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(02) 9984 9933 Fairplay Entertainment Presents Coopers LIVE & LOCAL Sons of Sun - The Sam Phillips Story Rock Musical Lionel Cole - Cole Soul & Emotion Toni Childs Fairplay Entertainment Presents Coopers LIVE & LOCAL The Sydney Jazz Orchestra Juzzie Smith Barry Leefs - Doobies, Eagles & West Coast Rock Show


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(02) 4368 2017 Fairplay Entertainment Presents Coopers LIVE & LOCAL Bob Evans - Welcome Stranger Tour Toni Childs Tour De Force -Tribute Show Lazy Sunday Lunch with Tori Darke & Kate Cook Fairplay Entertainment Presents Coopers LIVE & LOCAL Loren Kate - Moving On Album Launch The Incredible Steve Clisby Elvis - The 68 Comeback Special Juzzie Smith


(02) 4956 2066 Fairplay Entertainment Presents Coopers LIVE & LOCAL Toni Childs Tour De Force -Tribute Show Abby Dobson Kevin Bennett & The Flood Brian Kennedy Fairplay Entertainment Presents Coopers LIVE & LOCAL Dianna Corcoran & Aleyce Simmonds - Pure Acoustic Blonde Afro Moses Ojah Band Juzzie Smith Bob Evans - Welcome Stranger Tour

Calling all artists for Live and Locals! Contact Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

w w w . l i z o t t e s . c o m . a u 10 • THE MUSIC • 4TH SEPTEMBER 2013


themusic 4TH SEPTEMBER 2013




Violent Soho

Top Of The Lake Stomp The Polyphonic Spree Placebo Anberlin Asylum Seekers Miss Julie The Go Set Arctic Monkeys Tonight Alive Headphones RIPD Helm The Velvet Set


Album: Neko Case Live: Vance Joy Arts: Blue Jasmine Gear: Zildjian A Series Cymbals Games: Gone Home …and more

THE GUIDE Cover: A Band Called Death







Sydney Fringe Festival Guide Local News Gig Guide Eat: Salami Fiesta Drink: Coconuts Travel: Number 6 Festival Culture: Election Parties Fashion: Indigenous Fashion

review 12 • THE MUSIC • 4TH SEPTEMBER 2013



@ Agincourt 871 George street, Sydney City, WED 4TH 7PM
























Wed 11 Sept: ULTRA band competition grand ďŹ nal ; Thu 12 Sept: Indie Show with Dennis Jaculli, “The Drawing Glassâ€? , “Vanessa Heinitzâ€? , “Scndalgateâ€? ,â€?Jodyâ€? ; Fri 13 Sept: Basement: Punk Rock Show with “Excitebikeâ€? , “BKâ€? , “Frotteraâ€? , “Nursing Home Stalkersâ€? , “Skinpinâ€?; Sat 14 Sept: Basement 12pm: Rockchick Ent presents Core Show with: “Our Past Daysâ€? , “Lyon Estelleâ€? ,â€?Final Formâ€? , “Atlantis Of The Skyâ€? , “Highroadsâ€? ,â€?Ready For The Fallâ€? , “1919â€?; 8pm: FESS~TIVAL De Boobies feat: “LAB 64â€? , “Chainsaw Mascaraâ€? , “Dominoâ€? , “Rusty Blazeâ€? , “Shadowqueenâ€? , “Upside Down Miss Janeâ€?; First Level 9pm: - Venom Club- ; Sunday 15 Sept: 12pm: School Of Rock quarterly showcase ; 7pm: Hangover Music - Rock Show with “Falling Down The Stairsâ€? , “Electric Grapefruitâ€? , “Chupacabraâ€? , “Daytime Televisionâ€?

For band bookings please email



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Street Press Australia Pty Ltd


EDITOR Mark Neilsen



MUSO EDITOR Michael Smith


CONTRIBUTORS Adam Wilding, Andrew McDonald, Anthony Carew, Ben Meyer, Ben Doyle, Ben Preece, Bethany Cannan, Brendan Crabb, Brendan Telford, Callum Twigger, Cam Findlay, Cameron Warner, Cate Summers, Chris Familton, Chris Maric, Chris Yates, Christopher H James, Cyclone, Dan Condon, Daniel Cribb, Dave Drayton, Dominique Wall, Dylan Stewart, Glenn Waller, Guido Farnell, Guy Davis, Helen Lear, Jamelle Wells, James d’Apice, James Dawson, Justine Keating, Kris Swales, Liz Giuffre, Lorin Reid, Lukas Murphy, Mark Hebblewhite, Mat Lee, Matt MacMaster, Paul Ransom, Paul Smith, Rip Nicholson, Robbie Lowe, Ross Clelland, Sam Hilton, Sam Murphy, Sarah Braybrooke, Sarah Petchell, Scott Fitzsimons, Sebastian Skeet, Sevana Ohandjanian, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Tom Hersey, Tyler McLoughlan

PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Clare Hawley, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Peter Sharp, Sara Wills, Thomas Graham, Tony Mott



So, twerk is now officially a word. Oxford Dictionaries Online has added a stack of new words to its database including: twerk, vom, derp, emoji and omnishambles. The linguistic puritans among us here at The Music weep for the future.



The Sydney Underground Film Festival attempts to present a collection of films that challenge the notions of genre and structure of mainstream filmmaking. Getting the indie, unknown and unestablished on screen for a short span between Thursday and Sunday Sep at the Factory Theatre. Some films to keep an eye out for are A Band Called Death, John Dies At The End, The Canyons and Antisocial. Don’t let the seventh year of this festival slip you by.

Brett Dayman

ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley


ART DEPT Eamon Stewart, Nicholas Hopkins

ADMIN & ACCOUNTS Loretta Zoppolone Shelly Neergaard Jarrod Kendall Leanne Simpson

Now in its 16th year, History Week is a significant event that engages local communities on the NSW cultural calendar. With over 100 events across NSW, History Week is about celebrating the best in community and professional history, highlighting its role in our cultural life and inviting people to get involved. This year History week runs from Saturday to 15 Sep and will bring the past into view through the frame of images. How has the development of the visual changed, informed and shaped society? How do historians use art and photography to inform their research?

DISTRO Anita D’Angelo Subscriptions

CONTACT US PO Box 2440 Strawberry Hills NSW 2012 Level 1/142 Chalmers St Surry Hills NSW Phone (02) 9331 7077



New episodes of genius US comedy Arrested Development can be seen in Australia – legally! – with the groundbreaking comedy’s fourth season screening on the Comedy Channel Tuesday’s at 9pm. How much new tragic hilarity can the Bluth family bring upon themselves? Plenty we’re hoping.



Whether you’re a beat fancier or not, you can’t deny the impact Harley ‘Flume’ Streten has had on our musical landscape in the last 12 months. Now the fire is set to burn overseas, with wunderkind peers Disclosure calling on his services to open shows during their massive sell-out UK tour in November. Playing packed rooms at iconic venues like Brixton Academy is a hell of an achievement for any artist. Doing it as a 21-year-old when you’re from the other side of the world – fair play.

Getting super drunk during the summer holidays was awesome when you were a teenager. Slamming brewskis with your pals, riding your bike into the pool, hurtling down giant slip ‘n’ slides, firing off dangerous homemade weaponry – don’t tell mum and dad! The National haven’t forgotten about those times either, channelling irresponsible excess in their latest film clip for Graceless. But fans needn’t worry; they’re still wearing immaculate suits.


In a feat of pure and utter deliciousness, US fastfood joint Burger King will soon sell a French Fry Burger, consisting of a standard beef patty topped with French fries and all the burger’s regular fixes. Someone, somewhere needs to start a petition to bring this baby Down Under. Pronto. THE MUSIC • 4TH SEPTEMBER 2013 • 15

national news BILLY BRAGG

One of Meredith’s exciting curveballs in their 2013 line-up, Brooklyn, New Yorker Joey Bada$$ is set to finally get Down Under after losing his holiday earlier this year when the first Movement Festival was shelved. With a couple of stellar mixtapes behind him, the 18-year-old seems set to sit atop the throne of NYC hip hop in the future – no matter what Kendrick Lamar tells you – and will be showing off his renegade chops with a series of capital city headline shows. Catch him with The Underachievers and Remi, 7 Dec, The Hi-Fi, Brisbane; 11 Dec, Capitol, Perth; 12 Dec, Metro Theatre, Sydney; and 13 Dec, The Hi-Fi, Melbourne.


Billy Bragg. Robert Forster. Regurgitator. BIGSOUND has never had bigger names on their live music bill. Now, these three late surprises are set to make the 2013 industry conference one of the most memorable in its history, adding to an already jammed line-up found within 12 venues across two nights in the Fortitude Valley Entertainment Precinct. Final tickets are still available through Oztix, but they won’t be for long – hop to it.


One of Australia’s most popular festivals looks set to take it to the next level in 2014, with Future Music Festival forming a strategic alliance with The Mushroom Group and Frontier Touring, and announcing it’s under-18 sister event, Good Life, will run in four cities this year. Line-ups will be announced shortly, but you can cross off these dates in next year’s planner now: Future Music: 1 Mar, Brisbane; 2 Mar, Perth; 8 Mar, Sydney; 9 Mar, Melbourne; Good Life: 28 Feb, Brisbane; 3 Mar, Perth; 7 Mar, Melbourne; 9 Mar, Sydney.


Their Oz pop has been getting all sorts of love online, but now it’s time to stop watching Shining Bird and start enjoying the Austinmer sextet in the flesh. To celebrate the anticipated release of their debut LP Leisure Coast, the five-piece will perform a free show 11 Sep, Treehouse On Belongil, Byron Bay; before playing 4 Oct, Illawarra Performing Arts Centre, Wollongong; 12 Oct, Goodgod Small Club, Sydney; 18 Oct, The Workers Club, Melbourne; and 25 Oct, Black Bear Lodge, Brisbane.


Moody post-hardcore is coming to us from the west courtesy of Eleventh He Reaches London. Get swept away by the atmospheric soundscapes from this Perth five-piece when the band play 5 Oct, The Bakery, Perth; 10 Oct, The Tempo Hotel, Brisbane; 11 Oct, Hermann’s Bar, Sydney; and 12 Oct, Evelyn Hotel, Melbourne.


Due to a serious motorcycle injury suffered by frontman Chad Ruhlig, For The Fallen Dreams have had to cancel their upcoming Australian dates. The Plot In You, Fit For A King and Storm The Sky will still carry on with the tour (FFAK and STS not appearing in Western Australia), however, there’s been some major venue changes. The list of dates is now as follows: 11 Sep, YMCA HQ, Perth (all ages); 12 Sep, Amplifier Bar, Perth; 14 Sep, Invasion Fest, St John’s Parish, Melbourne (all ages) and Bang, Royal Melbourne Hotel; 18 Sep, The Basement, Canberra; 19 Sep, Hot Damn, The Exchange Hotel, Sydney; 20 Sep, Studio 6, Sutherland (licensed/all ages); 21 Sep, Thriller, Coniston Lane; and 22 Sep, Invasion Fest, Expressive Grounds, Gold Coast, with sweet local supports at each stop on the tour. Every ticketed show is now priced at $25.50+BF, and previously purchased tickets to shows that have been moved to clubs will be refunded. If you’re seeking a refund for other shows contact your point of purchase direct.





As far as ludicrous killer animal films go, Sharknado takes the cake (though we will admit Ghost Shark came pretty damn close – look it up!). A cast featuring Beverly Hills, 90210’s Ian Ziering and Tara Reid fight a plague of great white sharks that – you guessed it – are attacking people from the sky thanks to a freak tornado. Do they survive? Who cares? There’s goddamn sharks hurtling from the heavens! Now, the cult phenomenon finally gets a big screen release Down Under, showing in select Hoyts locations around the country on 13 Sep: NSW – Broadway, Charlestown, Warrawong, Blacktown, Bankstown, Warringah Mall, Erina; VIC – Chadstone, Frankston, Eastland, Northland, Watergardens; QLD – Redcliffe; WA – Carousel; and ACT – Woden.



Eager to get back on the road, Adalita is hungry to maintain her now legendary status in Australian music and with a second solo record, All Day Venus, to plug, it shouldn’t be a stretch to assume the rock queen will retain her place at the top with this new collection of songs. Her eponymous debut from 2011 was a record of bruised beauty and you can expect to hear a balanced blend of those two releases when she tours nationally next month. Catch her 11 Oct, Barwon Club, Geelong; 12 Oct, Karova Lounge, Ballarat; 13 Oct, Corner Hotel, Melbourne; 17 Oct, Transit Bar, Canberra; 18 Oct, Annandale Hotel, Sydney; 19 Oct, Great Northern Hotel, Newcastle; 24 Oct, The Zoo, Brisbane; 25 Oct, Kings Beach Tavern, Caloundra; and 26 Oct, Coolangatta Hotel, Gold Coast. Laura Jean supports on all dates.

national news ANDY BULL



After stripping it back for some shows a few months ago, Eskimo Joe are plugging in again to preview tracks off their brand new album, Wastelands, as well as giving attention to the big hits that made their name in the first place. Catch the Joes 17 Oct, Theatre Royal, Castlemaine; 18 Oct, Ferntree Gully Hotel, Ferntree Gully; 19 Oct, Forum Theatre, Melbourne; 24 Oct, Newcastle Panthers; 25 Oct, Metro Theatre, Sydney; 26 Oct, Waves, Wollongong; 31 Oct, The Hi-Fi, Brisbane; and 9 Nov, Astor Theatre, Perth. Fan sale is available now for Eskimo Joe mailing list members, while general public tickets are on sale from 10 Sep.



Already established as a triple j favourite, Andy Bull still seems like a well-kept secret for those in the know. He’s probably not going to stay that way for long, though, with the leftfield folk popster dropping another great taste from his forthcoming album in the way of Baby I Am Nobody Now. The Sydney lad will launch the track with an east coast tour, proudly presented by The Music, playing 10 Oct, The Small Bandroom, Newcastle; 11 Oct, Heritage Hotel, Bulli; 12 Oct, Oxford Art Factory, Sydney; 19 Oct, Alhambra Lounge, Brisbane; and an early show 20 Oct, Northcote Social Club, Melbourne. Proudly presented by The Music.



Heavy Weight holds no punches and, recorded and produced by Wolf & Cub themselves, it’s probably the most pure reflection of their complicatedly brilliant take on rock’n’roll. Enjoy one of Australia’s best live acts again when they launch the new release 10 Oct, Oxford Art Factory, Sydney; 12 Oct, The Zoo, Brisbane; 24 Oct, Northcote Social Club, Melbourne; 25 Oct, Beach Hotel, Byron Bay; 26 Oct, Amplifier Bar, Perth; and 27 Oct, Newport Hotel, Fremantle. Doctopus support in WA, with Zeahorse on the bill everywhere else. The full national tour is proudly presented by The Music.


When boy bands were in vogue back in the late-‘90s and early-‘00s, there weren’t many bigger than British crew Five. The all singing, all dancing quintet managed to move 20 million albums in their time, and enjoyed an incredible response Down Under with three full-lengths and eight singles landing in their respective top ten charts. Now, for the first time in over a decade, Five arrive on our shores, playing 30 Oct, Metropolis, Fremantle; 1 Nov, Enmore Theatre, Sydney; 2 Nov, Eatons Hill Hotel, Brisbane; and 3 Nov, Palace, Melbourne.


Two years on from the combustion of stellar Sydney outfit Red Riders and Palms, featuring the core unit of that aforementioned band, have just released their debut album, Step Brothers. Hear their new collection of slacker indie cuts on a headline tour which takes place 3 Oct, The Grace Darling, Melbourne; 4 Oct , Black Bear Lodge, Brisbane; and , 5 Oct, Brighton Up Bar, Sydney. If you’re heading to the final shows on Cloud Control’s current tour also, then get down early as the guys are opening on all remaining nights. Check The Guide on for full details.


local news DAVID SIMON


Having firmly cemented their place as a cornerstone of the Opera House’s popular Summer at the House program, La Soirée will take over the Studio from 7 Jan to 16 Mar and showcase the finest cabaret, burlesque and circus that has delighted audiences around the world. After two hugely successful seasons at the Opera House, more than 60,000 Sydneysiders have shared a champagne with the La Soirée family of stars. Stay tuned for the unveiling of the 2014 cast.



Use your mouth as a weapon? Interested in hearing wicked debates? Head to the Dangerous Ideas Festival featuring David Simon, Hanna Rosin, Dan Savage and John Safran, just to name a few. Anything from politics, to feminism and homosexual rights, there are speakers from ten different countries battling to voice their revolutionary or controversial thoughts to be heard. From 2 to 4 Nov at the Sydney Opera House, don’t miss the chance to select from 80 speakers to hear a dangerous yarn.


Motley has announced some Australian show dates to coincide with the release of his third album Deal Or No Deal, set for release on 13 Sep. The tour will follow the success of the album’s first single The Dope Squad Pt 1. Motley describes the album as being a journey of personal growth. Witness him in a live setting when he comes to Beach Road Hotel, Bondi on 25 Oct.


How else to celebrate a milestone like this but with the renowned Bell Shakespeare working with the community to share these infamous stories? For 2014’s season, A Midsummer Night’s Dream becomes re-envisaged in The Dream. The new season will also include A Winter’s Tale, Henry V, Tartuffe and high school favourite Macbeth. Spanning from March to August of 2014, you can book your seats early through


Seems like it’s Battle Of The Bands season at the moment. Unsigned bands and artists looking for that push can apply to the following competitions. The Hard Rock Cafe is holding heats from 25 Sep, and applications close on 18 Sep. Send original songs (Vimeo/YouTube link or MP3/4) to for a chance to win recording time and a single release through Bandit Records/Sony Music. At The Star, $20,000 is up for grabs; submit your band name, band details (including your original tracks) along with any relevant accompanying information to au. Heats take place from 5 Sep, and more info can be found at The Dural Country Club’s also getting in on the action, offering a grand prize of an EP recording package valued at over $15,000. Apply at before 15 Sep.


London-born guitar-pop quartet Veronica Falls will be charming Australian audiences for the very first time this spring. The band’s unique brand of jangle-rock has seen them compared to the likes of Morrissey and the Jesus & Mary Chain and their new album Waiting For Something To Happen featuring bold and enchanting melodies combined with shimmering guitar lines and soaring harmonies, calling on long lost legends from the ‘70s and ‘80s. They perform at Goodgood Small Club on 30 Oct.


Toronto power trio Metz are making their maiden tour to Australia. Metz play like one brutally heavy instrument with three heads, slashing heavy-gauge strings, bending guitar and bass necks in weird unison, along with what is probably the loudest drumming you’ve ever heard. This is post-hardcore sludge-punk, distilled into pure, but artfully rendered chaos by one of the most brutalising bands in the world today. Metz play Goodgod Small Club on 4 Dec.



Caitlin Rose returns to Sydney for a special one-off show at The Basement Circular Quay on 25 Oct. At her core, Nashville’s Rose is a storyteller and a song-crafter who is more interested in what’s being produced than how it helps her along the way. Joining Rose and band will be Melbourne band Jimmy Tait in their first ever Sydney performance. The cherry on top of this gig will be the first ever clash of Love Police versus Spunk Records DJs.


local news KATCHAFIRE



Katchafire are returning to Australian shores for the release of their Best So Far album (out 6 Sep). Tickets are selling fast with demand for the band calling for a venue change to Big Top Sydney at the iconic Luna Park on 18 Oct. This tour sees Hawaii’s Common Kings along for all Katchafire shows.


Papa Vs Pretty are back with a triple-whammy of an announcement: they’ve got a new single, new album and new shows. Plus, they’re now a four-piece with the addition of Luke Liang on guitar and keyboard. Due for release in early 2014, White Deer Park is the band’s follow-up to their ARIA award nominated debut album from 2011, United In Isolation. Its first single, My Life Is Yours, a soaring song of cascading melodies. See Papa Vs Pretty unveil new material at Oxford Art Factory on 25 Sep.



On 26 Oct, the inaugural Karnevil will see Luna Park’s Big Top transformed into the biggest haunted house on the harbour for an eerie evening of thrills and chills. A mysterious miasma of spectral spooks and carnival ghouls will invade the Big Top including but not limited to DJ sets from the likes of Bombs Away, Nina Las Vegas, What So Not and Ego’s AV set (with more to be announced) as well as displays of visual curiosity from an army of circus freaks and, of course, you – in your formidably frightening or spectrally scintillating Halloween fancy dress.




On the eve of Kid Mac’s second album release, Head Noise, comes the explosive first single, Bustin’ Down The Door, featuring Sam Perry. The song is available as a free download on Having premiered the single live on Network 9’s NRL Footy Show, Kid Mac is set to take his show on the road, stopping by Oxford Art Factory on 6 Dec, the Great Northern Hotel, Newcastle on 13 Dec and the Festival Of The Sun Recovery Party in Port Macquarie on 15 Dec. 20 • THE MUSIC • 4TH SEPTEMBER 2013


Following up last year’s acclaimed debut album I Hope I Am Not A Monster, Charlie Horse return with their second album, Strange Passengers, due out 11 Oct. The spirit that embodies the first album is still bubbling in their new songs, now mixing with the ghosts of post punk, Phil Spector and indie rock. The first single Deep Water is a mix of brooding vocals over rolling drum lines. See Charlie Horse perform new material at the Old Manly Boatshed on 25 Oct and The Vanguard on 26 Oct.

Strawberry Fields festival, happening at the Wildlands, Tocumwal, 22 to 24 Nov, have unveiled their second round of artists, featuring the experimental sounds of Shigeto and Andy Stott to the futuristic techno from an old favourite, Crosstown Rebel, plus the one and only Tiga. Other acts include: Guerre, Chromotone, ShadowFX, Rat & Co, Oisima, Grimez, Andras Fox, Child, Silent Jay, ALTA, Tincture.


Be it as a label boss or producer, techno legend Ben Sims has spent all his conscious life exploring all facets of underground dance music. He now comes to Chinese Laundry on 26 Oct

Peter Van Hoesen is a Belgian electronic music producer, DJ and label owner of Time To Express. Immersed in Belgium’s new electronic scene, a young Van Hoesen came of age during heady days of cold wave, industrial, post punk and acid house. Live, he not only presents contemporary, room filling and dramatic techno, but can branch into house, melodic moments, broken beats and atmosphere-lifting classic ‘80s/’90s vibes. Check him out at Abercrombie on 28 Sep.



Melbourne’s punk rockers Clowns will release their debut I’m Not Right next month, and launch the LP at Phoenix Bar, Canberra, 31 Oct; The Lab, Wollongong, 1 Nov; Hamilton Station Hotel, Newcastle, 22 Nov; and Blackwire Records (all ages), 23 Nov.




ESCAPE FROM NO MAN’S LAND Words Steve Bell. Photos Kane Hibberd.

If we’re to take the assertion that ‘whatever doesn’t kill you makes you stronger’ at face value, then Brisbane rockers Violent Soho must be some damn strong motherfuckers. Frontman Luke Boerdam and guitarist James Tidswell take five with Steve Bell and explain how for them it’s still all about the music.


rom their very earliest forays into the Brisbane music scene, Violent Soho displayed an endearing collective naiveté towards the industry – a certain wide-eyed innocence and belief that it was all about the music – which lent both them and their music a certain purity, even when their songs were as dishevelled as the band members themselves. From the outset the four-piece chanced their way into their amazing adventures via talent, charisma and camaraderie rather than some cunning strategic plan; everything that they’ve experienced and achieved in the last few years – signing to Thurston Moore’s Ecstatic Peace label in New York, recording in Wales with esteemed producer Gil Norton (Pixies, Foo

paid for, as in we weren’t meant to have to go back to work,” guitarist James Tidswell continues. “Not when it was initially put to us anyway, it was, ‘Go back, just write the next record, and then we’ll sort it out and keep going’. Then we moved home and were suddenly told, ‘No, there’s just nothing. Not only that we sold your van and you now owe more money because you owed more on it than we sold it for’. It was crazy shit, crazy shit. We’re left in the middle of nowhere, all in different houses, we’ve got no money and nowhere to go – we were in no man’s land. So from then on we all got jobs, and eventually that gave us enough time and

was a whole twelve months where it wasn’t interesting for us, like, ‘This isn’t working. The songs are boring. Why is practice boring now, when we used to love it?’” But this hurdle too was surpassed in time, and soon Soho were meeting regularly in the practice room to work up the songs which would become their accomplished third album Hungry Ghost, a record far more assured and adventurous than their previous output without sacrificing any of the core band facets that made them so palatable in the first place. “I just remember thinking, ‘I want more layered guitars’ and I want to break away from the normal arrangement – even if it is the same arrangement I want it to sound like it’s not,” Boerdam tells. “Lyrically I didn’t want to write personal songs anymore, which was the entire basis of the last record – it was all personal suburban stories like Jesus Stole My Girlfriend or Muscle Junkie – whereas with the new songs I was more into focusing on all the sounds and mucking around with pedals and equipment. We grew maturitywise as a band – in terms of our influences the list grew from maybe a hundred bands to thousands between us, with all the touring and being stuck in the tour van for twelve hours a day. Once we started tapping into all of those influences, that’s when it became interesting again, and that’s what we went with.


Fighters), touring the States with a stream of highprofile bands – seemed more though destiny than design, and they accordingly took every windfall that came their way with a grin and a grain of salt. Yet this same innocence could very well have been their downfall when they returned from their yearlong stint in the States – ostensibly on a paid sojourn to write the follow-up to 2010’s Violent Soho – armed with an amazing wad of experiences but precious little else, only to be dramatically cut asunder by those controlling the purse strings. To say that this brought them crashing back down to earth is a massive understatement; they were now for all intents and purposes stranded in the suburbia of Brisbane, exiled in the city that they love but miles from where they wanted to be in every sense of the term. “It was pretty fucked in all honesty,” admits frontman and chief songwriter Luke Boerdam. “We spoke to our manager – who was back in New York – and he said, ‘Just get down there and write another record’. We were all stunned because we’d been touring America that whole time straight, so to be just pushed back home – I think we were all in our parents’ places.” “We were totally, one-hundred percent led to believe that we were moving home to write the follow-up record – 24 • THE MUSIC • 4TH SEPTEMBER 2013

money to start getting in contact with each other, for a beginning.” “We didn’t even call each other for a while,” Boerdam smiles, “which was fair enough in the circumstances.” This upheaval could very well have split a lesser band asunder, but after a prolonged layoff they eventually got back into the swing of things. Was the break from the band – and by default each other – reinvigorating in the long run? “A little bit,” Boerdam ponders. “No it was, but it took a while. It took time to get the writing to a point where I wanted it and for us to be interested again. There

“Plus, I think it’s miles removed from the last record because we did everything in Brisbane. We said, ‘Fuck it we’re doing it our way – we’re doing it with Bryce [Moorehead – producer], and we’re doing it in the shed down in Albion’. It was awesome, and so far removed from how we did the last record – going overseas and recording with Gil Norton – and I think that makes it sound pretty different. The whole recording process was completely relaxed, and the approach was more about doing stuff in the studio – the songs were written before we went in, but we had more time to get all the sounds and get everything just painted out so we could muck around adding and removing different layers, even trying out different vocal parts. I think it just added up to a more well-rounded and better-produced record – for us. “I think that Gil did a great job on the last record, but I think Bryce really nailed what we were trying to do with this record. We wanted it to be more relaxed and we wanted it to have a more slacker vibe, we didn’t want it to be so aggressive and obnoxious and ‘in your face’. It was about being relaxed.” Fortunately, Boerdam’s assertion that he concentrated more on tones than the words of the new songs doesn’t hold up to close scrutiny, because it’s a uniformly

FAST FEUDS When Violent Soho claim they were doing it tough upon their return from the States a few years back they weren’t kidding, as guitarist James Tidswell recounts.

Fortunately, Boerdam’s assertion that he concentrated more on tones than the words of the new songs doesn’t hold up to close scrutiny, because it’s a uniformly strong batch of lyrics, dripping with rich imagery and complete with a fascinating overriding theme. “With Hungry Ghost, behind every song I do see some overall theme – there’s society as spectacle, this big fake-masked reality that we’re born into and we buy into it every day,” the writer reflects. “So the whole record for me is about escaping that normality and escaping that reality that we’re forced to live in. OK Cathedral is about finding that place to escape – just being alone and smoking a joint while you look at the sunset. Or Dope Calypso’s about walking to work and picturing skyscrapers falling over. That’s where the title Hungry Ghost comes from; I found this book which touched on Buddhism, and the idea that we’re addicted to living in this world and this society and how we have this addiction that we can never fulfil, so we can never be content and you just lose yourself and fade away and become nothing. All the songs to me are about escaping in your own way.” And now that Violent Soho have themselves escaped from their personal purgatory clutching this great new album, do they feel that they’ve learned anything

about themselves and the band? “We’ve always been stupidly naive about the peripheral stuff,” Boerdam ponders. “We just think, ‘Do we still enjoy playing songs together? Yep? Well let’s release a record’. None of the other shit should matter or get in the way. Who cares that we toured America? We don’t care. What matters is whether we want to write music together and make a record and get out there and tour it, and we do.”

