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SOHN (P28)

Glass Animals The Bronx The Audreys Earth


Dune Rats Band Of Skulls Good Vibrations The Bombay Royale Heroine Sohn New Empire It Cannot Be Stopped Carcass

REVIEWS Album: 360

Live: Armin Van Buuren Arts: Mixtape Memories (EWF)





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Cover: The Love Junkies

Eat/drink: Hot chocolate Frontlash/Backlash Indie News/Q&As Opinion Gig Guide






feature 6 • THE MUSIC • 11TH JUNE 2014

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Street Press Australia Pty Ltd


EDITOR Bryget Chrisfield



MUSO EDITOR Michael Smith

GIG GUIDE Justine Lynch


CONTRIBUTORS Aleksia Barron, Atticus Bastow, Steve Bell, Emma Breheny, Luke Carter, Anthony Carew, Oliver Coleman, Rebecca Cook, Adam Curley, Cyclone, Guy Davis, Dan Condon, Simon Eales, Guido Farnell, Sam Fell, Tim Finney, Bob Baker Fish, Cameron Grace, Tom Hawking, Andrew Hazel, Brendan Hitchens, Kate Kingsmill, Baz McAlister, Samson McDougall, Tony McMahon, Fred Negro, Matt O’Neill, Josh Ramselaar, Paul Ransom, Dylan Stewart, Stephanie Tell, Izzy Tolhurst, Simone Ubaldi, Glenn Waller, Matthew Ziccone





Kane Hibberd

PHOTOGRAPHERS Andrew Briscoe, Holly Engelhardt, David Harris, Jay Hynes, Lou Lou Nutt

ADVERTISING DEPT Leigh Treweek, Tim Wessling, Bill Deeble, Jessica Wainwright

ART DIRECTOR Brendon Wellwood


The CW Stoneking live experience always transports audiences to a bygone era, so imagine what it would be like taking in his banjo prowess and 1930s hillbilly steez from a pew! Heavenly Sounds have made this a reality and you can worship at Stoneking’s temple on Friday at St Michael’s Uniting Church.

Opening at Dancehouse this week is James Batchelor’s new performance installation Island. Audience members are encouraged to walk amongst the futuristic environment lit by moving figures all in white and the illuminated floor, highlighting the geometric design and Batchelor’s purposeful choreography. We have three double passes up for grabs to see the show on Saturday at Dancehouse. Head to

David Di Cristoforo, Eamon Stewart, Julian De Bono

ADMIN & ACCOUNTS Loretta Zoppos, Jarrod Kendall, Leanne Simpson, Niall McCabe

DISTRO Anita D’Angelo


CONTACT US Tel 03 9421 4499 Fax 03 9421 1011 584 Nicholson St, Fitzroy North 3068 Locked Bag 2001, Clifton Hill VIC 3068

Join conductor Nicolette Fraillon for a free pre-performance talk on the music of Chroma – the latest work from the Royal Ballet’s choreographer Wayne McGregor. Fraillon will discuss the ways in which Joby Talbot has interpreted the music of The White Stripes. Head to the Arts Centre Melbourne at 6pm on Thursday. MELBOURNE


THE MUSIC • 11TH JUNE 2014 • 9

national news COURTNEY LOVE



No matter what you think of her antics away from the stage, you can’t deny that Courtney Love knows how to own it once she slings a guitar over her shoulder and leans into the mic. From stints with Faith No More and Babes In Toyland to her defining rock’n’roll venture Hole, Love continues to antagonise, elate and surprise, like all good icons should. Hear the Californian work through her solo output and pick at the classics when she brings the You Know My Name tour to Metro City, Perth, 13 Aug; Festival Hall, Melbourne, 16 Aug; Eatons Hill Hotel, Brisbane, 20 Aug; Newcastle Panthers, 22 Aug; UC Refectory, Canberra, 23 Aug; and Enmore Theatre, Sydney, 24 Aug.




