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2 • THE MUSIC • 13TH AUGUST 2014

THE MUSIC • 13TH AUGUST 2014 • 3

themusic 13TH AUGUST 2014



INSIDE FEATURES Kimbra The Gaslight Anthem Courtney Love Elbow Tim Freedman Talks Harry Nilsson Harmony


Jake Clemons The Stranger

REVIEWS Album: Velociraptor Live: Bodyjar Arts: A Most Wanted Man

THE GUIDE Cover: Jimi Beavis Food/Drink Frontlash/Backlash Indie News Indy Features Gig Guide







web 4 • THE MUSIC • 13TH AUGUST 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, Paul Mulkearns, Roshan Clerkea, Sam Hobson, Sky Kirkham, Sophie Blackhall-Cain, Tessa Fox, Tom Hersey, Tony McMahon, Tyler McLoughlan





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


Who doesn’t need a BFF? Now in its third year, the Brisbane Fringe Festival is a not-for-profit initiative that aims to bring our eclectic arts community to new and appreciative audiences. From 14 to 31 August there is a diverse array of music, comedy, theatre, writing, poetry, circus, cabaret, visual art and creative workshops on offer at venues all over Brisbane – check for details.

Oh god, poor Britney. Her life has been both a rollercoaster and a train wreck, and now it’s being brought to the stage for Britney Spears: The Cabaret. Written by Dean Bryant, the extravaganza stars Christie Whelan Browne in the titular role and is a hilarious and satirical look – often via her own songs – at the many pitfalls of fame and glory, and how sometimes one person can seem to act as a beacon for all of them.

Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe

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

David Williamson’s black comedy The Removalists may be set in the Australia of the ‘70s, but the themes contained therein – domestic violence, dysfunction, gender politics and furniture removal – still resonate to this day. Critical Stages and Rock Surfers Theatre Company’s production of the classic play – based in a police station and a nearby house – runs at Brisbane Powerhouse this week until Saturday, and is a fascinating study of our society and its foibles, and how things have changed (for the better and worse) over the course of generations and decades.


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national news MISSY HIGGINS



Veteran US comedian Andrew Dice Clay has announced that he will make his inaugural journey to Australia for a run of shows around the country this spring. The Dice Man Cometh Down Under tour will take the controversial (life ban on MTV anyone?) stand-up to Royal Theatre, Canberra, 7 Oct; Enmore Theatre, Sydney, 8 & 9 Oct; The Palms, Melbourne, 14 & 15 Oct; HBF Stadium, Perth, 17 Oct; and Jupiters, Gold Coast, 25 Oct, plus loads more regional stops. Check out the full run of dates on


To say things are happening in Missy Higgins world is an understatement. She’s got her first child on the way, plus a new covers album and companion book of essays, both titled Oz, ready for consumption. And the beloved singer-songwriter is hitting the road with Dustin Tebbutt (excl. Perth) for a massive tour, including 27 Sep, Brisbane Convention & Exhibition Centre; 4 Oct, Enmore Theatre, Sydney; 11 Oct, Canberra Theatre; 16 Oct, Crown Theatre, Perth; and 29 Oct, Regent Theatre, Melbourne. Loads more dates at, proud presenting partners of the tour.








Coinciding with the box set reissue of their entire back catalogue, influential underground rock’n’rollers Radio Birdman will return to stages nationally, bringing the same fire and fury which saw them rise from the ‘70s pub scene to be one of Australia’s most revered bands. The tour will visit Cambridge Hotel, Newcastle, 31 Oct; Manning Bar, Sydney, 1 Nov; Corner Hotel, Melbourne, 2 & 3 Nov; The Hi-Fi, Brisbane, 7 Nov; and Rosemount Hotel, Perth, 9 Nov. Proudly presented by The Music.

After more than 20 albums and a career spanning over four decades, Joan Armatrading has announced her final major world tour. Hear one of Britain’s most iconic voices for the last time in Australia, 4 Dec, Astor Theatre, Perth; 8 Dec, Melbourne Recital Centre; 9 Dec, Canberra Theatre; 10 Dec, Enmore Theatre, Sydney; 13 Dec, Twin Towns, Tweed Heads; and 14 Dec, QPAC, Brisbane.

Go get Punk In Drublic, among other things, when NOFX arrive in the land Down Under this spring. The evergreen Californian miscreants haven’t visited us in roughly four years, so you can be guaranteed a big set of all the classics when they perform at Enmore Theatre, Sydney, 7 Nov (all ages); Metro City, Perth, 15 Nov; Forum Theatre, Melbourne, 20 & 21 Nov; and The Tivoli, Brisbane, 22 Nov, amongst other places. Full details on

Adelaide heavy-hitters The Mark Of Cain are hitting the road to celebrate the official single release of Grey-11, an uncompromising track featuring the mighty Hank Rollins. The boys will get ‘er done at 170 Russell, Melbourne, 31 Oct; Metro Theatre, Sydney, 7 Nov; Cambridge Hotel, Newcastle, 8 Nov; Rosemount Hotel, Perth, 15 Nov; The Zoo, Brisbane, 28 Nov; and Coolangatta Hotel, Gold Coast, 29 Nov. King Of The North support at all dates except Perth (Scalphunter replace).



Australia’s annual celebration of all things hard’n’heavy, Soundwave, have confirmed their first acts for 2015, with Japanese metalcore outfit Coldrain presenting their international debut (and third LP proper) The Revelation, Long Island pop-punkers Patent Pending bringing the bounce, Butcher Babies showing some sass, UK metallers Monuments and ska punks The Interrupters all performing at Melbourne’s Flemington Racecourse 21 & 22 Feb, then Sydney’s Olympic Park and the Brisbane Showgrounds 28 Feb & 1 Mar.



The Jackal In The Night tour – proudly presented by The Music – will see rambunctious gypsy rockers Caravãna Sun taking their rootsy ska flavour to venues far and wide. Their previous touring fiesta showed a band at one with the stage, so don’t miss the Sydneysiders when their wagon rolls into town, 7 Sep, Mojo’s Bar, Fremantle; 20 Sep, Oxford Art Factory, 4 Oct, Sooki Lounge, Melbourne; and 10 Oct, Solbar, Maroochydore, with loads more shows at

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local news ILLY




Having already skydived into Splendour In The Grass, played Groovin The Moo and headlined triple j’s One Night Stand, Illy has gone from strength to strength after the release of his fourth studio album Cinematic, which debuted at #4 on the ARIA album chart. Illy will embark on his biggest national headline tour to date, playing The Tivoli, 5 Dec.


BIGSOUND has announced another round of stellar speakers on its line-up, with the likes of Jessica Ducrou (Village Sounds), Spotify’s Will Page (UK), The Fader blogger Emilie Friedlander (US) and more all getting on board. The live line-up also welcomes Waax, The Furrs, Saskwatch, The Love Junkies, Little Odessa, Jordan Klassen, Blaq Carrie and more. BIGSOUND runs from 10 – 12 Sep, Fortitude Valley Entertainment Precinct.


The Toowoomba Carnival Of Flowers has long been a stunning celebration of Queensland’s natural beauty, but this year it’s set to get loud with a hot music injection across three nights, with the likes of Icehouse, Something For Kate, San Cisco, Saskwatch, The Kite String Tangle and Jeremy Neale all making their way up the range to perform 19 – 21 Sep. Check out full program of the Heritage Bank Live Concert Series at the event website.


Community radio institution 4ZZZ turns 40 next year (!), but before that happens it’s holding its annual subscription drive, 22 – 31 Aug. Fundraising efforts for the station will culminate in a boat cruise on 31 Aug, with events like HappyFest, The Underdog, 22 Aug; Radiothon RnR BBQ, The Underdog, 24 Aug; Retro-Active Challenge, Club Greenslopes, 31 Aug and more all going down in the lead up. Head to the station’s website for full details.





During the late ‘70s, UQ Campus Refectory played host to The Joint Effort, a live music event that brought great bands to Brisbane for a great price. Now, The Joint Effort is back for a new generation of music lovers, with the first event at Hamilton Hotel, 8 Nov, seeing the legendary Painters & Dockers and Cosmic Psychos return to our midst, alongside The Go Set, Wolfpack, SixFtHick, Flangipanis, Some Jerks, BMX Ray and Boss Sounds DJs.

Formed in 1992 during the golden era of hip-hop, Canadian outfit Swollen Members have remained at the top of their game for more than 20 years. Hear them wax verbally on a down-to-earth pulse when they arrive at Coniston Lane, 25 Sep with Madchild in support.

Local rock legends Screamfeeder are set to embark on a very special headline tour, The Early Years, which sees them playing songs from seminal indie records Flour, Burn Out Your Name, Fill Yourself With Music and Kitten Licks. The band will headline The Underdog, 22 Nov, with Roku Music and Freak Wave supporting. The national run coincides with Poison City Records rereleasing the band’s discography on vinyl.

Why go outside when you’ve got the smooth, soothing sounds of WA group Rainy Day Women in venues near you? New track Mars once again shows their handle of a pop hook, and alongside fellow buzz act Meg Mac the Rainy four will play Black Bear Lodge, 25 Sep.



Back again in 2014, The Blurst Of Times Festival brings some brilliant noise to The Brightside and The Zoo, 18 Oct, with the first list of acts forcing our jaws to the floor already. With the likes of DZ Deathrays, Hard-Ons, Dick Diver, Blank Realm, High Tension, The UV Race, Major Leagues, TV Colours, Day Ravies and loads more all signed on, shit is going to get real. For the full list of bands head to, proud presenting partners of the event.


Techno beatsmith Samuel Kerridge comes all the way from Berlin to The Underdog on 7 Sep, bringing sexy, distorted techno, surrounded by friends Matthew Brown, Elliot Clarke, Enderie Nuatal and Club Sound Witches.


Australian hardcore shit stirrers Confession continue to cause controversy, but the power of their music and message is undeniable. With fellow hardheads Graves and Prepared Like A Bride, they head to Shark Bar, Gold Coast on 15 Oct; Byron Bay yac, 16 Oct (all ages); The Brightside, 17 Oct; and The Lab, 26 Oct (all ages).