“You can’t describe it, it’s all-consuming,” Tidswell marvels. “You’re in your first year of marriage and you’ve only spent thirty-something days in bed with your wife, and you’re playing [tiny nowdefunct Brisbane venue] The Troubadour... Then later you’re addicted to drugs, you’re spewing blood, you’ve got no money, and you come home [to Brisbane] and you’ve got to get a job at McDonald’s... I can’t tell you what us playing music together means.”

WHAT: Hungry Ghost (I Oh You) WHEN & WHERE: 25 Oct, Oxford Art Factory

“I was living at my sister-in-law’s place and I couldn’t get a job too far away from there. I knew there was a McDonald’s close and my cousin worked there so I figured I could get a job,” he remembers. “On my way to the interview I started getting vague congratulatory texts, just confusing, so I get to the interview and this kid goes to me halfway through, ‘Ah, are you from Violent Soho? I saw you at Splendour!’ I couldn’t believe it, and I thought, ‘I can’t do this!’ But I went through the process and they sent me home – the whole thing was pretty fucked up, they showed me every part of McDonald’s, it was so weird – and then on the drive home I hear the nominations for the ARIAs on triple j and we’d been nominated [for Best Hard Rock/Heavy Metal album]! “So I was literally on my way home from an interview for my first job at McDonald’s – after 200 shows in America for a year and doing the band for years – and I hear that news. Then McDonald’s called me and I pulled over; they left a message, ‘Come in and get your uniform, you’ve got your first shift!’ and I just called and said, ‘Dudes, I’m not coming. I can’t do this’. That’s what the mood was like.”



WILD AND FREE Tim DeLaughter wants everyone to have their moment in the sun. When you’re in The Polyphonic Spree though, that can be a bit harder than usual, especially when it’s quiet, learns Liz Giuffre.


fter four full-lengths, as well as notable recent soundtrack singles (an Emmy nomination for theme music for United States Of Tara), killer mini musicals (The Rocky Horror Picture Show at Splendour In The Grass) and live performances that are all-inclusive, The Polyphonic Spree return with Yes, It’s True, a record that’s more contemplative, with some beautiful, unexpectedly quiet moments. Songwriter and ringleader Tim DeLaughter admits it was hard holding his musicians back, with tracks like the finale, Battlefield, delivered with a particularly small sound for such a big group. “In all fairness it’s me wanting to have everyone have their time to shine,” DeLaughter says of the group’s now characteristic epic sound, “and it’s so difficult, you know, to be restraining anybody. Because if they’re on stage they’re in the band and they should be playing the song, so that’s been something we’ve been having to work through for years, to be comfortable

too. I’ve always had that ‘Come on, let’s go do this together’. And then I have this big band and we get the audience together, getting people to get down and get back up and before you know it everyone just experiences it together… I drove my mum crazy and my teachers – they wanted to kill me – but I made it through,” he says, laughing. During the last few years DeLaughter did try his first solo

I really do enjoy having a lot of people around me. That’s what I love about Polyphonic Spree – that energy that everyone brings together, that I can’t. I do like writing songs and I write all of these songs in solitude, and I do that experience of writing and recording songs in that way, but when I go to perform I think I’m best around a lot of folks. I think that’s why I’m more engaging with the audience, because I’m trying to get them up there with me.” It might seem strange, then, that he admits that Yes, It’s True actually started as a solo project, or at least as a plan to write for himself and maybe something un-Spree. “In that period [since last album The Fragile Army] I started writing and realised, ‘Wait, these are solo songs, this is going to be a solo record’, and I didn’t have a record deal at the time, I didn’t have any pressure for anybody telling me to go do this or that, I started writing the songs and I was like ‘I can hear this going on’ and ‘I want to record it like this’, and all of a sudden it started getting further and further away from Polyphonic Spree. I kept writing and rehearsing and just starting to have these late night jams where we’d just invite people over and just be going to 5am and just really exploring, having a lot of fun,” DeLaughter begins. He continues to explain how the few months, then years (as well as other bits and pieces for all concerned) gave more than enough material for a variety of projects. DeLaughter’s swag of songs did include enough for his jolly troupe, so after a little convincing he went to the band’s fans to make it happen. “We made the video for Kickstarter, and

“IT WAS JUST ME AND AN ACOUSTIC GUITAR... IT WAS LIKE, ‘HOLY SHIT, THIS IS NOT ME’.” not playing. But that was purposeful for Battlefield to be stripped down like that, also with another track on the album, Golden. These are elements that this band has always had, but it’s always been me saying ‘If you want to play on this part, go ahead’, and then it’s been, sometimes, ‘I wish we could have pulled that back’. So this time it’s like ‘No, you’re just not going to play on that’, and it is what it is.” From the description above it seems that DeLaughter worries about the pressure of such a large endeavour, but he also thrives on it. Responsible for well over a football team’s worth of musicians at any given time, he’s explored other options, but there’s something about the thrill of a group. Speaking with a gorgeous Texan drawl, he recounts when the community of musicmaking hit him. “I’ve got a memory of me, like probably in kindergarten, I’m just realising this now as we’re talking, I was singing this song and I was getting all these other kids to follow me around and sing the song 26 • THE MUSIC • 4TH SEPTEMBER 2013

gig, a support for Jon Anderson from Yes, no less. “I’ve never performed by myself, because that idea just petrifies me. But I did it and it was one of the most nerve wrecking experiences I’ve ever had. I got really high anxiety, I was forgetting my chords and my lyrics… it was just me and an acoustic guitar. Once I got there it was like, ‘Holy shit, this is not me’, and I realised how much

then got the money for that and went and made that record. And that’s what I like about this record, it showcases such a variety of songwriting and the variety of this band which has never really been done before. We’ve got our ‘sound’, that we created and people know as Polyphonic Spree, but there’s a wide variety of sonics here that [are] not normally displayed. You make a body of work because you need to go and make a record – usually sounds that way globally – but for this one it goes all over the place, up and down sonically, but it works under this record. Which is really hard to do without it sounding really Frankenstein-y, you know? But I think that’s the real beauty of this record is that it has so much variety but it’s cut from the same cloth and I think that’s super lucky, because it could have been the opposite.” WHAT: Yes, It’s True (Create/Control)



CAMPION COUNTRY David Wenham talks to Anthony Carew about his latest television adventure and plans for his directorial debut.


was sent the script, but instructed I wasn’t allowed to read it until I met her,” recounts David Wenham, the impossibly-affable actor who, back in the dying days of the ’90s, was known as local television’s ascendant sex symbol, SeaChange’s Diver Dan. Returning to TV screens on the legal drama, Killing Time, Wenham recently appeared in one of 2013’s defining pieces of event television, Jane Campion’s Top Of The Lake. Director Campion is the ‘her’ Wenham speaks of and wrote a part with him in mind, but wouldn’t let him see it. “It’s rare that someone tells you they have you in mind for a part,” Wenham smiles, “and it’s certainly rare to have an Academy Award-winning director say that to you.”

Top Of The Lake almost plays like a less-surreal Twin Peaks, a crime in a remote mountain community bringing the town’s dark secrets to the surface. Shot in remote terrain outside of Queenstown, New Zealand, it turns the grand blandeur of the coptershots in The Lord Of The Rings (in which Wenham acted, as Faramir) into a malevolent landscape. “The land is a really, really important part. The location, those foreboding mountains, the sense of isolation in places of real beauty, the weird kind of claustrophobia of wide-open spaces, and the lingering feeling of danger. But, having said that, there are all these other worlds that exist


within that landscape, and some of them are secret worlds, whereas others are far more open. The whole film captures this whole cross-section of a community and how that community and the environment are... like an ecosystem.” Returning to Australia after shooting Top Of The Lake, Wenham put acting on hold to make his directorial debut, helming a segment of Tim Winton’s The Turning, a Robert Connolly-assembled omnibus tackling the titular book of short stories. Wenham is currently working on his first feature, of which he’s saying nothing (“I’m superstitious: I feel like if you talk about something you haven’t made, you almost talk them out of existence.”) But he was glad of the opportunity to cut his directorial teeth as part of The Turning. “Tim Winton’s writing really has nothing extraneous in it; it strips away all that’s unnecessary and that’s what I wanted to preserve. One of my inspirations for it was The Last Picture Show; there’s a scene in that where one man sits on a log, rolls a cigarette and tells a story. It’s really, really simply covered, there’s only a couple of shots in the whole thing and yet it won an Academy Award. I wanted to do it that simply.” Tim Winton’s The Turning, with its retinue of filmmakers and 180-minute scope, is, for Wenham, a “landmark piece of cinema”. “Not one director knew what the other seventeen were doing, yet, it’s incredible how each of the seventeen stories works in absolute unity. I gotta say I was a little bit wary. I didn’t think that they would actually work together; I thought that they would be much more jarring, that they wouldn’t feel like this one film. But they do, in a way that is really a testament to one of Australia’s greatest writers.”

WHAT: Top Of The Lake (BBC)


Angus Little gets to travel around the world and perform as part of Stomp, in which spellbinding rhythms are created using, well, any object they can find! That means there are also minor injuries to be expected, as he tells Kate Kingsmill.


his isn’t ballet!” laughs Angus Little of Stomp. He’s not kidding: this is a percussive dance theatre performance that involves rubbish bin lids, wine glasses, plastic water bottles and even shopping trolleys. “It’s really high energy – it’s two hours of pure adrenaline really.” Little, a self-confessed “normal bugger”, has been performing in the show for the last ten years. “I’m a big bugger, I’ve got a bit of a gut on me, so the audience gets to see a fat boy going hard, and using my belly as an instrument. It is like a whole lot of normal folk, work men and women just making rhythms out of everything they can find.” After 20 years on the circuit, Stomp has evolved from a 40-minute comedy festival show to a two-hour extravaganza involving eight performers, and there are now iterations of the show all around the world, from New York to London. It’s a gruelling schedule, and Little is going to take advantage of expensive Australian beer prices to work on his fitness during the Australian leg of the tour. “I’m actually going to try to get rid of the belly over this leg! Beer is just a little bit expensive in this country! So I’m going to try to avoid the beer this time and get fit. I’m thirty now and I started when I was twenty-one so I’m getting older now so I had a lot more energy back then, so I’ve really got to start thinking 28 • THE MUSIC • 4TH SEPTEMBER 2013

about my health. And it is great cardio, it’s a great workout but it hurts as well and I’ve got a couple of scars on my face by now. I got a pole in my face on Sunday night, so you get bruised and bleed and it’s one of those shows; it’s pretty high energy and it’s dangerous, there’s a lot of metal and wood floating around, you’ve got to be ready for that. “It’s high-octane and it’s fun all the way through. There’s no interval and no language barriers so the world loves it.” The show has broken records all across London, and Germany “goes absolutely mental for it”, says Little.

“Last week I was wearing Lederhosen in Germany, so here I’ll be doing a bit of Aussie jokes and some local bits as well.” The last time Stomp came to Australia was in 2009. “In the last five years it’s changed a great deal. It’s got bigger and better and funner and it’s a whole other thing now. And there are some new routines I’ve had to learn in the last month, which are great. My favourite routine right now is Shopping Trolley because it’s a whole new thing. It’s got all kinds of things going on with it, this routine. I’m really impressed and I love playing it.” The audience is a big part of the Stomp show. “We get them involved, we get them to clap along, we don’t pretend they’re not there. If someone laughs we make sure they know we know they’re there. Essentially the audience is the ninth member of Stomp.” WHAT: Stomp WHEN & WHERE: 10 and 11 Sep, Theatre Royal

LOVE AND DESPAIR Placebo are back with their first album in four years. Frontman Brian Molko chats to Mark Hebblewhite about the dangers of the virtual world and being attracted to the “melancholic aspects of existence.”


e’ve all been very aware that’s it’s been a while since we did a full album but this time around we were determined not to rush anything. We really wanted to focus on the quality of the record without feeling like we had to compromise on what we were doing.” So what have Placebo been up to since 2009’s Battle For The Sun? “Well of course we released the B3EP last year – and that was really just to give the hardcore fans some new sounds to tide them over until we finished the new album proper,” says Molko. “But really what we did was put our heads down and tour the world. After Battle For The Sun we were on the road for 18 months. After that I really wanted to take some time off and focus on parenting – so I

and despair. Where the title track sees Molko soar, proclaiming the joys of being alive and having the ability to give and receive love, Too Many Friends, which deals with the insidious creep of ‘online existence’, immediately sends him spinning downwards into bitterness and disbelief. According to Molko this dichotomy was not contrived for

sadness. To go through life thinking that we don’t deserve to feel sadness at any point in time is I think a form of self-sabotage. Naturally as a band we are attracted to the more melancholic aspects of existence – well, we find it more interesting to write about. The record is called Loud Like Love but it doesn’t have ten love songs on it: this is Placebo World so of course we’re going to explore the more dark recesses of emotion – obsession, jealousy, alienation, heartbreak, abandon – and even the absence of love and the effect that has on a human being.”


Molko goes on to point to the aforementioned Too Many Friends as the perfect example of Placebo’s willingness to get deep into the recesses of human negativity. “Too Many Friends is based on real events. One day I was at my computer – and I don’t know what I typed into Google… what dodgy porn I was watching… and all of sudden my computer started advertising to me. Like, you know, I was a gay man into the fetish thing. And I remember saying to myself, ‘My computer thinks I’m gay today’ – what a ridiculous line to start a song (laughs). Around the same time, some friends of mine who use social media, and I should say that I don’t myself because I have enough trouble keeping up with my real friends, said they had to stop taking friend requests because they had too many friends. I started thinking ‘How can we ever have too many friends? Then I wondered how many ‘real’ friends do I actually have

“THIS IS PLACEBO WORLD SO OF COURSE WE’RE GOING TO EXPLORE THE MORE DARK RECESSES OF EMOTION – OBSESSION, JEALOUSY, ALIENATION, HEARTBREAK, ABANDON.” took a year off to be with my son – and then after that we signed a new deal with Universal Records for the latest album which we’ve finally finished.

artistic effect – in his view that’s just the cost of existence.

“The break was really good for me. I find parenting to be the perfect antidote to the crazy whirlwind, sometimes fulfilling but often superficial, world of rock’n’roll. My son is eight now and things are just getting more interesting every day (laughs). I’ve found that I’ve had to challenge all the things I used to take for granted in my own mind.”

“I see life as very bittersweet and I also believe that a lot depends on your attitude to life. My lyrics reflect this view and also the fact that I believe you have to live in a place of acceptance – that life isn’t always fair. Yes – life can be filled with joy if one is open to it but life is also invariably filled with challenges and

It will only take you a moment to realise that Loud Like Love has been worth the wait. The album’s magic lies not only in the band’s seemingly effortless ability to concoct an almost endless parade of infectious hooks and hummable melodies. Also impressive is the way the ten songs form a detailed case study into that greatest of human dichotomies: hope versus cynicism

and how is the virtual world humans are creating affecting the way we interact with each other? “Is it creating a new society founded on togetherness or is it simply creating a new form of social alienation? I think it’s very dangerous. People don’t have to communicate face to face anymore – you can do it from behind a screen. You no longer have to have the courage of your convictions – you don’t have to justify what you feel and what you really mean. The virtual world creates an amazing platform for the spineless. It’s both a fascinating and dangerous proposition to consider.” WHAT: Loud Like Love (Caroline/Universal) WHEN & WHERE: 23 Feb, Soundwave, Olympic Park THE MUSIC • 4TH SEPTEMBER 2013 • 29

and it’s just kinda like, ‘Well, that’s how I found you. If it wasn’t for your radio success I wouldn’t be at this concert tonight; you wouldn’t have my money, I wouldn’t be buying this T-shirt, I wouldn’t have your sticker on my car, so why don’t you just indulge us as fans, as followers, as believers of your music?’ So in that aspect, we want to play it all. We want to play the music that the fans found us with.”


NEVER LET YOU GO Stephen Christian is ready to rekindle Anberlin’s romance with Australia, and as he tells Benny Doyle, we’re the girl that they love.


ften, it takes doing something new to make you remember what you love about the old stuff you do. For Winter Haven, Florida melodic rockers Anberlin, this came by way of their recent Lite tour that they worked across their American homeland from the east to west coast. Though they’ve offered this side to fans briefly, even as part of their An Evening With tour Down Under in 2011, they used these dates as an opportunity to give longstanding fans 90 minutes of the band’s music in a different light: an evening driven by acoustic guitars, auxiliary drums, keys and a refined vibe. One would have a strong position to argue the point, though, that Anberlin’s music more than lends itself to such sessions, what with the huge choruses, considered bridges and a quiet/loud stadium dynamic that has earmarked itself as the quintet’s signature. Frontman Stephen Christian agrees, though he’s at pains to admit it. “I would like to believe so but I don’t think that’s something that you can selfanalyse, y’know, pat yourself on the back and say, ‘Look how good I am’. I know personally that I look at the other guys in the band, the musicianship, and a lot of what they do live other bands can’t pull off. They have to have drum machines or tracks or it has to be really loud. But these guys are just incredible musicians; I can definitely brag on that.” Keeping it fresh is vital, however, and it’s endeavours like Anberlin Lite that have helped the group carry on with relentless momentum for more than a decade. “I think it’s more important for us in the band than it is the fans. I don’t know if [our fans] would care either way, but for us as a band, this isn’t our job, this is still our passion. And there’s a big difference – if this was our job we could do it run of the mill and half-arse it every night. But people can tell, people can look up on stage and see if you really believe what you’re singing about; they can look at the stage and go, ‘What, is this band put together; do they even care if they’re here tonight?’ So we don’t want to phone it in, we don’t want to be fake. We try our best to be as genuine as 30 • THE MUSIC • 4TH SEPTEMBER 2013

possible and I think part of that is just enjoying what we do – love what you do and do what you love. I think that’s why people like Anberlin, because we’re not rock stars and we try to sing about stuff that we go through and that people can relate with, so if all that becomes a facade then I think that’s the day this whole thing starts to crumble.” Although maintaining enthusiasm is paramount for Anberlin, don’t expect a Vitalheavy set during their forthcoming shows. The musclier and at times darker 2012 record will still get decent play, but the band’s setlists are always structured with the fans in mind, regardless of what album they’re supposed to be ‘promoting’. “I think it is [important to do that]. I think if not you alienate, you think you’re better than them. It’s obnoxious. Radiohead is probably [in the] top three of my favourite bands – I love their music. But they don’t play any of their radio songs

And you can be assured that those favourites – pulled from the group’s six-record catalogue – are going to be delivered with vigour and conviction, traits that Anberlin’s live shows have always held. Christian himself couldn’t imagine anything less. “If you’re not going to give it all then don’t give anything. If you’re not going to put it all [on the line] on stage and be exhausted when you walk off and ready to collapse on the bed then just don’t even get on stage. These are the moments we live for, we dream for, and people would give their right arm to even go to Australia once, let alone many times, so if we’re not going to pour it all [out] then [we should] just stay at home, just quit, just go find another job.” This is where Anberlin circa 2013 are at. The dynamic and chemistry among members remains as strong as ever. New music isn’t even on the radar. All that’s in the planner are dates, cities, venues; the chance to live their dreams over and over, week after week. Returning to what they call their “second home”, the Floridians are excited to continue a love affair that stretches back almost their entire career. And like everything during our interview, Christian is unhesitant to let his emotions be known, showering praise down on Aussie audiences while recalling the moment this relationship first started blossoming.

“WE WOULD CONSIDER ENDING OUR WHOLE CAREER IN AUSTRALIA – THAT’S HOW MUCH WE LOVE IT.” “If there was ever a day, if we were going to break up, we would consider ending our whole career in Australia – that’s how much we love it,” he gushes. “It’s just a different feel. Australia and Anberlin, I think we fell in love at the same time. We had never ventured outside the United States as a band, and [then] here we [were] in the middle of Adelaide, and we go upstairs and we sell out this little club and we were, like, floored; we had no idea that anyone had even heard of Anberlin. We go thousands of miles away [from home] and people are screaming along every word; and it was this feeling, like we are from a much smaller town than Adelaide, we are 27,000 people in our little city, and yet we’re halfway around the world and people loved us. That’s why I think there’s such a mutual respect and adoration, and that’s why we’re always like, ‘When are we going back, when are we going back, let’s go back’. It was just like one of those moments when you find the girl you love, you just hold on with both hands, and that’s what Anberlin and Australia are like.” WHEN & WHERE: 6 Sep, Newcastle Panthers; 7 Sep, The Hi-Fi



















10 SEP














HUMAN AFTER ALL With ‘stopping the boats’ still high on the agenda as Australia approaches another federal election, Kris Swales looks back on a 2011 visit to a Swiss asylum seeker centre that gave the sloganeering a human face.


ordered by poplars, conifers and a bubbling brook so beautiful you could imagine a 1970s feature wall bearing its likeness, the EVAM asylum seeker centre in Crissier is no remote tent city. Nor is the centre, which on this Wednesday in October 2011 houses 337 asylum seekers in its 308 capacity apartment towers, a de facto prison. There are no fences, no guards, no barbed wire and no curfews. Until their applications for refugee status are either approved or denied, the temporary citizens of this complex just five kilometres south of the Lausanne city centre have free run of their adopted city and the iconic Lake Geneva. Lone adults amble around the EVAM (Etablissement Vaudois D’Accueil Des Migrants, or Establishment of Receiving Migrants) grounds. The children have been taken in at nearby schools and allocated a teacher of their own, only integrating with the other children for sport. When they return at 12.30pm, the centre begins to buzz as the youngest kids ride scooters, kick soccer balls and run around the towers without a care in the world. “If I explained to you the history of how we got to this country and all of the difficulties,” says Afghani refugee Shoja. “I would have to write a book.” The 33-year-old tailor had his own business in Herāt, near Afghanistan’s western border, until a not-so-simple business enquiry – from a man wanting a traditional Afghan dress with an oversized internal pocket – proved the catalyst for his flight from Afghanistan. “Suddenly I thought, ‘Why does he want to have this size in a coat?’,” Shoja recalls. “Probably he wants to use it as a suicide bomber. I refused. I felt if I made this the government will know who made this coat and they would come to my shop and bring me to justice.


“The guy came after and said, ‘If you don’t make this coat, I’ll put you in trouble’. I fought with them, and now if I dream them I’m even afraid of their faces. They tried to kidnap my young son when he was playing downstairs in my shop. Up to this limit, I said to myself, ‘No. I won’t have a future here for me and my family so it’s better to leave the country’.” Within a week Shoja, his wife and their son had left that life behind. He paid a nameless man to help them and several other family groups escape to Iran, where they had ten days of relative safety. His group were shot at as they passed into Turkey, saw one of their fellow escapees die before their eyes, then spent six months hiding out in Istanbul before being detained and fingerprinted by Italian authorities en route to Switzerland.

After ten days in a detention camp in Italy, and with a little help, they escaped. Just a few months after arriving at EVAM, Shoja and his family’s application for asylum was approved and they were relocated to new accommodation. When presented with a sewing kit by an EVAM worker, he wept. Man-mountain Damfa is a nine-month resident of Crissier, his stony facade not hiding his sadness. Damfa left life as a driver and salesman in the tiny west African country of Guinea-Bissau for a two-month journey through Senegal, Mauritania and across the Mediterranean by boat to Naples to find safety in Switzerland. He is safe, but his frustration at leaving his old, active life behind simmers just below the surface. “Here is very difficult,” he admits. “This life isn’t for a human being. If things work out the way I think, I’ll go back to my own country because I’m tired of living in this condition here. “We never know who’s waiting for us in the place we lived, but what am I to do?” Abrahim, a 58-year-old Sudanese electrician who arrived from Libya following the February 2011 uprising against Muammar Gaddafi, invites us up to his apartment. His two youngest daughters bring in a plate of biscuits and diet cola from an adjoining room, Abrahim sharing residence at the centre across three modest apartments with his wife and five children. “The government of Libya stopped education for the babies of alien people except by paying,” Abrahim says of the country he settled in with his wife in 1989. “For two years my children stopped school because I did not have money for them.

2012 STATS POPULATION Switzerland: 8.0 million Australia: 22.7 million Source: The World Bank


AREA Switzerland: 41,285 km² Australia: 7,692,024 km² Source: Wikipedia ASYLUM APPLICATIONS Switzerland: 25,950 Australia: 15,790 Source: UNHCR report on Asylum Levels and Trends in Industrialized Countries, 2012

In 2010, I took them back to school again, with money. In 2011, in February, the war is coming.” “We were in a small city, on the Mediterranean coastline,” Lubna, his 16-year-old daughter, translates briefly. “It’s near to Tunisia.” “I work with a Libyan, he’s a good man, I tell him, ‘Your country is very bad now, I am going’,” Abrahim continues. “He tells me, ‘The sea is very dangerous, you can’t take it, please don’t go’. I say, ‘No’. I say to him, ‘Please, you give me some money’ and he say, ‘Okay’. I take money from him to give to the people, for a ship – after that I took the ship in April 2011 and we come here.” Abrahim’s ship – a powerless fishing boat holding over 500 people in cramped quarters across three levels – turned back once, but eventually crossed the Mediterranean after three treacherous days. “I couldn’t even help myself if the ship had broken,” he recalls of his illness on that voyage. “We would’ve been dead. But the captain of the ship helped me with a small room with two beds which he gave to me, to my family. We are lucky.” Six months into his family’s stay at EVAM and with no word on whether their application for asylum has been accepted, does he feel like he has a better life here? “Of course,” he immediately replies. “When I go outside this camp I feel like it is better. I want the life for my children to not be like my life – their future not like me, their education not like me. “I want them to find freedom.” This is an edited version of Take The Long Way Home, which originally appeared in Three Magazine in November 2011. THE MUSIC • 4TH SEPTEMBER 2013 • 33


SLOW ON THE UPDATE Ahead of Miss Julie’s final unveiling at the Belvoir, director Leticia Caceres speaks to Matt O’Neill about how a text written in 1888 about class and female sexuality is still relevant today.


e had a meeting in early 2012 to talk through some initial ideas and, from that point on, we’ve all been immersed in that world,” Caceres says. “I think the best way to work is intensively, but over a long period of time. That’s the kind of approach we’ve taken. The material is rich and big and Stringberg deserves the best. We’ve been very careful and devoted to it.” Of late, adaptations have been increasingly decried among Australian theatre critics as lazy or cheap theatre-

making. Nobody will be able to make that accusation of Belvoir Theatre Company’s Miss Julie. In adapting August Stringberg’s classic text of class and gender politics, director Leticia Caceres, writer Simon Stone and actor Brendan Cowell spent over 18 months figuring out how best to tackle it. The original work concerns a frustrated nobleman’s daughter rebelling against her station through an affair with one of her father’s servants. As events unfold, Stringberg investigates the relationship between the working class and the elite and a young woman’s negotiating


of her sexuality and identity. Stunningly, it was written in 1888 – a time when even the existence of female sexuality was still under debate. Caceres says of the work: “What’s exciting about it is, when we return to the original script, we discover that it’s still incredibly relevant. There’s still very much that snobbery that exists between classes. There’s still that grudge from the lower classes towards the higher. The misogyny in the text is still alive in our society today; we’ve seen it with the recent dethroning of our prime minister.” It’s a project clearly driven by passionate investment. In particular, it’s obviously an important work to Caceres. One of Australia’s most respected young directors, Caceres’ career has been built on political work; both as an independent director and with her company RealTV. When she first discovered Miss Julie as a theatre student, the work’s thematic content found an immediate sympathy. “I’ve always been drawn to Miss Julie precisely because of what it deals with... I remember studying it as a teenage girl and being completely confronted by it. Our culture has saturated everything with sex in a really horrible, gonzo-porn style, meaningless objectification of women. It’s a great time to be doing Miss Julie. I think the way that it stands in its classical form speaks about a particular time in history when we still had an aristocratic notion of class, and that doesn’t exist explicitly anymore. So, we had to re-imagine it and illustrate that it still holds. What’s frightening is how much it all still holds.” WHAT: Miss Julie WHEN & WHERE: 24 Aug to 6 Oct, Belvoir, Upstairs Theatre

ALL SET TO GO Melbourne folk-punk outfit The Go Set have just turned ten and to celebrate they’re embarking on a national tour with Canada’s Real McKenzies. Frontman Justin Keenan tells Daniel Johnson about kicking goals overseas whilst fickle local fans come and go like the tide.


ver the past decade, The Go Set have earned a well-deserved reputation as one of the hardestworking independent bands in the country. They’ve released five studio albums, an EP and a live album, travelled to some of the most far-flung places in Australia and undertaken several DIY overseas tours. Last year’s eponymous album had a more straightforward Oz-rock feel than the more mandolin-and-bagpipeinfused sounds of earlier releases, but Keenan assures this was not a permanent stylistic change. “With that album, because we worked with producer Paul McKercher, he basically just forced us to strip everything off it. We stripped a lot of our songs back to just basic rock songs, but in saying that, I think the songs themselves are better for it, even though it might sound like a stylistic change. On the new recordings we’ve actually had almost an allergic reaction to that record, because we’ve gone completely the other way again; making sweeping string sections and pipe parts and we’ve gone really garage-punk in some parts, too.” Keenan admits that when the band started, he couldn’t have realistically envisioned their eventual longevity. “If you’d told me ten years ago that we would’ve finished our European tour two weeks ago walking offstage at Mighty Sounds, I would’ve laughed


at you, because the likelihood of us getting the opportunities we do now in Europe, and the fact that we’ve released six albums … I never would have dreamed of that. There’s a lot of times where it’s not fun anymore, and so to push through that… it’s important to understand that the nature of performing and touring as an independent act is cyclic. For every high there’s a low and I think that’s really grounding.” The Go Set have always made a point of peppering their songs with references to Australian history and social injustice and while Keenan

reckons this has endeared the band to some younger fans, he also concedes some listeners can be fickle at times. “As a culture I think we go through these cycles of Americanisms and having some UK music envy... and then eventually it comes full circle and there’ll be a surge of kids for a year or two who’ll come to our shows. We’re never going to be fashionable so we sort of have to wait for the fashion wheel to turn around again.” Canadian Celt-punks The Real McKenzies were one of the first overseas bands The Go Set played with and Keenan admits this was part of the reason he invited them back to celebrate the ten-year milestone. “It’s really exciting and fulfilling to go full circle... They’re crazy dudes and a lot of fun to tour with, sort of like touring with the punk-rock version of the Jackass team. We’ve hired a rehearsal studio and I think there’s going to be some McKenzies/Go Set collaborations in the show.” WHEN & WHERE: 4 Sep ANU Bar, Canberra; 5 Sep, Manning Bar


out of breath. I’ve kind of gotten used to it, though. Before I think I was just shouting so it didn’t matter if I went out of tune so much!” The song that set the mood for AM was R U Mine? originally released on 7” vinyl for Record Store Day 2012. It now sits second on the album tracklist, though that wasn’t the original intention.


