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2 • THE MUSIC • 12TH MARCH 2014


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themusic 12TH MARCH 2014

#029

CATCH NEW VIDEOS FROM MELBOURNE SKA ORCHESTRA, KINGSWOOD AND MORE.

PHOENIX @ FESTIVAL HALL. PIC: HOLLY ENGELHARDT

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Kate Miller-Heidke

AT THEMUSIC.COM.AU THIS WEEK

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Luca Brasi The Holidays FOLA Chicks On Speed The Smith Street Band Melbourne Polytechnic Katy B Real Estate

“THEY LET US KNOW EXACTLY WHAT WE’RE ALL HERE FOR FROM THE GET-GO AS THEY CHARGE INTO ENTERTAINMENT AND STAGE LIGHTS HIT US FROM EVERY ANGLE.” - STEPHANIE LIEW REVIEWS PHOENIX (P38)

You & The Night

REVIEWS Album: Kate Miller-Heidke

Live: Golden Plains Arts: La Medea ...and more

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Cover: Elizabeth Rose Rooftop Bars Frontlash/Backlash Indie News Opinion Gig Guide The End

TAKE AN IN-DEPTH LOOK AT SOME OF THE COMEDIANS ON THIS YEAR’S MASSIVE SYDNEY COMEDY FESTIVAL. HEAD TO THEMUSIC.COM.AU

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feature 6 • THE MUSIC • 12TH MARCH 2014


THE MUSIC • 12TH MARCH 2014 • 7


CREDITS PUBLISHER

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THIS WEEK THINGS TO DO THIS WEEK • 12 MARCH - 18 MARCH 2014

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To celebrate the eighth birthday of Section 8, the popular Melbourne venue is hosting an eight-day bash, which includes INBTWN on 13 Mar featuring Dizz 1, JPS, Nam, Rintrah and A13, and a free laneway party on 16 Mar including sets from Rat & Co, Otologic, Kirkis and more, plus a surprise international guest.

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MELBOURNE

International beatboxing sensation Tom Thum and lyrical genius Jamie MacDowell arrive at Howler on 15 Mar to combine heartfelt songwriting, melodic fingerwork and heavyhitting world-class beatboxing in an hour long Voltron of sound.

Opening this week at Melbourne Theatre Company is Lally Katz’s Neighbourhood Watch, directed by Simon Stone. This show was a smash hit at Sydney’s Belvoir in 2011. It’s a comedy about love, hope, death and pets. Neighbourhood Watch starts at The Sumner on 17 Mar running to 26 Apr.


THE MUSIC • 12TH MARCH 2014 • 9


national news news@themusic.com.au BAM BAM

BIFFY CLYRO

HOLIDAY MODE

GLITTER AND TRAUMA

If you’re yet to climb some Mountains with Biffy Clyro then do yourself a favour and change that situation this year. One of the biggest rock bands in Europe, the boys have headlined Reading, sold out Wembley Arena, and are excited about returning to Australian stages after playing to adoring crowds across Soundwave 2014. Experience these Scottish greats at the height of their powers, 4 Sep, The Tivoli, Brisbane; 5 Sep, Enmore Theatre, Sydney; 7 Sep, Palais Theatre, Melbourne; and 12 Sep, Metro City, Perth.

BIG MAN PLANS

Charismatic hip hop hero Action Bronson is set to be one of the highlights on the upcoming Groovin The Moo tour. But although you can take the city boy out to the country, you can’t keep the city boy content out there, which is why the New York MC has announced some capital headline dates around the country. Catch him 30 Apr, Metro Theatre, Sydney; 1 May, Corner Hotel, Melbourne; 7 May, The Hi-Fi, Brisbane; and 9 May, Villa Nightclub, Perth.

CLASH OF THE TITANS

A night for the heads and the purists, legendary hip hop producers Pete Rock and DJ Premier will be bringing their Collusion event out to Oz, the American pair perform as a duo, and in both collaborative and versus sets. These huge nights of beat and rhyme happen 1 May, Capitol, Perth; 2 May, 170 Russell, Melbourne; 3 May, The Hi-Fi, Sydney; and 9 May, Arena, Brisbane.

BIG WIN FOR BIG SCARY

Congratulations are definitely in order for Melbourne duo Big Scary, who have beaten out more than 300 longlisted domestic acts to take home the ninth annual Australian Music Prize, the Coopers AMP recipients taking home the first prize check of $30,000 for their second LP Not Art. Acclaimed Grammy Award winning producer Steve Lillywhite presented the group with the award at The Basement in Sydney.

SOUND ALL AROUND

Although the hype machine would have you believe otherwise, Oscar Key Sung is only just getting around to releasing his debut EP. Holograms captures the prodigious Melbourne songwriter and producer at his most daring and emotive, his alt-R&B jams taking you from the bedroom to the dancefloor and back again. Hear these new songs first 14 Mar, Trinity Bar, Canberra; 11 Apr, Star Bar, Bendigo; 19 Apr, Howler, Melbourne; 24 Apr, Goodgod Small Club, Sydney; 26 Apr, Alhambra Lounge, Brisbane; and 1 May, The Bird, Perth.

“IF YOU LOOK BACK THROUGH THE HITS OF THE 2000S IT SEEMS PHARRELL HAS ALWAYS BEEN THERE IN THE BACKGROUND LIKE SOME SORT OF R’N’B KEYSER SÖZE” LET’S HOPE THINGS DON’T GET AS TWISTED IN THE END @DAVECALLANTWIT. 10 • THE MUSIC • 12TH MARCH 2014

Hip hop sensation Bam Bam is dropping The Good Life later this month and to celebrate he’s taking his party bangers on the road: 2 Apr, Happy Club, Newcastle; 3 Apr, Manning Bar, Sydney; 4 Apr, Bowler Bar, Brisbane; 5 Apr, Solbar, Maroochydore; 12 Apr, Northcote Social Club, Melbourne; and 19 Apr, Amplifier, Perth, with Savo supporting. Proudly presented by The Music.

BEGINNING OF THE END

Misery Signals are back with new album Absent Light, and they’ll be taking their metal precision and punk attitude on tour with Stories in tow: Amplifier Bar, Perth, 8 May; YMCA HQ, Perth, 9 May; The Espy, Melbourne, 10 May; Break The Ice Festival, Lilydale Showgrounds, Melbourne, 11 May (Stories not appearing); ANU Bar, Canberra, 15 May; The Hi-Fi, Sydney, 16 May; The Hi-Fi, Brisbane, 17 May; and The Lab, Brisbane, 18 May.

THY ART IS MURDER

FREE YOUR MIND COMPLETES LINE-UP

The full line-up for mini-fest Free Your Mind has been unveiled. Headlined by the festival’s curators Northlane, other acts include Thy Art Is Murder (pictured), Veil Of Maya, Volumes and Make Them Suffer. The minifest visits The Hi-Fi, Brisbane, 22 May; Metro Theatre, Sydney, 23 May; The Cambridge Hotel, Newcastle, 24 May; Zierholz, Canberra, 25 May; Fly By Night, Fremantle, 28 May; The Capitol, Perth, 29 May; and The Hi-Fi, Melbourne, 31 May and 1 Jun. And don’t forget to enter theMusic.com.au’s competition for your band’s chance to open the festival in your city! Proudly presented by The Music.


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THE MUSIC • 12TH MARCH 2014 • 11


local news vic.news@themusic.com.au RESIDUAL

LEAVING RESIDUE THE PERCH CREEK FAMILY JUGBAND

PSYCHED UP

The Perch Creek Family Jugband will release their second studio album Jumping On The Highwire on 19 Mar through Vitamin Records, introducing the world to a sound the group call “psychedelic jug band” – steam-powered roots music plugged into 3,000 volts of inner city creative energy and a fearless spirit. They’ll show you exactly what that means at the album launch at The Hi-Fi, 10 May.

YOU BEAUTY

Bonjah are set to release their third independent album Beautiful Wild on 18 Apr. They’re launching it at Corner Hotel on 9 May, playing the album in its entirety before revisiting track from their previous albums.

GIVE ‘EM HELLIONS

Sydney heavy act Hellions have announced their We Are The Wild Ones Tour, which will bring their Die Young album cycle to a close before they head back into the studio. Joined by Trophy Eyes, Hellions make their way to the Reverence Hotel, 9 May and Wrangler Studios, Footscray (all ages), 10 May.

SUMMER REMAINS

Summer Flake is back with a new video for her track Forever Here And Now. Stephanie Crase, the woman who single-handedly wrote, recorded, mixed and played every instrument on her debut album You Can Have It All will perform as Summer Flake at Kelvin Club, 3 Apr and The Public Bar, 5 Apr.

IT’S LADIES’ NIGHT

UK DJ and producer Girl Unit will be returning to Australia this July, bringing his classic 808/909 rhythm tracks, icy rap/grime/ R&B instrumentals and club tools to Revolver Upstairs, 12 Jul. Feel the bass in your place.

WHALE SONG

Ginger & The Ghost are playing some east coast shows to celebrate the launch of their forthcoming EP Call Up The Whales – set for digital release on 28 Mar. The two mixed media artists will bring their alt-pop to Boney on 27 Mar.

ANATHEMATISED

All you patient Anathema fans can rejoice, as the UK rock/metal band are finally coming to Australia for the first time in their almost 25-year existence. They bring their melodic, heavy music to the stage at the Corner Hotel on 23 Aug.

GETTING CLOSER

LONELY LINDI

Canadian country music star Lindi Ortega heads to Australia in April for sets at Gumball, Boogie Festival and National Folk Festival and two intimate solo shows. She plays odes to loneliness and bearded hipster men from her latest album, Tin Star, at The Toff In Town on 22 Apr.

BAND TOGETHER NOW

Kilter will join Art Vs Science at Corner Hotel on 10 Apr. Monster Magnet are bringing King Of The North along for the ride on 6 Apr at 170 Russell, along with locals Matt Sonic & The High Times, and Don Fernando. Ella Hooper has announced her support for her single launch at Northcote Social Club on 4 Apr: Jack Colwell & The Owls.

Sydney electronic pop artist Thief has announced he’ll be playing some shows for his national Closer EP tour, with support from Nicole Millar. Thief ’s had a busy 2014 so far, supporting The Aston Shuffle and now heading to the US for SXSW. Catch him at Shebeen on 22 Mar.

“GIRL IF UR WORRIED ABT WHERE TONGUES HAVE BEEN GOOD THING UR EX BOO IS UR EX BOO CAUSE WE ALL KNOW WHERE THAT BEEN” @MILEYCYRUS’ RESPONSE TO KATY PERRY’S DISSED THEIR BANGERZ KISS 12 • THE MUSIC • 12TH MARCH 2014

Geelong band Residual have released their new single Numbered, from their forthcoming debut EP, and are celebrating with an east coast tour. With each member having spent time in at least one hardcore band at some point, they’ll show off the sum of their parts at The Courthouse Theatre, Geelong, 14 Mar; Wool Exchange, Geelong, 21 Mar (supporting British India); Beav’s Bar, Geelong, Apr 10; The Loft, Warrnambool, Apr 12; The Toff In Town, Apr 27. Proudly presented by The Music.

AMAYA LAUCIRICA

A BIT OF SWAY

With her third album, Sway, Amaya Laucirica cements her presence in the Australian music landscape. Layered acoustic and electronic sounds permeate the record, with Laucirica’s emotional vocals always at the forefront. Witness her live at Beav’s Bar, Geelong, 15 May; The Bridge Hotel, Castlemaine, 17 May; The Curtin, 24 May.


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THE MUSIC • 12TH MARCH 2014 • 13


local news vic.news@themusic.com.au

SO ON AND SO FORTH

KINGSWOOD

LA native and producer ETC!ETC! may have spent most of his studio life on the electro house point, but he’s been getting noticed by taste-makers lately for his transition to Moombahton productions. His global presence and mix of EDM flavours in his arsenal has earned him support from his peers and frequent rotation on BBC Radio 1. See him at La Di Da on 20 Mar.

CARBON OVERLOAD

Held at RMIT Storey Hall Auditorium on 29 and 30 Mar, Carbon Festival features a wide array of speakers who will explore the current landscape of style, culture and creativity. The line-up includes names such as: Janette Beckman (NYC, photographer), Ta-ku (Perth, musician), Jeff Soto (LA, artist), Mark McNairy (NYC, designer), Paul Devro (NYC, Mad Decent), Levi Ramsey (Ironlak) and more.

SUNSET STRIP

An evening of mystery and intrigue beckons art lovers and party people to the Footscray Community Arts Centre for Sunsets In The West on 15 Mar – the opening night party of Melbourne’s inaugural Festival Of Live Art. This free event will have musicians and performers follow people down the street and lead them into the venue where spontaneous acts of live art will continue to surprise.

ON THE HUNT

Melbourne singer-songwriter Hayden Calnin has just released his second EP Oh, Hunter, and will launch it at an intimate show on 3 May at Northcote Social Club. Supporting will be Eliza Hull, whose debut EP The Ghosts You Never Catch was produced by Calnin.

SEE YA, SUCKERS

So far this year Kingswood have already smashed Big Day Out, gone on a national tour with Calling All Cars, and nabbed number 53 on the triple j Hottest 100, and now they’re set to hit the road on the Groovin The Moo festival tour. Not only that, but they’re playing some headline shows as well, in celebration of new single Suckerpunch. The Groovin The Moo/ Funk In The Trunk tour stops off at The Hi-Fi, 24 May. Proudly presented by The Music.

NEAR, FAR

Sydney alternative rock quintet Far Away Stables have just released their second EP Atlantis, coupled with film clip to lead single What Are You Waiting For. To celebrate, they’re hitting the road, stopping by POW Nightclub, 16 May and Wrangler Studios, 17 May (all ages).

“OWNING A WHITE CAT + BLACK CLOTHES = WHITE CLOTHES.” CAT PROBLEMS, @BALLPARKMUSIC?

OLDER AND WISER

Following the release of her new single When We’re Older, Mia Dyson has announced a couple of album preview shows for next month. Dyson, releasing her new album independently, invites fans to share in the process via PledgeMusic. See what she’s got in store when she performs at The Toff In Town, 5 Apr.

MASS PRODUCTION

JEAN PAUL GAULTIER WORN BY KYLIE MINOGUE

PASSION FOR FASHION

The first international exhibition dedicated to Jean Paul Gaultier will open at the National Gallery of Victoria in October, having already toured to Montreal, New York and London. The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk will feature over 140 garments spanning his career, including dresses designed and worn by Cate Blanchett, Andrej Pejić, Nicole Kidman and Kylie Minogue as well as the famous conical bras and corsets made for Madonna. Jean Paul Gaultier himself will attend the opening of the exhibition. 14 • THE MUSIC • 12TH MARCH 2014

The Production Company will kick off its 2014 season with three very different musicals spanning 60 years of Broadway creativity. It starts with the much-loved classic Guys & Dolls on 19 Jul; then it’s all aboard Show Boat on 16 Aug for a tremulous trip down the Mississippi River. La Cage Aux Folles rounds out the season on 22 Nov with flamboyant hilarity.

FLIP THE SCRIPT

Applications for The R E Ross Trust Playwrights’ Script Development Awards are now open. Open to all Victorian-based playwrights, the awards deliver a total of $30,000 to support the development of plays as works-in-progress. Entries open until 21 Mar with applications available from slv.vic.gov.au/re-ross-trust.

GOOD LORD

Metalheads Lord (no E) will perform “for spare change” on their mini-Australian tour, as they attempt to crowdfund their next big recording project. Catch them band at it at Evelyn Hotel on 3 May.

ANIMATED EXPRESSIONS

ACMI is looking for a small group of animators to check out DreamWorks Animation: The Exhibition in a whole new way. That means meeting DreamWorks Animation creatives such as Chief Creative Officer, Bill Damaschke, at an all-day Industry Masterclass on 11 Apr. Following the class they’ll be able to present their works to the team via video link to the LA. Applications close on 28 Mar.

EXTRA EXTRA

Katy Perry’s added a third show in Melbourne at Rod Laver Arena, 18 Nov (following the 14 & 15 Nov dates). Indie dance trio Rufus have announced second shows in Melbourne and Geelong for their Worlds Within Worlds Tour, at Palace Theatre, 14 May and The Wool Exchange, Geelong, 16 May (all ages matinee show). Justin Timberlake will play a second show at Etihad Stadium on 19 Sep.


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THE MUSIC • 12TH MARCH 2014 • 15


music

INDEPENDENT WOMAN Kate Miller-Heidke tells Hannah Story about embracing the eclectic, the freedom granted by going independent, and a fan’s prize cow, also named Kate.

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on’t expect Kate Miller-Heidke’s fourth album to be the same as 2012’s Nightflight. Instead, O Vertigo! is a release that experiments with sonic palettes and vocal melodies, and is different to its predecessor in more ways than one. Firstly, it’s the first album Miller-Heidke has released independently, out from under the watchful eye of her former label, Sony. “I just felt as though it was time,” Miller-Heidke says. “It wasn’t working really well for me, I was miserable, and the way that my career’s developed is very much as a sort of niche artist. I’ve got a small little kind

So not only was she free of the demands of her record label and the constrictions of an album-album format, but also of the pressures of collaboration with her husband and long-time creative partner, Keir Nuttall. As such it is less heavy on the metaphor for than her previous releases, and “sounds like more of a reflection of me than anything I’ve done before. I feel like it’s got more personality. “For a start, vocally, there’s a bit more experimentation, there’s more character in the vocals. I think the lyrics are a lot more direct. There’s a lot less metaphor on this record and a bit more

of needing reassurance from him, or wanting to ask him what he thought of something, but ultimately it all just came down to what I thought about the stuff, which once I let go, was really freeing.” But that doesn’t mean Miller-Heidke did it all on her own. On O Vertigo! she was also able to record with Washington in the studio, and collaborate long-distance with Passenger and Drapht. “It was such a lovely thing for all those guys to just agree to be involved. I had a dream for this album a year ago that I wanted Passenger, Drapht and Washo on the record and I thought, ‘Look, even if I can just get two out of three or whatever, I’ll be doing well’. Just that act of reaching out and asking, it’s not easy for me, I’m quite an introvert and I’m pretty scared of rejection, but they all said yes and I think that helped me get more confidence again.” It’s an album that ended up having the same production values as something put out by a major label, thanks to the great success of her independent PledgeMusic crowdfunding campaign. Her fanbase can’t be so small after all. Despite the backlash unleashed on other singers who have taken the crowdfunding route, MillerHeidke was not discouraged, even enlisting fellow crowdfunder, Amanda Palmer, for her campaign video.

