# 8 5 • 2 2 . 04 . 1 5 • B R I S BA N E • F R E E • I N C O R P O R AT I N G
AUTUMN 2015 Where to go for the best pub dining this Autumn
the music | the lifestyle | the fashion | the art | the culture | you QUICK ‘N’ CHEAP
F E E L I N ’ FA N C Y
2 • THE MUSIC • 22ND APRIL 2015
THE MUSIC • 22ND APRIL 2015 • 3
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THIS WEEK THINGS TO DO THIS WEEK • 22 APR - 28 APR 2015
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This week marks the century anniversary of one of our nation’s most important events – the Gallipoli landings. This weekend the usual ANZAC Day celebrations are in full force, augmented by a slew of events such as at New Farm Park on Saturday when bands will be playing tunes from the wartime eras. Those men gave their lives so we can live the lives we lead today – their sacrifice must never be forgotten.
This Sunday, for one day only, Parasyte: Part 1 hits cinemas. The movie tells the tale of Shinichi Izumi, a regular high school student who is attacked by a worm-like alien parasite. The parasite enters through the nose and attaches itself to the brain. Ugh. This is one of those “big in Japan” deals, so if it’s your kind of thing, you have one day to see it, don’t flake. Check your local listings!
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Local indie label Plus One Records has a double celebration this weekend – altfolk ensemble The Gin Club are officially releasing their great new long-player Southern Lights, and their label-mates Halfway, pictured, are releasing new single Shakespeare Hotel (the third lifted from their acclaimed 2014 album Any Old Love). Both of these bands – joined by rising Bris band Mosman Alder – will be launching their new product at The Triffid on Friday 24 April: get amongst it and support the local scene! BRISBANE
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IN HEARTS WAKE PILOTS FEELING DAVE SUN 3 MAY
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KARNIVOOL CAIRO KNIFE FIGHT FRI 8 MAY
TIMBERWOLF FR 15 MAY
TROPICAL ZOMBIEI TICKETS AVAILABLE ONLINE WWW.THENORTHERN.COM.AU
THE MUSIC • 22ND APRIL 2015 • 5
national news email@example.com TRUE DETECTIVE
YOUR NEXT SPLENDID WEEKEND
Riveting adult drama and HBO hit True Detective kicks off on Monday 22 Jun on Showcase with a new case and a new cast. The first season won critical and audience praise for its compelling storyline and vivid, award-winning performances by Matthew McConaughey and Woody Harrelson. Season Two will feature a twisting plot, playing out both across the state, and in the seedy netherworld of Vinci, a fictional city in LA County. Colin Farrell is Ray Velcoro, a compromised detective in Vinci. Vince Vaughn is Frank Semyon, a criminal and entrepreneur in danger of losing his life’s work when his move into legitimate enterprise is upended by the murder of his business partner. Head to showcasechannel.com.au for the trailer.
THE NEXT LEVEL
A whole lotta love has gone into the new record by Tim Rogers & The Bamboos, The Rules Of Attraction. They’ll be uncovering it all on a national tour, making its way to The Triffid, Brisbane, 18 Jun; Metro Theatre, Sydney, 19 Jun; Corner Hotel, Melbourne, 25 Jun; and Rosemount Hotel, Perth, 4 Jul.
King Gizzard & The Lizard Wizard have created an insane album launch tour: Gizzfest will see the band headline minifestivals around the country, complementing the release of their upcoming album. Gizzfest comes to Corner Hotel, Melbourne, 2 – 3 May with The Murlocs, The Babe Rainbow, Scott & Charlene’s Wedding and more; 23 May at Rosemount Hotel, Perth sees Mugwump, Dream Rimmy, Gunns and more; 30 May at Factory Theatre, Sydney will feature The Laurels, The Murlocs, Babe Rainbow and more; 31 May, The Brightside, Brisbane includes Babe Rainbow, The Murlocs, The Family Jordan and The Furrs.
Gang Of Youths have been the talk of the town recently, and with the release of their debut album The Positions last week, the four-piece are heading out on a national tour. Discover what all the fuss is about when they make their way to Oxford Art Factory, Sydney, 15 May; Woolly Mammoth, Brisbane, 16 May; Northcote Social Club, Melbourne, 22 May; Jimmy’s Den, Perth, 29 May; and Mojo’s Bar, Fremantle, 30 May.
Irish artist Hozier is back and touring nationally. His rare mix of blues, soul, Celtic ballads and gospel have won people over, as well as the hit Take Me To The Church. He sounds a lot like a male Florence + The Machine. Since then he’s played with Annie Lennox and has the likes of Ellie Goulding already covering his songs. Playing 28 Oct, Belvoir Amphitheatre, Perth; 30 Oct, Palais Theatre, Melbourne; 3 Nov, Hordern Pavilion, Sydney; 6 Nov, Riverstage, Brisbane.
“DEAR J.J. ABRAMS, THANK YOU FOR NOT RUINING STAR WARS. SINCERELY, EVERYBODY.” THERE IS HOPE, @DEPRESSEDDARTH 6 • THE MUSIC • 22ND APRIL 2015
It’s on again! Splendour In The Grass returns to North Byron Parklands 24 – 26 Jul and this year there will be four main stages – the Amphitheatre, Mix Up, GW McLennan and, dedicated to Australia’s pre-eminent DJs, Tiny Dancer – hosting more than 100 acts from around the world over the full three days. There’ll be food for the brain with the Splendour Forum, presented by The Guardian, and the Late Night Comedy Club, The Global Village and Splendour In The Craft packed with workshops and stuff, but you wanna know who’s playing, right? Cop this lot for a first line-up announcement – Blur, Florence + The Machine, Mark Ronson, Of Monsters & Men, The Wombats, Tame Impala, Peking Duk, Ryan Adams, Flight Facilities, Royal Blood, Death Cab For Cutie, Earl Sweatshirt, Boy & Bear, Porter Robinson, The Dandy Warhols, Xavier Rudd & The United Nations, Azealia Banks, The Rubens, POND, Spiritualized, Best Coast, Thundamentals, Kitty, Daisy & Lewis, The Vaccines, Johnny Marr… and that’s just the half of it! You know what to do.
It’s been a while between drinks but Alpine are back with their second album, Yuck, out 12 Jun, and the first single lifted off it, Foolish, released, appropriately enough, on April Fools’ Day. Co-produced by Alpine guitarist Christian O’Brien and Dann Hume, Yuck sees Alpine inviting Pearl, Darts and Olympia to help them christen the newbie on a national tour taking in 26 Jun, Karova Lounge, Ballarat; 27 Jun, Forum Theatre, Melbourne; 3 Jul, The Triffid; 4 Jul, Metropolis, Perth; 8 Jul, ANU Bar, Canberra; 9 Jul, Cambridge Hotel, Newcastle; 10 Jul, Uni Bar, Wollongong; and 11 Jul, Metro Theatre, Sydney.
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FRONTLASH FOR THE RECORDS
Was a great Record Store Day on the weekend, with bands and bargains aplenty. Now don’t forget that your local record stores are there all year round, not just one weekend in April. Shop local!
SPLENDID! Another Splendour In The Grass line-up announce that seems to have polarised, but we reckon there’s plenty of great stuff for everyone there.
GO FITZY! We usually think Fitzy is a bit of a prat, but if it’s true that he had a physical altercation with Bieber backstage at Coachella during AC/DC then he’s won us over. As if the Bieb would give a rats about Acca Dacca anyways...
YOU WANT TO TOO
Prohibited from performing in public in her native Iran because she’s a woman, the world first heard Tara Tiba when she moved to WA in 2012. Since then, her debut album, A Persian Dream, has seen her performing at WOMADelaide and the New York Metropolitan Museum of Art. Accompanied by a band of classical Persian musicians – Persia is now Iran – Tiba performs 26 Apr at Queensland Multicultural Centre.
LAUGHING WITH UNICORNS HELLENIC HOUSE.
BACKLASH HELL(ENIC) TO PAY
Sad news with confirmation that Greek hub Hellenic House in South Brisbane will be knocked down to make more units.
HOLY DAY We know it’s all about remembering the Diggers, but surely the 100-year anniversary of Gallipoli deserves a long weekend even with ANZAC Day falling on Saturday. A day off to reflect on their sacrifice wouldn’t be a lot to ask...
SCAR PARKING Now they’re introducing paid car parking at Indooroopilly Shopping Centre? It’s already like pulling teeth trying to park there, and now we get to pay for the privilege? What next, ground tax for walking?
Brisbane’s sweet-yet-scuzzy, indie-rockers We All Want To, the brainchild of Screamfeeder guitarist Tim Steward, release their third album, The Haze, in May, and have released first single, Road To Ruin, with a clip filmed in an abandoned hospital. We All Want To head out on tour to showcase both, playing 13 Jun at Woolly Mammoth, 14 Jun at the Bison Bar, Nambour and 19 Jun at The Spotted Cow, Toowoomba.
There are sure to be plenty of you out there who are among the 5.4 million YouTube subscribers who’ve tuned into comedian Lilly Singh’s alter ego, IISuperwomanII, so you’ll be chuffed to learn that Singh is heading to Australia on her first national tour. Dubbed A Trip To Unicorn Island, the Canadian comic, who defines Unicorn Island as “wherever you want it to be, whenever you want it there. It’s a place where it’s okay to be silly,” plays 4 Jun at Eatons Hill Hotel.
JOT IT DOWN
Byron Bay Writers Festival is taking place 7 – 9 Aug with the aim to deliver a diverse program of engaging conversations with some of Australia’s most celebrated writers, and the strongest line-up of international guests in the Festival’s history. Julia Gillard, Joan London, Helen Garner, Kate Grenville, Jackie French and more talents are part of the bill, with the full program to be announced 12 Jun. Early bird tickets are on sale now.
Death Valley DJs is a new collaboration between Fortitude Valley stalwarts Mikey Wilson, Wolvie Trash and Regurgitator’s Ben Ely – they’re planning on making their way to every dive bar around town to bring the best rock’n’roll dance party to you, the people, and it all kicks off with a launch at Brew, 25 Apr. They’ll also be playing at Woolly Mammoth on 1 May.
EMMA FOR SAM
When Sam Smith fronts up 25 Apr to play the sold-out Riverstage, opening for him will be none other than indie darling, Emma Louise. Currently working on her second album, the Australian songstress will of course be performing the songs that put her on the international map – Jungle, Two Bodies and more. CLAUDE HAY
The past dozen years or so has seen six-piece from Liverpool, UK, Anathema, consolidate a progressive/alternative sound very different from the band’s death/doom roots of the early ‘90s. So the idea of an acoustic Anathema tour should prove an inspired contrast to last year’s first visit. This time the 2014 Prog Music Awards Best Song of the Year winners are touring the whole country, playing 29 Oct at The Triffid.
Based these days in Katoomba in NSW’s Blue Mountains, solo roots artist Claude Hay has recorded a new single, Crossfire, at a new studio in those Blue Mountains, and is taking it for a spin before up the east coast before heading for festival dates in the Netherlands. Hay plays 9 May at Sonny’s House Of Blues. THE MUSIC • 22ND APRIL 2015 • 7
local news email@example.com SEAN SIMMONS & ADRIAN STOYLES
CATCHING THE CROOK[ER]S Italian DJ and producer team Crookers has released their album Sixteen Chapel and is celebrating with dates and parties all around Australia. He’s collaborated with Def Jam, YG, Jeremih, TJR and Zombie Nation. The new album blends elements of ghetto house, trip-hop, minimal techno and hip hop. Support for the album has been coming in thick and fast from trend forecasters and DJs like Annie Mac, Diplo, Skrillex and Aston Shuffle. Playing 5 Jun, The Met.
Winner of five gongs at 2013’s UK Glitch-Hop Awards and winner of Best Electronic Album at the NZ Music Awards, Melbourne-based kiwi expat Opiuo is now fronting a five-piece band he wants to show off to friends and fans 1 May at The Hi-Fi.
With a brand new and second album, Seeing Red/Feeling Blue, to show off, as well a performance at the Sydney Opera House for VIVID Live, Mojo Juju is on fire. See her when she takes the album for a run that comes around 5 Jun to Solbar and 6 Jun at Woolly Mammoth.
FLESH & WOOD & VOICE
It may seem a little, um, odd, the words Jimmy Barnes and acoustic tour in the same sentence, but that’s exactly what you’re about to get as the Voice hits the road to celebrate his seventh album, 1993’s Flesh And Bone, which, as it happens, was recorded entirely acoustically. Accompanied by a nine-piece band and string section, the Flesh And Wood Acoustic tour, embellished by some of Barnes’ biggest hits, plays 3 Jul in the Concert Hall, QPAC; and 4 Jul at the Empire Theatre, Toowoomba.