Marina, the biopic about singer-songwriter/ accordionist Rocco Granata, will kick off the 2014 Lavazza Italian Film Festival, with 33 new features, documentaries and one classic (Marriage Italian Style) showcasing some of Italy’s finest directors and actors. The festival takes place 1 – 22 Oct, Palace Barracks & Palace Centro and 9 – 15 Oct, Palace Byron Bay.

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SOMEBODY WE STILL KNOW Kimbra Lee Johnson tells Hannah Story about finding space away from the manic pace of LA to make her second album.


ust four years ago, the world had no idea that Kimbra Lee Johnson even existed. Yes, she had a small following at home in New Zealand, and she’d uprooted to Melbourne after signing with Forum 5, but she was, by all accounts, an unknown. And then Somebody That I Used To Know happened. All of a sudden, Johnson’s debut Vows, which had been making waves in Australian music circles since its release in August 2011, was in demand across the globe, as was Johnson herself. “It’s been a total whirlwind, a lot of stuff consolidated in a small space of time,” says the

to this record as well and a connection to nature again and some references to the great mythology of Narcissus as well, which is where a lot of the imagery comes from. There’s a lot.” Johnson is breathless when she finishes her explanation; the hurried pace with which she flings words through the phone seems to correlate perfectly with both the sound of the record, and the rate at which is her career is moving. She quickly goes on to explain that the process was not so far removed from when she was working on Vows.

when I came back to work at home it was a very still and contemplative space with animals around me.” But the album is different, because this time around Johnson had so much more at her disposal, including high profile collaborators such as our own Daniel Johns, Muse’s Matt Bellamy and QOTSA’s Michael Shuman. “I guess the difference working on this album was I got to work with some of best musicians in the world in terms of Jon Robinson – who worked with Michael Jackson – and some of my favourite musicians, and in some ways I had access to a level of instrumentation and technology that was really far along. I still use a lot of lo-fi instruments on this record, I still wrote a lot of it on iPad, eight-tracks and things like that, so in some ways it was still from the same place that Vows was written from. My approach, my process might have been different but the intention and the spirit that it came from was similar, y’know.” Success has offered Johnson more than just an opportunity to muck about with better audio equipment though. “It’s definitely had an effect on elements of my personal life, mainly positive effects. I definitely feel


now 24-year-old singer. “I think after touring for close to two years non-stop really, and doing a whole lot of stuff with Gotye as well, I was pretty ready to just find one place to stay in for a bit, and I guess I chose that to be California.” And so we arrive at Johnson’s second album, The Golden Echo, which comes out Friday. It’s an album of varied textures; a hodgepodge of influences, collaborators and ambitions; an album that says that Johnson has arrived, and she’ll be doing things her own way. This time around, Johnson moved from Melbourne to LA, where she found herself a little sanctuary away from the distracting noise of the Hollywood high-life. “I found a little place that was actually a farm with a bunch of chickens that all roam free-range and actually a lot of sheep that all hung out in a yard that I had access to and that’s where I wrote a bunch of the songs for this album. Then I met Rich Costey who co-produced the record with me. This is a snapshot of the last year-and-a-half that I’ve spent here in LA, and it obviously draws from some of the experiences that I had from being a part of that whole ride on the road, travelling around the world. It also explores some of the deeper sentiments that I’ve rediscovered in myself over the last year as well, the kind of undertone of a more spiritual context 12 • THE MUSIC • 13TH AUGUST 2014

“I was still working out of a bedroom when I was working here. It’s not really that far from Hollywood at all, it’s right in the heart of LA but it just happens to be this place hidden away from the world and I had this little sanctuary that I could come back to. “I guess I had two extremes where there was, in one sense, a lot of chaos in my life, going to the studio and collaborating with so many people and just working so hard on the technical aspects – I was very involved with production and engineering on this record – and I would sort of be immersed in a canvas of ideas when I was in the studio, but

like I’ve got to meet an incredible amount of people through [Somebody That I Used To Know]. I’ve got to travel to all the corners of the world and definitely had that platform to more direct access to some of the people that I’ve had dreams of working with. “There’s changes to your lifestyle, obviously dealing with things like not being quite as anonymous as you might have felt before, but again that’s kind of been something – I lived on a farm in LA, do you know what I mean? I think that if you lock yourself away you get into an environment that’s very much about solitude and the work then you don’t get so wrapped up in any of the celebrity stuff that can go on in Hollywood. I think it’s just about the choices you make. I still feel that not all that much has changed for me in terms of the way I feel and go about making music and the kind of person that I am, it’s just that I have the blessing now of my music having reached more people.” And The Golden Echo too presents an opportunity to reach even more people. Johnson says she wrote about love and moments of revelation, about the world outside of herself. “Some of it is from a personal perspective, and some of it [is from] everything: experiences around me or maybe experiences that I hope to have one day or have at some point felt in the past.

ON TOUR? And what of that illfated Janelle Monae/ Kimbra Australian tour? After the pair met at Montreux Jazz Festival in July 2013, bonded over Prince, and even had a jam at a bar, they dreamed up The Golden Electric co-headline tour. But then their tight tour schedule meant that the Perth leg was canned while an extra Melbourne date was added, and the Sydney show upgraded to the Opera House. And then on the first leg of the show, at the Forum Theatre in Melbourne, Johnson played her set before at the last minute it was announced that Monae had fallen ill. Within days the Sydney date was postponed, before all remaining dates were cancelled.

“I’ve just always been seeking answers to my cosmic significance or my spiritual significance and I find that music is the language that I do a lot of that searching. I ask a lot of questions about what our purpose is here and whether or not there is non-conditional love out there and how do we access that and search within ourselves to find that, and in other people, or even in nature?” Johnson says she pulls inspiration from the feminine and the masculine, and from artists like St Vincent and Kate Bush. She is reluctant to be boxed into the “girly” musical trope. “I feel like I draw from feminine and masculine. What I really like about music is the way that you can fuse perspectives and fuse sounds from unassuming worlds. I think when I’m writing beats or I’m coming up with bass lines or elements that are a bit more aggressive, there’s a toughness that I bring, you evoke more of a masculine energy to do those things. “And then what I enjoy is coming on top of that with some feminine melodies and dreamy and floaty elements that adhere more with a womanly perspective. There are artists to me that do that very well, like St Vincent for example, or even Kate Bush; I think these female artists add an amazing toughness to some of their work, didn’t feel like it was always really girly, it had a mix of both and I find that an interesting place.

When asked about the challenges of being a female singersongwriter, especially one who is so young and so involved with the production side, Johnson acknowledges that obstacle exist, but admits she isn’t troubled by them. “I think oftentimes female artists have been a minority, especially if you’re a producer, and I’m very ably involved in the technical elements of this record, the production, even partly in the engineering, [I’m] involved right up to the mixing process. “I think that in those contexts you’re in

the minority and that be sometimes a challenge because you’re not always seen to be maybe as skilled as men in the industry. I feel that that’s a misconception; there’s some amazing woman engineers that I’ve met and I really feel strongly about that being something I want to explore further... For the most part I feel that there’s actually an amazing surge of female artists at the moment that are rising up and having a lot of respect shown [to them], so it’s a really great time to be a woman in the music industry right now.”

“It was obviously very disappointing that the tour was cancelled. We did one show in Melbourne and it was so much fun and I feel like the band were sounding the best they ever have. The positive of it all is I guess that we’re now super excited to come back and do our own tour, and we’re obviously very happy that Janelle is back to being healthy – we were very concerned for her at the time. Who knows what will happen? I feel like there’s every chance that the stars could align for us to make that happen again so we’ll see.”

WHAT: The Golden Echo (Warner) THE MUSIC • 13TH AUGUST 2014 • 13

“[But] sometimes that’s what it takes to get you to be the person that you’re supposed to be, sometimes it pushes you through. Basically what the [title track] really would have said was, ‘Well, since I came here to get hurt, you might as well make it count.’ That’s what it’s saying – you might as well really do a number on me because that’s when I’m going to learn something and that’s how I’m going to get out of this on the other side and come out a different person. That’s important. “A lot of people try and avoid pain – I myself too,” he adds. “I’ll do anything I can to avoid a nasty situation or an argument, especially now. In my younger days I had a little more piss and vinegar and I was ready to [put my point across], but as I get older I think, ‘I just want to get through this, I just want you to get through this, I want everybody to be happy, let’s leave it alone.’ But sometimes that’s not the way.”


There’s no denying Get Hurt showcases The Gaslight Anthem at their most refrained and vulnerable. Benny Horowitz has slowed down his straight tempos and incorporated a bit more groove, allowing Fallon to really lean into the microphone and let his words linger.


“As you get older you go, ‘Oh wow, people are listening to us, maybe if we slow this down for a second, say something, it might work.’ That’s the Tom Petty trick – how long can you wait until the next line is delivered. Tom Petty is so good at that!” Fallon exclaims. “‘I won’t back down’ – wait – ‘No, I won’t back down’. Next record I’m going to see how long it can be between lyrics.”

The Gaslight Anthem don’t have the “piss and vinegar” they used to; maybe that’s why Brian Fallon couldn’t beat Jack White in a fight? In any case, Benny Doyle discovers they still know their rock’n’roll.


think Jack White sucked it all up, he’s got it all, he’s got all the [Nashville] vibe. He’s got a studio down there, his record store, and he’s making cool music. Look at him, he dresses real nice. I feel like though he got all the cool and we were just left with our own devices.” Brian Fallon laughs as he inadvertently deviates from his main topic – discussing The Gaslight Anthem’s new record Get Hurt, the second consecutive release they’ve recorded in the Tennessee capital. It’s relatable though – The Music was curious if the four-piece felt the history resting in those streets while recording. For the record, they didn’t; but here we are on a Jack White trip, with Fallon pitching more story spin-offs. “Jack White will come and punch me in the face [when he reads this], and I’m sure he can probably fight better than me. But I don’t want to get beat up by anyone I think is cool though, that would suck. Can you imagine? I’d be so upset if Jack White beat me up. I’d be like, ‘I love your records!’ and he’s just pounding away on me; ‘Stop! You dress so nice, why are you hitting me?’ There’s no question [though] that Jack White could beat me up, so if that’s where we’re digressing to... If I was the guy from The Black Keys I’d be pretty scared.” This interview is happening a month out from the release of The Gaslight Anthem’s fifth full-length, with Fallon and his bandmates at home in New Jersey, getting to know their new songs before taking them out on the road in September. Pianos and organs feature regularly across Get Hurt, but you’re kicked in the guts immediately with Stay Vicious, the track incorporating a chunky, washed-out sound that wouldn’t be out of place on an Alice In Chains

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And in case fans still weren’t convinced the band are maturing, the gents have even gone to the trouble of dressing themselves up in their most recent press release. Fallon admits with a smile they chose that opener to “shock people from the very beginning”, but it’s these differences that give the record such impact, the band covering fresh terrain at every turn. Get Hurt is making a direct statement, saying that it’s important to lose yourself in your loves, your passions, and to risk pain to feel something in life. Fallon admits he sometimes knows he’s walking into a bad situation, but continues forwards because, as he shrugs, “you have to go through it”. “And that happens all throughout your life,” the frontman stresses, “from when you’re a teenager to when you’re an adult it just keeps happening. When you’re born somebody should just slap a sticker on you – ‘Get hurt pal.’