“ONE GUY TOLD ME THAT HE’D NAMED HIS PRIZE COW AFTER ME.” of cottage industry and a relatively small yet devoted fanbase. I just felt that it wasn’t being handled as well as it could’ve been. I didn’t need that big huge machine behind me, I didn’t want the pressure of people wanting me to write a radio song or a single. I wanted to be able to make whatever music came out.” Miller-Heidke was also able to approach the album in a different way; the aesthetic has changed to a more eclectic mix of songs, each distinctive and different to the next. “I think that I didn’t care too much about making a coherent statement, or having a particular colour palette or aesthetic. That was something I was very focused on in Nightflight and this time I wanted it to feel more like just a release or an escape and for each song to be its own universe. I do think listening through it now that there are threads that run through it, but I didn’t care so much about that. “I felt it was too constrictive for me the other way. Even though I think Nightflight is a beautiful record and it’s very cohesive, it was a bit dark and very introspective and I wanted this album to represent complete freedom, y’know. I’m independent now and I wasn’t working with my collaborator, Keir Nuttall; for the first time ever, I wrote nearly everything myself without a collaborator. I guess I just wanted to break free of all of those constraints.” 16 • THE MUSIC • 12TH MARCH 2014

vulnerability, in a way. I think my style is lyricwriting is more direct than Keir’s and part of that is because I wanted the melodies to be really married to the vocals, the lyrics to be really married to the melodies, so it had to be lyrics that would sing beautifully, not just sound good. “It required a bit of a leap of faith in myself, but it was the same thing with going independent. I don’t know, it was kind of time for me to step up, and Keir and I were sending each other insane last time towards the end of the touring cycle and both of us needed a break. I had the really strong sense that I had to make it myself, and sometimes I did fall into those old habits

“You’re always going to get backlash proportionate to how well you do. I feel actually quite lucky that I seem to have escaped too much criticism over it. I think there are still a lot of misconceptions around of what crowdfunding actually means but in my case, through Pledge, it really is a case of just buying things, or pre-ordering things that hopefully you were going to buy anyway, just paying for them a few months in advance. There’s no aspect of it that’s like begging or asking people to pay for things twice, it’s just almost like an online store, an extension of that.” And then when she raised 214% of her goal, she was surprised and overwhelmed. Its success has meant not only increased funds to go towards videos, photos, artwork and other promotion, but the establishment of a different type of connection with her fans. The rewards for the campaign included t-shirts, copies of the record, a songbook, Happy Birthday phone calls, acoustic house gigs, and even the piano on which she wrote the album. But the process of enacting all these rewards is more time-consuming than Miller-Heidke imagined. “It’s been amazing and a new experience for me, but very rewarding. It’s really cool to get to speak to people and they’re all lovely and I don’t know, it just gives an extra dimension of meaning to what I do, I guess, to be able to talk to people on the phone, and they usually want to share a story


A LOT ON HER PLATE On top of writing and recording an album, in 2013, Kate Miller-Heidke featured in the English National Opera’s production of Sunken Garden, as a hologram – which was admittedly a strange experience. She’s already got plans to get back onto the theatre stage following the Australian tour, as she heads to New York to live and work for two-and-a-half months, taking a part in Metropolitan Opera’s The Death Of Klinghoffer. She heads straight into six weeks of rehearsals, but is confident as she already knows the role and the production. But that’s not all: “And I’m writing a children’s opera at the moment for Opera Australia, which is going to open early next year, so yeah, I love that world, the world of the theatre, and I think I definitely will do more of that stuff in the future if it’s right.” However, MillerHeidke doesn’t feel that she’s overworked or juggling too many projects. “Sometimes I do feel that and it’s something I’ve had to struggle with in the past, particularly when there’s lots of travel involved and jetlag. It’s just like getting punched in the brain and I swear that jetlag makes you depressed sometimes. Having said that though I do love being busy, it’s that old paradox of the more you have to do, the more you get done. It’s just a case of finding balance, which is hard as a musician.”

about one of my songs or gigs or whatever, and I feel quite lucky actually. It doesn’t feel like a job, it feels like an exchange, I’m getting a lot back from it. “I’ve only done one house concert and we’ve got quite a few more of them coming up and I’ve been writing out lots of lyric sheets everyday, there’s a lot of things. It’s actually a lot of work; it’s easy to think up reward. And the pressure to make sure everybody gets it on time, because I would hate to disappoint anyone by being late.” The Happy Birthday calls are an especially enjoyable experience where she discovers a lot about her fans, often when they’re a little bit drunk at their parties. “One guy told me that he’d named his prize cow after me, but it’s like a prize heifer that lives with Freddie Mercury and Prince, the other cows. In pretty good company there, it was quite flattering.” Five per cent of the total funds raised from what was, at the time of writing, 2629 pledges, will go to the WWF and their work trying to save the World Heritage-listed Great Barrier Reef. Miller-Heidke is adamantly against the dumping of dredge soil. “All that money will go through to the WWF on the day of album release, so the 14th. It might make some small difference, that’d be incredible, who knows?” Luckily, Miller-Heidke and Nuttall are not driving each other insane anymore, and are prepared to head on an epic Australian tour together again; Miller-

Heidke couldn’t see it any other way. “The thing is that we’ve got such a musical affinity that he’s not replaceable, he’s just not. We’re in a much better place now and we’ve got another musician with us on the road now as well, our dear friend John Rodgers; he’s a violinist and multiinstrumentalist. We’ve got our tour manager and sound guy and lighting person so it’s kind of a gang of us, it’s not just like me and Keir on the road in America for three months. “On stage you can see that we have a really deep

connection, so if anything, even if we’ve just had a major fucking argument, on stage it’s a way to sort of cement that connection. It can be a different way of communicating with one another. “Keir’s been doing this comedy thing, Franky Walnut, and he’s been getting more and more commitments now, like he’s opening for The Beards during July. He’s played the Tamworth Country Music Festival and stuff like that, so I’m starting to have to book his time way in advance, which is a little bit annoying…”

WHAT: O Vertigo! (Cooking Vinyl) WHEN & WHERE: 18 Mar, Athenaeum Theatre; 19 Apr, Bluesfest, Byron Bay THE MUSIC • 12TH MARCH 2014 • 17


music

HEARTS AND MINDS Billy Bragg wouldn’t say it, but he is part of a tradition that goes from toting a banjo down a dirt road, through to building an audience 140 characters at a time. Ross Clelland listens to tales of the music of politics, and the politics of music.

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ou don’t so much interview Billy Bragg as have a conversation – with him asking as many question as you – as he prepares for one his semi-regular Australian tours. His previous visit, a short hit-andrun for a music conference with a just couple of shows shoe-horned in, came a few days after the last election. ”I think a lot of you were in a state of shock,” he notes. “So how’s the Abbott thing working out for you?” The death of folk music legend Pete Seeger is still a touchstone for folk. For the music, the man, and what he represented. “He was taking on the world with just a wiry voice and a banjo,” Bragg explains. “I remember being at some ceremony for him, looking down and finding him doing cycling exercises on the floor – he must have been near 80. That’s 100 per cent better than twerking.” It was not just the physical vitality that impressed him. “Even in his 90s he still had work to do, things to achieve. And this was a man who had travelled with Woody Guthrie, wrestled the Ku Klux Klan as they tried to stop [legendary black singer] Paul Robeson performing. He actually walked alongside Martin Luther King. You were shaking hands with history.” Conversely, Bragg plays down moments from his own life. Being at the frontline of the Miners’ Strike in Thatcher’s England, visiting Russia as the USSR collapsed, and being a part of the campaign to free Nelson Mandela, among other things, just don’t seem to have the same currency to him. “I don’t want to think about that yet. I want to live in the present – I still have plenty to do. History will judge us on what contribution we make, but that’s for history, not for now.” For Bragg, it all comes back to the work: “Not all music, but some can carry a message – an idea that can just carry and take hold. You have to have a faith that sometimes that’s going to happen.” In another twist this most English of singers’ latest album, Tooth & Nail, has seen him embraced by America as never before, getting labelled as ‘alt-country’ or even ‘Americana’. “Americana is a quite broad word,” he says in that quite broad accent. “It can be Johnny Cash, it can be Booker T, any music that has its roots in American roots music, whatever that is. I was just trying to find my way back to Mermaid Avenue,” he recalls the

18 • THE MUSIC • 12TH MARCH 2014

celebrated – if slightly fractured – collaboration with Wilco of Woody Guthrie songs, which gave all the participants a wider audience. “I wanted to find more of that sound, that idea, that Wilco and I sometimes got in the studio. But I got sidetracked – that’s been known to happen before,” he muses.

use folk music as part of their identity, where in England it’s quite different – it’s much more marginalised.” Does that mix in with the natural English reserve? “An embarrassment in letting go?” he asks himself. “Like Morris dancing? Everybody tends to be embarrassed by Morris dancing – sometimes even those actually doing it. Then again, I have Scots friends who are mortified when they see some bad singer get up in a kilt.” Bragg can also see the upside: “The folk audience – wherever they’re from – still want to hear topical songs, and that’s died out a lot in much other contemporary music. Do people not want to think? Sure, to switch

“THE FOLK AUDIENCE – WHEREVER THEY’RE FROM – STILL WANT TO HEAR TOPICAL SONGS, AND THAT’S DIED OUT A LOT IN MUCH OTHER CONTEMPORARY MUSIC.” Those thoughts dovetailed with his homeland’s view of the music. I throw one of his quotes back at him: ‘They’re embarrassed about folk music, the British. It’s something the Scots and Irish do when they’re drunk’. He pauses. “Did I say that? I might have been drunk,” he adds with a laugh. He quickly and politely clarifies: “Maybe I meant that our Celtic neighbours still

off and relax – I’m fine with that. But don’t tell me that music’s only purpose, it can be more than that. It can be about any part of the human condition.” While knowing the past, Bragg knows things have changed, via a keyboard and a screen. “When I was 19, I really only had one outlet – learn to play an instrument, write songs, do gigs. If you were really lucky, go into a cheap studio and make a record. A 19-year-old now has so many more options: Write a blog, make a film and stick it up on YouTube, tweet up a crowd. Music has probably lost its vanguard role, where in the second half of the 20th century music was our social media. It used to be three chords and a chorus – now it’s 140 characters.” WHEN & WHERE: 13 Mar, Palais Theatre


THE MUSIC • 12TH MARCH 2014 • 19


music

THIRTY HORNS When more than 30 horn players stormed St Kilda’s Gershwin Room more than ten years ago to celebrate the 40th anniversary of ska, few thought the makeshift band would perservere. Nick Caruana aka Nicky Bomba from Melbourne Ska Orchestra tells Carley Hall that the band and ska are here to stay.

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t could be an understatement to say that Nick Caruana, known as Nicky Bomba when fronting the 30-plus horn and big band players in Melbourne Ska Orchestra, is a very busy man. Despite the ever-buoyant tone in his eager voice, the multi-genre project-juggling multi-instrumentalist was burning the candle at both ends on one of his latest projects the night before our chat. “I just wrapped up working on an arrangement but sometimes when I’m mixing stuff I always find something else to fix and, much to my detriment, I suddenly go, ‘Woah, it’s four o’clock in the morning!’” Having trod many of his own paths throughout the industry, Bomba started out playing in a swag of bands, often with his siblings, including brother Michael and sister Daniella, aka Mama Kin, and alongside her husband John Butler in his John Butler Trio. Bomba, after decades working with other musicians, soon came to front and drumming for the Melbourne Ska Orchestra after creating it via a historic event more than a decade ago. In 2003 the call-out to celebrate ska’s 40th anniversary by getting the most number of horns on stage for an unofficial record was met with enthusiasm from Melbourne ska connoisseurs. The enthusiasm remained and the band was born, but Bomba says the size and nature of the group has meant an evolving line-up that has gradually started to settle into its own. “There’s people wanting to join all the time, I get emails a couple times a week asking me if there’s a spot,” he explains. “About 70 per cent of the band is from the original line-up, and we have a lot of people that have other projects to do, but essentially we’ve still got everyone that wants to be part of the circus.”

Circus is one word for it; it’s a gathering of likeminded ska fanatics for the band’s live shows, film clips and even on commercial TV ads, where you’ll spot The Best Things In Life Are Free backing an ad for FreeView Australia. Bomba reasons the main element behind all the happy mayhem is the elements that underpin the genre of ska itself and the band’s efforts to better it. “It is so good, it’s got heaps of danger and heaps of fun,” Bomba enthuses. “What we’re trying to do with the band is not just be a generic ska band. We do have the chance to say something new. Part of what it’s all about for us is to take all the ska and reggae and swing and mix it all up, because that’s how ska happened in the first place. That’s how all musical forms that I love spawned, by a hybrid and the languages coming together. So it’s important to us to have that colour.” Good intentions aside, when it came time to starting work on their long-awaited debut album after years of sold-out shows and tours, any musician would be forgiven for experiencing some trepidation. But Bomba reveals it was anything but for his band of smooth men and sultry ladies. 20 • THE MUSIC • 12TH MARCH 2014

“I don’t think it was ever a frustrating thing for us to get stuff out at all. It was always a celebration and we never really thought that the record would be an unfeasible thing.” “The actual recording of the album only took about two weeks all up. Ninety per cent of it is live. It’s really the only way you can record a band that size. So we did a lot of homework, myself and the engineer Robin Mai, as far as big band recordings and how they were captured, and a lot of it came down to proper placement of the room microphones, and there’s quite a science to that.” The band of brass, woodwind, rhythm players, singers and even a steel drummer, are getting set for their Get Smart national tour, and there’s talk of a documentary and, of course, a follow-up album. With that many players in tow, Bomba says some different opinions are inevitable, but as the leader he ensures that everyone is heard and comfortable in doing so, in the studio and on stage. After all, that’s what ska is all about.

“IT’S LIKE A RAMSHACKLE TRAIN THAT THREATENS TO FALL OFF THE TRACK BUT NEVER DOES.”

“It’s like a ramshackle train that threatens to fall off the track but never does because everyone is a happy traveller,” he laughs. “It’s difficult to get things up and running in the music industry so we appreciate it when things do come together.” “I’ve been playing in different bands my whole life and it’s funny that this is the one that’s getting any kind of traction. It would’ve been the last thing I thought. That’s just the way the world works and it’s a beautiful thing.”

WHEN & WHERE: 15 Mar, The Hi-Fi


BACK TO SCHOOL Isabella Rossellini, Italian cinema icon, takes time out of her busy schedule to speak to Anthony Carew.

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sabella Rossellini had long ago cemented her status as an icon of cinema — daughter of Roberto Rossellini and Ingrid Bergman, one-time muse/squeeze of David Lynch, modern-day partner-in-crime to Guy Maddin — when, in 2006, she found herself in a situation familiar for so many women. “I was over 50, children grown up, not really working as much as a model or as an actor,” recounts Rossellini, now 61. “I suddenly had a lot of time on my hands, so I went back to school.” Enrolling in New York’s Hunter College, Rossellini set out to study something she’d always been fascinated by: animals. At that point

in her life, she had little to prove; so, it was for her own edification. But it turned into a radical change in her career. In 2007, Rossellini conceived of a series of two-minute shorts about peculiar mating habits, in which she’d dress up in home-sewn costumes and enact these rituals. Its title? The internetfriendly Green Porno. “IWe know that people are interested in sex. But they’re also interested in everything that comes with it, so, even though it’s called Green Porno, we do courtship, and motherhood too. The intent was to make funny films about science. I wanted to make people laugh, but make sure that everything I did and said was scientifically

correct.” Green Porno proved hugely successful: beginning just as a pilot, but soon growing into 40 short films. There’s a request for ten more, but its star/creator finds herself too busy, given she’s currently touring the world with a live stage-show for Green Porno. Along the way, she also made her directorial feature debut, Animals Distract Me, and is still studying: she’s now a grad student at work on a Masters in Animal Behaviour. It’s a turn in her career that’s taken her back to her childhood, growing up in Italy as cinema royalty. There, she first dreamed of making films for National Geographic, that initial impulse taking a backseat to when modelling (she was long the face of Lancôme) and acting (where her American break-out came in Lynch’s Blue Velvet) came along. “I was really very, very fond of both those jobs, but animals always remained a part of my life.” Now, she’s become an ambassador of animals; an activist, conservationist, philanthropist, and one-woman show. Touring Green Porno, she sees kids in the audience (“they love the costumes”), and loves having teenagers in the crowd (“you need only to say the word ‘penis’ and they giggle”). And she finds that the monologue form invites her to elaborate and philosophise upon smaller points from the series. Like homosexuality. “Homosexuality has been proven to exist amongst nature, with certain animals and insects. When humans condemn it, say it’s ‘against nature’, well, it isn’t. Sex isn’t just for reproduction, and it doesn’t just involve mothers and fathers. We make love to create intimacy, to create bonds, heredity, families. There’s more to mating than just procreating.”

art

WHAT: Green Porno WHEN & WHERE: 26 Mar, Arts Centre, The Playhouse

THE MUSIC • 12TH MARCH 2014 • 21


music

AMERICAN COOL Having unleashed their latest opus, American heavy metal warriors Iced Earth are headed back to Australia. Vocalist Stu Block warns Brendan Crabb that something wicked this way comes.

“I

think heavy metal’s always been that consistent thing,” suggests Stu Block. “It’s not as big anymore, but everything is cyclical. Everything comes in cycles, so I can see in certain markets it’s big, other markets it’s not, but we’ll have to see the way people’s tastes are. At our level, we’re just lucky enough that we can make a living doing what we’re doing.” Spearheaded by hard-nosed guitarist Jon Schaffer, the US metallers have dodged numerous trends for close on

three decades now. The versatile Block (formerly of under-rated Canadian prog-death outfit Into Eternity) was enlisted for 2011’s Dystopia, and he’s comfortably transitioned to fronting an established, acclaimed band, despite succeeding much-loved Matt Barlow and Tim ‘Ripper’ Owens. “Jon and I have the same type of chemistry,” Block says of new disc Plagues Of Babylon. “I write lyrics, melodies, cadences and choruses, he writes the music, arranges it and everything else. It was great; same chemistry, same energy level. When we wrote the first song together, End Of Innocence, it was good.”

music

An ongoing thread that has perhaps aided Block’s assimilation into the ranks – and simultaneous acceptance by their dedicated fanbase – is the continuation of the long-standing ‘Something Wicked’ concept on selected Plagues… tracks. “I like it. I’m a big horror movie fan and Jon is too, and I think it was just a fun thing to write about. [The other lyrics] are all different subject matters. “The first half tells the story of the apocalyptic from beginning to end, and then the second half of the album is standalone songs. If I Could See You is a song that Jon wrote for his grandfather, who went through a lot of things in his life. There was a song called The Culling, and that’s sort of just about separating the weak from the strong, and how society does that sometimes. There’s the Highwayman cover, which was a fun cover we could do with Russell [Allen, Symphony X] and Mike [Poulsen, Volbeat]. There’s a lot of cool stuff spawning from different influences.” Perhaps their unwillingness to kowtow to fads has ensured Iced Earth remains a sizeable draw on the European festival circuit, while still garnering positive reviews, worldwide chart positions and expanding their road itinerary. First visiting here in 2012, they return this month. The Music suggests there may be a feeling within the camp that their time has finally arrived. “I don’t know if it’s my time, but I’m here making music with some great guys, we’re having fun doing it, and time flies when you’re having fun,” finishes Block. “It’s actually almost been three years coming up here for me, so I’m looking forward to many more years. It’s gonna be great.” WHAT: Plagues Of Babylon (Century Media) WHEN & WHERE: 16 Mar, Billboard The Venue

SOLID GRIP Tyler Richardson and his Luca Brasi bandmates are still trying to work life out, but they’re more than happy to sing about the highs and lows of the journey with you, writes Benny Doyle.

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qualified boilermaker/welder currently studying education, Tyler Richardson has some pretty solid career options if this whole rock’n’roll thing fails to work out. Right now though it doesn’t look like he’ll need anything to fall back on, with Luca Brasi about to deliver their second record By A Thread, a release that seems set to raise the bar for the next generation of heart-and-soul Aussie punk acts. Recorded in familiar surroundings down in Hobart, the Tasmanian four-piece used some newly developed computer skills to demo tracks individually at home, taking rough ideas old and new and laying them down before coming together to nut it all out. With a debut record (2011’s Extended Play) and follow-up EP (2012’s Tassie) already in the bag, Richardson and his bandmates were happy to take as long as necessary with this latest LP. The end result is an emotive insight into the lives of four young men finding their way in the world. “Listening back [to these new songs], I seemed to write a lot about not knowing exactly what I’m supposed to be doing with myself,” the bassist and vocalist explains. “This [record] is really reflective; the first one seems to be flat-out where we were at that time – I guess not much has changed but at the time it was just reckless abandon. It’s funny, I didn’t really think about it too much but [now] I listen back and go, ‘Fucking hell, I’m 22 • THE MUSIC • 12TH MARCH 2014

trying to get a little bit deep there’, compared to [songs about] drinking under the bridge, yelling and screaming shit. “In the lyrics there’s a lot of self-doubt, and just over-thinking stuff; I think everyone can relate to freaking out about stuff for no reason,” Richardson continues. “I think that’s a theme in just about everyone’s life. [But] the last track on there [Two Snakes] is about a good mate of ours who passed away, and when that happened I was writing a lot of stuff, just trying to figure my life out, but [I just thought], ‘Fuck man, life’s way too short to worry about the little things, it could be all gone tomorrow’.”