Rolls Bayce bring their On My Own tour home next month, adding a final show to their successful run of East Coast shows. The band will play Black Bear Lodge on 10 May. 8 • THE MUSIC • 22ND APRIL 2015
ENJOY THE SPOILS
Following last year’s sold out show at the Skukum Lounge, Spoils front man Sean Simmons returns with fellow Spoil, Adrian Stoyles (also of Gin Club fame and most recently Something For Kate) on piano and organ bringing their songs of love, pursuit and regret back to The Junk Bar, 2 May.
As part of the Room40 record label’s 15th anniversary celebrations, 10 May, Brisbane Powerhouse, as part of its IRL Digital Festival, is co-presenting Room40:15, with Melbourne artist Robin Fox bringing his RGB Laser Show to Brisbane for the first time, a total assault on the senses guaranteed.
RNR BBQ DAY
Back 3 May at The Triffid, local rock’n’roll juggernaut HITS headline this RNR BBQ time around in a line-up that also sees local Bob Seeger devotees Horrortones play their final show, skuzz merchants Fat, pub-punks Goldstool and, opening proceedings, Bottlecock.
“HIS BLOOD RAN RED OVER THE TRENCHES, THE SAME COLOUR AS OUR DELICIOUS APPLES ON SALE FOR $2.99!” #FRESHINOURMEMORIES
WOOLWORTHS’ ANZAC CAMPAIGN WAS TERRIBLE, BUT THE MOCKING OF IT – LIKE THIS TWEET FROM @AUTOMATICWICKIE – WAS PRETTY GOOD.
RIGHT ROYAL FEST
Now in its 21st year, the iconic Caxton Street Festival street party returns 7 Jun, the Queen’s birthday holiday long weekend, with great live music, plenty of tasty food and your chance to savour a great range of local wines, craft beers and all manner of cocktails. The music kicks off midday, but you’ll have to wait till the end of the month to find out just who’s playing on the day.
Alt-rock trio Seether is touring Aus to celebrate the sixth album release, Isolate & Medicate. They’ve been rocking since 1999 from their hometown of Pretoria. They’re the most successful South African rock act to come out of the country, having sold five million album copies worldwide so far. 2 Jul, Eatons Hill Hotel. Tickets go on sale 22 Apr.
TIME LORD Tom Loud is the driver of Hot Dub Time Machine, an unashamed devotee of the greatest mainstream music of all time. He creates DJ sets in chronological order, shamelessly paying props to the best tunes of all time, as Liz Giuffre discovers. Cover and feature pic by Cole Bennetts. DJ Tom Loud, aka Hot Dub Time Machine, explains his careful formula for making a bloody awesome party. Drawing on the best mainstream music across genres and eras, he puts together sets of between 40 minutes and several hours combining audio with visuals from each period. The result is played year by year from 1954 to the present day, with his only rule being that tracks must be played in chronological order. “The whole concept of Hot Dub is making people just feel like they can get up and dance. Like the whole start of the show is Bill Haley’s Rock Around
turntable – old-school layering of tracks and stuff. And that seems like lots of DJs these days everything’s a remix – if I want to hear Smells Like Teen Spirit, I don’t want to hear a house version, I want to hear the actual track with Kurt Cobain.” Loud’s ascension has been fuelled by what he calls “a midthirties life crisis”. Laughing as he explains giving up a career in television in order to become “a superstar DJ”, his background working on some of the most beloved (and perhaps daggiest) local productions having given him a great nose for pleasing crowds
shamelessly pandering to local sensibilities,’” he laughs. “And that’s definitely what I’ll do, and I think it’s important – when I see a gig I want to go and have the performer say ‘it’s lovely to be here in Sydney,’ or wherever we are. You have to acknowledge who’s there in the moment with you.” The Hot Dub mix across time takes not just styles, but genre and gender breakdowns seriously. While Loud speaks with great pleasure about being able to take crowds “from Respect by Aretha Franklin to Milkshake by Kelis,” as well as moving across types of aesthetics and sensibilities. “It’s really fun; the context is kind of what Hot Dub does. And it’s one of those things that you can’t believe that people didn’t do before me. It starts with what people did in the ‘50s and ‘60s and early recordings were generally mono. There’s no sub-bass, and, like, You’ve Really Got Me, by The Kinks is really basic, it sounds awesome but just sonically [the recording] is just awful. And then as you go through time you get this rush of sound as it [recording] gets better and better. It builds until you get to massive tunes.” Loud’s work is an all-in, but the buck does stop with him. While the classic DJ curse still happens (i.e. kids coming to the decks asking for their favourite track or berating the absence of something they
“WHEN I STARTED I FELT LIKE A LOT OF DJS WERE A BIT BORING AND A LOT OF DANCE PARTIES ARE ELITIST. HOT DUB IS A REACTION TO ALL THE DJS WHO DON’T ACKNOWLEDGE THE CROWD OR WHO LOOK DOWN ON CHEESY OR POPULAR MUSIC.”
The Clock, and there’s always people who react with ‘Why are we seeing and hearing this?’! But then, as it gradually goes and it hits them with song after song, when the song that they love comes on, then you’ve got them. And if you don’t love what I’m playing now, in thirty seconds, it’s gone and we’re onto the next year.” To talk to, Loud is puppy-dog positive, which would be off-putting except that he’s so committed his energy is infectious. Much like the pop music he peddles, it’s hard to deny the appeal, despite any cynical aversion to the apparent gimmick of the show. Besides, if Loud was just a gimmick, the whole thing wouldn’t work as well as it has. He’s taken Hot Dub across Australia playing Falls and Splendour, to UK, including regular Edinburgh festival spots, and most recently to Coachella, so there’s no doubt there’s more here than first meets the eye (and ear). “When I started I felt like a lot of DJs were a bit boring and a lot of dance parties are elitist. Hot Dub is a reaction to all the DJs who don’t acknowledge the crowd or who look down on cheesy or popular music. So yeah, Hot Dub is always about the best party ever, telling the crowd that they’re fantastic and beautiful and that this is the best night of their lives and playing music that everyone likes. And for some reason it’s really original. I think there’s a place for everyone. I only play original songs, I don’t play mashups or remixes – if I do any mash-ups I’ll do it on the 10 • THE MUSIC • 22ND APRIL 2015
while walking the line of popular and quality. “I used to sit in studios working on TV – I did 199 episodes of McLeod’s Daughters, I did High Five, I did an informercial or two, and lots of work on Underbelly.” The result is a show that has a great visual element (not only the best sounds, but the best images music over time has had to offer), as well as an appreciation of how to tap into the pleasure of what’s popular. Cutting his teeth on the comedy festival circuit, he learnt quickly how to play lots of shows to a great variety of people. “I used to work with comedian and good friend Heath Franklin who told me ‘there’s nothing wrong with
think was criminally missing from the countdown), he makes sure at the end of the day the choice comes down to what he feels genuinely moves. “I was, a long time, doing parties and stuff for people, but it was when someone took a real change that I took off. I’ve played small gigs and stuff, but with festivals and bigger crowds, it’s mental. At those, people are there to have a great time; what you really want to do is just get in and have that proper festival chance to go a bit nuts. I’ve played with Wookies body surfing over the crowd, three guys dressed as Luigi bouncing around, and it’s just nuts.” Smiling, he adds, “So that’s what I provide for them, that stupid festival fun.” Hot Dub’s ‘work through time’ formula has seen a few copycats and comparisons, including some pretty serious fans and offshoots. “I’ve spent lots of time in the UK over the last few years – I’ve spent half the year there the last few – and there’s all these strange little Hot Dub impersonators popping up now too, like Flash Back Timemachine in Glasgow too, which is hilarious.” While some artists might appear threatened by such barely veiled attempts at rivalry, it doesn’t seem to bother Loud. Of course, it could be because of his own artform’s basis in attribution, but there’s also his commitment to building a crowd using the appealing, and never quite repeatable, attention to the magic of the mainstream.
“I always try to choose being mindful of the difference between Cheese and Kitsch,” Loud says in a way that makes perfect sense, but also gives no clue as to how the difference is decided. Going on, examples help (kind of ). “So the difference between, say, something like Love Shack by The B52’s – that’s kitschy. But then the Eurthymics’ Sweet Dreams, that’s a great song.” The logic works, but explaining why is trickier. Continuing, he digs deeper. “Something like Staying Alive by The Bee Gees is borderline, but We Are Family by The Pointer Sisters is great.” Still digging (and drawing this writer, and hopefully you, reader, into your own crisis about the apparent (or not) genius
of The Gibb brothers,), Loud continues, this time in (perhaps only kind of mock) earnest. “Then there’s things like Five, those type of boy bands and also girl bands, I struggle with finding their place. But then Britney, Hit Me Baby One More Time, that just works”. This little internal argument is Hot Dub at its best – getting mainstream musical skeletons out of their cupboards and out into the air where they belong. Fight about taste, argue over glory and best of all, it’s about just dancing, perhaps despite yourself. Channelling a bit of a Yoda moment, Loud sums up Hot Dub like this: “I just try and be true about what I like, what gets me. And as a DJ it’s a rare thing. Mostly [other times] you’re playing what the venue wants or what you think the people down the front want, rather than what you believe in. So it’s great to be able to do the latter.”
TIME SIGNATURES In honour of Hot Dub’s commitment to songs in their time, here are some of the best tunes, named in honour of great years. 1916 – Motorhead Also a year honoured with a song and album name, the sonic restraint against the story of the First World War soldier’s experience is haunting. Well worth a re-listen (or new discovery). 1979 – Smashing Pumpkins A jewel from mid-90s masterpiece Melon Collie And The Infinite Sadness, the video also got an MTV music award for its driving chic. 1985 – Manic Street Preachers
WHEN & WHERE: 10 May, Groovin The Moo, Townsville; 23 May, The Hi-Fi
A nostalgic look back on the ‘80s from the comfort of 2004, the Welsh band say it all with the mellow opener, “In 1985/I placed a bet and I lied/losing all I had.” 1999 – Prince He may have been dreaming when he wrote it, but damn it was still fine. Despite what we actually did on the night, everyone on the planet likes to remember that NYE like it was in Prince’s head. (Disco) 2000 – Pulp An awesome true story from Jarvis Cocker’s childhood, the song’s infamous ‘Deb-o-rah’ passed away earlier this year. Not only his muse, but an amazing mental health worker and human gone too soon – dance and raise a glass to her. 2112 – Rush Title track from 1976 Canadian prog epicness, it’s part concept, part overdone noodle (but in the best possible way) – music of the future, indeed.
THE MUSIC • 22ND APRIL 2015 • 11
Brisbane As the humidity lets up slightly and the leaves start changing colours, everyone follows suit; things are a little more chill, a little more loose, a little less fiery – but there’s still some heat in the city’s belly if you know where to go.
Speaking of heat, lovers of hot things (and hot wings) should hit up Buffalo Bar for their chilli wings challenge, The Ghost That Walks. Not keen on the idea? Don’t worry, there’s plenty of other American fare, plus craft beer and whiskey. If you’re truly a craft beer aficionado, you may wanna pay Archive Beer Boutique – they’re Queensland’s largest craft beer bar, after all; they also make food and drink pairing easy as each item on their menu has been perfectly matched with a selected craft beer or cider. So simple yet so genius.
The cocktail drinkers will want to head to Lock ’n’ Load to check out their seasonal cocktails, and grab some sliders while they’re there. Pig ‘N’ Whistle Brunswick Street are also conscious of making use of seasonal ingredients in their classic British pub dishes and bar fare – perfect with an authentic ale. Those with an affinity for large bodies of water may enjoy the view at Moreton Bay Trailer Boat Club, particularly if you can dig into fresh seafood and prime cuts for the grill, darker beers, single malt whiskeys and
South Australian wines while you’re taking in the sights. If you’re looking for the best of both worlds, Woolly Mammoth has a downstairs alehouse and an upstairs garden bar. You can work up an appetite playing indoor bocce and then order a round of ribs or hand stretched pizzas. So there you have it: Brisbane pubs making the most of the changing season, be it indoors or outdoors, for a quiet one or a big night out, to wine and dine or for a tipple and a nibble. Flip the page and you’ll find everything else you need to know.
Lock’N’Load. PIC: Markus Ravik
This place is all about their boutique beer, with over 400 different craft beers and ciders from all over the world – they choose 18 at a time on their rotating taps to serve. Their website is always up to date to let you know what they’ve got pouring, which is handy. Expect names like 4 Pines, Fortitude, Green Beacon, Two Birds and Stone & Wood. There’s also a few boilermaker cocktails on offer, like the Ron Burgundy, which has Burleigh Brewing’s Hef served with a shot of Ron Zacapa 16-year-old rum.