DO YOU WANNA KNOW When they weren’t headlining UK’s biggest festival or welcoming the world to the London Olympics, they were working on their fourth record. Arctic Monkeys’ drummer Matt Helders talks of new towns and sounds with Sevana Ohandjanian.


t’s been a year since Arctic Monkeys performed at the London Olympics opening ceremony, and two months on from their rousing Glastonbury headline set. The lads from Sheffield have certainly come a long way. All the way to Los Angeles, with their latest record AM recorded entirely there. The appeal of the West Coast is obvious, according to drummer Matt Helders. “For anyone coming from England, going somewhere like that is exciting, even just the sunshine and I dunno, Big Gulp,” he laughs. “In terms of a band and recording, it’s amazing – there’s loads of studios, anything you want equipment-wise, any amp or drum or guitar you’ve ever thought of is available there, whenever you want it. It’s a really useful place to record, other than, like I say, being in the sunshine and palm trees. We’re still inside a lot in a dark room, but it just happens that you’ve got a lot of useful things around for someone making a record. The funny thing is it’s the first record Alex (Turner) has written out there, and I don’t think it’s that obvious that it’s an LA record.” AM sees a continued progression for the four-piece into riff-heavy, moody sounds. Tunes like Snap Out Of It open with jangly piano chords, something that will ring new to the ears of many well-versed fans. “You’ve probably not [heard keys on Monkeys records before], but we always threatened to do it,” says Helders. “When we were doing Humbug we did more keys and experimented a bit more with extra instruments. Then on Suck It And See, we took it back again into being a band just playing, we did it all live. There was nothing mad because we’ve never been a band who jams or anything, plays for hours until we find some magic – we’ve never worked that way. Everything is organised in a way, but we will try stuff differently with sounds as well. We don’t really care what it is as long as it makes the sound that we want. This time we went back, just adding extra interesting layers to it. We weren’t as precious about


being able to play it live the next day. We used to be like, ‘If we can’t do it tomorrow then we shouldn’t record it’. Same with backing vocals. Now we just want to make this record sound the best that we can, still sound like us, but a more original sound.” Helders is no stranger to backing vocals either, his yelling voice recognisable as that which has steadily complemented Turner in the past. But how tough is it to play the drums at breakneck speed and sing in falsetto simultaneously? “It’s pretty hard, because in the studio you can do it as many times as you like and be as loud as you want,” says Helders. “It’s more hard for the sound guy, because a lot of times I sing loud but falsetto, and he’s gotta make it sound good without hearing lots of drums down that microphone. I think that’s his job, though. In terms of our side of things, it’s about the coordination and not running

“I don’t know if we knew it at the time; we only recorded that as a standalone single because we were doing that Black Keys tour in America. Once we’d finished touring the record, we were like, ‘Well we can’t do that again, playing all the same songs – we need something new’. Not even to promote, just out of fun and to play something new to people. We recorded that for that reason, and then it had such a good reaction; even today we have so much fun playing it, people really love it. We’d never really played it in Europe, only in America, so we thought it deserved more than just being a single. It ended up being a massive influence on the rest of the record, so I think it were important that it was on there. The next thing we did after that was Do I Wanna Know? and I think at first we were like, ‘Let’s make 12 R U Mine?s’. Throughout the album we’ve sort of covered the riffs side of it, but mainly the element we were most excited about was doing the backing vocal thing, and pulling it off without sounding too stupid – we’re hoping.”

“IT’S WEIRD MEETING PEOPLE WHO WERE SEVEN WHEN THE FIRST ALBUM CAME OUT, OR THIS IS THE FIRST MONKEYS RECORD THEY HEAR, AND THEY GO BACK AND LISTEN TO THE OTHER ONES.” They need not fear, the overwhelmingly positive fan reactions are all over the internet. Helders sees it all too. “I’ve seen that quite a bit, the US Tumblr. I try not to read too much about ourselves, whether it’s good or bad. I don’t think it’s healthy to read too much of it, but if someone sends us something that’s either funny or a good review or summat, I’ll have a look at it. I’ve got Twitter as well, so sometimes you can’t avoid it; people just say things and you’ve got to see it, but it’s never that bad.” The online fandom has also opened Helders’ eyes to the younger audience Arctic Monkeys are courting. “It’s weird meeting people who were seven when the first album came out,” he admits. “Or this is the first Monkeys record they hear, and they go back and listen to the other ones. It’s never-ending. Which is obviously good, but it’s a bit strange sometimes. I think that’s why we always find it important to do something different with every record as well. Which one they’ll like more or like less, it’s hard to say.” WHAT: AM (Domino/EMI)



Worried Australia’s live pop punk music scene is in serious trouble, Tonight Alive vocalist Jenna McDougall says they’re heading home with a new record to try revive its passion. Daniel Cribb preps the defibrillator.


apkins, receipts and setlists were what Tonight Alive wrote their second record on. Since releasing 2011 debut LP, What Are You So Scared Of?, they’ve been living on a steady diet of fast food and living out of suitcases. Bringing an end to the touring cycle of that debut, they received three nominations at the Kerrang! Awards in June, which gave them an opportunity to finally reflect on the past couple of years, and catch up with friends, including a brief reunion with Blink-182’s Mark Hoppus, who hosted the awards night and sings on Thank You And Good Night, off the album. “Everything runs into one another because we never stop,” vocalist Jenna McDougall, Hottest Female Kerrang! nominee, says down the line from her Singapore hotel. “The most amount of time we spent in Australia this year was when we were recording the album, and even that was sort of a broken up process where we were doing tours in between. It just makes time at home all that more special.” It was during long flights and endless roads that the band began penning their second effort. Unlike their debut, written by sending files back and forth to one another during their teen years, McDougall and guitarist Whakaio Taahi wrote the entire album on acoustic guitars. “We weren’t together, so there wasn’t a chemistry about the writing process the first time and I think that’s what one of the biggest differences is. For us to sit down with two acoustics and do each song in a different country on a different tour, it really gave it something special. I think it really strengthened and brought a quality to the songs that What Are You So Scared Of? didn’t have because we had quite a disjointed writing process the first time around, and I think we had too many cooks in the kitchen, whereas there was only two writers involved this time.” Touring non-stop since recording the debut in LA, they needed some space in order to clear their heads and give the next album the attention it deserved, so they rented out a house just outside of Coffs Harbour. “When we recorded in LA, it was the first time we’d all left the country together – we’d never toured internationally. So it was kind of this massive adventure the first time around, where we’d never lived with

each other, and that was what made that so fun, but we also were really, really fresh. We had a lot to learn and it was really difficult. “The Other Side as a title and album concept is sort of a comment on reflection and perspective, really. Being in the

festival. “There’s just a real culture about it and there’s no hierarchy of bands; everyone’s working towards the same goal. It’s just really special to be a part of that community, and if you can get through Warped Tour, you can get through anything. It’s a real test of a band and your patience and limits as a person. You’re surrounded by people all the time; we played 40 shows in 50 days, so it’s really challenging, but it’s so beneficial.” There’s no denying it can be hard to make it as an alternative artist in Australia, which is why Warped Tour returning to Australia is interesting. The reason Tonight Alive spends more time overseas than at

“IT’S JUST REALLY SPECIAL TO BE A PART OF THAT COMMUNITY, AND IF YOU CAN GET THROUGH WARPED TOUR, YOU CAN GET THROUGH ANYTHING.” present and being able to look at the past and understand and accept it. I think there’s a lot that went on in those two years – personally and as a band – like a lot of challenges that we faced that we didn’t know how to deal with at the time.” One of those challenges involved their debut at the US Warped Tour. Tonight Alive are playing the festival’s Australian return, and when they played their first show five years ago, all McDougall wanted to do was play the

home is because they feel there’s not as strong support for pop punk as there used to be. “It’s really hard for rock music to thrive here, because it’s so hard to sell tickets and there’s only so many venues you can play. “I’m not sure where that fire has gone that there was when we first started. There was such a scene, and even if you didn’t know the bands that were playing on a Friday night, you still went; just because the venue was cool, or because there was always a crowd there. I’m not sure that so much exists around music now. I don’t know what it’s going to take to bring it back, but I hope we can be part of it.” WHAT: The Other Side (Sony) WHEN & WHERE: 4 Sep, Rolling Stone Live Lodge; 5 Sep, The Hi-Fi; 1 Dec, Vans Warped Tour, Barangaroo; 6 Dec, Vans Warped Tour, Exhibition Park, Canberra THE MUSIC • 4TH SEPTEMBER 2013 • 37





Since when did headphones become a fashion statement? Natasha Lee aims to figure it all out. Pics by Hannah Spence at Big City Lights.


one are the days when a clear, crisp sound and a heavy bass were the drawcards when it came to buying new headphones. Now, like everything else, headphones have been sucked into the vortex that is ‘fashion’, with major brands such as Sennheiser and Marshall taking their trigger finger off the technical garb and, instead, focusing their attention on aesthetics. Of course, that doesn’t mean the sound suffers. Indeed, it’s quite the opposite, as our recent fervour for fashionable headgear has done little to dim a music lover’s quest for clear sonics. Harajuku-girl inspired earbuds – complete with diamantes and glued-on miniature animals – have begun popping up in the most curious of places, including late-night convenience stores and even chemists. So, now you can grab a listening device while you treat a migraine. Nifty.


The steady rise of fashion forward headphones has been boosted by celebrity endorsements, with Dr Dre’s Beats range (released in partnership with Monster in 2008) leading the charge. Since then, Lady GaGa, P Diddy and Justin Bieber have jumped on the endorsement train, with The Beibs releasing his purple Just Beats range (which, in terms of musical clout, has proven the most vexing thorn in the company’s side). Monster and co. has also just released a limited edition Neon Range, complete

with an ad featuring the most oversaturated DJ on the planet, David Guetta, and Les Twins. You’d also be hard-pressed to find another headphone brand that’s riled people up as much as Beats. A quick Google search will reveal a healthy smattering of Beats hate sites, all spewing out hilarious and oddly intense cyber vitriol against the brand. In all seriousness though, there is of course a fine line between fashion and douchebaggery. You know what I mean – those cats who let the headphones hang limp around their neck without even sliding them on. So, how does one navigate this fine line? Well, you’ve got a few options. FYI – forget the aforementioned tawdry trash found in chemists etc. We’re talking headphones that boost supreme sound quality and make you look goooood.

URBANEARS Urbanears are among a handful of companies that have managed to straddle the sonic sensibilities whilst still appealing to the fashion conscious.



Their headphones come in myriad bubblegum pop colours – yellow, purple, red, pink, blue etc – and they’ve come up with a neat little way to amp up the celebrity endorsements by proxy, getting people to snap shots of anyone famous spotted wearing a pair of Urbanears and uploading them with the #urbanears hashtag. Genius.

more retro, early ‘60sinspired box design that’s available in black and white – the latter also boasting shiny gold trimmings.

So far, they’ve nabbed pictures of Girls creator Lena Dunham and Macklemore.

Note: perfect for conservative sound snobs.

Not quite Bieber, but good enough. Scrap that: far superior.


In terms of price, their classic Plattan style will set you back around 90 bucks – meaning the avid fashionista can splash out on a few colours – and (finally!) start dressing around your headphones.

MARSHALL They never needed to, but iconic music equipment giant Marshall have also reinvigorated their personal listening experience, with their headphone styles now ranging from the classic black egg shape to a

For the less ostentatious, SOUL – the preferred headphone brand for none other than Usain Bolt – boasts a slew of sleek earbuds that are simple and classic. Apart from being spruiked by the fastest man

on earth, rapper/actor Ludacris has also lent his design skills to SOUL, creating the eclectic, space age-esque Fly design. These are for those of us who like the simplicity of Apple’s obligatory iPhone earbuds, but want a better sound.

AERIAL7 Designed by three mates with a passion for sound and fashion, the TANK range is bright and chunky. Their TANK Mondrian flavour comes in a sleek white design that’s been splashed with an array of different colours. It’s cubism at its most outrageous. Because these are so visually volatile, you wear them as a statement piece, indirectly cutting your wardrobe cost in half. They also boast designs for the less adventurous, with their Sound Disc Sports Beanie collection, which basically comprises a beanie and flat, disc-like earbuds that fit snug between your ears and the beanie. More for the sports fanatic but also cool if, hey, you just don’t give a shit. THE MUSIC • 4TH SEPTEMBER 2013 • 39


I CATCH DEAD PEOPLE Jeff Bridges sees dead people – and “books ‘em” – in his latest feature film. Guy Davis talks to him about bizarre premises and donning cowboy hats.


evotees of The Big Lebowski tend to know Jeff Bridges as The Dude; devotees of great acting tend to regard Jeff Bridges as The Man. For more than four decades, he’s been turning out performances that range from richly funny to intensely emotional – sometimes he’s subtle to the point of microscopic, sometimes he chews great chunks out of the scenery. For years, though, he was regarded as a terrific but somewhat undervalued actor who could never quite make the leap to full-blown stardom. Maybe it was his tendency to place his characters above his own persona – the great film critic Pauline Kael once said Bridges “may be the


most natural and least self-conscious screen actor that has ever lived.” Bridges is still a character actor, but he’s also finally getting his dues – his performance as dissolute country singer Bad Blake in 2009’s Crazy Heart earned him an Academy Award, his performance as the equally boozy lawman Rooster Cogburn in True Grit saw him nominated for the same award the following year. And one can see echoes of those distinctive turns in his work as Roy Pulsipher, a grizzled Old West marshal now stalking the afterlife, doling out justice to wrongdoers who refuse to stay dead, in the supernatural action-comedy R.I.P.D. (as in Rest In Peace

Department). Roy’s the very best at bringing the dead back alive, so to speak, so he’s a little reluctant to find himself partnered with an R.I.P.D. rookie in the form of recently-killed cop Nick Walker (Ryan Reynolds). But the pair may be the only ones who can stop an army of undead lowlifes from making Earth a living hell... or, you know, un-living hell. “It’s a bizarre premise, but I like bizarre premises,” chuckles Bridges in his inimitably laid-back fashion. “I remember when someone pitched me the project, I couldn’t quite grasp what they were talking about. Then I read the script and I had to keep going back a page or two and saying ‘Did I just read what I read?’ Something like that is certainly attractive to me. And then when you’ve got wonderful guys like Ryan and Mary-Louise Parker and Kevin Bacon to play with, well, that makes it even more fun.” And, of course, Bridges is rarely gonna pass up an opportunity to play a cowboy, even one who’s been dead for 150 or so years: “Whenever I get to wear a cowboy hat, it’s always a good time for me.” Still, R.I.P.D. is a little more tech-heavy than most cowboy stories – there are your increasingly common lashings of CGI and such bringing the Department’s enemies to life. Bridges is no stranger to special effects, having appeared alongside a massive animatronic ape in the 1976 version of King Kong and alongside a computergenerated version of his younger self in Tron: Legacy. Now is his early 60s, Bridges continues to keep busy (he’s got the fantasy adventure Seventh Son coming out early next year), but acting’s just one string to his bow – he’s also an accomplished musician and photographer. WHAT: R.I.P.D. In cinemas 12 Sep

THIRD TIME’S A CHARM After an auspicious debut and two records in quick succession, Gold Coast post-rockers Helm hit a few roadblocks. Frontman Lucas Stone talks to Tom Hersey about their new record and why they had to step back from touring.


hen Helm burst onto the scene back in 2008, the band quickly made an impression of Australian alt-rock fans. Then, after two excellent records and plenty of live triumphs, Helm seemed to disappear last year. According to vocalist/ guitarist Lucas Stone, the band were going through their toughest times, but that grew to feel creatively liberating. “Going into 2012 that was probably our hardest year, our touring really dived off and we had a bit of hard financial times. But the songs started coming together through that period. Then Matty and Scotty had to leave because of family pressures so we had to get some new guys in. After all that we really just wanted to do whatever we wanted. So we wrote until we were happy and [when] recording came it was really relaxed. For us, this break was about reassembling the line-up and just dealing with life, so that we could make an album that justifies what we wanted to as musicians. And we’ve been able to put together an album that’s 100 per cent what we wanted to do. No fuckin’ compromises.” The freedom that Stone and the revitalised Helm found on Volume III… Panthalassa has the band exploring trippy and ethereal textures while pushing the heavier aspects found on their first two records to their logical 40 • THE MUSIC • 4TH SEPTEMBER 2013

and satisfying extremes. And, despite the fact Stone feels the band dramas from last year in part stemmed from an inability to fit into a genre, the band’s latest record defies neat categorisation. “It’s hard living in a crossover genre like we do. There’s a lot of melodies but there’s also a lot of heaviness. And when sit in the middle there’s a tendency to get left behind. I think these days that’s starting to change a bit – the whole [range of ] progressive genres are becoming more popular – but when you blur the genre lines [it can be hard].

So [for this album] it was about really trying to cement a foundation of quality songs. This whole album has been getting back to being musos and doing what we love. There’s been no goals in mind. Coming out of Volume II we did have our sights set on certain things, and it just kind of backfires. With this one, there was nothing but a focus on the quality of the songs.” Now the band’s about to venture out on an album headline tour, Stone promises that fans are going to experience all the attention to detail the band invested in Volume III. “We’re going to play this record from start to finish, so people are going to get exactly what they’ve paid for… And if they’re not too bored after that we might do some older stuff at the end.” WHAT: Volume III… Panthalassa (Summerland/Green) WHEN & WHERE: 6 Sep, Bald Faced Stag



HARDLY WORKING House duo Naysayer & Gilsun are returning to Perth to promote their new EP, All That Good Work/ Blue. Sam Gill tells Scott Aitken about working separately, going with the flow and what’s next.


ith the release of their latest EP, All That Good Work/Blue, Melbourne production duo Naysayer & Gilsun, aka Luke Neher and Sam Gill, are hitting the road on a national tour that will see them returning to Perth for the third time. “We’ve always had a ball in Perth because people really party in a different way,” says Gill. “It’s always fortunate for us to come out and it’s just always been a uniquely great time.” While known for their audio-visual live shows, Gill says the Perth show this time round will solely be about

the music. “Last time we came, we tried to do the audio-visual show and the promoters went to a huge amount of effort to try and make it work. We came to the conclusion that it doesn’t necessarily work in a club environment because it can be a bit too attention-demanding for people who are just there to switch off and drink and enjoy themselves. So this time around we’re just going to DJ and that allows us a bit more time to go with the flow and enjoy ourselves.” Gill says the basic ideas for the EP came from he and Neher working individually


and then bringing ideas together in the studio. “We work a lot faster and produce things at a rate that’s not possible when we’re both behind the controls. With electronic music, when you’re writing it and programming simultaneously, there’s a real flow to it and when you work with other people it can be a bit slower no matter how well you mesh stylistically.” The EP builds on the band’s focus on combining organic and digital sounds. For Gill, this meant combining software sounds with his old Korg Prophecy synthesiser “A lot of the time we write lines on basic software synthesisers and experiment by taking certain melodies and applying them to different synth patches we’ve created or trying them out on the Prophet. It’s got a lot of sounds like on Radiohead’s Kid A and you can tap into those Boards Of Canada-style emulations of John Carpenter super-scary, super-eerie atmosphere.” While Gill says there’s no plan musically for the rest of the year, nothing’s set in stone. “I have to remain very reactive this year and play it by ear. We have some other shows that are kind of in the works for later on this year and we have sort of a bundle of tracks that are very, very slowly starting to assemble an album. So I think we’re going to have to find some time to just sit down and really look into what we really want. It’s all kind up in the air right now but that in its own way is pretty exciting.” WHAT: All That Good Work/Blue (Club Mod) WHEN & WHERE: 7 Sep, Goodgod Small Club; 8 Sep, FBi Turns 10, Carriageworks

NOT A REGULAR JOHN Comic John Conway’s new Fringe act comes in the format of a talk show, to make his “fucking weird” sketches more accessible, as he explains to Calum Austin.


t’s very new. It’s fresh, different and refreshing. It’s bewildering. It’s just a new thing. You’re certainly in for a treat. Anything can happen, it’s just a weird and broad thing that’s enjoyable for everyone.” John Conway isn’t a man to mince words yet it’s hard to pin his new show down. His confidence in The New Conway Tonight Show, which is featured at the Sydney Fringe Festival this September, is infectious. It’s hard not to be intrigued in the act. His past shows have been described in broad and congratulatory words like ‘eclectic’ and ‘irreverent’. It’s certainly something that needs to be seen. After being nominated for a Barry Award this year, Conway has found himself facing the sterner side of being a 29-year-old comic. “It’s a lot easier when you’re 20 than when you’re 29. I feel a bit more like it’s crunch time, because you have a different mentality when you’re 23. You can quit uni, travel and be rebellious. This is a difficult lifestyle. You’re travelling a lot and money’s injected into your bank account as opposed to a salary. So many of my friends have jobs. Proper jobs.” Yet when you have your eye on the talk show format, it’s persistence and innovation that will see you through. Giving the audience something unique is paramount and Conway has no qualms about claiming to be different. But he’s altered his act to accommodate those


who might be put off by pure nonsensical irreverence: “I’ve put myself into a tonight show format, because it makes more sense. The old shows I used to do, were great but not for everyone. They were pretty random and fucking weird. So I’ve put it in the format of a tonight show which gives it legitimacy and anchors it down. It makes it a lot more accessible for the audience.” While Conway made the jump from his early days of Perth’s comedy scene to the bright lights of Edinburgh and London, he still finds the Australian circuit to be the place for alternative comics.

“The Factory Fringe is really awesome. They’re really pushing alternative comedy. That’s the place to be, the forefront of Australian comedy.” Conway will have guests for his Sydney show (while we can’t talk about them, he assures me they’re “very, very famous though”) and an act comprising improvisational oddity. While hard to get your head around, Conway certainly has a way with words that makes the experience seem appealing. “I don’t offend, I’ll generally be joking about fuckin’ muffins. Though that’s not to say I’m not making a point. It can be rude, but there’s a lot of stupid characters. I just really like anarchy. Unplanned, live stuff is just the best, because every show is different. It’s going to be... NEW. New Conway.” WHAT: The New Conway Tonight Show WHEN & WHERE: 11 Sep to 5 Oct, Sydney Fringe Festival, The Factory Floor



Experience the glamour that made life so much easier to bear in the Depression years of the 1930s as The Gangsters’ Ball once more recreates the biggest, most swingin’ speakeasy that never was. Michael Smith checks out the plans from Graham Coupland.


t’s getting harder each year to make it bigger, brighter and better,” admits Graham Coupland, the founder and driving force behind both The Gangsters’ Ball and the ten-piece big band, The Velvet Set, that has been its core musical act over the six years the event has been running. “I’m really happy with the concept and happy with the show the attendees get each year, with the way it works, with all the extras, the music and the dancing, but I did want to make it bigger, brighter and better, and the answer to that this year was to bring an international headline act over, which is The Pretty Things Peepshow.” Direct from The Big Apple itself, The Pretty Things Peepshow artists, who include Go-Go Amy, Donny Vomit, Rachel Renegade and Miss Vivacious Audacious, specialists in not only traditional 1930s-style acts but more contemporary rockabilly/rock’n’roll turns, will be also be performing at The Gangsters’ Ball Sydney and Melbourne sideshows. “Go-Go Amy, the main organiser of the troupe, contacted me two years ago expressing interest in our show, and back then I just didn’t really have the budget. The Gangsters’ Ball show was still developing and finding its feet, but I kept it in the back of my mind that they’d be the perfect vaudeville troupe to bring over. Donny Vomit, who’s the only male performer of the troupe, his I guess trademark act is the traditional ‘nail through the nostrils’ – and we’re talking six-inch copper nails hammered into the nostrils two at a time. So that’s going to be interesting to see – we’ll have to have some Kleenex tissues side of stage for him!” Along with some of the country’s best swing, rockabilly and rock’n’roll DJs, many of The Gangsters’ Ball favourites will be on hand, including The Gambling Den, with poker, roulette and Black Jack table; swing dancing demonstrations; cocktail bars; a vintage styling parlour; and a 1930s-themed photo booth. There’ll be pin-up girls and hat-check girls to take care of your gladrags, because everyone who attends dresses to the hilt for the night, so it’ll be wall-to-wall fedoras and petticoats, guys and dolls, gangsters and molls in costume. Then there are the local artistes. “Kelly Ann Doll is going to be back onstage for the first time in a couple of years,

currently reigning Miss Burlesque NSW, so I’m bringing back some of my favourites this year. It’ll probably be more of a swing dance/cabaret slant, rather than straight burlesque this year. There’s so much burlesque happening here in Australia at the moment, so there won’t be a huge burlesque element this

pointy objects on his nose and on his forehead. He also performs with his partner in a group called Strings On Fire, a cabaret routine where they’re serenading each other on violins while throwing burning swords at each other – it’s unicycles and all manner of sharp objects being thrown or juggled – it’s going to be mayhem! It’s all good fun; I just hope my insurance covers it.” Along with MC, the chanteuse Madame Leila Leontine – the other act performing in Melbourne, Sydney and Brisbane as part of The Gangsters’ Ball – is the selfexplanatory Acrobatica, which features members of This Side Up, infamous for their performances in the

“IT’S GETTING HARDER EACH YEAR TO MAKE IT BIGGER, BRIGHTER AND BETTER.” year. Adam Mada will be doing the entire tour with some fabulous new illusions and conjuring up his sleeves. We’ve got Jeremy Ansley, who is one of Australia’s leading jugglers, and I think he’s going to attempt the famous eight-hoop juggle, which only one other performer in Australia can do, and there are going to be knives and machetes and all sorts of things flying around as well. We’ve got Captain Finhead – he’s one of the world’s leading nose jugglers and balancers – so he’ll be balancing all manner of sharp and

Smoke & Mirrors show from a couple of years ago. This year, you’ll also, for the first time, finally be able to walk away from The Gangsters’ Ball in Sydney and Brisbane with a copy of The Velvet Set, in full 19-piece mode, on CD, recorded live to tape in their rehearsal space. Melbourne will of course feature their own big band favourites, Michael McQuaid’s Red Hot Rhythm Makers. “Again, we really just try and recreate the old 1930s speakeasy vibe,” Coupland explains. “The Velvet Set is going to hit the stage with an entirely new repertoire for Gangsters’ Ball this year. We’re going way back into the ‘20s and ‘30s and working hard on some very difficult old-school arrangements. There’s a lot of old Glenn Miller and Cole Porter and Duke Ellington in there – we’re trying to steer away a little bit from the Rat Pack – Sinatra and so on.” WHEN & WHERE: 7 Sep, The Gangsters’ Ball, Metro Theatre; 20 Sep, Sydney Fringe Festival, Factory Theatre THE MUSIC • 4TH SEPTEMBER 2013 • 43




This week: trying to stop a covert alien invasion of America in the ‘60s in The Bureau: XCOM Declassified, the early Oscar buzz for Cate Blanchett is justified in Blue Jasmine and Arctic Monkeys add a few feathers to their cap in AM.


I Oh You/Liberation Brisbane four-piece Violent Soho have come out with all guns blazing on Hungry Ghost – their first album in three years and first of all-new material in five – not so much reinventing themselves, rather completely redefining what they’re capable of. All the old traits remain, but they’ve added a refined nuance and subtlety to their armoury – abetting rather than replacing their trademark precision riffage and intensity – along with an amplification of their innate ability to conjure memorable hooks and melodies, both of which saturate these 11 tracks.