Embarking on a headline launch tour, the quartet are set to showcase their glorious blend of raw energy, relatable verses and technical proficiency in sweaty rooms around the country. And with a glut of anthems found coverto-cover on By A Thread, Luca Brasi will no doubt be leaving the front rows hanging on every second. “I’m excited just thinking about it right now, my heart is starting to race,” Richardson smiles. “Dudes just looking after you and wanting to do anything they can to help, and coming to your shows as well which is just ridiculous. And walking past someone on the street wearing your T-shirt, it’s not lost on me just how fucking cool that is.” WHAT: By A Thread (Poison City) WHEN & WHERE: 21 Mar, The Curtin


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music

ALWAYS BETTER ON HOLIDAY Creating a single is the hardest part for indie-pop group The Holidays. Now they’ve spent three years perfecting them, and the rest of their second album, they’re set to embark on a national tour. Hannah Story chats to frontman Simon Jones and bassist Alex Kortt.

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hen the boys from The Holidays were making their second record, they didn’t succumb to the pressure to take the easy route and create an album similar to 2010’s Post Paradise. Instead, three years in the making, Real Feel explores new territory, as the band made up of Jones, Kortt and drummer Andrew Kerridge, try to steer away from the ‘breezy Holidays sound’. “We didn’t want to do the same thing as the first record again. It wasn’t like we were like, ‘We don’t want to do that’, but we wanted to develop,” says Kortt. “We probably could’ve put out an album like the first one very quickly if we’d wanted to,” Jones adds. But he admits that by the end “it was a process of getting back to it a bit, naturally”. They had in mind a darker, moodier record (although Jones jokes, “Darker than Post Paradise is still not very dark”), one that didn’t necessarily adhere to the versechorus-verse-chorus formula. They were looking to, as Kortt says, “let the song flow. And then for the sake of having some songs that will work on radio, we worked back from there”. The Holidays were keenly aware of the need for singles that were radio-friendly, acknowledging that their record label, Liberation, had to nudge them so they’d begin writing some “songs”. “There was a point when we’d done some things that we really liked that just weren’t sounding like they’d be releasable,” Jones says. “That was kind of a low point of having a meeting with our label, and them saying we’re going to need to get something we can play on radio here, rein it in. That was a low point of ‘Ugh, now we’ve got to really do the hard work, not the fun work’. It took us a while to get out of that slump and then rediscover what we liked about these songs and finish them off.” It was finishing them off that took the most time. The group self-produced Real Feel, so were often found labouring over the little details, thanks to their “unlimited scope to change things”. Kortt and Jones both admit that it’s the singles that take the most effort. “Any band that says that they don’t do it these days is just straight-up lying,” Kortt says of the need to craft singles. “When you’re working on the singles, well 99% of bands have to have singles, that’s so much more stressful than the

24 • THE MUSIC • 12TH MARCH 2014

other half of the record that are the album tracks. That almost comes easy for us, the stuff where we can let loose.” “For some songs that you know will never be singles,” Jones elaborates, “because they don’t fit the tempo or the feel of a single, you may still have a chorus, you wont agonise

especially for us. That’s been the label’s thing. It’s their job to give you the radio formula, but there is no formula. I think literally it’s just a good song is a good song.” Writing a moodier song didn’t stump Jones though, who is the principal songwriter. “More often than not you’re in a mood that’s not upbeat, sunny bright pop music. That’s not actually hard. The hard bit is getting that stuff and trying to make it fit into what The Holidays are. “It’s kind of hard to describe but I think that one of the main things that we do is songs: song-songs, with choruses and melodies and catchy bits. So as much as

“ANY BAND THAT SAYS THAT THEY DON’T DO IT THESE DAYS IS JUST STRAIGHT-UP LYING.” over ‘Is that the sing-along festival chorus that people talk about?’ You can’t help but overanalyse it a bit because unfortunately the reality is that getting played on radio is an important thing in Australia, and it’s hard not to think about it at all. “That’s kind of the unnatural bit really. You write it and then you think ‘What does it take to make this song more likely to get played on radio?’ and that’s hard to know,

we tried to avoid that to start with, we had to embrace that in the end and realise that that’s what we do.” But now it’s time to turn their attention to playing the songs in a live setting, as they prepare for their first national tour since Post Paradise. They’re looking forward to the upcoming shows and just having a little fun; they’ll be incorporating “lots of strobes. Epileptics beware”. “You get into this vortex of making a record where you’re so focused on the details that you kind of forget to have fun playing it,” Jones says. “And then when all you’ve got to think about is performing it you can really just enjoy it.”

WHAT: Real Feel (Liberation) WHEN & WHERE: 20 Mar, Corner Hotel; 21 Mar, Karova Lounge, Ballarat


FOLA PICKS

PART F THE SH

W

festival

The Festival Of Live Art goes from 14 to 30 Mar, and offers an array of art, from the weird and wonderful to challenging and emotional. Here are our picks for the festival.

ARTS HOUSE Can’t Help Falling In Love Meat Market 23 Mar Singaporean artist Song-Ming Ang explores why we are seduced by certain kinds of music and film, through confessions, covers and guilty pleasures and propaganda pop.

THEATREWORKS Person Of Interest 24 – 29 Mar Nicola Gunn… you know Nicola Gunn. She just told us all about herself at her hit Melbourne Festival show In Spite Of Myself. Now she’s teaming up with Nick Roux to create Person Of Interest. Gunn will be showing work-in-development performances during FOLA at a location to be advised after booking. Credible Likeable Superstar Role Model 23 Mar – 6 Apr This theatre show from the UK won four awards at the 2013 Edinburgh Fringe Festival. Written, directed and performed by Bryony Kimmings and her niece Taylor Houchen, it’s an exploration into role models. Can we expect Miley? Lorde? Ronda Rousey?

FCAC Haboba’s House 14 & 15 Mar Performance poet Alia Gabres invites you to experience a traditional Eritrean coffee ceremony, hear stories of home, play with writing exercises, and gain a deeper understanding of ceremony and ritual-making. Doesn’t that sound like the most relaxing thing/remind you of granny?

THE 24 HOUR EXPERIENCE From 12pm, 29 Mar to 12pm, 30 Mar, 24 live works will take place on the hour, every hour, at different sites across the CBD. It’s inspired by the poetic minutiae of everyday life, and is a unique, major one-off happening. LEFT: CREDIBLE LIKEABLE SUPERSTAR ROLE MODEL. TOP: PERSON OF INTEREST. BOTTOM: HABOBA’S HOUSE

Tristan Meecham gives Oliver Coleman an overview of his participatory piece of live art being presented during FOLA, titled Game Show. Play on.

L

ive art is a difficult thing to define. In many ways it’s artwork that doesn’t fit into the more traditional categories of the performing arts or visual arts. However, it borrows heavily from all these forms. It’s about the encounter between the initial creator of the work and the people who interact with that work. In many ways the simple performer/audience binary doesn’t exist. Rather, the consumers of the work often become makers and participants in the work, which are often created in the moment, before the audience. Although this sort of work has been around for a long time – ever since the happenings of the ‘60s and ‘70s – it seems there’s a growing interest in this sort of work as people look for ways of engaging with art outside of the traditional forums. The inaugural Festival of Live Art (FOLA) is testament to this growing audience. One of the more ambitious projects in the FOLA program is Game Show, a collaboration between Tristan Meecham, Bec Reid and the team at the cross-artform group Aphids. In Game Show 50 contestants a night compete to win every possession Meecham owns. While he says his life has never been particularly geared towards amassing material wealth, there’s still the possibility that people may walk away with everything from fridges to televisions and even his eczema cream. It’s the items that hold sentimental attachment, such as childhood artworks or awards, that could be difficult to lose. In the manner of much of Meecham’s work, Game Show is a large-scale spectacle work that looks at the grand, the ridiculous and the impossible. It will feature choirs, dancers, glitter cannons and similar sorts of bombastic gestures. As well as the 50 participants there’s also an audience, like the studio audience of a game show, each night, that gets to observe the moral dilemmas that exist within game shows and competitions. Meecham is interested in how, within a competitive atmosphere, people become disconnected from the prize they’re actually competing for and become instead focused on the idea of winning itself.

Game Show is the second work in Tristan’s The Coming Out Trilogy, the first being Fun Run, in which Meecham ran a marathon on a treadmill in a public space surrounded by groups of dancers, cheerleaders and all manner of celebratory pyrotechnics. During the Melbourne event at City Square in the 2010 Next Wave festival he even had a newly married couple come onstage for their bridal waltz. It’s these sorts of surprising interactions and moments of unplanned magic Tristan attempts to bring out with his work. He wants to create exciting interactions between the creators of the work and the general public. The next work in the trilogy will be Miss Universe, in which Meecham will go head to head with the celebrity singer Grace Jones in an all-out battle, the loser promising to never perform again. Profits from the performances will be donated to The School of Hard Knocks Foundation. Jonathan Welch, the founder of the Choir of Hard Knocks, is collaborating on Game Show.

WHAT: Game Show WHEN &WHERE: 19 – 22 Mar, Arts House, Meat Market THE MUSIC • 12TH MARCH 2014 • 25


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THE MUSIC • 12TH MARCH 2014 • 27


music

U IS FOR UTOPIA Chicks On Speed’s latest art-music fusion creation, Utopia, is out this month. Alex Murray-Leslie took some time out to have a quick chat to Olivia Gardner about it.

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etween creating an electronic stiletto shoe guitar, weaving theremin tapestries and exhibiting all over the globe, the wonderful ladies behind Chicks On Speed have found the time to release yet another studio album that features a stellar cast. “It’s been about two and a half years,” Murray-Leslie reflects. “[The album] is from a perspective of how there have been many utopian ideas, many failed utopias; we’re asking a lot of questions with our use of the word ‘utopia’.”

The album is a beatsy, colourful amalgamation of music, fashion and art, high in energy and opinion, with the title track no exception. “On the song Utopia, we have a guest, Yoko Ono, because she was a big player in that concept of utopia with John Lennon. It’s also looking at Russian utopias of space, to art performance utopias, to what is the notion of utopia today. Do we need a utopia? Yes we do, because utopias open the mind, the vision and where we want to go. Maybe we don’t go there but maybe we go somewhere else that’s better.” Another guest collaborator is one Julian Assange. “We

music

made the song, God, with Julian; we went to visit him in the Ecuadorian Embassy. That was wild. It was very abstract. It was amazing to meet him and it was a real life-changing experience but it was very sad to go in there and have this really great exchange of ideas and just have to say ‘OK, we’re going now, bye.’ It’s not like, ‘Oh, do you want to go out for a drink?’ because he can’t go out there. It’s just really wrong. He’s too ahead of his time and I think people don’t really understand him and the Australian government should be supporting him and get him out, obviously.” The album traverses countless themes, birthing powerful notions within the trio’s fun and fascinating electropop concoctions, the track, Art Dump adding another element of conceptualism. “There’s a bit of a story behind Art Dump actually. It’s a dream of Francesca Von Habsburg. Francesca said, ‘I had this dream about an art dump’, because there’s this whole discourse going on in the art world at the moment, you know, that we shouldn’t create objects anymore because its cluttering up the world and we’re just creating more and more waste, the museums and the collectors can’t handle it and so all of this really bad art should be buried somewhere in this huge art dump in the back of Munich somewhere and she had this dream and she told us about this dream and we were like ‘This is great, this is a song!’ Art Dump is pretty much a bit of a critique also about market art and that people are creating art for the market. We’re real supporters of non-market art, that you make art not just to sell art but you make it for a more social outcome – so that’s our critique of the art market there.”

WHAT: Utopia (Chicks On Speed Records) WHEN & WHERE: 20 Mar, Howler

WORK HARD, PLAY HARD Melbourne punk rock icons The Smith Street Band have caught the travel bug in a big way. Frontman Wil Wagner assures Kane Sutton it’s not contagious.

T

he Smith Streeters are not a band known for sitting on their laurels. Twenty-thirteen saw the group tour extensively across Europe and the United States. The experience was a massive challenge, but also taught Wagner and the rest of the band some extremely valuable lessons as a group and as individuals. “The whole thing’s about state of mind and state of being. The biggest thing was just being so fucking exhausted all the time. We’d finish a show and it’d be like, ‘Okay, we have 16 hours until we have to be at our next show and the drive is going to take us ten hours.’ I was constantly worried it was going to all catch up with me and I’d get up on stage and forget lines because I’m naturally anxious and I always manage to work myself up before a show. It was great for figuring out our dynamics in the band – we get on really well but that kind of stuff takes a bit of work when you’re away. Spending that amount of time away from home and doing so much with a group of people, without getting corny, you learn a lot about yourself. I figured out more about myself in that time overseas than I have in the last 25 years.” Since completing their stint overseas, Wagner and the band have spent their time prepping for their upcoming Australian tour, which sees them playing 15 dates across 28 • THE MUSIC • 12TH MARCH 2014

the country alongside US group The Menzingers. “With the Australian tours there’s always a lot of work to do because more people are coming and we’re playing bigger venues, and we also tend to do everything ourselves. Everywhere feels like home base in Australia now, so we definitely feel more comfortable. There’s a massive difference between playing to a thousand people in Jacksonville, Florida who have never heard of us or can’t understand a single word I’m saying on stage, to having a thousand people watching you at the Corner in Melbourne who know all your stuff.”

As a member of Smith Street and as a solo performer, Wagner’s mentality is such that he feels like he should always be working on music, whether he’s on tour or in the studio. “When I’m writing a song, I try to take myself out of it as much as I can. You get this inspiration thing that I have no control over and I just try to channel that when I’m writing. The day this tour finishes we go to Europe for 36 shows in 38 days and I’m doing solo shows on the two days off, so it’s 38 sets in a row and then we leave. Then we’ll have a couple of weeks to catch our breath and then we’ll hit the studio. Hopefully we’ll have a new album out by November, so we’ll be busy!” WHO: The Smith Street Band WHEN & WHERE: 15 & 16 Mar, Corner Hotel; 23 Mar, Karova Lounge, Ballarat


THE MUSIC • 12TH MARCH 2014 • 29


music

ALT-CAMPUS There’s a new tertiary campus alternative for those of you interested in music and audio production. Music Business Program teacher at Melbourne Polytechnic (Prahran), Sarah-Jane Wentzki, talks to Michael Smith.

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elbourne Polytechnic is a creative industries educational precinct in the heart of one of Melbourne’s best-known visual and performing arts communities, designed to improve access to creative training and facilities, with a suite of creative industries-focused courses including design, photography, visual arts, professional writing and editing, writing and publishing, digital media, music, theatre arts, theatre, costume design and make-up, and sound production. Presenting the VET Music Business programs at the new campus, Sarah-Jane Wentzki comes to teaching from not only recording and performance with experimental duos I Want A Hovercraft and Princess One Point Five, as well as contributing to the odd local feature and short film, but also in the business of music, having worked at Arts Vic and APRA. The last couple of months have seen her help write the new Diploma of Music Business program that she’ll be presenting at the new campus. “The idea of taking over the old Swinburne campus,” Wentzki explains, “is to replicate the cross-platform, cross-disciplinary collaboration happening at our other campuses, where you’ve got the sound students working with the music business students to create events; to create a student hub that will grow into a thriving, artistic campus that creates opportunities for performances and organic collaborations. It’s a great opportunity for us to really reinvent what we’re trying to do. “Of course there are so many music business courses out there, but I think the thing students are looking for nowadays is people to collaborate with and courses that weed out the unnecessary information so they can get a hold of the information immediately relevant to them, giving them the opportunity to meet real industry people and to have access to arts and music organisations that they wouldn’t ordinarily be able to have by themselves. “So the new Diploma we’ve developed is give students access to guest lecturers who are working musicians who have done really interesting, innovative things, and to arts lawyers who are professionals in arts tax law and that sort of stuff, people students wouldn’t ordinarily be able to call up and have free counsel with. 30 • THE MUSIC • 12TH MARCH 2014

“We want to have a course that is meeting students’ needs by being really flexible and so giving them the opportunity to have some

“But also, you know, if you’re not quite sure what you want to be doing just yet but you know that you love music and you like doing a couple of things about music, the Diploma is a great way to dip your toe in and get some good practical skills behind you to try and get an internship or start your own music business.

“IT’S A GREAT OPPORTUNITY FOR US TO REALLY REINVENT WHAT WE’RE TRYING TO DO.” crazy idea and go, ‘How can I make this work?’ to get a Diploma. So we’ve got some really practical classes in there that are the less ‘sexy’ small business classes that are more relevant for music and not just straight, dry business, as well as the more creative classes, like publicity and promotion, and developing, say, a really cool Pozible campaign, ‘cause crowdfunding is really kind of where it’s at, and the pros and cons of crowdfunding and people who’ve made it work and people who haven’t, looking at different case studies of projects that have used that medium to really great effect.

Let’s face it, no one really knows what they’re doing when they start out and it’s really cool working at the Polytechnic, or NMIT as we call it now, in that it’s a really good, nurturing environment. That’s why courses like this are still so relevant.” Again, as the official website points out, the “key focus [of the Prahran campus] is to establish a creative vibe in the heart of Melbourne’s visual and performing arts community whilst delivering world class vocational and higher education”. Other key performing arts streams on offer at the campus include Certificates III and IV in Music, Certificate IV in Theatre Arts, Certificate IV and Diploma in Sound and the Certificate IV in Digital Media. All Certificate courses have pathways to Diploma level. For details about the facilities and programs available at Melbourne Polytechnic (Prahran), go to melbournepolytechnic.edu.au, call (03) 9269 1900 or email courses@nmit.edu.au.


JUST BE GOOD TO B

Although nu-garage diva Katy B is now signed to a major label, she still feels “very much rooted in club music and club culture”, Cyclone discovers.

U

K post-dubstep soulstress Katy B (aka Kathleen Brien) has triumphantly topped the charts at home with her credible new album Little Red. But, while Brien recorded some grown-up ‘pop’ songs, she remains a club chick. Indeed, she recently enjoyed partying at the Brit Awards – apparently no typically “dry” industry bash. “It was really, really fun,” a chatty Brien confides. “Everyone was just going for it!” Brien was raised in Peckham, South London, vibing to R’n’B, neo-soul and UK garage. Intent on pursuing

music professionally, she attended the BRIT School, among its alumni her idol Amy Winehouse. Later Brien, then at uni, connected with Geeneus, founder of Rinse FM – the pirate radio station-turned-label empire. She burst out of the underground with 2011’s hit-laden On A Mission. The following year Brien offered the stopgap Danger EP. Meanwhile, she toured Australia with Parklife, only to cancel midway due to “personal reasons” (she’s desperate to return). Many artists dread their second album – and Brien was trepidatious. “This time around I have been signed to a major label [Columbia]

and my team has grown. I think I felt a little bit more pressure, certainly.” Nonetheless, Brien’s label was “very supportive” of her vision for Little Red. “I wanted to keep the same ethos ‘cause I still feel very much rooted in club music and club culture.” Brien was determined to again collaborate with Geeneus, and cutting-edge newcomers such as Sampha, yet she also reached out to traditional songwriters. “I really wanted to work with some people who write amazing chord structures.” One of them was pop maestro Guy Chambers, Robbie Williams’ long-time associate. “I went to his studio and we got on really well. I think in the first session we wrote [current single] Crying For No Reason, so I felt really comfortable with him straight away.”

music

Brien has described Little Red as “darker” than her debut.“The last couple of years have been a bit of whirlwind, really,” she says. “Some life-changing things have happened to me and I think this album definitely is me trying to work them all out.” Little Red is housier than its predecessor, too. The opener Next Thing evokes Kevin Saunderson’s techno-pop Inner City. Brien has also resurrected Aaliyah – a duet with quiet stormstress Jessie Ware. When Geeneus gave her the instrumental, Brien visualised a club “with a lot of sexual tension in the air”. The Londoner imagined her DJ boyfriend playing to an alluring female dancer, named after the first act she spotted in her iTunes – Aaliyah. The title was meant to be “temporary” but, deciding that the tragic starlet was the song’s “muse”, Brien retained it. “It’s not about the singer Aaliyah,” she says, “but… she kinda fits the character. It’s a kinda homage to her as well, saying, like, ‘I can’t compete with you’.” WHAT: Little Red (Sony)

THE MUSIC • 12TH MARCH 2014 • 31


music

LOCATION, LOCATION, LOCATION

Atlas is the clue: Real Estate’s third album is all about place, for better or worse, Matt Mondanile informs Cam Findlay.