ARCHIVE BEER BOUTIQUE
All the food is designed to complement beer or cider, and the staff are happy to help you find a pairing. Or alternately, you can just look at their menu, which includes a beer or cider suggestion for every single dish they serve: a considerate and convenient quirk. For something small, have a crack at their popcorn shrimp soft tacos with shredded lettuce, avocado, cheddar and chipotle crème. The Szechuan pepper calamari with cucumber salad and sesame dressing is a hit too. Mix it up with the lemon and thymeinfused lamb cutlets with three cheese polenta, ratatouille and basil pesto. They’ve gone gourmet on the pub classics with gourmet pizzas, salads and a stellar grill menu on offer, as well as your traditional pub fare like the chicken parmigiana, schnitzel and cheeseburger. They’re also gluten free and vegetarian friendly.
FUN FACT OUR DEAL
Mondays, ch ow down o n $15 burger s and beers; Wednesday s, there are two-for-one main meals ; Thursdays, it’s Hops ‘n ’ Dawgs: trea t yo gourmet ho urself to td American be ogs and ers all day.
BAR SIDE This place is the epitome of eclectic. Housed in a gigantic open plan space in West End, Archive is decorated with mixed and matched furniture, old paintings, street art, pool tables, and old books. There’s even two walls covered floor-toceiling in comic book pages, for that nostalgic touch. The sleek yet old-worldly design ends up drawing quite a varied crowd, from business types who love the industrial elements, to bohemians and musos looking to enjoy the charm of the past. From Wednesday to Sunday there is usually some sort of live music going on to keep all types entertained and sufficiently sauced. Every Monday they keep the pool fiends happy with a competition and Tuesdays bring in the brainy crowd for trivia. 14
This is Queensland’s first ever craft beer boutique, as well as the largest. Recently, they’ve opened an online retail store, called nextdoorcellars.com.au. You can order your favourites from 400 rotating craft beers and have them delivered directly to your door.
100 BOUNDARY STREET WEST END, QLD (07) 3844 3419 ARCHIVEBEERBOUTIQUE.COM.AU $$$$
THE MUSIC • 22ND APRIL 2015 • 15
favourites like salt and pepper calamari, beer-battered barramundi and the steak sandwich, as well as dishes like the tempura soft shell blue swimmer crab, served with Asian salad and nam pla prik dipping sauce. Also try the Portuguese peri peri chargrilled chicken on a bed of fragrant jasmine rice, topped with tomato salsa; or the chargrilled chicken breast on avocado, semi-dried tomato and parmesan cheese salad with house-made focaccia croutons. There are standard options for kids that won’t stretch their palate too far, as well as a seniors’ menu, including classics like beef stroganoff served on a bed of creamy mashed potato. Finish it off with a passionfruit parfait, cake or cheese platter to share.
MORETON BAY TRAILER BOAT CLUB
As the weather cools down, the beers get darker and heartier to match. Coopers vintage, Coopers dark and Lord Nelson seasonal ale are added to the rotation. They also house a range of single malt whiskys to sip on as you’re taking in the view, like Oban (14-year-old), The Singleton Of Glen Ord (12-year-old) and Lagavulin (16-year-old). If beer or whisky isn’t your thing, the owners hail from South Australia and bring with them their knowledge of the best South Australian wines. They feature Barossa, McLaren Vale and Langhorne Creek wines on their list and offer some classic cocktails too. Try the Harvey Wallbanger: Smirnoff Vodka No. 21, Galliano and orange juice.
Since its in cept 40 years ag ion about o, th club has be e boat come a local institu tion. They also do thei r bi community t for the , do money from nating dishes to C selected amp Qualit y.
BAR SIDE If you enjoy taking in views over Moreton Bay, the biggest marina in the Southern Hemisphere, as well as locally sourced, fresh food, then this place is for you. It is the perfect place to watch the autumn sunsets roll in. With various seating choices available, like the Commodores bar, the Flybridge bar and an expansive deck, there’s plenty of space to watch the boats sail on through. Head Chef Chris Harper commands the ship, cooking from scratch with fresh seafood and prime cuts for the grill. To start, try the warming homemade bread, focaccia or ricotta. Entrees and mains average at around $14 and $26. There’s the house 16
OUR DEAL For beer lovers, get around the ‘Beast ‘n’ Beer’ deal. Everything on this menu is accompanied by a beverage to make it easy for you.
34 FAIRLEAD CRESCENT MANLY, QLD (07) 3396 8161 MBTBC.COM $$$$
BUFFALO BAR BAR SIDE This is a slice of the American west coast in the heart of Brisbane that attracts locals, travellers, students (Frat Night Wednesdays, anyone?), blow-ins and chillers. This place is all about the ribs, the wings, the finest American craft beer and a laid-back atmosphere. It offers three separate dining and drinking experiences: Hank’s whiskey bar (Hank being the mascot of the venue; its spirit personified), the sit-down dining hall or the beer garden – cool on the warm nights, and heated on the fresher nights. Head chef Adam Herbert runs the bar and sit-down menu. At the bar, expect lots of wet and dry wings, corn bread and hoagies, which are long sandwiches filled to the brim with goodies. There’s the classic Cuban with leg ham, smoked pork, Swiss cheese, pickles and mayo. For substantials, the Western theme continues with dishes like the New England Clam Bake: bay bug, king
prawn, mussels, clams, pork sausage, sweet corn, new potato, smoked butter and herb emulsion. Flavour explosion. There’s also a sizeable grill menu with all of your favourite steak cuts on offer. To drink, the bar has more than 25 taps of US craft beer (some of which are exclusive Buffalo) and more than 40 American whiskeys to try. There’s also a lengthy wine, sparkling and cocktail list if beer and dark liquor isn’t your thing. Try the Bacon Old Fashion: bacon-infused buffalo trace bourbon, bitters and apple.
FUN FACT One of their dishes requires you to sign a consent form. ‘The Ghost That Walks’ is 16 chilli wings, which you have to finish in 16
minutes in a competition called ‘Lord of the Wings’. Only two people have done it so far.
OUR DEAL Wing plate: 12 kinds of wings, five serves for $48. Fifth serve is free. Wing craving sorted.
169 MARY STREET BRISBANE, QLD (07) 3221 0199 BUFFALOBAR.COM.AU $$$$
PIG ‘N’ WHISTLE BRUNSWICK STREET BAR SIDE With live music, enticing pub meals and an array of craft beers, Pig ‘N’ Whistle Brunswick Street is a place to relax. The exposed brick heritage building on the corner caters for all seasons, with an upstairs courtyard with a retractable roof that can be closed up on rainy days for those times when you still feel like being outside. Heading into autumn, head chef Peter Wrench takes the season’s freshest ingredients and makes them the heroes for Pig ‘N’ Whistle’s daily specials. Their steaks are a year-round favourite, as are the charcuterie boards. As well as British pub classics, the menu boasts adventurous dishes like handmade gnocchi with roasted pumpkin, blue cheese, silverbeet, nutmeg and parmesan; or the grilled Kingaroy pork chop with chipotle rub, smoked freekeh grains, apple, pumpkin, capsicum and radish salad, crispy pork rind and jus. There’s also
bar fare, like mushroom arancini, salt and pepper calamari and pinchos morunos (pork skewers) for something smaller. The extensive wine list features drops from home, New Zealand and the rest of the world. There’s boutique wine and local craft beer on tap, a proper English beer pump for authentic ales and a sprinkling of European sparklings, reds and whites.
FUN FACT Pig ‘N’ Whistle source local ingredients as much as possible from the valley and a nearby farm in Pullenvale owned by Mantle Group, which also owns all four Pig ‘N’ Whistle establishments. They also run a kitchen in East Brisbane that handles coffee roasting, butchery, patisserie needs and more. 446 BRUNSWICK STREET FORTITUDE VALLEY, QLD (07) 3852 6420 PIGNWHISTLE.COM.AU/BRUNSWICKST $$$$ 17
WOOLLY MAMMOTH ALEHOUSE BAR SIDE: At Woolly Mammoth, the downstairs contemporary Alehouse mixes exposed brick, hard lumber and modern finishes to create the backdrop to the largest selection of craft tap beer in Queensland. Upstairs is the Garden Bar, full of greenery, that features a retractable roof, cocktails off tap and indoor bocce. Also on this level is a 500-person band room to rock out to some of the best acts of the day. As the weather gets cooler, the Alehouse will be serving up Mammoth portions of meat off the bone – caveman-style. The kitchen team of Joe Pesto and Dann Rowell love their rustic, beer-inspired food and take pride in meat off the bone using locally sourced cuts. Piggy back and beef short ribs take centre stage, served up by the half kilo with some killer accompaniments. Outside of meats, they do a range of hand-stretched
pizzas and some awesome meat sandwiches and bar snacks. The Alehouse fittingly does ale exceptionally well, with 31 different Australian/NZ craft beers and ciders on tap. Expect to find a gateway of craft beer for you to try in paddle form, glass or stein. There’s also a solid emphasis towards local spirits amongst their cocktail list and a refreshing wine list, too.
OUR DEAL Mammoth Locals: if you live or work in a 4005 or 4006 postcode, you get 50% off food Tuesdays and Wednesdays. On Fridays there’s Mammoth Stampede: choose your price for a glass of beer from 4pm until the keg runs out, with all proceeds donated to charity. Sunday: $10 pizzas and $10 Mammoth steins.
633 ANN STREET FORTITUDE VALLEY, QLD (07) 3257 4439 WOOLLYMAMMOTH.COM.AU $$$$
LOCK ’N’ LOAD BISTRO BAR SIDE There’s no better weather than SEQ’s autumn/spring, with temperatures mild enough that the air con is not needed, but neither is a blanket. Lock ’n’ Load Bistro will be fully embracing it, encouraging people to take a seat in their leafy courtyard, breezy enough to fight off occasional heatwave, fully covered (with a translucent sunroof) from the rain, yet letting the sun-rays sneak through it on the chilly mornings. You’ll see all sorts in this West End landmark, from couples and families there for a bite, to the corporate after-work crowd enjoying a tipple, and also young live music fans on Friday and Saturday nights. As autumn takes the reins from summer, the Bistro will be adding a few new seasonal cocktails for the menu, as well as a wider range of craft beers, wines, and ciders. Their 18
guest beer tap will also get a lot more usage, with a different brew poured from it almost every week. All of it goes well with Lock ’n’ Load’s menu, which serves up Modern Australian gastro pub fare – as well as bar snacks like spiced chickpea fritters with baba ganoush, buttermilk chicken wings, or soft shredded beef tacos. Plus, the sliders always go down a treat. Head chef Phil Dudley is a maestro at blending exotic flavours into everyday dishes, and will introduce heartier meals focusing on seasonal produce as the temperature drops.
FUN FACT Lock ’n’ Load have a loyalty program for food. If you sign up you get 10% off all food
items – and 25% off between 4 – 6pm. Nice!
OUR DEAL Lock ’n’ Load offer a 2-4-1 deal for all West End (and other 4101 post code) locals on Wednesday. Buy one meal and you’ll receive a second one free of charge.
142 BOUNDARY STREET WEST END, QLD (07) 3844 0142 LOCKNLOADBISTRO.COM.AU $$$$
Elsewhere in Brisbane Sometimes there are (rare) occasions that might not lend themselves to pubs. Or you might have a specific craving. In that case, here are some choice places to eat and drink in Brisbane that aren’t pubs.
QUICK ‘N’ CHEAP
Taro’s Ramen 363 Adelaide Street, CBD & 1/145 Racecourse Road, Ascot These guys have a cult following as the experts in handmade ramen with organic ingredients, as well as gyoza and chicken karaage. Simple, flavoursome and quick ramen in a comfortable ambience.
Libertine 5/61 Petrie Terrace, CBD French Vietnamese cuisine, killer cocktails and an extensive wine list in an elaborately decorated dining room, full of red lanterns, polished dark wood floors, chandeliers and intricate wallpaper.
Ben’s Burgers 5 Winn Street, Fortitude Valley Your traditional all-American burger joint, complete with cherry cola and American craft brews in an indoor-outdoor relaxed environment for all the family. Comfort At My Table 5/19–23 Cribb Street, Milton Classic lunch items, eggs every-which-way for breakfast, rocky road waffles… eating here feels like a mix between being in the comfort of your mum’s house and in an upscale, minimal, Greenwich Village patisserie.