TRACK LISTING 1. Dope Calypso 2. Lowbrow 3. Covered In Chrome 4. Saramona Said 5. In The Aisle

6. OK Cathedral 7. Fur Eyes 8. Liars 9. Eightfold 10. Hungry Ghost

This substantial shift seems like a natural progression rather than a roll of the dice – testament to the blooming songwriting prowess of frontman Luke Boerdam – and the band tie it together with effortless cohesion, while producer Bryce Moorhead lets it all manifest perfectly. The obvious harbingers of change include nihilistic slacker manifesto, Dope Calypso, cruisy change-up Saramona Said, the guitar bends and layers of centrepiece, OK Cathedral, the pop sensibilities of the gorgeous Fur Eyes and the epic, fluid title track to finish, but every song brings something of note to the kief-covered table. There are harmonies, vocal tricks, eclectic arrangements and a pervading sense of relaxed confidence, and though their influences occasionally bubble to the surface, who and what these tracks may sound like is redundant compared to their unabashed vitality. A band once seen by some as a onetrick pony is now undeniably the complete package. World class. Steve Bell


album reviews



Tales Of Us EMI/Mute

Those approaching Goldfrapp’s sixth record anticipating a comeback of the sex-drenched throb of albums Black Cherry or Supernature, or the outright dance of Head First, should probably go elsewhere. However, the fans of the English duo’s stunning debut Felt Mountain or even arguably their finest album Seventh Tree should come on in and marvel at the Goldfrapp that many fell in love with in the first place, the dream-pop merchants, if you will, that influenced the likes of Bat For Lashes and beyond. Tales Of Us brings back the uber-chilled vibe of old. Lush strings, funeral-paced arrangements and Vangelisesque, barely-there percussion are all present, but all provide only the backdrop of sorts for Alison Goldfrapp’s sublime vocal. Here she seems fuelled simultaneously with desire and regret, while her lyrical themes are often left of centre.



★★★★ On Annabel, for example, she sings of a girl trapped inside a boy’s body while Simone seems to be about finding her daughter in bed with her lover. Goldfrapp’s new jam is far from a jam, instead it is that triumphant return to the ethereal beauty of old. Abound with orchestral manoeuvres and void of anything remotely ‘radio’, Tales Of Us certainly isn’t a record to be split up and begs to be heard as a whole. In its entirety, it plays out beautifully with a majestic and cinematic aesthetic that beckons more. Goldfrapp truly are the musical gift that just keeps on giving. Ben Preece



smoothly into jaunty keys and mid-tempo drums, striking that all important tension between eager and mysterious. Backing vocals are another welcome addition, like the falsetto breakdown on Knee Socks or ‘whoa whoa’s on the slow-burn One For The Road. Arctic Monkeys seemed to function on only two speeds: breakneck fast thrashing or down tempo middling, but on AM they have by and large conquered that. There’s endless charisma right through to the final torch song I Wanna Be Yours, and you can practically see Turner’s sly grin when he suggests wanting to be “your Ford Cortina, I will never rust”. Sevana Ohandjanian

Dirty Pop Fantasy Valve Records


Early on, Night Still Comes hints at her country music early years while Man is pure guitar pop that would fit in on any New Pornographers album. It’s also where contributing guitarist M Ward’s presence is most evident. There’s a lessis-more vibe to much of the album. No song is ever more elaborate, over arranged or more instrumentally layered

The stand out factors on AM are the sounds we’ve never heard on Arctic Monkeys records before. It’s a reassuringly vibrant jolt to the system when, for the first time in their discography, piano melodies open up Snap Out Of It. The best part is that it all works; Turner’s trademark tongue-twisters blend



The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You It could be a conscious desire to eventually tackle every style and genre music has to offer. Or it could just be a short attention span. Whatever it is, Neko Case seems determined to never be pinned down. From country, to pop to alt. super-group The New Pornographers, Case has proven herself up for any musical challenge. And she tackles more than one here.

There are some things that are quintessentially Arctic Monkeys: Alex Turner’s Sheffieldian brogue, verbose lyricism that’s part allusion, part narrative. Since Humbug it felt as if they were stuck in a musical rut, focused on changing direction but wandering aimlessly. AM is transformative in that regard – a sharp, clever record that thumps around one’s brain with authority. Unassumingly catchy with moody sensuality oozing, AM charts the uncertainty of new romance, from the thrilling tension of mutual attraction in Do I Wanna Know? and the obvious question of R U Mine?

★★★½ than it needs to be. When nothing more than an acoustic guitar and Case’s beautiful voice get the job done, we get I’m From Nowhere. Give Case a deep drone and the sound of water droplets, and she’ll give you the first half of Where Did I Leave That Fire. Nearly Midnight Honolulu dispatches the need for instruments altogether with gorgeous a cappella harmonies. Slow and contemplative, fast and fun, quiet and brooding, The Worse Things Get… is an eclectic mix that could have spun out of control. But when reined in by Neko Case, it’s an eclectic trip well worth taking. Pete Laurie

When not out and out embracing the poppiest of pop music, the ‘Gurge has always had a knack for hiding catchy pop songs under distorted guitars, dark lyrics and the odd sprinkling of hardcore hip hop. With their latest, Regurgitator try to have it both ways. While a lot of Dirty Pop Fantasy sounds like it could be Unit: Part 2, the rest sounds like the more modern-day incarnation of Quan Yeomans and Ben Ely, heard on 2011’s SuperHappyFunTimesFriends and 2007’s Love And Paranoia. With only five of its 19 tracks breaking the three-minute barrier, Dirty Pop Fantasy never messes around in getting to the point. Mountains sees Yeomans doing his best Ian Curtis impression. So Tuff is 60 seconds of the kind of Ely simple punk rock every Regurgitator album needs, while Answering Machine is all acoustic finger-picking and almost whispered vocals with a hint of Simon & Garfunkel.

★★★½ Is the album title Regurgitator’s almost apologetic confession to indulging completely in their own retro, dirty pop weaknesses? Or is it a declaration that they know it’s dirty, they know it’s totally indulgent, and they just don’t care? The ‘Gurge made it through the ‘90s alt-Oz boom. They made it through fleeting mainstream success. They made it through wilderness years and performance art. These days, I think the band, and Dirty Pop Fantasy, can both be summed up best by album standout, We Love You!, with Yeomans declaring, “We know what you want, but we’re not gonna give it to you, ‘coz that would be easy.” Pete Laurie

album reviews




★★★★ ½





Wooden Boy

The Other Side

Are You Life

If You Wait

HopeStreet Recordings



Dew Process/Universal

The songs on The Cactus Channel’s Wooden Boy, not unlike its predecessor, Haptics, have been crafted with coolness firmly in mind, yet there’s no egostroking, just quality songwriting.

There’s no denying this Sydney five-piece have matured tenfold since they exploded onto the pop punk scene in 2008, and this resonates throughout The Other Side.

There’s a distinct ‘70s flavour permeating the musicality of this release, from the sparing guitar work and drums to the melodic horns that underpin everything, making it hard not to drift off in a reverie filled with New York mean street clichés right from album opener, Who Is Walt Druce.

Delivered with the distinct, breathy yearning of vocalist Hannah Reid, London Grammar’s debut exhibits a similar level of intrigue, designed detachment and late-night charm that captured hearts on The xx’s first record.

How they’ve managed this at such a tender age is anyone’s guess, but they’ve done it again.

While maintaining the playful vibe from their 2011 debut record, this record, in particular single Lonely Girl, is emotionally charged with a unique darkness. From the first line of opener The Ocean, vocalist Jenna McDougall is on a mission to ensure this record doesn’t go by unnoticed. Tonight Alive’s debut welcomed a fresheyed bunch of teens into their careers, and with this release, they are one step closer to defining it.

Glenn Waller

Daniel Cribb

The so-called ‘sophomore slump’ is a beast that traps many a promising band, but not Little Scout. On Are You Life, the follow-up to 2011’s debut, Take Your Light, the Brisbane quartet display a maturity and refinement that sees the expected level of sugar-and-spicery juxtaposed against a pervasive, darkened edge, ethereal atmospheric touches and an underlying compositional profundity and ambition that rewards repeat, intimate listens. The minimalistic We Used To Know is a standout but, then, the entire album is a shining testament to the strength of Brisbane’s music scene beyond post-adolescent dance-pop. Treat yo’self.

Perfectly titled, it doesn’t give it all up on the first date, electing instead to tantalise with the new love flirtations of Stay Awake, the bright, clean tones of ripe-forremixing Metal & Dust and the depth of conflicting guitar and piano minimalism on Wasting My Young Years. Musical restraint has never sounded hotter. Tyler McLoughlan

Mitch Knox




★★★★ ½




Flogging A Dead Phoenix

You Can Have It All

I Hate Music


Rice Is Nice


Yes, It’s True

Stephanie Crase has spent her fair share keeping time for Batrider, but as Summer Flake she steps out from behind the drums and shows her ingenuity at creating slow-burning guitar pop jams awash with wistful chagrin and weary acceptance.

The second album of Chapel Hill indie rock legends Superchunk’s comeback recording phase – tenth overall – finds them ploughing similar furrows but with a vitality that belies their vintage, maintaining that great knack of emoting without coming off emo.


Erotic Volcano Records Australia’s premier ska punk rock’n’rollers are back with their first full-length since 1999. With song titles like Hot Pants Nation and King Kong Bundy’s Ponzi Scheme, it’s clear what we’re in for; thankfully these veteran rockers have the musical chops to back up the laughs. At a click under 30 minutes, the record never outstays its welcome or lets you sit still. Crunchy riffs, booming sax and genuinely funny, irreverent lyrics drip from every pore on this record. Whether a fond farewell or welcome return, we’re lucky to have this hard-arse rocker. Andrew McDonald

The haunting Die Trying is buoyed by a frantic guitar implosion, whilst the squalling breakdown on Just Fine stirs the emotions. Crase’s vocals are soft, worn, yet defiant – and on songs like Blue and Naked Or Nude, she shows a canny familiarity around pop conventions too. Crase really can have it all. Brendan Telford

Contains a diverse array – cruisy, laidback numbers (Low F, Out Of The Sun, highlight Trees Of Barcelona), thrashy (Staying Home), angular and anthemic (FOH, Me + You + Jackie Mitoo) – all bristling with their typical hyperkinetic fashion. Catchy melodies and hooks aplenty, but still plenty jagged – at the top end of their excellent canon. Steve Bell

On The Polyphonic Spree’s fifth album, Tim DeLaughter and co have once again composed 11 tracks of over-joyous bliss. Opener and current single, You Don’t Know Me, is pure oldschool TPS, harmonies galore and sublime instrumentation. There’s something quite amazing that happens when listening to TPS albums – an overriding sense of positivity and personal affirmation washes through you and Yes, It’s True is no different. This album is the perfect companion to see in Spring and as you Raise Your Head to the sky, revel in what’s truly this year’s feelgood hit of the summer. James Dawson












It’s Alright

Dead Oceans/Inertia

Roadrunner Records

Rough Trade/Remote Control


A largely unclassifiable ambient/ acoustic artist who’s based her young career around probing the boundaries of how the human voice can be used as an instrument, Barwick has enlisted the aid of Sigur Ros’ studio hand Alex Somers for her second major release to subtly augment her core sound. Nepenthe is a confident stride forward, a vision of pristine clarity, as Barwick’s phantasmal vocal timbres resonate with seemingly effortless grace over Somers’ delicate arrangements. Whilst her first effort, The Magic Place, seemed like an exploration, Nepenthe sounds like an arrival.

In the years since 2008’s The Age Of Nero, Norwegian black metal crew Satyricon have undergone a metamorphosis. They were a fire-breathing, uber-kvlt duo. Now they’re respectable gentlemen. Frontman Satyr even has his own wine. All that maturity and class can be heard on the new self-titled LP, which takes the charred battle rock of Nero to a new, epic, extreme. While Satyricon sometimes feels under-realised, much like the Demonaz solo record that also tried to marry black metal and rock’n’roll, it has moments of latter-day Darkthrone weirdo brilliance during songs like Walker Upon The Wind.

Taking inspiration from Wim Wenders, smoke machines, first time motherhood and producer/ collaborator Dan Carey, Emiliana Torrini’s fourth record has the stamp of a fine crafter of songs, with sonic experimentations richly layered through a framework of folk. Never rushed, the tone is set with an opening title track of delicate building beats, guitar and key flourishes and that wondrously clean vocal, while When Fever Breaks has the restrained charm of David Essex’s Rock On as though a cool sequel to fiery classic Fever. There’s space, intelligence and gentle care to be found in Tookah.

SEABELLIES The enigmatic onceNovocastrians re-emerge from an absence, minus a member but offering a layered but airy thing of an awkward grace that keeps winding itself into your head with quiet insistence.

THE PARADISE MOTEL The Spider Independent The enigmatic once-Tasmanians also reappear from the ether with a seven-minute moody piece of suburban angst, the sawing violins increasing in panic as the stroll home becomes a rabbit run.

Christopher H James


Tyler McLoughlan

Tom Hersey

Wooden Boy (Part 3) Hope Street Recordings Their instrumentals can be an engaging thing. This has a bit of film-noir soundtrack, intertwining with some bubbling surf horns and oddly-plucked guitars. It flows and rattles past, leaving an impression.

SOUNDS LIKE SUNSET Fears Independent Their default shoegazey/ psychedelic detachment offset guitars veering towards feedback overflow, but all falling into place to make a ball of elastic bands about the size of a station wagon.

I KNOW LEOPARD She Independent Harmonies that ring in from a distance, occasional gazes out to sea looking for… something. There’s that feeling probably called ‘shimmering’ in the guitars, as it all bobs on a tide of ‘luminous’. Ross Clelland








Warm Blanket

Nobody Knows

Idle No More

Stop Start/Inertia

XL/Remote Control


Dent May’s third album keeps walking along the same wellworn path he’s been treading for the last few years: Breezy, light pop songs that smell of summer and scream Beach Boys tragic, like in the warped Wouldn’t It Be Nice melody of It Takes A Long Time. May specialises in making romantic banalities cute and bopalong danceable. Jittery piano riffs and handclaps abound on Born Too Late, and the tempo is slowed with acoustic guitar at the forefront on Endlessly. Sweet, not entirely memorable but never saccharine, Warm Blanket lives up to its title.

For those that have not heard the crooning of Chicago vagabond Willis Earl Beal (likely there are still many who haven’t) he is most certainly… well, the term ‘unique’ has become a little trite as descriptor today; everything is unique and not. However, Willis Earl Beal truly does fit the term. There aren’t many people who would share a vibe with the likes of him. Having spent some time alone and homeless has given him an outlook he could only have earned for himself and Nobody Knows is the embodiment of this and his journey.

Idle No More should reignite the flame that had people so hot for this band a couple of years ago. It is more than just another tight cut of garage soul; it’s great pop songwriting executed by a band brimming with confidence. ‘50s pop, ‘60s soul and ‘70s psych is mashed up and spat out with the attitude of a vibrant rock band who don’t give a fuck. The Chicago soul of Thorn In Her Pride and deep funk of Luckiest Man are highlights – but the whole record is just one beautiful party. Dan Condon

Sevana Ohandjanian

Lukas Murphy



live reviews

DON MCLEAN, CATHERINE BRITT Enmore Theatre 30 Aug Catherine Britt took the stage in the already full theatre and after a brief and chatty introduction, the country singer launched into a selection of her nearest and dearest tunes, including the heartbreaking Dear Emmylou, before wrapping up her set with a take on the 1928 classic, Big Rock Candy Mountain, a song which she prefaced by saying, “This was written during the Great Depression – so it goes to show that beautiful things really do come out of hard times.”

and attempting a more whispered approached to the Vincent Van Gogh-inspired classic. In between each song McLean continued to apologise, and perhaps this is why the crowd were so quick to forgive him. Humble, friendly and apologetic, McLean announced that, “I could’ve cancelled this with my voice and all but I know how much these tickets cost and I want you guys to have a good show.” And just when you thought his voice was really about to break, McLean and his band (who looked as though they’d been hauled out of a retirement home, but still rocked it) launched into those blissful opening chords of American Pie. This is one tune McLean didn’t need to worry about singing as the crowd did it all for him. Hundreds of voices all


Slick in a shiny satin shirt, Don McLean strolled into the spotlight, all waves and smiles at the sea of Grecian 2000 and grey heads before him. McLean began the set humbly, thanking the audience for coming and still supporting him after all these years, before stopping hearts with the promise to play, “some of my older stuff.” After launching into Castles In The Air, McLean again apologised to the audience for his scratchy voice, before popping a throat lozenge and declaring that, “we’ll stick to the slow ones for a while and see how my voice improves.” It didn’t. A brief interlude of raucous honky-tonk guitar work (sans vocals) gave McLean the needed rest before embarking on one of his major hits, Vincent. He tackled it with aplomb, navigating his voice around the higher octaves

duo of guitarist Brian King and drummer David Prowse threw themselves into every song with violent enthusiasm, instilling an incomparable bonhomie between band and audience. Warming up with Adrenaline Nightshift, every song had a near ecstatic response from the sardine-packed crowd, with legs flying into the air and bodies cartwheeling over heads. The sheer amount of noise the duo are capable of making with just guitar, drums and vocals at their disposal is exhilarating, helped along by the multitude of voices singing every lyric back to them. As King pointed out numerous times during the night, it was the crowd’s excitement that fed their performance, and the fans gave it in spades. Screaming alongside Prowse on Younger Us, or throwing heads back to wail the chorus of Young Hearts Spark Fire, the


chanting, “Bye, bye Miss American Pie”with McLean as choir leader was worth the ticket price alone. Natasha Lee

JAPANDROIDS, BUZZ KULL Manning Bar 31 Aug The evening began on a dark and moody note with Buzz Kull, the two-piece pulling out a short but hypnotising set that was heavy on drone, yet laden with melodic warmth. A different kind of noise to what we would get with the main act. Japandroids have been touring for 18 months, and these Australian shows were the home stretch. Where one might anticipate or even accept a lethargic performance, the Vancouver

Enmore Theatre 29 Aug

If you haven’t heard of Fat Freddy’s Drop, do yourself a favour and look them up, because these guys are gaining some serious momentum, and following the launch of their latest album, Blackbird, it appears the only way is up for this super talented bunch of Kiwis. Thursday night at The Enmore Theatre was the start of the sold-out, Australian leg of the Blackbird album world tour, and the perennial soul shakers had the entire crowd bouncing off the walls from start to finish.


evening’s vibe was one of reckless abandon. Case in point was during The House That Heaven Built, when a stage-diving fan was pulled off by two burly security guards, only for King to stop the song and reiterate that he was fine with fans throwing themselves up on stage and all over him. Recommencing the song, the chaos that ensued was heartwarmingly manic. Fans leapt onto the stage to dance before flinging themselves into waiting arms time and time again, while the ferocious pound of the song grew into a cacophony of screams and King’s words of “If they try to slow you down/Tell ‘em all to go to hell!” rang out like an anthem. Ending on their cover of The Gun Club’s For The Love Of Ivy – no unnecessary encore – Japandroids left a remarkable impression at their first ever Sydney club show. Sevana Ohandjanian


Jones Jr. were the supporting act and did an amazing job of warming up the steadily growing crowd. This is the first time the soulful duo, comprising of Katoomba boys Evan Jones and Morgan Jones (no relationship, just an odd coincidence), have embarked on a full national Australian tour, playing a selection of songs from their recently released album, The Soultape 2. By the time the Fat Freddy’s Drop boys took the stage there was sweat literally dripping from the walls and ceiling. They brought with them an infectious energy that had the whole crowd going absolutely wild. The guys opened their set with Blackbird and the instant connection they had with punters was truly inspiring. Despite each song going for around 20 minutes, the crowd never lost their energy and the Fat Freddy’s guys took us on a THE MUSIC • 4TH SEPTEMBER 2013 • 51

live reviews us on a tour of what they said was “all the different flavours off the album”. Slowing it down a notch the guys went on to play what they said was one of their favourite hits, Soldier, and ended the night with the crowd favourite, Shiverman. There is no single way to describe the Fat Freddy’s Drop experience. If you imagine a big swing band with some sweet DJ beats, soulful tunes, a dub/ reggae vibe and an overweight, hip-thrusting, strip-teasing trombone player, then you might have just touched on what one of their shows will entail. But in all seriousness, a special shout-out does need to go to Joe Lindsay on the trombone, who did an amazing Miley Cyrus impersonation, ‘twerking’ his way around the stage non-stop and


stripping down from his snug white suit to appear virtually naked by the end of the show! Deborah Jackson


The Basement Circular Quay 31 Aug Opening for a relatively unknown artist in amongst a rowdy and gradually squashed crowd is no mean feat. Kudos then goes to Little Bighorn, who managed to hold their own on The Basement stage as the rather antsy crowd pushed and shoved one another in a vain attempt 52 • THE MUSIC • 4TH SEPTEMBER 2013

to get prime standing positions. Nerves may have prevented the duo from exhibiting a little more personality, and while their songs were harmonious and gentle, they seemed a little misplaced for the venue. Then it was time for Mark Wilkinson – best known now as the dude behind that song on the Nescafe ad (well, at least that’s how this reviewer stumbled upon him), to take to the stage. Compact and delicate, even Wilkinson could not believe the now unmoveable capacity with which the venue had filled out to. Patrons had now begun taking cigarette breaks just to get some ‘fresh air’. Kind and seemingly a little embarrassed with all the attention, Wilkinson launched into a string of tracks from

THE SMITH STREET BAND, JOYCE MANOR, CHEAP GIRLS, MILHOUSE The Annandale 31 Aug As beloved a band as they are, it was hard to feel anything but positive after Milhouse performed what has been cited to be their last performance in Sydney. On top of being one of the most lovable collections of performers, the camaraderie that existed between them, their fans and The Smith Street Band (whom – after having been


his latest album, Let The River Run. Wilkinson, alone on stage with only an acoustic guitar, somehow managed to silence the noisy room (save for a few small pockets). His voice was supreme and crisp, sending shivers down hundreds of spines as he cooed the title track from his second release. With bursts of chatter with the audience throughout the set, Wilkinson remained focused and centred, his (now infamous) tune Middle Ground washing over the crowd like some kind of enchantment, before copping a raucous and well deserved applause. Wilkinson is one of the rare artists whose vocals embody a kind of charisma that pulls you in and forces you to do the rarest thing in the world… feel. Perfect. Beautiful. Gentle. Natasha Lee

short and fast performances, met with equal vigour by a highly receptive audience. It’s never a dull moment with The Smith Street Band on stage, and their performance on the evening ensured that tradition was kept alive. Wagner’s welcoming stage presence prompted an active participation from the crowd, which would eagerly repeat each and every lyric Wagner huskily bellowed. Talk of The Annandale’s demise has been going on for quite some time now, but we can all count our lucky stars that the little pub on Parramatta Road has kept its doors open for bands, fans and punters alike – particularly given the near faultless lineup Saturday evening. Justine Keating


joined on stage by frontman Wil Wagner – they performed a cover of ) was contagious – being a part of the audience felt like really being a part of something big. While perfectly apt performers, Cheap Girls weren’t quite as memorable as the other names on the bill. That’s not to say they weren’t up to scratch; they overcame some slightly offensive sound glitches with ease and nonchalance whilst demanding the full attention of the audience despite having a less solid following than that of the remainder of the line-up. Though perhaps not the warmest of performers, what Joyce Manor lacked in the gift of the gab (their introduction was not to the audience; rather a semi-polite request that the sound guy eliminate the “crazy lighting”) they made up for tenfold with their lively



Yours And Owls, Wollongong Town Hall 30 Aug With opening band Break A Leg (and headliners Castlecomer) cancelled, hard rockers D’Luna kicked off the farewell party for Wollongong’s beloved Yours And Owls – a night of violent moshing in small spaces. The party stretched across two stages, one at Owls and the other across the road at the Wollongong Town Hall emceed by local comedian Sunga Attack with some live street art going on in between.

live reviews Rock’n’roll/soul outfit Rocking Horse & The Baby Dolls opened the Town Hall stage with pizzazz, their matching costumes and choreographed dance moves setting off some brilliant vocal performances. After them came the extremely experimental jazz trio 3 Of Millions, whose improvised distortion ambiance was hypnotic. By 8.30pm, when Mere Women were on, there was a line outside the tiny Yours And Owls venue but as people switched between stages, it moved quickly and the rock trio (who actually include one man in their line-up) played a great set but with three-piececum-six-piece instrumentalists The Walking Who on the Town Hall stage, it was back there for a show-down of local indie rock and some dancing stage-crashers.


BIG SCARY, COURTNEY BARNETT, MELODIE NELSON Factory Theatre 30 Aug Melodie Nelson’s twitter profile reads “maker of wildly unpopular pop music”. Their self-deprecating streak may be more than surface deep if the level of nerves on stage this night is anything to go by. Staid demeanors belie a talent and magic that could develop from the Beth Orton-style vocal and unique line-up, cello and synths adding endless possibilities.


Kristy Wandmaker


Bec Sandridge was ethereal, tumbling around the stage with her small guitar but the definite highlight of the night were the local favourites, metal quintet Totally Unicorn, who packed out the Owls venue with a terrifying performance of near-nudity, stage/stair/mezzanine-diving and people-crushing. They demolished a plant and a drum kit while the crowd carried lead singer Drew around the venue. After their set, they urged everyone to run over and see Tumbleweed, who finished off the night with some rock expertise.

Touted as a Dylan-esque storyteller, Courtney Barnett is a hard lady to nail. With honest, refined songwriting and an amazingly talented band it’s difficult to see anything but superstardom in her future. It was good to hear some promising new tracks slipped in amongst the now familiar History Eraser, Avant Gardener and Lance Jr, with one unnamed track echoing The Beatles I Want You (She’s So Heavy). Her garage grunge influences are coalescing and evolving nicely into a sound all her own.

A fitting send-off for a trio of rapscallions, the Yours And Owls farewell was an unforgettable night where Wollongong felt like a family, saw a little too much Unicorn and showed off some of its best bits.

It’s a bit of a fad lately for performers of a certain vintage to tour their golden albums, playing them front-to-back for their loyal fans. Big Scary are bucking this trend, instead doing it with their always dangerous second album, Not Art. In order to achieve the

Lorin Reid

cavernous, stadium-suited sound of the new album, the duo have welcomed two extra bandmates to the stage, explaining the fervent sideways glances and signalling as they settle into the new live line-up and material. There’s no doubting that Tom Iansek can sing, and Jo Symes brings a another dimension to both melody and rhythm. The new material shifts away from the old towards an epic, atmospheric vibe, with air and space where there was once a wall of sound. Closing out the set with some old crowd favourites, there was a palpable sense of relief as they hit the familiar chords and were able to relax and appreciate the love that a growing legion of fans was throwing their way.

Fraser A Gormon & Big Harvest revived the spirit of more than one decade, playing the type of set you could bring your grandma to and both have fun. Upbeat ‘70s country music tracks like Shiny Gun and Whiskey are foot-stomping good times, unflinchingly positive and lifted up by Gormon’s harmonica and the violin of Sophia Lubczenko, whose careless demeanor and sharp skills made her a star of the night. Gormon’s deep vocals and thoughtful lyrics give the music a storytelling feel, with an early blues rock/gospel feel that seems to be channelling Johnny Cash. Vance Joy, the ridiculously goodlooking and even more likeable indie pop/folk artist has gathered a substantial following with only a five-song EP. Hitting the stage with a four-piece he serenaded the


VANCE JOY, FRASER A GORMON & BIG HARVEST, BEATEN BODIES Oxford Art Factory 30 Aug Those in the Gallery bar before the big show were treated to the swinging jazz numbers of Wollongong’s Beaten Bodies. Their short set was a celebration of funk and jazz, two saxophones and a trumpet combining nicely with the drums, bass and keys for tight breakdowns, Marli Wilde’s bubbly vocals a sensation.