Can you comprehend that it’s been a decade since Spiderbait embarked on a national tour? Even off the map, they’ve still felt like a part of our lives thanks to their huge swag of killer rock nuggets, but it’s exciting to know they’re going to get well-familiar once more, touring off the back of their self-titled release of last year and their Splendour In The Grass return. Hear Janet, Whitt and Kram 8 Aug, Metro Theatre, Sydney; 9 Aug, The Hi-Fi, Brisbane; 15 Aug, Astor Theatre, Perth; and 29 Aug, Corner Hotel, Melbourne.

10 • THE MUSIC • 11TH JUNE 2014


After they’ve finished crisscrossing the planet and destroying stages on a global scale, Australia’s most frightening heavy music mongers Thy Art Is Murder will stomp on the remains of 2014 with a huge summer tour. A tour de force in the world of extreme music, you’re unlikely to find a heavier local tour this year, so celebrate the success of the Sydneysiders and see if they can agitate a few more promoters once more when they perform 13 Dec, The Hi-Fi, Melbourne; 14 Dec, Community Centre, Melbourne (all ages); 17 Dec, Capitol, Perth; 18 Dec, HQ, Perth (all ages); 19 Dec, Manning Bar, Sydney; and 20 Dec (18+) and 21 Dec (under-18), Crowbar, Brisbane. Tickets are on sale this Thursday, with the tour proudly presented by The Music.


Following a two-city sell out last year, the preconception defying Red Bull Flying Bach is returning Down Under for a full national tour. Pitting classical music and interpretive urban dance moves against each other, the 18th century masterpieces of Bach are given street cred thanks to world champion breakdance crew Flying Steps. Let chief choreographer Vartan Bassil inspire you at State Theatre, Sydney, 9 – 12 Sep; Crown Theatre, Perth, 17 – 20 Sep; QPAC, Brisbane, 24 – 26 Sep; and Arts Centre, Melbourne, 1 – 4 Oct.


After the crazy success of Alison Wonderland’s recent Warehouse Project tour, she will be taking her slick skills and stomping beats to some locations off the beaten track. In amongst OS jaunts to New Zealand, Taiwan and Indonesia, Wonderland will bring her Rural Juror Touror (just try and pronounce that after a few beers!) to some smaller settings, playing 20 Jun, Academy, Canberra; 26 Jun, UniBar, Wollongong; 28 Jun, Argyle House, Newcastle; 3 Jul, Southern Cross Uni, Lismore; 4 Jul, Fitzgeralds Irish Bar, Bunbury; 5 Jul, Toucan, Mandurah; and 16 Aug, Karova, Ballarat. This tour also ties in with Wonderland’s brand new EP, Calm Down, which will be available 27 Jun.


After a successful introduction last spring, Australia’s leading boutique dance festival Listen Out will be back in 2014. With a starring cast last year that included Disclosure, Azealia Banks, Rüfüs and AlunaGeorge, the event is damn well on the pulse, and you can be certain they’ll be looking to top the efforts of 2013 in more ways than one. Dance like you mean it 27 Sep, Centennial Park, Sydney; 28 Sep, Ozone Reserve, Perth; 4 Oct, Observatory Precinct, Royal Botanic Gardens, Melbourne; and 5 Oct, Brisbane Showgrounds. Stay tuned for first artist announcements and ticket info soon.

WED 11/6


FRI 13/6


SAT 15/6








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THE MUSIC • 11TH JUNE 2014 • 11

local news THELMA PLUM




After stealing a bunch of hearts with her debut EP Rosie, Thelma Plum has put down her acoustic guitar and taken a step in a new musical direction with her latest single, How Much Does Your Love Cost?, from her forthcoming EP, Monster. See the talented teen when she performs at Northcote Social Club, 5 Jul, with a full band.