“WHEN YOU’RE BORN SOMEBODY SHOULD JUST SLAP A STICKER ON YOU – ‘GET HURT PAL.’” shots. So Get Hurt and get used to it – the new model Gaslight Anthem is polished up and ready to roll. “I would say this is our adult record,” Fallon agrees. “Because you get in your thirties and you start to feel stupid wearing T-shirts, you’re like, ‘I don’t know if this looks cool anymore? This kinda looks like I’m going to a barbecue.’ Maybe you’re not as thin as you used to be, maybe your hair is kinda funny. So it’s time to put on a suit and jacket, fine, I guess this is what you do. But if you look at any artist’s career, when they hit their mid-thirties they start putting on blazers and dress shirts – they all do it. Tom Petty did it, Bruce did it, Tom Waits did it, all of them. “Look at The National – those guys are all in their forties and they’re all wearing suits. They look great. [But] we’re running through those guys, we’re going to give them a run for their money, so tell Matt [Berninger] I’m looking for him, put the feelers out.”

WHAT: Get Hurt (EMI)

THE MUSIC • 13TH AUGUST 2014 • 15

[Frances Bean], which was good. I didn’t have a lavish party because somebody else was having a lavish party on the same night, so I went there instead.” Love says that she and her daughter have reunited after Frances Bean filed a temporary restraining order against her mother in 2009. “I recently moved to LA and I live four doors down from my daughter. We’re very close now.” Love has continued to make headlines in recent years, claiming that some $250 million dollars was stolen by shadowy fraudsters from the Nirvana estate she controls. More recently, she publicly made amends with long-time nemesis and former Nirvana drummer Dave Grohl during the band’s induction into the Rock And Roll Hall Of Fame. “We just both knew it was time to let it go, and we were ready to do it,” she says. Public taste in music has shifted seismically since Love began Hole 25 years ago by placing an ad in an LA street paper stating her influences as Fleetwood Mac, Sonic Youth and Big Black. Guitar-driven music is now an increasingly outmoded second-ran to hip hop and electronic styles. Does Love mourn the decline of rock? “It doesn’t make me sad. It makes me wonder when there’s going to be a correction in the market. This can’t go on forever – nobody wants to listen to hip hop for the rest of their life. Rock will come out of the slump.


THE LABOUR OF LOVE After quipping it’s “miraculous” she’s survived to see 50, Courtney Love tells Adrian Potts she’s now “very close” to her daughter Frances Bean (who filed a temporary restraining order against her mother in 2009). And on those Hole reunion rumours? Love says it’ll take “a lot of money… It will also take new songs.”


ourtney Love is reaching for a cigarette in her LA home and directing her PA to run errands. “I need you to take this script,” she says, “and I need you to make a coffee.” She seems preoccupied and stressed, as she readies herself to rehearse a play she’s hoping to land. One of the most notable rock musicians of the ‘90s – be it for her band Hole’s iconic albums or her frequently tumultuous private life – Love parlayed her fame into a briefly successful film career later in that decade, with major roles in The People Vs Larry Flynt and Man On The Moon. After that flurry of performances, however, her personal life unravelled, the work dried up and she entered what she calls “movie star jail”. Having recently scored a recurring role on TV bikie drama Sons Of Anarchy, Love has hired an acting coach and is focusing her energies on the craft once more. “Yeah, there’s Sons Of Anarchy and this play in New York that I’m probably going to do, and there’s a film I’m up for,” she says between long drags on her cigarette. “I’m really trying to get my chops back and not just wing it, and to be more trained and more mindful. I need to have the same kind of mojo I have with rock’n’roll with acting, and I haven’t done it for ten years.” The singer is embarking on an Australian solo tour after releasing her first new music since 2010. This year was also the 20th anniversary of Hole’s Live Through This, perhaps the most well known album she has fronted. It came out at the height of her lipstick-smeared infamy and features intense, sometimes screamed, vocals that tap into a vein of female anger largely absent from popular rock at the time. In a morbid twist and without planning, it was released within a week of Kurt Cobain’s death. The record spawned legions of fans who flocked to the 16 • THE MUSIC • 13TH AUGUST 2014

altar of Love wearing copycat op-shopped babydoll dresses. The two-decade anniversary of the album’s release sparked talk this year of a Hole reunion. Love met with the members of the ‘classic’ Hole lineup, after years of enmity between the singer and principal Hole songwriter Eric Erlandson, and the group jammed for the first time since the band’s demise in 2002. What will it take to officially get the band back together? ”A lot of money,” Love says. “We all like each other and we’ve played together fine. It will also take new songs. I have no desire to do a Live Through This album tour.” Love also recently turned 50 years old. “It’s miraculous, isn’t it?” she says. Shunning the idea of an A-list celebration, she opted for more lowkey plans. “I just spent it with my daughter

“I went to the Beyoncé and Jay-Z concert the night before last, but I left early because I didn’t understand the music. I liked the costumes but the music I didn’t get. I like them as people though,” she continues. “I’m friends with Miley Cyrus and she’s really nice and cool. She’s actually younger than my kid. But I really wouldn’t know a song of hers if it hit me on the head. I listen more to indie-rock. I just rediscovered PJ Harvey’s Let England Shake, and I like Fleet Foxes and stuff like that.”

“NOBODY WANTS TO LISTEN TO HIP HOP FOR THE REST OF THEIR LIFE. ROCK WILL COME OUT OF THE SLUMP.” Love’s new music, including the recent single You Know My Name, lies at the more clamorous end of poppunk, with fast riffs and the singer’s trademark howl at the fore. Her Australian tour will be the first time she has performed here since Hole played Big Day Out in 1999. She has been to Australia several times in the interim, and for surprising reasons. “I’m close with [motivational coaches] Tony and Sage Robbins, and Tony gives a lot of seminars there and does private coaching there, so that’s brought me over,” she explains. Extinguishing a cigarette, she seems preoccupied once more, anxious to continue her day’s work. “I have to make a copy of this script. I’m sorry to be abrupt, but I have to go.” And with that she says goodbye, to resume her acting training and the always in-progress job of being Courtney Love.

WHEN & WHERE: 20 Aug, Eatons Hill Hotel


SOFTLY SOFTLY Taking their time has paid off for Elbow, as keyboards player Craig Potter reminds Kate Kingsmill.


lbow don’t do anything quickly. But as the world carries on around them, they just keep on making album after album of headspinningly gorgeous music. It took these five men from Bury, Manchester ten years to release their first album, Asleep In The Back, in 2001, and in the 13 years since they’ve produced only five more. Cast Of Thousands followed in 2003, Leaders Of The Free World two years later. All three were acclaimed by critics but achieved far less enthusiastic levels of sales and love from punters. “We take quite a while to write songs,” says keyboardist Craig Potter down the line from Latvia, where Elbow are playing the Positivus Festival. “We can spend months on a song and then dump it because it’s not quite making it, or we realise that we’re having to work far too hard on it to get it up to the standards of the others and that’s not a good sign really. We have 40 or 50 proper, full songs that we’ve done lots of recording on but just won’t ever make it. So yeah, it takes us a while.” In England, where the music media chews bands up and spits them out, and the flavour of the month changes weekly, Elbow are an anomaly. “We’ve been pretty steady. Every album, they’ve all had great reviews, and that’s never been in doubt really. It’s just been a matter of it taking that next step to throw it out to a bit of a wider public. And that’s what the Mercury did for us.” It was their 2008 record The Seldom Seen Kid, which featured the swooning, life-affirming song One Day Like This that won them the Mercury Music Prize and changed everything for this group of mates who’d been playing together since they were teenagers. “For some reason a lot of people liked the idea of us winning. We were sort of the underdogs and it was the most success we’d had at that point. The Mercury was actually really good for us. A lot of bands in the past it hasn’t done quite the same thing for unfortunately, but it seemed to sit well at the time for us.” Bringing them mainstream attention, it gave the band a bit more confidence. “Knowing that there was quite a few people that would buy the next album no matter what was a nice place to be. Because before that, when we were

writing each album, we didn’t even know if it was going to be released; there was lots of label problems. So that was nice. And obviously it got us a whole new audience, and it did us really well. So those two things, it gave us a lot of confidence and quite a few new fans.”

him a few years to get into that role I suppose. He’s really come into his own.” Quite a few things changed for Garvey during the production of the most recent album, the epically titled The Take Off And Landing Of Everything. He broke up with his long-term partner halfway through the writing process, which transformed his lyrical themes. And after a lifetime in Manchester, he went to live in New York for a few months, where he was finally able to people-watch for the first time in years. As the lead singer of a well-known band, he hadn’t had that luxury in his hometown for a while.

