, Ashgrove Le Breeze: Lambert’s Restaurant, Kangaroo Point Seductive Soul: Logan Diggers Club, Logan Central Vulvapalooza feat. Kristy Apps + Nikolaine Martin + Switchblade Suzie + more: New Globe Theatre, Fortitude Valley Forever The Optimist + Balloons Kill Babies + Hammer Persuasion + more: O’Dowd’s, Rockhampton Sian Evans: Padre Bar, Woolloongabba David Barry: Park Ridge Tavern, Park Ridge

Russ Walker + Hanlon Brothers: The Exchange Hotel, Brisbane

Mojo Juju + Frank Sultana: The Joynt, South Brisbane

Monster Guitars - Adam Hole & Mark Easton: Brothers St Brendans Football Club, Rocklea Divine Devilles, Ali Penney & Dorothy-Jane + Andrew Baxter Band: Burleigh Underground Drummers, Burleigh Heads Forever The Optimist + Balloons Kill Babies + more: CBD Hotel, Mackay Honey + Various DJs: Chalk Hotel, Woolloongabba La Boum: Cloudland, Fortitude Valley Jam ‘n’ Beats Festival feat. Chocolate Strings + Schoolfight + more: Club Greenslopes (2pm), Greenslopes Motez: Coniston Lane (Bowler Bar) , Fortitude Valley Bound For Ruin + Humality + As Paradise Falls + more: Crowbar, Fortitude Valley The Beards + Franky Walnut: Dalrymple Hotel, Townsville The Upbeats + MC Woody + Silent Shadow: Ellement Lounge, Fortitude Valley Electro House Sessions with Tom Piper + Dave Winnel: Family Nightclub, Fortitude Valley Trainspotters feat. Loobs + McBain: Grand Central Hotel, Brisbane Vote For Pedro: Hamilton Hotel (Public Bar) , Hamilton The Flumes: Imperial Hotel (Green Room), Eumundi Jabba + Locky: Irish Murphy’s, Brisbane Pete Cullen & The Saltwater Cowboys: Lefty’s Old Time Music Hall, Brisbane Gaven Bell Band: Logan Diggers Club, Logan Central

Tinie Tempah: The Met, Fortitude Valley

River Sessions 2014 feat. The Amity Affliction + Rufus + more: Mackay Showgrounds (All Ages), Mackay

Candice: The Plough Inn, Southbank

The Babe Rainbow: Miami Tavern (Shark Bar), Miami

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

The Rumours + Ger Fennelly: Mick O’Malley’s, Brisbane

Diamond Dave: The Underdog Pub Co (Public Bar / 6.30pm), Fortitude Valley Loobs + McBain + Gravel Samwidge + The Maryettas: The Underdog Pub Co (Doghouse Bar / 8pm), Fortitude Valley Corn Liquor + Midnight Son & The Crime Scene + Rattlehand + Big Iron: The Zoo, Fortitude Valley

SAT 28

Rock n Roll Dungeon feat. The Royal Artillery + more: New Globe Theatre, Fortitude Valley Irresolute: Padre Bar, Woolloongabba The Vibrators + Public Execution + Shandy + more: Prince of Wales Hotel, Nundah Peace Train - The Cat Stevens Story: QUT Gardens Point, Brisbane The Evening Cast + Sahara Beck + DJ Valdis: Ric’s (Downstairs), Fortitude Valley