“L

ong,” is the first thing Matt Mondanile says as we sit down for a beer during his brief stop in Australia. He says it with a sigh that can only come from jetlag. “It’s about a 20-hour flight from LA. I mean it’s fine, but it can really take it out of you when you travel that long and get here and have so much stuff to do in a short period of time.” Mondanile is currently over here as Ducktails, his solo moniker apart from the arguably more well known Real Estate. Doubling on Julia Holter’s national bill is a bit of

an aside. “She’s a friend of mine, actually. It’ll be our first show tonight, which is pretty exciting. We’ve been friends for a while and have always followed each other’s careers and stuff, so it’ll be fun to get out there and play this show with her. I fly out again tomorrow, over to Sydney and then Melbourne, so we won’t get any time to stop. I’ve got these interviews and then the sound check, and then we fly out straight again tomorrow. So yeah, hectic.” He’s somehow finding time to slot international jetsetting in between the release of Real Estate’s third album, the appropriately named

film

Atlas. In form with Mondanile’s current movements, the album revolves around a sense of place – both finding, and at times losing, where you belong. “Martin [Courtney] was writing the majority of the songs over the course of a year, and then we got together to flesh it out and make something out of it. It was one of the more collaborative projects we’ve done, because we wrote a lot of the guitar parts together. Once we got into the studio, we tracked it in about two weeks. It was the quickest we’ve ever recorded a record. We were really prepared going in, so we tracked it live for the most part. That was something new for us, because in the past the songs would be written almost while we were recording. So we kept all those live takes, and I think that lends itself a lot to what we were trying to do with the album.” What they were trying to do with Atlas is capture the ennui that comes from being displaced, especially when your career does revolve around touring. “Martin was writing the lyrics about what was happening in his life, whereas before he was writing a lot about the past and all these nostalgic ideas,” Mondanile says. “He’s married now, so he’s writing about the fact he hast to cope with that settled life and providing for a family while still trying to have a career which requires you to do a lot of travelling and moving around. That’s what the lyrics are about: just the anxiety of dealing with that.” Mondanile is taking this time to relax – if only slightly – before Atlas is taken around the world. “It’s awesome, it’s like summer camp,” he laughs. “From Australia we have all of Europe, so I’m just trying to get some sun before we’re on our feet for months.” WHAT: Atlas (Domino/EMI)

DREAM ON

Yann Gonzalez talks to Anthony Carew about dreams, pop songs, orgies and trying to make his audience cry.

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ann Gonzalez’s debut feature, You & The Night, took its original French title – which translates as Encounters After Midnight – from an unpublished novel by Mireille Havet, the queer-writer-cum-opiate-addict who kept a dreamriddled diary in the 1920s. It’s unashamedly about “the night: dreams, nightmares, fantasies, sex.” Gonzalez is happy to hear its nocturnal, dreamlike tone compared to Nicolas Winding Refn’s Only God Forgives. “I think [that]’s a masterpiece!” he says, excitedly. “I don’t care about the story, to me it’s a nightmare and you’re just plunging, lost, into this nightmare.” But where Winding Refn and Ryan Gosling descend into a macho, castration-anxiety nightmare, You & The Night inhabits a queer-friendly space, with its dreamlike airs flights-of-fantasy. It finds Kate Moran, Niels Schneider and Nicolas Maury hosting an orgy whose guests include Alain Fabien Delon, Béatrice Dalle and Eric Cantona. Often hilarious – it’s billed as a ‘French sex comedy’ online – it’s just as emotionally overdriven. “My main goal as a filmmaker is to get the viewer to cry. There’s no irony at all. I was never afraid of being too soap-operatic, or melodramatic, because for me that’s a way for you to get close to the characters.” At times, his use of melodrama to anchor the surreal is reminiscent of David Lynch or Guy Maddin, but

32 • THE MUSIC • 12TH MARCH 2014

Gonzalez sees his film as being less stylised, much more sincere. An obvious film nerd, inspired by everything from The Rocky Horror Picture Show to Lucile Hadzihalilovic’s dreamlike vision, Innocence, his film a mish-mash of cinematic surrealism, ‘80s erotic thriller, Italian gialli and rock-opera that resembles none of the above. “I’m in love with genre, but my film is not a genre film. I like directors that play with artifice, with things that look fake, and little by little you start to distrust this fakeness. I like the power of a film that can make you believe in the fake.” Eloquent and effusive, Gonzalez offers that he likes “to talk about the film in a

musical way; there’s something very musical in the language.” Fittingly, his film finds pride of place for pop songs from Hype Williams and Molly Nilsson, the dramatic device of a ‘sensory jukebox’ (which plays tunes inspired by your emotional state) and features an awesome epic-synth score from M83, led by his brother Anthony. “I always had him in mind. And because he’s my brother, he was the cheapest option.” It makes You & The Night a film that sounds as good as it looks. “Music is such an important part of the cinematic process for me. I’m not scared of being too melodramatic or over-the-top with music, just like I’m not scared with being too melodramatic or over-the-top with the drama. There are many films today in France that seem to be scared of emotion, and I hate that.” WHAT: You & The Night WHEN & WHERE: 14 Mar, Melbourne Queer Film Festival, ACMI Cinema


with

Fri 21 Mar Sat 22 Mar Thu 27 Mar Fri 28 Mar Sat 29 Mar

The Zoo BRISBANE Miami Shark Bar GOLD COAST ANU Bar CaNBERRa Cambridge Hotel NEWCASTLE Manning Bar SYDNEY

 Sat 5 Apr Fri 11 Apr Sat 19 Apr Sun 20 Apr

 MELBOURNE Pier Live Frankston The Gov ADELAIDE Rosemount Hotel PERTH Players Bar Mandurah

Tickets available from TwelveFootNinja.com

THE MUSIC â&#x20AC;˘ 12TH MARCH 2014 â&#x20AC;˘ 33


★★★★

album reviews

KYLIE MINOGUE

THE AUDREYS ‘Til My Tears Roll Away

Kiss Me Once

ABC/Universal

Warner

ALBUM OF THE WEEK

The recent developments in territories like Russia and Uganda, which are repressing and persecuting their LGBT communities with draconian laws is terrifying. Legally sanctioned social wrath is a trend that is gathering momentum and more people are living in fear for simply being who they are. Escapist pop albums can provide a rare glitter ball of hope. Kylie Minogue’s 12th is an unabashed shimmering life-raft of sexy fabulousness. She may have conquered cancer and is a love lost 40-something, but rather than get all inspiringly serious, she’s stripping down to her hot pants, squealing “Fuck it – let’s party!”, which is exactly the kind of fantasy hedonism so many of us need right now. A meticulously selected gaggle of notable writers and producers (including some bloke called Pharrell Williams) have knowingly updated her Fever-era persona, parrying

the political messages when fun is all that is needed. And that’s exactly what we get in the stupendously bubble-machined choruses of Sexy Love, Million Miles and Into The Blue. Kylie’s gonna have you doing it in the shower, on the dance floor or at the gym grinding up against a Muscle Mary in Sexercize. As we edge slowly but surely towards marriage equality in Australia, Kiss Me Once is the kind of important album that anyone forced to live in the closet can cling to as they wait for the day they can burst out and sing, “When I got my back up against the wall/Don’t need no one to rescue me”. Mac McNaughton

The Audreys have been very mean and made us wait quite a while for new music this time around - something about procreating and having new life experiences to inform a new sound. The good news is that the new stuff is all the better for the break – a bit heavier, grittier and more rounded than before, but still with the recognisable sonic backbone. Single and first track, My Darlin’ Girl, is a third person roller with a sweet tambourine and whiney guitar, but just a little fiddle for good measure. Also on the upswing are Baby, Are You There and Roll Away, the latter with a sweet guitar growl to complement Taasha Coates getting her revenge on. It’s not a complete thrasher, mind, but a good excursion beyond the Easy Listening and Adult Contemporary-ness that has grabbed the duo before.

KATE MILLERHEIDKE

Sony

Cooking Vinyl Australia

Foster The People’s first record, Torches gave us a buttload of killer singles that more than made up for some bleh album tracks. There were plenty of high energy synth and guitar floorfillers and just enough irony to keep it on the ‘indie’ side of the dance music spectrum.

“I’m sick of tiptoeing ‘round,” sings Kate Miller-Heidke on Oh, Vertigo! opener Offer It Up – a line that sets the precedence for what’s about to follow. The Queensland singer has made a name for herself with her unique use of operatic vocals in pop songs and it seems set out on a mission to exploit that diverse range, experimenting with somewhat unorthodox techniques whilst writing album number four, as is evident in the six-plus vocal tracks dancing around each other on Rock This Baby To Sleep.

Oh, Vertigo!

Supermodel

Ask Yourself, the album’s second track, brings with it the stock-standard second album disillusionment with fame, Foster whining, “I tried to live life the way you wanted 34 • THE MUSIC • 12TH MARCH 2014

Liz Giuffre

For fans of the slower and more sultry Audreys, Bring The

FOSTER THE PEOPLE

There’s about a minute at the start of Supermodel where you think it’s all going to be okay. It’s the kind of fun, driving pop intro and catchy vocal hook we expect from Mark Foster and co. But then the verse kicks in – a weird amalgam of faux ‘tribal’ drumming, clapping and cringeworthy, patronising lyrics and references to Champs Élysées and djembes. Just… why?

★★★½ Stars Out will provide, as will Comfort Me (a waltz with The Nymphs featuring) while I Can’t Sleep is just an old-fashioned heartbreaker delivered simply and with no-frills acoustic loveliness. It’s well worth staying to the end of the six-minute Love Has A Way Of Unravelling, a jangly singalong that could sit near a campfire or in a daggy pop music setting. Building around the simple title and adding a few more voices, instruments and ornaments for each refrain, it’ll likely be lots of fun live too.

★★½ me to.” Things continue in much this vein until Pseudologia Fantastica, a dreamy, Neon Indian-esque track that’s a little more interesting, if still lacking much in the way of big hooks. Towards the end of this (much too long) album, the band start to go a bit off-book with Best Friend, a super ‘80s number with funk guitar, horns, excellent bass detail and Foster’s best vocal take. But then it all falls apart again with closer, Goats In Trees, a very strange acoustic guitar-based ballad that could be interesting in another context, but here just feels tacked on. There are some glimmers of gold, but mostly Supermodel just isn’t much fun. Madeleine Laing

Yours Was The Body allows the listener to regain their bearings temporarily before the record’s second single, Oh, Vertigo!, knocks them back to the ground with a series of unexpected and pleasantly surprising turns, voiding all sense of where things will venture next. The remaining nine tunes don’t seem to follow any set direction, which simply adds to the album’s charm,

★★★★ and keeps things interesting. Carefully placed guest vocalists Passenger, Drapht and Megan Washington add their spin on three of the album’s best tracks, Passenger transforming Share Your Air into an instant hit that may even be MillerHeidke’s best work to date. Anyone who pledged to the Oh, Vertigo! crowd-funding campaign can rest assured that their money was put to good use as, with a clear headspace and support from fans, MillerHeidke has found a healthy blend of the quirky elements of 2008’s Curiouser and more serious nature of 2012’s Nightflight. Daniel Cribb


PRE ORDER NOW STORE.THEMUSIC.COM.AU

SALLY SELTMANN HEY DAYDREAMER NEW STUDIO ALBUM FEATURING

BILLY & CATCH OF THE DAY

TOURING APRIL 2014 w/ special guests WINTERCOATS

FRI 11 APRIL - CARAVAN MUSIC CLUB SUN 13 APRIL - KELVIN CLUB All ticketing info at www.sallyseltmann.com

THE MUSIC • 12TH MARCH 2014 • 35


album reviews

★★★½

★★★★

★★★★

SIMONE FELICE

LUCA BRASI

Warner

Poison City

Surrender

Felice’s new solo album includes contributions from his kin The Felice Brothers as well as Wesley Schultz and Jeremiah Fraites of The Lumineers. It finds him sounding more relaxed, mature and carefree than ever and at under 40 minutes it’s a masterclass in economical, emotive and melodic songwriting. Harnessing the sound of the Catskill Mountains it also carries a Laurel Canyon vibe, bursting with soul influences, folk fragility and some epic pop touches. Felice is boldly charting his own course, letting the songs ride roughshod over any concept of market, brand or scene. This is his best yet.

It’s hard not to let a patriotic sense of pride wash over you when listening to By A Thread, the second full-length from Luca Brasi. The young Tassie quartet deliver world-class punk in the most disarmingly humble manner possible, while somehow managing to make you reflect on the past and celebrate the present all at once. Tyler Richardson’s lyrics could have been written sitting on the corner of the street you grew up in, while those clean lead guitar lines of Tom Busby give the raw energy stability throughout. These songs are written for the front rows, for the friends, for the strangers and believers.

Skinnyfish/Sony

Strangers

Chris Familton

By A Thread

Benny Doyle

DEWAYNE EVERETTSMITH

★★★★

THE WAR ON DRUGS Lost In The Dream

Secretly Canadian/Inertia

Widely known as the voice of Tourism Australia’s 2012 international campaign, Dewayne Everettsmith’s debut Surrender further establishes the musician as a technically beautiful vocalist proficient in communicating old-school charm and depth of emotion. The album’s title track, featuring Brisbane’s Thelma Plum, is playful and fun, while Melaythina is a slow-harmony song of welcome in the Palawa Kani Tasmanian Aboriginal language. It’s lovely though to finally hear Everettsmith let loose, shaking off the adult contemporary appeal with the rhythmic roots-style Whisper.

So, it turns out Slave Ambient was just hinting at the raw power Adam Granduciel could convey through music. He’s been touring that album nonstop for three years, and Lost In The Dream is quite obviously a culmination of Granduciel’s growing connection with his band and confidence in his sound. The result is spectacular. Part amped-up Dylan (obviously), part synthy ‘80s road album, there’s just so much substance it’ll take you a couple of listens to feel the full weight of it. This is a moving, enchanting album. Cam Findlay

Tyler McLoughlan

★★★★

BETH HART

★★★

SUN KIL MOON

TAKING BACK SUNDAY

Spunk

Hopeless/UNFD

Beth Hart is one of those raw talents of bluesy vocal gymnastics whose repertoire does away with any expectations one carries into the genre. A mustsee at this year’s Bluesfest for her back catalogue alone, Bang Bang Boom Boom provides fresh incentive. Hart’s at her most enveloping when wallowing in her ‘woman-scorned’ lyrics and it’s hard to surpass on darkly magical opener, Baddest Blues. She weaves around this ball-busting intensity frequently, in Better Man and Caught Out In The Rain, but gets a bit cabaret with big band sass on the title track.

Who says an old dog can’t learn new tricks? Epic miserable-ist Mark Kozelek undertakes two startling challenges on Benji. First, he masters explicitly personal lyrics, delving so deeply that an attentive listener will gain a comprehensive understanding of Kozelek’s bad back, sore feet, teen crushes and high school fist-fights. The other innovation is a genuinely happy ode to Death Cab’s Ben Gibbard Ben’s My Friend which closes the album with a wistful feel and – gasp – a saxophone. Not really his strongest material, but still nothing less than a revolution for Kozelek, truth be told.

After 15 years and as many band member changes as studio albums, it’s amazing Taking Back Sunday are still around for record number six, let alone sounding as good as they do. Following on from the success of their 2012 eponymous record, Happiness Is has solidified the place of returning band members Cooper and Nolan, while offering up the band’s best effort since 2006’s Louder Now. First single, Flicker, Fade, is sure to earn the posthardcore rockers some new fans, while All The Way provides a dose of vintage Taking Back Sunday.

Carley Hall

Christopher H James

Bang Bang Boom Boom Mascot/ADA

36 • THE MUSIC • 12TH MARCH 2014

Benji

★★★½

★★★½

Happiness Is

Ash Goldberg

ARCHITECTS

Lost Forever // Lost Together UNFD A look at the track listing on Lost Forever // Lost Together might give the impression that Architects have little hope for the world. Despite titles like Colony Collapse, The Devil Is Near and C.A.N.C.E.R, this is metal with a message. It comes across as less a surrender to the inevitable and more a passionate, aggressive call to pull our shit together. With this album, Architects reach into your chest like an Indiana Jones villain, tear out your still-beating heart and make you stare at it for 11 tracks of maximum brutality. Pete Laurie


singles/ep reviews

★★

LYKKE LI

Love Me Like I’m Not Made Of Stone EMI Lykke Li’s voice is starkly laid across rough guitar strums and nothing else, so that you can hear every iota of emotion in her love letter lyrics, a barely there echo adding to the affecting bare-room vibe.

GINGER & THE GHOST Call Up The Whales Rabble/Shock Coming across more as style over substance, G&TG’s ‘tribal’ costumes seem as disingenuous as this underwhelming dark pop.

SUMMER FLAKE

★★½

★★★

DEER

FALLING STACKS

GLEN HANSARD

Pilerat Records

Battle Worldwide Recordings

Independent/Spunk

Infused with synthetic r’n’b rhythms and jarring musical layers, local producer Tom ‘Deer’ Hitchcock offers a generic pop release that’s drowned in sugar. Single Fa La La channels squeaky, sanitised ‘90s pop, a creative vision that’s solidified in the heavy-handed remix of Justin Timberlake’s My Love (Hoe). The repeated loop segment in I Wanna Be (A Dick) is the musical equivalent of a GIF – cheap and increasingly annoying. While Hitchcock should manage to carve out a pop-happy (and undiscerning) audience, Love Hearts doesn’t showcase enough artistry to impress.

Without any underlying structure, these ‘songs’ rarely break from the jam session jumble they’re mired in. Sombre guitar notes partially alleviate this muddiness in closer 17b, which offers some rare melodic undertones that waver slightly between bashing clamour and introverted emo segments. Clanging noise dominates Vizsla, which is without the inclusion of necessary moments of clarity as perfected by Fugazi or Pavement (their apparent inspirations). These tracks imply they’re building to something, but the Bristol trio seem unsure as to what that is.

Featuring a similarly rustic vocal to that of Cat Stevens, Hansard’s EP features two excellent tracks and two complete fillers. Sleazy horns and tired harmonies with Eddie Vedder result in a throwntogether sound in his lacklustre cover of Springsteen’s Drive All Night. In contrast, intricate follow-up Pennies In The Fountain showcases a timeless, nuanced songwriting ability. Devoid of instrumental support, transportive closer Step Out Of The Shadows relies on the strength of Hansard’s melodious vocals to induce a romantic, traditional folk sound. He plays Melbourne Recital Centre on 14 Mar.