“FOR SOME REASON A LOT OF PEOPLE LIKED THE IDEA OF US WINNING.” After years on the periphery Elbow were now a proper famous band. Lead singer Guy Garvey in particular, who looks more like your uncle or a maths teacher than a pop star, has found his stride in his role as a frontman. Potter, who has known Garvey since he was 16, says, “At first he definitely wasn’t like that, no. When he first got on the stage, he was quiet and he didn’t talk to the audience much, and it took

However, despite his New York sojourn, Garvey’s love for the English north-west is as palpable as ever, and Elbow remains very much a Manchester band. “Most of it was written in Manchester,” says Potter of the record. “People often ask what is it about the place and that a certain type of music can come out of it, and it’s hard to put your finger on it really. It does rain a lot, so there’s a lot of people sat in bedrooms writing, that sort of thing, and it could be as simple as that, but I really don’t know. We have quite a different sound to a lot of Manchester bands, but there’s a darkness there that a lot of them have had as well.” WHAT: The Take Off And Landing Of Everything (Fiction/Universal) WHEN & WHERE: 30 Oct, The Tivoli THE MUSIC • 13TH AUGUST 2014 • 17


TALKING THE TALK Harry Nilsson was a reclusive alcoholic with one of the most sublime voices in all of pop music. Tim Freedman never met the man, but as Benny Doyle learns, he knows him well.


aybe this is some next level, Daniel DayLewis method acting type shit? Maybe Tim Freedman is having a bad day? Either way, he’s certainly channelling the murky personality of legendary songwriter Harry Nilsson when The Music gets time with him to talk about his current show, Freedman Does Nilsson. You might not know Harry Nilsson, but you know his songs. They’ve been engrained in popular culture for almost 50 years. And although bad experiences and good money early in his career meant the American pretty

much never played live, he’s managed to claim a legacy that few pop musicians could obtain. Like many, Freedman, the 49-year-old frontman for The Whitlams, was immediately enamoured by Nilsson’s big hits, Everybody’s Talkin’ and Without You – “two of the best pop vocals in history” – and was a “huge fan” of two of Nilsson’s close friends: John Lennon and Randy Newman. But it wasn’t until The RCA Albums Collection came out in 2013 – a definitive 17-disc collection – that Freedman really “delved deep” into Nilsson’s songs and history. But what resonated with the Sydneysider was Nilsson’s outpouring of


creativity from the mid-‘60s to the early ‘70s, then the poignancy of his descent. “He didn’t handle success and basically spent 20 years committing suicide,” he laments. “Success didn’t make him happy and he was very insecure. He was screwed up from his father abandoning him, and he became an alcoholic. I don’t think you can say because he grew up poor in Brooklyn and was good at maths he wasn’t suited to be a pop star – most pop stars come from strange upbringings. He saw himself as a studio artist – he looked up to The Beatles especially in the late ‘60s when they didn’t play and they created their best records.” Could Nilsson have performed those songs as they sound on record? Freedman isn’t sure. “His voice wasn’t always in great nick,” he remarks, referencing Nilsson’s partying sessions where he’d yell, drink and stay up far too long. But that was never a deterrent for cracking Nilsson’s canon himself. Freedman also loves playing Randy Newman songs, singing a trio of tracks during the show “like Harry would sing them”. Because Freedman Does Nilsson is more than a night of musical interpretation – it’s a theatrical performance in a sense, with The Whitlams songwriter embodying Nilsson’s character completely while on stage – flat cap, beard and all. “I imagine Harry doing a concert when he’s 50, and he tells stories about his life that relate to the songs, so I’ve got an American accent and the whole kit. This is new – I like cabaret and I like theatres, so I just thought I’d extend my range a little.” WHEN & WHERE: 15 Aug, Soundlounge, Gold Coast; 16 Aug, Old Museum


Tom Lyngcoln of Harmony tells Jazmine O’Sullivan it’s not always easy to sing the songs he writes.


elbourne-based sextet Harmony boast one of the most unique sounds in Australian music. On the one hand you’ve got your depraved, post-punk shenanigans, while on the other you’ve got serene female vocal harmonies. On paper these elements would fight against each other, yet in Harmony they come together in awe-inspiring cohesiveness. Forming in 2010, frontman Tom Lyngcoln reflects on how this concept originally came together. “I’d always ignored vocals, and I really only started singing because nobody else would do it. Having the girls come on board meant that I could rein in the heinous ego that’s associated with singing – there’s a whole series of psychological issues that are gifted to singers. But I basically got to a point where I just thought, ‘Why not go completely the opposite way and focus really heavily on the voice?’, and the girls really helped give it its due. I was also pretty obsessed with vocal groups and barber shop [ensembles]. When voices sync up and people do things correctly I think it does something to the brain – it’s like dope – it triggers a chemical reaction in the brain and that’s what I wanted to achieve with Harmony – to send chills up people’s spines.” One of the first things you’ll notice about a Harmony record is its completely unabashed raw nature. “I don’t think I’m capable of writing positive, happy songs. I reserve that for my day-to-day interactions instead and 18 • THE MUSIC • 13TH AUGUST 2014

try to be nice to people, so when it’s comes time to write I can empty the bowels and bend the spleen a bit. But at some point I think I need to change my tactic because it is stressful on the soul to be constantly singing from the gutter – it’s not much fun. I took six months off a few years ago because I just couldn’t sing the words anymore, it just didn’t ring true. It’s a hard band to sing for and if you’re not investing pretty heavily in it, people can tell. Saying it sounds fucking ridiculous, but you really can’t half-arse it, you have to do it properly.” Harmony are currently in the midst of their second run of shows promoting second album, Carpetbombing.

“I think it’s probably one of the best things I’ve done. It’s something I wrote, recorded and mixed myself, and as far as a vanity project it’s probably one of the few things I’ve done from start to finish. We also got involved in the whole Deconstructions process, which was a bonus album that came out featuring other people’s interpretations, so it was a massive project. It was a solid three years of my life, that’s what I invested in it, and I love it. It’s a nice bookend on that period of the band, and I guess that’s why we’re kind of languishing at the moment; we’re just trying to figure out what we do now. We thought about rushing in to do another [album] and we had some pretty amazing offers to record it, but I think we need to just start the whole process again and get the songs happening.” WHAT: Carpetbombing (Poison City) WHEN & WHERE: 16 Aug, Beetle Bar


Music’s not only in Jake Clemons’ bloodline, he’s also been schooled by some of the best in the business. He tells Steve Bell about famous footsteps and holding onto hope.


alk about big shoes to fill. Jake Clemons first introduction to Australian audiences was as part of Bruce Springsteen’s E Street Band during the 2013 Wrecking Ball world tour, where he ostensibly filled the role of his legendary saxophonist uncle Clarence ‘The Big Man’ Clemons, who’d sadly passed away in 2011 following complications from a stroke. Those who had seen the older Clemons in the flesh were blown away by the musical resemblance between the pair, and it was obvious that this musical acumen was hereditary and pulsing through the younger tradesman’s veins.

Yet there’s more to Jake Clemons than just following well-trodden (albeit decorated) paths. He’s quickly becoming renowned as a singersongwriter in his own right following the release of debut EP Embracing Light, and now – just months after his second Australian sojourn with the E Street Band on the High Hopes tour – he’s returning to showcase his own musical vision. “I honestly didn’t have an interest in the saxophone at all until I saw the E-Street Band play, and that moment changed my life,” he reflects on his storied musical upbringing. “It’s one of those moments that’s very common

to sax players – getting to see Clarence Clemons play when you were a kid, and just being astounded. For me, it showed me that playing sax was exactly what I wanted to do. He had a huge influence that way, and on my sound and my technique. Fortunately we were very close so I was able to get a lot of insight along the way and a lot of encouragement.”


If anything, however, the eclectic Embracing Light highlights Clemons as a jack-of-all-trades, with more weapons than just the saxophone in his musical armoury, including an enlightening way with words. “I started with a completely different group of songs – kind of for a different record, I guess – and it wasn’t until I had a lot of conversations with people in the band like Bruce and Steven [Van Zandt – guitar] that I started to take a different direction with my song selection and what I was writing,” he continues. “Bruce imparted to me this understanding that a theme is extremely important, and the idea of wanting to leave people with something more than just a couple of good songs – reaching into their lives and touching them – became really important. So I started writing a lot of different songs just for that purpose – I knew that I wanted to say something about hope for right now and submitting to love and light, and that became the theme of the record. Hope isn’t something that you should have to wait for. There’s a saying that goes, ‘Hope does not disappoint’ – if we maintain hope it won’t let you down, and it’s something for right now. We can have hope for today and have love for right now and love for our lives and thankfulness – if that’s an attitude that we carry right now then the benefits will be immediate as well.” WHEN & WHERE: 16 Aug, Old Museum; 17 Aug, Byron Theatre, Byron Bay



From one “wank of a profession” to another, psychologistcum-poet David Stavanger continues his lifelong therapy session, writes Helen Stringer.


oet David Stavanger has a laugh that begs to be kept company; big and generous, straight from the belly. It suits him. Despite being an awardwinning poet and much-lauded staple on the spoken word circuit, Stavanger is without pretension. “I have written some shit,” he laughs. “But my writing actually was shit.” Unconfirmed shittiness aside, Stavanger’s gothic spoken word alter-ego, Ghostboy, has been making waves in the Brisbane poetry scene for a decade and Stavanger has been instrumental in raising the profile of poetry in the Sunshine State. He’s now releasing his full-length collection of poetry, The Special, a work that’s nabbed him the Arts Queensland Award. In his previous life Stavanger was a psychologist, a dalliance with “normal” life that still informs his work. “I lost faith,” he says on abandoning conventional income-making. “I was burning out… I lapsed; I just lapsed into becoming a poet, which is an even bigger wank of a profession.” It’s refreshing to talk to an artist who could get away with at least a small amount of ego, but who eschews navel-gazing. “People think I’m really intense,” he says in faux-dramatic tones, “but my least favourite quality in artists is earnestness. I just can’t handle it. So [The Special] is not an earnest book at all. It lets you come at it on your own terms. Look, I used to work a lot with

emergency services – if you’re dealing with a road crash where there’s been a decapitation you still need to be able to laugh at it.” Stavanger’s book is filled with gallows humour, an “absurdist, dark, document” of his own peculiar take on life, a “view from both sides of the couch”. In an uncharacteristic but very brief esoteric moment, Stavanger says the work is a metaphor, literally, of therapy but also of life itself. “We’re always in therapy,” he laughs again. “That’s kind of what life is.” While the gothic upstart informs Stavanger’s writing, he says The Special is a long way from a Ghostboy set. “I’ve

tried [before] to divorce David from Ghostboy. But I’ve got his name tattooed in runes on my head so it’s a bit hard. Although a kid told me,” he laughs, “That there is no rune equivalent for the letter ‘y’, so it says ‘Ghost-bo’. I was a bit shattered by that for about five minutes.” He seems to have few expectations. Stavanger, typically, laughs and says, “Someone reviewed it the other day and basically said that it’s the worst book of poetry ever released. I love reading things like that because it tells you that you’re provoking a response. But the thing is, I’ve been writing for the last nine years; it’s a chance for me to find out what my voice is without sunglasses, without makeup. I can still sleep at night if people don’t like my work. I’m never going to be a lapsed writer.” WHAT: David Stavanger: The Special WHEN & WHERE: 30 Aug, Queensland Poetry Festival, State Library THE MUSIC • 13TH AUGUST 2014 • 19



album reviews



Dot Dash/Remote Control


Nominally labelled their debut album despite the traction garnered with 2012 mini-LP The World Warriors, Velociraptor finds the amorphous Brisbane collective maturing and upgrading their focus from simply starting parties to actually consolidating relationships with people encountered while on the tear. The 11 tracks remain largely upbeat, but the lyrical focus has developed to incorporate motifs of heartbreak, remorse and contemplation without compromising the frivolity so integral to their charm.