And put down your weapons, it’s time to Surrender to the new single from singer-songwriter Dewayne Everettsmith. The rising star on the Australian scene, thanks in part to Tourism Australia’s catchy TV commercial featuring It’s Like Love, will be at Bennetts Lane, 31 Jul,


Influential house producer DJ Spen will visit Australia later this month for two club shows. Spen is considered a pioneer of the gospel house sound and it’s his work with Teddy Douglas and Jay Stienhour as part of The Basement Boys that saw his career enter new heights in the early 90s, before the group created their own record label. The Baltimore spinner will perform mixes from his long and illustrious catalogue at Ms Collins, 27 Jun.


Sydney garage-pop three-piece Step-Panther are mighty proud of new single Nowhere and to launch the song they head to The Workers Club, 28 Jun, with help from Warmth Crashes In and ESC. It’s the first sample of their second album Strange But Nice which we’ll be able to get our hands on come August.


Greedy for more shows, that is. Bob Dylan has added a third date to his Melbourne run, 20 Aug, Palais Theatre. Passenger has added a second show to his Melbourne run, hitting Palais Theatre on 18 Jan. Something For Kate have announced an extra show at Forum Theatre on 20 Jul. The Supersuckers have added a second show in Melbourne at Ding Dong Lounge on 22 Jun.


Missed out on Splendour In The Grass tickets? Well, here’s some good news: 2500 more tickets will be released to the public on 12 Jun. And then once those are gone, after 16 Jun, keep an eye on the Re-sale facility in case someone changes their mind or decides they can’t go. The festival runs from to 25 – 27 Jul at North Byron Parklands.


Melbourne International Animation Festival 2014 hits the screens and podiums at ACMI from 19 – 29 Jun showcasing the latest in retrospective and historical animation from around the world, including the likes of film festival favourite Bless You by Australian animator, Philip Watts. For more details on the massive program which also includes conferences, presentations, workshops and master classes, head to


Little Dragon returns to Australian shores on the back of the highly-acclaimed fourth LP, Nabuma Rubberband. After recent eyecatching performances on Jimmy Kimmel Live and Later With Jools Holland, plus a set at Coachella, Little Dragon will be bringing their mélange of R&B, electro, pop and dance to Corner Hotel, 20 Aug.


Robert Englund aka Freddy Krueger is heading down under to stalk the crowds at Oz Comic-Con Melbourne along with a wide range of celebrity guests. The mammoth pop-culture event will celebrate TV shows, movies, comic books, graphic novels, anime and gaming through a range of fun activities and events on 5 & 6 Jul at the Royal Exhibition Building. Tickets available now through



St Michael’s Grammar School and Red Stitch Writers present The Flock And The Nest: a part-scripted, part-improvised production bringing together 12 students and four professional adult actors in a moving drama about the resilience and fragility of people in the face of loss and change. Showing at St Michael’s Grammar School Studio on 10 Jul at 7.30pm, with tickets available at the door.
































































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THE MUSIC • 11TH JUNE 2014 • 13

local news



Another round of support announcements. Dave Graney will open for Teeth & Tongue at The Bridge Hotel, Thursday; Montero, Darren Sylvester, Palm Springs and New War DJs will open for her at Howler, 28 Jun. Jones Jnr warms up for Kelis at The Prince on 24 Jul (note that this is a rescheduled date). Kid Ink has chosen Fortafy, Savo and DJ Markm to support him at The Hi-Fi, 24 Aug. Sohn has announced Japanese Wallpaper and Downtime DJs as his supports on 25 Jun at Ding Dong Lounge. Boy & Bear have announced Holy Holy as their guests at Palais Theatre, 3 & 5 Sep, while Holy Holy have chosen Hollow Everdaze and Oscar Lush to accompany them to Shebeen Bandroom, 11 Jul.


Ahead of the 11 Jul release of his Protect/ Can’t Hide EP, Beni has announced some Aussie dates. Hear his future house when he visits Power Station, 21 Jun and The Emerson, 12 Jul. The new EP comes with two remixes: Melbourne upstarts Indian Summer tackle Protect while Chicago house luminary Gene Farris reworks Can’t Hide.