Oxford Art Factory with his sweet coastal tracks. Joy has the folky sex appeal of an Angus Stone; heartfelt tracks like Emmylou and Snaggletooth had the crowd swooning. Confident and down to earth on stage, Joy walked us through the stories behind each song in his short repertoire before diving into them. His songs build nicely, though some remain at a level leaving something to be desired. Losing the band for two numbers he stood alone and played a beautiful acoustic cover of Bruce Springsteen’s Dancing In The Dark. When the band came back Joy traded his guitar for a ukulele and played the two tracks everyone was waiting for, Play With Fire and Riptide, the crowd coming alight and singing along. The night highlighted Joy as a promising prospect in Australian music. Cameron Warner THE MUSIC • 4TH SEPTEMBER 2013 • 53

arts reviews


In cinemas 12 Sep Woody Allen’s latest film sees wealthy socialite Jasmine Francis (Cate Blanchett) being forced to move in with her sister Ginger (Sally Hawkins) after her husband (Alec Baldwin) is exposed as a criminal and she loses everything. Blanchett absolutely steals the show as a woman in mid-flail who never needed to figure out what she wanted to be, until now. Unemployed and husbandless, she just wants a ‘substantial’ job and a ‘substantial’ man. As insufferable as Jasmine can be, watching her try to maintain composure while the cracks are so evidently

Ginger constantly wants approval from her sister, who is vocal about what she thinks of Ginger’s grocery store job, living conditions and ‘loser’ boyfriends. Hawkins wonderfully portrays a perfectly capable woman who feels incompetent around her sister, even though she’s the one with her life on track in comparison. We have an abundance of films exploring the failures, uncertainties and existential/identity crises of 20-somethings, so it’s interesting to see it from the perspective of a middle-aged woman. While on the whole Blue Jasmine has some shortcomings – a weak ending and awkward pacing at times – it is carried by fully-formed, layered protagonists and is ultimately a fascinating character study. Steph Liew


widening causes you to feel for her – a testament to Blanchett’s acting. Flashbacks seamlessly edited into the film highlight the contrast between Jasmine’s previously ‘perfect’ life, its unravelling and her less than ideal current situation. This is done cleverly, treated as Jasmine’s own triggered flashbacks, as when we jump back to present day we can see Jasmine traumatised by her memories. There are some amusing appearances by Louis C.K. and Peter Sarsgaard, but the dynamic between Jasmine and Ginger is the most captivating relationship; 54 • THE MUSIC • 4TH SEPTEMBER 2013

genders while maintaining the examination of class in a disturbing contemporary rewriting of Strindberg’s play. In an otherwise slickly bare modern kitchen a large portrait of Julie (Taylor Ferguson in a phenomenal debut), a prominent politician’s daughter, hangs on the wall – a sign of privilege, of status. With a driver/minder, Jean (Brendan Cowell) and personal chef (Blazey Best), this is her castle, but she sees it as a cage. Left alone, she is drunk on her dad’s red wine and power, and eager to experience a world different to her own. Having risen from a childhood of poverty and with a view of the elite from the peripheries, Jean is trying to climb higher still, and Cowell plays his fish-in-sheep’s-clothing-outof-water brilliantly. Conversely,



Belvoir Upstairs Theatre to 6 Oct The early life of August Strindberg’s 1888 play Miss Julie was fraught with cancellations, protests, bannings. Reworked by Simon Stone (a man whose recent work has revelled in humans at their worst) and under Leticia Cácares’ direction it is, somewhat surprisingly, not the most immediately confronting production. Stone has levelled the playing field between

laughs, good food, and a game of trivia that had old school fans reminiscing about the greatest moments in Simpsons history. FBI’s Shag did a good job of hosting, keeping the vibes mellow and the crowd laughing. With box set DVDs and free drinks up for grabs the competition was fierce. The difficulty of questions ranging from “What is Homer’s favourite beer?” to “According to The Simpsons, what cant Level Five vegans eat?” (Anything that casts a shadow.) Goodgod holds a different themed trivia night every Wednesday, and certainly know how to put the event on. Those early birds lucky enough to score booths looked most comfortable, but the 12 or so tables on the main floor had the best atmosphere.


Julie looks to swan dive from privilege while we are privy to the chaos that unfolds when ascent and descent meet midway. Shells hit the stage with terrifying realism, and Julie, having taken flight, clings to her cage underwing.

As with every trivia night, some were looking over their shoulders to try and sneak a peek at their neighbours’ sheets. Others, telling their friends to shut up when they got over excited and yelled out answers.

Dave Drayton

Overall it was a fun night, with reasonably priced food and drink at a great venue for it. Whether it’s the beginning of a big night, or just a sensible standalone outing, there aren’t many better times to be had at 8pm on a Wednesday night in the city.


Goodgod Small Club Dozens filled Goodgod’s front bar for a night of

Cameron Warner




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games Taking influence from Metroid, you’re treated to an arsenal of abilities and weapons that must be incrementally acquired throughout your descent.


STEAMWORLD DIG Image & Form Nintendo 3DS Ever dreamed of working the mines, but can’t be bothered going FIFO? Welp, with Image & Form’s SteamWorld Dig, you can try your hand at it. SteamWorld starts you in a town populated by robots; you play as robot called Rusty, who arrives in search of a mine shaft owned by his uncle.


GONE HOME The Fullbright Company PC/Mac

Gone Home casts you in a first person adventure as Kaitlin Greenbriar, a university student who returns from a European vacation to find her family home mysteriously empty. Kaitlin, a silent protagonist, is basically just the lens through which you witness the story of her younger sister, Samantha – the true star of Gone Home. A breadcrumb 56 • THE MUSIC • 4TH SEPTEMBER 2013

SteamWorld Dig made me feel like a real cave explorer. As I burrowed my way through the crust of the earth, claustrophobia set in. My light started to dwindle and apprehension of unseen monsters emerged. This is where SteamWorld is at its strongest. The question of fight or flight is a constant concern, due to Rusty’s fragility. Being pursued by prehistoric beasts whilst tunneling deeper is a blast. Unfortunately, the action hits a wall around two-thirds in. Chipping away at solid rock soon loses its novelty, much to the demise of your 3DS’s A button. This sequence spoils what would otherwise be a tight and slick package. Thankfully, the well-crafted ‘dungeon’ segments are compelling as are the creative labyrinths, featuring puzzles and hidden secrets. Andrew Sutton trail of scribbles and (excellently acted) voice journals reveals Samantha to be an engaging and creative high-schooler. A tale is told via doodled sketches, chip packets kept fresh with airlock pegs, family photos and old brochures. There’s humour that seems natural, never forced. This honesty is consistent through the entire experience, and is the real source of Gone Home’s success. Her search for friendship blossoms into an affecting tale of secret and doomed love as prying parental oversight homes in on the signal, culminating in a heartrending inevitable parting. Playing Gone Home with no expectations, the idea of exploring an abandoned family home amidst a growling thunderstorm seemed sure to descend into survival horror. I was expecting bioweapon zombies and improvised weapons at every turn. Instead, I was surprised by a delicate and touching portrait of a teenager’s fight for love and identity against the fanged parental machine. There are no monsters in this game – just personal demons. Michael Pendlebury


Full Control Studios PC/Mac Space Hulk is a modified expansion of the immensely popular Warhammer 40,000 tabletop game, faithfully re-recreated for PC by indie developers Full Control Studios. Set aboard a grimdark derelict spaceship in the infamously grimdark W40K universe, it pits power-armoured Space Marines against alien Genestealers through turn-based strategy. But



Xbox 360/PS3/PC In The Bureau, you play as William Carter, an agent at a US military organisation (compare: The X-Files) in the ‘60s tasked with stopping the covert alien invasion of America. The Bureau’s combat gameplay is neurotic and confused: you can’t really shoot because you’re

is it fun? Well, quite frankly, no. It’s quiet, lonely and ridiculously boring – barring a brief flurry of action before you die. You enter the hulk with a predetermined squad of Space Marines to control turn by turn through a set of ironically named ‘Action’ points. Turning a Space Marine 180 degrees will cost you two of them, one-third of your total per Marine. Your task is to kill the swarmy things that swarmeth, and swarmeth they do – faster than you can react because a) it’s not your turn and b) you’re all outta action points. It’s only a matter of time before the tide of Genestealers ravage your invariably dormant soldiers: Genestealers are simply statistically much better at killing you than you are at living. In terms of single-player lastability, after failing yet another mission I watched ants on my desk discover Cheezel dust, and then realised I was having more fun watching the ants. This is a mission for stubborn, cave-dwelling nostalgists only. Simon Holland managing tactics, and you can’t really manage tactics because you’ve got to fucking shoot stuff. That your two squadmates have all the initiative of Tamagotchis doesn’t help; it’s a surprise you don’t have to literally tie their dapper shoelaces for them before battle. If they’re not wailing for support (despite the fact they’re technically your goddamn support), they’re probably unconscious and in need of reviving. Outside combat missions, there’s a loose metagame where you slog through dialogue trees to flesh out a skeletal plot (we need to get X to research Y! We need to research Y to get Z!, ad infinitum) and mooch. All this blows, because aesthetically, The Bureau is stronger than predecessor X-Com: Enemy Unknown. Set in an oppressively recreated Kennedyera apple-pie-and-flag-waving America, The Bureau has a grimmer rogue’s gallery and more consistent tone. The Bureau’s moody and effective visuals rescue an otherwise confused and unfortunately wasted opportunity. Callum Twigger



SCOTTY MOORE SIGNATURE ES-295 Gibson’s new limited edition Scotty Moore Signature gold ES-295 guitar is an exact replica of the gold ES-295 Scotty bought new in 1953. Moore was the guitarist on the Sun Studios session that brought Elvis Presley to the attention of the local Memphis producer Sam Phillips and launched the musical revolution that changed the world. The guitar’s Bullion Gold, nitrocellulose lacquer finish is created by hand-mixing the same bronze powder Gibson used on Moore’s original guitar 61 years ago. It also features the same mid-size neck shape topped with a dark, 19-fret Rosewood fingerboard and aged cellulose split trapezoid inlays. The guitar naturally includes recreations of the original “dog ear” P-90 pickups, made with two Alnico 5 bar magnets in each pickup and vintagespec coils scatter-wound with 42 AWG wire.

ALLANS BILLY HYDE ACADEMY Melbourne’s Allans Billy Hyde Academy in Bourke Street is under new management, the new operators also running The SoundLab Music School in Prahran. The Academy offers private teaching rooms on the first floor in the iconic city retail store. Lessons cater to all ages and levels, and times are flexible. To book a free, no-obligation introductory lesson call (03) 9510 4455 or email 58 • THE MUSIC • 4TH SEPTEMBER 2013

AMAC’S BACK! The Australian musical instrument industry gathered for the first time in three years to look at the latest music equipment at AMAC 2013. Greg Phillips reports.


or three whole years the Australian musical instrument industry had gone without a homegrown ‘general product range’ music trade show. The presentation of AMAC at Jupiters on the Gold Coast changed all of that when the industry came back together to work and play for three days from August 10. AMAC (Australian Music Association Convention) is not a public show, but the consequences of the deals done on the trade show floor do affect to a certain extent what your local music store will stock for the remainder of the year. The Kawai Company made a big impression at the show entrance with an array of acoustic and digital pianos. Taking pride of place was the world exclusive appearance of their ES100, a sub-$1000 digital piano with 192-note polyphony, which should be in stores in September. The walls of the KJ Music stand were full of new Hofner guitars, basses and mandolins as well as some slick-looking Wiseman saxes. Pro Music talked up the new Takamine 3 series guitars and Pro Series from Japan. There was also a whisper of Cool Tube 3 preamps coming soon. Adams percussion products out of Belgium and The Netherlands were popular with delegates on the Optimum Percussion stand. The ever-present Fender guitar company displayed their Super Sonic guitar and bass amps. Catching many a muso’s eye was an American Standard Strat featuring an unusual new colour, a metallic jade pearl. WA-based company Zenith Music showed their range of Cordoba guitars, ukes and mandolins, including a Gypsy Kings endorsee model acoustic. Interestingly, Brad Clark, who started Australian guitar company Cole Clark guitars, has

designed guitars for Cordoba and the pickup system in them is built in Dandenong. Cole Clark were there too, with their range of quality acoustic guitars and had the talented Lloyd Spiegel on hand to demo for them. Over at the Jands exhibit you could view the new GLXD wireless guitar and pedal receiver as well as their line of solid, affordable Gator cases. Rather than bring a shipload of gear, the Australis Music Group chose to promote their Christmas catalogue, featuring Ibanez, Laney, LP percussion, Aquarian and Ashton gear. Taking the opposite approach, National Music did bring the kitchen sink. The Queenslandbased company were really pumped to show off the limited edition commemorative TW10 Tanglewood acoustic featuring a Southern Cross

“TAKING THE OPPOSITE APPROACH, NATIONAL MUSIC DID BRING THE KITCHEN SINK.” inlay in the neck. Also impressive on the National stand was their big range of Crush drums out of the USA, including a superb see-through kit. Just a step to the left and you found the EMG guys, who had the ‘cool’ gear; the stuff the real aficionados sniff out at these kinds of shows. I’m talking about US-made Badcat amps and their amazing attenuator called The Leash, plus The Unleash Re-amp. Also shouting ‘buy me’ were some lovely Californian-built Voodoo Labs pedals, including the Sparkle Drive Mod and Giggity pedals. Innovative Music showed the mind-blowing Kemper amp profiling range and Novation synth gear. A walk through the back doors of the main trade show floor took you to a section housing private rooms, one inhabited by NAS, who offered the new Blackstar effects pedals, smaller versions of previous releases. Dynamic Music gave us products from Zoom, DrumCraft, Recording King, Fishman, CAD Audio, Seagull, Godin and heaps more. Next door, Roland talked up the MicroCube GX amps with iCube link, but I was more intent on stealing the new RC-505 loop station, the most userfriendly looper I’ve yet seen. The Resource Corporation displayed their solid K&M stands and Sony Digital Wireless gear, which isn’t affected by the current issue of the government selling off certain broadcast frequencies. Casio’s Paul Noble presented the PX55 stage piano and XW series as well as Privia and Selviano pianos. The most visually striking exhibit was the ULA Group’s lighting display. Marketing Manager Lenka presented SDV’s amazing colour LEDs with multi-clip technology, aimed at the club market, and the stunning Litecraft lighting gear, more suitable for rental. In the back corner of the floor Gibson were displaying their usual range of classic-looking electrics and Orange amps.



REMO POWERSTROKE 3 BLACK DOT As a recording engineer and producer I’ve seen many expensive kits sound worse than a cheap one tuned well with a great set of skins. Remo recognised this and added a black dot to the Powerstroke 3 in order to still get enough attack without sacrificing low end, dynamic strokes and durability. Inspiration came from drumming legend Steve Smith, who realised the black dot created a lower fundamental note among different bass drum sizes and shell types, and according to Smith, the coated version – his personal favourite – provides even more low end than the clear head. Vinnie Colaiuta and Alex Rudinger are among Remo’s artists that have found their sound with the new Powerstroke 3 Black Dot bass heads, and the single ply of 10mm film, with a 10mm inlay ring and 5mm dot for 14” to 32” drums, makes them ideal for marching bands. Reza Nasseri



The 23” Sweet Ride is just a tone machine. The ride is nice and soft with an epic, deep crash, and musical-sounding bell. Next, the 21” Sweet Ride is still the top seller in its class with mellow tones and a bouncy, “poppy” bell. Moving onto brighter sounds, the 20” Medium Ride features a larger hammer mark for more colour and stick definition, with a bright “chimey” tone, a sharp crash and glassy-sounding bell. Next up, the 22” Medium Ride features smoother chime, a long,

dark crash with a lot of decay and a well-defined bell. Right now the big crashes seem to be popular so it’s easy to ride both the 19” Thin Crash and the 19” Medium Thin Crash. Both sound great and are defined in their tone. Finally, the 20” Thin Crash and the 20” Medium Thin Crash have been brought back into production sounding full with a quick response and long tone trail, so they’ll give you that perfect ‘70s Joey Kramer/Aerosmith sound. Reza Nasseri

WHARFEDALE TITAN 12D These are a decent offering from Wharfedale’s extensive selection. Twelve-inch active 300 watt speakers in an injectionmoulded chassis, these selfpowered boxes produce 300 watts of clean sound and are lightweight for ease of lifting onto stands yet rugged enough to be used as floor monitors.

This Class-A tube amp is a remodelling of the original Markhill MC-10L, which has long been a well-respected integrated audiophile tube amp. The stock item comes with EL-34B and 6n1p valves that can of course be upgraded with after-market valves to suit your preference. The sonic performance of this amp is exemplary: first class 60 • THE MUSIC • 4TH SEPTEMBER 2013

sound staging, almost flawless tonal balance and sweet highs and a well-defined bottom end. This is a great amp for driving high-end speakers and will excel in a home set-up, but this is a seriously good amp that will equally be at home in a mastering setup – a heavy little number with some serious output.

The speakers are bi-amped, which gives great protection for highs and lows, and there are a bunch of connections for various inputs that even allow you to plug a mic directly into the back for PA work. The old Ds seemed a little more intense but when looking at the specs, you’ll notice a distinct reduction in distortion and a much more defined output from these new Ds. These would easily be at home in a church or community hall, will handle a local DJ with ease and deliver it all with clarity in a box that’s great value for money.

Barry Gilmour

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PRODUCTION Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer. A Guide To How’ email me on Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.


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Run over 6 weekends this is a course for people who want to know how to use their home recording setup or how to use our mix rooms to mix their band’s recording once they have put down the tracks. The course is software neutral; we teach the concepts of recording and the students then apply this knowledge to the software of their choice. 02 9550 3977

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VOCAL TUITION Do you have pitch problems? Are you experiencing damage due to incorrect support, placement and breathing? Phone John for some quick and easy remedial attention tel. 0431953178 Inner Sydney. Blues & Roots, Rock & Pop. Learn piano from a professional musician & piano teacher with more than 25 years experience. Individual sessions designed around your musical requirements. Techniques and impro for BLUES, JAZZ, SOUL, FOLK, COUNTRY, ROCK & POP... Don came 2nd place at the International Blues Challenge in 2012, Memphis. Performers and songwriters get your songs to the next level. Sheet music provided. Recordings can be made. Beginners to advanced. 0425 201 870

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WWW.KALEIDOSCOPETUITION.COM.AU Learn to play the kaleidoscope way unique colour coded method made simple download your books and stickers and you will learn in no time have heaps of fun as well.

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Full colour posters done same day. Visit www.blackstar. and check out our prices.

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VIDEO / PRODUCTION A comprehensive 2 day course that covers basic audio principles, the progression of technology, common audio components, terninology, signal flow, soldering 101, microphone and speaker placement, EQing and more. Handty reference booklet supplied. Optional third days training at a live music venue available. 02-9950-3977




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All styles both acoustic and electric from Blind Willie Johnson and Son House to Eric Clapton and Duane Allman. tel. John 0431953178

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Everyone Needs a Music video, and with our 50m/sq. Green Screen Cyc, full Lighting setup and Editing Suite, we are capable of producing High Quality Videos at Competitive Rates. Like and Share us on Facebook for a 5% Discount. Bronze Package From $1500 Silver Package - From $2750 Gold Package - From $5000 0488-802-828

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The Cleftomaniacs (pun intended!), an enthusiastic 25-member a cappella choir based in Waterloo, invite new members (especially those lovely bass and tenor blokes). We recently flew to Hobart to participate in the week-long Festival of Voices and we love to gig! Eclectic repertoire from Sting to gospel to classical polyphony to Annie Lennox. And we’re not bad, either! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine on 02 9388 7010 or

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The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at or Ph: 9550 3977

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BASS PLAYER NEEDED Bass player needed for black keys style band. About to shoot film clip. PR campaign starting. Already getting radio play nationally. Central coast area preferred. Just finished successful tour wanting to tour again. Contact kurt:

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SINGER WANTED FOR ROCK COVERS Mature singer wanted 30+, to join Rock Covers Band, Led Zep, Deep Purple, RJD, Lizzy, ACDC, Queen, GNR, 70’s thru current Rock songs. Rehearsals in Marrickville. Not working atm. Bassist, Guitarist and Drummer been together for 14 months. Doing this for fun. 1 or 2 gigs a month. For audition email Louie:

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the guide


Answered by: Jeff Howlett and Mark Covino (Directors, A Band Called Death) What’s the f irst record you remember buying with your own money? JH: The Dead Kennedys’ 12” single Too Drunk To Fuck. MC: Nirvana’s album In Utero. What rockumentary makes you tick? JH: The Devil And Daniel Johnston. MC: Jason Becker: Not Dead Yet. What f ilm do you wish had never been made? JH: Not Another Teen Movie. MC: Meet The Spartans. What was the most challenging thing about working with the Hackney family? JH: The family opening up about David’s dark years. MC: What Jeff said... What was the most rewarding thing? JH: Becoming part of the family. MC: Becoming part of the family, and getting to know who David Hackney was a little better. What food do you love while f ilming? JH: Pizza! MC: White Castle! What’s your favourite Death song and why? JH: Politicians In My Eyes. This song is so relevant in any decade. MC: Keep On Knocking – it was the first Death song I ever heard and was essentially what sold me on this project. It fuckin’ ROCKS! WHAT: Sydney Underground Film Festival: A Band Called Death WHEN & WHERE: 6 Sep and 8 Sep, Factory Theatre








SNOW FRIGHT & THE APPLE OF TEMPTATION piece orchestra with violin, clarinet and keyboard. The style of the show is Victorian Goth/Steam Punk and is an original take on the traditional folktale of Snow White.

the next two weeks when I’m not crying into a newspaper. Describe your show in a tweet? An amicably misanthropic journey through global and personal problems. Politics, feminism, gay rights, blackout drinking, life in Kings Cross, Skyrim – it’s all thrown in, and somehow blends.

JAZZ TWEMLOW How are you involved in Fringe this year? I’m writing and performing in my own grumpily optimistic solo stand-up show. It’s going to be tricky because some of it’s topical, so it’ll have to be changed after the election. I’m currently working on ABC2’s The Roast so my show will have to get written somewhere in

What is challenging about Fringe? Writing the show for starters, especially when you’re up at 5am and writing funnies every day for other people. Getting bums on seats by persuading people to choose your gloomy-looking show as opposed to something colourful, silly, or a poster with breasts on it. Crafting a show that has some sort of thread through it. Not moving from coffee to heroin. When and where is your show? 14 Sep, 2 Oct, 5 Oct, The Other Room, Factory Theatre.

Describe your show in a tweet? Magic, burlesque and theatre! Snow Fright & The Apple Of Temptation is a dark, sensual cabaret of murderous rivalry and enchantment based upon the Bavarian folktale of Snow White played against a live musical backdrop by the Snow Fright mini orchestra.

NIKKI NOUVEAU How are you involved in Fringe this year? I am the producer of a new burlesquecabaret called Snow Fright & The Apple of Temptation, showcasing for one night only at Slide Lounge on Oxford Street. The show features burlesque, singing, theatre, dancing and live music, setting the scene for a night of mystery and intrigue! The shows stars Nikki Nouveau, Sophie Cook and a live three-


What is challenging about Fringe? The Fringe is a challenging platform for emerging and established artists to showcase new ideas and share their creative vision with audiences. It is an opportunity to inspire and engage the community with a variety of fresh entertainment. When and where is your show? 12 Sep, Slide Lounge, Darlinghurst.

THE HOO HAAS of other mates of ours who’ll be performing there also, like Dom Turner and Ian Collard, Mic Conway, Gleny Rae Virus, Leah Flanagan and heaps more! Should be great! Describe your show in a tweet? The Hoo Haas come from the Marrickville Delta with two chords and a trumpet and deliver the finest jazzabilly this side of Kazakhstan!

KRISTEN FLETCHER How are you involved in Fringe this year? I have put together a concept show involving three groups resulting in all three acts joining together at the end of the night to create a new sound, a new composition, totally improvised and created then and there! I am the group’s coordinator, and also the singer/ keyboard player for one of the participating groups. 66 • THE MUSIC • 4TH SEPTEMBER 2013

Describe your show in a tweet? Three trios of different styles come together to create one work on one stage, utilising our contrasting strengths to create a completely new sound. What is challenging about Fringe? Breaking through the noise and creating interest in your show as an unknown independent artist. Where is your show on? 25 Sep, The Vanguard.

MICK WARD How are you involved in Fringe this year? We are performing at Eliza’s Juke Joint, which is a groovy pop-up venue in the heart of Newtown that will only be open during Sydney Fringe Festival 2013. A friend of ours is running it and there’s heaps

What is challenging about Fringe? Promoting a pop-up venue that will only be open for three weeks with limited budget. Be nice to play in a more established venue with a track record so us artists didn’t have to do so much promotion but I guess it’s more rewarding pulling off a big night at somewhere like Eliza’s Juke Joint. When and where is your show on? 12 Sep, Eliza’s Juke Joint, Newtown.

the guide


CIRCAHOLICS ANONYMOUS Describe your show in a tweet? Circaholics Anonymous is burning it up again in this year’s Sydney Fringe Festival. Expect a show of amazing fire, martial arts, intense fire, crazy stunts... Did we mention fire?

dozen characters that you swear you’ve met before and will most likely never want to meet again. It has comedy, satire, a dash of Tina Arena, and music entirely conjured up with a magical loop pedal.

How are you involved in Fringe this year? I am the writer, performer and producer of Bushpig.

What is challenging about Fringe? Having no money, which in many cases turns out to be an advantage, especially when your first two ideas aren’t viable. In theatre it’s often the cheaper, simpler solutions that are the most effective. The other challenge is in marketing the show (especially on a pittance) and once again, you’re pushed to come up with cheap, effective solutions. Thankfully the internet is free, so you’re only really limited by your creativity.

Describe your show in a tweet? Bushpig is a coming of age fable on acid, with a

When and where is your show on? 10-13 Sep, Sound Lounge, Seymour Centre.


CALVIN GRANT How are you involved in Fringe this year? Circaholics Anonymous is a fire-based circus group, taking performance to places other groups can’t handle the heat. As this is their fourth consecutive Sydney Fringe Festival, they are putting on a bigger and better show than before, with daring stunts, crazy skill and of course copious amounts of fire. With an array of new items such as fire boots, fire nun-chucks and more, this year’s Fringe will be hotter than its predecessors!

What is challenging about Fringe? The Fringe is an excellent way for those not deemed as ‘conventional performers’ to get out there and expose themselves to the world, but being such a large festival and having so many awesome artists involved, it’s hard to get the public to decide which show to see. Being such a unique group, a lot of people don’t know what to expect from our shows, but that does not stop us from rocking the socks off our audience with each and every show, as even if you come to several shows, we always have something new to burn. When and where is your show on? 12-14, 19-21, 26-28 Sep, The Forum Piazza, Leichhardt.

Circaholics Anonymous will be burning it up again in Sydney Fringe Festival 2013 for their 4th consecutive fringe! Expect a show of daring stunts, amazing skill, and as always ridiculous amounts of fire. The Circaholics pride themselves on being the leaders in fire entertainment, daring to go where other performers cant handle the heat, so as of such are always on the lookout for new and exciting things. Their performing arsenal consists of flaming whips, star wars fire battles, pyrotechnics and anything else in between. Their efforts ensure that if you see one show or several you will always be amazed and see something new. Performing for 9 nights only! The Italian Forum Theatre - 23 Norton St Leichhardt September: 12-14, 19-21 & 26-28 from 8.00-9.00pm This is a FREE EVENT, so bring along everyone you know (and even people you don’t) but there are also $10.00 VIP tickets available, which get you up close and personal to the fire as well as a free drink from the bar. Check out or call the Box Office at 9020 6980 to order tickets before they disappear. THE MUSIC • 4TH SEPTEMBER 2013 • 67



MARCUS JAN CSOMOR How are you involved in Fringe this year? I’m exhibiting a series of works titled Liquid Kandinsky. Liquid Kandinsky is an experience in liquefying the traditional sense of what is an abstract expression, delivered through computational variances; a DataFlow of electronic geometric strata layers, if you will, designed to enhance the cultural context of The Abstract. Light, colour, form and direction enhance the conceptual foundation of visual

variables in this series of works touching on colour theory and harmonious proportions which avoid the extreme and focus on compositional variance. Describe your show in a tweet? Wham / Bam / Thank You / Abstract Ma’am | | Liquid Kandinsky - Marcus Jan Csomor. When and where is your show on? Opening night 7 Sep, Seymour Centre Gallery. Exhibition runs from 6 to 29 Sep.

JAMAICAN PRINCESS some cool showcase nights, which I’ll be involved in too.

NICOLE HENRIKSEN How are you involved in Fringe this year? I’m self-producing my own second solo alternative comedy show, Naked Unicorn Vomit, which is the next level of fast-paced, high-energy, diabetesinducing comedy, jam-packed with characters, misogynistic rap songs, witty stand-up and, like... heaps of bright colours. Describe your show in a tweet? Wanna see something

different? How about some Naked Unicorn Vomit, with characters, songs, standup and bright colours! What is challenging about Fringe? Getting the word out about my show, when they are so many amazing acts in the same festival, many of which are more established. When and where is your show on? 19-21 Sep, Harold Park Hotel.


Describe your show in a tweet? Errgh how many characters are there in a tweet? An unpredictable hour of sexy chaos. A comedic audio-visual of stand-up. If words could describe this show, 140 characters wouldn’t be enough.

NICK CAPPER How are you involved in Fringe this year? I am doing my second solo stand-up show called Jamaican Princess which should be interesting! It’ll be a great journey into stupidity. There will be stand-up, songs and videos. It’ll be vaguely tied in with Grace Jones. But not really. It will also star the great Clinton Haines. I have also helped make a comedy play called High Infinity Video Saves Entertainment At The Hands Of The Warrior VHS, which I am acting in as well. So I’ll be everywhere. Everywhere! The Factory Theatre are also doing 70 • THE MUSIC • 4TH SEPTEMBER 2013

What is challenging about Fringe? Comedy Festivals are a bit safer. People want mostly stand-up comedy and nothing else. The Fringe is more challenging because you are not only competing with comedy, you’re competing with a whole spectrum of the arts. People can go to a stand-up show or cabaret, music, visual arts – whatever they want. So you have to make your show really unique as well as funny. If people want comedy they can always go to a club but if they want something really cool they go to Fringe because you can do a whole lot more in a theatre. When and where is your show on? 11, 25 and 27 Sep, Factory Theatre.

DOM TURNER How are you involved in Fringe this year? Performers. Describe your show in a tweet? Deep, dark and tantalisingly evil mix of Mississippi Hill Country, Delta and Piedmont blues played in classic guitar

and harmonica duo style by musicians with a combined 50-year blues pedigree. This is all real blues: no roots, no pop, no excuses. When and where is your show on? 7 Sep, Eliza’s Juke Joint, Newtown.


the guide




Hunners and Birds Of Tokyo sounds way more appealing as grand final entertainment than the NRL’s offering of Ricky Martin.

SHARKNADO We will now get to experience it on the big screen. Oh hell yes.

MASTERCHEF FINAL Huzzah – no more smug amateur chefs to deal with.