Kimbra’s still the songwriter we used to know, but she’s a whole lot weirder. The songs on her second album The Golden Echo reflect the Kiwi singer’s openhearted approach to songwriting that first earned her a wide audience. However, she’s ditched the reserved side of her music and image that would have fitted neatly on an iPod commercial a few years ago. It was clear from the first single off it that this album was going to be different.


It’s still clearly Jeremy Neale’s baby, the frontman contributing nine songs, although the two offerings from the band’s Euro bureau – James Boyd’s laconic All You Need and Josh Byrd’s sweet I Don’t Know Why – add depth and scope. Of the remainder, standouts include the mellow Ramones vibe of opener, Robocop, the jangly Sneakers, the sophisticated bubblegum waft of

The Golden Echo

One Last Serenade and ludicrously infectious lead single Ramona. There’s substantial restraint on display for such a behemoth line-up, with no messy banks of guitars and mass vocals used to enhance rather than hammer. At the high (quality) end of the spectrum, it’s always been a fine line between top-notch garage and pop-rock, and with Velociraptor the ‘Raptors have tipped from the former camp into the latter with panache, reliant on nothing more than strong songwriting, solid musicianship, admirable gang camaraderie and – despite the heartache – a tangible joie de vivre. Steve Bell

90s Music was a surprise. Its grinding hip hop beat suggest a more R&B direction for the singer until skyrocketing synthesisers launch the chorus into a dizzying spiral that doesn’t seem to fit in any genre but her own. Then news that Matt Bellamy and Mark Foster are both on the track further muddies the waters around this album’s release. The Golden Echo draws strength from its contributors. Bilal



Stop Start/Inertia


Brisbane lads Millions had a cracker of a debut EP a couple of years back with Nine Lives, Six Degrees. Tracks like Going Overseas got the four-piece well earned radio spins, a solid fanbase and support slots where they almost upstaged the likes of San Cisco and The Jungle Giants. All that initial and swift success was bound to warrant looking further afield and that’s exactly what the guys did for Max Relax, reining in guitarist Ted Tilbrook’s producer father Glenn, and jetting off to London to record it.

Jon Toogood, the ever-reliable frontman for Shihad, must have been wrapped up in a bad news day when he penned most of FVEY. The Melbourne-viaWellington alt-rock stalwarts return with album number nine, and while it’s chock full of industrial grind and bittersweet anthems, the bleak soundscape is unrelenting and tends to eventually wash over like the onslaught of a bad news day itself. But, maybe that’s the idea.

Max Relax

A first listen of Writing On The Wall and Always prompts fears that it’s all gone a bit to their heads. It’s as though their debut LP has polished off all those nice rough, jangly edges and replaced them with a cleaner, upbeat gloss that wasn’t in their previous shoegazey heart-wrenchers. But B Chill and Unchained retain those moody, cynical sentiments with their sombre waltzing lilt and Dom Haddad’s lush croon, 20 • THE MUSIC • 13TH AUGUST 2014

★★★★ appears on Everlovin’ Ya, the wonkiest and most skewed duet since Andre 3000’s collaboration with Kelis. Daniel Johns of Silverchair gives some backing vocals to the disco-fevered Miracle, while Van Dyke Parks adds some beautiful, shifting strings to the ballad As You Are. If there’s one telling presence on this album it’s John ‘JR’ Robinson, for many years Michael Jackson’s studio drummer. Nobody But You and Madhouse both tip on the funky side of the tightrope that fellow outré pop artist Janelle Monae has worked with, making The Golden Echo a teasing listen that ultimately rewards over time. Roshan Clerke


★★★½ and thankfully it continues throughout. Daydreaming has potential single written all over it, those dreamy guitars returning with Haddad’s wails, and boppy Agony & Ecstasy channels a cited influence in Babyshambles. Providing the sadistic joy one revels in when listening to starcrossed lover brooding is one of the things Millions does best, and it’s helped them stand out as mature young songsmiths so far. Some more of that old edge wouldn’t have gone astray on Max Relax, but their sound and romantic lyricism has been retained, if only slightly at the mercy of neater production and experience at the helm. Carley Hall

Having said that, there’s plenty of enveloping, dystopian bliss to lose yourself in. Opener Think You’re So Free kicks things off with a good solid steelcap, clean guitar chugs and an inhibited kit that soon crashes into life, amplifying the anarchic spirit. It’s a sentiment repeatedly echoed throughout, but the title track springs into more pomp, and The Big Lie brooks some of the emotional overflow with clipped riffing, which allows a bit more breathing space between it and

★★★ the album’s second half. The many shades of black continue unabated though, with just Loves Long Shadow bringing back some Primus-like bass pomp. The bleak outlook and cold tone means Trent Reznor comparisons are likely, so hey, that’s always fun right? The harsh sound matches the harsh sentiments Toogood seems hell-bent on venting, but it’s very often at the mercy of an album that could have easily benefited from a few rays of light to stab through the murk, if only to break up the chunks of grind. Carley Hall

singles/ep reviews





Closing Forever Sky

Waiting On The Last Minute


All You Got Is Your Word Linear Labs

Newcastle outfit Firekites have crafted a heady collection of shoe-gazing indie-rock. There is beautiful tension between an accessible sound and a mostly through-composed style, with satisfyingly melodic guitar lines anchoring the shifting structures that take surprising turns, but with a clear emotional centre. The title track and The Counting are particular highlights for this. Hushed vocals let the textures speak for themselves, as the washes of keyboards, layered guitar parts and strings are pushed and pulled by the quietly driving drums. This is an album to get lost in.

SOFT POWER If You Come Around All Day Breakfast Enterprises Brisbane’s Soft Power are usually just Andrew McLellan and Joel Stern, but Josh Watson and Sophia Brous contribute to this experimental pop fantasy, with Brous’ vocals making amazing things happen.



21 years since 93 ‘Til Infinity and Souls Of Mischief are taking a trip back there with beats by Adrian Younge, who effortlessly recalls this time in his laidback productions.


Amorina Fitzgerald-Hood

Popboomerang So, Melbourne pop classicists Van and Cal Walker, Liz Stringer and former Messengers/Weddoes drummer Michael Barclay headed off for a beachside weekend to work up a few tunes – and came back a band, with two full albums done. Easy. Hints of the mixtape for their drive to the seaside: some Elvis Costello to Risking It All, a soupcon of Tom Petty in Since You Came Along and tangents like steel drums and drill-saw whine as Jeffrey Dahmer is referenced in the black-humoured Kill For Conversation. Simply neat pop built by scholars of the form. Ross Clelland

Caroline The Magic Numbers – two pairs of brothers and sisters oneupping sibling bands around the world – return with their fourth album. Leaving the twee sounds of their debut behind long ago, Alias often finds them sounding more worried than ever. If the track title Wake Up recalls the existential bombast of Arcade Fire, then its whining vocals and stretched-out indie malaise only confirm the similarity. The overwrought sense of drama thankfully doesn’t stick with the Brits for too long, as Thought I Wasn’t Ready brings a touch of soulful harmonies and E.N.D. lays down some bright disco strings. Roshan Clerke

DANNY BROWN Smokin & Drinkin (Remixes) Fools Gold Boys Noize, TroyBoi, Jack Beats and DJ Sliink all have a crack at Danny Brown’s party anthem and put their own twist on it, meaning no matter the party there will always be an appropriate version of this track for the soundtrack. Blunt after blunt, etc.


The Long O


Bedroom Suck

Get Hurt EMI

Vampire Weekend singer adds a vocal line that is basically ripped straight off David Essex’s Rock On, check the original if you don’t believe me.

Esoteric wordsmith Peter Escott (The Native Cats) strips things back for solo album, The Long O, weird yet weirdly alluring. The bareness of tracks like Mealymouth, O and Believe In Devil World are benefitted by the lack of layers, relying solely on a singular instrument (be it piano, synth, melodica, a rudimentary guitar chord) and a ratchety vocal that strokes the inward-looking id of the dreamer – somewhat strained, stained with anxieties and halfhearted regrets, intellectual aspirations and soul-crushing fears. The distorted washout of closer, The Bell, ensures the insecurities, and the possibilities, will rage on.

Chris Yates

Brendan Telford

BABAGANOUJ Love Loathe Love You Independent Making distinctly Australian rock with a touch of guitar hero madness, locals Babaganouj have got the chops and the chorus of this track is contagious and instant.

SBTRKT New Dorp. New York. (ft Ezra Koenig) Young Turks/Remote Control



Extremes are explored across this fifth LP from the New Jersey quartet – from opening alt. rock excursion Stay Vicious all the way to the languid title track, an unapologetic FM ballad which sees Brian Fallon sounding more fractured than ever. The frontman has found new range vocally, but love lost, hearts won and battles fought remain the prevalent themes here. And although keys bring these moments of beauty during songs like Underneath The Ground and Selected Poems, it’s Alex Rosamilia’s cutting lead guitar in Stray Paper and rabblerousing closer Dark Places which will elicit shivers.

