# 6 9 • 17. 1 2 . 1 4 • B R I S BA N E • F R E E • I N C O R P O R AT I N G
THE YEAR’S MOST BUZZED ABOUT A C T H E A D S T O FA L L S
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2 • THE MUSIC • 17TH DECEMBER 2014
THE MUSIC • 17TH DECEMBER 2014 • 3
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THIS WEEK THINGS TO DO THIS WEEK • 17 DEC - 23 DEC 2014
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It’s been a strange summer of cricket to date due to the tragic passing of one of our favourite sons Phil Hughes – we’ll probably never get a Brisbane Test match beginning so close to Christmas again in our lifetimes. Get along and pay tribute to Hughesy in the best way possible, by supporting the Aussie team as they fight the valiant Indians. He’ll long be missed but never forgotten, and now is our time to pay our respects.
Our Summer Festival Guide! Out now! You’ll be able to find it in all good pubs, cafes and music stores. What’s inside? Our ultimate guide to the summer festival season (Don’t be a dick; You don’t need a harpoon), features on the top festivals in the country, from Falls Festival to Bluesfest to everything in between, and the ultimate festival guide, a play-by-play of all the festivals for the year ahead.
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There’s been a lot of buzz around the latest reimagining of classic musical Annie. The film stars Quvenzhané Wallis as the title character, and Jamie Foxx as Will Stacks, her adoptive father: it really is a stellar cast – Cameron Diaz as Miss Hannigan, need we say more; and our very own Rose Byrne as Stacks’ colleague, Grace. Plus Sia gets in on the action, redressing the musical’s original songs with a smile (and a dash of pop). Annie is in cinemas on Thursday. BRISBANE
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national news email@example.com THE GETAWAY PLAN
Having reached their crowdfunding target on PledgeMusic, The Getaway Plan are in the studio laying down their new album, Dark Horses. It’ll be a totally independent affair, and in the meantime, the quartet will embark on a stack of tour dates. As well as regional venues The Golden Vine, Bendigo, 23 Jan and Pier Hotel, Frankston, 24 Jan and more, The Getaway Plan hit up Newtown Social Club, Sydney, 15 & 16 May; Corner Hotel, Melbourne, 22 May; The Brightside, Brisbane, 5 Jun; and Rosemount Hotel, Perth, 12 Jun.
STRINGS & THINGS
Creating a futuristic world of electronic beats and animation, classically trained violinist Lindsey Stirling has become one of the latest global social media phenomena, with more than half a billion YouTube views. Showcasing her latest and second album, Shatter Me, Stirling comes to Australia to play 17 Feb, Forum Theatre, Melbourne; 20 Feb, The Tivoli, Brisbane; 21 Feb, Enmore Theatre, Sydney; and 23 Feb, Astor Theatre, Perth.
The Jazz Bell Awards are celebrating its 13th year in 2015 and are now calling for nominations in eight categories including Best Australian Jazz Vocal Album, Best Australian Contemporary ‘Avant-garde’ Jazz Album, Best Australian Jazz Ensemble, Young Australian Jazz Artist of the Year and more. Nominations can be made at bellawards.org and close on 11 Feb. The winners will be awarded at Regent Ballroom, Melbourne, 30 Apr; the event is proudly presented by The Music.
Socially conscious Perth soul singer Shameem has just released her new single Under One Sun and is set to release her second album, The Second City, on 16 Jan. She kicks off a tour in celebration Subiaco Arts Centre, 17 Jan; Paris Cat Jazz Club, Melbourne, 19 Feb; The Basement, Canberra, 20 Feb; Gingers, Sydney, 21 Feb; Lass O’Gowrie’s, Newcastle, 22 Feb; Bar On The Hill, Newcastle, 23 Feb; Ric’s Bar, Brisbane, 27 Feb; and The Treehouse, Byron Bay, 28 Feb.
His mum knows him as Tyrone Griffin, but the fans know the Californian singer, rapper and producer as Ty Dolla $ign, creator of the Beach House mixtapes and EP, and more recently his Sign Language mixtape. March will see him release his debut album, Free TC, but first comes the single, Stand For, produced by Diplo and DJ Dahl, and the announcement that Ty Dolla $ign is making his first trip Down Under. The tour kicks off 22 Jan, Metro City, Perth; then 24 Jan, Eatons Hill Hotel, Brisbane; 25 Jan, Festival Hall, Melbourne; and 26 Jan, Enmore Theatre, Sydney.
ONE BIG UNIT
Om Unit, one of bass music’s most forward-thinking producers, is heading our way, performing 16 Jan, Shape, Perth; 17 Jan, Railway Hotel, Melbourne; 23 Jan, Goodgod Small Club, Sydney; and 24 Jan, Woolly Mammoth, Brisbane.
The Emmy-nominated Celtic Women are returning to Australia for their third national tour of the country: 11 Sep, Gold Coast Convention & Exhibition Centre; 12 Sep, Brisbane Convention Centre, 16 Sep, Civic Theatre, Newcastle; 18 Sep, Qantas Credit Union Arena, Sydney; 19 Sep, Royal Theatre, Canberra; 20 Sep, Margaret Court Arena, Melbourne; and 25 Sep, Perth Arena.
BREAKING OUT AGAIN
Punks Break Even have regrouped and are gearing up to hit the road again in February and March 2015. See the band 7 Feb, Crowbar, Brisbane; 8 Feb, The Lab, Brisbane; 14 Feb, Bald Faced Stag, Sydney; 15 Feb, Red Rattler, Sydney; 21 Feb, Amplifier Bar, Perth; 22 Feb, YMCA HQ, Perth; 28 Feb, Reverence Hotel, Melbourne; and 1 Mar, Phoenix Youth Centre, Melbourne. More dates on theMusic.com.au.
IF HE DOESN’T LOOK LIKE MICHAEL FASSBENDER HE IS NOT ALLOWED TO TWEET ME. @AZEALIABANKS KNOWS WHAT SHE LIKES. 6 • THE MUSIC • 17TH DECEMBER 2014
BAFTA-nominated Noel Fielding, of British comedy series The Mighty Boosh is gracing our shores yet again to deliver side-splitting, award-winning one-liners, our favourite characters like the man in the moooooon, and ‘Don Quixote’ Fantasy Man. Mike Fielding (Naboo!) is coming too. See them at Canberra Theatre, 20 Apr; State Theatre, Sydney, 22 Apr; Riverside Theatre, Perth Convention & Exhibition Centre, 24 Apr; Hamer Hall, Melbourne, 25 Apr; and QPAC Concert Hall, Brisbane, 27 Apr.
ON THE RUN
Seth Sentry has released his new single Run; the relaxed tune mixes beats, synth and layered vocals to cruise, skate or run to. He plays The Hi-Fi, Brisbane, 20 Feb; Solbar, Sunshine Coast, 21 Feb; The Hi-Fi, Melbourne, 7 Mar; Cambridge Hotel, Newcastle, 12 Mar; Metro Theatre, Sydney, 13 Mar; ANU Bar, Canberra, 14 Mar; Prince Of Wales, Bunbury; 19th March, Metropolis Fremantle, 20 Mar. Proudly presented by The Music.
JONSON STREET BYRON BAY
BRISBANE’S PREMIER ENTERTAINMENT AND FUNCTION VENUE
FRI 19 DEC
BOOTLEG RASCAL HEMMINGWAY
JANUARY TUESDAY 20TH
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FAT FREDDY’S DROP
FRI 26 DEC
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PAUL KELLY FRIDAY 23RD
DROP LEGS DESMOND CHEESE DAVE DOG SAT 27 DEC
A LITTLE PROVINCE
BELLE & SEBASTIAN
GOONS OF DOOM OCEAN ALLEY THE BADLANDS DJ CHRIS BRADLEY
THE GASLIGHT ANTHEM
FRI 2 JAN
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JOHNNY MARR THURSDAY 5TH
SOLD OU T
FRI 9 JAN
SUN 11 JAN
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KASEY CHAMBERS WEDNESDAY 18TH
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STEVE SMYTH WED 21 JAN
PETER HOOK & THE LIGHT
THE GROWLERS FRI 23 JAN
THU 8 JAN
THE BEAUTIFUL GIRLS
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THE MUSIC • 17TH DECEMBER 2014 • 7
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FRONTLASH WELL PLAYED
Congrats to the Aussie Test team for pulling off a memorable victory against India in memory of Phil Hughes. So much sadness and pathos but a wonderful game of cricket.
GREAT AUNTY Another year, another amazing Meredith festival. If only we had something so amazing closer to home, everything from the ethos to the line-up is completely beyond reproach. Too much fun!
DANCE WARS Stereosonic co-founder Frank Cotela railed against the “‘roided up bro” culture after the fight at the Sydney event, and promised to stop the fighting even if it means “profiling” at the gate. This could get very interesting...
THIEF IN THE NIGHT
THE GOOCH PALMS
Art Of Sleeping are fresh from releasing the teaser Crazy, from their album due out mid-next year. They’ll be banging out some brand new stuff, as well some tracks from Like A Thief 6 Feb, Black Bear Lodge, with The Lulu Raes.
SEEING BOBBY BROWN
Bobby Brown has done it all, from delivering smash hits including My Prerogative and Every Little Step to a successful foray into reality TV with Being Bobby Brown. He brings Treach and Kay-Gee from Naughty By Nature, 18 Mar, Eatons Hill Hotel.
Sydney electronica/indie-rock Mammals have had a big year, releasing their debut EP Animalia and supporting indie juggernauts The 1975 and Of Monsters & Men. They perform 16 Jan, The Northern, Byron Bay; 17 Jan, Alhambra Lounge.
PALMS FOR SALE
Having signed with US indie label Urinal Cake Records, Newcastle duo The Gooch Palms, fresh from barnstorming their way across America, are relocating there in March to cut their next album. Before they head off, they’ll showcase new single Trackside Daze, 13 Feb, Crowbar.
Ron and MPC and their “stacks of wax” aka Saint Surly are getting ready to drop their post-Christmas present for their fans in their latest release, The Gleaner. Taking over The Milk Factory Kitchen & Bar, 27 Dec, Saint Surly will be joined on the night by Tigermoth and 8MΔN for some seriously heavy turntable action and hip hop beats.
JOIN THE CLUB WHAT A FEELING
BACKLASH WANKY LEAKS
Is it just us or are other people bored already with leaked Sony emails being trotted out in the news one by one in an attempt to create celebrity furore? Publishing private correspondence is not cool...
Once and future frontman of seminal Australian punk pioneers X, Steve Lucas takes to The Bunker stage at O’Malley’s Irish Bar for one night only 14 Jan in solo mode performing the full X-Aspirations album unplugged, the second instalment in The Naked Sessions.
This new generation of “pranksters” should spend more time on the concepts. How is vomiting on a train funny? Being gross and annoying is not humour.
A REAL MELT-ING POT
It was obviously an accident but how could The Project not realise that outing Santa as being an (allegedly) fictional character during family TV viewing time would cause headaches for parents everywhere? Bad form...
8 • THE MUSIC • 17TH DECEMBER 2014
LISTEN UP PHILLIP
They toured Europe together in October and now UK singer-songwriters Jack Henderson and Sam York are joining Lachlan Bryan and Aleyce Simmonds to tour Australia together: 28 Jan, Black Bear Lodge.
US Grammy Award-winning country artist, Kacey Musgraves joins the CMC Rocks QLD festival, Ipswich, 13 – 15 Mar.
Including a season run of the award-winning play 5 Lesbians Eating A Quiche, the inaugural MELT festival will bring together over 30 queer local, national and international artists at the Brisbane Powerhouse in early 2015 from 5 –15 Feb.
The program for the 5th Brisbane Underground Film Festival (BUFF) has been announced. Underground icon Andrew Leovold premieres his Gone Lesbo Gone doco. Cat documentary Lil Bub & Friendz joins The Colour Wheel, Listen Up Philip, American Arab, I Am A Knife With Legs and Doomsdays. 8 – 10 Jan, Brisbane Powerhouse.