Blue Mountains trio Birds With Thumbs create the kind of surf pop you’d imagine could only be spawned from coastal resident. With supports Bad Valley and Captain King’s Joy Machine, they launch their debut EP at Brighton Up Bar on Wednesday.

Raucous punk-rockers Born Lion are following up their debut EP with their latest single, D For Danger. The Sydney four-piece have organised a bulky touring schedule, stopping at the Great Northern in Newcastle Wednesday.



Formerly one half of the now non-existent duo Kid Sam, songwriter Kieran Ryan is celebrating his musical independence with the release of his eponymous debut solo album. Ryan will be launching the album at GoodGod this Saturday.

Singer/songwriter Bob Evans is following up the release of his fourth studio album, Familiar Stranger, with a tour that sees him relive the early days on the road, stopping only at rural venues. This Thursday, he makes a stop at Lizotte’s in Kincumber.



Improvising saxophonists David Ades and Zac Hurren have released a new album. On Wednesday at Venue 505, bassist Cameron Undy and drummer Dave Goodman will lend a hand to help launch the release of A Day In The Life.

The new series of weekly world music events held at The Basement plays host to Sydneybased Ethio-soul musician Dereb The Ambassador. The season – which houses Dereb and band the first Wednesday of every month – kicks off Wednesday.



Emerging from the bleak backstreets of Wadonga, indie electronic maiden Chela has a new EP comprised of an original single and five remixes. Chela is launching the EP at Oxford Art Factory this Friday alongside The Preatures.

Intelligent electro-pop deviants Pigeon have begun exploring a darker realm of dance music with their new single, Curtain Call. On Wednesday they’ll be dropping their new track at the Beach Road Hotel and two days later at World Bar.


Surely in this day and age, death by drugs are preventable at a festival.

BLAME CANADA Canadian Minister of Employment, Social Development & Multiculturalism, Jason Kenney, implements a higher fee on international musicians touring Canada.

NOT SOON ENOUGH This has been one of the most trying and narky election campaigns in recent memory and we will be glad to see the end of it come Saturday. And please god let it end Saturday and not be another hung Parliament and have the end result drag on for weeks.

THIS WEEK’S RELEASES… VIOLENT SOHO Hungry Ghost (Liberation) LONDON GRAMMAR If You Wait (Dew Process) GOLDFRAPP Tales Of Us (EMI) EMILIANA TORRINI Tookah (Rough Trade/Remote Control)



the guide





Krishna Jones’ third album, Second Skin, features Zeppelinesque rock riffs, acoustic ballads, big band funk and reggae tunes. The eight-piece Krishna Jones Band will be launching the album at The Brewhouse,King Street Wharf, Saturday.

Melbourne psych six-piece Lurch & Chief are launching their recently released EP, Wiped Out, this Thursday at Frankie’s Pizza, Friday at the Beresford, Saturday at Yours & Owls and then the Canteen in Bondi.



It’s been four years since we’ve seen any new material from reggae band King Tide, but in fortunate happenstance, the outfit has just come up with a new single, which they’ll be launching on election evening this Saturday at Blue Beat in Double Bay.

The Spice Cellar is re-establishing its formative years, when cigars and jazz reigned. Of course, smoking laws have changed, but with the aid of DJ Degustation and bass player Phil Stack, the venue is encouraging jazz enthusiasts to jam Thursday.

How long did it take to write/record? It was written and recorded in one night between 10pm and 6am in a shack by the beach.



After independently releasing his debut album, Nic Cassey offered a free A-Side of singles Madness and Wallabies. Cassey continues to promote his debut album this Friday at FBi Social with the support of Spooky Land, Bud Petal and Jessie Squire.

Earlier this year, a benefit concert was held to build a school in Africa. That raised 20 per cent of the goal and Sunday at the Bald Faced Stag, JackManFriday, The Fontaynes and Project Collective Ska will perform the second fundraising round.

What was inspiring you during the song’s writing and recording? I was thinking what the picture of a middle-aged man in a blue Corvette stopped at traffic lights, staring at a red coupe full of teenage girls, would wish he was listening to.

MT WARNING Answered by: Mikey Bee Single title? Youth Bird What’s the song about? A celebration and a lament of the coveted prize of youth.

Is this track from a forthcoming release/existing release? From an album due out early next year.

We’ll like this song if we like... TV On The Radio, Portugal. The Man, The National. Do you play it differently live? It gets very energetic live. When and where is your launch/ next gig? 11 Sep, Brighton Up Bar; 12 Sep, BIGSOUND; 13 Sep, The Northern, Byron Bay Website link for more info?



Wednesday, Melbourne sixpiece Money For Rope are at Yours & Owls, Thursday the Beach Road Hotel, Kingswood join them Friday at Newcastle’s Bar On The Hill before they play Spectrum Saturday.

Before they jet off to Europe, Northlane will be doing the rounds with Saviour. Thursday, they’re at Studio Six Sutherland, Friday The Basement Canberra, Saturday the Blacktown Masonic Hall and Sunday the Cambridge in Newcastle.


JACK CARTY EP title: The Predictable Crisis Of Modern Life How many releases do you have now? Four: two fulllength albums and two EPs. Was anything in particular inspiring you during the making? Anxiety. I worked closely with a Sydney based producer called Casual Psychotic and we got really interested in found sounds, and blending organic and electronic instruments to create cinematic textures. What’s your favourite song on it? Reasons To Be Afraid. Lyrically its the least filtered song I have ever written, and it’s fun to sing. We’ll like this EP if we like... Lyrics, tension, rock music, pop music, folk music, synthesisers, acoustic guitar, electric guitar, guitar solos, harmonies, girls, boys, creepy films, reverb, low frequencies, drums, melody, Bright Eyes, The Postal Service. When and where is your launch/next gig? My band and I are touring nationally from 28 Aug till 6 Oct. We play Brighton Up Bar Friday and Saturday. Website link for more info?


the guide


BROTHERFUNK Answered by: Eddie Boyd How did you get together? eHarmony seven-way chat. Sum up your musical sound in four words? Funk dance party ska. If you could support any band in the world – past or present – who would it be? The Cat Empire. You’re being sent into space, no iPod, you can bring one album – what would it be? The Blues Brothers soundtrack. Greatest rock’n’roll moment of your career to date? One day we all drank brekky juice at lunch time. Why should people come and see your band? Because we have four saxophones, three-part harmonies, two frontpeople (a man and a woman), and one midget. When and where for your next gig? The Square, Sydney. We’ll be playing as part of a micro music festival called 24 on Saturday. Website link for more info? brotherfunkband



We grabbed some of the performers playing at the World Beard Day gig at the Manning Bar on Saturday to answer this simple question: What is the best reason for growing a beard?



The Beards ( Johann Beardraven): So that you can save all that time you would have spent shaving, and instead spend that time admiring your beard in the mirror”.

Indie-folk Melburnians Olivers Army are in the midst of finalising their debut album. The band has offered up the first glimpse of what’s to come with their first single, Golden Tree, launching said single Friday at the Gaelic Club.

This Saturday, Regurgitator will be attempting to perform their first ever G-rated set at the Addison Road Centre. Reason being that, along with Justine Clarke and more, they’re partaking in the second Dress Up Attack!.

Jackson Firebird (Brendan Harvey): So people call me Jesus!



Atlas B Salvesen: This is a backward way of looking at the problem here. Male humans have had the ability to have beards since before they could even be recognised as human. This is no coincidence, as Darwinism demonstrates that traits with this sort of staying power are beneficial from a reproductive and survivalist perspective. I would liken shaving ones face for male humans to cutting off one’s own feet; you shouldn’t do it if you want to have any chance of contributing to the future human gene pool.

The Go Set. who are celebrating their tenth anniversary, are joining Canadian Scottish punks The Real McKenzies, this Wednesday to play the ANU Bar in Canberra, then the following day the Manning Bar.

With the release of their debut album soon, Major Tom & The Atoms have just provided the first glimpse with the lead single, Confusion. They’ll be launching that single and sampling some of the new material this Saturday at the Backroom.



In what has become something of an annual occurrence, The Snarski Brothers will be dipping their toes into each other’s musical catalogues, swapping and reinterpreting material from one another at the Vanguard this Friday.

TAOS and his band The Dreamers will be performing a free set this Sunday at Trinity Bar in Surry Hills before hiding away in the studio to work on the new albuma, along with Michigan Water and The Book Of Vilah.



Having gotten the year off to a busy start, indie rock trio Mali Mali are continuing in that vein as they support Jack Carty both Friday and Saturday at Brighton Up Bar. They’ve also just released a video for their single, Magnetic North.

With raw, hardcore, rock’n’roll guitar and punky drums, led by powerful and gritty vocals, True Gentlemen launch their self-titled album at the Town Hall Hotel Newtown Saturday with the Dark Hawks and Smasheddybash.

Manchoir (Liam Nesbitt): The best reason for growing a beard is that at the end of a process, you have a beard. The rest tends to take care of itself. The Stiffys ( Jason Leigh): The best reason for growing a beard is to impress ladies and also mainly because The Beards tell you to do it, and they send really funny and aggressive Snapchats every single day reminding you how important beards are, and how they look great and that you look like a bit of a dickhead without a beard.


the guide





Country-inspired rock/blues outfit The Adam Eckersley Band will be performing alongside the well-seasoned Wolverines, Troy Cassar-Daley and more this Saturday at the Sydney Country Music Festival at Bella Vista Farm Park.

With a new single in tow, Blue Mountains via Newtown trio Thundamentals are embarking on their first and only tour for the year. Amidst their headline tour, they’ll be at Carriageworks Sunday to celebrate FBi’s tenth birthday.

Answered by: John Anthony Single title: Hornets What’s the song about? Hornets celebrates the power of unrequited love. The notion that you can be more stirred up by rejection than attention. How long did it take to write/ record?: Hornets was written on a loop pedal. The shared backing vocals of every band member plays an important role in the percussive nature of the track. We wanted to weave something catchy over something complex. Is this track from a forthcoming release/existing release? Hornets is the first of four singles from Professor. What was inspiring you during the song’s writing and recording? Our drummer (Lozz) told me on our second ever jam that her favourite time signature was 7/4. I recorded her grooving, looped it, then wrote the track on top!

GONE FISHING With the aid of Fishing, Sydney DJ/producer Alison Wonderland has dropped an original single. Saturday sees her launch it at Oxford Art Factory alongside Willow Beats, L D R U and Devola.

We’ll like this song if we like... Up-tempo, catchy, progressive, rock broken bee hives. Do you play it differently live? Professor is dead set on keeping our early releases true to the live sound. We rumble on the ancient philosophy that you’re only ever as good as your last gig! When and where is your launch/ next gig? Hornets single launch at The Standard, Thursday, with support from our friends She Rex, Twin Lakes and Service Bells.



To help showcase the release of their most recent EP, Wandering Eyes, Sydney indie pop family band Tigertown have rounded up chillwave Brisbanites MTNS and power-poppers Evan and The Brave to support them this Thursday at Oxford Art Factory.

Despite five years of relentless touring, Balkan, gypsy, swing and jazz sextet The Woohoo Revue still have some territory left untravelled and are embarking on anpther massive tour to roadtest some new material, stopping in at Venue 505 Friday.

Website link for more info?


MAJOR TOM & THE ATOMS Answered by: Tom Hartney Single title: Confusion What’s the song about? A man in a crimson gown on a mysterious mission in the shadows of history. Hero or villain? You decide. How long did it take to write/record?: We wrote Confusion at practice one sunny afternoon in summer. Since then we’ve refined the structure a little bit and recorded it bit by bit over the last few months. Is this track from a forthcoming release/existing release? Confusion is the lead single from our forthcoming debut LP Heroes, Villains, Boom Boom Boom! which will be released in late October. What was inspiring you during the songs writing and recording? The song is a fusion of influences – sort of an oriental funk song inspired by the story of the pilots of the Enola Gay. We were visualising a scene from a Quentin Tarantino film. Do you play it differently live? Our biggest ‘fan’ makes a point of booing whenever we play it live, we’re usually a little put out; once the bass drowns out the boos we just ride the groove. When and where is your launch/next gig? We’re launching Confusion at The Backroom on Friday. Website link for more info?









Tyler, The Creator is a fan. And Frank Ocean has been in the studio with him. Even Beyoncé posted a link to the geezer on Facebook. Yes, enigmatic London singer/songwriter/guitarist King Krule (aka Archy Marshall) has attracted a cult following in urban circles. Of course, Bey will laud any hip act now. She desperately wants to be Solangecool. Ironically, Marshall isn’t obviously ‘urban’. The Brit – who sings, but like an MC, in an angsty baritone voice – has been compared to The Streets’ sortarapper Mike Skinner. However, he’s also likened to punks Joe Strummer and Ian Dury plus ‘80s indie figurehead Morrissey. For all his cred rawness, Marshall, who just turned 19, attended The BRIT School – as did everyone from Amy Winehouse to... Leona Lewis. He’d begin releasing music under the handle Zoo Kid. Marshall’s debut, 6 Feet Beneath The Moon, co-produced by XL Recordings’ in-houser Rodaidh McDonald, is steeped in folk and blues as much as punk and urban (and, here, ska through to hip hop and post-dubstep). Lyrically, it’s murky. Marshall expresses the alienation and disillusionment experienced by British youth amid the government’s savage austerity measures. He’s kinda like an anti-Ed Sheeran. 6 Feet... is oft-sardonic. Yet Marshall’s street punk isn’t as overt as Kanye West’s. While the single Easy Easy is chloroformed grunge, Foreign 2 is nightbus – closer to the songs Marshall contributed to Mount Kimbie’s recent Cold Spring Fault Less Youth – as is the transitory, experimental and reverb-heavy Neptune Estate. Marshall actually goes jazz on A Lizard State. Let’s hope the world soon hears whatever it is he cut with Ocean earlier this year!



And so to Soundwave 2014. The first announcement is nearly two weeks old now and maybe it’s ‘cause I don’t care or pay attention anymore but it seems the usual public whinging about the line-up is less than it’s been in previous years. Maybe people realise this year’s near-perfect storm headed up by Lars Inc was unbeatable so there’s no use jumping up and down ‘cause Band X isn’t on the bill. Maybe people have realised it’s just rock’n’roll after all so shut up, buy or don’t buy a ticket and go enjoy yourself. A festival of this size inevitably leads to playing time clashes but what can you do? I don’t think turning it into a multi-day Euro-style festival like Wacken is plausible either; we just aren’t that wellbehaved to have a stadium full of kids out for a sleepover and the line-up for breakfast at Macca’s would be a nightmare! By now people know how much a ticket is going to cost and when you divide it by the bands on the bill it’s like two bucks a band. It costs almost the same as an arena band show so realistically it’s a moot point. Just how much do you think Green Day charges per show these days? The money has to come from somewhere to pay for every band and the enormous logistics operation that goes on behind the scenes. As for the line up, there are the usual SW staples on their twoyear rotation like DevilDriver, AFI, Trivium, Black Dahlia Murder, Whitechapel, Ill Nino and some big bands making another appearance too like Rob Zombie and Alice In Chains, who were flawless last time. Avenged Sevenfold have elevated themselves to the top tier and if nothing else this is a

good thing for metal in general. I have no idea why these guys, like Trivum and BFMV, cop a lot of shit from ‘true’ metal fans for playing metal. Maybe they don’t like their tattoos and haircuts but using that as a basis for metal cred died when Newsted shaved it off in ‘93. We’re finally breaking down or at least cracking the walls of the mainstream press and commercial radio, which have been devout BDO flag bearers for years while simultaneously ignoring a festival that caters for pretty much the same amount of people. My argument to the ‘rock’ radio of this country when they give the usual feedback of ‘it’s too heavy, to niche, too whatever’ for them to play outside of their ‘specialist shows’ is to simply provide the stats for something like Soundwave and tell them they have a ready-made captive market that they’re completely ignoring. Sure there are a couple of bands on the bill they do play but honestly, why haven’t AIC ever been given the same airtime Nirvana or Pearl Jam have? As for the rest of it, well we missed out on a Big 4 event this year but with Megadave, Jason and Testament it more than makes up for that. STP with Chester should be interesting, AlterBridge are what Creed never was, Korn with Head back should be killer. Clutch would be perfect at about 6pm with a nice beer and the sun going down – them, Down and Baroness on a sideshow makes perfect sense. If you’re yet to discover Volbeat then go find ‘em and if you’re in the first ten rows when Gwar come on, make sure you’re not wearing white and be wary of the fluro-green cumshot machine.

Twenty-thirteen marks ten years since Parkway Drive first started out as a band. In those ten years, these guys from Byron have arguably achieved more than any bunch of Australian hardcore dudes have ever done before. OK, so maybe they don’t slot perfectly into the mould of what hardcore should be, but the way they’ve gone about building their fanbase and releasing their music (at least initially) falls well within the ethics that we expect from hardcore bands. From youth centres to stadiums, from Hardcore to Warped Festival to Download; every time a tour gets announced or an album gets released, the question we’re all asking is how much bigger can this band get? What’s left for this bunch of guys from Byron Bay to achieve as a band? Stay a band for ten years – Check. Gold-selling albums – Check. Sold-out tours, internationally – Check. Tour places most of us will never see – Check. And throughout it all they’ve maintained their integrity and a strong sense of what and where home is. They’ve stuck by their label and their fans. They still tour domestically more than anywhere else in the world. And I guess, to me, that’s what makes them so endearing to their fans. This is all without even mentioning the music, which is that of a band that is coming into their own as songwriters, breaking free of their selfimposed constraints and exploring ways they can push their music to the next level. So cheers to Parkway Drive for ten years, and here’s to ten years more.









In which we look at the actor behind the advertisement, someone else’s theatre column, and how a wonderful break foot could be an Achilles’ heel.


Peter Kropotkin is many things: Russian zoologist, bearded wonder, prince, the naming inspiration behind my housemate’s hypothetical political grind punk band and anarcho-communist. It is the last feather in that cap – and more specifically, a paper titled An Appeal To The Young – that concerns us today. An Appeal… was first published in 1880 in Kropotkin’s paper, La Revolte, and was soon thereafter issued as a pamphlet. This weekend, Australia will cast their votes and decide our government. Those of you under the age of 18 will not do so, though the results of this vote will impact your life, and in the next election, or the one after, you will share this duty. You share this duty because Australia is a democracy – and as such, I can understand your confusion: ‘Why are you telling us about some 19th century commie you traitor?’. Two reasons: first, one of the joys of this democracy is a freedom to exercise free thought and speech; and second, Kropotkin may have died close to 100 years ago, in a Russia starkly different to the Australia we inhabit, but the sentiments he expressed, the desire for engagement, echoes still. As war begins again, and as politics continues to play out like a soap opera, remember the system has been designed for you, the people. I leave you with a quote from Kropotkin’s appeal, and appeal to you to read the rest:

Heading south on Botany Road through Redfern on Monday night I was presented with an opportunity I’ve long been longing for – I saw Jordan Raskopoulos on the street. Musical comedy isn’t really my bag, so I wasn’t excited to be seeing Jordan because of my appreciation for his successful joke-core trio Axis Of Awesome. I was excited because over the course of the last few months Jordan has been the star of a commercial on free-to-air television, and he gives an amazing performance. I can’t even remember what the ad was for, something to do with money, maybe small business loans? But Jordan sits at a desk, delivers his lines in a manner that makes me wish we were mates, and I had a small business and needed a loan, and we could have a beer about it at the pub. He also performs this little flourish, acting out as though he’s tapping away at an invisible typewriter, showing off some incredible mime skills. It was already dark when I saw Jordan, a little after 6pm, and so it took me until after I had passed him to confirm it was in fact Mr Raskopoulos. I had missed my opportunity to tell him how great I thought his performance was in that commercial. Then I got to thinking about Mathew Clayfield’s theatre column in July’s The Lifted Brow, in which he offered his thoughts on Dreams In White, which graced Griffin stages in February/March, and starred Mandy McElhinney, otherwise known as AAMI’s Rhonda. I missed the show as I was overseas, but Clayfield was of the opinion that McElhinney’s performance proved her to be one of the best stage actors in the country.

And then I did realise, finally, what it is that I find so intriguing about commercials, and the actors in them – it is that we are still expected to believe, to varying degrees, that these are real people. As you reach a certain age and point of critical capacity (still quite young) you become aware that the people that populate television shows and movies are actors, not the characters they portray. Of course the people making these bits of entertainment know this, and know you know this, and they play on that, and so we have celebrities, names with weight, behind-the-scenes and making-ofs. But actors in commercials, good actors that do their job well, become the kind of bell-ends that fall for the all smoke and mirrors used to sell whatever they’re selling. What does this mean for the actors who haven’t yet landed the role that will make them household names? When we see them plying this or that product during a commercial break we don’t ask, ‘Samuel L Jackson, you greedy twit, what are you doing?’. The companies would still have us believe these commercials exist almost as 30-second documentaries, a snapshot of life with less cables in the computer, fewer stains on your shirts, a cooler car and car coolant for it (we’ll leave it at that and forgo the first year arts degree debate on oppressive grand narratives in advertising). What about Rhonda? How many people know the skill that McElhinney put into making that character? What about Robin Goldsworthy, relegated to the position of that smarmy guy in the TAB commercials with no mention of the sad brat he brilliantly played in Capture The Flag.

“Ay, all of us together, we who suffer and are insulted daily, we are a multitude whom no man can number, we are the ocean that can embrace and swallow up all else.” youngandrestless@



Let’s have a chat about correlation and causation. In the past decade Sydney has embraced FBi Radio tighter and tighter. In the past decade Sydney has embraced locally made rap music tighter and tighter. Did one cause the other? Are both phenomena the result of some other broader trend? Maybe it’s just a fluke? Well, correlation or causation, I think we can agree the landscape we look over now is starkly different to the one we inhabited ten years ago. FBi is celebrating its tenth birthday at Carriageworks. Two of the bigger drawcards are Thundamentals and Spit Syndicate. Having those two crews on stage is a neat representation of the two strands – one an independent media presence, the other a developing social movement – coming together. Thundamentals are a voice from the Blue Mountains reaching out across the globe. The Double S are firmly grounded, loving and living their city. They’re also the first to manufacture a rhyme scheme from “I-Dub” (the IW, or inner west), “Hyde Park”, and “Leichhardt”. Ten years ago the idea that we would see prominent Sydney rappers crop up from anywhere other than the Elefant Traks stable was difficult to fathom. These days Big Village, who will be represented at the tenth birthday by the Big Village Allstars, might make a similar claim. We made more rap and so we heard more rap. And Sydney rap has done its bit to support FBi, too. Correlation or causation, that’s ten years of progress that’s well worth a celebration. THE MUSIC • 4TH SEPTEMBER 2013 • 77


CULTURAL CRINGE ARTS NEWS WITH JAMELLE WELLS Former high profile Sydney art dealer Ronald Coles faces a possible jail sentence relating to a multi-million-dollar fraud. The 65-year-old recently faced Parramatta court where he pleaded guilty to a string of charges committed over the past ten years. He sold various paintings stored at his Kenthurst gallery without the permission of their owners and also created multiple owners for the same works. They included paintings by Norman Lindsay, Brett Whitely, Albert Namatjira and Arthur Boyd. Underbelly star Vince Colosimo is facing bankruptcy proceedings. The actor has faced court over a $36,000 demand from Melbourne-based law firm Dandanis & Associates. The 46-year-old has recently been filming Fat Tony & Co, a spinoff from Underbelly looking at the manhunt for convicted drug lord Tony Mokbel after he fled Melbourne for Greece on a yacht. The Carriageworks performance space is about to double in size.

The venue, which is in Redfern’s former rail yards, will get an extra 5,000 square metres, making it one of Sydney’s largest multi-arts centres. Federal and state arts ministers and their opposition counterparts joined leaders of key arts funding groups to discuss the need for greater arts funding in western Sydney at a recent WSROC forum. Federal Arts Minister Tony Burke stressed the need for funding decisions to remain at arm’s length from elected government officials, a position supported by Federal Opposition Arts Spokesman George Brandis. NSW Arts Minister George Souris spoke of the rich diversity of cultural groups in western Sydney, which have led to the success of new festivals such as Parramarsala. A decade after the British series of The Off ice finished production there are rumours Ricky Gervais wants to make a movie based on his manager

LOWRIDER HOUSE, PROGRESSIVE AND TECHNO VIBES WITH ROBBIE LOWE I did the maths and worked out next year will be my 20th anniversary as a DJ. As a young DJ trying to budge my way into the Sydney scene, my mentor at the time, Paul ‘Flex’ Taylor, said to me, “Robbie, you’ve just stepped on a wild roller-coaster... so try and enjoy the ride.” This could not be truer and I feel extremely blessed to have shared the music that I love for the best part of 20 years. I asked myself, can I go another 20? Short answer: yes! But for now it’s time for a 20th anniversary party and I’ll be throwing it in


January at my favourite venue, the Spice Cellar. Doing the maths naturally did make me reminisce somewhat about the many twists and turns within the club scene and also the progression of DJ mixing technology over the years. Naturally things have moved fast and come a long way. It was only a decade ago I was religiously only using records to mix and lugging around a box full of them from gig to gig. Currently I usually arrive at a gig with only a USB stick and a handful of records.


from hell David Brent. The actor recently resurrected the character for a one-off series on YouTube. The Toronto International Film Festival starting this week features Aussie films Around The Block and Canopy. Both will premiere as part of the Discovery Program, which presents works by ‘directors to watch’. Around The Block, written and directed by Sarah Spillane, is the story of an Aboriginal boy torn between his love of acting and the disintegration of his family. Marking the feature debut of writer/director Aaron Wilson, Canopy is a WWII drama set during the fall of Singapore. Other Australian films screening at the festival include The Railway Man, Felony, Mystery Road and Tracks.