Benjamin Booker – Benjamin Booker Die! Die! Die! – S W I M James Yorkston – The Cellardyke Recording & Wassailing Society Nachtmystium – The World We Left Behind Sinead O’Connor – I’m Not Bossy, I’m The Boss Siskin River – The Hours They Keep Twin Atlantic – The Great Divide

Benny Doyle THE MUSIC • 13TH AUGUST 2014 • 21

live reviews

BODYJAR, SAMIAM, BLUELINE MEDIC, CLOWNS The Hi-Fi 7 Aug The venue is close to empty and Clowns could give less of a fuck; they are incessant from the outset, delivering breakneck hardcore-leaning punk. Bassist James Ahern wields his four-string sword with absolute mastery, but it’s hard to take your eyes off Stevie Williams on the mic. Getting sick of onstage scissor kicks, he launches himself onto the main floor, screaming and writhing about before clambering on top of the

with their crossover classic, Making The Nouveau Riche. The night of punk nostalgia blazes on with Californian emo innovators Samiam, though they have to struggle through a shitty mix early. Three songs in, however, and they sound like a new band, tracks like She Found You, Mud Hill and Factory absolutely ruling. They’ve got a new drummer on this tour but you wouldn’t guess it – the guy is bullish with his playing style and drives the entire experience forwards. Jason Beebout, meanwhile, is having a great time in the middle, excitedly informing us that he “waxed [his] clacker just for the occasion”. It’s the guitar interplay of Sergie Loobkoff and Sean Kennerly which is king though, with songs like El Dorado sending the barrier dwellers into raptures.


handicap toilet roof. Perched like a gargoyle metres above us, he admits “I didn’t think this one through” before managing to get down unscathed. As expected, it’s a totally different vibe as soon as Blueline Medic take their places, anticipation tangible with the practically on hiatus Melbourne band visiting Brisbane for the first time in years. They make quick work of most of the jaunty numbers off 2001’s The Apology Wars – Over The Lawn, Cathedral, Not Interested – before successfully slowing it down with At Least We Had The War, the track letting Donnie Dureau’s unique vocal shine. Snappy unreleased cut Rosie Voss then makes way for a massive cover of Tori Amos’ incredible song Precious Things, before the quartet seal the brilliance 22 • THE MUSIC • 13TH AUGUST 2014

9 Aug

culture references from the day still hold up (such as “Unlike Chrissie she’s no pretender” from Love (Beats Me Up), although some of the latter-era lyrics are a tad questionable (you have to hope that “I’m going to stab your body with my general issue knife” from Trouble Spot Rock doesn’t mean what you think it might).

Despite Australian Crawl being one of our pre-eminent bands during the halcyon days of the’70s and ‘80s, for various reasons – including key members passing away and acrimonious divisions in the remaining ranks – this is the first time that erstwhile frontman James Reyne has revisited the band’s music in anger since they split asunder back in 1986. It’s a seated affair at The Tivoli – in complete contrast to last night’s apt recreation of old school beer barns at Eatons

Mainly, however, the exercise just serves to remind what a brilliant band Australian Crawl were back in the day. Reyne’s voice is as full and distinctive as ever – he even seems to revert back to the days fronting the band in the manner and content of his banter – and the capacity crowd are clearly reveling in reliving their youths and revisiting the music that soundtracked them. Heartfelt crooner Downhearted gets a great reception, the relatively obscure Man Crazy gets an airing,

The Tivoli


And then Bodyjar bring it all home with their evergreen brand of Aussie skate-punk, tonight a massive treat for longstanding fans with the boys working through their cracking 1996 record Rimshot!. There is barely a still moment for the next half hour with the band playing at breakneck speed, frontman Cam Baines admitting to us that getting the album ready has left the quartet with “sore [hands] and a bad case of chaff ”. The pit really comes alive, however, when they use the last half of the set to field requests, playing a veritable best-of including A Hazy Shade Of Winter, Remote Controller, You Say and Not The Same, before giving us one last shout-along in the form of One In A Million. Benny Doyle



Hill Hotel – but the staid nature of the logistics doesn’t stop the band from firing on all cylinders, smashing into the classic Beautiful People like the last three decades haven’t happened (although the titular rich people are now riding “two thousand dollar push bikes in the park”, ten times what they were worth when the song was first issued in 1979). The five-piece band – featuring actual Crawl alumni John Watson on drums, plus Phil Ceberano and Brett Kingman on guitar and Andy McIvor on bass – are extremely faithful to the source material, all of the little licks and nuances present and accounted for, although following Indisposed and Lakeside Reyne gets slightly sanctimonious and slags off Shutdown as being “rubbish”, the crowd not caring a jot and screaming with appreciation anyway. The pop

before crowd-pleaser Reckless has everyone singing en masse. Reyne drops his guitar and hits the keyboard at back of stage for the triptych of White Limbo, Hoochie Gucci Fiorucci Mama (which he also doesn’t hold in high regard) and Always The Way, before going back upfront for La Califusa and the powerful Unpublished Critics. There’s strangely no mention of the much-missed Guy McDonough before classics Errol and Oh No Not You Again – even though he penned and sang both back in the day – then the place goes ballistic for the vital Things Don’t Seem, the crowd finally getting to their feet during rousing finale The Boys Light Up, the trademark track finally evoking the dancing and moves that had only threatened until now. They’re coaxed back for an encore and Reyne gets breifly nostalgic,

live reviews bringing up the spectres of Joh and Cloudland before finishing on the geographically relevant Daughters Of The Northern Coast, one of the high water marks of a fantastic canon. All in all it’s a slightly reluctant – but ultimately fruitful – return to the music of one of Australia’s great bands, one with a tumultuous history but whom left behind a cool body of work and made an integral indentation on the fabric of our musical heritage. The sons of beaches live on. Trevor Barker

SPIDERBAIT, THE FURRS, GALAPOGOS The Hi-Fi 9 Aug Brisbane lads Galapogos get things underway in an already densely packed Hi-Fi. The locals have all eyes on them as they work through their riveting ambient death-pop, managing to mesmerise even ardent fans of the headliner during their lengthy,

complex jams. Their set is tight and is skewed towards their heavy stuff, bassist Benjiban Bohn just about ripping his strings to shreds throughout and Dan Newton commanding attention as the man with the mic. His dance shuffles and deadpan delivery are arresting, as is his intimidating frame as he picks up a guitar and thrashes it about like a toy. Young local purveyors of guitarladen blues-pop The Furrs find themselves navigating the tricky middle slot. Slick duo Jim Griffin and Gabriella Cohen, with their three-piece, turn the energy in the room back up with Money, Griffin rocking his mop-top as his wailing vocal rises above the jangly rock. Cohen purrs her way through low and slow single Get On Your Horse, which piques some curiosity as the closer, but their youthful banter and twangy licks fall a bit flat on the waiting, mostly older punters. With a new-ish album to flog (last year’s self-titled release), there’s a chance Spiderbait could pull a swifty and keep their back catalogue guarded. But fans new and old know there’s not much

chance of that; Kram, Janet English and Damian Whitty are here for larks as much as the now sold out capacity crowd is. The red curtain finally parts, and thankfully puts a close to the dreadful ’80s music the venue has deemed fit for tonight, and the room erupts as the trio give a quick wave and bust out Stare At The Sun. Kram gives his sincere thanks and plunges into old hit Shazam! for an early punch in the chest, before English takes over vocal duties for Outta My Head and newbie It’s Beautiful. While the bearded kit-smasher is happy to accept proffered shoes, and bras from his throne, he gets evidently disgruntled at something going on in the backline during Tonight, moodily abandoning it after a restart. Whitty carries on as non-plussed as ever, and English is fascinating to watch – so much noise from a little lady who keeps a close eye on her players and never gives more than she needs to away. The band pumps out Buy Me A Pony, Fuckin’ Awesome, Old Man Sam and a cover of 99 Luftballons, but no Stevie, saving Calypso and Black Betty until

the very last, after which every sweaty crowd member throws their arms up in appreciation for one of the proud flagbearers of Australia’s ’90s music heyday. Carley Hall



Broods @ The Zoo Neurosis @ The Hi-Fi Dag @ The Bearded Lady

arts reviews career spy, the conflicted man of an artful airport novel. Hoffman’s tailing a Chechen refugee (Grigoriy Dobrygin) suspected of harbouring terrorist connections; Rachel McAdams the ‘kid’s in over her head!’ lawyer; Willem Dafoe a banker blackmailed into taking part in a sting. A MOST WANTED MAN


In cinemas Anton Corbijn’s A Most Wanted Man marks the final leading role for Philip Seymour Hoffman. The Hoffman on screen in A Most Wanted Man isn’t dead yet, but there’s an uncanny feeling watching him play a selfdestructive dick who drinks and smokes and punches lowlifes in dive bars. Hoffman’s character has walked off the pages of John le Carré, which is to say he’s a

Being the 21st century, A Most Wanted Man swirls post-9/11 tension, high finance trading and gentrification into its cosmopolitan milieu. Through this landscape wanders Hoffman, a man scarred by the past and half checked out on the future. His fatalism is an attempt to safeguard him against disappointments, but still they inevitably come. Le Carré is out to chronicle spying as any other workplace, one in which bureaucracy, politicking, and self-interest win out over the more noble notions of the work. It’s, sadly, a little too symbolic of Hoffman’s own work, both within the film and across his career, the actor suffering on behalf of an industry that shares little of his virtuous zeal. Anthony Carew