STOCK GOIN’ UP FOR THE MUSIC
After the publication of our Pub Grub Summer Guide, you responded. The results of a focus group told us that our readers appreciated the higher quality of stock, so as of this issue that’s what we’re printing our east coast mags on. Can ya feel that matte paper texture on your fingers, and notice those colours popping a little more? Nice, ain’t it?
The Falls Festival Village programming has been released and it’s packed to the brim with interpretive dance routines, circus acrobatics, games, interactive installations and loads more activities. At North Byron Parklands (30 Dec – 3 Jan), acts include Mae Wilde, Stafford Smith, Acts Of Absurdity, Bertie Page Clinic & The Swingin’ Saloon Dolls and way more.
local news email@example.com LEE KERNAGHAN
ORCHESTRATED MAYHEM Barcelona based ZA! Bring their “futuristically primitive” orchestra down south for the first time, 23 Jan, The Zoo. Two guys play over a dozen instruments, their spectacular, multilayered live show leaving audiences stunned and/or dancing worldwide.
THE LAST RAMONE
CJ Ramone is celebrating 25 years since he joined the seminal New York punks The Ramones with a tour that brings him to Australia under the banner Last Chance To Dance. He’s also released a new album by that title, so it won’t all be nostalgia as he forges ahead with his own career and band, and you’ll get a mix of both old and new 13 Feb, Prince Of Wales Hotel.
URBAN COUNTRY 2015
1 – 3 May sees Caboolture host the 12th annual Urban Country Music Festival, and the organisers have just released the names of the first acts to grace the eclectic stage: Lee Kernaghan, Beccy Cole, British India, Augie March, Jetty Road, Simply Bushed, Uncle Jed, 8 Ball Aitken, Carl Wockner and more. Proudly presented by The Music.
UNDER THE TOP HAT
Brisbane’s The Naked Magicians will return to their hometown in March for a revealing eight-show season at the Twelfth Night Theatre from 5 – 13 Mar. A boisterous R-rated magic show, the boys strips away the top hats and capes to prove you don’t need sleeves (or pants) to perform good magic tricks.
Brisbane-based instrumental rockers The Hazards Of Swimming Naked are cut from the same cloth as bands such as Mogwai and Mono. Their cinematic soundscapes will surface 31 Jan, The Triffid. With support from King Mungi, Balloons Kill Babies, Mass Sky Raid and Siren Lines.
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STOMP YOUR FEET Tkay Maidza likes singing when she’s feeling lazy, refers to Nina Las Vegas as her “big sister” and thinks Drake is “amazing”. Cyclone gets the lowdown from the teen rapper. Cover and feature pics by Kane Hibberd.
he ascent of Adelaide’s Tkay Maidza has been spectacular even in the digital age. It was only 12 months ago when the self-proclaimed “brat rapper” dropped her stompin’ neo-paleo dance break-out, Brontosaurus. This year she’s performed at Splendour In The Grass and Listen Out and hit New York’s CMJ Music Marathon. Recently Maidza unleashed an EP, Switch Tape, home to the tropical garage Switch Lanes. Over summer she’ll
at five years old Maidza migrated to Australia with her family. They were initially based in Western Australia. Under President Robert Mugabe, Zimbabwe has suffered appalling human rights abuses, and epic economic woes, but the Maidzas weren’t necessarily political refugees. Maidza’s father, a miner, “came here for work, a new environment; [it was] just to move for the sake of moving.” In Zimbabwe, he moonlighted as a muso – and it’s still “a hobby”. “He’s always been in bands and he used to tour with his friends when I was really young.
when it’s on the radio all the time.” She participated in Adelaide’s Northern Sound System artist development program and, through that, hooked up with BadCop. The local producer switched Maidza onto electronic music, remixing an old track of hers into the “dubstep” banger Handle My Ego. Maidza issued BadCop’s playful Brontosaurus via the Dew Process-affiliated Create/Control. Today the postMIA single is Maidza’s signature – on Facebook she cites her “interests” as “Dinosaurs & Raving”. “It was weird when we wrote it. I was like, ‘Okay, we have a song called Brontosaurus – this is kinda weird’. Then I was like, they’re actually cute.” Last summer Maidza joined the Nina Las Vegas Presents tour – and she now refers to the host of triple j’s Mix Up Exclusives as her “big sister”. Both the tastemaker DJ and Maidza’s manager encouraged her to pursue ‘electronic’ collabs. She’s since featured on countless tracks – among them Imprint from OWSLA’s MUST DIE!. Maidza has cut records, too, with the Diplo-endorsed Melbourne duo Swick & Lewis CanCut – the equatorial techno Wishes surfaced on a Secret Songs SoundCloud compilation curated by Canadian hipster DJ/producer Ryan Hemsworth. “I met Swick & Lewis on SoundCloud,”
“A SCHOOL TEACHER SHOWED ME AZEALIA BANKS. HE’S LIKE, ‘I’M NOT SAYING YOU SHOULD SWEAR, BUT THIS IS COOL’.”
bring her zany rap-rave to Falls and Southbound. Come 2015, Maidza should blow up globally. We first spot the diminutive Maidza, who turns 19 on 17 December, en route to her cover shoot. Wearing all black, she’s wandering alone along a quiet inner-suburban Melbourne street, dragging a suitcase bigger than her. Even the precocious Maidza is astounded at how much she’s achieved in a year. “I think signing to Dew Process was like, ‘Oh, cool, I’m actually on a label and people are excited about the whole project’ – that was the first fun thing that we did. Then our second fun thing was Splendour, which was straight after. It was just like, ‘This is amazing’. The turn-out was really cool, ‘cause we played really early – we were pretty much first on, on the first day – and it was a packed tent.” Maidza felt so nervous at Splendour that she was in tears, but the audience’s response proved validating and she enjoyed the remainder of the fest – and her inaugural ‘glamping’ experience. “We were in a Winnebago kinda thing; it was good. I slept on a bed the whole weekend. Everyone else had to sleep outside. My DJ [Elk] slept in a tent, poor dear [laughs].” The rapper talks fast. She frequently uses the words “cool”, “fun” and “weird”, which, in many respects, sum up her vibe. Maidza is smart. She was studying architecture at the University of South Australia prior to committing to music full-time. Born in Zimbabwe, 10 • THE MUSIC • 17TH DECEMBER 2014
He did it on weekends and we’d go to his shows.” Out here, Dad accumulated impressive studio gear. “I just used it whenever I could,” Maidza says cheekily. Maidza listened to pop before gravitating to hip hop. The high schooler uploaded her own covers – or remixes – of songs by the likes of Nicki Minaj to YouTube, “just for fun”. However, it was another femcee who inspired her to take rhyming seriously. “A school teacher showed me Azealia Banks. He’s like, ‘I’m not saying you should swear, but this is cool’. I’m like, ‘Okay, sick’.” Maidza soon delved into underground hip hop. “I was like: there’s actually more to what you have to listen to
Maidza reveals. “They just found me. They’re like, ‘Hey, let’s do some songs’. I was like, ‘Wow, this is so cool’. They make cool stuff, and it’s fun. You can tell that they’re just doing whatever they want. It’s constant experimenting with them.” And Maidza has started singing, as heard on Switch Lanes – which the Gold Coast’s Paces helmed. “Writing melodies can be easier than writing raps, ‘cause obviously writing raps involves more writing – it’s four times the amount of words. So, yeah, sometimes I like singing just because I’m lazy sometimes.” Nevertheless, she’s primarily an MC. In fact, Maidza has tagged her style “bratty rap”, jokily realising that she was “always complaining about something” in her songs. Maidza, who’s “constantly writing”, assembled her debut EP, Switch Tape, in tandem with a collab-heavy mixtape. She reached out to friends – including Adelaide’s rising house DJ Motez – for the mixtape’s “conjoining tracks”. Maidza was also determined to put her own spin on SBTRKT’s “beautiful” Everybody Knows after an A&R sent it to her. She selected her “strongest” and “favourite” numbers for the actual EP: Switch Lanes, the Rye Rye-ish U-Huh with Elk, and grime-trap Finish Them – the last prestigiously produced by Night Slugs’ Bok Bok (Maidza coveted the Londoner’s work with US illwave singer Kelela). “The EP was just polished songs where I’d spent a lot of time [on them] – I was like, this is exactly what I wanna make.” Mind, on Switch Lanes, Maidza
THE YEAR OF THE FEMALE MC Female MCs ruled the hip hop game in 2014. That the emergent Tkay Maidza freely cites Nicki Minaj and Iggy Azalea as big inspirations represents a turning point in a long male-dominated scene. Minaj, Lil’ Kim’s successor, has sadly abandoned her old theatricality. But the Young Money femcee continues to raze the charts. This year she broke the internet with her lascivious, Sir Mix-a-Lot-sampling megahit (and video) Anaconda. She’s now promoting a third album, The Pinkprint – ostensibly a return to her rap roots. Her one misstep? The lyric video to Only with its distasteful Nazi imagery.
indicates that she’s beginning to outgrow the “bratty rap” descriptor. “Lately I’ve been getting onto my more emotional side and trying to smooth things out and whatever.” She’s already plotting an album. “I’m just experimenting with new sounds. I’m trying, like, kind of Broods, kinda Lorde-y stuff. I want a couple of songs like that, which I think will be cool, and then a lot of random Tkay ‘brat rap’ stuff as well. So it’s exciting. I’m still trying to figure out what it’s gonna be. I’m reinventing myself right now – trying to find new stuff to do.” Currently Maidza is vibing to R&B starlet Tinashe, who, she was thrilled to discover, is half-Zimbabwean. Plus she digs AlunaGeorge and A$AP Ferg. “Who else? Drake. Always Drake! Everyone always listens to Drake. You can’t even hate him. He’s amazing.” Maidza is loyal to Adelaide. She would contemplate relocating – but not to, say, Melbourne. “If I moved, I would like to move overseas – I’d love to stay in London or Spain or NY… If it’s in Australia, I don’t really see the point in moving, ‘cause I can just stay with my parents!” Indeed, Maidza is generating buzz abroad. She attributes this in part to Iggy
Azalea – of whom, incidentally, she’s a fan. “I feel like Iggy’s similar to me,” she says, citing her background in EDM (and trap). “I think Iggy’s great!” While hip hop heads endlessly critique Iggy’s authenticity, her chart success has introduced the idea of Australian hip hop, and Australian femcees, to international bloggers and the industry. “She has helped a lot,” Maidza insists. “[Her breakthrough] definitely opened up a path for people to blow up in America – [and for] Australians to be noticed.”
Minaj has cast shade on Azalea for her rumoured, albeit implausible, reliance on mentor TI’s ghostwriting – and Snoop Dogg and Eminem have dissed her (the latter with a misogynist rape-rap). But the history-making femcee from Mullumbimby, New South Wales looms larger than any haters. Azalea has just proffered an international repackage of her smash debut The New Classic entitled Reclassified. She even scooped the ARIA ‘Breakthrough Artist’ award, suggesting that she’s welcome home any time. “Work is my favourite song that she’s ever written,” enthuses Maidza of Azalea, especially rating those early mixtapes. Last summer Detroit’s Angel Haze leaked her delayed major label debut Dirty Gold, spanning power rap (the Sia-featuring Battle Cry) and cathartic, personal songs comparable only to Slim Shady at his most lofty. Meanwhile, Azealia Banks has signalled that she’s no spent force, going indie for the cutting-edge Broke With Expensive Taste – it taps into the surging UK bass subculture. Notes Banks’ super-fan Maidza, “She’s still doing that ‘I don’t care what everybody thinks’ kinda thing – ‘I’m just gonna do what I feel like doing.’ Her true fans will always like it ‘cause they love her.” And, more underground again, Wavy Spice circulated Metallic Butterfly, an album of post-Grimesian ultra-avant hip hop, as Princess Nokia.