Cookie Jar + Various DJs: 633 Ann, Fortitude Valley

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

DJ Indy Andy: Albany Creek Tavern (Creek Bar), Albany Creek

Tyson & Shake: Royal Exchange Hotel, Toowong


Frente + Maples: Brisbane Powerhouse, New Farm

the guide Divine Devilles, Ali Penney & Dorothy-Jane: Royal Mail Hotel, Goodna Devils Kiosk: Royal Mail Hotel, Goodna Yeo + Green Genes + Fairchild: Solbar, Maroochydore Stu & Nat: Story Bridge Hotel (The Corner Bar), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar / 10pm), Kangaroo Point Mamas New Bag: Taps Australia, Mooloolaba The Gonzo Show + Stone Vandals: The Bearded Lady, West End Hands Like Houses + What We’re Worth + more: The Brightside, Fortitude Valley The Crimson ProjeKCt: The Hi-Fi, West End Mojo Juju + Frank Sultana: The Joynt, South Brisbane Sunday Chairs + Centre & The South + more: The Loft, Chevron Island Nathan Pursey + Stereo Blonde: The Plough Inn, Southbank Than Artist + Fifth Day of Ice + Red in Tooth + more: The Sands Tavern (All Ages), Maroochydore Amela: The Scratch, Milton

Generation Jones + Mick Medew & The Rumours + Cannon + Black Tag Parade: The Underdog Pub Co (Doghouse Bar / 8pm), Fortitude Valley

Kitty Hawk: The Plough Inn, Southbank Burlesque: The Press Club, Fortitude Valley In Hearts Wake: The Sands Tavern, Maroochydore

Faith Nightclub - Cure Tribute Night + DJ Johnny Griffin: The Underdog Pub Co (Upstairs), Fortitude Valley

Sunday Rock N Roll BBQ feat. + Chickenstones + McBain + more: The Underdog Pub Co (12pm) , Fortitude Valley

Dune Rats + Sea Legs + Dead Beat Band + The Scrapes: The Zoo, Fortitude Valley

MON 30

Elliot The Bull + Tanya Batt: Upstairs 199, West End


SUN 29

Dune Rats + Dead Beat Band + The Scrapes: Alhambra Lounge (Under 18’s), Fortitude Valley

Than Artist + Fifth Day of Ice + Red in Tooth + more: Expressive Grounds (All Ages), Palm Beach

Helen Russell Trio: Brisbane Jazz Club (9.30am) , Kangaroo Point

Alison Wonderland: Flinders Social, Townsville

Rafael Karlen Quintet: Brisbane Jazz Club (5pm), Kangaroo Point

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

Peace Train - The Cat Stevens Story: Civic Centre, Ipswich

Jabba + Rock Party: Irish Murphy’s (8pm), Brisbane

Sunday Sesh with The Recliners: Coorparoo Bowls Club (Green Bar / 2pm), Coorparoo

One More Ben: Lock ‘n’ Load Bistro (3pm), West End

Vinnie La Duce + Morgan Jenkins + Jonny Ruddy: Dowse Bar (Iceworks) (4pm) , Paddington Eumundi Live - Wintersun feat. + Tanya Batt + more: Eumundi Ampitheatre, Eumundi


Sasta + Ger Fennelly: Mick O’Malley’s, Brisbane Out Of Abingdon: Mr & Mrs G Riverbar (3pm), Brisbane Cider House Blues feat. Ali Penney + The Badlands + D.J. Gosper: New Globe Theatre (1pm), Fortitude Valley

Ricky Taite: Park Ridge Tavern (2.30pm) , Park Ridge Electric Zebra + The Macros: Ric’s, Fortitude Valley Venus Envy + Jeremy Peter Allen: Royal Exchange Hotel, Toowong Bear Foot: Solbar (6pm), Maroochydore Soldiers Of The Sun: Swingin’ Safari, Surfers Paradise Terrence Boyd Tallon: Taps Australia (4pm) , Mooloolaba Sabrina Lawrie & The Hunting Party + Jackie Marshall: The Bearded Lady, West End The Beards + Franky Walnut: The Jack, Cairns Caroline Hammond: The Joynt (4pm), South Brisbane

Rob Hackwood Duo: Irish Murphy’s, Brisbane Clea + Graham Moes: Ric’s, Fortitude Valley

TUE 01

Tiny Ruins + Shining Bird + Aldous Harding: Black Bear Lodge, Fortitude Valley Yo Gabba Gabba! + Little Odessa + Shag Rock + Cub Sport: Brisbane Powerhouse (10am / 1pm / 4pm), New Farm The Bug feat. The View From Madeleine’s Couch + Lauren Lucille: New Farm Bowls Club, New Farm Davy Simony: Ric’s, Fortitude Valley Mark Sheils: Samford Valley Hotel, Samford Valley