Solarstone presents Pure Trance, featuring host Solarstone, Italian powerhouse Giuseppe Ottaviani and Irish heavy-hitter Sneijder, which is coming to Studio 3 on 19 Jul. It’s Pure Trance by name and pure trance by nature; no crossover genres here.


Just months after she hit the east coast to promote Hold Your Gaze, the first single from her second album The Sleeper, Sydney’s Caitlin Park has announced a tour to celebrate The Sleeper’s release. Catch her at Bella Union, 1 Aug.


Jen Cloher’s announced her only headline shows for the year. Cloher and her band recorded their take on The Loved Ones’ Sad Dark Eyes with engineer Burke Reid and will show some of the results on stage at Shebeen Bandroom, 19 Jul.


Malthouse Theatre plays host to beloved Chinese director Meng Jinghui and his production of Bertolt Brecht’s The Good Person Of Szechuan. The season opens on 27 Jun and runs until 2 Jul, telling a story of altruism and greed, alter-egos and wickedness., when the gods look kindly on the honest Shen Te, before society changes her for the worse. Featuring burlesque star Moira Finucane as Shen Te.


Wesley Eisold aka Cold Cave creates electronic music that draws from the darkwave and synth-pop movements and has performed everywhere from the Guggenheim to local clubs in New York. See Cold Cave at Reverence Hotel, 6 Sep.




You will never be gangsta, but you do have the opportunity to be in the presence of one, as much as the man known for 1996’s Gangsta’s Paradise. Yes, it’s Coolio. The guy’s got game, by winning Grammys and going platinum and taking the hip hop industry to new levels. Catch Coolio on 31 Jul, Karova Lounge, Ballarat and 1 Aug, Brown Alley.



Is Twenty One Pilots too many? We say no. The pop-punk duo, who have previously supported Paramore, return to Australia in August, bringing with them a special Australian Tour Edition EP that includes songs from their yetto-be-released second studio record. Catch them at 170 Russell, 8 Aug. 14 • THE MUSIC • 11TH JUNE 2014


The Australian tour from American metal outfit Corrosion Of Conformity has been rescheduled, only a few weeks after its cancellation was announced. You’ll find they don’t conform to cancellations (heh) and play 26 Jul, Reverence Hotel.


Icehouse’s White Heat: 30 Hits compilation has gone platinum and to celebrate they seminal Aussie rockers will be holding a concert series, hitting Ballarat Regent Multiplex, 5 Sep and The Palms, 30 & 31 Jan.


Sydney-based swamp/surf rockers, Doc Holliday Takes The Shotgun have just released their new music video for single Aokigahara, the first track from their upcoming record, Odd/Even. The video sees the band members in a Mario Kartstyle slot car race, pulling sneaky moves to try to sabotage one another. Catch Doc Holliday playing Old Bar, 11 Jul.


Soulfest, Australia’s only neo-soul, jazz and hip hop festival, has upgraded its venue to Kings Domain Gardens, incorporating the Sidney Myer Music Bowl. The capacity’s now at 15,000 and the festival is expected to sell out. No wonder too, with a line-up featuring the likes of Maxwell, D’Angelo, Aloe Blacc, Common, Yasiin Bey (aka Mos Def ), Anthony Hamilton, Angie Stone, Musiq Soulchild and many more. It’s on 19 Oct from 12–10pm.