WHAT: Switch Tape (Dew Process/Universal) WHEN & WHERE: 1 Jan, Falls Festival, North Byron Parklands THE MUSIC • 17TH DECEMBER 2014 • 11
DARK POP Three songs away from completing a debut album due early next year, Hey Geronimo’s Will Bingley talks about dancing through fire alarms with Michael Smith.
t’s a bit of a dark song, actually,” Brisbane band Hey Geronimo’s bass player Will Bingley begins, explaining their new single, Finale. “We played a gig in Sydney last year, I can’t remember what venue it was but we were upstairs in the Green Room, and there was a panel where you could see out over the dance floor and everyone was dancing and the fire alarm went off. It was only upstairs but we thought it was the whole place and everyone just kept dancing and I thought they couldn’t hear the alarm, so I was just looking out thinking, ‘Oh my God, all these people are going to die! Holy crap!’
“And the song is kind of about that, dancing in a nightclub when it’s on fire and not realising. And I wanted the song to sound like a song that would be played in a nightclub,” he laughs. “Like a dance song, ‘cause we haven’t done much of that.” Hey Geronimo grew out of a bunch of indie Brisbane bands coming together a couple of years ago for a Beatles tribute night and realising, “hang on, these songs are awesome – let’s play music like this”. So, inevitably, they draw heavily on the great pop acts of the ‘60s – The Kinks, The Hollies and so on – as well as The Beatles, and of course The Beach Boys.
“Pete [Kilroy, lead vocals/guitar], I dunno, his voice kind of reminds me of that California sound as well. It’s a bit nasally and sits in the mix in the way that some of those harmonies work. The Beach Boys have amazing harmonies – you could listen and dissect them for hours and hours,” he chuckles. “And also, on some of the songs which we’ve written and recorded which haven’t come out yet, there’s more of that dark side of The Beach Boys, kind of comparable to the Smile and later era stuff, which we really like.” Stepping up to produce Finale was Steve Schram, best known for his work with Little Birdy, The Cat Empire and San Cisco. “We’ve had him mixing some of our previous recordings before and he’s always really changed how they turned out. He almost deconstructs the top half, which is good ‘cause we tend to pile so much stuff over the top. He’s very much, ‘I’ll just take the drums out in this bit’. He changes the songs quite a lot, so he’s good – got a lot done very quickly, which is really cool. He’s very energetic, kind of like us. “We do have too many songs for the album,” Bingley laughs again. “It’s quite interesting that it works ‘cause we’ve got four songwriters in the band, and it’s all pretty evenly distributed. I’m kind of amazed that it doesn’t clash! There’s not a whole lot of ego involved, which is really good, and we all want the same kind of end product, which is melodic, so I think that helps a lot.” WHEN & WHERE: 18 Dec, Black Bear Lodge; 19 Dec Beach Hotel, Byron Bay, 20 Dec, The Factory, Maroochydore
MASTERS OF THE ART Death metal juggernaut Thy Art Is Murder are still unleashing hate upon this planet. Vocalist CJ McMahon tells Brendan Crabb about impending world domination.
here’s a lot of stuff out there that doesn’t really float my boat and I don’t really expect everybody to jump on board with what we’re doing,” Thy Art Is Murder growler CJ McMahon ponders via Skype from Massachusetts. “The only thing I find is any sort of hate, or any negative comments that we ever see – which is very rare to see these days – but when we do see it, it’s such a shame, because it’s usually Australians. I would have thought the Australian community would back us just because we’re working so hard, we’re touring our arses off… There’s no other fucking band on the face of this earth that will tour as much as we do. I find it very hard to find another band that’s working as hard as we are.” The deathcore act, originally formed in Blacktown, but whose members are now littered throughout Sydney, Brisbane and the US have therefore enjoyed a rapid ascension. They’ve extensively trekked throughout America, the UK, Europe and Australia, and an upcoming national headline tour will conclude 2012 sophomore album Hate’s touring cycle. “I’m pretty sure that we’re gonna impress the haters, and if we don’t, we don’t really care,” McMahon says of more traditionalist metallers who may attend to catch support acts like Psycroptic. “We’ve got enough 12 • THE MUSIC • 17TH DECEMBER 2014
fans around the world that love us, support us… Occasionally you get a very small amount of people that don’t back our ideas, or don’t think that we’re worthy of headlining certain tours, and these people are just crusty old metal cunts that just have no fucking idea about what the fuck’s going on in the real music world. We don’t really care. We’re having the time of our life, we’re working hard.” Such is their momentum even potential mishaps seemingly only enhanced the band’s profile. Namely, their temporary removal from this year’s Soundwave festival after encouraging a stage invasion in Brisbane.
McMahon feels the incident was misconstrued. “Yeah, it’s just all bullshit, man. AJ [Maddah, Soundwave promoter], it wasn’t really his fault… I just wanted the crowd participation, wanted people to try and make their way up on-stage and have a crazy show… Everyone had a good time, nothing was broken, nothing was damaged; no one was hurt. “AJ was only doing what he thought was the right thing given the information that he was given. At the end of the day everything fucking turned up Thy Art Is Murder in a good way anyway. Because we had all this free publicity and exposure in the news and people just think we’re fucking psychos, and we’re not. But that kinda boosted us a little bit as far as social media goes anyway, and advertising and marketing. Really, if anything it kinda helped us rather than hindered us.” WHEN & WHERE: 20 & 21 Dec, Crowbar
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LETTING THE DOGS OUT Veteran Brissy-bred hip hop outfit Resin Dogs are reuniting for the first time in four years – but sporadic appearances spell anything but the end of the nearly two-decade-old outfit, founding member DJ Katch tells Mitch Knox.
en years ago, Resin Dogs were at the height of their game. With two acclaimed albums – 2000’s Grand Theft Audio and 2003’s Hi Fidelity Dirt – behind them and international tours all but being thrown at their feet, central members DJ Katch and Dave Atkins could’ve been excused for thinking the good times would never end. Still, to hear Katch speak of the state of things in the lead-up to their year-end appearance at The Big Chill mini-fest in West End, it seems those days feel much further away than they should.
“Dave and myself haven’t actually played together in the band for four years,” Katch explains. “He’s had commitments with family, with bringing up a young son, and he’s had an opportunity to drum with Wolfmother and stuff, so he did that. So this is basically like the first time we’ve been able to play in the band together since the More tour in 2008.” Although The Big Chill gig marks the first time they’ll have played together in six years, the veteran DJ is optimistic for the future and, importantly, thankful for the past. “We’ve recorded enough material for
probably an album and a few EPs and stuff like that. I think after being on the road for 17 years, we just wanted to do some different things and stuff. Family situations, people having kids and stuff like that… yeah, we just needed a bit of a break. [Dave] was into different sorts of sounds, and so was I, so we got that off our chests, and even though we’d recorded records and stuff like that, the vibe and the timing seems to be a lot more better now. “So it’s not like we’re going, ‘aw, it’s a thing we can rely on’ or anything like that. We know that we’ve gotta start again if we were really gonna get into it, but if we’re gonna do it, we’d like to take it back to where we, you know, give it a good go.” And, hey – what better time and place to re-sow some old-school seeds than Katch’s local stomping ground, at the dawn of a brand new year? “It’s a good venue,” Katch says of The Motor Room, hosting The Big Chill this year. “I’ve spent a lot of time there on Friday and Saturday nights checking out bands and stuff, being a local at West End myself. It’s a really good thing. And it’s family-oriented, as well, so you can see a band, you can bring your kids… I’ve never seen any aggro or stuff like that. “The fact that it’s a new thing, also, maybe away from the Valley and city sort of vibe that everyone’s accustomed to... I’m pretty excited about it, not having that thing of being dumped in that zone where it’s just chaotic. You know, you’d see it on a Friday and Saturday night, or after festivals… multiply that on a New Year’s, man, and it’s gonna be super crazy.” WHEN & WHERE: 31 Dec, The Big Chill, Boundary Street Market Complex
MORE THAN MUSIC A year shy of its 30th anniversary, the Woodford Folk Festival has always been about much more than the music, as programme director Chloe Goodyear explains to Michael Smith.
n internationally renowned event held annually over the six days and nights leading up to and including New Year’s Day, the Woodford Folk Festival began life as the Maleny Folk Festival in 1987. In seeking out a bigger venue that would better accommodate the burgeoning number of people attending than the old Maleny Showgrounds, in 1994 the organisers came across 500 acres of former dairy cow pasture in the Sunshine Coast hinterland, just over an hour north of Brisbane. After the festival was renamed Woodford and the space Woodfordia, the past 20 years have seen the area transformed into an environmental parkland complete with 35 performance venues and an infrastructure that includes camping grounds, restaurants, cafes, stalls, bars, an underground sewage reticulation system, sullage and potable water reticulation, drainage and venue earthworks, as well as butterfly walks, ponds and native wildlife. Since 1997 more than 100,000 trees have been planted on the site, and that is actually as much the point for the army of people who put the festival together every year as the festival itself. “I think most people think of Woodford as being a music programme, ‘cause that’s what’s easiest to talk about, but there will be some people who’ll 14 • THE MUSIC • 17TH DECEMBER 2014
come and stay in the Greenhouse for pretty much the entire time just listening to speakers on environmental issues and social justice, and the same again with our health programme. There are something like 57 different yoga and tai chi sessions that you can go to this year. You can have totally different experiences at the festival depending on what path you follow.” Of course, for the bulk of the 13,000odd attendees it’s the music that’s the drawcard, and this year the programming team saw 1700 formal applications from bands and artists wanting to participate, along
with what the organisers call the long list presented by booking agents, and again, as Goodyear points out, “We don’t seek so much big names. More we’re looking for certain experiences to have at the festival.” That said, the more than 2000 performers who will be presenting the more than 1500 concerts over the six days include, from the US, Violent Femmes; from Canada, Paper Lions and The East Pointers; from Scotland, Shooglenifty and Kaela Rowan, and, from all over Australia, The Cat Empire, Lior, Bertie Blackman, Sticky Fingers, L-FRESH The LION and way too many to mention here. “We try to have 65 per cent new content every year,” Goodyear adds, “and then try to bring in new music in a mix of international, local and very local – we like to have folks from southeast Queensland – and in the end it’s about the chemistry of the way those artists work together.” WHEN & WHERE: 27 Dec – 1 Jan, Woodford Folk Festival
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TIME TO STAND Despite an extremely successful television career, Wil Anderson admits to Evan Young that stand-up is his addiction.
mart, effervescent and easy to talk to, Wil Anderson still manages to be charming despite being up for almost 30 hours straight. “Even my jet lag has jet lag,” he tells me, having just landed back in Australia for a few days before returning to the US to finish his Wiluminati tour. Having spent the last six months overseas, he’s wasting no time soaking up the Aussie lifestyle before he heads back. “I’ve got to leave again on Sunday so I’m trying not to make my heart ache too much. I’m eating a lot of avocado on toast because you really can’t get good avocado on toast in the rest of the world,” he tells
me. “But really, I’ve been away for about seven months by the end of this year, so I’m looking forward to spending the summer in Australia.” Though Wiluminati has been exhausting, it’s helped him grow as a comedian. “I wanted to take a year just to do stand-up, and having that time brings you to a whole different level in the show that I had never really got to before. It’s when you know the show so well, you can tell it differently every night because you can adapt to the audience and you can read the crowd, and present it in the right way because you’re so comfortable with it.”