Love Hearts

Vizsla

Stephanie Tell

Stephanie Tell

Drive All Night

Stephanie Tell

Forever Here And Now Rice Is Nice A bit romantic, a bit grungy, Summer Flake croons her way through spectacular crashes and caresses of guitar; the way she delivers, “It’s killing me,” breaks your heart. Stunning.

ASHANTI FT RICK ROSS

★★★½

★★★

★★★★

GLORY CLUB

JIMMY JUNK HEART

TINPAN ORANGE

eOne

Scissor & Thread

Independent

Vitamin Records

With so many r’n’b singers killing it lately, Ashanti’s stockstandard newie fails to impress. Rick Ross grunts and spouts random words behind Ashanti’s average melody and cluttered beats, and his rap verse bores. It’s a mess of clichéd sounds.

Less ego-driven than much current synth-pop, this fresh, minimalist offering doesn’t overextend itself or attempt an affected, ‘youthful’ anthemic status. Instead, it radiates an effortlessly light, untouched quality. The chilled 1000 Words gives just enough in its drifting melody to capture your attention, during which a low-key male/ female vocal combo swims amid cosy, late night haze. The Black Light Smoke remix of Trigger Me Out features a funkier bassline, but still maintains aloofness. The original supersedes this version, however, with its darkly tinkling, otherworldly undertones.

This scruffy, bedroom-hatched EP from local artist Jimmy Hanson highlights many endearing qualities often found in debut garage-pop releases: lilting lo-fi melodies and refreshing hints of juvenility. Single Loose Blonde Haired Girl suffers for its stagnant progression and too-soft guitar, but its bridge especially evokes an addictive, sunny surf vibe. Meanwhile, wiggling, rolling bass lines create a ‘too cool for school’ aesthetic in She Sang La La and High Roller. Sparse and at times withdrawn, this offering doesn’t possess much dynamism. Instead it just casually floats along.

These remixed tracks from 2012’s Over The Sun deliver the same brilliant, folky songwriting to a new crowd of music lovers. Way Of The Eagle’s spacey take on Barcelona augments Emily Lubitz’s breathy, sensuous vocals into an artsy electro track. These altered vox and seething keys take Laser Cat’s glitzy Supergirl remix to dizzying pop heights. Instead of the original’s western aesthetic, Tattoo On Her Wrist mutates into a brooding, slithering number while still allowing bittersweet acoustic elements to ring through. They play at Northcote Social Club on 20 Mar.

Stephanie Tell

Stephanie Tell

I Got It

COLDPLAY Midnight

Parlophone/Warner They take the tangent they’ve gone off on, wholeheartedly run with it and the result is a masterfully restrained, mesmerising slow-build of a falsetto-filled, eerie electro construction.

Glory Club

Jimmy Junk Heart

The Remix EP

Stephanie Tell

Stephanie Liew

THE MUSIC • 12TH MARCH 2014 • 37


live reviews

FUTURE MUSIC FESTIVAL

Flemington Racecourse 9 Mar Ahead of today’s event, promoter Brett Robinson told The Age that they anticipated a turn-out of 40,000-plus at Melbourne’s Future Music Festival. The day is sweltering, but the biggest challenge is negotiating the innumerable timetable clashes. As we look around at the youthful crowd, plus one is stoked he shaved off his salt-and-pepper beard in order to better fit in today. We note the percentage of punters wearing shorts sits around 99.5% and many are way too short to flatter. On

Wiz Khalifa on Think About It. Naughty’s band cover Daft Punk’s Get Lucky as a smooth R&B jam. Alas, before La La La concludes, the crowd are already deserting him for Pharrell Williams. Williams appears on Future’s main stage with not a band, but a DJ, Eque, and dancers – and he’s wearing that hat, albeit in black. The ubiquitous star, soon topless, performs a mega-mix of his greatest hits, including productions for others – the first, Snoop Dogg’s Drop It Like It’s Hot. He revisits his solo debut, Frontin’, plus N*E*R*D’s She Wants To Move. Nonetheless, the massive crowd are feenin’ to hear those recent smashes – Blurred Lines, Get Lucky and Happy – and, with a 30-minute slot, they don’t wait long. ‘Phazza’ proclaims Future the best Australian festival, dissing its rivals. Political!

PHARRELL @ FUTURE MUSIC FESTIVAL. PIC: MATT ALLAN

the main Future Music stage, Dada Life are intense for 3pm. This Shit Is Bananas, all right! Words flash up on the giant screens – “ALCOHOL/DRUGS/ OVERDRIVE/NOISE!” – and the up-for-it punters feel as if the Swedish DJ duo double up as mind readers. One half of the pair inform us we were “born to rage” and those who haven’t already overdone it, which necessitates some downtime under a shade tent, feel the love. Brit urban producer Shahid “Naughty Boy” Khan takes the Safari stage mid-afternoon with his band, the man himself on MPC/keyboard. What his troupe lack in presentation, they make up for with energetic performances. Soulstress ShezAr (Labrinth’s sis) opens with a stellar Wonder, Khan’s early hit with Emeli Sandé. UK MC Yungen credibly fills in for 38 • THE MUSIC • 12TH MARCH 2014

apparently cares little for geopolitics. Arty, hands-in-the-air, favours progressive trance firmly in the European tradition. The major surprise of his set? He pulls out Daft Punk’s discohouse classic One More Time. A timetable change means that some will miss Harry “Baauer” Rodrigues – switched with Sub Focus in Knife Party’s Haunted House tent, the FMF ‘bass arena’. The Brooklyn-based upstart, who crossed over last year with Harlem Shake, is anxious to prove himself no one-track pony and he achieves that, even if the crowd is smaller than might be expected. And, yeah, he drops Harlem Shake at the end. There’s really no escaping it. That teen prodigy Porter Robinson is a regular Australian visitor. North Carolina’s inventor

KASCADE @ FUTURE MUSIC FESTIVAL. PIC: MATT ALLAN

Pharrell gives Kaskade a shoutout before the discreet, Mormon DJ hits the stage, clean-cut in white T-shirt and shades. The Chi-towner emerged as part of the ‘90s’ West Coast deephouse movement alongside Miguel Migs, but he’s since reinvented himself for the amorphous EDM era. Bouncing behind the decks, Kaskade now specialises in euphoric, trancey house – epitomised by his current single Last Chance (with Project 46). He also spins a modish rave remix of Lana Del Ray’s Young & Beautiful. It’s ironic that just as Russia is sliding back into isolationism from the West, the country is producing its first global superstar DJs – like Arty, playing on the marginal Future Sound System platform, amid a smoke machine-generated mist. His small, albeit respectable, audience

let us know exactly what we’re all here for from the get-go as they charge into Entertainment and stage lights hit us from every angle. The touring members are perched on raised platforms, silhouetted against a giant screen, which displays footage and light patterns as part of the impressive light show. Such a strong, punchy opening makes the songs that follow – favourites Lasso and Lisztomania – pale in comparison, but even then the crowd lap it up, taking over for the choruses. Rainbow stripes fill the screen for Trying To Be Cool, which incorporates the bridge of Drakkar Noir as its ending, the latter’s chime-riff outro continuing into Chloroform’s intro. In the standing area, a vast sea of hands wave in unison to the slow, hypnotic beat. We’re able to really appreciate the

PHOENIX @ FESTIVAL HALL. PIC: HOLLY ENGELHARDT

of complextro, considering himself primarily a producer, had intended to unveil a live show this year but, when his DJ sets are this exhilarating, what’s the rush? The EDM poster child’s epic style is that of a postmodern quick-mix that lurches from aggro bass to melodic synth ambience with intricate sonic textures and Robinson jumps frenetically as he plays the Haunted House. He actually drops Kanye West’s punk Black Skinhead. Supernaturally good. Bryget Chrisfield and Cyclone

PHOENIX

Festival Hall 6 Mar Pusha T’s Numbers On The Boards plays over the speakers as Phoenix (plus two touring members) take to the stage. They

band’s musicianship and tight teamwork during the mostly instrumental Love Like A Sunset Pt I/Bankrupt!/Love Like A Sunset Pt II medley, as they turn up the intensity and pare it back accordingly. The two percussionists stand up to drive the climax and the two guitarists, one at either side of the stage, sweetly fingerpick harmonies to fade out. Frontman Thomas Mars requests the house lights be brought up for Armistice (“When the lights are cutting out”), saying, “We need you, we don’t need the light show – all we need is you.” Though the lighting operator’s half-hearted compliance is a bit distracting, Armistice revs us all up nicely to go off for man set closer 1901. We sing, “HEY-HEY-HEYHEY-HEY-HEY-HEY!” and the floor is a jumping mass of bodies. A vocal- and guitar-only rendition of Countdown opens the encore, with spotlights on


live reviews Mars (in among the front row punters) and guitarist Chris Mazzalai onstage. And, to take us out, coming full circle, the band play a reprise of Entertainment as Mars walks all through the outer edges of the crowd, even climbing up onto the balcony and back down again, repeatedly shouting into the mic, “Thank you for coming!” After witnessing Phoenix’s faultless stage show, plus that extra personal touch, we’re really the ones who should be thanking them. Stephanie Liew

GOLDEN PLAINS

Supernatural Amphitheatre 8 & 9 Mar

miles to weaken at the knees. Attired in a simple white dress, she lives, sings and breathes from a different level than us mere mortals who gaze up from the ground. Adalita throws down a subtle blend of rawk chick-meets-reformed good girl, her two decades of experience coming to the fore for the common good. Backed by a more-than-able band, it’s 40 minutes of unadulterated bliss. When you choose to include a 16-minute song at the end of a 40-minute set, you put a lot of pressure on that tune delivering. But when you’re King Gizzard & The Lizard Wizard, and that 16-minute song is Head On/ Pill, you’ve got nothing to worry about. The first half of their set is packed with the scuzzy sounds the seven-piece is known for and if everyone down front

SIX FT HICK @ GOLDEN PLAINS. PIC: JESSE BOOHER

SATURDAY A few drops of light rain fall as the biannual pilgrimage makes its way through Meredith. There’s not enough to make pounding in a tent peg any easier and it’s good to be back. Kicking things off with, “Welcome to happy hour”, the opening well-placed boot to the head is delivered by Brisbane rockers SixFtHick. Led by the downright dangerous antics of frontmen Geoff and Ben Corbett, the five-piece certainly set a high standard for Golden Plains 8. Dust, sweat and blood cover the stage by set’s end and it’s a case of last man standing in the moshpit, the band giving many punters an excuse to peak way too early. The goddess that is Adalita takes to the stage a little after 5pm, instantly causing men for

just a little bit more. Bradley is backed by his tight-as-fuck band The Extraordinaires and the crowd is subjected to a set of pure enjoyment. We lap it up with glee. SUNDAY A hush falls over the crowd as all take a breather, and a seat on the ground, for a break in the music and keynote speech from renowned cartoonist, poet and voice of many generations, Michael Leunig. His delivery is thoughtful and well-paced, if at times a little awkward. His is not a sermon, but a parable – a melange of stories from his welltravelled life. At the core is a deep love and respect for Earth, something that is reciprocated fully by his captive audience. Los Coronas blast straight outta Spain and onto the Supernatural

CHARLES BRADLEY @ GOLDEN PLAINS. PIC: JESSE BOOHER

isn’t so interested in throwing themselves into the nearest person, The Boot appears early. There are high expectations on Chet Faker as he steps up to the plate and with his threepiece band in tow, he delivers a workmanlike performance. His show lacks the visceral edge of some of the bands before him though, and many in the Sup’ are content to use this opportunity to mingle with their companions or seek refuge in a pink flamingo. Not helping matters is the poorquality sound, the bass flooring anything else in the vicinity. Charles Bradley, the “Screaming Eagle Of Soul” himself, is in fine form and justifies his primetime Saturday night scheduling. Between costume changes and crowd interaction, he glides across the stage with grace, his voice inspiring all

the 1960s where ten shades of funk are thrown down. Worthy recipients of The Boot. Something doesn’t seem quite right with Mr Rogers tonight as You Am I tear it up. The band start a few minutes late and with Rogers anxiously checking his (non-existent) watch after every song, it’s difficult to dive 100 per cent into their set. In saying that, they’re a well-oiled machine and by kicking out the jams, old and new (and rounding out with a killer version of Berlin Chair), You Am I still prove a great choice for the witching hour tonight. Fat Freddy’s Drop give a slick performance, their dub/soul/ reggae/hip hop causing plenty of hands to wave in the air and giving thousands of punters the chance to get loose and welcome in Sunday night. They’ve been

PUBLIC ENEMY @ GOLDEN PLAINS. PIC: JESSE BOOHER

Amphitheatre. The audience is small at the start of their set, the harsh afternoon sun sending many to the relief of their campsites. For those that remain, and for those who join the throng as the set gathers pace, reward is immediate. From spaghetti Westerns to Misirlou (you’ll recognise it from the opening credits of Pulp Fiction), Los Coronas stir up a mini, daytime frenzy for all to enjoy. The beginning of Osaka Monaurail’s set is somewhat subdued, as though an integral piece of the puzzle is missing. After a nervous few minutes though, the enigmatic Ryo Nakata bounds onto the stage, ready to show us why this band is one of the most happ’nin’ funk crews in the world. Nakata knowingly channels James Brown and Ray Charles, and promises to take us back to

in this game for decades and it’s obvious they know what they’re doing when it comes to crowd-pleasing, spine-tingling moments. For those who aren’t ready to get too fired up – there’s plenty of music to come tonight – FFD also provide a chance to mentally prepare for the onslaught to come. That onslaught arrives sooner than expected with Public Enemy. Chuck D, Flavor Flav and DJ Lord put together a searing set, and for the army of whiteboys and girls in the crowd tonight, the cover of darkness offers the chance to embrace their inner rap star. Public Enemy lose points, however, for their constant requests for everyone to visit their website and tweet them midshow – clearly no one thought to tell them that mobile reception in the Sup’ is sketchy at best. Dylan Stewart THE MUSIC • 12TH MARCH 2014 • 39


arts reviews

ORPHANAGE OF THE ANIMALS Theatre

disagree. This is not the fault of the audience; it’s the fault of the creatives not adequately communicating their ideas. Benjamin Meyer

La Mama to 16 Mar Orphanage Of The Animals by Karen Corbett is a challenge to the form of representing trauma onstage. The narrative delivers the testimony of the inner traumatised child of the work’s five characters. The juxtaposition created by mature-aged actors playing young children highlights this idea and is a successful artistic device. The set is adorned by numerous broken and discarded boxes that draw obvious comparisons to the broken people that litter the stage. Further, each of the characters’ desire to live through their animal alter-egos suggests that to cope with trauma one must disengage. While the play’s intentions are interesting, its execution

ORPHANAGE OF THE ANIMALS

unfortunately leaves much to be desired. Most of the actors (apart from writer Karen Corbett, who plays Nik) do not seem to understand the motivations of the piece. Indeed, Russell Walsh’s performance of Dog seems to be entirely based on a Mexican version of Gollum from Lord Of The Rings. However, they are not entirely to blame. The writing and structure of the work is confused and lacks conviction. Essentially you could watch this work for an eternity and only understand what was trying to be achieved after reading the program, and even then you’ll most likely

40 • THE MUSIC • 12TH MARCH 2014

LA MEDEA Theatre

La Mama (finished)

effective way. Aside from sharing the same playwright as well as the themes of women’s issues the two monologues don’t complement each other. Strangio combats the potential problem of having two such emotionally dense pieces side-by-side by delivering quite a short performance; it ends before getting overwhelming. Ella Mittas

In the lead-up to International Women’s Day, Margherita Peluso performs two Franca Rame monologues that explore women’s issues. Along with director Laurence Strangio, Peluso has worked to re-translate the texts into more contemporary, bilingual pieces. Her hold over both Italian and English allows the rewrite to work; her darting between both languages is smooth and enriches the pieces. The first monologue, a story of Rame’s own kidnapping and rape, is a

ALISON BECHDEL Talk

Athenaeum (presented by the Wheeler Centre) Alison Bechdel begins her presentation on the topic of the Bechdel Test, to ‘get it out of the way’. She clarifies that although the test is credited to a Dykes To Watch Out For comic based on the concept, she did

LA MEDEA. PIC: HODA AFSHAR

haunting and absorbing beginning to the performance. Peluso’s voice is heard through a voiceover as she appears on stage, a technique that is perfect for the intensity of the text. Peluso’s stage presence and the subtle lighting work well to complement the captivating power of Rame’s words. La Medea still has the same hysterical nature of a Greek tragedy. Peluso manages to hold the audience’s focus, and work the hysterical nature of the text into her character of Medea. Although the issues explored in each are still current, the texts seem dated and could have been recontextualised in a more

not invent it. But if people do not know her from her DTWOF comic strip or graphic memoirs Fun Home: A Family Tragicomic and Are You My Mother? at least she’s a feminist household name anyhow. Speaking with the same self-deprecation, passion, honesty and humour seen in her work, Bechdel, with the aid of a slideshow, takes us through why she became a comic artist (her writing and art were not strong enough alone so she combined them; language is “slippery” and by using images as well she could portray truth more accurately) and decided to create DTWOF

and then her extremely personal, candid memoirs (she wanted to create multi-dimensional women characters, lesbian or otherwise; representation is important), as well as a brief explanation of her creative process. When asked what she thinks of many of the political and feminist themes in her work being still relevant today, 30 years later, she says: “Three steps forward, two steps back.” Stephanie Liew

IMPROVISED FRENCH FARCE Theatre

The Butterfly Club (finished) From the minute the show begins I am astounded at how witty the quartet’s dialogue is, how at ease they seem creating the entire performance on the spot. Taking inspiration from

IMPROVISED FRENCH FARCE

a traditional French Farce, the characters that they come up with are so over-the-top, the storyline so unpredictable, that it seems there is not a second the audience isn’t entertained. The Butterfly Club presents an ideal backdrop for the performance, the theatre welcoming and the perfect size. The only criticism is that there is only one sketch – more would be welcome. Good improvisation is truly is an artform in itself, and one that Parallelogramophonograph has down to a tee. Ella Mittas


THE MUSIC • 12TH MARCH 2014 • 41


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the guide

ELIZABETH ROSE

Photo by: Josh Groom How did you get your start? My music was first exposed publicly back in 2009 when I sent in a few demos to FBi Radio that I had up on MySpace and they played one of them! I remember hearing it. I was absolutely ecstatic. From there on it slowly grew. Sum up your musical sound in four words? Adventurous, colourful, crisp and bold. You’re being sent into space, no iPod, you can bring one album – what would it be? I’d take Summvs by Alva Noto + Ryuichi Sakamoto. I only recently discovered this album, it’s a beautiful mix of classical/contemp piano but with ambient electronic samples and glitches – really amazing to listen to and it would calm me down because I’m terrified of heights/the prospect of space travel. Greatest rock’n’roll moment of your career to date? I’m still waiting for a rock’n’roll moment. I think that may be because I like my sleep too much. Ha! Why should people come and see your band? Because we have a lot of fun up onstage with dancing and my costumes, and live music is always more exciting than just listening to the recordings. When and where for your next gig? I go on a national tour in March for my self-titled EP that was just released. My next Melbourne show is 15 Mar at Northcote Social Club. Website link for more info? elizabethrose.com.au THE MUSIC • 12TH MARCH 2014 • 43


eat/drink

SHOUT IT FROM THE ROOFTOP BARS Hurry up and make the most of drinking in the warm sun because before we know it, it’ll be winter.

NAKED IN THE SKY – 285 BRUNSWICK ST, FITZROY

SIGLO – 161 SPRING ST, MELBOURNE

Naked For Satan’s decision to go up is proof that rooftop bars don’t need skyscrapers for a jaw-dropping view. This is one of the few places to get a view over Fitzroy and surrounds (apart from the highrises of course) and the glass balconies ensure you won’t miss a thing. Also on the up is the food menu, which is a cut above what you get downstairs.