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SPOONFULL Back at The Labour Two huge Sets from 5 to 7 pm

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THE MUSIC • 11TH JUNE 2014 • 15


PUSH THE SKY AWAY There’s not much info available online, so how much can you learn about Glass Animals in the flesh? A lot, Bryget Chrisfield discovers after trailing all four band members – frontman Dave Bayley, guitarist/keyboardist Drew MacFarlane, bassist/keyboardist Edmund Irwin-Singer and drummer Joe Seaward – for a day. Cover and feature pics by Kane Hibberd.


ll four members of Glass Animals wander out through the doors of an inner-city hotel pushing a bellboy trolley loaded with equipment. They look dishevelled, but still offer up smiles and wear sweaters on this sunny, 30-degree day. All of them are noticeably pale, but cute. Drummer Joe Seaward, sporting a Misfits t-shirt, quickly lights a cigarette on the pavement. Once all their gear has been packed into the maxicab, it’s all aboard and we’re off to ABC Southbank

freedom of rhythm that a lot of producers and other rappers don’t have… he’s not afraid to push boundaries. “It’s weird, I mean you sit down and you think about what he’s doing, then you try to do it yourself and it just doesn’t work, but somehow he pulls it off.” Seaward is equally enthusiastic about Kanye’s production discography, singling out “a Pusha T track called Numbers On The Boards, which is just so cool – it’s amazing.” So how do the pair feel about Kimye? They both laugh and Bayley enquires, “Do you feel like it’s faked?” Um, a little bit. “‘Cause I – am I allowed to say this?” Seaward steps in, “You’re not allowed to say that.” His bandmate suddenly turns diplomatic: “I dunno anything about it. I don’t sorta read tabloid stuff

Animals’ tunes, you can tell they love hip hop. “Can you?” Bayley asks. Yeah, just in the rhythms and how changeable they are within a single track. ”Yeah, I get what you’re talking about,” Seaward jumps in. “[Hip hop] is what we listen to when we’re not having to do the band music… Dave grew up with it.” “I was living in Texas [from] when I was about seven to 15 and that was when I kind of started discovering music, aside from my dad’s music collection, and there were only two radio stations in the city that I lived in: one of them played really awful country music and Christian rock, that was disgusting so I didn’t listen to that very much, and the other radio station was kind of gangsta rap and stuff – Dre, Snoop Dogg, 2Pac, yeah! Dr Dre production after Dr Dre production and I listened to that quite a lot. Mum didn’t like it much.” So seven-yearold Bayley traipsed down the halls rapping about bustin’ a cap in yo’ ass? “Pretty much!” he chuckles. “She definitely walked into my room a coupla times like, ‘What are these lyrics? These are awful!’ Um, I didn’t really know what they meant at the time, you know, I was so young. I used to sing about bitches.” And hos? “Bitches and hos.” “My neighbour used to sing that Prodigy song Smack My Bitch Up,” Seaward contributes. “He found that [song] when he was about three or four and he came out and was like, “[puts on a toddler’s voice] Smack my bitch up.” And no one corrected him? “No, they didn’t. It was great.” Unlike the band’s frontman, Seaward was “born and bred” in England although MacFarlane was

“I TEND TO DISGUISE EVERYTHING THAT’S REAL WITH WEIRD CHARACTERS AND WEIRD WORDS, AND MIX THINGS UP SO BASICALLY PEOPLE CAN’T REALLY UNDERSTAND THE LYRICS AND WHAT THEY’RE ACTUALLY MEANT TO BE ABOUT.” Centre. En route, Glass Animals excitedly ask what Victoria’s state animal is (this scribe shoulda known it is Leadbeater’s possum) then make general enquiries about our flora and fauna. As the maxi-cab passes Melbourne Recital Centre, guitarist/keyboardist Drew MacFarlane and bassist/keyboardist Edmund IrwinSinger recall having performed there as part of a choir a couple of years back. (They later tell me they were billeted in the affluent suburb of Canterbury with a lovely family who gave them a lot of freedom.) After all the gear has been lugged into ABC’s foyer, we’re all lanyarded-up and a friendly triple j cameraman ushers us through to the studio where Glass Animals will record their own single Gooey plus their choice of cover for Like A Version. Once inside the studio, we are greeted by an excited Alex Dyson from Breakfast With Matt & Alex, who informs us that, as of half an hour ago, Kanye West postponed his Australian tour. Glass Animals are set to perform a cover of West’s Love Lockdown so their choice is accidentally serendipitous. Caroline's International Label Manager, who is visiting from the UK, does a happy dance. It turns out the band’s love of Yeezy goes way back. “Kanye’s a pretty fricken cool guy,” frontman Dave Bayley gushes. “I got into him when he was doing production stuff, because he used to do a lot of production on Jay Z records and I was like, ‘Oh, who’s making these beats?’ And it was Kanye. And then he started rapping and he’s just got this really amazing 16 • THE MUSIC • 11TH JUNE 2014