Explaining this wisdom will imbue his 2015 tour, Free Wil, in which Anderson links his creative output past, present and future to that of one of his favourite bands: Radiohead. “I feel like maybe last year’s show was OK Computer and then this year’s show was a bit more what I wanted to do, like Kid A. Next year’s show is kind of like King Of Thieves, which kind of felt like the album that combined the best bits of all they wanted to do. I feel like that’s where I’m at. I have more of an idea about this show and how I do it than I ever had before, and now I can just use it in the way that I enjoy.” It’s ABC television’s The Gruen Transfer for which Anderson is best known, and resuming in 2015 after a year off, the impending return wasn’t straightforward. “Having this year to do stand-up, it was probably the hardest decision I’ve ever had to make in my career to come back. It was kind of like ‘it’s time to do stand-up for the rest of your life’ and there was a part of me that just really, really wanted to do that. But I kind of thought I owed it to the show, the audience [and] all the people who made it.” Despite suffering from chronic osteoarthritis, it’s obvious Anderson hasn’t let it slow him down. “You don’t want to be a stand-up comedian who can’t stand up,” he laughs. “I always liked to think I could at least fulfil the standing up part of stand-up comedy, but now it’s really going to have to be reliant on the coffee.” WHAT: Whatchu Talkin’ ‘Bout, Wil? WHEN & WHERE: 17 – 22 Mar, Brisbane Comedy Festival, Powerhouse Theatre
HEADLINE They may have had an insanely busy year, but Dead Letter Circus are showing no signs of slowing down. Kane Sutton chats to Kim Benzie about their surprise acoustic record.
s a huge supporter of the band’s output, this scribe is all too keen to let the frontman know about it at risk of sounding like a fanboy. Dead Letter Circus released their first, self-titled EP in 2007 after uploading some of the tracks up to MySpace in 2006. Benzie chuckles. “We did The Mile, Lines and Are We Closer? in one mob. We were rehearsing at the time next door to our good friends The Butterfly Effect and we showed them, and they totally knocked out our confidence, like, ‘Oh man, that’s just too full on, you’re trying to do too much’ kind of thing. That was The Mile, and it yeah, it really dented us and we were like, ‘Man, maybe we suck.’ We went, ‘Fuck it, we’ll just put it up on MySpace,’ and The Butterfly Effect shared it or whatever it is you used to do on there; they put us in their top friends, and I got a call from our guitarist saying, ‘Dude, get on the internet, we’ve had like 400 plays today!’ and I was just like ‘Fuck off, what? It must be broken.’ Then we just watched the play count go up and every day we were sitting on 800-900 plays a day. It was a really interesting experience.” The prog-rockers have released two full length records since then (2010’s This Is The Warning and 2013’s The Catalyst Fire), signed with UNFD in 2013 and toured around the world playing festivals and as support acts for bands such as Animals As 16 • THE MUSIC • 17TH DECEMBER 2014
Leaders, Linkin Park, Karnivool and more. This year saw the band drop a surprise EP: a stripped-back, acoustic play on a selection of songs from the latest full-length record. After playing an acoustic version of Killing In The Name by Rage Against The Machine, which polarised listeners, they decided to continue meddling. “We did that Like A Version with triple j, and we always muck around with ideas in rehearsal and that cover was a vague idea of stuff we wanted to try. We did it with one, inverted it and changed vocal melodies and changed guitar bits and all that stuff and we were like,
‘Yeah, that was pretty fun,’ so we hit the label up with the idea and they were like, ‘Well, we don’t really have any money to throw at it,’ so they gave us a ridiculously short amount of time to get in there and do it. I think we did it in about a day. We recorded some grand piano at a school the day after and then spent a week trying to piece it together. It was a very stressful week but it came out well in the end.” The band are gearing up for their final tour of the year, and are currently running a one-on-one competition through Facebook to decide which songs to play. “[We love the old songs] as much as the new ones, so when it’s time to get a set together, we’re going, ‘Yeah, we wanna play some of these old ones,’ but then that means you have to cut Cage or something. We’re going to do this shootoff for a couple of days and see what happens.” WHEN & WHERE: 18 Dec, The Hi-Fi To read the full interview head to theMusic.com.au.
ROCKIN’ RENOVATION After spending the past hour or so meandering through a Los Angeles record store, Cold War Kids singer Nathan Willett is keen to chat to Dylan Stewart.
t’s nice to walk around in a record store while you’re doing interviews,” Cold War Kids singer Nathan Willett says. And although tempted to splash some cash, manners prevail. “I saw a few things but I couldn’t buy them because then I’d be that annoying guy on the phone while I’m trying to buy a record. Nobody wants to deal with that guy.” In that single sentence Willett not only endears himself to anyone who’s ever worked in customer service, but encapsulates the self-aware humility that’s helped Cold War Kids survive a decade in
an increasingly fickle musical landscape. “When we were starting out we didn’t have an amount of records that we wanted to sell or a size of venue that we were hoping to play. I think we just wanted to make music in the way we wanted to make it and have a good time doing it.” The band has seen its ups and downs, notably during the fallout from their underwhelming 2011 album, Mine Is Yours. Willett maintains a positive perspective: “When you’re writing your own songs you definitely run the risk of them not being as good or as palatable or as universal
as they would be if you worked with outside songwriters or other producers.
“The way Mine Is Yours was reviewed and understood, we thought that people didn’t like it. But it’s interesting; I now meet people for whom it was their entry point to the band. They loved the sound of that record. So I’ve had no regrets in terms of things that we’ve tried and ways we’ve experimented.” Overcoming the departure of drummer Matt Aveiro, Cold War Kids have returned with their fifth LP, Hold My Home, fresh-faced and seemingly free of any inhibitions. “The split with Matt was one of those things where I think that – over the many years that we’ve been doing this – he’d lost some of the zeal for the band and we needed a change. “It is kind of an unfortunate part of bands that you either live and die with the line-up that you start with or you evolve. You have to move forward and know that things can potentially change. “If ‘indie rock’ means trudging away for a small group of fans and not having much exposure then we’ve never been totally true indie rock. I personally don’t think it means that; I think bands like Arcade Fire and Yeah Yeah Yeahs are considered indie rock forever yet they’ve achieved very stereotypical mainstream successes in their careers. “But y’know, if it helps people discover our music and helps them enjoy it, then it’s all good.” WHAT: Hold My Home (Downtown/Create Control)
MAKING NEW MEMORIES
Ahead of their first Australian festival stint, Fall Out Boy’s Pete Wentz gives Kane Sutton the lowdown on the significance of the band’s hiatus and what to expect from them this time around.
ince graduating from playing in underground hardcore bands, the members of Fall Out Boy have ridden the rollercoaster of mainstream success and all that comes with it. The band were close to breaking up but decided instead to go on hiatus in 2010, before reforming to work on what would become their fifth album, 2013’s Save Rock & Roll. The reconciliation was a pretty big deal to Wentz, and musically, there’s no denying the hiatus has given the band a different outlook on their process. “We communicate with each other better,” Wentz says. “We allow each other more space, and we’re almost heading into uncharted territories a little bit. I can’t think of a four-piece rock band in recent history anyway, who took time off and then came back with new material in an attempt to put it to radio. Now that we’re working on the second album [since the hiatus], I think we’re definitely in uncharted territory and hopefully we keep heading in the right direction.” While the band have been building plenty of momentum since reforming, you wouldn’t think they’ll find themselves back at the height of their popularity, say, back when Thnks Fr The Mmrs went big. But that’s not a big deal for Wentz. “I think sometimes I look at 5 Seconds Of Summer, and it’s cool to see a band
with guitars who is at the height of adoration. I remember when we were at a similar sort of level, and I remember thinking, it’s impossible for that timeline to go on forever. It’s cool to look at something like that from the outside, but also being ten years away from when we did it, and recognising that I really appreciate it as part of our legacy, but knowing I never want to go through it again. There’s a lot of attention, no one’s really told you how to process and deal with it, and you’re kids; you don’t really have the tools to deal with it anyway.” The band are gearing up to play a string of shows
as part of Soundwave in February next year. Having not played a festival Down Under before, they’re as excited as ever to get over here. “We reckon we tour best in front of festival crowds, because we know there are people there who aren’t there to see us, so we’re there to earn fans. There’s potential to play in front of more people, but that means you have to be on your game; you’re not just preaching to the choir.” It’s been a crazy ride for Wentz and the other Boys over the years, and there’d be plenty who’d be happy to call it a day after so many years in the spotlight but, being musicians, if there’s any more to give, they’re gonna give it. “We’re already five songs in [to the next album], we have ten written down, and we want to have in out in January next year. We’re gonna keep going, and that’s the goal.” WHEN & WHERE: 28 Feb, Soundwave, Brisbane Showgrounds THE MUSIC • 17TH DECEMBER 2014 • 17
SHADES OF GRAY From the freedom of obscurity to stardom and back again, David Gray’s “gradual curve” has inspired him to record ten albums and make a big noise on stage. As Paul Ransom discovers, the folktronic veteran still loves creative risk taking.
t’s been a decade and more since the name David Gray lit up charts and radio playlists, when songs like Sail Away and Babylon and his multi-platinum album White Ladder were hard to avoid. Indeed, many of us may well have consigned him to the nostalgia circuit. However, not only does Gray have a new record out but he will be back on our shores around Easter for Bluesfest and West Coast Blues ‘N’ Roots festivals. Yet, the dimming of the golden lights has been an undisguised blessing for the father of two and mad keen Man U fan. As he says, “I’ve not been dominated by celebrity or ‘famousness’ for many years. I mean, there
was a period when it was very intense around White Ladder and the immediate aftermath but these days it’s pretty laidback. I get to do normal things and be with my kids. I don’t hide or go to exclusive compounds to enjoy myself, I do my thing amongst everyone else and I love that freedom.” Away from the lurid, ephemeral glare of stardom, the focus has shifted away from the man and back to the songs – a situation Gray clearly prefers. “At times I’m surprised by how well remembered I am and other times it sorta feels like you’re falling rapidly into obscurity. The world is always playing tricks
on you. But once the music’s out there, it’s out there to stay. So y’know, I don’t really fret it because I feel like the songs are bound to people’s hearts and that’s a wonderful thing and always will be.” Excused from the pressure of hit making, Gray gets to explore his craft in much the same instinctive fashion as he did prior to the hullaballoo. “I’ve always pretty much made the music that I felt I needed to make at any given time. I’m just following my own gradual curve of ideas.” Across a 20-year, ten-album recording career he has had plenty of opportunity to explore that curve. Indeed, with his latest release, Mutineers, he specifically instructed his producer (Andy Barlow from Lamb) to take him out of his comfort zone. “When you take creative risks and they’re rewarded you see the strength in that and you want to take more and keep trying to find new ground, because you can see that what’s there is far more precious than playing it safe.” This philosophy translates perfectly into the live setting. “There’s certainly a challenge to stay completely wide awake in terms of doing songs you’ve played thousands of times, which is why I like to reinterpret things. So with this band we’ve got a different set up. We’ve got seven people singing – and a drummer.” For his antipodean fans, Gray will be doing his trademark mix of new, old, acoustic and anthems; whatever the set list, the sound will be expansive. “When you’ve recorded a song it’s like a two dimensional capture. Then you play it live and it becomes this living, breathing thing on stage, where it’s loud and it’s big and there’s the crowd; and then you go back to record and it’s tiny.” Which is why, on stage at a festival, David Gray will be big again. WHEN & WHERE: 4 Apr, Bluesfest, Byron Bay
LET THEM GO ON Thirty years after the release of their debut album, The Violent Femmes remain as relevant as ever, as Brian Ritchie tells Samuel J. Fell.
little over 30 years ago, out of Milwaukee, Wisconsin, a virtually unknown trio released their debut album. Violent Femmes, named for the band itself, became a phenomenon, one of the most successful debut albums of our time, spawning hits Add It Up, Gone Daddy Gone and perhaps one of the most played songs of all time, Blister In The Sun. Three decades on and The Violent Femmes are a household name. That debut launched them around the world and despite a few differences of opinion over the years, a couple of breaks and some time apart, the band are still very much a part of the modern musical lexicon. “It’s a little bit hard to believe,” muses Femmes bassist and also musical curator of Hobart’s MONA FOMA, Brian Ritchie. “To put it in context, thirty years prior to the release of that album, rock‘n’roll barely existed… In those days you just didn’t think, ‘In thirty years I’ll be touring the same music with the same people.’ But here we are.” Indeed, the Femmes have been around for more than half the lifespan of rock‘n’roll itself - no mean feat. As it stands then, the band – currently comprised of Ritchie and original frontman Gordon Gano, along with newly-minted drummer Brian Viglione – since having reformed in early 2013, have been out and about touring to celebrate three decades since Violent Femmes. 18 • THE MUSIC • 17TH DECEMBER 2014
They’ll bring the set to the Woodford Folk Festival over New Year’s (“The Femmes haven’t played Woodford. It’s unlike any other festival, and we’ve always felt an affinity for folk music; we think we’re a good crossover act,” reasons Ritchie), as well as the hallowed confines of the Sydney Opera House (“We’ve never played there, so that was a strong incentive to accept that invitation. We’ve played Carnegie Hall, we’ve played Royal Albert Hall, so playing the Opera House seems like something we should have on our bucket list.”). Thirty years of playing those same songs though – does the novelty ever wear off?