Gordita Bar & Restaurant 11b/100 McLachlan Street, Fortitude Valley They don’t mess around at Gordita. This is high-end Spanish cuisine at its most daring. Enjoy it in a room where no expense was spared; you’ll be surrounded by polished timber and cosy copper lamplight. The Foraging Quail 148 Merthyr Road, New Farm With standard menus as well as four six- to ninecourse menu options, there’s plenty of fine dining experiences to choose from. Expect marble tabletops, contemporary design, dim light and beyond fancy nosh.
Beach Burrito Company
Chow House 39 James Street, Fortitude Valley The venue is a large, airy, modern and light annex accompanied by informal food (chow) in a building for human habitation (house). Staple brunch and dinner fare with an Asian twist.
Gerard’s Bar 13a/23 James Street, Fortitude Valley Bask in their contemporary exposed concrete and timber design while enjoying the spoils of their extensive charcuterie menu over a cocktail, aperitif, wine, beer or some Madeira.
Beach Burrito Company Shop 2/350 Brunswick Street, Fortitude Valley & 100 Boundary Street, West End A beautiful, colourful warehouse decorated in typical Cantina style, full of Mexican smells and flavours. Perfect for large groups and long nights over unpretentious food. The Burrow 37 Mollison Street, West End This cosy, wooden burrow is mainly a bar and pizza place, with a beer tap list that is updated daily. It also prides itself on being a coffee house and inviting brunch spot during the day.
The Bowery 676 Ann Street, CBD New York-themed bar with upscale drinks and a downscale, bohemian feel. With signature cocktails like the Bowery Swizzle, Bowery Manhattan and Mezcal Margarita. Cobbler Bar 7 Browning Street, West End More than 300 whiskies live in this spirit and liqueur library of a bar, which is complete with a wooden ladder on wheels. Bar Of Social Conscience 69 Vulture Street, West End 20% of everything you spend enjoying yourself here goes to charity. The bar feels cosy, specialising in gin and craft beer. 19
complete sidestep from 2008’s Machine 15; a release that went so far as to feature orchestral elements. There was also a seven-year gap between the two albums.
With the same line-up since forming in 1992, it hasn’t always been an easy ride for Swedish punks Millencolin. Frontman Nikola Sarcevic and drummer Fredrik Larzon tell Daniel Cribb how they defused a band implosion and returned to form.
f the phrase ‘you are what eat’ also applies to the consumption of beverages, Millencolin are a fine craft beer. Each album they release delivers a unique flavour and evolves from the previous. “If you’re brewing beer, it’s boring to do the same thing every time. If you’ve done an IPA, you will feel like doing a Stout, maybe,” Sarcevic says, resting an ice-cold pint on a coaster in a Melbourne pub. The band is halfway through their Soundwave run, and a successful sold out headline show
the previous night sees the members a little slower than usual. “We’ve played so many festivals for the last couple of years, so it was really nice to play a club show,” Sarcevic comments. “Hopefully other people had fun, too. We had a great night,” drummer Larzon adds in his thick Swedish accent. The punk rock atmosphere of their headline club show reflects vibe of the band’s new record, True Brew. Album #8 sees Millencolin return to a more DIY punk rock frame of mind, and while it blends elements from their previous seven records, it’s a
“The day after we finished Machine 15, we thought, ‘This is as far as we can go that way, now let’s do something to get back to our roots,’” Sarcevic tells. “But then, you need to have the right feeling and recharge your batteries. You need to sit back once in a while and kind of wait for the right feeling – and that’s what we’ve been doing. We were so busy with other stuff, and I think it’s good to do other stuff to get that kind of perspective on what parts in your life are the most important. After all these years, we know that [Millencolin] is one of the most important parts of our lives.” True Brew is refreshing and sees the band as cohesive as ever. With Larzon titling the album, Sarcevic taking control of writing and guitarist Erik Ohlsson creating the artwork, the album came together perfectly. But it hasn’t always been an easy ride. “Halfway through the band, we wanted to split up because there was too much of everything. We were touring all the time, and when we were home we had to go back into the studio, and we just had too much of it... Then we decided to take control of the schedules and how much touring we committed to, and we tried to keep it fun,” Larzon explains. Sarcevic hints that we might not have to wait as long for new material after True Brew. “I woke up jetlagged yesterday or the day before, and I had, not a vision, but I got a clear idea of the next album. I won’t say the direction, but in my mind now it is going to be something that this album is not.”
WHAT: True Brew (Epitaph/Warner)
HEART FULL OF SOUL It was a time when a musical style could change lives forever. Photographer Elaine Constantine talks to Guy Davis about the time and place that drove her directorial feature debut.
orthern Soul, the directorial debut of renowned photographer Elaine Constantine, does a brilliant job of capturing that energising, electrifying moment in a person’s life when they not only find something they’re passionate about but also find like-minded people just as turned-on by it. “Everything comes together at once, doesn’t it?” says Constantine. “And your personality starts to form.” For Constantine, and for John and Matt, the young protagonists of Northern Soul, it’s the musical genre of the title – urgent, hard-driving American soul – and the scene that emerged around it that became central to their lives. Indeed, Constantine has been a devotee since her teens in the Lancashire town of Bury. “I’d just started secondary school, and I’d heard this phrase ‘northern soul’ but I didn’t really know what it meant. And then I was in this youth club – there was about a thousand kids in there, and they were all moving around to whatever music was playing but not really connecting. But then this record came on, it sounded a bit old and echoey, and the floor cleared but some guys went out and started doing all these acrobatic moves, spins and kung fu poses and all this weird stuff. But I remember looking at their faces and seeing how they were completely engaged with what they were doing – they didn’t give a shit what they looked like! I was blown away. And when someone told me it was
20 • THE MUSIC • 22ND APRIL 2015
northern soul that was playing, I said, ‘Oh, fuck, this is northern soul! Ok!’ Within a year, I was taking three buses to go to towns far away from mine or telling my mum I was staying at a friend’s place when I was going to all-nighters. And I never got out of it, really.” Constantine remains a fan of the music, even if the scene isn’t quite what it once was. “There isn’t quite the energy on the floor anymore,” she laughs. “It’s full of old people like me.” Her film, which she also wrote, is a heartfelt if unsentimental love letter to the story’s era, setting and soundtrack. “A lot of the dialogue is straight out my mouth when I was younger,” she admits.
It took Constantine 15 years “on and off ” to put Northern Soul together and then another two to get it into the marketplace. The result stands as a tribute to Constantine’s background and the northern soul scene. “It’s maybe a northern working-class thing. Where I come from, going out on the weekend meant looking incredibly smart. Where I came from, people worked down the mines or in filthy factories, so they’d polish their shoes and iron their shirts when they were going out. You would never show up looking like you’d been dragged through a hedge backwards. You’d want to outdo all your peers. That sort of thing, and the feeling that we weren’t going to be knocked, that we weren’t victims, it created a work ethic in me, and Northern Soul was a kind of complement to that.”
WHAT: Northern Soul Available digitally
THE MUSIC • 22ND APRIL 2015 • 21
IN THEIR OWN TIME Although achieving plenty during a successful decade, British rockers You Me At Six still want to “raise that bar a few more levels”, vocalist Josh Franceschi tells Brendan Crabb.
elebrating ten years as a band, this October will mark the anniversary of Surrey-bred You Me At Six’s first-ever show. Singer Josh Franceschi was still at school when the band startet, but for the past eight years, the band has been the way they’ve all sustained themselves. So, memories of their inaugural performance? “I remember thinking, ‘This is awesome,’ seeing all my friends. I was so used to me moshing around living rooms with my friends, so it just seemed strange that the lads that I’d been moshing around with were now
moshing around to my music. So that for me was like a sign that we were somewhat good, that my friends felt the need to kick the crap out of each other in front of me during it.” There have been plenty of highlights since, and they’ve absorbed some key lessons along the way. Namely, the frontman explains, the quintet have previously been required to craft material within narrow time frames, but aren’t going to be pressured into expediting Cavalier Youth’s follow-up. “We’ve all got fucking real lives now, whereas before, back home, you’d be like, ‘I’m 19, 20, it doesn’t really matter, let’s just go
write more music.’ But now everyone’s trying to find their feet a little bit because they’ve been doing it non-stop for ten years. So I think this will be a slightly longer process, but saying that, next week we might go into rehearsal and write four songs. Our ambition has always been to try and be the band we want to be, the best band we can be at that time. We’re just discussing how we’ve got to raise that bar a few more levels if you really want to achieve some of the stuff we want to achieve… We’re at a point in our career where we’ve done certain things for ten years and I think we’ve shown growth in that time. “We’ve all got our own little studio set-ups at our houses now, so we can write on our own and Dan [Flint, drums] just built this great studio at his house, so we’re going to be able to go around there whenever and write the record. We can all be creative, but without the situation whereby in the past we’ve written records in two weeks because we’ve had two weeks to write a record, written it and then gone and recorded it. What we’re going to be able to do now is be able to write, record those tracks, listen back to them, convince each other they’re crap, throw them away and start again. “We just want to come back with something that can’t really go under the radar; we know the record has to be really ambitious. We just want to make a big rock record. Sometimes, the desire to do something, to be different, and then acknowledging that you might completely fuck yourself and your career is an interesting one.” WHEN & WHERE: 10 May, Groovin The Moo, Townsville
OPEN THE DOOR
Director Noah Baumbach tells Liz Galinovic about the anxiety of aging, and casting Ad Rock as a middle-aged dad.
oah Baumbach eases the anxiety of aging by making fun of it in his comedic exploration of the intergenerational gap, While We’re Young. To introduce the themes is a quote from Ibsen’s The Master Builder, raising the question – should a middle-aged person, horrified by the nature of young people, ‘open the door’ and let them in? Josh (Ben Stiller) and Cornelia (Naomi Watts) are a 40-something married couple who aren’t having children even though their friends are, and who seem happy enough going to bed early and scrolling through their smart devices. That’s until they meet Jamie (Adam Driver) and Darby (Amanda Seyfried), a married couple they befriend who happen to be half their age. Josh and Cornelia are invigorated by their boundless energy, and a sort of romance with youth ensues. “I think, I found myself living under the false pretence that I was still a younger version of myself,” Baumbach says of what inspired him to write what at first seems like a story about longing to be young, and then becomes more of sigh with relief that you’re not. The psychologies and lifestyles of two different generations are lined up next to each other, showing where one departs from another through amusingly awkward generational crossovers. But the biggest juxtaposition is between Stiller and Driver, both documentary filmmakers: the younger one makes success look easy, the older one has spent ten years 22 • THE MUSIC • 22ND APRIL 2015
making a documentary that goes everywhere in its content and nowhere in his career. “I wanted to poke fun at Ben’s investment in, and falling hard for this couple, which is obviously funny, but I also didn’t want to sell Ben out,” Baumbach says. “I wanted the audience to understand why he would fall for this guy.” While We’re Young leaves no generation unscathed, taking hipster culture to the ultimate height with a vomiting ayahuasca ceremony, while former Beastie Boy Adam Horovitz no longer fights for a right to party, because he’s got a baby strapped to his chest. “I’ve known Adam [Horovitz] for a while and I was really glad when he agreed to play the part.