In cinemas 14 Aug Gia Coppola’s directorial debut, Palo Alto, is a snapshot of attractive, young and privileged lives in California. Kids can be cruel, but teenagers can be crueller – particularly as they grapple with working out their place in the world. Based on James Franco’s collection of short stories of the same name, the film weaves multiple vignettes together to tell the story of April (Emma Roberts), Teddy ( Jack Kilmer) and Fred (Nat Wolff ). This film doesn’t focus on the most popular girl in school, nor the loser. The teenagers are incredibly ‘normal’ and effortless, which is realised by the young actors’ performances, and the film score by Blood Orange heightens the drama. Palo Alto is uncomfortably familiar – we see teens drinking like fish, smoking (but not inhaling) and painful, world-shattering crushes. Mr Franco as Mr B carves

himself quite the niche playing the creepy guy you still think is a babe. Unlike Alien, seen in last year’s Spring Breakers, Mr B is more demure, but perhaps also more fucked-up. Coppola’s direction is aesthetically reminiscent of her famous aunt’s 1999 film, The Virgin Suicides. With lots of close-up shots of her oh-so-attractive subject, each frame is like a photograph. The colour palette used and casual filming style makes you feel like you’re part of the story; perhaps this is why Palo Alto ticks over in your mind, again and again. Cassandra Fumi


THE MUSIC • 13TH AUGUST 2014 • 23

24 • THE MUSIC • 13TH AUGUST 2014

the guide

Name/instrument played: I mainly sing and play blues harmonica, but I’m starting to play a little bit of slide guitar and banjo. And the kazoo if you’re lucky. Or unlucky. How long have you been performing? My first proper gig was the night Kevin Rudd became PM so that is about 6.5 years. You’re on tour in the van – which band or artist is going to keep you happy if we throw them on the stereo? Oh, tough one. Last time we went on the road we listened to a whole heap but our favourite was Ray Charles. I am listening to shedload of Rolling Stones at the moment and they are cookin’ for road trips. Which Brisbane bands before you have been an inspiration (musically or otherwise)? Mojo Webb was my initial inspiration for blues but The Go-Betweens have always been inspiring by what they did. Ultimately people who go their own way no matter what are heroes. People like Ed Guglielmino, for example, and bands such as my friends The Good Ship, who write the songs they want to build up a loyal audience. What’s in the pipeline for you musically in the short term? Probably going to re-release my Gentleman Giant album on vinyl, but before then I need to sit down with my band and go through some new songs I’ve been writing and resurrect some old ones. Right now we’re preparing to play my album plus The Rolling Stones’ Sticky Fingers live at The Bearded Lady for the Brisbane Fringe Festival and the Big Blues Day at the New Globe Theatre. Jimi Beavis plays The Bearded Lady on Sunday 17 August and New Globe Theatre on Saturday 30 August.



THE MUSIC • 13TH AUGUST 2014 • 25

the guide




The new Brunswick St Mall is near done, and not only have they replaced the music heritage plaques but there’s a new installation with famous Queensland song lyrics. Nice.





Surf rockers Waxhead will show off new single Distractions at The Northern, Byron Bay, 23 Aug; Back Alley Gallery, Lismore and Middle Pub, Mullumbimby, 30 Aug; Rattle Snake Motel, Gold Coast, 17 Sep; and Broadbeach Tavern, 28 Sep.

Melbourne’s Antiskeptic are back with a third album, Stare Down The Ocean, and fans can celebrate their return at The Brightside, 4 Oct. Get along for a cheeky pit session and enjoy their carefully crafted alt-rock jams once again.

Celia Pavey showcases her otherworldly vocal ability on EP Bodies; her honest and adventurous folk songwriting far beyond her 20 years of age. She embarks on an east coast tour in support of the EP, stopping by Black Bear Lodge, 3 Sep.




Two of Australia’s more chaotic hardcore bands – frenetic punk/ grind trio Fat Guy Wears Mystic Wolf Shirt and doom-sludgepunks Jxckxlz – are teaming up for a 12” split LP. Hear the tracks from it when they play Crowbar, 26 Sep and Fat Louie’s, 27 Sep.

This Friday, Brisbane Fringe Festival arrives at New Globe Theatre. Monster features Ian Haug, Sallie Campbell, Ed Guglielmino and Shem Allen providing the live score for a muted screening of Attack Of The Crab Monsters.

Indie-pop locals Skinny Jean are heading to Trainspotters, Grand Central Hotel, Saturday, alongside Anonymous Heroes and The Worriers. Expect soaring vocals, lush instrumentals and sexy synth arrangements.




Stress less and Max Relax – guitar-pop mavericks Millions have finally put their debut album together, and it’s got as many hook-filled nuggets as you’d imagine the lads to dig up. They launch at Black Bear Lodge, 22 Aug.

Singer, songwriter, surfer Zac Gunthorpe brings heartwrenching ballads to The Scratch this Thursday. Armed with an acoustic guitar and a harmonica, he’ll be playing tracks from his debut EP Long Lost Love Lies.

From Alice Springs comes Shadows On Blue, a new act channelling ‘80s rock fused with modern electronic. Their Aussie tour stops by Taps Mooloolaba, 15 Aug; New Globe Theatre, 17 Aug; The Loft, Gold Coast, 23 Aug; and The Scratch, 24 Aug.





So sad that Monty Python is now officially bereft of life following the Monty Python Live (Mostly) reunion. At least they finished on a high, thanks for decades of laughs.

Having first impressed with 2013 single Wake Up, Foxsmith launch their second single Pentimento, Saturday at The Zoo. They’ll be supported by Baskervillian, Malo Zima and Allthingslost, with visuals from Nicholas Hodge, Seana Seeto and more.

Catch Bottlecock at Fat Louie’s on Saturday, where they will launch their hilarious single Girt By Dickheads, before they head back into the studio to finish their next album. Support from The Loveless, Gravel Samwidge and Sabrina Lawrie.

No-nonsense Sydney outfit The Dead Love have spent two years piecing together recordings to match their shows. They release their debut album Transitions at Trainspotters, Grand Central Hotel, 9 Oct and The Northern, Byron Bay, 11 Oct.

The second instalment of The Blurst Of Times Festival has been announced and already it’s an absolute ripper! Dance to guitars like you’ve never danced before!

COUNTRY GOODNESS Some great alt-country-ish tours announced, with Justin Townes Earle rocking The Tivoli and both Phosphorescent and Hurray For The Riff Raff playing southern festivals. Come north!



The photo of the young Aussie boy holding up the severed head in Syria is disturbing, but hammers home how lucky we are to live where we are when we do. Enjoy every moment.

WORKING BLUE? Incredible that a TV show would fake hysteria after inviting shock comic Andrew Dice Clay on and – who woulda thunk it? – he dropped some swears. Hard to tell who’s the bigger idiot.


THE MUSIC • 13TH AUGUST 2014 • 27

the guide


VERVET THIRST Member answering: Chris Swindells How did you get together? A perfect combination of a full moon, a summer solstice, a temporal rift and just a dash of internet advertising.

Greatest rock’n’roll moment of your career to date? Our fans, friends and family flocking to The Zoo for Matt’s debut show. The energy in the place was absolutely insane! We have a great fanbase whom we love!

Sum up your musical sound in four words? Fast, loud, complex, challenging.

Why should people come and see your band? For a high energy rock show! Is there anything better? We sweat (and bleed in some cases) and leave nothing for later.

If you could support any band in the world – past or present – who would it be? Foo Fighters.

Ververt Thirst play UBERfest, The Jubilee Hotel on Saturday 30 August.

You’re being sent into space, no iPod, you can only bring one album – what would it be? S&M – Metallica.


MARVILLE Member answering: Ash Kerley Best record you stole from your folks’ collection? After wading through Hooked On Classics and Seekers LPs, I discovered The White Album and an abiding love for Burt Bacharach.

Record you put on when you bring someone home? She Hangs Brightly – Mazzy Star. Need I say more? Most surprising record in your collection? I collect terrible 7”, so there’s a few... Turn Back Time, Vogue and You’re The Voice spring to mind.

First record you bought? It would have either been a Mariah Carey or Silverchair CD... I was a confused youth.

Last thing you bought/ downloaded? Dangerous And Dead – The Steady As She Goes. Tal is a genius.

Record you put on when you’re really miserable? I find that Friends In Danger – Magic Dirt or Goo – Sonic Youth will usually pull me out of any bad mood.

When and where are your next gigs? 15 Aug at The Beetle Bar with Some Jerks, The Loveless (Melb) and La Mancha.


Marville play The Beetle Bar on Friday 15 August.


Is this track from a forthcoming release/existing release? Afterglow is the first single and title track off our second EP which will be released later this year.

CREO Member answering: Jorjee Haman Single title: Afterglow What’s the song about? Everyone wanting to be remembered in their own way. Stamping your legacy and making and impression on someone or something. How long did it take to write/record? I sat on this song for a while, revisiting it back and forth. It took a good three-to-six months to piece together. All up it was tracked in three days at Jungle Studios. 28 • THE MUSIC • 13TH AUGUST 2014

What was inspiring you during the song’s writing and recording? I was listening to a wide variety of artists in the hope it would spark me out of writer’s block. Artists like Springsteen, TV On The Radio, and The Roots come to mind.


We’ll like this song if we like... a strong rhythm section, colourful and drenched guitars and a memorable hook.

What’s the song about? The feeling you get when someone won’t listen to a word you say.

Member answering: Calum Nicholson Single title: Talking Through Walls

Do you play it differently live? We do a little. The groove is quite infectious and there are so many layers of guitars it’s hard not to jam and build on it in a live sense.

How long did it take to write/record? It was written over an afternoon, plus a few touch-ups. The recording process took us about a dayand-a-half plus mixing.

Creo play New Globe Theatre on Friday 15 August.

Is this track from a forthcoming release/existing release? This single is a standalone. We are releasing another single plus a tour towards the end of this year.