“Well, when you look out there and you see the people going off and having fun, you know for those three minutes all the troubles go away, it’s well worth it.” The album, for the band, has stood the test of time then. “We intentionally stripped the album back from any production tricks that may have been floating around in that era. So if I hear it, it sounds like something a young band might come out with today.” For fans of course, Violent Femmes has easily stood the test of time, still as relevant as it was in the early ‘80s. As are the band. They’re back, they’re looking to write new material, they’re still keeping on. Thirty or so years in, and The Violent Femmes aren’t looking to hang it up just yet. WHEN & WHERE:27 Dec, Woodford Folk Festival
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xmas album reviews
PENTATONIX That’s Christmas To Me Sony This album gives you permission to love all the cheesiest possible things in music together in one place: a cappella, Christmas carols and a version of Frozen’s Let It Go for good measure. Embrace your inner dork, because Pentatonix are a whole lot of fun. They dubstep-ify Dance Of The Sugar Plum Fairy, and upbeat numbers Sleigh Ride, It’s The Most Wonderful Time Of The Year and Santa Claus Is Coming To Town should bring a smile. In contrast, the traditional treatment of Silent Night is tastefully and beautifully done. A pleasure, guilty or otherwise. Amorina Fitzgerald-Hood
THE PENGUINS OF MADAGASCAR
100% Hits Christmas 2014
An Americana Christmas
This exists in the hopes that some poor soul may lapse hard enough in judgement to purchase it as a Christmas gift for their kid. A corporate think-tank has simultaneously butchered every Christmas carol these songs are based on, relinquished any remaining credibility the Madagascar penguins had and lured session musicians into undermining their integrity by committing such utter codswallop to record. If your kid is being a pain in the arse this Christmas, don’t put coal in their stocking. Give them something utterly useless, like this album.
Ever wanted to hear Cliff Richard, The Pretenders and Cee Lo Green on the one Christmas album? Santa’s got you covered with 100% Hits. A mix of traditional (O Holy Night by Michael Crawford and Natalie Cole’s awkward take on Jingle Bells) and contemporary (Rob Thomas’ A New York Christmas, Boyzone’s surprisingly good The Hour Before Christmas) works really well. Richard’s Let It Snow and country musician Morgan Evan’s Paul Kellymeets-John Williamson It’s Christmas Time are highlights, thankfully dulling Jewel’s awful version of Joy To The World. More than a stocking stuffer.
Christmas is a great frame for writing about heavenly love and earthly loneliness. This compilation sees Johnny Cash, The Band and Emmylou Harris reflect on the former, the seasoned performers lending a gentle country inflection to traditional carols like The First Noel and The Gifts They Gave. Dwight Yoakam speeds things up on Run Run Rudolph and Ronnie Fauss brings equal parts heartbreak and humour with Everybody Deserves A Merry Christmas. No one does lonely like country musicians and Max Gomez, The Common Linnets and Old 97’s have you crying in your eggnog by album’s finish.
Black And White Christmas Album Sony
EARTH, WIND & FIRE
THE FLAMING LIPS
Social Family Records
Imagene Peise - Atlas Eets Christmas
Driving Home For Christmas
Favouring simple arrangements, Christine Anu takes a relaxed, sincere and distinctly Australian approach on this holiday album. Her voice is a joy to listen to and she performs these songs honestly and soulfully. Though there are a few bland moments (Auld Lang Syne, Have Yourself A Merry Little Christmas), she largely makes these songs her own. Silent Night features a verse in her mother’s native Torres Island language and the unaccompanied I’ll Be Home For Christmas is haunting. Joni Mitchell’s River is beautifully recreated, while Paul Kelly’s How To Make Gravy is moving as always.
Disco-funk-soul legends Earth Wind & Fire bring their trademark glittery falsetto harmonies and blasting brass section back for Christmas, yet far from a predictable collection of cheese, they revise well-worn hymns and carols in a range of styles. Away In A Manger and O Come All Ye Faithful receive reverent gospel-soul versions, The Drummer Boy gets an Afrobeat feel, Sleigh Ride a reggae bounce and Winter Wonderland becomes a disco wonderland. Even their classic, September, is re-worked as, yes, December. Christmas is all about the good times, and they’ve captured the spirit of the season perfectly.
ABC/Universal If your mum’s more into belt buckles and blow flies than the svelte suits and snowflakes of Bublé come year end, Kernaghan is the man to bring yuletide joy to your Christmas gathering. Yeah you gotta get through some tired oldies like Jingle Bell Rock, though try being a country music-hating bah humbug when Kernaghan reworks Santa Claus Is Back In Town in the style of Boys From The Bush. Cunnamulla Santa goes alright too, and wonderfully inclusive with its shout-outs to a host of outback towns. Merry ‘Straya.
Continuing the trend of an ever-expansive and confusing discography, Wayne Coyne and Co re-release this collection of Christmas covers just in time for the Holiday season. Presented in lovingly retro, record hi-fi crackling audio, this release is surprisingly endearing; trademark psychedelic touches exist more as flourishes to the instrumental carols rather than dominating attacks on other recent Lips records. Whilst undeniably a novelty release on paper, the result is actually a rather pleasant collection of Christmas cheer, even if it does all blur together by the album’s end. Andrew McDonald
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THE WAR ON DRUGS, ALI BARTER The Zoo 10 Dec Though a humid aura of intense anticipation haunts the air, the punters are in no great hurry to enter The Zoo on this night of Wednesday nights. Whether preferencing a few more procrastinatory spins of the home favourites or slugs of the ol’ vices, Melbourne’s Ali Barter unfortunately provides little motivation for actions otherwise. It’s not that she’s lacking in talent or performative finesse; her songs even sound quite good in their live incarnations. It’s more that
perspiration is mounting (by the megalitres!). The oscillating ambience that opens Burning announces the band’s arrival on stage, and while they rush it a little into the song proper, the consensus seems to indicate a feeling that no part (except the end) of tonight’s set could come too soon. Frontman Adam Granduciel’s vocals are solid, but the full sound of the band just isn’t all the way there from the outset. It improves through Arms Like Boulders to the point that everything sounds near immaculate by the time Lost In The Dream opener, Under The Pressure bursts through the speakers. Fittingly this feels like a second beginning, and from here on in it’s a dynamic live journey all the way. It’s actually becomes mesmerising how good they do sound
THE WAR ON DRUGS @ THE ZOO. PIC: MARKUS RAVIK
she doesn’t really build upon the mood and momentum of this particular occasion. Any hope of progress is sunk by a cover of The Foo Fighters’ Tired Of You – a sure sign she’s missed the night’s mark by some margin. In the past two years The War On Drugs have already visited this country twice, but until tonight their local fans have been starved of the complete experience that a club show offers. Couple with this the fact that they’ve since released one the most phenomenal opuses of recent years, Lost In The Dream, and a hint of the levels of anticipation and excitement permeating this room tonight can be fathomed. The heat of The Zoo, however, is unfathomable. It’s a Brisbane summer night, the room is packed to the proverbial rafters, there’s no air-con and the 22 • THE MUSIC • 17TH DECEMBER 2014
includes Baby Missiles, Comin’ Through, Brothers and Black Water Falls. It’s a rare privilege to see such a band at the height of their powers, and no doubt all in attendance will be counting down the days until The War On Drugs return. Jake Sun
CLOUD NOTHINGS, CANNON The Zoo 14 Dec It should be a rule that every international band that plays here is supported by Cannon. Sweaty, unhinged, loose and charming as hell, there’s no better way to say, “Welcome to Brisbane, cunts.” You definitely
CLOUD NOTHINGS @ THE ZOO. PIC: CLAUDIA CIAPOCHA
throughout. The highlight comes midway through the main body of the set, when they play An Ocean In Between The Waves and Disappearing back to back – the former showcases a strength in songwriting that pays tribute to a format still accumulating meaning through its ages, while the latter provides an ethereal soup of emotive resonance for the senses to be lost and freed within. Maybe their music, and expressed themes, would be better suited to the festival setting and the loose abandon and progressive mindsets that it encourages and permits. However, there’s still something about the intimate experience that’s quite special. The band seem to reflect upon this sentiment, and show a gesture of appreciation for their fans with an extended encore that
primarily jacked-up, flat-capped bros who could have come straight from Stereosonic push people around while Cloud Nothings’ main dude Dylan Baldi sings un-animatedly (hey, it is the last show of the tour) about his feelings in a button-up and glasses. But that’s a big part of what makes Cloud Nothings so great – their universality. When Baldi sings anthemic lyrics like “I thought I would be more than this”, “I’m losing it/what do I care?” and “No future!/No past!” he gives you just enough information to get the feeling of the hopelessness, destructiveness or anguish that he’s drilled into these songs, but he’s also left enough space for you to construct your own narrative, to make these songs relevant to any time or any person. Or, you could also choose to go with
GYROSCOPE @ THE BRIGHTSIDE. PIC: SARAH PADDON
miss something when they play bigger stages, however. The energy isn’t quite the same when you’re not in danger of being spat on, though singer Callan Murray pretty much manages to bridge the gap with his charisma and strangled-shouty vocals. Their version of The Human League’s Don’t You Want Me Baby continues a run of excellent and ridiculous covers (they used to do Everywhere by Fleetwood Mac. Yeah, it was sick) and the band cap off a set that reminds everyone why it’s sometimes worth showing up early to gigs. From Minor Threat to Weezer to DZ Deathrays, there’s often been a disconnect between the type of person who plays loud music and the type of person who goes to see it. But rarely is it as almost laughably obvious as tonight, where a bunch of
no narrative and just throw yourself around to the rock hard, relentless, driving guitar and tense and tight rhythm section.The noise or lo-fi label has never fitted particularly well on Cloud Nothings. Lo-fi implies there’s something amateurish or loose about their sound, and noise that there’s some abrasive outer shell that listeners have to get through to appreciate the music, and neither of these apply to the immediate, catchy, melodic rock’n’roll being performed tonight. Though it would have been a treat to hear some new songs and get a taste of what the future of Cloud Nothings is gonna look like, when a band releases as much consistently good music as these guys do it doesn’t really matter what songs they play – it all rules. Madeleine Laing
GYROSCOPE, THE LOVE JUNKIES, GRAPHIC CHARACTERS The Brightside 11 Dec The first layer of our WA club sandwich tonight comes in the form of Graphic Characters, who pound and riff with zero inhibitions. The start of the set is bluesy and raw – and something of a throwback to more trad pub rock. But when bassist Mark Wallington gets his fingers limber on the frets, the whole sound transports to another level and the room is swallowed by the thickfreakness. The guitar gets a bit more jagged with The Love Junkies, the robust bass tones breaking up ever so slightly, but those rhythms keep bashing us over the head and the screaming from Mitch McDonald is murderous and without remorse. Performance-wise, the trio has come into their own in the past
year and operates ridiculously tight as a unit. Their grunge jams benefit greatly from the punk energy at the centre of it all – Oxymoron especially getting the full treatment – and when a bit of infectious melody gets stirred into the brew, like on high rotation single, Baby, Come Home, the complete quality is undeniable. Two tough acts to follow for the headliners tonight, but only a fool would bet against Gyroscope dominating The Brightside stage this evening. The stalwart Perth four-piece have never done this rock’n’roll shit by halves and from the outset it’s clear they’re keen on maintaining the status quo. The guys are celebrating the tenth anniversary of their much loved debut, Sound Shattering Sound, and play it true to the studio recording, with some additional piss and vinegar. Dan Sanders is his usual volatile self, barking into the microphone one minute, swinging his body and guitar viciously the next. Bassist Brad Campbell even needs to duck for cover during one of Sanders’ many fits.