Weave your way through the banker-wankers and find a cosy spot in the Florentine-style rooftop to lap up the luxurious vibes of this Melbourne institution. Waiters in slick get-up serve drinks with a flourish, with delectable cocktails, bubbles and whiskeys the order of the day. You probably can’t afford to spend all night here but it’s worth dropping in for a taste of the good life.

LOOP ROOF – 23 MEYERS PLACE, MELBOURNE Loop, the bar with an art space and niche program of DJs and screenings, has created an equally unique rooftop experience. The drinks list includes a vodka-infused snow cone, seriously fresh cocktails and spiked iced tea while the food is perfect bar fare at perfect prices. The baubles strung overhead make it feel like this is Loop’s gift to Melbourne drinkers. You shouldn’t have!

LOOP ROOF

THE EMERSON – 143-145 COMMERCIAL RD, SOUTH YARRA This self-described adult’s playground has prime views of both the CBD and the bayside ‘burbs, along with plenty of room for sipping and nibbling. But, we won’t lie, a spot on one of The Emerson’s day beds may be in high demand. A Riviera-style balcony and white geometric details make this one of the plushest-feeling rooftop bars around.

CAPTAIN BAXTER – ST KILDA SEA BATHS, 10-18 JACKA BLVD, ST KILDA

LOOP ROOF

The nautical theme here runs deep (oh no we didn’t) but the views are so breathtaking that it makes perfect sense. The menu takes in all corners of the globe, with plenty of things to share, while the drinks list has plenty of twists on old favourites and cocktail pitchers. What a way to spend the afternoon.

HOT SPOT ST PAT’S DAY @ THE LAST JAR – 616 ELIZABETH ST, MELBOURNE The Drunken Poet’s big sister is now feeding Melburnians authentic Irish food. All the produce used in-house is fresh, locally sourced and in the tradition of an Irish farmhouse, The Last Jar makes as much as possible in house – churning the butter, baking the bread, smoking and curing the fish, making sausages and puddings and salting and smoking the bacon. On this Paddy’s Day, 17 Mar, they will be serving a full Irish breakfast from 11am till 3pm and on 18 Mar (recovery day!) from 12 noon till 5pm. thelastjar.com.au

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the guide vic.live@themusic.com.au

ALBUM FOCUS

SINGLE FOCUS It’s a single from the forthcoming debut album due out sometime this year.

LOUISE RUTKOWSKI Album title: Diary Of A Lost Girl Where did the title of your new album come from? From a film by G W Pabst, starring 1920s film icon Louise Brooks, who I love! It also fitted the overall atmosphere of the album. How many releases do you have now? This is my fifth album but first solo album. How long did it take to write/record? Written and recorded over seven years and brought to completion by a PledgeMusic campaign. Was anything in particular inspiring you during the

making? To have a solo album of my own co-written material, using my influences of Kate Bush, The Blue Nile and Peter Gabriel, to create an honest and intimate piece of work. What’s your favourite song on it? The Passing – it was the first song we wrote and is based on a true story. Will you do anything differently next time? Probably simplify my lyrics and to write in a more transparent, less abstract way! Less cinematic and more immediate, I think! Website link for more info? pledgemusic.com/projects/ louiserutkowskigig

What was inspiring you during the songs writing and recording? It has no direct influences musically. When setting up for rehearsal that got gate-crashed we wrote a song instead and it popped out like a new born but with slightly less gooey stuff.

TALES IN SPACE Answered by: Luke Bert Single title: All Messed Up What’s the song about? The song is about being in a relationship with someone oblivious to their actions and how they affect you. How long did it take to write/ record? The song was written and demoed at the same time and took only about two hours to knock out then followed by what seemed like an eternal ongoing recording process to tidy it up. Is this track from a forthcoming release/existing release?

TASTE TEST

DAN BRODIE The f irst record I bought with my own money was: Violent Femmes. They were so different to Duran Duran and all the other ‘80s shit on the radio. The record I put on when I’m really miserable is: Future Of The Left – Travels With Myself And Another. This band makes me so happy I just wanna cry. The best album to comedown to is: Rowland S Howard – Teenage Snuff Film. Although I don’t need to be coming down, I can be going sideways. The most surprising record in my collection is: Goatwhore – Blood For The Master. A

The record I’m loving right now is… Action! 15 Cult Movie Classics. This is a fantastic eclectic Mojo compilation containing John Barry, Clinic, Ricky Nelson, The Last Poets and Daniel Johnston amongst others. When and where are your next gigs? Deep Deep Love album launch at Northcote Social Club. Sunday 16 March (matinee show). Special Guest Alysia Manceau. Doors open 1.30pm. Website link for more info?: danbrodie.com.au

Do you play it differently live? Yes! Louder and faster! Haha. Actually that’s kinda true. The recording is mostly programmed drums and instruments but we play it with all real instruments live. When and where is your launch/next gig? 14 Mar, Ding Dong Lounge; 15 Mar, Torquay Hotel. Website link for more info? talesinspace.com

SINGLE FOCUS

upcoming digital and vinyl release, available through our babaganouj.bandcamp.com site.

couple of friends used to play me this amongst a whole bunch of other metal bands. Traditional New Orleans music – great stuff! The last thing I bought/ downloaded was: Neil Young – Le Noise; Courtney Barnett – The Double EP: A Sea Of Split Peas; Bob Dylan – Oh Mercy; Grimes – Visions, Kool Keith – Ultra-Octa-Doom.

We’ll like this song if we like... Paddle pops, skivvies and Flappy Bird.

BABAGANOUJ Answered by: Charles Sale Single title: Too Late For Love What’s the song about? It’s a song about the end of love, after a late night or after a long relationship. Or something. How long did it take to write/ record? The song fell together pretty quickly in my bedroom late one winey night, but the recording took a long time thanks to the weird drum setup - we recorded kick, snare and cymbals separately. Is this track from a forthcoming release/existing release? Too Late For Love is from our

What was inspiring you during the song’s writing and recording? Around that time I was listening to a lot of British bands for the first time, like My Bloody Valentine and The Boo Radleys. The Australian twee influence is also pretty strong I think! We’ll like this song if we like... Classic power pop and weird guitar bands like The HardOns - this song is inspired by their song Sorry. Do you play it differently live? We omit any of the layers of synthesisers, keyboards and weird acoustic instruments you can hear on the recording because it’s too hard to organise and too hard to carry. When and where is your launch/ next gig? 14 Mar, The Public Bar; 16 Mar, The Tote. Website link for more info? facebook.com/thenouj THE MUSIC • 12TH MARCH 2014 • 45


the guide vic.live@themusic.com.au

FRONTLASH

LIVE THIS WEEK

SISTER ACT

The Casket Girls are where it’s at: Julee Cruise-esque vocals over sparse beats with equal parts sibling wonderment thanks to the trio comprising sisters Phaedra and Elsa Greene.

DANCE-OFF And we thought the US So You Think You Can Dance routine to Blurred Lines was a corker. When SYTYCD Australia judge Shannon Holtzapffel joined the top 18 for the same Robin Thicke song last Sunday it was off the chart!

HAPPY FEET If you’re a keen knitter, why not knit sweaters for penguins? When a penguin is caught in an oil spill they swallow the toxic substance in an attempt to clean it off, so your handiwork can save penguin lives. Head to penguinfoundation. org.au for the pattern.

IRISH LUCK

ALL THAT JAZZ

FALLING TREES

The Drunken Poet has been representing what an Irish pub should actually be like for over seven years. Head down and celebrate with them on St Patrick’s Day, with the sounds of The Beguinness and Gallie (pictured) on 17 Mar.

Melbourne’s longest running jazz residency returns to The Commune. Now in its tenth year, the John Montesante Quintet (pictured) continues to display the finest jazz artists in town every week. On 13 Mar they’re joined by May Johnston.

The thumping rhythms and misty mountain melodies of The Timbers (pictured) cast you away to the smoky, melting pot of roots, folk, and Celtic bushman brass punk. They play The Bridge Hotel (Castlemaine) on 14 Mar.

ROUND & ROUND

SPECIAL OCCASIONS

LARGE RESURRECTION

Purveyors of the local techno scene, Dave Pham and Sam McEwin along with Andre Le Vogue and Jani HO offer driving electronic rhythms and sonic manipulations at Loop’s Circular on 15 Mar. Visuals to suit will accompany these sets.

On 14 Mar, catch Soft Gold at Yarra Hotel (Abbotsford), who’ll be celebrating the release of their debut album with a night of musical delights. They’re joined by good buddy Suzannah Espie and the fabulous Terry McCarthy Special.

Hitting Reverence Hotel on 15 Mar with their new 7” Cleansed In Blood/Reborn In Sin, Colossus are revering the roots of their blackened sound. Hardcore heavyweights Outsiders Code, old-school grind outfit Internal Rot and Born Free support.

TYRANNICAL GOVERNMENT

COUNTRY LIGHTS

TYRES AND SHOES

After another 30-week stint of weekly music, Justice & Kaos (pictured) cap off The Home IndVasian 2 Series with a wrap party at Evelyn Hotel on 14 Mar. They’ll perform HI2 music for the first time live as well as select favorites from the original series.

Acoustic grunge-rocker Parmy Dhillon (pictured) takes his new EP Hollywood Or Home to stages all across Victoria in a unique live show, having developed his raw, honest sound over several years. He plays at Overlander Hotel (Shepparton) on 14 Mar.

What demarcates UK artist Blair Dunlop (pictured) is his ability to craft deceptively simple songs with an emotional poignancy. He plays at Spotted Mallard on 12 Mar with Irish songwriter Lisa O’Neill.

ALL OF YOUSE

BOXY VOX

LOVELY ANGUISH

With a punchy back-line and sidestepping guitar melodies, You Beauty’s debut album, Jersey Flegg is a pub-rock opera about life grinding you into the baked earth of a footy pitch. It launches at Boney on 13 Mar with You Yangs and Mighty Boys.

The wonderful Sally Dastey brings her sublime voice to Yarra Hotel (Abbotsford) on 13 Mar with her trusty accordionwielding sidekick, Squeezebox Wally. This will be a welcome return and a great chance to hear them run through some old faves.

Armed with new single Spain Is On A Roll, local rock trio Heads Of Charm hit The Public Bar on 13 Mar with Shaking Hell and Loobs. This follows a live ‘formative five’ interview on The Golden Age of Piracy show on Triple R last week.

BACKLASH PLANT THE SEED

NOOOooooooo! Have you seen the line-up for Nick Cave & The Bad Seeds’ upcoming US tour? Warpaint, Reggie Watts, Mark Lanegan, Nicole Atkins, Kurt Vile & The Violators and Devendra Banhart. Bring that shit Down Under!

SNACK ATTACK A snake ate a crocodile after an “epic fight” in northern Queensland? Too brutal to Google.

FESTIVAL OVERLOAD Why, oh why must there be three Victorian festivals in the one weekend? We wanna experience Golden Plains, Future Music Festival AND Port Fairy Folk Festival but it just ain’t possible unless we clone ourselves. 46 • THE MUSIC • 12TH MARCH 2014

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the guide vic.live@themusic.com.au

LIVE THIS WEEK

THE RED SCARE

STRINGS OF SNOW

SHARP HORIZON

From the steppes of Mongolia, via Beijing, comes Hanggai (pictured), blending traditional music and upbeat rock. They play at Brunswick Town Hall on 13 Mar as part of Brunswick Music Festival with local Russiangypsy outfit VulgarGrad.

With the best of American roots, swing, jazz, folk and bluegrass favourites the Alaska String Band (pictured) play at Mechanics Institute Performing Arts Centre (Brunswick) on 13 Mar with an impressive collection of acoustic stringed instruments.

A fringe-perfect, ‘60s garagepunk and psych-rock outfit brought to you from the bowels of Geelong, five-piece The Frowning Clouds (pictured) showcase their new album at The Workers Club on 15 Mar. They’re joined by Contrast and Velcro.

SUNNY GOLD

TAKING OFF

SIBERIAN WINTER

Four-time Golden Guitar nominee Paul Costa headlines this year’s SunFest (Sunbury), rockin’ the night away after the festival fireworks on 15 Mar. This enigmatic country performer will play from his latest hard-hitting album, plus recent single Bad Boy.

After gigging hard around the Melbourne scene, the middle point between the past and the future, neo-soul-funk sixpiece Up Up Away launch their debut EP Good Advice at The Curtin on 14 Mar. Echo Drama and The Groves support.

New rocking Melbourne threepiece Reckless June will be playing their debut headlining show at The Curtin on 16 Mar. They’ll be supported by various great local rock acts My Band, Mama’s Exiles, Nevermind as well as Only Aliens.

LAYOVER IN SPACE

SOUTHERN MEADOW

VIRGIN FOREST

Fresh from a sold out show celebrating LA’s Whiskey-A-GoGo’s 50th anniversary, charismatic rockers Martha Davis & The Motels (pictured) finally returns to Aus. She plays at Thornbury Theatre on 15 Mar and Flying Saucer Club on 16 Mar.

Orchestral-folk artist Georgia Fields (pictured) returns to The Toff In Town on 16 Mar with her six-piece band in tow, showcasing part lo-fi bounce, part dream-pop swoon. Hypnotic, Berlin-based folktronica act Phia and darkly dreamy Jimmy Tait support.

Canada’s Jungal (pictured) sisterhood are renowned for delivering punchy melodies, powerful grooves and some genuine girl power to their audiences. They showcase their album Leave My Head at Retreat Hotel on 13 Mar..

RAISED TIMBER

DEATH & DESTRUCTION

STREET MUSIC

Making stories into abstract, upbeat folk songs, Tim Woodz is an engaging oddball performer who’s raised more eyebrows than a facial hair farm. He plays at Wesley Anne on 16 Mar with Isobel Caldwell, a calming 17-year-old singer-songwriter.

A true spectacle of destructive and violent heavy metal, Bloodshed At The Bendigo takes place on 14 Mar. Featuring In Malice’s Wake, Harlott, Maniaxe and Mason, it celebrates the die-hard attitude of the local metal community.

At The Astor Theatre on 16 Mar, retro jazzy ten-piece Cairo Club Orchestra bring alive the ‘30s-built cinema’s art-deco design. These harmonious purveyors of ‘20s-, ‘30s- and ‘40s-era sounds perform a set preceding a screening of 42nd Street.

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THIS WEEK’S RELEASES… ARCHITECTS Lost Forever//Lost Together UNFD LUCA BRASI By A Thread Poison City THE WAR ON DRUGS Lost In The Dream Secretly Canadian/Inertia SIMONE FELICE Strangers Warner THE MUSIC • 12TH MARCH 2014 • 47


opinion WAKE THE DEAD

ADAMANTIUM WOLF

OG FLAVAS

PUNK AND HARDCORE WITH SARAH PETCHELL

METAL, HARDCORE AND PUNK WITH LOCHLAN WATT

URBAN AND R&B NEWS WITH CYCLONE

If you look at my list of my top ten favourite bands, somewhere between three and seven sits two giants – Converge and Every Time I Die (Converge sits slightly higher, but if you’ve been following this column since I started writing it, you would know that about me already). We know from simple laws of physics that when two objects collide there’s usually a big bang of some sort so when my brain was greeted by the news that Every Time I Die had entered GodCity Studio to record their new album with none other than Converge’s Mr Kurt Ballou, then the possibilities of the size of that bang became endless. And judging from the reaction on social media, my reaction was not isolated. This is the producer behind some of the best heavy music records of the last ten years, from bands like Champion, Modern Life Is War, Rise & Fall, Kvelertak, Black Breath, Trap Them… And this is the band that possibly popularised Southern hardcore a few years back (a trend I’m glad kinda died) then returned with some of the best material in their entire discography (2012’s Ex Lives was, in my opinion, the best thing they had done since Gutter Phenomenon back in 2005). Ladies and gentlemen, I think we have an early contender for album of 2014 (if it gets released before the end of the year), and that’s without even having heard it. It does have some strong competition from the new Architects and Comeback Kid records, but my faith holds strong in what will inevitably be an excellent result. wakethedead@themusic.com.au

EVERY TIME I DIE

48 • THE MUSIC • 12TH MARCH 2014

KYLESA

The crazy good, insanely fun, and totally insane times of Soundwave Festival are over for yet another year. Following on from my stint back up in Brisbane, Melbourne was then subjected to a near solid week of non-stop rock royalty. My working week was hectic and about five times as busy as usual… members of Clutch, The Dillinger Escape Plan, Gojira, and Devil You Know all dropped by the studio to record segments for my radio show, with members of Pennywise, Trash Talk, A Day To Remember, The Ghost Inside, Letlive. and more also showing their faces around the ABC for other programs. There’s no other time of year quite like it! It was my first experience at Melbourne Soundwave. After not getting a great deal of sleep after The Dillinger Escape Plan, Glassjaw and Dir En Grey sideshow the night before, things were a little dusty but an excellent time was still had. My state had absolutely nothing on that of David Brockie of Gwar, however, who provided me with one of the most entertaining and completely off-the-rails interviews I’ve ever been a part of. The highlight for me was not only getting to meet the legendary Philip H Anselmo, but when he proved his love for the best Australian metal on offer once more by donning a King Parrot shirt before inviting the band onstage to play the Down hit Bury Me In Smoke. That, and King Parrot actually getting to play Soundwave and proving once and for all just how many people are getting behind them with one of the biggest crowds of the day. Shortly after catching the rear end of another limitless set from The Dillinger Escape Plan, the

guys from Thy Art Is Murder asked if I wanted to jump in their van and tag along to Adelaide. I was pretty drunk by then, so without any plans off to Adelaide I went. It was also my first Adelaide festival experience, and it left a pretty good impression. Despite the fact that the band rooms were literally the prison cells in the old Adelaide Gaol, and that there were some serious looking guard dogs patrolling the fences for jumpers, the whole environment felt a bit more relaxed… I even saw a couple of cops cracking a smile while watching gothic metalcore group The Defiled. Perhaps the fullstrength beer that was allowed to flow freely into punters and be drunk wherever one felt like it had something to do with it. If Adelaide can handle it, why can’t the rest of Australia? As expected, pioneering American metalcore group Misery Signals has officially announced their return for what will be their fourth tour of Australia this May. Sydney band Stories will support nationally. Self-described as ‘heroic fantasy power metal’, UK group Gloryhammer is heading down under for the very first time for a run of shows with Brisbane beer-swilling pirates Lagerstein through April and May. Still to come to our shores for March are Israeli melodic metal group Orphaned Land, heavy post-rockers Caspian, the mythological occult metal darkness of Absu, Swedish death metal pioneers Dark Tranquillity, the mathcore insanity of Iwrestledabearonce, DIY pop punks RVIVR, and the Savannah sludge of Kylesa on their rescheduled headline tour.