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THE MUSIC • 25TH JUNE 2014 • 37

tour guide

INTERNATIONAL Story Of The Year: The Hi-Fi 26 Jun

Tinie Tempah: The Met 27 Jun

Little Sea: Old Museum 9 Aug (AA)

Boyce Avenue: The Tivoli 3 Sep Biffy Clyro: The Tivoli 4 Sep

Ed Kuepper: Old Museum 9 Aug, Soundlounge 22 Aug

Protest The Hero: The Hi-Fi 4 Sep

Seekae, Jonti: The Zoo 12 Aug

The Upbeats: Ellements Lounge 28 Jun

DevilDriver, Whitechapel: The Hi-Fi 5 Sep

The Vibrators: Prince Of Wales 28 Jun

You Me At Six: Eatons Hill Hotel 5 Sep

Spender: Black Bear Lodge 14 Aug

The Crimson Projekct: The Hi-Fi 28 Jun

Pop Will Eat Itself: The Zoo 5 Sep

Tiny Ruins: Black Bear Lodge 1 Jul

Conan: Crowbar 6 Sep

Freedman Does Nilsson: Soundlounge 15 Aug, Old Museum 16 Aug

Bell X1: The Zoo 4 Jul

Anberlin: The Hi-Fi 6 Sep

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

The Ghost Inside: Byron YAC 9 Sep, Kontraband 10 Sep, Coolangatta Hotel 11 Sep

KOAN Sound: Arena 5 Jul Lloyd Cole: Brisbane Powerhouse 10 Jul, Soundlounge 11 Jul, Star Theatre 12 Jul 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

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

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

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

Justin Timberlake: BEC 26, 27 Sep

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

Maybeshewill: Crowbar 28 Sep

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 Jake Clemons: Old Museum 16 Aug, Byron Theatre 17 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) Kid Ink: The Hi-Fi 22 Aug

Veruca Salt: The Zoo 24 Sep

Sepultura: The Hi-Fi 4 Oct Hardwell: Riverstage 5 Oct Rick Springfield: Eatons Hill Hotel 9 Oct, Twin Towns 10 Oct Slaves: The Brightside 15 Oct Miley Cyrus: BEC 15 Oct The Dwarves: Crowbar 19 Oct Joe Satriani: The Tivoli 4 Nov 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

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

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

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

Buried In Verona: The Brightside 17 Jul, The Lab 18 Jul (AA)

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

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

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

Bass Kleph: The Met 19 Jul

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

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

Perfect Tripod: QPAC 25 Jul

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

Monique Brumby: The Treehouse 26 Jul, Dowse Bar 27 Jul

Holy Holy: Black Bear Lodge 4 Jul

Toehider: The Brightside 11 Jul


Yeo: Alhambra Lounge 27 Jun, Solbar 28 Jun Ben Salter: Junk Bar 27 Jun

Voyager: The Brightside 11 Jul Something For Kate: The Tivoli 11 Jul Jeff Lang: Mullumbimby Town Hall 11 Jul, Brisbane Powerhouse 12 Jul Jakubi: Beach Hotel 11 Jul, New Globe Theatre 12 Jul, Rumpus Room 13 Jul Hey Geronimo: Grand Central Hotel 12 Jul Miracle: GPO 12 Jul, East 29 Aug

Justin Heazlewood: Southside Tea Room 20 Jul Jen Cloher: Junk Bar 25 Jul

Hugo Race: Junk Bar 26 Jul, Brisbane Powerhouse 27 Jul True Vibenation: TBC Brisbane 26 Jul, Byron Bay Brewery 27 Jul Husky: Black Bear Lodge 1 Aug King Parrot: Vaudeville Room 1 Aug, Crowbar 2 Aug Caitlin Park: The Hive 2 Aug (AA) Bodyjar: The Hi-Fi 7 Aug Kate Miller-Heidke: Empire Church Theatre 7 Aug, QPAC 8 Aug Melody Pool & Marlon Williams: Black Bear Lodge 7 Aug, St Martin’s Parish Hall 8 Aug Clare Bowditch, Adalita: Powerhouse Theatre 8 Aug The Angels: Queensland Lions Club 8 Aug, North Leagues & Services Club 9 Aug James Reyne plays Australian Crawl: Eatons Hill Hotel 8 Aug, The Tivoli 9 Aug Spiderbait: The Hi-Fi 9 Aug Kilter: Coniston Lane 9 Aug