Zok Trivic – fully recovered from a near-fatal motorcycle accident in 2012 – plays his riffs with an undeniable air of cool, while Rob Nassif can’t hide his delight, giving his everything on the kit. Safe Forever is a monster, as expected; the pit coming alive when the song reaches its climax. The back-up vox in Doctor Doctor apply even more urgency to an already intense song, while the “woo hoo”s that ride along with the guitar solo on Get Down are as fun as ever. A big plume of smoke engulfs the stage during final track, You Try Waiting This Long, and for a moment things go Spinal Tap – but it’s a suitable signoff after what’s been a joyous romp through the album. A few minutes later, a now shirtless Sanders leads the troops back on stage for a blasting best-of encore – Don’t Look Now But I Think I’m Sweating Blood rolls into Fast Girl – with a killer Oils’ Beds Are Burning section thrown in as a musical rabblerouser. What Do I Know About Pain?, 1981, Baby, I’m Gettin’ Better and Snakeskin then send
the room into a frenzy, Sanders crashes into the drum kit, and the overall feeling, from band to fans, is utterly electric. Benny Doyle
The Lemonheads @ The Zoo Ghostface Killah @ Woolly Mammoth Violent Soho @ Mansfield Tavern DZ Deathrays @ The Factory
A GIRL WALKS HOME ALONE AT NIGHT Film
BAPFF THE CROW’S EGG
THE CROW’S EGG Film
★★ This year’s crowd-pleasing opener, The Crow’s Egg, is just that – enjoyable enough, but tough to rally any real long-term support for. An inconsistently detailed film – shot in a crowded Chennai slum, but populated with characters written mostly in shorthand – The Crow’s Egg succeeds in
★★ ½ getting another tory about the injustice of the Indian class divide onto screens, but fails in greatly over-simplifying that story with a style borrowed from Slumdog Millionaire. Over-reliant on heady popaesthetic to sell its emotional moments, the film overindulges in slow motion and music, smothering whatever real pathos it accumulates in the scenes unencumbered by those devices. And pathos it indeed has – its two child stars are sweet and believable, and the beating heart of the film.
Billed as an ‘Iranian vampire western’, A Girl Walks Home Alone At Night is an exercise in cool that eschews a strong narrative in favour of style and homage.
like Sergio Leone that, while unmistakably fond, are often rather clumsily evoked. While Leone was all about stillness and tension, A Girl... lingers on things without Leone’s grasp of story, the characters often nonchalant and oblique, instead of spilling over with pathos. Still, there are some wonderfully stark images in the film. A vampire, at night, on a skateboard, wearing a chador, fleetingly evokes the uncanny movement of Lynch’s camera, and the stark, unsettling imagery of Dreyer’s Vampyr. Samuel Hobson
Though the work of a vibrant authorial voice, it’s let down by nods to genre forebears
A GIRL WALKS HOME ALONE AT NIGHT
Samuel Hobson THE MUSIC • 17TH DECEMBER 2014 • 23
24 • THE MUSIC • 17TH DECEMBER 2014
Members answering/roles: Ash (bass/shouting) and Josh (guitar/occasional reluctant vox) How long have you been together? Josh: A bit over three years. How did you all meet? Josh: I met Ash after I saw her playing a solo set at a mate’s show. I just thought she seemed pretty cool so drunkenly rambled at her until she agreed to play a show with my old band… Don’t tell Ash I said she was cool, though. Ash: Yeah, he stalked me for a little while. Vanessa and I were working together when we decided to start playing together. Van had just started learning to drum, we needed a drummer, the rest is non-fiction. 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? Josh: Probably Magic Dirt is the safest middle ground, maybe Sonic Youth if we steer clear of anything too wanky. I’m probably most likely to be banned from stereo control anyway. Which Brisbane bands before you have been an inspiration (musically or otherwise)? Josh: Gravel Samwidge were a fairly early inspiration for making noisy music when I heard them on JJJ back in the day, and remain that way now for sure. There’s a million other Brissie bands that I love so I won’t even try and list them all. Ash: All of them. Except HITS. HITS are shit. What part do you think Brisbane plays in the music you make? Josh: There’s a very level-headed/ego-free edge to most people we deal with in Brissie, I think it helps keep you grounded so you don’t become too self indulgent. What’s in the pipeline for the band in the short term? Ash: We’re launching our album Record at the Beetle Bar on December 20th! There are going to be special ‘Bottlecocktails’ and Ironside, The Steady As She Goes and Gunk are all playing as well, so you should definitely come along! Bottlecock launch Record (Independent) at the Beetle Bar on Saturday 20 December.
Pic: Terry Soo THE MUSIC • 17TH DECEMBER 2014 • 25
eat/drink MAKE ME, EAT ME FRUIT LEATHERS Remember how great roll-ups were? But surely you also remember your mum forbidding them, claiming that they had too much sugar. Well yeah, she was right. Now that you’re an adult you can eat all the sugar your heart desires, but you can also choose to make homemade fruit leathers yourself. Roll-ups for grown-ups.
EXTRAS What’s the deal with the extra stuff you can get in your juices at juice bars?
COLD-PRESSED JUICES Where to get your juice fix.
Raw Juicery – 280 Adelaide St, Brisbane AND Indooroopilly Shopping Centre, 61 Oxford St, Bulimba These guys keep it simple and revel in the classic combinations. Refresh with an apple, coconut water, lime, mint and ginger blend or or energise with some grape, pineapple, lemon, parsley and ginger. For those people who know exactly what they want, you can select four ingredients for the experts to smash together. Liquefy Juice Company – various locations in Brisbane Health nuts and foodies alike can’t go past a juice
that boasts between 1 and 1.5 kilos of fruit and vegetables in each 500ml serve. There’s no better way to get your two and five than slinging back a Green Gift packed full of cucumber, apple, celery, carrot and kale. Press’d – 85 Commercial Rd, Brisbane Conveniently arranged into intensity levels, these juice are sure to impress anyone and everyone. For easydrinking, go with a watermelon, pineapple, orange and lime combo, or for something a little bit more full-on, try this mix of spinach, kale, apple, carrot, brocolli, beetroot, celery cucumber, zucchini, lemon and ginger.
Spirulina: One-celled microscopic bluegreen algae. Mmm, delicious algae. A natural source of essential nutrients, it’s also highly digestible, and heavy on the vitamin A and iron and other stuff that apparently makes your body happy. Tastes like hint of seaweed but you can bury it under sweet fruity stuff. Chia seeds: Packed with protein, fat, dietary fibres and a bunch of minerals, and adds some bulk to juices. The fibre will keep ya regular, but because the little seeds also absorb a lot of water you have to keep hydrated if you’re ingest chia seeds so it won’t have the opposite effect... Wheatgrass: Yes it’s got chlorophyll, amino acids, minerals, vitamins and enzymes like many other plants but there’s no solid evidence it’s that much better for you. Maybe it’s one of those ‘why else would anyone drink this shit if it weren’t good for you’ things. The smell brings back memories of getting a skin rash on school sports day. Pic by Krabiman.
26 • THE MUSIC • 17TH DECEMBER 2014
The basic recipe is as follows: 1. Prepare desired fruit. Place it into a saucepan with water (about 1 cup to 4 cups fruit) and cook until soft. 2. Puree the fruit in a food processor. 3. Pour puree onto a lined baking tray. 4. Bake on a low temperature (about 80 degrees) for around 3 hours – it’s ready when the surface is no longer sticky. If the fruit is sweet, no need to add any sugar; maybe use a bit if the fruit’s tart. Baking time will vary depending on the fruit. Try adding spices like cinnamon or nutmeg for something different. Some excellent combos to try are peach and strawberry; strawberry, raspberry and basil; or apple and ginger.
WHAT’S THE DIFFERENCE? Is juice even that healthy for you? It’s all in the process. Cold-pressing juice, which basically means the machine is crushing and pressing the fruit instead of using a fast-spinning blade to tear it apart like a centrifugal juicer would (traditionally the most common kind), retains the raw and living nutrients and enzymes of whole, solid fruit better than any other way of juicing. So it keeps all the good stuff in! For green juice fans, a cold-press juicer handles leafy greens better too. Arguably, it also produces a more tasty juice... but we’re not trying to stir up controversy here. Wait, isn’t there a downside? One: a cold-press juicer is more expensive. However, it’s an investment that will end up paying for itself 10 years later when you look like you haven’t aged a day* due to drinking cold-pressed juices daily. *The Music cannot guarantee that this will happen.
"WE HAVE UNLIMITED JUICE? THIS PARTY IS GONNA BE OFF THE HOOK!" BUSTER BLUTH IN BEST MAN FOR THE GOB, S1E19 OF ARRESTED DEVELOPMENT. FEEL YOU, BB.
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BOX OF CHOCOLATES
A GOOD BUNCH OF JEN-TS
Alt-rockers Buddha In A Chocolate Box tour before putting out their debut album next year. They play 8 Jan, Beach Hotel, Byron Bay; 9 Jan, Lefty’s Old Time Music Hall; 10 Jan, Queen Street Mall and 10 Jan, Sonny’s House Of Blues.
The Jensens will play their last show of the year in support of The John Steel Singers at The Triffid on 20 Dec. Having shared stages with Stonefield, Lurch & Chief and Velociraptor recently, the garage-pop outfit have of late captured interests far and wide.
Sydney/Gold Coast band Bootleg Rascal are set to play their fusion of hip hop, dub, soul and blues at The Bearded Lady on 18 Dec in support of their latest single release Oh I Know. Support on the night will be from local punters Hemingway.
POST CHRISTMAS BLUES
Want free popcorn and to get filmed as part of a video? Head to Oh Hello 19 Dec for the Cheated Hearts Christmas Party. Providing tunes are Jane Doe, Frankie Trouble, DJ Dzyr, Lu-Na and Sezzo. Dress Christmassy.
And where better than Crowbar to see the old year out and the new year in? Especially when you have a line-up that includes some of Brisbane’s finest – doom-slayers Zodiac, the mighty Lizzard Wizzard and stoners Black Deity. 31 Dec.
A free gig with Paul Renton, Jimmy Beavis, Benjamin James Caldwell and Olivia Ruth has been announced at The Milk Factory for 28 Dec. Celebrate the silly season with some choice blues tunes.
HARRY & CAMPBELL
KEEP ON TRUCKIN
AC/DC’s 15th studio fulllength, Rock Or Bust, has taken out the top spot on this week’s Carlton Dry Independent Music Charts, narrowly pipping Chet Faker, whose new iTunes Session LP stepped out at #2. The two new entrants aboard the Albums ladder block-knock back last week’s upper echelons, with Faker’s Built On Glass falling to #4 from #1 this week. In fact, every release between the top two and Kingswood’s Microscopic Wars (up three places to #11) suffered a drop: Hilltop Hoods (Walking Under Stars, from #2 to #3), Countdown (#5 from #3), Jimmy Barnes (30:30 Hindsight, from #4 to #6), Sheppard (Bombs Away, #7 from #5), Sia (1000 Forms Of Fear, down two places to #8), Dan Sultan (Blackbird, #9 from #7) and Vance Joy (Dream Your Life Away, down from #8 to #10). Lee Kernaghan’s Driving Home For Christmas steps up a place to #12, while Faker’s Thinking In Textures remains at #15.
Omar Souleyman’s acclaimed 2013 record WENU WENU was produced by Four Tet and people thought it was really great. A large number of humans are into the idea of playing a Korg like a dance club sitar; if that’s you, then be at the The Brightside, 21 Jan.