WHILE WE’RE YOUNG
Then afterward I became more aware of the poignancy of seeing Ad Rock as a middle-aged dad. I suppose for a generation of people, it’s an acknowledgement that they aren’t the same age anymore. And I’ve been on the Cornelia-Josh side of watching friends have kids and, you know, having trouble getting as invested in their kid. And then I’ve been on the other side, where I’ve been just as guilty of going on about it and telling people it will change their lives.” In poking fun at everyone, the film explores both sides of every argument, while never offering any answers. Should the next stage of age be embraced and the previous one let go of? Or should youthful invigoration be a thing that’s embraced and held on to? “I didn’t feel like I had to resolve these issues, because I didn’t have any answers. I think in some ways the Ibsen quote is saying is that you have no choice. They’re going to break the door down one way or another. Maybe let them in and take your chances.” WHAT: While We’re Young In cinemas
THE MUSIC • 22ND APRIL 2015 • 23
There’s a new album and so The Gin Club, bar their Swedish connection, are reuniting to take it for a trot around the place. Ben Salter takes Michael Smith through the whys and wherefores.
never really get off,” the now Melbournebased Ben Salter chuckles as he ponders the collective that came together ten years ago last year at O’Malley’s Irish Pub in Brisbane’s Queen Street Mall. It was an open mic night and the nine singer-songwriters there to strut their stuff that night enjoyed each other’s music and company so much they decided to work together. The result was The Gin Club, the “horse” Salter never really gets off despite his
solo career and the odd Giants Of Science gigs. Now 11 years into it, The Gin Club have released their fifth album, Southern Lights, which they recorded two years ago, in the winter of 2013 – taking advantage of the fact that band member Ola Karlsson, who lives in Stockholm these days, was back in Australia and could join the other eight in the rural studio at Salter’s sister’s cattle property in central Queensland. “It’s a really special place,” Salter says of the property. “It’s a really relaxed atmosphere and we always do it in winter ‘cause it
can really hot in summer. But we just set up the studio in this old worker’s cottage from the turn of the last century, which is all wood, so there’s not a lot of soundproofing, so you can hear birds and whatnot on the recordings a lot of the time, but we can make as much noise as we want. “We had maybe 20 songs, maybe less, but the general thing we go for length-wise these days is a vinyl length, which is sort of 40 minutes, which I think is a really good length for an album, and we just all voted on the songs, which is a really good way to do it. I’ve only got one song on this album and that’s been really good. There’s always been an emphasis on my stuff but this time the attention has gone more to the other songwriters. Not that it ever didn’t but it’s just been really good to see that people are acknowledging the others. “We also release this thing called Hissyfit, every time we release an album or every now and then, which is a collection of all the songs that didn’t make it on the album, and we’re going to put that up on Bandcamp and give to the people that pre-ordered the album this time round. So all the mega-fans end up getting all the other songs anyway.” The gigs haven’t been quite as regular as they were ten years ago – as Salter points out, the line-up includes “lawyers, engineers, academics and people that run small businesses and stuff, so everyone’s sort of really busy all the time” – but they’re still relishing it all. After all, they get to hang with their best friends – each other. WHEN & WHERE: 24 Apr, The Triffid
LIFE SONGS It began with a book she never imagined she would write, but without that, Beccy Cole might not have written the songs that make up her tenth album. She talks to Michael Smith.
hat was the scary part,” singer-songwriter Beccy Cole admits of the first of the two things that have consumed some 18 months of her life, off and on: her memoir, Poster Girl. “I was asked a couple of times to write a book and I thought they were joking. I didn’t really imagine that people would actually want to read a book about me. But after the third publishing company came to me I thought, well, maybe I do have a story to tell, and now I just think everybody’s got a story to tell.” Inevitably, recounting her story led to Cole embarking on the second thing, her new album, Sweet Rebecca. “Without a doubt. I’ve never been so inspired to write. I remember writing the last paragraph of the book and then I just wanted to sink my teeth into some songs. Normally it’s more like pulling teeth, so for me it was just such a natural process and I was tingling with all this inspiration, I suppose. I think pretty much all of the songs come from a chapter out of the book. It was very cathartic in that way. “The first song to come out was called Broken Soldiers, funnily enough. All the album was written within two weeks at the end of last year, and Broken Soldiers I started writing on November 11th. I remember because I was doing my minute’s silence and I was just filled with this sadness. I’d just finished writing about my
24 • THE MUSIC • 22ND APRIL 2015
experience writing [her 2006 hit] Poster Girl and had also been reading about a soldier who had taken his own life after coming back and suffering from PTSD. “So I was very much wanting to write this song about broken soldiers. That was where it started for me, and then the process began. Sweet Rebecca was the second song I wrote and that was when I was collecting pictures for the book and saw a picture of myself at about seven years old and I just wanted to jump in the picture and warn her,” she chuckles, “of the life that was ahead, that I’d just sort of reviewed in my book. So the album is very much connected with the book.”
The then Rebecca Sturzel began her musical career aged 14, joining her mother’s, SA country music star Carole Sturzel’s band Wild Oats. Then, aged 19, she was invited to join another family band, Dead Ringer Band, where she met another aspiring young country singer, Kasey Chambers. A year later, in 1992, as Beccy Cole, she released her first solo single, Foolin’ Around, winning a Star Maker award at Tamworth the following year. Since then she’s chalked up nine Golden Guitars, three gold albums, 14 country #1s, and picked up seven songwriting and two Entertainer of the Year awards. So whatever lows she’s experienced have been balanced by some pretty amazing highs for Cole. WHAT: Sweet Rebecca (ABC Music/ Universal); Poster Girl (Hachette) WHEN & WHERE: 1 May, Urban Country Music Festival, Caboolture
THE MUSIC • 22ND APRIL 2015 • 25
Ever since White Shadows’ Nick Littlemore met Elton John, his life has changed completely, he tells Kate Kingsmill.
ack in the ‘90s, Littlemore formed a band in Sydney called Pnau. He moved on to Empire Of The Sun, but somehow in the meantime, Elton John heard the Pnau track Wild Strawberries and gave Littlemore a call to tell him he loved it. The call changed Littlemore’s life completely. “Ever since we met Elton it’s been a kind of weird world we’re living in,” says Littlemore, down the line from his new digs in West Hollywood. “He’s amazing. His music is a conversation, and he speaks so fluently. Music can affect your whole life, and I never would have dreamed of having had the last seven years that I’ve had; it’s crazy.”
brother Sam La More and ex-The Vines singer, Craig Nicholls. The whole thing came about because “Craig had said he’d always wanted to make an electronic fantasy kind of record and I make electronic fantasy records, so I was like, ‘That would be really cool, we should totally do that’.”
The latest project in Littlemore’s broad musical CV is White Shadows, a project he has put together with his
The trio met up and Nicholls shared a stack of demos he had sketched out but didn’t quite know what to do with. “Sam came up with some really beautiful chords to go with his melodies. It was a really interesting way of working, we had this beautiful gift of the 12 melodies and we crafted a whole different world around them.”
They organised more than 30 players to record the album at Studios 301 in Sydney. “There were about four percussionists and drummers, about five guys on synthesisers and about six guitarists all in a line, and there was a string quartet. So it was really great, it was a real little Sydney festival recording thing that all happened really naturally.” During 2010, Littlemore worked as a composer and musical director for Cirque du Soleil: “We had 15 or something people and gypsies, and all sorts, all playing madly on all these crazy percussion instruments and I enjoyed that so much I wanted to replicate something like that.” It’s the kind of musical mayhem that might freak a lot of people out, but Littlemore’s approach was pretty laidback: “Just start making sound against sound and when things collide in colour and beauty, just go with it, you know. You just kind of keep swimming until you find another island.” Nicholls has a reputation in the media for being everything on the spectrum from difficult to genius. “He’s an incredible person capable of creating such incredible beauty,” says Littlemore, “and I think sometimes when you have the ability to do that to such an extent that maybe you lose sight of the real world to the point… If there’s a balance to the universe then I don’t know…” At this point Littlemore drifts off. “There’s a massive raccoon in my backyard, it’s staring at me… Henry look at this, see the raccoon in the tree?” Distracted by the racoon he forgets what he was saying about Nicholls, but it seems he could almost have been talking about himself. WHAT: Secret Of Life (Wicked Nature Music/MGM)
JESUS WAS WAY COOL A self-confessed “fuckin’ totally, like, former Ritalin-imbibing ADHD [sufferer]”, Gang Of Youths frontman David Le’aupepe tells Bryget Chrisfield he loves (most) music journalists, hates Phil Collins and is “still down with Jesus”.
escribing the inspiration behind Gang Of Youths’ debut album The Positions must be challenging given that it’s autobiographical in nature and was written about bandleader David Le’aupepe’s relationship with a girl who was diagnosed with stage four cancer. “There’s a part of me that wants to sort of be overly serious and overly careful with the subject, but another part of me, like, I don’t wanna take it to the extreme of being so reverent that I sorta lose part of my personality when I talk about it… I’m just irreverent and I don’t really know how to maintain that sense of decorum,” he admits. Le’aupepe is a manic-fast talker, drops frequent and unexpected F-bombs, and is also a self-confessed “fuckin’ totally, like, former Ritalin-imbibing ADHD [sufferer]”. So is Le’aupepe ready for the probing questions? “I used to hate interviews, and hate having to do any of this kind of press stuff, until I stumbled across the realisation of like, ‘Who the fuck am I to sort of lord my notorious privacy over anyone else?’ Like, I made a decision to do this with my life and this is one of the things that comes with it. The more I act like a cock about it then I don’t really deserve to have anyone listen to my music.” Despite Le’aupepe’s openness about the inspiration behind this album, he’s already found evidence of 26 • THE MUSIC • 22ND APRIL 2015
misinterpretation. “One particular review that I read was talking about how the record’s about, like, the problems one faces in high school, which is hilarious but a ludicrous assertion… That was sort of annoying and I think the misinterpretation of the themes of the record played into how this person received the music.” Fortunately, most of The Positions reviews have been glowing and Le’aupepe is quick to stress, “Critics are important.” As a youngster, Le’aupepe claims, “I was a lonely, weird, disaffected kid growing up in fucking, like, evangelical Christianity
and I turned to music as another salvation.” He “grew up on a healthy diet of black metal, Wilco, Pavement, Tom Waits and The Simpsons” and also loves Peter Gabriel. Le’aupepe discovered Genesis before exploring Gabriel’s solo back catalogue. “I hate Phil Collins because I love Genesis – you can print that, ‘Fuck Phil Collins!’” he declares, before elaborating: “As soon as [Phil Collins] stood up from that drum kit and started singing Genesis – that was fuckin’ Nagasaki, man.” So where is he at with his faith right now? “Oh, I’ve never really shifted, eh?... I don’t go to church ‘cause I think it’s bullshit and I don’t wanna make nice, polite Christians feel uncomfortable. Um, but I’m still down with Jesus, fuck yeah! I fuckin’ love that bloke.”
WHEN & WHERE: 16 May, Woolly Mammoth To read the full interview head to theMusic.com.au
THE MUSIC • 22ND APRIL 2015 • 27
Blur didn’t have to make any new music. Their recent tour history has proven they’d do remarkably well carrying on as a heritage act, which makes The Magic Whip – born out of five days stranded in Hong Kong – all the more remarkable.
ALBUM OF THE WEEK
You’d think, after being initially blown away by opening track, Hello Miss Lonesome, that Marlon Williams belongs in a different era, that his voice deserves to ring out from the stages of the Grand Ole Opry and other old-timey stages from the 1950s. But you’d be wrong, because his rollicking, countrified solo debut record is so fucking urgent, it’s right now. Sure, it doesn’t take much to hear references to stars of yore like Roy Orbison and modern-day equivalents like Justin Townes Earle. But stripped back, without the rambunctious, infectious rhythms of his brilliant band, his vocal is as tender as Antony Hegarty or Jeff Buckley. Williams tells tales you want to hear in a way that demands your undivided attention. His complex and real storytelling (“I lost my wife in 1989 to a
The Magic Whip
certain kind of undetectable cancer/ She left me alone in a sevenbedroom home built upon the bones of fallen soldiers” – Strange Things) belies his years and evokes the musings of Leonard Cohen, as do, at times, the pitch-perfect arrangements of the slower, moodier songs. Despite only being in his early 20s, Williams has plenty of runs on the board in his native New Zealand and draws on every trick in his book to draw every possible emotion from your brain as he takes you on his journey. At times impossibly fun, at others boneachingly beautiful, Marlon Williams has delivered a gem. Dylan Stewart
So what can we make of Blur, 12 years on from Think Tank? This new record suggests their already expansive horizons are broader, a melting pot of abstract influences that see bouncing synths give way to heartfelt ballads, Chinese and British symbolism intertwined. Melancholia and joy paint Damon Albarn’s lyrics of personal detachment in an overwhelmingly well connected world, on an album where three-minute pop jams (I Broadcast) keep company with epic rambling introspection (Thought I Was A Spaceman). At the core of it you have two men, Albarn and Graham Coxon, practically brothers, who’ve spent more than a decade
Ruby Boots is the nom de plume for Perth’s Bex Chilcott and though this is wholly a solo album in terms of songwriting and musical personality she’s corralled the talents of a number of accomplished individuals on her spellbinding debut full-length release.
When Millencolin played Melbourne’s The Hi-Fi earlier this year, something unprecedented in live music happened. As singer and bass player Nikola Sarcevic announced they were about to play something off their upcoming album, the crowd didn’t immediately race to the bar. The promise of ‘something from the new album’ that has so reliably emptied band rooms actually got the crowd excited. And as Millencolin busted out several more newbies that night, the excitement only grew; excitement that’s now been justified with the release of True Brew.