like that. I kinda just listen to the music.” Seaward offers, “His kid’s got a cool name, North West.” All in the control room are aghast at Glass Animals’ take on Love Lockdown, with breathy percussion and Bayley’s hastily recorded vocal sample that he prepared earlier through a laptop mic. While performing Gooey, the question is raised as to whether or not egg shaker percussion is worth sacrificing guitar for. The egg shaker is ditched. Bayley’s vocals sound perfect, however he always believes he can do better so they record another take. A decision is made to go with the first take after all. If you listen to the beats in Glass

born in the USA and brought up there until he was about nine. Because Bayley’s dad was “a science guy”, his family relocated wherever the research jobs were. “He got a job in the UK after a while,” Bayley explains. “I remember when I first moved to Oxford I didn’t like it very much because it was so cramped. It was like a big city and I was used to having all this space [in which] to do whatever I want – you know, jump around, be a kid. We came to the UK and for the first year or so when I was there I didn’t appreciate it, but then when I was in my teens I was like, ‘Yeah, the city’s the place to be when you’re growing up through those teen years’.” Back out on Southbank Boulevard, the boys load their equipment back into a maxi-cab, inhale quick gaspers as required and then it’s off to Kane Hibberd’s photographic studio in Cremorne. In transit, the lads collectively baulk at the price of cigarettes in our country then are further shocked by the grizzly images on the packets. We all marvel at the black goop (probably from studio headphones) that has attached itself/melted on to MacFarlane’s ears. There’s a request: “Does anyone have any spare socks?” And then it’s revealed Glass Animals are sharing one suitcase (or so they say). Having recently caught Sohn at South By Southwest, Seaward predicts the Vienna-based English musician will be huge. When asked to share some other South By Southwest highlights, Bayley enthuses, “Oh it was wicked! We hung out with George Clinton’s hype man. He was living nextdoor to us.” Seaward intercepts, “Yeah, we

WORDS DON’T COME EASY Even if you have memorised the lyric sheets for ZABA, you've gotta admit the words are a tad weird to sing back at frontman Dave Bayley. Just recently, the band posted the lyrics to Gooey on their Instagram and the chorus goes a little something like this: “Right my little Pooh Bear/Wanna take a chance?/Wanna sip the smooth air/ Kick it in the sand?/I’ll say I told you so, but/ You just gonna cry/You just wanna know those peanut butter vibes.” The many accompanying fan comments owning their mondegreens are priceless. (We’re looking at you dan_ mccarthy7: “Peanut Butter Thighs”?)