Neneh Cherry pioneered (alt) hip hop soul in the late ‘80s with her classic debut Raw Like Sushi. Cherry was born in Sweden, settling as a teen in the UK, where she initially gravitated to the punk scene. However, she presaged not only textural street soul, but also Lauryn Hill and M.I.A., transitioning between rapping and singing, plus addressing feminist and anti-materialist concerns. Later Cherry veered off into trip hop, Massive Attack long-time associates. Still, The Notorious B.I.G. rapped on her Buddy X remix. Cherry last presented 1996’s boho Man, entailing the sublime 7 Seconds with Senegalese star Youssou N’Dour. Weirdly, her back catalogue has seen few reissues; there’s no ‘best of ’! In the 2000s Cherry, a reluctant celebrity DJ, guested on Groove Armada’s definitive Love Box. She’s had several side-projects. Now Cherry is back with the buzzy Blank Project, which underscores her status as an eternally cool reinventor. It’s part electronic jazz, part avant R&B – and based on synths and live drums. Cherry teamed with IDM producer Kieran ‘Four Tet’ Hebden and London musos RocketNumberNine in New York. Hebden’s subjective ‘techno’ can be like gluten-free bread: ‘good’ and wholesome yet unappetising. But, somehow, his partnering with Cherry works, Blank Project being abstract, yes, but also raw, melodic and dramatic. The LP, mortality its dominant theme, opens with the ultra-spare and percussive Across The Water. The highlight is Out Of The Black, a duet with another Swedish rebel – Robyn. @therealcyclone

NENEH CHERRY


opinion GOOD TIMING

DANCE MOVES

ROOTS DOWN

A COMICS GUIDE TO COMEDY WITH KIRSTEN LAW

NEW CURRENTS WITH TIM FINNEY

BLUES ‘N’ ROOTS WITH DAN CONDON

ROHAN DESAI

You know, I’ll be really happy when this whole “Comedy Festival” thing starts, because this column is going to get super… relevant. At least, slightly more relevant than “the Academy” considers comedy films to be. MICF is apparently marketing itself as “the antidote to ‘dad jokes’”. This is flawed marketing for two reasons. Reason the first: dad jokes are not born dad jokes. They have to start somewhere, and I’m guessing the current crop of dad jokes might have begun life in a suburban MICF venue in 1998. Reason the second: Full Frontal made fun of dad jokes in the 1990s very successfully (remember “Number 283: I feel like an ice cream/Funny you don’t look like one”?). And every comedian worth his or her salt knows that anything Full Frontal did is off-limits. A more exciting part of this year’s MICF is the fact that Raw Comedy had heats in India! Winner Rohan Desai will compete at the Australian national final in Melbourne, on Sunday 13 April at the Melbourne Town Hall. Last week, I had occasion to visit a VIP room at the ABC’s Elsternwick studios, where it was heartening to see copies of The Music splayed out on the table, alongside a packet of Arnott’s Favourites. I think even Tony A would be impressed with the ABC getting their “exorbitant spending” under control – at least in the catering stakes.

R’n’’b singer Ne-Yo has given away his new EP 3 Simple Rules for free, and sensible people are calling it a return to form, or near enough. “Sensible people” means, basically, people who recognise that the guy’s first three albums comprise one of the most rewarding oeuvres of any (secret) singersongwriter of the past decade. This may surprise those who mainly know Ne-Yo for the thumping club-pop of Closer or his hooks on Pitbull’s Give Me Everything and David Guetta’s Play Hard, but that disparity captures a contradiction at the heart of contemporary r’n’b, a tug of war between what r’n’b typically is – diagnostic relationship music in a variety of forms – and the solipsistic hedonism that the charts currently demand of it. As if in reaction to those demands, 3 Simple Rules sounds defiantly domestic. My favourite track is Bigger Than This, a heart-tugging sci-fi ballad about a longterm relationship whose enduring strength is obscured by petty squabbles. If there’s a word to describe this vibe, it’s adult, and it stands in stark contradistinction to the ‘forever young’ party mode that typifies current dancer’n’b. In Give Me Everything, Ne-Yo justified his desire for instant gratification on the grounds that “we might not get tomorrow”. But much of his own work is situated precisely in those endless tomorrows, the days after the first spark, when maintaining the heat begins to seem like hard work.

The examination of those tomorrows provides the foundation for Babyface and Toni Braxton’s new joint effort, Love, Marriage and Divorce. Even the title – part blunt description, part tracing of a narrative arc – points to the album’s broad focus, the lens pulling back to capture not just the first flush of desire, but also the first bitter taste of disappointment, acrimony, regret and wistful remembering. Babyface, of course, was the king of the ballad for about a decade expanse from the late ‘80s through to the late ‘90s, churning out flawless classics (TLC’s Diggin’ On You) and turgid mush (Eric Clapton’s Change The World) with equal flair. The husky-voiced Toni, meanwhile, was close to being his greatest muse, in particular on 1996’s peerlessly sexy You’re Making Me High. Their joining of forces here feels like a throwback, a nostalgic window on a time when r’n’b’s geographical heart was the bedroom rather than the nightclub. The closest the album comes to sounding like 2013 is on the disco stomper Heart Attack, which comes on like a middle-aged riposte to the post-Guetta sound, but I prefer the more subdued variation offered by Hurt You, a crying at the discotheque psychodrama in which Toni cheats on Babyface as payback for a prior affair and they both, somewhat disingenuously, declare, “God knows I never meant to hurt you.” Self-deceiving? Sure, but lying to yourself is a very adult thing to do.

BABYFACE AND TONI BRAXTON

MIA DYSON

There will be a new Mia Dyson record released at some stage this year, her fifth, and while it doesn’t yet have a name, we did get to hear the first track from it last week. Dyson has been one of our finest blues/alt-rock crossover acts for a decade now, but this latest single – called When We’re Older – is possibly the best thing that she has ever done. It’s got a lot of the rollicking Americana we’ve come to expect from artists like Lucinda Williams and Dyson’s voice is sounding better than ever; if the rest of her fifth album is as good as this then we’re in for a treat. You can head to her PledgeMusic page to pre-order the record and help her raise enough money to release the record independently. If you’re not familiar with Aussie blues masters The Black Sorrows then Joe Camilleri has offered you a hell of a way to get acquainted, with Nutcracker Blues being collated and offered for free online. The record is a bunch of Camilleri’s favourite bluesy songs – his brand of blues is far from traditional, but it is deeply personal and there’s a lot be said for that. You can access the record for nothing – or you can choose to throw in a few shekels if you so wish – at the band’s Bandcamp site theblacksorrows. bandcamp.com. The Black Sorrows play Bluesfest on Saturday 19 April. THE MUSIC • 12TH MARCH 2014 • 49


opinion HOWZAT! LOCAL MUSIC BY JEFF JENKINS

GOLD CLASS Perfect, appropriate album titles: AC/DC’s Let There Be Rock, Skyhooks’ Living In The ‘70s, Robbie Williams’ The Ego Has Landed, Devo’s Q: Are We Not Men? A: We Are Devo! Add Marcel Borrack and Sarah Carroll (Soft Gold)’s eponymous album to the list. The title is a delightful description of the contents; this is a collection of brilliant, breezy folk, reminiscent of Simon & Garfunkel and The Everly Brothers. “The idea was to keep it simple,” Borrack explains, “documenting the sound of two people playing and singing together.” The songs sound sweet, the harmonies are sublime, but the album has an edge. It includes a song called Oh Janette, which is dedicated to the wife of former Prime Minister John Howard. Carroll– the Ukulele Queen of the Bellarine – recently posted to Marcel on Facebook: “I came up with this nifty limerick

50 • THE MUSIC • 12TH MARCH 2014

which I thought we could use to introduce Oh Janette at our gigs: An ode to one Mrs John Howard, who was wed to Australia’s worst coward/An absolute cunt, if I may be so blunt/Who left us, as a nation, deflowered.” “Sarah just rules!” Borrack smiles. “She’s funny, talented and awesome. I think we enjoy working together so much because we joke around and laugh at each other a lot, but when we get up to play, we feel totally secure and supported by each other.” Any plans to write Oh Margie for Tony Abbott’s wife? “I did think about trying to update it,” Borrack says, “but I remembered the lesson Elton John taught us about rewrites just in time. I left well alone.” Borrack and Carroll share lead vocals on Soft Gold, which features sweet vignettes about English metal, Toto’s Bobby Kimball and German director Werner Herzog, as well as a song dedicated to Tom Meagher, whose wife, Jill, was tragically

SOFT GOLD

killed in Brunswick. Soft Gold is launched on Friday (14 Mar) at the Yarra Hotel and 21 Mar at the Piping Hot Chicken Shop in Ocean Grove. As for the apt album title, it comes from The Junes’ bass player, Dougie Bull. “When [The Junes] went with something else, Sarah loved it so much she thought we could use it,” Borrack says. “It seemed to sum up what we do, though I still don’t really know what it means.”

Gurrumul, Kavisha Mazzella’s Riturnella shows you don’t have to understand the words to be moved by the music. These are passionate songs – songs of love and betrayal, “good for dining and seduction”, according to Kavisha – and a powerful tribute to a rich musical heritage. “It’s like a window into the world of my ancestors,” she says.

THAT’S AMORE

HOT LINE

It’s one of 2014’s most unexpected surprises – an album of traditional Italian songs by a Melbourne singer-songwriter. Like

“Holding us fast, though they said it wouldn’t last, are the sweet sounds of our own melody.” – Marcel Borrack & Sarah Carroll, Quick Steps.


the guide vic.gigguide@themusic.com.au Ever Rest + The City At Night + Oh Wanderer + Awaiting Departure + To Light Atlantis: The Bendigo, Collingwood

THE MUSIC PRESENTS Billy Bragg: 13 Mar Palais Theatre Melbourne Ska Orchestra: 15 Mar The Hi-Fi Jurassic 5: 20 & 21 Mar Palace Theatre Stonefield: 20 Mar Village Green Hotel Mulgrave; 21 Mar Hallam Hotel; 22 Mar Theatre Royal Castlemaine; 2 May The Prince Caspian: 21 Mar Evelyn Hotel Absu: 21 Mar The Hi-Fi Cloud Control: 28 Mar Penny Black & The Prince; 29 Beach Shack Sorrento, Portsea Hotel, The Westernport Hotel San Remo; 30 Lorne Hotel & Torquay Hotel

Robben Ford: 18 Apr Corner Hotel Suzanne Vega: 19 Apr Recital Centre

North Mississippi Allstars: 20 Apr Corner Hotel Trixie Whitley: 20 Apr Northcote Social Club Buddy Guy, Charlie Musselwhite, The James Cotton Blues Band: 21 Apr Palais Theatre Aaron Neville, Dr John & The Nite Trippers: 21 Apr Hamer Hall

Ella Hooper: 4 Apr Northcote Social Club The Jungle Giants: 4, 5 Apr Corner Hotel

Devon Allman, Gregg Allman, Gov’t Mule: 23 Apr Forum Theatre

Loon Lake: 8 Apr Corner Hotel Residual: 10 Apr Beav’s Bar Geelong; 12 The Loft Warrnambool; 27 The Toff In Town Sally Seltmann: 11 Apr Caravan Music Club; 13 Kelvin Club The Magic Band, The Grandmothers Of Invention: 11 Apr Corner Hotel Allen Stone: 12 Apr Corner Hotel Bam Bam: 12 Apr Northcote Social Club Calling All Cars: 12 Apr Waterfront Geelong; 17 Easter Festival Bendigo; 18 Mynt Lounge Werribee; 19 The Loft Warrnambool; 20 Torquay Hotel; 23 Karova Lounge Ballarat; 24 Corner Hotel

The Wailers, Sly & Robbie & The Taxi Gang: 23 Apr 170 Russell Steve Earle & The Dukes, Kasey Chambers: 24 Apr Forum Theatre Booker T Jones, Valerie June: 25 Apr Corner Hotel Ozomatli: 26 Apr Corner Hotel Harmony: 26 Apr Howler

Sing Me The Songs That Say I Love You: A Concert fr Kate McGarrigle + Bec Rigby (Harpoons) + Dale Packard (New Gods): Howler, Brunswick Oz Podcasts LIVE! + Various Artists: Loop (6.30pm), Melbourne Brunswick Music Festival feat. Love Over Gold: Pieta Brown & Lucie Thorne: Mechanics Institute Performing Arts Centre, Brunswick

Simply Acoustic: Wesley Anne (Band Room), Northcote

THU 13

The Citradels + Spirit Valley + The Grand Rapids + Luna Ghost: The Toff In Town, Melbourne Slow Club Residency ft. Manta Five + The Attics + Magic America: The Tote, Collingwood

Midnight Caller + Nervous + Fraudband + The D-Grades: Bar Open, Fitzroy

The Winter Suns + Woodlock + Sarah Stone: The Workers Club, Fitzroy

You Beauty + The You Yangs + The Mighty Boys: Boney, Melbourne

Anna’s Go-Go Academy: Victoria Hotel, Brunswick

Brunswick Music Festival feat. Hanggai: Brunswick Town Hall, Brunswick

Tim Guy: Wesley Anne (Front Bar ), Northcote Stefan Grossman + Skip Sail: Wesley Anne (Band Room), Northcote

The Jezabels: 2 May Palais Theatre

Cat Canteri + Little Wise: Retreat Hotel, Brunswick

The Impossible No Goods: Yah Yah’s, Fitzroy

Groovin The Moo: 3 May Prince Of Wales Showground Bendigo

The Acoustic Sessions feat Daniel Jenkin + Toni Watson: Revolver Upstairs (7pm), Prahran

The Rolling Perpetual Groove Show: Ding Dong Lounge, Melbourne

Arctic Monkeys: 9 May Rod Laver Arena

Kingswood: 24 May The Hi-Fi

Rewind - The Aretha Franklin Songbook with + Christine Anu: Bennetts Lane, Melbourne

Neil Finn + Joshua James: Hamer Hall, Melbourne

Heads Of Charm + Shaking Hell + Loobs: The Public Bar, North Melbourne

The Australian Bee Gees Show: Wesley Performing Arts Centre, Horsham

Jake Bugg: 16, 17 Apr Palace Theatre

Instore Ft. + Blair Dunlop: Basement Discs, Melbourne

Trivia: Victoria Hotel (7.30pm), Brunswick

The Stray Sisters + Ruby Boots: Corner Hotel, Richmond

Frente: 22 & 23 May Arts Centre; 24 Theatre Royal Castlemaine

Seattle Fix + Aircrafte + The Rollercanes: Bar Open, Fitzroy

My Private Dinosaur + Gus Rigby: The Workers Club, Fitzroy

Charles Jenkins & the Zhivagos + Rob Snarski: Flying Saucer Club, Elsternwick

Gretchen Wilson + Morgan Evans: Palais Theatre, St Kilda

Seun Kuti & Egypt 80: 16 Apr Recital Centre

WED 12

Swing Patrol + Various Artists: First Floor, Fitzroy

Prince Thursdays: Live & Acoustic + Various Artists: The Prince (Public Bar), St Kilda

2014 Australia Jazz Bell Awards: 1 May Regent Theatre

DZ Deathrays: 15 May Karova Lounge, Ballarat; 16 Corner Hotel

KC & The Sunshine Band, WAR: 18 Apr Hamer Hall

Jimmy Hawk + Lalic: The Tote (Front Bar), Collingwood

Gesaffelstein + Brodinski: The Prince, St Kilda

Kylie Auldist & The Glenroy All Stars: Cherry Bar, Melbourne

Morcheeba, Chali 2na: 16 Apr Corner Hotel

India.Arie, Joss Stone: 17 Apr Palais Theatre

Trivia: Edinburgh Castle Hotel (8pm), Brunswick

Benny Walker: The Post Office Hotel, Coburg

Open Swimmer + Hello Satellites + The Weeping Willows + Little Rabbit + more: Old Bar, Fitzroy

Beth Hart: 15 Apr Corner Hotel

Jimmie Vaughan, Nikki Hill: 17 Apr Corner Hotel

GIG OF THE WEEK LOS CORONAS: 12 MAR CARAVAN MUSIC CLUB; 14 MAR CORNER HOTEL

Spacecho + Roadragers + Number One Jones + Monsteria: The Espy (Basement), St Kilda

KT Tunstall: 29 Apr Recital Centre

Bliss N Eso: 10 May Ballarat Showgrounds; 15 Bendigo Showgrounds; 16 Flemington Racecourse

The Soul Rebels: 15 Apr Recital Centre

Alistair Burns + Kelly Day: The Drunken Poet, Melbourne

Seth Lakeman: 19 Apr Thornbury Theatre

Larry Graham & Graham Central Station: 23 Apr Corner Hotel

Monster Magnet: 6 Apr 170 Russell

Peter Dickybird + The Naysayers + Vision Street + Store Bought Cool: The Brunswick Hotel (7.30pm), Brunswick

Free Your Mind ft Northlane: 31 May, 1 Jun The Hi-Fi The Beards: 16 Jul Karova Lounge Ballarat; 17 Barwon Club Geelong; 18 170 Russell; 19 Theatre Royal Castlemaine; 20 Spirit Bar & Lounge Traralgon

Brunswick Music Festival/ Funny Folk feat. The Kransky Sisters + Mic Conway’s National Junk Band: Brunswick Town Hall, Brunswick Don Fernando + The Underhanded + The Loveless: Cherry Bar, Melbourne Pokey LaFarge + Mustered Courage: Corner Hotel, Richmond

Suicide Girls: Billboard The Venue, Melbourne

Mo’Soul + Amy Winehouse Tribute Band + Zoe K: Ding Dong Lounge, Melbourne

I, A Man + Sleep Decade: Boney, Melbourne

Dizzy’s Big Band + Peter Hearne: Dizzy’s Jazz Club, Richmond

The Dinner Set feat. Cazeaux Oslo: Revolver Upstairs, Prahran Hotstepper + Tropical Shakedown + more: Section 8, Melbourne Brunswick Music Festival feat Blair Dunlop + Lisa O’Neill: Spotted Mallard, Brunswick Justin Johnson + Swamplands: Spotted Mallard, Brunswick Open Mic Night + Various Artists: The Brunswick Hotel, Brunswick

Animaux + Woody Pitney + Paradise: Evelyn Hotel, Fitzroy Lorraine + Maeflower + Stevie & The Sleepers: Grace Darling Hotel (8.30pm), Collingwood Neil Finn + Joshua James: Hamer Hall, Melbourne Liam Gerner: Labour In Vain, Fitzroy Brunswick Music Festival feat. Alaska String Band: Mechanics Institute Performing Arts Centre, Brunswick

Pete Murray + Patrick James: The Capital, Bendigo Performing Arts Centre, Bendigo

Tom Richardson + Justin Carter: Northcote Social Club, Northcote

Verdaine + New Birds: The Curtin, Carlton

Sailors & Swine + Acts Revelations + Dan Trolley: Old Bar, Fitzroy

Wine, Whiskey, Women + Jenny Biddle + Anna Cordell: The Drunken Poet, Melbourne Collage feat. Jordan Walker + Jehan + Since We Kissed + The Wizard Franchise: The Espy (Front Bar), St Kilda Driving South + Zevon & The Werewolves of Melbourne: The Prince (Public Bar), St Kilda

Billy Bragg + Courtney Barnett: Palais Theatre, St Kilda

Sally Dastey + Squeezebox Wally: Yarra Hotel, Abbotsford

FRI 14

Lamarama + Tankt: Bar Open, Fitzroy

Gay Paris: Barwon Club, South Geelong Rewind - The Aretha Franklin Songbook with + Christine Anu: Bennetts Lane, Melbourne Rat & Co + Solaires + Assad + Total Giovani (DJ Set) + more: Boney (8pm), Melbourne Brunswick Music Festival feat. David Bridie + Frank Yamma: Brunswick Town Hall, Brunswick Brunswick Music Festival feat. + La Voce Della Luna Choir: Brunswick Uniting Church, Brunswick

Jungal + Younger Dryas + Faye Blais: Retreat Hotel, Brunswick

Daryl Braithwaite + Imogen Brough: Caravan Music Club, Oakleigh

Plugged In Thursdays with Earls Of Lisbon + Garden Party + Stonefox: Revolver Upstairs, Prahran

Martha Davis & The Motels: Chelsea Heights Hotel, Chelsea Heights

Justin Bernasconi + Pete Fidler: The Standard Hotel, Fitzroy

INBTWN ft. Dizz 1 + JPS + Nam + Rintrah + A13: Section 8, Melbourne

Jon Cleary & The Absolute Monster Gentlemen: The Substation, Newport

Rick Webster + Little One: Some Velvet Morning, Clifton Hill

Arthur Penn & The Funky Ten + Thando + Crooks & Queens: The Toff In Town, Melbourne