Co-starring roles go to Vicki Thorn (The Waifs), Jordie Lane, Davey Lane and country stalwart Bill Chambers yet Chilcott’s is the name in lights on Solitude. Across ten songs she rouses deep and ragged emotion, tugs on heartstrings with authentic ache and yearning and succinctly nails tried and true subject matter with infectious melodies and deft lyricism. Hers is one of those red wine-stained voices that’s as comfortable with sweet frailty as it is with full-blooded and brassy rock’n’roll and deep gospel/ country soul. Jordie Lane’s duet on Lovin’ In The Fall is a real highlight, both of their voices bursting with unique character 28 • THE MUSIC • 22ND APRIL 2015
★★★★ mostly apart. Their divergences have culminated in this sonic marriage, where Coxon’s penchant for a snarling guitar is a welcome bed for Albarn’s aphorisms. Where they can throw three chords down with a “la la la” refrain, have Dave Rowntree and Alex James on drums and bass respectively, and turned it into pop magic with a song like Ong Ong. Where Albarn’s despondent words in There Are Too Many Of Us are kept away from maudlin thanks to emphatic strings and a chugging bass line. All the while they make it look so deceptively simple, you wonder why they ever stopped. Sevana Ohandjanian
★★★★ and a playful interplay, while No Stranger is stripped bare, down to just keys, a lonesome harmonica and Chilcott showing the full range of her voice. Ruby Boots’ ability to draw from a number of roots music styles is what cements Solitude as a benchmark release. She can evoke the late night bar through the bottom of an empty whisky glass vibe as vividly as the carefree open highway, key tenets of what makes the fast-rising local Americana music scene so popular. It’s the ups and downs of real life live encapsulated in song and Ruby Boots has captured that and more on her world class debut. Chris Familton
The first new album in seven years, True Brew declares itself pure Millencolin from the opening seconds of Egocentric Man, while first single, Sense & Sensibility, perfectly encapsulates this band in 2015. Sarcevic is tackling big issues and big ideas, while the rest of Millencolin
★★★★½ give it the perfect melodic punk treatment to ensure it never feels like a lecture or sermon. For those ‘90s devotees who swear by For Monkeys or Pennybridge Pioneers, there are plenty of throwbacks to those seminal records. For the new millennium crowd who appreciated the odd side steps found on Kingwood and Machine 15, you’re covered too. True Brew is the sound of a band a little older and a little wiser. It’s also a band with just as much energy, angst and attitude as ever. Only now, their age and wisdom means that energy, angst and attitude are more focused than ever before. Pete Laurie
BUILT TO SPILL
Peace In Our Times
Fat Wreck Chords/Shock
Their first album in six years (and eighth overall) finds Boise indie veterans Built To Spill with a new line-up but brandishing a familiar vibe, spotlighting the gorgeously cryptic yet thought-provoking sentiment of Doug Martsch’s near inscrutable lyrics and those textured guitars – oh those guitars – plus the vaguely haphazard song structures that you just know are part of some grander plan, songs unfurling and flowering to reward closer scrutiny. Warm and reliable like those old ugg boots that won’t die, full of fantastic memories but still so much to offer.
British producer George FitzGerald was already well known, but he’s stepped further into the limelight with a debut album full of his signature sounds. Gentle instrumental tracks segue nicely between the vocals songs like Full Circle, which is distinctly reminiscent of Chet Faker’s 1998. The spiralling music mirrors the melancholy singing of Oli Bayston, spreading a subdued feeling of resignation throughout the album that rarely disappears. FitzGerald stated he wanted to make music that reflected “the more complicated realities of [his] own life”, although only time will tell whether he has more to offer than Fading Love.
Good Riddance were never the most high profile band on the Fat Wreck roster, but they were the most consistent. It’s not surprising then that even after an extended period of inactivity (although they regrouped in 2012 for sporadic gigs, their last recorded offering was in 2006) they’ve come roaring back with yet another superb LP. Peace In Our Times offers everything we love about the Santa Cruz punk OGs. Sublime pop-punk gems (Grace And Virtue), fullthrottle pit-inducing anthems (Dry Season) and Russ Rankin’s thoughtful socio-political commentary (Washed Away).
2009’s No More Stories… saw prog-rockers Mew trimming their frilly rock edges into a luscious, cascading dream-pop tour of the world and space. As with many high profile rock releases of ’15 (Modest Mouse, Death Cab) + - continues to trim, this time a little too close. From Satellites’ opening jangle it’s clear we’re back down to earth and we’re in synth-pop territory. Albums can only be judged on their own merit to a certain extent; knowledge of what came before clouds judgment. What we have here is a good pop record, and an okay Mew album.
All Possible Futures
THEY MIGHT BE GIANTS
While Martin Gore vocally played the angel to Dave Gahanಬs devil in Depeche Mode, here heಬs ditching personae altogether in favour of cold electronic instrumentalism, as if soundtracking all your favourite sci-fi films that havenಬt been made yet. Itಬs angular like early Gary Numan one minute (in Trysting and Stealth), then spectacular and astral the next (Europa Hymn and Exalt), while Crowly and Brink both envy raves from the stratosphere. When an album’s dots connect on shuffle as well as they do in order, the mission is well and truly accomplished.
In making All Possible Futures, Miami Horror moved to the Californian beaches in search of a new sound. There’s also an additional host of guests this time around. Cleopold, who features on Love Like Mine and the expansive Colours In The Sky is a great fit, and LA singer Gavin Turek adds a further sense of sunshine. While it was wise to escape the trappings of the Australian sound by moving overseas, the dreamy feeling of the US West Coast permeates the record to an extent that makes it more impressionistic than impressive.
The veteran rockers’ 17th studio album isn’t likely to shake any cores, but it will put a smile on your face. Opening track, Erase, is super cool and lively. Music Jail, Pt. 1 & 2 is pretty quirky and abstract, and perhaps only for avid fans, while songs to listen out for are Madam, I Challenge You To A Duel and I’m A Coward. They Might Be Giants don’t have many tricks up their sleeve but continue to reshape and progress within their style, earning them major brownie points.
Elana Stone – Kintsugi Part 1 Gallows – Desolation Sounds Joseph Tawadros – Truth Seekers, Lovers & Warriors Unleashed – Dawn Of The Nine Speedy Ortiz – Foil Dear Hound – Dying In The Sun Superstar – Table For Two Villagers – Darling Arithmetic Beccy Cole – Sweet Rebecca
THE MUSIC • 22ND APRIL 2015 • 29
XIU XIU PLAYS THE MUSIC OF TWIN PEAKS
Gallery Of Modern Art 17 Apr The score by Angelo Badalamenti stood as a counterpoint to the underlying threat of Twin Peaks. There was sadness in the music, and fear and eroticism, but above all there was a saccharine sweetness that made the eventual revelations all the more grotesque. As part of the David Lynch exhibit currently running at GoMA, avant-pop maestros Xiu Xiu were invited to revisit that soundtrack to Twin Peaks
strips back the music of the original, changing the intent of the song. “I’ll see you, and you’ll see me” becomes a threat, where once it felt like a cry of loss. And Falling, the iconic song that originally featured Julee Cruise, sweeps from minimalism to a crescendo of anguish. The instrumental pieces are perfect adaptations, retaining enough of the original to be recognisable, but changed into something new, as the band swaps between the vibraphone, guitar, keyboards, drums and electronics arrayed across the stage. The visuals are the only letdown of the night. Three looped scenes – waving trees, a staircase and a revolving fan – play out behind the band, and while they’re inoffensive, it feels like a missed opportunity.
XIU XIU @ GOMA. PIC: SKY KIRKHAM
Fortunately Jamie Stewart is more than interesting enough to make up for it.
Without the show itself to play against, Xiu Xiu have adapted that unsettling tone, that sense of danger, as an explicit part of the music. This is the score as it could have been: if viewers had known what was coming; if the writers had chosen to foreground the pain. It’s still based on Badalamenti’s original work though, meaning that between the howls of distortion and the unsettling beats are resolutions so sweet and obvious they ache of innocence lost.
Stewart is one of the industry’s most magnetic front-people. Throwing his ‘self ’ into every song, he becomes the embodiment of its emotion. While singing, Stewart curls forward, leaning on toe-tip into the mic, eyes rolling back in his head. It’s easy to forget how impressive Stewart’s voice is too, buried as it often is behind noise, or hidden in a whisper, but his range is on full and impressive display tonight.
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The set ends on an unexpected note – a reading of the diary of Laura Palmer, which cuts out to Stewart’s unamplified rendition of Mairzy Dotes. It’s a perfect finale, even if, as with so much of the concert, it seems almost too raw for applause. Sky Kirkham
The Hi-Fi 19 Apr
The Hi-Fi is filled out early for what seems like the best bill we’ll see come through Australia this year. As though to prove fans haven’t worked this thing up to be something much bigger than it is, Extortion come out and blaze through a half-hour set. Brimming with steely unease, the Perth powerviolence powerhouse is as tight as ever as they burn through an increasingly outstanding catalogue. Carcass are up next and looking to inject some melody into the proceedings. Vocalist/bassist Jeff Walker is
CARCASS @ THE HI-FI. PIC: URBNANWILDLIFE
and present their own version in the cinema in which Lynch’s films are being screened.
There are few pieces of vocal work within the show’s soundtrack, but Xiu Xiu use them wisely: peppered throughout the performance, they let the band straddle the line between pop set and live score. Sycamore Trees
NAPALM DEATH, CARCASS, EXTORTION
The last time Napalm rolled into town, on the back of 2008’s Time Waits For No Slave record, they weren’t game to play numbers like Omnipresent Knife In Your Back, that showcase extremity set by mood, rather than speed. Tonight though, they’re playing the mid-tempo weirdo Dear Slum Landlord… and Everyday Pox, which has John Zorn’s saxophone taking over the PA. Twenty-five-plus years of creativity and fury on display, the band is ripping through Apex Predator - Easy Meat cuts like Cesspits and Adversarial/Copulating Snakes that get the crowd more animated than Scum. It’d be something you’d want to stand back and marvel at, if you could resist the temptation to get into the pit and go fucking mental. Tom Hersey
NAPALM DEATH @ THE HI-FI. PIC: URBANWILDLIFE
also hoping to get in some of his hilarious, curmudgeonly one-liners as well. On both accounts they succeed. Hitting the moody mid-tempo cuts from 2013’s Surgical Steel, like Captive Bolt Pistol, the band gets a big response. But it’s nothing compared to that riff from Corporal Jigsore Quandary, which damn near sends the room mental. Then, as they seem to always do, Walker and the lads insist on playing Keep On Rotting In The Free World. Why? Nobody knows. Napalm Death don’t make any sense when you consider that they’ve been playing some of the fastest music in the world for what’s going on 30-odd years without slowing down, figuratively or literally, bar a brief period in the late ‘90s. And here they are tonight, missing guitarist Mitch Harris, but still absolutely, absolutely killing it.
FUNERAL FOR A FRIEND @ MIAMI SHARK BAR. PIC: JAMES BOLTON
Fundamental Elements @ The Milk Factory Northeast Party House @ The Brightside
arts reviews rooted in recognisable, realworld situations and reactions but he also wants to please the punters with plenty of explosions, showdowns and face-offs. They’re all executed with energy and style, but they also get a little repetitive and wearying eventually. AVENGERS: AGE OF ULTRON
AVENGERS: AGE OF ULTRON Film
In cinemas 23 Apr
★★★★ Age Of Ultron has an embarrassment-of-riches problem, given that modern sequels not only have to continue the story but also up the ante in terms of spectacle. Whedon seems determined to keep these characters
The story has the Avengers snatching that glowing blue Tesseract doodad from an agent of sinister science division Hydra, and the ever-reckless Tony Stark (Robert Downey Jr) using its power as the ‘brain’ for his pet Ultron project, an army of peacekeeping robots with a single consciousness. Tony wants to render the Avengers obsolete, what he creates is a whole new enemy. Age Of Ultron does feel like a bit of a rehash of the previous Avengers but that’s not altogether a bad thing. And to its credit, it does by the end set a course in a slightly different direction, one we will be keen to travel in the future. Guy Davis
BANKSY DOES NEW YORK Film
In cinemas 23 Apr
★★★★ Banksy Does New York is an objective account of the hysteria that descended upon New York City in October 2013, following the month long residency of the most famous street artist in the world – Banksy. NYC is the Mecca of the graffiti scene and people fawn over this man, except no one actually knows who Banksy is, what he looks like or where his work will appear. He controls the entire show from his website, posting pictures of where his work is with cryptic clues that New Yorkers need to follow. He turns the entire city into a wild goose chase documented 24/7 on Instagram and Twitter by his fans. The best part about this film is how absent Banksy remains (he has nothing to do with the documentary)
and, instead, how central the public is to the event. People cover his artwork and start charging money to see it; they deface it, paint over it, tag on it or literally cut it out of the wall to sell for upwards of $US300k at auction. I also just fucking love how political the work is. Banksy throws the lens back at Americans, forcing them to think about their participation in wars on terror, making references to capitalism, consumerism, animal rights and more. This film shows how absurd yet powerful street art can be. Sarah Barratt
BANKSY DOES NEW YORK
THE MUSIC • 22ND APRIL 2015 • 31
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32 • THE MUSIC • 22ND APRIL 2015
Member/roles: Alex – drums (answering)/John – guitar/ vocals (snide-remarking)/Tamara – bass (sniggering) How long have you been together? Noises began around February 2013 but a lot like pregnancy, it wasn’t until nine months later that Grieg actually came into being.