Digital music and downloads hit hard to say the least. Firstly, Pioneer muscled their way into the DJ booth with the CDJ mixer and this of course more or less started the CD-mixing revolution. At the time most of us DJs with strict vinyl backgrounds stared at these weird-looking things like they were from outer space or had three heads. And it felt like very dangerous territory because naturally this shift in DJing was hurting our vinyl hearts and record stores alike. Soon after, clever DJ software was created, like Ableton, followed by more revolutionary mixing platforms like Serato and Traktor, officially bringing in the birth of the laptop DJ. As fantastic as these types of mixing software were, they copped a fair bit of shit at times. Playing on Ableton behind a laptop screen just wasn’t cutting it for some people on the dancefloor. Also syncing tracks at the same tempo ‘cause some stir and still does – some of the criticism being that using a program to beat-match can take away some of the apprenticeship from an

Carpenters tragics will get the rare chance to see 24 of their songs performed at Glen Street Theatre next week. Lisa Budin and her seven-piece band will tell the story of the duos whirlwind musical success to Karen’s death from anorexia nervosa in 1983. The Tony Award-winning production of The King And I will be presented in Australia next year by the Gordon Frost Organisation and Opera Australia. It was the first Australian production ever taken to Broadway and paved the way for Aussie actors, designers and directors to work there, and for future productions including The Boy From Oz and Priscilla Queen Of The Desert.

evolving DJ. Pioneer has once again cornered the DJ booth by creating magic little port holes for a memory stick in CDJ mixers; maybe not everyone’s cup of tea but I find mixing with USB very user-friendly. As much wax took a beating over the last decade, it’s also managed to hang in there, some areas of the globe more so than others, like parts of Europe, New York etc. Vinyl is very much alive and kicking and there’s been a solid resurgence over the last few years. Especially in Sydney! There’s a whole new generation of talented DJs playing vinyl, and great to see. Also, a lot of music only gets released on vinyl, making it that bit more special. God bless vinyl and the Technics turntable. There’s a whole heap of love for both out there. So here’s to 20 years of mixing music, technology and having a damn good time. This is also me signing off. I have some goals in the studio over the next 12 months that are demanding a lot of my time. Thanks for reading and the good times. See you on the dance floor – make sure you say hi.

the guide Dead Letter Circus + Closure In Moscow + Sleep Parade: Zierholz @ UC, Canberra


THU 05

Brian Campeau: 505, Surry Hills

Pink + The Preatures + Aimee Francis: Allphones Arena, Sydney Olympic Park


WED 04

World Music Wednesdays ft Keyim Ba: Oct 9 The Basement

The Midnight Tea Party + Zoe & The Buttercups: 107 Projects, Redfern

World Music Wednesdays ft Dereb The Ambassador: Sep 4, Oct 2, Nov 6 The Basement

The Jungle Giants: Oct 10 Transit Bar Canberra; 11 Cambridge Hotel; 12 Metro Theatre

Hitseekers: 3 Wise Monkeys, Sydney

Dead Letter Circus: Sep 4 Zierholz @ UC; 5 Metro Theatre; 6 Waves Wollongong; 7 Cambridge Hotel

Wolf & Cub: Oct 10 Oxford Art Factory

The Real McKenzies, The Go Set: Sep 4 ANU Bar Canberra; 5 Manning Bar

The Gangsters’ Ball: Sep 7 Metro Theatre Cloud Control: Sep 10 Wollongong Uni Bar; 11 Bar On The Hill Newcastle; 12 Metro Theatre World Music Wednesdays ft Cumbia Muffin: Sep 11 The Basement Ngaiire: Sep 12 Oxford Art Factory; 19 Transit Bar Canberra; 27 Small Ballroom; 28 Heritage Hotel Bulli Twelve Foot Ninja: Sep 12 Zierholz @ UC; 13 Waves Wollongong; 14 Manning Bar; 19 Small Ballroom Newcastle; 20 Entrance Leagues Club; 21 Mona Vale Hotel Illy: Sep 14 Metro Theatre Peace: Sep 17 Zierholz @ UC; 18 Beach Road Hotel; 19 Newcastle University; 20 Wollongong University; 21 Oxford Art Factory World Music Wednesdays ft Declan Kelly & The Rising Sun: Sep 18 The Basement Rudimental: Sep 18 UC Refectory Canberra; 24, 25 Enmore Theatre Jinja Safari: Sep 18 ANU Canberra; 19 UniBar Wollongong; 20 Cambridge Hotel; 21 Metro Theatre Horrorshow: Sep 19 ANU Bar Canberra; 20 Metro Theatre Asta: Sep 21 Goodgod Small Club World Music Wednesdays ft Kooyeh: Sep 25 The Basement The Drones: Sep 26 Zierholz @ UC; 28 Metro Theatre; Nov 22 Cambridge Hotel The Barons Of Tang: Sep 26 Great Northern Hotel Newcastle; 27 The Standard; 28 Katoomba RSL; Oct 24 Hotel Steyne Manly; 25 Yours & Owls Wollongong; 26 Factory Theatre

Nancy Vandal: Oct 10 Cambridge Hotel; 19 Dicey Rileys Wollongong Andy Bull: Oct 10 Small Ballroom Newcastle; 11 Heritage Hotel Bulli; 12 Oxford Art Factory World Music Wednesdays ft Peña Flamenca: Oct 16 The Basement World Music Wednesdays ft Watussi: Oct 23 The Basement The Cribs: Oct 23 Small Ballroom Newcastle; 24 Upstairs Beresford Dan Sultan: Oct 23 Lizotte’s Newcastle; 24 The Basement; 25 Heritage Hotel Bulli Boy & Bear: Oct 24 ANU Bar Canberra; 25 Enmore Theatre; Nov 15 Waves Wollongong

The Dave Ades/Zac Hurren Quartet + Guests: 505, Surry Hills

The Coconut Ruffs: Brass Monkey, Cronulla

Live & Local ft Trent Crawford + Jesse Belle + Michael Muchow + Melody Feder + Brooke Harvey + Ashleigh Dallas: Lizottes Central Coast, Kincumber

Harriet Whiskey Club: Brighton Up Bar, Darlinghurst

Live & Local ft Ellen MacDonald + The Crawford Brothers Duo: Lizottes Newcastle, New Lambton

Joe Tawadros: Camelot Lounge, Marrickville

Pink + The Preatures + Aimee Francis: Allphones Arena, Sydney Olympic Park

Live & Local ft Ben Ransom + Matt Cavanagh Duo + Nick Saxon + The Jefferson: Lizottes Sydney, Dee Why

The Real McKenzies + The Go Set: ANU Bar, Acton

Andy Mammers Duo: Maloneys Hotel, Sydney

Songs On Stage feat. Greg Sita + Chantal & Cesar + Jester + Guests: Avalon Beach RSL, Avalon Beach

Dan Spillane: Mean Fiddler Hotel (Sub Bar), Rouse Hill

Deena: Bar On The Hill, Newcastle

Money For Rope + The Lazys + Los Tones : Beach Road Hotel (Rex Room), Bondi Beach

Rolling Stone Live Lodge ft Tonight Alive: Name This Bar, Darlinghurst

Les Bagatelles + The Squeezebox Trio: Camelot Lounge (Django Bar), Marrickville

Stephanie Jansen: Campbelltown Catholic Club (Caf Samba), Campbelltown Angelene Harris: Coach & Horses Hotel, Randwick Twelve Foot Ninja + Shepherd: Coffs Harbour Hotel, Coffs Harbour Mustered Courage: Coogee Diggers, Coogee Andy Mammers: Dee Why Hotel, Dee Why

Pigeon + Yon Yonson + Sosueme DJs: Beach Road Hotel (Rex Room), Bondi Beach Falcona DJs: Beach Road Hotel (Valley), Bondi Beach DJ Dan de Caires: Beach Road Hotel (Public Bar), Bondi Beach Songs On Stage - Best Of The Shire with Buried Spheres + Johnny Wildblood + Peter Jones + Guests: Brass Monkey, Cronulla


Birds with Thumbs + Bad Valley + Captain King’s Joy Machine: Brighton Up Bar, Darlinghurst

Joe Echo Duo: O’Malleys Hotel, Kings Cross

Tania Kernaghan: Dubbo RSL, Dubbo

Gemma: Observer Hotel, The Rocks

The Breeders: Oct 28 Enmore Theatre

DJ Tom Annetts: Campbelltown Catholic Club (Club Lounge), Campbelltown

Steve Tonge: Optus Centre , Macquarie Park

Songs On Stage ft Peach Montgomery + Ken Stewart + Guests: Forest Lodge Hotel, Forest Lodge

World Music Wednesdays ft Kriola Collective: Oct 30 The Basement

Songs On Stage ft Angelene Harris + Patrick McCarthy + Guests: Collector Hotel, Parramatta

Souled Out: Orient Hotel, Sydney

Lurch & Chief: Frankies Pizza, Sydney

Darren Heinrich Trio: Play Bar, Surry Hills

Jamie Lindsay: Hillside Hotel, Castle Hill

Dick Smithers & The DooWoos: Corridor Bar, Newtown

Alex Hopkins: Summer Hill Hotel, Summer Hill

The Growl + Peter Bibby & His Bottles of Confidence + Melodie Nelson: Goodgod Small Club, Sydney

World Music Wednesday feat. Dereb The Ambassador: The Basement, Circular Quay

Hot Damn! Road Trip ft Hand Of Mercy + Hunt The Haunted + At The Gallows + Bad Deeds: Hostage X, Wollongong

Fat As Butter: Oct 26 The Foreshore Newcastle

World Music Wednesdays ft The Hi Tops Brass Band: Nov 13 The Basement Jordie Lane: Nov 13 Street Theatre Canberra; 14 Yours & Owls Wollongong; 15 Clarendon Guesthouse Katoomba; 16 The Basement; 17 Grand Junction, Maitland; 18 Music Lounge, Manly; 20 Lizotte’s Central Coast; 21 – Lizotte’s Newcastle Mullum Music Festival: Nov 21 – 24 Mullumbimby World Music Wednesdays ft Bobby Alu: Nov 27 The Basement

Foals: Sep 28, 29 Enmore Theatre

Festival Of The Sun: Dec 13 – 14 Sundowner Breakwall Tourist Park, Port Macquarie

Xavier Rudd: Oct 4 Big Top Luna Park

Bluesfest: April 17 – 21 Tyagarah Tea Tree Farm Byron Bay

Jimmy Barnes + Evil J & Sail Cecilia + Alan Barnes: Goulburn Soldiers Club, Goulburn Born Lion: Great Northern Hotel, Newcastle FBi Social Lunchbreak feat. Guineafowl: Kings Cross Hotel (1pm) , Kings Cross Le’ Humpdaze feat. Jay Kay Mistery + Paulux Orion + Brendon MeowSum + STFP + Guests: Le’Cartel, Darlinghurst

Olivers Army: The Front Cafe & Gallery, Lyneham Songs On Stage ft Helmut Uhlmann + Guests: The Loft, UTS, Broadway The Smith Street Band + Joyce Manor + Cheap Girls: Transit Bar, Canberra The Fontaynes + Edema Ruh + Platen’s Knife: Valve @ Agincourt, Sydney Money For Rope: Yours & Owls, Wollongong

FBi Social ft Psychlops Eyepatch + Deep Space Supergroop + Bad Jeep + Sister Jane: Kings Cross Hotel, Kings Cross Bob Evans + Charley: Lizottes Central Coast, Kincumber Toni Childs + Benjalu: Lizottes Newcastle, New Lambton The Sam Phillips Story feat. Sons Of Sun: Lizottes Sydney, Dee Why Sonia + Woodford: Low 302, Darlinghurst


the guide Dave White Duo: Maloneys Hotel, Sydney Raoul Graf: Manly Leagues Club, Brookvale The Real McKenzies + The Go Set: Manning Bar, Camperdown Mandi Jarry: Marrickville Ritz Hotel, Marrickville Dead Letter Circus + Closure In Moscow + Sleep Parade: Metro Theatre, Sydney Rolling Stone Live Lodge ft Dialectrix + Seth Sentry + Pez: Name This Bar, Darlinghurst

Helm + Dumbsaint + Adrift For Days: Bald Faced Stag, Leichhardt Kingswood + Tales In Space: Bar On The Hill, Newcastle

Various DJs: Beach Road Hotel (Public Bar), Bondi Beach Rave On: Belmont 16’s, Belmont

Ziggy: Newport Arms Hotel, Newport

Armando Hurley + Carlos C Major + Alphamama + more: Blue Beat, Double Bay

The White Bros: Orient Hotel, Sydney Tigertown + MTNS + Evan & The Brave: Oxford Art Factory, Darlinghurst Born Lion: Port Macquarie Hotel, Port Macquarie Songs On Stage ft Helmut Uhlmann + Chris Raicevich + Paul Ackroyd + Guests: Ruby L’Otel, Rozelle The Good Stuff: Scruffy Murphy’s, Sydney Corpus + Snakes Get Bad Press + Jackals + Fat Guy Wears Mystic Wolf Shirt: Spectrum, Darlinghurst Northlane + Saviour + Hearts Like Wolves + The Ocean The Sky: Studio 6, Sutherland Twinsanity: The Exchange Hotel, Hamilton Tonight Alive + Hands Like Houses + D At Sea: The Hi-Fi (All Ages), Moore Park Jazz Deguestation feat. Andy Webb: The Spice Cellar (7pm), Sydney Live Cellar Jazz Jam with Phil Stack: The Spice Cellar (10pm), Sydney Professor + She Rex + Twin Lakes + Service Bells: The Standard, Surry Hills Jefferson: The Vanguard, Newtown Pigeon + Safia + Wallf lowers: Transit Bar, Canberra Kingswood + Tales In Space + The Vans: Uni Bar, Wollongong Pleasure Overload + Dreamers Crime + The Gunn Show + Tiffany Britchford + Scott Sunday: Valve @ Agincourt, Sydney

FRI 06

DJ Patsan: 5 Sawyers, Newcastle The Woohoo Revue: 505, Surry Hills

The Harveys: St George Leagues, Kogarah

The Strides + Ziggy & The Wild Drums: Beach Road Hotel (Rex Room), Bondi Beach

Daley Holliday: Belmore Hotel, Maitland

Cambo: Observer Hotel, The Rocks

Aimee Francis: Spectrum, Darlinghurst

Tim Rossington: Bar Petite, Newcastle

The Detonators: National Press Club, Barton

Alex Hopkins: Northies (Beach Bar), Cronulla

Pasha Bulka + The Ascension + Final Infection + Alignments: Silk Hotel, Maitland

King Tide + Benjalu: Brass Monkey, Cronulla Jack Carty + Mali Mali: Brighton Up Bar, Darlinghurst Born Jovi: Bull & Bush, Baulkham Hills Lloyd Spiegel: Camelot Lounge, Marrickville Peachy: Campbelltown Catholic Club (Club Lounge), Campbelltown Johnny Cash The Concert ft Daniel Thompson + Stuie French + Tamara Stewart: Cessnock Supporters Club, Cessnock The Gaudrys: Cessnock Supporters Club, Cessnock Daniel Arvidson: Charlestown Bowling Club, Charlestown Pete Hunt: Chatswood RSL, Chatswood Nick Thayer + The Mane Thing + more: Chinese Laundry, Sydney Tim Pringle: Collingwood Hotel (Afternoon), Liverpool Max Savage: Coogee Diggers, Coogee Hand Picked: Courthouse Hotel, Darlinghurst Joe Echo: Cronulla RSL, Cronulla One World: Crown Hotel, Sydney BNO Rockshow + Michael McGlynn: Crows Nest Hotel, Crows Nest Marty Simpson: Customs House Bar, Circular Quay Heath Burdell: Dee Why Hotel, Dee Why Dream Tambourine ft Mark Wells: Duke of Wellington Hotel, New Lambton Psycho Zydeco: Eliza’s Juke Joint, Newtown DJ Night: Engadine Tavern, Engadine Cyndi Lauper: Enmore Theatre, Enmore Katrina Burgoyne: Ettalong Beach Club, Ettalong Beach Ted Nash: Figtree Hotel, Wollongong Marty Stewart: General Gordon Hotel, Sydenham

Hard Rocking Amigos: Tattersalls Hotel, Penrith Major Tom & The Atoms: The Backroom, Potts Point


The Game + Special Guests: Metro Theatre, Sydney

John Field Duo: Harbord Beach Hotel, Freshwater

Geoff Rana + Tony Williams: Mona Vale Hotel, Mona Vale

Shake N Bake: Heathcote Hotel, Heathcote

Mad Season MB20 Show: Moorebank Sports Club, Hammondville

Big Way Out: Hillside Hotel, Castle Hill Dueling Pistols: Hotel Jesmond, Jesmond DJ S: Huskisson Hotel, Huskisson Amelie Ravalec + Methodix: Italian Forum Cultural Centre, Leichhardt The Levymen: Jewells Tavern, Jewells Ed Colman & The Twins: King Street Hotel, Newcastle FBi Social ft+Spookyland + Bud Petal + Jesse Squire + Nic Cassey: Kings Cross Hotel, Kings Cross Dave White Trio: Kirribilli Hotel, Milsons Point Cath & Him: Kurnell Rec Club, Kurnell Dr Zoom Duo: Lakeside Village Tavern, Raymond Terrace

Two Good Reasons: Nelson Bay Diggers Club, Nelson Bay

Simon Meli & The Widowbirds + The Model School: The Basement, Circular Quay Kotadama: The Exchange Hotel, Hamilton Bears With Guns + Betty & Oswald + Olivers Army: The Gaelic, Surry Hills Alexander Abreu & Havana D’Primera: The Hi-Fi, Moore Park

Anberlin + The Maine + William Beckett (The Academy Is) + Masketta Fall: Newcastle Panthers (All Ages), Newcastle West

Lunar Seasons: The King Street Brewhouse, Sydney

Armchair Travellers Duo: North Sydney Leagues, Cammeray

Moonlight Drive: The Mark Hotel, Lambton

Heath Burdell: Northies (Sports Bar), Cronulla Michael Peter: Northumberland Hotel, Lambton Hue Williams: Oasis on Beamish Hotel, Campsie Mashed Fridays: Oatley Hotel, Oatley Dave Anthony: Optus Centre , Macquarie Park Four Letter Word: Orana Hotel, Blacksmiths

Deena: The Loft, UTS, Broadway

Snarski vs Snarski: The Vanguard, Newtown Max Power: The Vineyard Hotel, Vineyard Scratch: The Windsor Castle Hotel, Newcastle Knucklehead Orchestra: Town And Country Hotel, St Peters Am 2 Pm: Town Hall Hotel, Balmain Dead Letter Circus + Closure In Moscow + Sleep Parade: Towradgi Beach Hotel (Waves), Towradgi

Anon Anon: Lazy Bones Lounge, Marrickville

Wildcatz: Orient Hotel, Sydney

Toni Childs + Annabelle Kay: Lizottes Central Coast, Kincumber

The Preatures + Chela + The Jones Rival: Oxford Art Factory, Darlinghurst

Tour De Force - Tribute Show: Lizottes Newcastle, New Lambton

Bill Parton Trio + Artist Proof + Nathan Leigh Jones: Pacific Hotel, Yamba

Lionel Cole + Blues Brothers Rebooted: Lizottes Sydney, Dee Why

Angelene Harris: Panthers North Richmond, North Richmond

Chris Martin + Nathan Cole: Manly Leagues Club, Brookvale

Double Barrel: Parramatta Leagues (The Firehouse), Parramatta

DJ Jizz + DJ Skeeta + DJ Psychopomp + DJ Buddha + DJ Buzz: Valve @ Agincourt (First Level / 9pm), Sydney

Machine Gun Kelly + The Havknotz: Manning Bar, Camperdown

Kristy Lee: Penrith Gaels, Kingswood

Loose Bazooka: Warners at the Bay, Warners Bay

Yum: Penrith Gaels, Kingswood

DJ Marty: Wentworthville Leagues Club, Wentworthville

Eclypse: Ramsgate RSL, Sans Souci

The Detonators: Wickham Park Hotel, Islington

Let’s Groove Tonight: Revesby Workers (Infinity Lounge), Revesby

Stray Dogs: Windsor Leagues Club, South Windsor

World Beard Day 2013 feat. The Beards + Jackson Firebird + The Stiffys + Man Choir + Atlas B Stevenson + Dave Callan: Manning Bar, Camperdown Pink Hope Block Party + The Potbelleez + Martini Club: Marquee, Pyrmont Keith Armitage: Massey Park Golf Club, Concord Ironbark Rock: Matraville Hotel, Matraville The Affairs Duo: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill

East Coast Band: Scruffy Murphy’s, Sydney Panorama Duo: Seven Hills/ Toongabbie RSL, Seven Hills SIMA ft Andrew Dickeson Quintet + Guy Strazz’s Passionfruit Trio: Seymour Centre (Sound Lounge) , Chippendale


Northlane + Saviour + Reigner + Purity: The Basement, Belconnen

Sheppard + Lurch & Chief + Rohin Brown + DJ Kristy Lee: Upstairs Beresford, Surry Hills Devastaor Fest ft Dawn Heist + Red Bee + Acid Nymph + Not Another Sequel, Just Another Prequel + Emersus: Valve @ Agincourt (Basement / 7pm), Sydney

Christie Lamb: Woolpack Hotel, Parramatta Pigeon: World Bar, Kings Cross

SAT 07

Panorama: 3 Wise Monkeys, Sydney

DJ Fooey: 5 Sawyers, Newcastle


10 SEP









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the guide Emma Pask: 505, Surry Hills Harbour Masters Duo: Absolute Thai, Charlestown Dress Up Attack! ft Regurgitator + Justine Clarke + The Sticker Club + more: Addison Road Community Centre, Marrickville

DJ Richie Ryan: Beach Road Hotel (Public Bar), Bondi Beach Various DJs: Beach Road Hotel (Valley), Bondi Beach Furnace & Fundamentals + Benny & The Guruve: Beach Road Hotel (Rex Room), Bondi Beach Aaron Hood: Beauford Hotel, Mayfield Sydney Country Music Festival ft Troy CassarDaley + McAlister Kemp + The Wolverines + Adam Eckersley Band + Chelsea Basham + Ruby Boots: Bella Vista Farm, Bella Vista Love That Hat: Belmont 16’s, Belmont Paper Wolves: Belmore Hotel, Maitland One Hit Wonders: Blacktown RSL (Celebrity Room), Blacktown King Tide: Blue Beat, Double Bay Peter Northcote + Virginia Lillye: Brass Monkey, Cronulla

Sarah Paton: Northies (Beach Bar), Cronulla

Zoltan & Natasha Duo: St Johns Park Bowling Club, St Johns Park

Shane Flew + Carl Fidler + Gemma + Brendan Deehan: Observer Hotel, The Rocks

Memphis Blues Challenge Round 2+Various: Bald Faced Stag, Leichhardt

Black Bird Blue: Bay Hotel, Bonnells Bay

Replika: Springwood Sports Club, Springwood

The Cookie Monsters: Northies (Sports Bar), Cronulla

As Angels Bleed + The Damned Humans + Viral Millennium + Coredea + Upside Down Miss Jane: Agincourt Hotel, Sydney

Marty Simpson: Bar Petite, Newcastle

Rock Solid Duo: North Sydney Leagues, Cammeray


Velvet Covers: Iron Horse Inn, Cardiff

Angelene Harris: Coach & Horses Hotel, Randwick

Indie Triptych ft The Trobes + Picture Perfect + Shadows At Play: Katoomba RSL, Katoomba

Born Lion: Coffs Harbour Hotel, Coffs Harbour Nathan Cole: Coogee Bay Hotel, Coogee The Trav & Rosco Show: Coogee Diggers, Coogee Am 2 Pm: Courthouse Hotel, Darlinghurst Hue Williams: Crown Hotel, Sydney Martini Club: Crows Nest Hotel, Crows Nest Leon Fallon: Dee Why Hotel, Dee Why Ryan Thomas: Dicks Hotel, Balmain Bobby C: Duke of Wellington Hotel, New Lambton Dom Turner & Ian Collard + Gramaphone Man: Eliza’s Juke Joint, Newtown

Roar Boar: Orana Hotel, Blacksmiths

Mystery Guest: The Belvedere Hotel, Sydney

Singled Out: Orient Hotel, Sydney

Rubicon: The Exchange Hotel, Hamilton

Alison Wonderland + Willow Beats + LDRU + Devola: Oxford Art Factory, Darlinghurst

The Game + Special Guests: The Grand Hotel, Wollongong

JJ Duo: Padstow RSL, Padstow Two Minds: Parramatta Leagues (The Firehouse), Parramatta Cavan Te & The Fuss + Mamamegs: Penrith RSL (Castle Lounge), Penrith Mike Hallams Hot Five: Penrith RSL (Castle Lounge, Afternoon), Penrith

Formula: Lakeside Village Tavern, Raymond Terrace

Joe Echo: PJ Gallaghers, Moore Park

Olivers Army: Lass O’Gowrie, Wickham

Elevate Duo: PJ Gallaghers, Leichhardt

Bell Weather Department + Lepers & Crooks + Big Nothing + Nightswimming: The Standard, Surry Hills

Tour De Force - Tribute Show: Lizottes Central Coast, Kincumber

Groovology: Ramsgate RSL, Sans Souci

Tom Buckley: The Windsor Castle Hotel, Newcastle

Saturday Night Diva’s: Revesby Workers (Infinity Lounge), Revesby

Paul Hayward + Friends: Town And Country Hotel (3pm), St Peters

Abby Dobson: Lizottes Newcastle, New Lambton Toni Childs + Benjalu: Lizottes Sydney, Dee Why Endless Summer Beach Party: Macarthur Tavern, Campbelltown Dave Mac + South Creek: Manly Leagues Club, Brookvale

Cyndi Lauper: Enmore Theatre, Enmore

80s Flashback: Bull & Bush, Baulkham Hills

Picken Keys: Ettalong Beach Club, Ettalong Beach

Dead Letter Circus + Closure In Moscow + Sleep Parade: Cambridge Hotel, Newcastle West

Aimee Francis: Fitzroy Hotel, Windsor

The Harmonicas: Mean Fiddler Hotel (Courtyard), Rouse Hill

The Starliners: George’s River Sailing Club, Sandringham

Ben Finn Duo: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill

Monsieur Camembert: Camelot Lounge, Marrickville

Terry Francis + more: Goldfish, Kings Cross

DNA: Carousel Inn, Rooty Hill

Naysayer & Gilsun + Wordlife + Club Mod DJs: Goodgod Small Club, Sydney

Sydney Funk Collective: Mean Fiddler Hotel (Woolshed), Rouse Hill

Miss Nine + Kid Massive: Marquee, Pyrmont Northlane + Saviour + Elegist + Vices + Bare Bones + Arteries: Masonic Hall, Blacktown


The Lonely Boys: Mercantile Hotel, The Rocks

Greg Bryce & The Bad Bad Things: Royal Federal Hotel, Branxton

Rob Henry: Greystanes Inn, Greystanes

Gangsters’ Ball: Metro Theatre, Sydney

Two Tribes: Royal Hotel, Bondi

Geoff Rana: Harbord Beach Hotel, Freshwater

David Agius Trio: Moorebank Sports Club, Hammondville

Dave White Duo: Scruffy Murphy’s, Sydney

Two Good Reasons: Cessnock Supporters Club, Cessnock

Alex Hopkins: Helensburgh Workers, Helensburgh

The Only + Danny T + A-Tonez + more: Chinese Laundry, Sydney

Steve Tonge Duo: Hillside Hotel, Castle Hill

Hits & Pieces + DJ Shayne Alsop: Mounties (Terrace Bar), Mt Pritchard

SIMA ft Ben Hauptmann Septet: Seymour Centre (Sound Lounge), Chippendale

Rolling Stone Live Lodge: Name This Bar, Darlinghurst

Lawrence Baker: Sir Joseph Banks Hotel, Botany

The Levymen: Nelson Bay Diggers Club, Nelson Bay

Money For Rope: Spectrum, Darlinghurst

Jan Preston: Humph Hall, Alambie Heights

Kirk Burgess: Newport Arms Hotel, Newport


Ty: The Mark Hotel, Lambton

Pepperpot: The Spice Cellar, Sydney

Jack Carty + Mali Mali: Brighton Up Bar, Darlinghurst

Kev Brown + Various DJs: Civic Hotel (Underground), Sydney

Krishna Jones: The King Street Brewhouse, Sydney

Surprise Party: Pittwater RSL, Mona Vale

Max Power: Engadine Tavern, Engadine

The Woohoo Revue: City Diggers, Wollongong

Pacha ft Peking Duk + Uberjak’d + Ember + more: The Ivy, Sydney

Michael Votano: Kirribilli Hotel, Milsons Point

Martin Cilla: Bridge Hotel, Rozelle

Sahara: Hotel Jesmond, Jesmond

Anberlin + The Maine + William Beckett (The Academy Is) + Masketta Fall: The Hi-Fi (All Ages), Moore Park

The Dunhill Blues + The King Hits + Bacon Cakes: The Phoenix, Civic

Sharron Bowman: Brewhouse, Kings Park

John Field & The Epics: Castle Hill RSL (Cocktail Lounge), Castle Hill

Creole Zouk+Various: The Basement, Circular Quay

Craig Thommo: Picton Bowling Club, Picton

FBi Social ft Straylove + Guests: Kings Cross Hotel, Kings Cross

Californication - Red Hot Chili Peppers Show: Emu Sports Club, Leonay

Matt Jones: Castle Hill RSL (Terrace Bar), Castle Hill

Acoustic Dave: Surfies, Cronulla

The Dark Hawks + True Gentlemen + Smashedbybash: Town Hall Hotel, Newtown Citizen Kay + Safia + Lavers + DJ S.Kobar: Upstairs Beresford, Surry Hills Bangers & Thrash feat. Blacksmith + Amora + Til Rapture + Torrential + Head In A Jar + Atomesquad + Exekute + Mason + Inslain: Valve @ Agincourt (Basement / 3pm) , Sydney Venom Club: Valve @ Agincourt (First Level / 9pm), Sydney

the guide Cath & Him: Wallarah Bay Recreation Club, Gorokan Kotadama: Warners at the Bay, Warners Bay Macson + DJ Marty: Wentworthville Leagues Club, Wentworthville Lurch & Chief: Yours & Owls, Wollongong

SUN 08

Matt Jones: 3 Wise Monkeys, Sydney DJ Jonathan: 5 Sawyers, Newcastle

Happy Hippies: Albion Hotel, Parramatta Ange: Ambervale Tavern, Ambervale Build For Africa Benefit feat. JackManFriday + The Fontaynes + Project Collective Ska: Bald Faced Stag, Leichhardt The Dave Ades/Zac Hurren Quartet + Guests: Bangalow Bowling Club, Bangalow

FBi Turns 10 ft Sarah Blasko + The Presets + Hermitude + Urthboy + Deep Sea Arcade + Kirin J Callinan + Bleeding Knees Club + Seekae + Decoder Ring + Spit Syndicate + The Laurels + Thundamentals + The Preatures + Sampology + World’s End Press + Straight Arrows + Collarbones + Naysayer & Gilsun + Zeahorse + Movement + Citizen Kay + Katalyst + Oliver Tank + Fishing + Big Village Allstars + Naughty Rappers Collective + more: Carriage Works, Eveleigh

Dave Carter: Nelson Bay Diggers Club, Nelson Bay

The Jaded Vanities: The Vanguard, Newtown

Marty Simpson: Northies (Beach Bar), Cronulla

TAOS & The Dreamers + Michigan Water + The Book Of Vilah: Trinity Bar (4pm), Surry Hills

Jan Preston: Clarendon Hotel, Surry Hills

Rob Henry + Three Wise Men: Observer Hotel, The Rocks

Fallon Brothers: Ettamogah Hotel, Kellyville Ridge

Sunday Sessions ft various DJs: Oatley Hotel (Terrace), Oatley

Class 1C + Papaya Cosy + Shinra + The Buzz + Essefex: Valve @ Agincourt (6pm), Sydney Klay: Western Suburbs Leagues Club, Leumeah

David Agius: Horse & Jockey Hotel, Homebush

The Strides + The Alpha Experiment + Manly High Big Band: Barrenjoey High School (Music Room), Avalon

The Johnny Cass Band: Jamberoo Pub, Jambaroo

DJ Bernie Dingo: Beach Road Hotel (Public Bar / Afternoon), Bondi Beach

Balade Sundays ft Jay Kay Mistery + Paulux Orion + STFP + Cheatz + Guests: Le’Cartel, Darlinghurst

Lianna Pritchard: Jewells Tavern, Jewells

Lazy Sunday Lunch With Tori Darke + Kate Cook : Lizottes Central Coast, Kincumber Kevin Bennett & the Flood: Lizottes Newcastle, New Lambton