Rapper and producer duo Lane-Harry x Ike Campbell will support 360 at Eatons Hill Hotel, 19 Dec; The Factory, Sunshine Coast, 8 Jan; The Spotted Cow, Toowoomba, 9 Jan; and Coolangatta Hotel, 10 Jan.
Making music reminiscent of backwards Californian towns, Swedish rock group Truckfighters couldn’t have grown up anywhere more different. Catch them at The Brightside on 14 Jan.
In the Singles chart the highest new entry was Yolanda Be Cool & DCUP’s do-over of Rodriguez’s seminal Sugar Man, in at #8, Northlane’s Rot the only other new entrant on the ladder for the week, sliding in at #11.
HOME FOR SUMMER
Indie/electro-pop group Mercury White have released their new single Déjà Vu C’est La Vie, and are gearing up to take it and their upcoming album Sophisticate across the east coast, playing 9 Jan, Ric’s Bar.
Brisbane’s alt-folk bad boys The Demon Drink are throwing their Christmas party the afternoon of 21 Dec at The Milk Factory, home of all manner of demon drinks, assisted by Suicide Swans and Mama Chair.
Austrian-based expat Australian roots/reggae/folk artist Chris Shermer returns for a spot of homeland summer sun and surf, playing 18 Jan, Harrigan’s Drift Inn, Gold Coast; 30 Jan, Solbar, Sunshine Coast; and 31 Jan at Eumundi Markets.
FOR MORE HEAD TO THEMUSIC.COM.AU
This week brings a re-entry from Hilltop Hoods (Won’t Let You Down, #19) and George Maple (Talk Talk, #20) at the base of the ladder, while the pointy end remains largely unchanged – the Hoods’ Cosby Sweater sits atop the pile once more, with Will Sparks’ Ah Yeah coming in at #2 for a second week running. Peking Duk’s Take Me Over, featuring SAFIA, is up a spot to #3, displacing Timmy Trumpet and Freaks, which stays at #4. THE MUSIC • 17TH DECEMBER 2014 • 27
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HAVE YOU HEARD
ALBUM FOCUS for this album), but I guess in the last five years Iâ€™ve been compiling these tracks.
bring one album â€“ what would it be?: Adele - 21
Was anything in particular inspiring you during the making? Life really, and the belief that it was important to finish the album and get it out.
GUY PEARCE Album title? Broken Bones Where did the title of your new album come from? I wanted something that encapsulated the general theme of the album (even metaphorical), which is about our relationship with emotions, and how they can be overwhelming at times. How many releases do you have now? This is my first Guy Pearce record but Iâ€™ve sung on soundtrack albums before, like A Slipping Down Life.
Whatâ€™s your favourite song on it? Depends on my mood but maybe Taste. I have a soft spot for all the songs, to some degree. Will you do anything differently next time? Thereâ€™s a lot of people Iâ€™d like to use again naturally... and I certainly wonâ€™t wait 25 years before I release the next record. When and where is your launch/ next gig? Nambour Civic Centre, 3 Feb; QPAC, 12 Feb. Website link for more info? guypearce.net
How long did it take to write/ record? Hard to say because Iâ€™ve been writing songs for over 30 years (not specifically
MIA WRAY How did you get together?: I started teaching myself guitar at age 13 and I just fell in love with the concept of writing and singing my own songs. It became a very satisfying release for me. Sum up your musical sound in four words?: Folk. Acoustic. Pop. Soulful. If you could support any band in the world - past or present - who would it be?: I think Iâ€™d change my mind all the time about this answer. Right now it would be Paul Kelly.
Greatest rockâ€™nâ€™roll moment of your career to date?: Woodford 2012 (my first festival). When I turned up to the Bazaar and it was already packed and the crowd started to sing along with me. Not exactly â€œrock â€˜nâ€™ rollâ€? ...but the coolest thing iâ€™ve ever experienced. Why should people come and see your band?: If theyâ€™re looking for soul and passion - then they should come. When and where for your next gig?: Support gig this Wednesday (19 Nov) at The Globe in Brisbane QLD. Website link for more info?: https://www.facebook.com/ MIAWRAYOFFICIAL
Youâ€™re being sent into space, no iPod, you can
STORE.THEMUSIC.COM.AU 2288 â€˘ TTHE MUSIC â€˘ 17TH DECEMBER 2014
S U P P O R T I N G
I N D E P E N D E N T
A U S S I E
M U S I C
WED 17TH DEC
WOODNUTS LAMENT THU 18TH DEC
CAFÉ - BAR
321 BRUNSWICK STREET MALL, FORTITUDE VALLEY
WED 17TH DEC
HOUSE HOUNDS (10:00PM) + NILA BONDA (9:00PM)
THU 18TH DEC
CARD HOUSES (10:30PM) + BRODIE LOWE (9:30PM)
THE LOVELESS UNION
SUPERKALEIDA (9:00PM) + AFTER GRYCE (8:00PM)
SAT 20TH DEC
THE RATTLING SPINES (9:30PM) + GUEST (8:30PM)
FRI 19TH DEC
W/ KING KONGO
CUPCAKE CONSPIRACY W/ BAD VALLEY
SUN 21ST DEC
FRI 19TH DEC
SAT 20TH DEC TBC
SUN 21ST DEC
MON 22ND DEC
CONSPIRACY OF ONE (9:30PM) + ELLIE JANE (8:30PM)
TUE 23RD DEC
LUKE REICHELT (9:30PM) + GUEST (8:30PM) FREE LIVE MUSIC AND INDIE DJS
WANT TO PLAY? EMAIL BOOKINGS@RICSBAR.COM.AU
THE MUSIC • 17TH DECEMBER 2014 • 29
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THE MUSIC PRESENTS Dead Letter Circus: The Hi-Fi 18 Dec
Sharon Van Etten: The Zoo 4 Mar
Dallas Frasca & Shaun Kirk: Lefty’s 18 Dec, 19 Dec, Currumbin Creek Tavern; 20 Dec, Joe’s Waterhole
London Grammar: Brisbane Riverstage 7 Mar
Thy Art Is Murder: Crowbar 20 Dec & 21 Dec (U18) Nas: The Tivoli 20 Jan Guy Pearce & Darren Middleton: QPAC 12 Feb Earth Frequency 2015: Ivory’s Rock 13 – 16 Feb The Gooch Palms: Crowbar 13 Feb, Great Northern 14 Feb Real Estate: The Zoo 27 Feb
Pete Cullen: Archive Beer Boutique, West End Karl S Williams: Black Bear Lodge, Fortitude Valley Trivia: Blue Pacific Hotel, Woorim Festival of Small Halls + The Mae Trio + Del Barber: Caloundra Regional Gallery, Caloundra The Zouk Social: Chalk Hotel, Woolloongabba Trivia: Forest Lake Tavern, Forest Lake Trivia: Glenmore Tavern, Norman Gardens Trivia: Lawton Tavern, Lawnton Big Jam with Chris Ramsay: Manly Hotel, Manly Open Mic Night Various Artists: Mick O’Malley’s, Brisbane
65daysofstatic: The Hi-Fi 11 Mar DZ Deathrays: The Brightside 13 Mar Mojo Burning Festival: New Globe Theatre 21 Mar Bluesfest Byron Bay: Tyagarah Tea Tree Farm 2 – 6 Apr Mavis Staples: Brisbane Powerhouse 8 Apr Urban Country Music Festival: Caboolture 1 – 3 May
Sterling: Archive Beer Boutique, West End Open Mic Night + Various Artists: Bay Central Tavern, Pialba Hey Geronimo: Black Bear Lodge, Fortitude Valley Karaoke: Blue Pacific Hotel, Woorim It’ Time: The No 1 Hits of Railroad Gin and The Carol Lloyd Band + Carol Lloyd: Brisbane Powerhouse (Powerhouse Theatre), New Farm Big Jim: Brothers Leagues Club, Manunda Declan Skinner’s Mystery Band + Chop Squad + The May Rivers + Goodbye Bozos: Brunswick Hotel, New Farm Tim Chaisson: Cafe Le Monde, Noosa Heads Jam Night + Various Artists: Capalaba Tavern, Capalaba
Trivia: Oxford 152, Bulimba
Trivia: Club Tavern, Caboolture
Trivia: Pelican Waters Hotel, Caloundra
Driven Fear + Travels + Perpetrator: Crowbar, Fortitude Valley
Trivia: Redland Bay Hotel, Redland Bay Open Mic Night + Various Artists: Solbar (Lounge), Maroochydore
Trivia: Deception Bay Tavern, Deception Bay Stand Up Comedy + Various Artists: Dog and Parrot Tavern, Robina
GIG OF THE WEEK TY SEGALL: 19 DEC, THE ZOO
Festival of Small Halls + The Mae Trio + Del Barber: Mudgeeraba Memorial Hall, Mudgeeraba Karaoke: Prince of Wales Hotel, Nundah
Skate And Destroy feat. Mouthguard + Junkyard Diamonds + Deadweight Express + The Dominiques + Citizen John: Beetle Bar, Brisbane
Darren J Ray: Redlands Sporting Club, Wellington Point
Various DJs: Blue Pacific Hotel, Woorim
Karl S Williams + Sahara Beck: Solbar, Maroochydore
Various DJs: Breakfast Creek Hotel, Breakfast Creek
Trivia: Springfield Tavern, Springfield
Knockoff + Various Artists: Brisbane Powerhouse (Turbine Platform), New Farm
Trivia: Springwood Hotel, Springwood Trivia: Sunnybank Hotel, Sunnybank Bootleg Rascal + Hemingway: The Bearded Lady, West End The Others + Mood Swing + Downside: The Brightside, Fortitude Valley Dead Letter Circus + sleepmakeswaves + Voyager: The Hi-Fi, West End Jesse Morris + The Love Street Collective: The Milk Factory Kitchen & Bar, South Brisbane
It’ Time: The No 1 Hits of Railroad Gin and The Carol Lloyd Band + Carol Lloyd: Brisbane Powerhouse (Powerhouse Theatre), New Farm Fingerprint: Brothers Leagues Club, Manunda Various Artists: Buderim Tavern, Buderim Acoustic Artists + Various Artists: Burleigh Heads Hotel, Burleigh Heads Various DJs: Caloundra Hotel, Caloundra
Hayley Grace: The Plough Inn, Southbank
Various Artists: Capalaba Tavern, Capalaba
Big Bad Echo + End On The First Note + Hyde & The Hitcher: The Zoo, Fortitude Valley
Felicity Lawless: Cardigan Bar, Sandgate
Tuffy: Victory Hotel, Brisbane
Unsought Duke + Pack Animals + Go Go Fish: Chalk Hotel (Sonic Temple), Woolloongabba
Phil Barlow & The Wolf: Eat Street Markets, Hamilton
Various DJs: Villa Noosa Hotel, Noosaville
Woodnutt’s Lament: The Bearded Lady, West End
Lucy Street Trio: Chalk Hotel, Woolloongabba
Karaoke: Forest Lake Tavern, Forest Lake
Slumberjack: Wharf Tavern (The Helm), Mooloolaba
Dan’s Hot Five: The Milk Factory Kitchen & Bar, South Brisbane
Various Artists: Chardons Corner Hotel, Annerley
Karaoke: Glenmore Tavern, Norman Gardens
Jam Night + Various Artists: Stones Corner Hotel, Stones Corner
Ronnie Walker: The Plough Inn, Southbank
Karaoke: Imperial Hotel, Beenleigh
Trivia: Vale Hotel, Aitkenvale
Dave Ritter: Logan Diggers Club, Logan Central
Trivia: Villa Noosa Hotel, Noosaville
Karaoke: Manly Hotel, Manly
Karaoke: Albany Creek Tavern, Albany Creek