What was inspiring you during the song’s writing and recording? Lyrically, there was this person in one of my philosophy classes who just wouldn’t listen to reason. Musically, we were trying to create a modern version of the ‘60s/’70s rock vibe that we love. We’ll like this song if we like... Crosby, Stills & Nash, The Beach Boys, The Cairos. Do you play it differently live? Yeah, we like to have a bit of a jam on the verse chords before the song kicks in – it’s different every time. We also like to extend the solo. The Rider play Ric’s Bar on Sunday 17 Aug.

the guide

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

Spiegeltent 19 Sep

Open Mind’s Brain Injury Gig 2014 feat. Smoking Martha + Lita & The Bird + Denville + Steve Skinner + more:*Chalk Hotel (12pm) , Woolloongabba

Dune Rats: The Telstra Spiegeltent 20 Sep

Candyland: Club Liv, Surfers Paradise

Emperors: The Waiting Room 15 Aug

Damien Jurado: The Telstra Spiegeltent 21 Sep

Shadows On Blue: New Globe Theatre, Fortitude Valley

RISE book launch: New Globe Theatre 23 Aug

Gareth Liddiard: The Telstra Spiegeltent 23 Sep

Between Kings + The Rider + Harlequin: Ric’s, Fortitude Valley

UBERfest Winter 2014: Jubilee Hotel 30 Aug

The Bombay Royale: The Telstra Spiegeltent 24 Sep

Noosa Jazz Festival: Noosa 4-7 Sep

Juana Molina: The Telstra Spiegeltent 25 Sep

Urthboy: The Telstra Spiegeltent 6 Sep

Midnight Juggernauts: The Telstra Spiegeltent 26 Sep

Andy Bull: The Telstra Spiegeltent 7 Sep

DMA’s: The Brightside 2 Oct

Phil Jamieson: The Telstra Spiegeltent 9 Sep

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


Steve Nieve: The Telstra Spiegeltent 10 Sep BIGSOUND 2014: Fortitude Valley 10-12 Sep Com Truise: The Telstra Spiegeltent 11 Sep

Bluejuice: The Hi-Fi 2 Oct

Sienna Skies + Glorified + Polaris + Serene: The Brightside, Fortitude Valley

The Blurst Of Times Festival: The Brightside, The Zoo 18 Oct

Myon & Shane 54: Family Nightclub, Fortitude Valley

The Weight + Legions + Time Crisis + Puke: Upstairs 199 (all ages), West End

Vancouver Sleep Clinic: The Telstra Spiegeltent 13 Sep

Airlie Beach Music Festival: The Whitsundays 7-9 Nov

Joe Henry: The Telstra Spiegeltent 14 Sep

Gorguts: Crowbar 16 Nov

HTRK: The Telstra

WED 13

Kav Temperley: Black Bear Lodge, Fortitude Valley Outlaws, Gunslingers & Cowboys feat. Chad Morgan + The Muirs + Greg Austin + The Terry Clack Duo + Seleen McAlister + Penny Rides Shotgun + The Demon Drink + Liam Brew: The Underdog Pub Co (12pm), Fortitude Valley

THU 14

Spender + Sahara Beck + Dried Spider: Black Bear Lodge, Fortitude Valley

Bree De Rome: Dowse Bar (Iceworks), Paddington Six Shooter + The Jock + Friends: Elsewhere, Surfers Paradise Muddy Chanter + Walken + The Keepaways + DJ Valdis: Ric’s, Fortitude Valley The Wet Fish: The Bearded Lady, West End Brisbane Fringe Festival Launch Party feat. Arundel + Babushka + Barksdale Brass Band: The Zoo, Fortitude Valley

FRI 15

Roland Tings + Guerre + UV Boi: Alhambra Lounge, Fortitude Valley Marville + The Loveless + Some Jerks + La Mancha: Beetle Bar, Brisbane


11 Years of Elsewhere feat. various DJs: Elsewhere, Surfers Paradise

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

The Kite String Tangle: The Telstra Spiegeltent 17 & 18 Sep

Jimi Beavis: The Bearded Lady (5pm), West End

Courtney Barnett: The Zoo 11 Oct

Ronny Chieng: The Telstra Spiegeltent 12 Sep

Miami Horror: The Telstra Spiegeltent 16 Sep

Bart Thrupp: Solbar, Maroochydore

Jungle Love Festival: Lake Moogerah 21-22 Nov The War On Drugs: The Zoo 10 Dec

Bottlecock + The Loveless + Gravel Samwidge + Sabrina Lawrie: Fat Louie’s, Brisbane

SUN 17

Freedman Does Nilsson + Tim Freedman: Old Museum, Bowen Hills

Ash Grunwald: Blue Mountain Hotel, Harlaxton

Jake Clemons: Old Museum (The Studio), Bowen Hills

Livespark feat. Charles Jenkins: Brisbane Powerhouse (Turbine Platform), New Farm

Ash Grunwald + Caitlin Park: Springwood Hotel, Springwood

MON 18

Uncle Bob’s Music Club feat. various artists:*Prince of Wales Hotel, Nundah

TUE 19

The Bug feat. Vincent Cross + Caroline Hammond: New Farm Bowls Club, New Farm Fear & Self Loathing in Brisvegas with Richie Goodacre: The Bearded Lady, West End Open Mic Comedy feat. various artists: The Loft, Chevron Island

Fingerprint: Brothers Leagues Club (Shamrock Stage), Manunda

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

The Moses Gunn Collective + The Salvadarlings + Doom Mountain: Black Bear Lodge, Fortitude Valley Emma Heeney + Sophie Koh: Junk Bar, Ashgrove Phil Smith: Padre Bar, Woolloongabba Owen Rabbit + Sahara Beck: Ric’s, Fortitude Valley MKO + Vulture St Tape Gang + Laneous + Georgia Potter: Solbar, Maroochydore Freedman Does Nilsson + Tim Freedman: Soundlounge, Currumbin Boss Moxi + Astro Travellers: The Bearded Lady, West End Bayharbour + Defamer + Daywalker + Azreal: The Brightside, Fortitude Valley Emperors + Tape/Off + Waax!: The Waiting Room, West End Drawcard + The Royales + Tagline + Elvis Got Fat: The Zoo, Fortitude Valley

SAT 16

cln + Atticus Beats: Alhambra Lounge, Fortitude Valley Harmony + The Keep On Dancin’s + Woolpit: Beetle Bar, Brisbane Rolls Bayce: Black Bear Lodge, Fortitude Valley Palms: Crowbar, Fortitude Valley Kip Casper + Tokyo Beef + Flannelette + Luke Houselander + Steve Dorrington: Currumbin Creek Tavern, Currumbin Waters

THE MUSIC • 13TH AUGUST 2014 • 29

tour guide


The Dandy Warhols: The Tivoli 30 Aug

Candyland: Family 16 Aug, Club Liv 17 Aug

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

Sigma: Arena 16 Aug

Jake Clemons: Old Museum 16 Aug, Byron Theatre 17 Aug

Boyce Avenue: The Tivoli 3 Sep

Vincent Cross: New Farm Bowls Club 19 Aug, Dowse Bar 20 Aug, The Treehouse 22 Aug

Protest The Hero: The Hi-Fi 4 Sep

Courtney Love: Eatons Hill Hotel 20 Aug Anathema: The Hi-Fi 21 Aug David Grubbs: IMA 21 Aug Forever Came Calling: Snitch 21 Aug, The Lab 22 Aug (AA) Kid Ink: The Hi-Fi 22 Aug Taking Back Sunday, The Used: Eatons Hill Hotel 22 Aug Knapsack: Crowbar 23 Aug Declan O’Rourke: Mick O’Malley’s 23 Aug King Buzzo: Black Bear Lodge 24 Aug Bob Dylan: BCEC 25 Aug Lady Gaga: BEC 26 Aug La Coka Nostra: Coniston Lane 27 Aug Bone Thugs-N-Harmony: Coolangatta Hotel 27 Aug, Arena 28 Aug Pentatonix: The Tivoli 28 Aug Pity Sex: Crowbar 29 Aug, Tym Guitars 30 Aug

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30 • THE MUSIC • 13TH AUGUST 2014

Biffy Clyro: The Tivoli 4 Sep

DevilDriver, Whitechapel: The Hi-Fi 5 Sep You Me At Six: Eatons Hill Hotel 5 Sep Pop Will Eat Itself: The Zoo 5 Sep

Wil Wagner: Crowbar 28 Aug

The Zoo 30 Aug

Rob Snarski: Junk Bar 29 Aug

Cameron Avery: Black Bear Lodge 4 Sep

Miracle: East 29 Aug

Dead Letter Circus: New Globe Theatre 4 Sep

The Aston Shuffle: The Zoo 29 Aug

FESTIVALS 4ZZZ Radiothon: Brisbane 22-31 Aug

Valley Fiesta: Fortitude Valley 23-24 Aug

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

King Gizzard & The Lizard Wizard: The Northern 4 Sep, Alhambra Lounge 5 Sep, Soundlounge 6 Sep

Mind Over Matter: Tatts Hotel 29 Aug, Beetle Bar 30 Aug

The Amity Affliction: Riverstage 5 Sep

Velociraptor: The Brightside 29 Aug, Coolangatta Hotel 30 Aug

Noosa Jazz Festival: Lions Park 4-7 Sep

True Vibenation: The Motor Room 5 Sep, Solbar 6 Sep

Brisbane Festival: Brisbane 6-27 Sep

Megan Washington:

Gympie Music Muster: Gympie 28-31 Aug UBERfest: Jubilee Hotel 30 Aug

Sharon Jones & The DapKings: The Tivoli 5 Sep


Kav Temperley: Black Bear Lodge 13 Aug, Soundlounge 14 Aug Spender: Black Bear Lodge 14 Aug Guerre: Alhambra Lounge 15 Aug Emperors: The Waiting Room 15 Aug




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


Palms: Crowbar 16 Aug


Harmony: Beetle Bar 16 Aug Ash Grunwald: Springwood Hotel 16 Aug, Blue Mountain Hotel 17 Aug, Soundlounge 12 Sep, Bramble Bay Bowls Club 26 Sep Stolen Violin: Black Bear Lodge 21 Aug Ed Kuepper: Soundlounge 22 Aug The New Christs: Beetle Bar 22 Aug, Lismore Italo Club 23 Aug Fishing: The Factory 22 Aug, Coniston Lane 23 Aug Bam Bam: Coniston Lane 22 Aug, Solbar 23 Aug Michelle Xen & The Neon Wild: The Loft 22 Aug, The Bearded Lady 29 Aug, Woombye Pub 30 Aug Tina Arena: Jupiters 23 Aug, BCEC 24 Aug Rise book launch ft Remi, Briggs, Mantra: New Globe Theatre 23 Aug Jonathan Boulet: Black Bear Lodge 28 Aug














THE MUSIC • 13TH AUGUST 2014 • 31

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Profile for

The Music (Brisbane) Issue #51  

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 #51  

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