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? I should just say a cool overseas cult band like The Melvins even though really no matter what road we were on in what part of the world it will always be a three-way tie between The Hard-Ons, Nation Blue & Front End Loader – cranked stereo bliss! Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? We’d happily turn The Big Four into The Big Five but a world that embraced our kind of noise on that scale is probably a world that has succumbed to its dystopian nightmares! Which Brisbane bands before you have been an inspiration (musically or otherwise)? Each other’s! Brisbane has a really good history of weird heavy shit. Just take Budd for example, still as heavy and relevant in this town as they were 20 years ago. Really the appreciation is there for any local band that sounds unique in this giant cow field full of grant-funded piles of steaming turds. What part do you think Brisbane plays in the music you make? Brisbane the town gives zero fucks about us so we do our best to return the favour. Brisbane really has total lack of delineation. Unlike other cities, we’re more willing to make something new as opposed to growing very defined scenes like viruses. The Brisbane music scene I’ve known for the last 20 plus years is one that’s been hit with the fry-pan a few too many times – it’s always been a bit messed in the head. What’s in the pipeline for the band in the short term? Birth albums. Birth humans. Birth tinnitus. In that order starting with our LP launch at Crowbar Friday 1 May with Lizzard Wizzard, Golden Bats & Danyl Jesu. Grieg play Crowbar on Friday 1 May. PIC: Terry Soo
THE MUSIC • 22ND APRIL 2015 • 33
THIS EXISTS... Other stuff you can get delivered to your door.
Cooking at home and eating in made super easy. Pic: Dina El-Hakim
DRINK DELIVERY You’ll need something thirstquenching to with your food delivery, eh? Beer Days’ Beer Boxes: Choose between 8, 12 or 16 mixed bottles of craft beer delivered to your door monthly or quarterly.
My Food Bag
On the Dish’d website, browse dishes and desserts covering cuisines from all over the world. Choose what you want and get it delivered the next day in a coolbox, complete with dry ice to keep your meal frozen. They’re currently delivering in Sydney and Melbourne only, and they also have a store in Prahran (VIC). This kinda thing would be perfect for the days when you’re not in the mood to cook.
This company offers the same concept as HelloFresh, but it’s Sydney-specific, if you Sydneysiders wanna keep it super local. You can choose from three kinds of basic boxes, and adjust the amount of ingredients according to how many adults and kids you’re cooking for.
HelloFresh What about if you are in the mood to cook, but you’re also a bit lazy about it? No time or motivation to go to the supermarket? No judgement, we’ve all been there. HelloFresh delivers a box with the exact ingredients needed for a certain dish. They’ve got a nifty subscription service and new recipes every week. 34 • THE MUSIC • 22ND APRIL 2015
Dinner Twist Perth need not miss out, because Dinner Twist is Perth’s answer to HelloFresh and My Food Bag. Choose from the Family Box (classics and general crowdpleasing recipes) or the Foodie Box for more adventurous palates. Whole Larder Love The fab folk at WLL deliver fresh, organic veggie and meat boxes to four drop-off spots in Melbourne every Saturday. This is a great option for those who really want their veg and meat straight from the source.
Hello Flo: Subscribe to a monthly plan tailored to your menstrual needs. Get tampons, pads, liners, and treats. If you sign up for a three- or six-month subscription you can provide sanitary supplies to one school aged girl in Kenya for a full school year. The Period Store is another website that offers the same thing. Unfortunately these services exist only in the US. Candy Japan: Oh my god, why has no one told me about this?! Subscribe and get interesting and tasty lollies from Japan in the mail twice a month. The packaging is really cute, too. Yep, they deliver to Australia. Soxy: Five new pairs of socks delivered every month. We can’t really imagine who would need on ongoing subscription – maybe sock collectors or people who wear out socks super quickly? – but still a cool idea.
Beer Cartel’s Beer Club: Unique local and international beers in a pack of six (two x three varieties) or 12 (three x four varieties) every month. Cellarmasters’ Quarterly Wine Plans: Choose from Big Bargain 16, The Best Buys, Discovery, Southern Stars (Aus and NZ wines), Connoisseur (premium wines), and Pinnacle. Cider Insider: Choose your fav flavs and whether you’d like nine, 12 or 18 bottles in the box. Monthly delivery options available.
GAME OF RHONES
#WINEISCOMING; how timely. Is there one wine to rule them all? Game of Rhones will travel to five cities – Sydney, Melbourne, Adelaide, Brisbane and Auckland (Perth fans, book your flights?). Head to the event to sample many a wine and vote for what should win. There’ll also be some hearty food on offer... gotta soak up that wine with something, right? Go to the bottleshopconcepts.com/gameofrhones to see the wine line-up (wine-up) in each city. Dates: Brisbane – 31 May; Melbourne – 13 Jun; Sydney – 21 Jun. More dates and deets on the website.
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BOUNCE BOUNCE BOUNCE
BROTHERS IN ARMS
Bass-heavy bombastic duo Slumberjack from Perth make their way to The Met this Saturday. Their most recent EP release hit #2 on the iTunes electronic chart. They’ll be joined by Doslyf, Slop Rock and Dimes.
The Pierce Brothers have gone from busking on the streets of Melbourne to touring all over the world. Catch their irresistible energy and help get the dancefloor shaking this Thursday at Solbar, and Friday at Woolly Mammoth.
Feed Her To The Sharks and their latest record Fortitude will be touring our fine country this month. Fortitude follows their last two albums with the heaviest of riffs. Saturday, Crowbar, 18+; and Sunday, Upstairs at 199 Bar, AA.
BACK TO THE ROOTS
A homeless man in Sydney inspired King Of Bohemia, the new single from Betty & Oswald. They play Wednesday at Miami Marketta on the Gold Coast and Sunday at The Milk Factory.
The album is titled Fall, the tour is the Slow Burn East tour, and the artist is M.E. Baird, and he’s showcasing Fall Thursday at Junk Bar, with guest, Sydneysider Roland Kay-Smith.
Blues, roots and reggae troubadours the Jessie Morris Band are playing a bunch of shows this weekend: Nook & Cranny, Nambour, Thursday; Rainbow Beach Hotel, Friday; Taps, Mooloolaba, Saturday; and The Triffid, Sunday.
Doom rock trio Skullcave are on the road with fellow WA juggernauts The Love Junkies, and they’ll be making their way to The Standard Bowl on Friday and The Haunt, Caxton Hotel, Saturday to melt your face off.
Committed to making “shagaholic indie-rock”, local five-piece Shag Rock are launching their self-titled debut eight-song EP and the new single, Champagne, lifted off it Friday at The Flying Cock.
Fresh outta da Sunshine Coast, roots/reggae combo Bearfoot are bringin’ dere debut release, Babylon, to The Motor Room Friday, with guests The Rocket Sox. It’s hard to get dat Rasta lilt into written form!
4ZZZ is putting on a party in its car park to support local radio. It will host a number of live bands including Marville, Makeout Creek, The Missing, Qualms and Bad Bangers. The all-ages event kicks off 3pm and entry’s a gold coin.
On Saturday, it’s a quadruple whammy at The Bearded Lady with warping psych rockers Magic America; psych, prog-rock and grunge band Shady Bliss; folk rock’n’rollers Bandito Folk; and Aquila Young’s soothing tonal voice.
Electric Suede, Jacket, Nila Bonda and The Killing Stroke are showcased in the third edition of BrisRock event Thursday at The Zoo, the best in local talent.
FOR MORE HEAD TO THEMUSIC.COM.AU
It’s a week of achievement for freshly announced Splendour In The Grass must-see act Japanese Wallpaper, with the up-and-coming Melburnian muso — known to his mum as Gab Strum — walking away with a top-10 debut on this week’s Carlton Dry Independent Music Charts with his new single, Forces (feat. Airling), coming in at #8. Strum doesn’t quite make the highest debut of the week — that honour goes to multiple chart entrant Sia, whose Big Girls Cry steps out at #3, coming in a rung below previous single, Elastic Heart (#2) — but he’s the only other top-10 placer for the next seven days, though Moog isn’t far off, with the Chasing Midnight EP netting the Sydney-bred producer the #12 spot. Former Butterfly Effect frontman Clint Boge rounds out the Singles debuts for the week with Dance With The Devil skating into the top 20 at #17. It’s a much quieter week on the full-length ladder for new faces, as Ziggy Alberts delivers the sole debutant effort with Land & Sea at #15, though San Cisco’s eponymous debut LP makes an impressive leap back into the top 20, landing at #5 after several weeks outside the rankings, coming in just one spot below their second effort, Gracetown, which slips down a rung to #4. That drop comes courtesy of a resurgent Sheppard, whose Bombs Away jumps six places from #9 to #3, while the top two contenders swap spots this week — Courtney Barnett’s Sometimes I Sit And Think, And Sometimes I Just Sit is down to #2, giving way to previous top entry 1000 Forms Of Fear, by Sia, which this week reclaims its position atop the pile. THE MUSIC • 22ND APRIL 2015 • 35
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it for our beautiful sister last year. Genevieve is the first word we ever learnt to spell.
Was anything in particular inspiring you during the making? The timeline not very inspiring but kept us on our toes. When you set goals on yourself you can be surprised what comes out. What’s your favourite song on it? It changes every day! I always start with End Of 20; love the lyric “let the light in”. Powerful song.
JERICCO Answered by: Brent McCormick Album title? Machine Made The Animal Where did the title of your new album come from? It was a lyric I wrote in a track that didn’t make to our last record, Beautiful In Danger; it’s a strong title. In the end we are the animals.
Will you do anything differently next time? Maybe more recording time; give the guys some more freedom to explore. Being on budget, it gets tense. Dan Murtagh our producer got us over the line! When and where is your launch/ next gig? 29 May, Crowbar.
How many releases do you have now? Two EPs, a live record, and two LPs. Starting to get a collection! How long did it take to write/ record? We had a three-month plan. Took us eight weeks to write and four weeks to record.
We’ll like this EP if we like... If you like the Lumineers and Mumford-style folk, then you will enjoy this EP. The EP mixes the upbeat folk trend with some almost Xavier Rudd tones, eg didgeridoo.
When and where is your launch/ next gig? 4 Jun, Black Bear Lodge; 5 & 14 Jun, Solbar.
Answered by: Jack Pierce EP title? The Night Tree
Website link for more info? piercebrothers.com.au
How many releases do you have now? We have two releases: Blind Boys Run and The Night Tree. Was anything in particular inspiring you during the making? We really wanted to bring a lot of depth into the songs; particularly the song It’s My Fault. Working with Cam Trewin (producer) was awesome; we always went in with heaps of creativity in mind. What’s your favourite song on it? Genevieve. We wrote
HAVE YOU HEARD
last year our 14-song demo was recorded by our drummer Jesse and then late July/early August we hit the studio.
would it be and why? Abbey Road by The Beatles. I once listened to it ten times in a row in an altered state and realised how perfect it was. I still agree with my altered self.
CISCO CAESAR Answered by: James Cisco When did you start making music and why? I started very young. My father collected and traded in vintage guitars and banjos. Eventually he opened his own music store. Not sure I could have been anything else but a musician. Sum up your musical sound in four words? Funky country soul excitement. If you could support any band in the world – past or present – who would it be? The Rolling Stones.
Greatest rock’n’roll moment of your career to date? During our recent tour of England we played a rocking show in the quad at the University of Oxford. Not many bands can say that. There was just something so weird about us hammering the funk at such an institution. Why should people come and see your band? We enjoy playing together and what we make is an original sound. You can’t mistake us for someone else. When and where for your next gig? 24 Apr, The Bearded Lady; 25 Apr, Byron Bay Brewery; 26 Apr, Nimbin Hotel. Website link for more info? ciscocaesar.com
SUPER BEST FRIENDS Answered by: Johnny Barrington
What’s your favourite song on it? My current favourite’s Conscript, the album opener. Good warmup song to start a show. Punchy and drivey and gets heavier.
Album title? Status Updates Where did the title of your new album come from? Having a rant on social media. People are way more vocal since Tony Abbott became PM and it can seem a bit bandwagon.
Will you do anything differently next time? I’m actually looking forward to the difficult second album.
How many releases do you have now? Including the Round & Round single from 2013, we have four: Status Updates, Ready Aim Fire EP and Handshake EP.