Karaoke: Alderley Arms Hotel, Alderley Open Mic Night + Various Artists: Allenstown Hotel, Rockhampton
Underground Sounds - Open Mic Night Competition + Various Artists: Mick O’Malley’s, Brisbane The Naked Sessions with Sabrina Lawrie + Flannelette + The Flangipanis: Mick O’Malley’s (The Bunker), Brisbane
Body & Soul - Sandy Beyon & Sean Mullen: Absynthe French Restaurant, Surfers Paradise Venus Envy: Albany Creek Tavern, Albany Creek Various Artists: Alexandra Headlands Hotel, Alexandra Headlands Worlds End Press + Multiple Man: Alhambra Lounge, Fortitude Valley Various Artists: Allenstown Hotel, Rockhampton Sterling + Tyrone: Archive Beer Boutique, West End
S U P P O R T I N G
Various Artists: Commercial Hotel, Nerang
Kate Derepas: Habitat Restaurant & Bar, South Brisbane Various Artists: Hinterland Hotel, Nerang Two-Iffik: Irish Finnegans, Condon Various Artists: Kawana Waters Hotel, Kawana Waters Karaoke: Kedron Park Hotel, Kedron Park Various Artists: Kirwan Tavern, Townsville Various Artists: Lawton Tavern, Lawnton Atmosphere: Logan Diggers Club, Logan Central Ace DJs: Manly Hotel, Manly Various Artists: Miami Tavern, Miami Various Artists: Mick O’Malley’s, Brisbane Tim Chaisson: New Globe Theatre, Fortitude Valley Castlecomer: Old Museum, Bowen Hills Green Jam Sessions + Various Artists: QPAC (Melbourne Street Green), Southbank Dezzie D & The Stingrayz: Royal Mail Hotel, Goodna Recharge DJs: Russell Tavern, Dalby The Basics + The Gun Barrel Straights: Solbar, Maroochydore Karl S Williams: Soundlounge, Currumbin Various Artists: Springfield Tavern, Springfield
Various Artists: Coomera Tavern, Upper Coomera
Freakin Fridays + Rotating Residents: Springwood Hotel, Springwood
Dreamtime + Black Deity + Bad Valley + Hobo Magic: Crowbar, Fortitude Valley
Various Artists: Stones Corner Hotel, Stones Corner
Various Artists: Dalrymple Hotel, Garbutt
Jon Whitten: Story Bridge Hotel (The Corner Bar / 9pm), Kangaroo Point
TGIF + Various DJs: Deception Bay Tavern, Deception Bay Fish Out of Water + The Bon Scotts: Eat Street Markets, Hamilton 360 + Lane Harry + Ike Campbell: Eatons Hill Hotel (Grand Ballroom), Eatons Hill
I N D E P E N D E N T
DJ Ritchie: Story Bridge Hotel (Shelter Bar / 10pm), Kangaroo Point The Loveless Union + King Kongo: The Bearded Lady, West End
A U S S I E
M U S I C
the guide email@example.com Mosman Alder + Banff + Blonde Tongues: The Brightside, Fortitude Valley DJ JD7: The Four Mile Creek Hotel, Strathpine Ingrid James Duo: The Lido Cafe & Restaurant, Ascot Ty Fader: The Plough Inn, Southbank Triffid Sistas feat. Bec Laughton + Astrid + Brianna Carpenter: The Triffid, Newstead Diamond Dave: The Underdog Pub Co (Public Bar), Fortitude Valley Ty Segall + The Babe Rainbow + Thigh Master: The Zoo, Fortitude Valley The Others + Shackles + Nerve Damage: Upstairs 199, West End Various Artists: Victory Hotel, Brisbane Nightshift: Wynnum RSL, Wynnum
Trainspotters feat. Tonstartssbandht + Morning Harvey + Twin Haus + Tempura Nights: Grand Central Hotel, Brisbane Faleepo Francisco + Jakey J + The Houses + Ian Jenkinson: Kallangur Tavern, Kallangur Various Artists: Kawana Waters Hotel, Kawana Waters Wally & The Gators: Logan Diggers Club, Logan Central David Lynch: Manly Hotel, Manly Ace DJs: Manly Hotel, Manly Various Artists: Miami Tavern, Miami Ger Fennelly: Mick O’Malley’s, Brisbane Festival of Small Halls + The Mae Trio + Del Barber: Moore Soldiers Memorial Hall, Moore
Juice + DJ Jarrd + DJ Blitz: Wynnum Tavern, Wynnum West
The Skatalites + The Mouldy Lovers + Alla Spina: Prince of Wales Hotel, Nundah
Christmas Party feat. Angela Fabian + The Story: Royal Mail Hotel, Goodna
Creek Bar Saturdays + DJ Indy Andy: Albany Creek Tavern, Albany Creek Jazz Saturdays + Various Artists: Albion Hotel, Albion Various Artists: Alexandra Headlands Hotel, Alexandra Headlands Paces: Alhambra Lounge, Fortitude Valley G-Bass + Blair: Archive Beer Boutique, West End Bottlecock + Ironside + GUNK + Steady As She Goes: Beetle Bar, Brisbane Various Artists: Blue Pacific Hotel, Woorim Alternator: Breakfast Creek Hotel, Breakfast Creek The Idea of North: Brisbane Powerhouse (Powerhouse Theatre 3pm, 8pm), New Farm Karaoke: Brook Hotel, Mitchelton Out of the Blue: Brothers Leagues Club, Manunda Various Artists: Caloundra Hotel, Caloundra Karaoke: Capalaba Tavern (Sports Bar), Capalaba Various Artists: Captain Cook Tavern, Kippa-Ring Wasabi + DJ Keith: Chalk Hotel, Woolloongabba Scorcher Fest + Various Artists: Courthouse Hotel, Southport Thy Art Is Murder + Psycroptic + Fit For An Autopsy + Revocation + Disentomb: Crowbar, Fortitude Valley Crowieoke + Various Artists: Crowbar (11.30pm), Fortitude Valley Karaoke: Deception Bay Tavern, Deception Bay Mark Lowndes + Jesse Morris: Eat Street Markets, Hamilton Various Artists: Ferny Grove Tavern, Ferny Grove
360: 19 DEC, EATONS HILL HOTEL
The Basics: Old Museum, Bowen Hills
Recharge DJs: Russell Tavern, Dalby The Floating Bridges + Those Old Soles: Solbar, Maroochydore The Big Duo: Story Bridge Hotel (The Corner Bar / 9pm), Kangaroo Point DJ Ritchie: Story Bridge Hotel (Shelter Bar / 10pm), Kangaroo Point The Cupcake Conspiracy + Bad Valley: The Bearded Lady, West End 666mas Party! with Road To Ransome + Countdown To Armageddon + She Cries Wolf + When Heroes Fall: The Brightside, Fortitude Valley Hey Geronimo: The Factory, Maroochydore The Bon Scotts + Lutra Lutra: The Milk Factory Kitchen & Bar, South Brisbane
Sweet K: Brothers Leagues Club, Manunda
Scorcher Fest + Various Artists: Spring Hill Hotel, Spring Hill
Trivia: Australian National Hotel, Woolloongabba
Sunday Unplugged + Various Artists: Burleigh Heads Hotel, Burleigh Heads
DJ Niko: Stoke Bar (2pm), Southbank
The Wiggles: Brisbane Entertainment Centre, Boondall
Sunday Session + Various DJs: Capalaba Tavern, Capalaba
DJ Ritchie: Story Bridge Hotel (Shelter Bar / 3pm), Kangaroo Point
Big Jim: Brothers Leagues Club, Manunda
Various Artists: Captain Cook Tavern, Kippa-Ring
Gordi + Banff: The Bearded Lady, West End
Trivia: Captain Cook Tavern, Kippa-Ring
Lemon & Lime with Dubfire: Capulet, Fortitude Valley
Josh Wade: The Brightside, Fortitude Valley
Trivia: Irish Finnegans, Condon
Paul Atkins: Chalk Hotel, Woolloongabba
The Demon Drink + Suicide Swans + Mama Chair: The Milk Factory Kitchen & Bar (3pm), South Brisbane
Trivia: Manly Hotel, Manly
Thy Art Is Murder + Psycroptic + Fit For An Autopsy + Revocation + Disentomb: Crowbar (All Ages), Fortitude Valley Take Me Home: Irish Murphy’s, Brisbane Ingrid James + Louise Denson + Wild Silk: Jazz Upstairs, West End Various Artists: Lawton Tavern, Lawnton Various Artists: Magnums Hotel, Airlie Beach Dagsville: Manly Hotel, Manly
Rusty: Wynnum RSL, Wynnum
Trivia: The Gap Tavern, The Gap
Trivia: Dowse Bar (Iceworks), Paddington
Trivia: Belmont Tavern, Belmont
Trivia: Mt Pleasant Tavern, North Mackay
Craig Shaw: Wynnum RSL, Wynnum
Hanja: OMalleys Irish Bar, Mooloolaba Various Artists: Petrie Hotel, Petrie
Songs That Made Me feat. Katie Noonan + Angie Hart + Melody Pool + Sam Buckingham: Old Museum, Bowen Hills
Various Artists: Pub Lane Tavern, Greenbank
Trivia: Pub Mooloolaba, Mooloolaba
Kevin Clough: Pub Mooloolaba, Mooloolaba
Trivia: The Four Mile Creek Hotel, Strathpine
Sunday Sessions + Various Artists: Blue Pacific Hotel, Woorim Plus One: Breakfast Creek Hotel, Breakfast Creek
Various Artists: Smithfield Tavern, Smithfield Pat Tierney + Blake Saban: Solbar (4pm), Maroochydore
S U P P O R T I N G
MUSIC SERVICES RECORDING STUDIOS ALCHEMIX RECORDING STUDIOS
Trivia: Kirwan Tavern, Townsville
Various Artists: North Lakes Tavern, Mango Hill
Various Artists: Raintrees Tavern, Manunda
Trivia: Kallangur Tavern, Kallangur
Various DJs: Villa Noosa Hotel, Noosaville
Darling James + Edward Guglielmino & The Show + Sahara Beck: Black Bear Lodge, Fortitude Valley
Michael Bishop: Archive Beer Boutique, West End
Darren Hanlon: New Globe Theatre (All Ages), Fortitude Valley
Josh Lovegrove: Archive Beer Boutique, West End
Various DJs: Victory Hotel, Brisbane
Trivia: Alexandra Headlands Hotel, Alexandra Headlands
The Growlers + The Babe Rainbow + Donny Love: Coolangatta Hotel, Coolangatta
Mark Sheils: Samford Valley Hotel, Samford Valley Trivia: Stones Corner Hotel, Stones Corner
Festival of Small Halls + The Mae Trio + Del Barber: Mt Mee Public Hall, Mt Mee
Mimi Macpherson: Noosa Reef Hotel, Noosa Heads
Trivia: Royal Exchange Hotel, Toowong
Jam Session + Various Artists: Waterfront Hotel, Diddillibah
Archie Rye + Stereo Blonde: The Plough Inn, Southbank
Seven Sermons + Balloons Kill Babies + Vervet Thirst + The Rared: The Zoo, Fortitude Valley
Trivia: Pacific Pines, Pacific Pines
Triffid Roots feat. Felicity Lawless + Pete Cullen: The Triffid, Newstead
Karaoke: Manly Hotel, Manly
The John Steel Singers + The Jensens + Love Signs: The Triffid, Newstead
Trivia: Kedron Park Hotel, Kedron Park
Karma: The Plough Inn, Southbank
Emma Donovan & The Putbacks: The Motor Room, West End
Mark D’s Big 3: Morrison Hotel, Woolloongabba
Trivia: Buderim Tavern, Buderim
Trivia: Alderley Arms Hotel, Alderley
Trivia: Allenstown Hotel, Rockhampton
I N D E P E N D E N T
www.alchemix.com.au recording-mixing-mastering-andproducing-artists-since-1998 look-us-up-or-ring-for-questions-answered 0407630770 firstname.lastname@example.org
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32 • THE MUSIC • 17TH DECEMBER 2014
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...
Published on Dec 16, 2014
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...