Sticky Fingers: The Hi-Fi 12 Sep

Reece Mastin: Brisbane Powerhouse 30 Sep

UB40: Riverstage 7 Dec

Lady Gaga: BEC 26 Aug

The Bennies: The Spotted Cow 12 Sep, The Lab 13 Sep (AA), Crowbar 13 Sep

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

D At Sea: The Brightside 10 Jul, TBC Brisbane 11 Jul

Eagles: BEC 10, 11 Mar

I Killed The Prom Queen: Byron YAC 9 Sep, Kontraband 10 Sep, Coolangatta Hotel 11 Sep

Alison Wonderland: Southern Cross Unibar 3 Jul

Katy Perry: BEC 27, 28, 30 Nov, 1, 15 Dec

Bob Dylan: BCEC 25 Aug

360: Arena 6 Sep (U18 matinee/18+ evening)

Icehouse: SEQ Outdoor Concert 20 Sep, Twin Towns 21 Sep

Thelma Plum: Old Museum 10 Jul

One Direction: Suncorp Stadium 11 Feb

The Amity Affliction: Riverstage 5 Sep

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

Agnes Obel: Old Museum 25 Nov

Roxette: BEC 10 Feb

Dead Letter Circus: New Globe Theatre 4 Sep

Boy & Bear: The Arts Centre Gold Coast 12 Sep, The Tivoli 13 Sep

Jesse Davidson: Alhambra Lounge 10 Jul

King Buzzo: Black Bear Lodge 24 Aug

Beni: Elsewhere 18 Jul

Busby Marou: Soundlounge 29 Aug, Eatons Hill Hotel 30 Aug (AA)

sleepmakeswaves: The Northern 18 Jul, The Zoo 19 Jul

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

Rick Astley: The Tivoli 21 Nov, Twin Towns 22 Nov

Knapsack: Crowbar 23 Aug

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

Hands Like Houses: The Brightside 28 Jun

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

Ian Anderson Presents The Best Of Jethro Tull: QPAC 13 Dec Passenger: Riverstage 25 Jan

Violent Soho: The Hi-Fi 12, 13, 19 Jul The White Album Concert ft Tim Rogers, Chris Cheney, Phil Jamieson and Josh Pyke: QPAC 13 Jul (matinee & evening)

Toxic Holocaust: The Northern 19 Nov, Crowbar 20 Nov

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

The Dandy Warhols: The Tivoli 30 Aug


Kanye West: BEC 15 Sep

Interpol, Future Islands, Buraka Som Sistema: The Northern 24 Jul

Neurosis: The Hi-Fi 4 Aug

The Aston Shuffle: The Zoo 29 Aug

Mojo Juju: The Joynt 27 & 28 Jun

Robbie Williams: BEC 22 Sep

Ruby Dee & The Snakehandlers: Lefty’s Old Time Music Hall 2 Aug

Tina Arena: Jupiters 23 Aug, BCEC 24 Aug

Cannibal Corpse: The Hi-Fi 13 Sep

Corrosion Of Conformity: Crowbar 24 Jul

A Great Big World: The Tivoli 2 Aug

Kav Temperley: Black Bear Lodge 13 Aug, Soundlounge 14 Aug

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 Nick Cave: BCEC 3 Dec, GCCEC 4 Dec Thy Art Is Murder: Crowbar 20 Dec, 21 Dec (U18)


Vulvapalooza: New Globe Theatre 27 Jun 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 • 25TH JUNE 2014 • 39

40 • THE MUSIC • 25TH JUNE 2014

The Music (Brisbane) Issue #44  

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 #44  

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