Brunswick Music Festival feat. Rory McLeod: Spotted Mallard, Brunswick

Slow Club feat. Acoustic Foxx + Gondola Kid: The Tote, Collingwood

Live N’ Cookin Sessions + Pronto + DJ Maggot: The B.East, Brunswick East

Los Coronas + Mesa Cosa + Dirty York: Corner Hotel, Richmond Pierce Brothers + Tales In Space + Gena Rose Bruce: Ding Dong Lounge, Melbourne Sweethead: Ding Dong Lounge (Late show), Melbourne DJ Steely Ann + The Houndlings: Edinburgh Castle Hotel (7pm), Brunswick Justice & Kaos + Ry Fitzy: Evelyn Hotel, Fitzroy

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 12TH MARCH 2014 • 51


the guide vic.gigguide@themusic.com.au The Mercurials: Famous Blue Raincoat, South Kingsville

Tyrone Noonan: Spirit Bar & Lounge, Traralgon

King Lucho + Mr Spkr: Edinburgh Castle Hotel (12pm), Brunswick

Chris Wilson + Band: Flying Saucer Club, Elsternwick

Hardcore At The Bendi+Headless Death + Removalist + Hailgun + Graves + Counterattack + Term Four: The Bendigo, Collingwood

Better Than The Wizards + Kingston Crown + Dave Adams Threesome + The Weary: Evelyn Hotel, Fitzroy

Disco Puppets + Sean Peters & The Motherfucking Boogaloo Allstars + Big Volcano + Shut Up Jackson: The Brunswick Hotel (9pm), Brunswick

Yirrmal And The Yolngu Boys + Kutcha Edwards + The Flybz + Jacky Jacky & The Blackies + more: Fairfield Amphitheatre, Fairfield

Southbound Snake Charmers + Hemy & Marshall + Evanjewel: The Brunswick Hotel (5pm), Brunswick

Rob Vincs + James Wakeling: Famous Blue Raincoat (3pm), South Kingsville

Dead + Cuntz + Halt Ever + Mutton: Grace Darling Hotel (9pm), Collingwood Alan Davies: Hamer Hall, Melbourne Brunswick Music Festival feat. Fourplay String Quartet: Mechanics Institute Performing Arts Centre, Brunswick Einsteins Toyboys + Pure Blonde: Musicland, Fawkner Melbourne Now + Brighter Later: National Gallery of Victoria, Southbank Mareena: New Guernica, Melbourne Palmarama feat. Palms + The Gooch Palms + The Living Eyes + Pronto: Northcote Social Club, Northcote Lands + House of Laurence + The Laughing Leaves + Manta Five + DJ Fee Fee: Old Bar, Fitzroy Alex Landragin: Open Studio, Northcote Parmy Dhillon: Overlander Hotel/Motel, Shepparton The Fixators: Penny Black, Brunswick

I, A MAN: 12 MAR BONEY Watts On + Various Artists: The Prince (Public Bar), St Kilda The Spazzys + Babaganouj + Velcro + Various DJs: The Public Bar, North Melbourne Drayfus’ Epiphany + Wolfpack + Drifter + Inedia: The Tote, Collingwood Electric Sea Spider + Martin King + Blossoms + Mgkrp + Daixie + more: The Workers Club, Fitzroy

Queens Of The Stone Age + Nine Inch Nails + Brody Dalle: Rod Laver Arena, Melbourne The Definitive Music of Tool with + Third Eye: Rubix The Venue, Brunswick The Public Opinion Afro Orchestra + Manchild + Billy Hoyle + more: Section 8, Melbourne 19th Century Strongmen + Louis Spoils: Some Velvet Morning, Clifton Hill Brunswick Music Festival feat. The Royal Jellies + Aluka: Spotted Mallard, Brunswick In Malice’s Wake + Harlott + Maniaxe + Mason: The Bendigo, Collingwood Poison Fish + Brat Farrar + Tang! + Tequila Mockingbird: The Brunswick Hotel (8pm), Brunswick Traditional Irish Music Sessions + Dan Bourke & Friends: The Drunken Poet, Melbourne Tash Sultana: The Drunken Poet, Melbourne Driven feat. Hemera + Rejuvenate + One Day Maybe + Spook The Banshee + Avenues End: The Espy (Basement), St Kilda Black Diamond + Special Guests: The Espy (Gershwin Room), St Kilda Intoxica + Empat Lima + Escar Go Go: The Luwow (9pm), Fitzroy

Pete Murray + Patrick James: Forum Theatre, Melbourne

My Echo + Jonesez + Atlantis Awaits: The Espy (Front Bar), St Kilda

Worm Crown + Teenage Libido + Mutton: Grace Darling Hotel (Basement / 9pm), Collingwood

The Jacks + Evil Twin + The Dan Dans: Yah Yah’s, Fitzroy Prepared Like A Bride: Youth Resources Centre (All Ages), Hoppers Crossing

SAT 15

Christopher Coleman Collective + Marlon Williams + Melody Pool: Baby Black Cafe, Bacchus Marsh Taste Of Indie Collective feat. The Solicitors + One and the Same + Ashbury Medicine Show: Bar 291, Brunswick Sudamerican Rockers feat. Oscar Jimenez: Bar Open, Fitzroy King Of The North: Barwon Club, South Geelong Steve Piant0: Beav’s Bar, Geelong Wham Glam +Stand & Deliver: Bridie O’Reilly’s, Brunswick Brunswick Music Festival feat. The Tiger Lillies: Brunswick Town Hall, Brunswick Brunswick Music Festival feat. Miles & Simone: Brunswick Uniting Church, Brunswick Hullabaloo - A celebration of New Orleans music: Caravan Music Club, Oakleigh Gay Paris: Cherry Bar, Melbourne The Australian Bee Gees Show: Colac Otways Performing Arts & Cultural Centre (COPACC), Colac The Smith Street Band + The Menzingers + Grim Fandango + Freak Wave: Corner Hotel, Richmond Roger Clark Quartet: Dizzy’s Jazz Club, Richmond

Lucy & The Diamonds: The Post Office Hotel, Coburg

Mitch Power & The Soul Assassins + Karate Boogaloo + 30/70: Edinburgh Castle Hotel, Brunswick

Damien Dempsey + Special Guests: The Prince, St Kilda

Action Sam: European Bier Cafe, Melbourne

Cold Heart: The Drunken Poet, Melbourne Stellar Green + One Kingdom + Spitting Swallows + more: The Espy, St Kilda

Heymus: Wesley Anne (Band Room / 8pm), Northcote

Heavy Judy feat. The Spasms + Rayon Moon + DJ Old Johnny: Retreat Hotel (10pm), Brunswick

The Bona Fide Travelers: The Dan O’Connell Hotel, Carlton

Fire & Rain - The Music of James Taylor: Flying Saucer Club, Elsternwick

Five Mile Town: Grace Darling Hotel (8pm), Collingwood

Pete Murray + Patrick James: Wool Exchange, Geelong

Jeffrey’s Cabbage + The Sand Dollars + more: Revolver Upstairs, Prahran

Peter Chapman : Famous Blue Raincoat (8.30pm), South Kingsville

The Boys: Wesley Anne (Front Bar / 6pm), Northcote

Sassin Fras: Playground Bar, Fitzroy

Awaiting Departure + Sons of Jericho + Deathflight + I Confess + Lamb Boulevard: Reverence Hotel (Band Room), Footscray

Pandorum + Shadows Of Hyenas + Al Gammie + Lee Green: Evelyn Hotel, Fitzroy

The Beegles + Shiny Joe Ryan + The Cosmic Microwave Background + Roxy Lavish & The Suicide Cult + Local Group: The Curtin (8pm), Carlton

Brunswick Music Festival feat. Jamie MacDowell + Tom Thum: Howler (3.30pm), Brunswick Jadida: Kindred Studios (Bar of Bengal), Yarraville Mick Daley & The Corporate Raiders: Labour In Vain, Fitzroy Reece Mastin: Lighthouse Theatre, Warrnambool Crimsonfire + British Steel + Kiss The Vyper: Musicland, Fawkner Greenthief: Musicman Megastore, Bendigo Elizabeth Rose + Safia + Fishing: Northcote Social Club, Northcote Harry Howard & The NDE + Steve Miller Band + The Pink Tiles + DJ Rach: Old Bar, Fitzroy Alex & The Shy Lashlies + Modesty: Old Bar (Afternoon), Fitzroy Allira Wilson + Rick Webster: Open Studio, Northcote Sassin Fras: Penny Black, Brunswick

Melbourne Ska Orchestra + El Moth + DJ Kilmarnock Steve: The Hi-Fi, Melbourne Jungal: The Loft, Warrnambool Spoonful: The Post Office Hotel, Coburg Funk Downstairs+Various Artists: The Prince (Public Bar), St Kilda Bastard Squad + Cabin Fever + K-Mart Warriors + Crackwhore + The Boots + Kodiak Throat + Con-Troll + Wot Rot + DJ Leopard Head: The Public Bar, North Melbourne Mike Tramp + Palace Of The King: The Toff In Town, Melbourne Bodies + White Wash: The Tote (Front Bar), Collingwood

Dan Brodie + Alysia Manceau: Northcote Social Club (1.30pm), Northcote Mountain Goat Beersoaked Sundays ft.+Roller One + East Brunswick All Girls Choir + Other Places + Nick Pratt: Old Bar, Fitzroy Sugarcane Collins + Andy Vogel: Old Hepburn Hotel, Hepburn Springs Patrick Thiele: Open Studio, Northcote The Moonee Valley Drifters: Penny Black (5pm), Brunswick Greg Gogg & The Trailblazers: Rainbow Hotel (4pm), Fitzroy The Hornets + Victoriana Gaye: Retreat Hotel (5pm), Brunswick

Old Timey Music Jam with +Craig Woodward & Friends: Victoria Hotel (5pm), Brunswick

The Pardoners + Sam See + Gly Mason: Royal Oak Hotel, Fitzroy North

The Wild Comforts: Wesley Anne (Band Room / 6pm), Northcote

Kirkis + Rat & Co + Otologic + Misty Nights DJs + Friendships + Agent 86 + more: Section 8 (3pm), Melbourne

Plymouth Reverends + The F100s + DJ Xander James: Retreat Hotel, Brunswick

Singles + Cider Tree Kids: Yah Yah’s, Fitzroy

SUN 16

Darebin Songwriters Guild: 303 (3.30pm), Northcote

Fishing (DJ Set) + Albert Salt + Friends: Revolver Upstairs (9pm), Prahran

OPA: 303 (8.30pm), Northcote

Queens Of The Stone Age + Nine Inch Nails + Brody Dalle: Rod Laver Arena, Melbourne

Iced Earth + Elm Street: Billboard The Venue, Melbourne

Cyclo Timik + Golgotha Motel + Gyraf: Bar Open, Fitzroy

Brunswick Music Festival feat. SumSum: Brunswick Town Hall, Brunswick Lot 56: Clare Castle Hotel, Port Melbourne The Smith Street Band + The Menzingers + Grim Fandango + Regrets: Corner Hotel, Richmond

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 52 • THE MUSIC • 12TH MARCH 2014

Jam At Musicland Sundays+Various: Musicland, Fawkner

Lionel Richie + John Farnham: Rod Laver Arena, Melbourne

Smokin Mirrors: Whole Lotta Love, Brunswick East

John Patrick & The Keepers: Some Velvet Morning, Clifton Hill

Animal Johnson + Cal Walker + Tim Crossey: Labour In Vain, Fitzroy

Martha Davis & The Motels: Thornbury Theatre, Thornbury

The Three Kings: Rainbow Hotel, Fitzroy

Dylan Joel + Big Words: Shebeen Bar, Melbourne

Jed Appleton + Amistat + Younger Dryas: Grace Darling Hotel (7pm), Collingwood

Georgia Mac + Ziggy Britten + Frankie Andrews + Michael Porter: Reverence Hotel (Front Bar / 3pm), Footscray

Andy White + Sebastikat: Wesley Anne (Band Room / 8pm), Northcote

Bang feat. Sienna Skies + Arcadian + For What It’s Worth: Royal Melbourne Hotel, Melbourne

The Cairo Club Orchestra: Flying Saucer Club (3pm), Elsternwick

The Frowning Clouds + Contrast + Velcro: The Workers Club, Fitzroy

The Fixators: Playground Bar, Fitzroy

Colossvs + Outsiders Code + Internal Rot + Born Free: Reverence Hotel (Band Room / 8pm), Footscray

Martha Davis & The Motels: Flying Saucer Club, Elsternwick

Philemon + Tom Lee Richards: Some Velvet Morning, Clifton Hill Andrew Nolte & his Orchestra: Spotted Mallard, Brunswick Melody Pool: Spotted Mallard, Brunswick Cairo Club Orchestra + Nichaud Fitzgibbon + Buck Evans: The Astor Theatre (2pm), St Kilda Mick Daley: The Bridge Hotel (4pm), Castlemaine Alone With Tiger + Centre & The South + Younger Dryas: The Brunswick Hotel, Brunswick The Let Your Hair Down Girls: The Curtin (4pm), Carlton Mr Black & Blues + Bloomin’ Heathers: The Drunken Poet, Melbourne Dale Ryder Band + Gary Eastwood Express + DJ Roc Landers: The Espy (Front Bar), St Kilda


Gunn Music Showcase+Various Artists: The Espy (Gershwin Room), St Kilda The Blackeyed Susans: The Post Office Hotel, Coburg Sun-dazed - Dub, Afro & World+Various Artists: The Prince (Public Bar), St Kilda Rayon Moon + Orange + Tangrams + B Deep: The Public Bar, North Melbourne Duncan Phillips & The Long Stand: The Standard Hotel, Fitzroy Georgia Fields + Phia + Jimmy Tait: The Toff In Town, Melbourne The Good Morrows + Babaganouj + Skyways Are Highways: The Tote, Collingwood Living Room + Telos Teacup: Thornbury Theatre, Thornbury Red & The Wolf: Victoria Hotel (5pm), Brunswick Live On The Lawn feat. Bernard Fanning + Pete Murray + Josh Pyke + Clare Bowditch + Passerine: Werribee Park, Melbourne Ben Carr Trio: Wesley Anne (Front Bar ), Northcote Tim Woodz + Isobel Caldwell: Wesley Anne (Band Room / 8pm), Northcote The Large Number 12s: Yarra Hotel, Abbotsford

MON 17

Prepared Like A Bride: Masonic Hall (All Ages), Wodonga Monday Night Mass+The Harpoons + Totally Mild + The Icypoles + Monnone Alone: Northcote Social Club, Northcote Unpaved Sessions+Various: Old Bar, Fitzroy Dear Monday feat. Beth And The Brave + Jed Appleton + Floyd Thursby + Loni Thompson: Retreat Hotel (7pm), Brunswick Lionel Richie + John Farnham: Rod Laver Arena, Melbourne Let’s Get Funny At The Brunny: The Brunswick Hotel, Brunswick Do You Know What I Mean? +Trivia: The Curtin (Front Bar / 7.30pm), Carlton Gallie + The Beguiness: The Drunken Poet, Melbourne The Black Molls + Monte Diamontes World Famous Drag Superstars: The Prince (Public Bar), St Kilda

My Idiocy Is Bigger Than Your Idiocy+O Littleblood + Jackson Reid + Maz: Old Bar, Fitzroy

Discovery Night feat.+Skoll & Hati + Poseidon + The Murderballs: The Brunswick Hotel, Brunswick

Nat Bartsch Trio: Open Studio, Northcote

Trivia: The Drunken Poet, Melbourne

Ravenswood + Wayward Breed: Retreat Hotel, Brunswick

Open Mic Night with +Nicolette Forte + Friends: The Prince (Public Bar), St Kilda

Never Cheer Before You Know Who’s Winning+Trivia: Revolver Upstairs (7.15pm), Prahran

Fact Hunt Trivia+Various: The Public Bar, North Melbourne

Fresh Industry Showcase+Various Artists: Revolver Upstairs (7pm), Prahran

Ben Wright Smith + The Kite Machine + Gena Rose Bruce: The Toff In Town, Melbourne

Melbourne Free University - Love & Sex in the 21st Century+Various: Some Velvet Morning, Clifton Hill Trivia: The B.East, Brunswick East Los Bendigueros+Danger DJ: The Bendigo, Collingwood

REHEARSAL STUDIOS

Sleepy Dreamers + Hayley Couper + Louis Spoils: The Workers Club, Fitzroy NMIT Showcase+Nabraskattack + A Little Help Band + Nathan & Hugh: Wesley Anne (Band Room), Northcote

RATES: (GST INCLUDED) SMALL LARGE Monday - Friday 11am-5:30pm $35 $45 Monday - Friday 6pm-12midnight $60

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$55

$65

day sessions

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$65

Weekends Public Holiday

TUE 18

Kate Miller-Heidke: Athenaeum Theatre, Melbourne

Solo Practice

Mon-Fri 11am-5:30pm $15

Solo Practice

with a drum kit or amp

$20

GROUND FLOOR | OPEN 7 DAYS

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Dan Waters + Tristan Goodal: Cherry Bar, Melbourne Al Kennedy Collective: Dizzy’s Jazz Club, Richmond

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2 York St Richmond

Beyond The Bathroom Choir: Edinburgh Castle Hotel (7.30pm), Brunswick

Funk Jam+Various DJs: 303, Northcote

Daniel O’Donnell + Mary Duff: Hamer Hall, Melbourne

Aunty Stingray’s Bingo Club: Ferdydurke, Melbourne Daniel O’Donnell + Mary Duff: Hamer Hall, Melbourne

Vibesquad + Spoonbill + Damn Moroda + Monkey Marc + Mal Webb + Kodiak Kid: Howler, Brunswick

Jam Tin

Money For Rope + The Bowers + The Owls: Howler, Brunswick

Comfortable Shorts+Various Artists: Loop, Melbourne

REHEARSAL RATES

REHEARSAL STUDIOS STANDARD $45 $60 $60 $60 $45 $45 $45

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY

LARGE $60 $65 $65 $65 $60 $60 $60

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1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 12TH MARCH 2014 • 53


the end

BOOZE HOLIDAYS

ST PATRICK’S DAY WHAT ARE WE CELEBRATING?

St Patrick getting rid of all the snakes in Ireland. Seriously, look it up.

WHAT DO I WEAR? Anything green – including underwear – and the largest, most annoying hat you can find.

DRINK OF CHOICE Gigalitres of Guinness, and green-coloured cocktails that will probably make you real sick.

WHO TO LOOK OUT FOR The one genuine Irish guy who got dumped by his friends and is now screaming Pogues songs at the bathroom wall.

OKTOBERFEST

WHAT ARE WE CELEBRATING? Everything that is great, hairy, windmill-ish and sausagy about Bavaria.

WHAT DO I WEAR? Leiderhosen for the guys and Dirndls for the ladies. A Hitler ‘stache if you’re feeling brave/dumb.

DRINK OF CHOICE Whatever Weihenstephaner they have on tap; one really obscure beer that tastes like fruit mushed up in battery acid.

WHO TO LOOK OUT FOR The customary German polka band, watching us get drunk and ruining their traditions.

MELBOURNE CUP WHAT ARE WE CELEBRATING?

The process of watching 2000-pound equines running around a dirt circle.

WHAT DO I WEAR? The classiest stuff you can find, because it’s not Cup Day if you’re not dousing yourself in champagne and vomit.

DRINK OF CHOICE As above, champagne, plus whatever else is served to you in plastic glasses by bemused caterers.

WHO TO LOOK OUT FOR Those people who actually came to enjoy the sport of horse racing. Pffffft.

54 • THE MUSIC • 12TH MARCH 2014


THE MUSIC • 12TH MARCH 2014 • 55


56 • THE MUSIC • 12TH MARCH 2014


The Music (Melbourne) Issue #29  

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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