When and where is your launch/ next gig? 23 Apr, Ric’s Bar; 24 Apr, Byron Bay Brewery; 26 Apr, Broadbeach Tavern. Website link for more info? facebook.com/superbestfriends
How long did it take to write/ record? We started working on album stuff late 2013. In March
If you could only listen to one album forevermore, what 36 • THE MUSIC • 22ND APRIL 2015
Was anything in particular inspiring you during the making? Super Besties had only released EPs and singles, so I was keen to do an album. Greg from Gun Fever Records (our label) was l’inspirateur!
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THE MUSIC PRESENTS Pierce Brothers: Woolly Mammoth 24 April The Beards: Spotted Cow 30 Apr, The Triffid 1 May, The Northern 3 May Urban Country Music Festival: Caboolture 1-3 May sleepmakeswaves: The Northern 1 May, The Zoo 2 May Peace: The Zoo 6 May Groovin’ The Moo: Townsville Cricket
My Empty Phantom + Balloons Kill Babies + Kodiak Empire: Beetle Bar, Brisbane
Grounds 10 May San Cisco: Solbar 14 May, Coolangatta Hotel 15 May, The Triffid 16 & 17 (U18) May Supersuckers & The Bellrays: The Zoo 22 May Ben Howard: The Tivoli 28 May Jebediah: The Tivoli 12 Jun The Church: The Triffid 4 Jul
Trainspotters feat. Cedie + Ultra Material + Forevr: Grand Central Hotel, Brisbane Karl S Williams: Heya Bar, Fortitude Valley
Locky: Irish Murphy’s, Brisbane
Jabba: Irish Murphy’s, Brisbane
Ben Salter + Harley Young: Junk Bar, Ashgrove
Lauren Lucille + Josh Hatcher: JMI Live, Bowen Hills
Big Jam with Chris Ramsay: Manly Hotel, Manly Open Mic Night: Mick O’Malley’s, Brisbane Open Mic Night: Solbar (Front Bar), Maroochydore Average Art Club + 10 Days Notice + Allie Falls: The Zoo, Fortitude Valley
Counterfeit Umbrellas + Tree & Ray + Arpier: Beetle Bar, Brisbane George Maple + Moon Holiday: Black Bear Lodge, Fortitude Valley The Douldie Men: Brisbane Brewing Co, West End Andrew Baxter Band: Brisbane Jazz Club, Kangaroo Point Cathy Drummond: Carina Leagues Club (Main Lounge), Carina Blues & Roots Open Mic Night: Chardons Corner Hotel, Annerley
Roland K Smith + M.E. Baird: Junk Bar, Ashgrove Des Reid: Loving Hut, Mount Gravatt The Celibate Rifles: Mick O’Malley’s (The Bunker), Brisbane McGuinness & Co: O’Malley’s Irish Bar, Mooloolaba
GIG OF THE WEEK PIERCE BROTHERS: 24 APR WOOLLY MAMMOTH Ben Salter: The Bison Bar, Nambour
Baktrak: Coolum Beach Hotel, Coolum
Karl S Williams: Rabbit And Cocoon, Miami
The Floyd Family Breakdown: The Boundary Hotel, West End
Hard-Ons + Goon On The Rocks + Walken: Crowbar, Fortitude Valley
Jesse Morris: Rainbow Beach Hotel, Rainbow Beach
Perspectives + Vitals + Dear Seattle + The Comfort: The Brightside, Fortitude Valley
The Elliotts + Alone Alaska + Paging Jimi + Sorry Not Sorry: Currumbin Creek Tavern, Currumbin Waters
Trivia: The Brightside, Fortitude Valley Montaigne + Banff: The Milk Factory Kitchen & Bar, South Brisbane Jesse Morris: The Nook & Cranny, Nambour
Dillion James + Canyonero: Eat Street Markets, Hamilton
Diamond Back + Kold Creatures + I Met The Maker: The Underdog Pub Co, Fortitude Valley
Yacob + Dana Gehrman: Habitat Restaurant & Bar, South Brisbane
Electric Suede + Jacket + Nila Bonda + The Killing Stroke: The Zoo, Fortitude Valley
Rod Quantock + Angus Gordon + Ting Lim: Old Museum, Fortitude Valley
Bangarang feat. Jensen Interceptor + Daddy Pale + more: Alhambra Lounge, Fortitude Valley
Super Heroes and Villains Party with Brooke Evers: Parkwood Tavern, Parkwood
Magic America + Mid Ayr + Aquila Young: Beetle Bar, Brisbane
Super Best Friends + Release The Hounds: Ric’s Bar, Fortitude Valley Pierce Brothers + Woodlock + Tash Sultana: Solbar, Maroochydore Tim Steward + Kellie Lloyd: Solbar (Lounge Bar), Maroochydore Andrew Tuttle + Feeding Fauna + No Magic + more: The Bearded Lady, West End
BNS + Styli$$h: Deception Bay Tavern, Deception Bay
Boo Seeka: Black Bear Lodge, Fortitude Valley James Johnston: Breakfast Creek Hotel, Albion Martha Baartz Quintet: Brisbane Jazz Club, Kangaroo Point Fingerprint: Brothers Leagues Club, Manunda Harley Young: Cardigan Bar, Sandgate High Noon Trio: Carina Leagues Club (Main Lounge), Carina
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Two Way Street: Hamilton Hotel (Public Bar), Hamilton Sarah Jane Band: Irish Finnegans, Condon Jabba + Nathan Ward: Irish Murphy’s, Brisbane Le Breeze: Lambert’s Restaurant, Kangaroo Point Dillion James: Lock ‘n’ Load Bistro, West End Seductive Soul: Logan Diggers Club, Logan Central Ace DJs: Manly Hotel, Manly
The Demon Drink: Royal Mail Hotel, Goodna Pro Vita + Columbia Buffet + Ends Eve: Solbar, Maroochydore Dave Flower: Solbar (Lounge Bar), Maroochydore Hanlon Brothers: Stock Exchange Hotel (Rooftop Garden), Brisbane The Moose: Story Bridge Hotel (The Corner Bar), Kangaroo Point Cisco Caesar: The Bearded Lady, West End Citizen + Postblue + We Set Sail: The Brightside, Fortitude Valley Shag Rock: The Flying Cock, Fortitude Valley DJ Nick One: The Milk Factory Kitchen & Bar, South Brisbane Ultra Steel: The Plough Inn, South Brisbane The Francis Wolves: The Press Club, Fortitude Valley
Backroom Vegas: O’Malley’s Irish Bar, Mooloolaba
The Gin Club + Halfway + Mosman Alder: The Triffid, Newstead
Angels Tribute Show: Prince of Wales Hotel, Nundah
The Celibate Rifles: The Underdog Pub Co, Fortitude Valley
Green Jam Sessions with Kim Baskin Quartet: QPAC (Melbourne Street Green), South Brisbane
Pack Animals + Steele + Yes Sir Noceur + The Rocketsox: The Underdog Pub Co, Fortitude Valley
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the guide email@example.com Micropsia + Stone Majesty + City of Refuge + Dameena + Sean Leonard: The Zoo, Fortitude Valley
Betty & Oswald + Deena: The Milk Factory Kitchen & Bar, South Brisbane Kitty Hawk: The Plough Inn, South Brisbane
Dead Letter Circus: Villa Noosa Hotel, Noosaville
Ella Fence: The Triffid, Newstead
Pierce Brothers + Woodlock + Tash Sultana: Woolly Mammoth, Fortitude Valley
Triffid Roots feat. Ella Fence + Jesse Morris: The Triffid (Beer Garden/2pm), Newstead Open Mic with Shortymain: The Underdog Pub Co (2pm), Fortitude Valley
Release The Hounds: 4ZZZ, Fortitude Valley DJ Indy Andy: Albany Creek Tavern (Creek Bar), Albany Creek The Green Sinatras: Breakfast Creek Hotel, Albion Karaoke: Brook Hotel, Mitchelton Facin the Crowd: Carina Leagues Club (Main Lounge), Carina The Love Junkies + Skullcave: Caxton Hotel (The Haunt), Brisbane The Celibate Rifles: Coolangatta Hotel, Coolangatta The Rusty Dogs: Coolum Beach Hotel, Coolum Feed Her To The Sharks + As Paradise Falls + Kyzer Soze + Zeolite + APATE: Crowbar, Fortitude Valley Dillion James + Mamachair: Eat Street Markets, Hamilton Trainspotters feat. Black Springs + Keep On Dancin’s + Blonde Tongues: Grand Central Hotel, Brisbane Jeff Carter Duo: Hamilton Hotel (Public Bar), Hamilton Berst + Locky: Irish Murphy’s, Brisbane Brad McCarthy Band: Lock ‘n’ Load Bistro, West End Silk + Mantra: Logan Diggers Club, Logan Central Betty & Oswald: Miami Marketta, Miami
Peter Cupples: Wynnum RSL, Wynnum
MORNING HARVEY: 25 APR, THE TRIFFID Ger Fennelly: Mick O’Malley’s, Brisbane
Slumberjack: The Met, Fortitude Valley
Cold Chisel Tribute: Racehorse Hotel, Booval
Master Wolf + Skurge + Mars Madness: The Milk Factory Kitchen & Bar, South Brisbane
Sam Smith + Emma Louise: Riverstage, Brisbane Blue Eyes Cry + Mojo Webb: Royal Mail Hotel, Goodna Bullhorn + HRBRT: Solbar, Maroochydore Ant McKenna: Solbar (Lounge Bar), Maroochydore The Big Duo: Story Bridge Hotel (The Corner Bar), Kangaroo Point Jesse Morris: Taps Australia, Mooloolaba Magic America: The Bearded Lady, West End The Floyd Family Breakdown: The Bearded Lady, West End Midnight Son & The Crime Scene + Sian Evans + Ben Bunting Duo: The Boundary Hotel, West End Fall Out Boy Tribute with Radioactive Man + Dollarosa + We Are Servants: The Brightside, Fortitude Valley
The Rocketsox + Bearfoot: The Motor Room, West End Morning Harvey + Salvadarlings + Sawtooth + Street 66: The Triffid, Newstead Bless Up feat. Paua + Darky Roots: The Underdog Pub Co, Fortitude Valley Acoustic Moose + Solar Rush + The Febs + Caillin Malley + DJ Matt Schoie: Victory Hotel, Brisbane Sting-Land feat. Spectrem + DJ Nick One + Department DJs: Woolly Mammoth, Fortitude Valley
Rob Hackwood: Irish Murphy’s, Brisbane
Out of the Blue: Brothers Leagues Club, Manunda
Noel Fielding: QPAC, South Brisbane
A Wilhelm Scream + Anchors + Friends With The Enemy: Crowbar, Fortitude Valley Zac Gunthorpe: Habitat Restaurant & Bar, South Brisbane The Front: Hamilton Hotel, Hamilton Sunday Session with Spike: Hamilton Hotel, Hamilton Scramjet + Rag Doll + Mick McHugh: Irish Murphy’s, Brisbane Coisa Linda: Lock ‘n’ Load Bistro, West End Ger Fennelly: Mick O’Malley’s, Brisbane
Nik Phillips Duo: Wynnum RSL, Wynnum
Tara Tiba: Queensland Multicultural Centre (QMC), Kangaroo Point
The Lyrical : Redland Bay Hotel, Redland Bay
Bearfoot: Black Bunny Kitchen, Alexandra Heads
The Massive Fergusons: Royal Mail Hotel, Goodna
Playing Vegas: Breakfast Creek Hotel, Albion
Kel Breuer: Solbar (Lounge Bar), Maroochydore
The Love Junkies: The Foundry, Fortitude Valley
John Hoffman + David Spicer Band + So Yeong Min: Brisbane Jazz Club, Kangaroo Point
Citizen + Postblue + Stone Hearts: The Lab, Brisbane
Jaider & Friends: Brisbane Jazz Club, Kangaroo Point
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Sounds of Sunday feat. Super Best Friends: Broadbeach Tavern, Broadbeach
Trivia: Mick O’Malley’s, Brisbane
Ricky Martin: Brisbane Entertainment Centre, Boondall Drumstruck: Brothers Leagues Club, Manunda Billy May: Brothers Leagues Club, Manunda Woody Lives Here: Irish Murphy’s, Brisbane LNL Jazz feat. Playjam: Lock ‘n’ Load Bistro, West End Mark Sheils: Samford Valley Hotel, Samford Village Nigel Jones: The Plough Inn, South Brisbane Ace Frehley + Witchgrinder + Blonde on Blonde: The Tivoli, Fortitude Valley
Christian Andrews: Solbar (Lounge Bar), Maroochydore Feed Her To The Sharks: The Lab, Brisbane
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THE MUSIC • 22ND APRIL 2015 • 39
Published on Apr 22, 2015
Published on Apr 22, 2015
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...