Northlane + Saviour + Hold Your Own + Under Grey Skies + Rivalries: Cambridge Hotel, Newcastle West

Toni Childs: Lizottes Sydney, Dee Why

Equus + Bobby Singh + Damian Wright: Camelot Lounge, Marrickville

Bryen Willems: Marrickville Bowling Club, Marrickville

Craig Thommo: Manly Leagues Club, Brookvale

The Detonators: Matraville RSL (5.30pm), Matraville Mandi Jarry: Mill Hill Hotel, Bondi Junction

MoTown Mondays+: The White Horse Hotel, Surry Hills

TUE 10

Old School Funk & Groove Night: 505, Surry Hills Nic Cassey: Cafe Lounge, Sydney The Morrisons: Corridor Bar, Newtown Enmore Comedy Club ft Ian Bagg: Enmore Theatre, Enmore Songs On Stage ft Chris Raicevich + Sandra Kelly + Guests: George IV Hotel, Picton Pete Berner: Harold Park Hotel, Glebe

Dan Spillane: Harbord Beach Hotel, Freshwater

Little Black Book: Bar Petite, Newcastle

Craig Woodward and The Lonely Dogs + English & The Doc: Brass Monkey, Cronulla

Acoustic Sets with Anthony Hughes: Oatley Hotel (2pm), Oatley

Kev O’Hara: Gwandalan Bowling Club (Afternoon), Gwandalan

Peter Head Band: Harbour View Hotel, The Rocks

The PJ O’Brien Band: Botany View Hotel, Newtown

Antoine: O’Malleys Hotel, Kings Cross

As Chaos Unfolds + Disengaged AU + Atlantis Of The Sky + Amber Trace + Highroads + Wolfpack + Coredea: Valve @ Agincourt (12pm), Sydney

The Morrisons + Matt Gollan: Grandmas Bar (Afternoon), Sydney

Angelene Harris: Bar 100, The Rocks

Franky & Johnny: Belmont 16’s, Belmont

Jamie Lindsay: Northies (Sports Bar), Cronulla

Wild Life ft Siula Grand + The Morrisons + The Young Cardinals + Deep Creek + Moorea: The Vanguard, Newtown

FBi Social ft Yukon Blonde + Guests: Kings Cross Hotel, Kings Cross Brian Kennedy: Lizottes Newcastle, New Lambton Steve Tonge: Observer Hotel, The Rocks


Elevation - U2 Tribute: Orient Hotel (4.30pm), Sydney Am 2 Pm: Parramatta RSL, Parramatta Zoltan: Ramsgate RSL (Afternoon), Sans Souci Hat Attack: Revesby Workers (Infinity Lounge / Afternoon), Revesby Dave Tice & Mark Evans: Ruby L’Otel, Rozelle Paul Phillips: Ruby L’Otel (1pm), Rozelle Lurch & Chief: The Canteen, Bondi Beach

Joe Echo Duo: Woolloomooloo Bay Hotel, Woolloomooloo

MON 09

Leah Flanagan + Jess Beck: 505, Surry Hills The Strides: Coalcliff Surf Club, Coalcliff

Songs On Stage ft Helmut Uhlmann + Chris Brookes + Massimo Presti: Kellys on King, Newtown

The Reprize + Vacant Shade: The King Street Brewhouse, Sydney

David Rovics + Gleny Rae + Joanna Leigh + Tom Macokatic: Lass O’Gowrie, Wickham

Steve Edmonds Band: The Mark Hotel, Lambton

Bernie: Observer Hotel, The Rocks

Volumes + Prepared Like A Bride + Stories + Ocean Grove + Reigner + When Giants Sleep: The Basement, Belconnen Brian Kennedy + The Germein Sisters: The Newsagency, Marrickville Efterski Festival ft. Kele + Hermitude + Rufus + Alison Wonderland + World’s End Press + Bleeding Knees Club + Canyons + Tom Piper + Sosueme DJs + DZ Deathrays + Pluto Jonze + The Delta Riggs + Kid Mac + Slowblow + Softwar + Wordlife + Fishing + Leah Mencel + Danny Clayton + Frames + Hobophonics + DJ Hansom + F.R.I.E.N.D.S. DJs + Shantan + Bambii + Starjumps + Tokyo Denmark Sweden: Thredbo Alpine Hotel, Thredbo Cloud Control + Palms: University Of Wollongong, Wollongong





Sorryy vegos g and vegans, vegans g , but it seems Aussies just j can’t cant give up the meat meat. In fact fact, we’re throwing festivals over them. Brendan Hitchens gets into the thick of it.

TOP SALAMI MAKERS OF 2012 1. BGS Group Bulleen, VIC on 86 points

2. Brucio Coulo Essendon, VIC on 85 points

3. Palermo

South Morang, VIC on 84 points

4. Christiano

South Morang, VIC on 83 points

5. Siverii

North Fitzroy, VIC on 83 points

6. Salami Kings


e it a fondness for a meat pie or a Saturday morning sausage sizzle out the front of the local supermarket, a penchant to consume our national emblems, turning down a date with Tom Cruise for mum’s Sunday roast, or the fact we have a self-appointed, and former AFL champion, as our “Lambassador’” bombarding our television screens, Australia has a strong and proud cultural tradition of meat eating. Much like the in vogue craft beer festivals, cheese exhibitions and mulled wine seminars, a carnivorous renaissance of sorts is taking place as the meat industry is being embraced by investors, government, celebrity chefs, retailers and most of all, consumers across the country, and is being led by meat focused food festivals. Rockhampton is referred to as two things: the beef capital of Australia or the gateway from the coast to the outback. As such, it’s no surprise the Queensland town hosts the cattle industry’s largest exhibition, Beef Australia. Attracting more than 85,000 people from across Australia and the world, the small town swells every three years as it’s descended upon by beef producers, industry stakeholders and meat enthusiasts. So successful is the Beef Australia event that in July, it secured $2.5 million in committed government funding for the next expo. Hosted in and around Rockhampton’s Showgrounds, the 2012 event – along with trade displays, seminars and stud cattle judging – included restaurants, cooking demonstrations and live entertainment. South Australia is home to the International BBQ Festival. Taking place in November in the Barossa Valley, the promoters proudly proclaim to be “Australia’s worst vegetarian festival, ever”. Over three days, the event hosts cooking classes in a number of categories including seafood, meat, poultry and game. It offers food stalls and a variety of sideshow entertainment including pig hock bobbing, where competitors submerge their heads under water and use only their mouths to latch onto as many pig hocks as possible in a given timed period. There’s even a sausage speed eating competition and a 1kg steak eating contest.


Sydney’s Sausage Festival, or more pleasantly to avoid the obvious euphemism, Festa delle Salsicce, is truly a community event. Held at the Italian Museum at Griffith Pioneer Park, New South Wales, the annual event sees festival-goers enjoy traditional homemade Italian cuisine, local wines, folk music and lots of sausages. Held in the last week of August, this year’s event will feature special guest appearances from the Italian Consulate General, the Italian Chamber of Commerce manager, Looking For Alibrandi author Melina Marchetta, (bizarrely) orthopaedic surgeon Dr Sam Sorrenti and a live performance from The Spaghetti Cowboys, four men of Italian heritage performing old Italian classics and a mean rendition of Men At Work’s Land Down Under. Marketed as a family event, organiser Roy Catanzariti says Festa delle Salsicce is all about “the tastes, sights and sounds of Italy” and centred around meat, of course. Similarly, Melbourne is home to Salami Festa. In just its second year, the festival was so successful in its inaugural year it saw some 2,000 people converge onto High Street, Thornbury for the event. This year’s event program will include a gala dinner, a sassy Italian choir, a jazz band, taste testing and food stalls offering a variety of meatS. The central element of the festival lies around the salami making competition, and more specifically the people’s choice award, where amateur creators bring their tubes of pig parts that have hung ceremoniously in the winter months of their suburban Melbourne garages leading up to the event. “Although Italians and other European nationalities who emigrated to Australia continued and brought over this tradition with them, the coming together or celebration part of the ritual had all but vanished,” says the festivals organisers on the culture of salami making. “When people come together they share things. They share knowledge, experiences and stories. We can enrich each other and teach each other things and this is the essence of a strong community.”

North Ringwood, VIC on 81 points

7. De Fazio

Reservoir, VIC on 81 points

8. Greco 10 Preston VIC on 80 points

9. Princi

Beaconsfield, WA on 80 points Scored out of 100 and judged on colour, density, aroma and taste. To enter your salami into this years competition head to melbourne enteries close 7 Sep





Use as a percussion instrument (*cough Monty Python *cough cough)

Fresh coconut and coconut water aren’t anything new, so why the sudden growth in interest from celebrities and us common folk alike? Simon Eales tries to crack the hard nut. Pics by Holly Engelhardt.


Make a Hawaiian coconut bra (ooh la la)


Boil it, fill it with water and you’ve got a new home for your pet cichlid fish


Macramé around it sparingly, hang it outside, toss some bird seeds in it and voila! Fancy bird feeder.


Replace the dirty containers you keep your plants in with coconut shell pots


here’s a coconut water boom going on in Australia. Over the last couple of years the number of companies selling the stuff has proliferated following in the wake of Schweppes and Coca-Cola’s coconut water brands, which lead the now billion-dollar worldwide industry. With Vita Coco, for example, attracting endorsement from Rihanna and investment from Madonna, there’s seems to be something Vitamin Water-ish about the craze. In Australia, C Coconut Water and H2 Coco have essentially re-branded the industry that has maintained a quiet presence in our specialty health and ethnic food shops for years. You can even get non-packaged drinking nuts down at Woolies. Riding the coco-craze, Sydney brother and sister team Andrew and Cate Mathers have created Cocotap, a device that chisels a hole in the top of your nut for easy access. The Cocotap, looking a little like a bike tool, provides another path to that sweet pond of pleasure. But is it all a fad? For millennia, the coconut has been celebrated as a miraculous product of nature. Dad fried up his coconut oil-basted skin like pork crackling on the beaches of Queensland in his younger days, and Mum’s ex-husband’s sister passed a recipe for something called ‘Jallop’ on to her. It’s pretty much a baked concoction of margarine, sugar, flour and coconut. No wonder they don’t still get on. These days, coconut butter’s become a dermatological fix-all for my sister, but Nan still makes a banging coconut slice. As for the water craze and where it started, anyone who’s wandered the beach-side streets of Thailand in 40-degree heat will have some idea of what’s enamoured our market to this noble drupe. With heaps of electrolytes and only around 6 per cent sugar, there’s nothing like cracking an iced one and pulling a good, old-fashioned Mother Nature layback. Tendai Krohn of The Organic Food and Wine Deli in Melbourne’s Degraves St reckons that while

coconut water’s in fashion now, it has had, and will continue to have, a strong following among the health conscious. “I think the coconut water thing is linked in with raw eating and ‘superfoods’ becoming big, like with people having smoothies at breakfast, and the whole idea of the ‘health kick’,” he says. “We tell people it’s great for hydration and is a healthy drink alternative, but a lot of the time it sells itself.” Interestingly, Krohn raises the ‘food miles’ argument as a potential contradiction in coconut water’s association with clean living. While there are a bunch of small harvest growers in Australia’s tropics servicing nearby communities, most coconut water, whether packaged or shipped in-nut, is sourced from overseas. A tricky environmental hurdle, no doubt, but it’s important to remember that coconuts remain an important part of the economy in the regions that produce them. For us, the avid drinkers, healthy or not, coconut water serves another purpose. We’re all told that there’s no cure for a hangover except time. Whatever. The fact is that coconut water makes it as if the phrase Lemon Ruski has never even passed your lips, and erases the fact you cry-drank a box of goon in your bedroom watching Skins last night. Here’s a tip, though: prevention’s better than cure, so mix your booze with coconut water on a night out for best results. The Roosevelt Bar & Diner in Potts Point, Sydney is doing just that with its Polynesian Pearl Diver cocktail: a tiki smash of four rums, creamed honey, passionfruit and coconut water. I, however, can’t go past the homemade: two glugs of Appleton’s rum, a dash of Grand Marnier and a a few lime wedges in a cold, holed green coconut – it’s a winner. So, as we brush embers off our Ugg boots, wipe mulled wine stains from sofas and crank up for another seven-month sprimmer (my own portmanteau for the spring/summer party season), why not crack a nut and see what happens? THE MUSIC • 4TH SEPTEMBER 2013 • 85






Which cafe/bar/ restaurant do you cook at? LL Wine & Dine Address: 42 Llankelly Place, Potts Point Three words that describe the place? Unique, intimate and friendly. If you were dining what would you select from the menu? Crispy pork belly in a palm sugar, kaffir lime leaf and rice vinegar syrup, finished with crushed peanuts and fresh herbs. Served with? Ginger & Lychee Martini. Dessert? Vanilla sugar coated doughnut balls stuffed with raspberry jam.


Driving through The Badlands good food was sparse. The best we found was a BBQ joint off the highway. @lloydhoneybrook had beans, potato salad, brisket, sausage & a root beer. I had a BBQ pulled pork bun (surprisingly good), pasta salad & a root beer. #littletownslittlefoodoptions — with Lloyd James Honeybrook

BAR PROFILE PAPERPLANES Answered by: Chris Barge Address: Shop 15, ‘The Beach House’, 178 Campbell Parade, Bondi. Briefly describe the design/ atmosphere? Inspired by the vibrant night life of Tokyo – we have our Rock, Scissor, Paper Bar – which is a long bar that has cocktail barmen, 86 • THE MUSIC • 4TH SEPTEMBER 2013

DJs and sushi chefs entertaining the crowd. The vibrant nature of the restaurant is crowded by 500 skateboard decks with Japanese inspired art that litter the ceiling. Does the bar have a music component? Yes, a DJ is present most nights playing a mixture of old and new classics to more vibrant beats on the weekends.

Three ingredients everyone should have in their pantry? Szechuan pepper, truffle oil and chilli salt. If your food was compared to music what style would it be? A mix between classical music and rock. Drink specialty? Our Harajuku Girl cocktail (a chilled martini of watermelon, coconut water, St Germain and Bombay Sapphire) and Tokyo Pop cocktail (Pimms and St Germain built tall with garden fruits and lemonade with a pop rocks rim) are favourites! Does the bar offer food? Yes, the prawn gyoza is very popular, with wasabi foam and crushed wasabi peas. The pork

I like to use traditional flavours and techniques with a modern twist. What music is likely to be playing in the kitchen? Pop music – anything we can have a dance and singalong to.


Where do you usually eat after your shift? Home Golden Century for the fresh seafood. Korean BBQ at Madang. What’s your dish of choice to enjoy after work? There are a few dishes but my favourites are home-made wontons and seafood pancakes. And stir fries and soups, because if I have leftovers or random foods in the fridge I can always whip something up. Is your chef lifestyle more Anthony Bourdain or Pete Evans? I love to travel, explore new cultures and the different foods from around the world... So Anthony Bourdain. Website link for more info?

belly bun has been a huge hit with jalapeño mayo and pickled veg, and the market fresh sashimi is a must try!

We are launching a new lunch menu with a lighter, summery look and also new lunch time hours... Stay tuned!

Anything out of the ordinary on the horizon?




WHAT: Festival Number 6 WHERE: Portmeirion, Gwynedd, Wales, UK

WHEN: 13,14,15 Sep 2013 WHO: Manic Street Preachers, My Bloody Valentine, James Blake, Lianne La Havas, Daughter and more HOW: Planes, Trains and automobiles

TV addiction led Andrew Mastt to W l h resortt P t i i – now th Welsh Portmeirion the site for the boutique Festival Number 6.

CASH MONEY: Pound Sterling TALK THE TALK: Welsh and English


BY AIR: $2,005, Melbourne to Manchester (with KLM and Jetstar)/ $1,857, Sydney to Manchester (with Finnair)/ $2033, Brisbane to Manchester (with Finnair). Add a two-hour drive to Port Meirion.

SHELTER: Weekend Camping ticket for Festival Number 6 costs £175. EAT: Street food and drink Kraken Black Spiced Rum. WHERE: Portmeirion, Gwynedd, Wales, UK

ritish ‘60s psychological spy drama The Prisoner was the mod soul father of psychedelic TV. In existence for a mere 17 episodes, it’s garnered a cult following attracted to its esoteric tale of Orwelliansurveillance. It’s steeped in both Cold War paranoia and the influences of 1967’s burgeoning counterculture of drugs and revolution. A former secret agent is held captive in a peculiar seaside village – location unknown. Its inhabitants are blissfully unaware of how they got there, its authorities vague about who’s in charge. ‘The Village’ was an out-of-place/out-of-time mix of straight-laced mock Tudor and escapist Italian resort. The real location was also kept secret until the final episode aired. Fans were as surprised by the finale’s ambiguous outcome as they were to discover it was filmed in Welsh village, Portmeirion.


for uninterrupted sea views, while quaint streets of shops wind uphill to a variety of accommodation cottages.

This exotic sprawl of lush grounds, vast beachfront and eccentric architecture is located in the very un-exotic north of Wales. And, ever since the big reveal, Portmeirion’s become a mecca for devotees of The Prisoner. I visited the sacred TV location during the British autumn just days after it had been host to drug-fuelled revolutionaries such as Primal Scream and Horse Meat Disco. The inaugural Festival No 6 took its name from the lead character of The Prisoner (villagers in the show were assigned numbers, not names). Headliners New Order dressed in the iconic natty blazers worn in the show and festival street art was steeped in further references, with surveillance dishes on street corners and human chess games.

Portmeirion literature stresses the resort’s highbrow connections, with former guests said to include George Bernard Shaw, HG Wells and John Steinbeck. The continued reference to such clientele is no surprise. There is evidence that over the years, despite welcoming the hordes of unwashed attracted by TV’s spotlight, the gatekeepers of Portmeirion may have preferred them to stay away. One staffer related that it was by Williams-Ellis’ own insistence that The Prisoner’s location was kept under wraps and one historian described Portmeirion as being “under autocratic rule”. Maybe today’s open-door policy is due to a downturn in visitors. When booking into The Prisoner tour, it was evident we were the only two fans taking part. Also, The Prisoner merchandise store is no longer open daily (Portmeirion souvenir kiosk stocks the basics).

Finally I stood in what I’d once assumed was a set built by a team of tripping designers. Instead, I find Portmeirion was created by unconventional architect Clough WilliamsEllis; his take on Portofino made from other architects’ works and fragments of demolished buildings. The resort opened in 1926 and was a work-in-progress until Williams-Ellis’ death in 1978. Everywhere you turn there’s another unexpected design oddity either built around or brought in from another location: the salvaged boat-wreck affixed to the beachfront; scattered castle ruins in the surrounding woods. Central to the site is The Hotel Portmeirion, its front wall entirely windowed

Arriving in the early evening added an appropriate air of mystery – checkpoints were passed and escorts provided – before we were summoned to dine at the hotel. Portmeirion’s streets were eerily deserted but the fine-dining restaurant was not. However, it was clear these folk weren’t here for The Prisoner connect. An array of posh-ish accents could be heard in the grand lounge area, and although the menu wasn’t cheap it could be paid for in advance as part of the package. It seemed that us fantypes usually just paid ten pounds for a day-trip in. But it’s not a place you can absorb so easily. A two-day stay didn’t even allow for every corner of Portmeirion to be explored, plus, the quiet night atmosphere is a highlight.

Having seen the Disneyfied state of other UK tourist hotspots it’s understandable that Portmeirion may have wanted to avoid the tacky path taken by the likes of Merlin tie-in Warwick Castle. But with Festival Number 6 going ahead again mid-September, headlined by My Bloody Valentine, Portmeirion may have embraced the lowbrow in order to maintain the status quo. It’s an odd display of class culture but it makes a stay here all the more quintessentially British, just like The Prisoner. THE MUSIC • 4TH SEPTEMBER 2013 • 87



IT’S MY PARTY... Get in the grog and fire up your outrage for this year’s election as our host Paul Ransom serves up the irony sandwiches.



here was a time, at least in folklore, when democracy offered the promise of progress; but let’s face it, Don’s Party is over and the light on the hill is now an illuminated billboard advertising Big Brother. No wonder the electors have turned their attention to voting Jade, Tahan or Tully off the show and praying that Matt Skinner really will deliver on his promise to help us ‘drink better’ on election night. But hey, before we sink into jaded, alcoholic despair, let’s remember that Australian democracy has one last silver bullet left in its holster: election analyst Antony Green. When Green drills down into the numbers it’s the vote count equivalent of uncorking a vintage red. You can get drunk on his booth-by-booth breakdowns and end up believing that it really did matter who you voted for earlier in the day. In fact, let it be said here and now: if you’re having an election night party you’ll definitely need some Green. Beyond that though, election night parties are trickier than usual affairs. Politics is a renowned firestarter. Those wanting to turn back the boats are unlikely to make party pals with those who voted to get the NBN over to their place sooner rather later. And then there’s the very real possibility that a smug and smirking Christopher Pyne will result in half eaten canapés being hurled at the television (hosts beware). However, the obvious problem with ‘Australia Votes’ shindigs is that they are half likely to become wakes, because losing the election is worse than dipping out in the Grand Final. Democracy, unlike footy, makes you wait three years for another crack. The apocalyptic gloom of Opposition is sure to end your bash with a crash. Of course, all of this assumes that you care. Why would you hold an election soiree if you didn’t? Excuse for a piss-up? Got a thing for earnest undergrads? Or maybe you just don’t believe the hype and this is the best chance you’re gonna get to feel superior to all those fools who think it matters. Ah yes, let’s invite the local, cut/copy conspiracy nut job to the party. That’ll liven things up. We’ll get to learn about how the royal family are really 88 • THE MUSIC • 4TH SEPTEMBER 2013

lizards in disguise and how the evil Rothschilds have already rigged not only the election but the next thousand years of history. On a personal note, I’m certainly inviting my new chum Ra’a’a to my do because his inevitable rant about how the “five hundred thousand elect” are shortly to retire underground while the rest of us are churned up and replaced with cyborgs by the year 2025 is sure to lift the mood. Phew, that means there’s only three or four more election campaigns left to endure. Now you’re talkin’. If partisan passion and cyborg takeovers aren’t enough to get the party started, there’s always the post-result playlist to fight over. Do we hark back to the bearded ‘60s, the shaven-headed ‘70s, the Red Wedge ‘80s or even the rage rock ‘90s? Or do we get our irony out and shake it all about? Either way, we should be suitably sozzled by then because democracy and drinking are excellent marriage equality bedfellows. For the so-called progressives out there, knocking back one shot for every seat lost may well dull the pain of a conservative victory. Meanwhile, down at the Rowing Club, North Shore sorts should try snorting one line of caviar for every gloom-faced ABC journo they spy on the coverage. Sure it’s expensive but the high is really something. After the counting and carousing, however, it’s time for the post-election shag – and this year everyone’s a winner. Paid parental leave means a potential 75 grand for you and yours. That’s a lot of flat screen TVs. By jingo, you could refurb your entire house in time for election night party 2016. Maybe you could even build a bunker to hide from the cyborgs. Apart from Harvey Norman and child care centres, the big winner on Saturday night will surely be my surprise party guests. That’s right, kids, I’m inviting Julia and Tim over. Either way, they’re gonna have a fine time. I’m looking forward to Julia’s concession speech jubilation and quite possibly a free haircut to replace the dreadful one I currently sport. Change of government, change of style. Who said we don’t take democracy seriously enough these days? Besides which, one thing is abundantly clear: elections are all about the parties.

Whenever a seat that starts with the same letter as your first name is mentioned, have a drink. For example, For the Bens out there, if Batman or Bennelong get air time, bottoms up!


Stick Abbottshaped ears and K-Rudd glasses to the TV screen. Whenever they line up with whoever is on screen, drink.


Drink whenever Antony Green says “The Greens”.


DESIGNED BY NATURE Maori woman Tina Waru and emerging designer Stacie Piper, of Wurundjeri descent, talk to Cyclone about Indigenous designers as part of Melbourne Spring Fashion Week.


Discovered by Daily Express fashion editor Deirdre McSharry at 16, Twiggy became an internationally known model reppin’ a new generation of consumers. Screening: 5 Sep, ACMI Cinemas


A doco by Stéphane Carrel about Paul Smith, a veteran of the fashion industry. “You can find inspiration in everything. If you can’t then you’re not looking properly,” he says. Screening: 5 Sep, ACMI Cinemas


A doco by Fenton Bailey and Randy Barbato about Anna Wintour, Grace Coddington and Hamish Bowles, as they celebrate US Vogue’s 120th birthday. Screening: 6 Sep, ACMI Cinemas


Designer: Maehe Ranginui Tamihana Model: Marlikka Poelina


ainstream Australian textile and fashion designers such as Linda Jackson and Jenny Kee have long drawn inspiration from Indigenous culture. But there’s also a rich tradition of Indigenous designers. Bronwyn Bancroft, who in the mid-’80s launched the Designer Aboriginals store in Sydney, went on to show her extraordinary fabrics in Paris. In 2014 the inaugural Australian Indigenous Fashion Week will take place in Sydney with Aboriginal supermodel Samantha Harris as its ambassador. Meanwhile, the first major Indigenous Fashion Unearthed runway was held in March during the L’Oreal Melbourne Fashion Festival to a huge response. Now the globally unique show is back for Melbourne Spring Fashion Week, its theme ‘Generations’. Significantly, IFU will showcase Indigenous designers from Australia and New Zealand – among them Timmy Smith, Liana Pakinga and Darwin’s Lenore Dembski (who’s behind the Paperbark Woman line). Football hero Liam Jones will parade his grungy T-shirts. What’s more, there will be Indigenous models from across Australia (primarily Aboriginal, but also some from other Indigenous cultures, including Native American) and, backstage, Indigenous make-up artists, hairdressers and stylists. Worawa Aboriginal College students will model their own collection. Opening the event is original Sapphires member – and Aboriginal model – Lois Peeler. Maori woman Tina Waru, who’s worked in health and education, is Co-Founder and Creative Director of the IFU mentorship programme, together with internationally renowned photographer Wayne Quilliam, of Palawa (Aboriginal Tasmanian) heritage. Waru wanted IFU – which, being unfunded, is run by volunteers – to provide Indigenous creatives with an entrepreneurial “platform” and opportunity to network. Most importantly, it presents Indigenous youth with role models and possibilities or, as Waru eloquently puts it, “pathways”. Establishing an Indigenous “presence” in the occasionally “intimidating” fashion industry isn’t merely symbolic – it’s directly empowering, she

says. “It actually changes things for a lot of Indigenous communities because they get to work together – [and] get to work on well-being and confidence.” One of IFU’s emerging designers is Stacie Piper, who’ll display couture headpieces. The Melburnian was already a successful make-up artist when she began to seriously assemble accessories. “Make-up artistry is a passion I have had for many years and I was fortunate to turn it into an exciting career,” Piper says. “I am always surrounded by fashion and, being a fashion lover myself, I would make my own small garments, alter old tops, et cetera. I have also worn head jewellery and headbands and would make them out of material, beads, that I personally liked. People would comment on these, so I thought I would create [more] and start sharing them with an audience!” Piper’s foray into design was influenced by an examination of her Wurundjeri ancestry in an unlikely setting. “I happened to be invited to the museum to view my ancestors’ artefacts. I came across a headband which was woven by my great, great grandmother. It made me realise my love of headbands and creating them must stem from my history, which made me feel very connected to them.” The designs Piper will be showing at IFU relate to the land. “I have taken inspiration from nature for my headpieces in this collection. I think of totems, animals and their messages, elements. I feel the immersion of the feelings I have, the lesson I learn from nature, and the inspiration I draw from my ancestors – particularly my mother who has recently passed away – helps me create and tell a story.” Piper has her own favourite designers. “I love Linda Jackson for her quirky style and bold use of colour; it reminds me of my mother as she had a very eccentric style. Aron Katona is one of my most favourite, again for his eccentric and brave creations, which are so wearable. [And] I look up to my Elders in the Wurundjeri community who design their [own] jewellery range – their one-of-a-kind pieces come with a special story, Bunjil Creations. These are just too special.” THE MUSIC • 4TH SEPTEMBER 2013 • 89

the end


Coming at you from the same people who gave us Sharknado.

DE-FIN-ING FEATURE He’s a freakin’ ghost!!!

PROS He can only appear where there is water.

CONS He can appear when there’s only a drop of water.

SHOULD YOU STAY OUT OF THE WATER? Stay out! We’d advise not even drinking it.


KNOWN FOR? Scaring the bejesus out of filmgoers in 1975.

DE-FIN-ING FEATURE He’s a great white – hard to miss.

PROS You can usually hear him coming thanks to his signature tune: duuun dun duuun dun.

CONS There are three sequels.

SHOULD YOU STAY OUT OF THE WATER? We’d advise against skinny dipping.


Being a Hanna-Barbera cartoon cash-in on Jaws.

DE-FIN-ING FEATURE A pair of drumsticks – he drummed with The Neptunes (no… not with Pharrell Williams… a different The Neptunes).

PROS This great white was too busy drumming to bother with eating people.

CONS Because of the above, he never ate his fellow human band members. And they were awful.

SHOULD YOU STAY OUT OF THE WATER? It’s safe to go back, the band broke up.


The Music (Sydney) Issue #4  

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

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