woke up one morning and he was just sitting on the porch of our house smoking a joint, and we were like, ‘Wow, who’s this dude?’ And we got talking and, yeah! He was a really cool guy. He was so nice, but, yeah, he’s probably had some seriously inventive live shows.” Glass Animals also managed to catch showcases by Warpaint and 2Chainz. “He was only wearing one chain, so I was a bit disappointed,” Bayley admits. “He had one chain that was literally about the girth of my arm, so it was pretty impractical – it’s really heavy but, yeah! A fun show.” Once gear has been unpacked and transferred safely inside Hibberd’s studio, we wander around to Swan Street for a pub lunch. After settling into a rooftop area, it’s only fitting that our visitors drink Carlton Draught and eat Parmigianas (one vego). The ‘Strayan beer gets the thumbs up (although Bayley only pours himself the equivalent of two sips from the jug). Glass Animals only flew in last night after performing a show in Switzerland (and then staying up all night). Since they arrived on a Malaysian Airlines flight, conspiracy theories on missing flight MH370 are exchanged. We’re summonsed back to Hibberd’s photographic studio via text and, as the band file downstairs, Irwin-Singer is still polishing off his meal and notices Bayley has left his bag behind (something he does often, apparently). Bayley returns for his bag while Irwin-Singer stuffs a few more chips into his mouth and then we head off. Glass Animals confirm this is their first-ever cover shoot. They have previously appeared on a magazine cover, but supplied an existing promo shot in

that instance. The band members take turns in hair and make-up while different flavoured Red Bulls are sampled from the fridge. Irwin-Singer has a new (vintage) camera that uses actual film and he enthusiastically documents the experience. Seaward’s t-shirt isn't gonna work in the shoot so he borrows Bayley’s mosscoloured velour pullover. There’s a definite sense that Glass Animals are destined for greatness. Is there anything the band dare to dream about in terms of future career highlights? “I’ve watched [Later… With] Jools Holland since I was a kid. That show’s ace,” Seaward muses. Imagine if they shared the sound stage with Kanye! “A

collaboration,” Bayley suggests. “That would be cool. Yeah, Beyoncé’s hanging out…” Not performing, just hanging out? Seaward: “No, she’s just hanging out. That’s right.” Not even backing vocals!? “Yeah, but then we’d do a cover of Single Ladies together. I’d do the dance, obviously,” Bayley jests (we think). After singing the Single Ladies (Put A Ring On It) intro, Seaward admits, “I’d really like to play Glastonbury one day. That would be another milestone. I mean, for an English kid… It’s 80,000 people, which is more people than live in our entire city [laughs]." Glass Animals play Glastonbury's BBC Introducing stage on 29 June.

“I’m a little bit nervous about writing about real things in life,” Bayley allows. “I tend to disguise everything that’s real with weird characters and weird words, and mix things up so basically people can’t really understand the lyrics and what they’re actually meant to be about. I think somehow it does give space for other people to interpret the song differently. I’m a bit scared about writing very honest things, but I think that’s going slightly. Maybe for the next record I can be a bit more blunt. “Joe [Seaward, drums] asked me once what a song was about, he was like, ‘Dave what does this song mean?’ and I was like, ‘Oh, it means this,’ and he was like, ’Oh, what? Oh, shit!’ He was like, ‘That’s not what it’s meant to mean! You just ruined it’.” Seaward posits, “I think it’s nice when you have a bit of ambiguity in the lyrics. It gives [a song] more breadth – a longer lifespan.”

WHAT: ZABA (Wolf Tone/Caroline) THE MUSIC • 11TH JUNE 2014 • 17


THE NEXT NUMBER No matter the season, Matt Caughthran, lead singer of The Bronx and Mariachi El Bronx, is a busy dude, but finds a moment to chat to Dylan Stewart.


att Caughthran is yakking down the line from Wilmington, North Carolina, where El Bronx have just wrapped up the final show of a five-week tour supporting reggae-punk rockers Slightly Stoopid. “It’s been great man,” he enthuses. “We haven’t really done too much reggae stuff, you know, in our world, but it’s cool. Being out with a bunch of bands, smoking pot and making music, it’s not the worst thing in the world.” After The Bronx’s upcoming whirlwind Australian tour and a month in Europe, there’s a third El Bronx album to release and an under-wraps Bronx project. “I wouldn’t call it Bronx V” – for newcomers, every Bronx album is called The Bronx, but the first album is colloquially known as I, the second II, etc. Their latest, IV, dropped last year – “I will tell you this: it’s just going to be an EP. It will be a new collection of music that we’re putting together for a project, and it’s probably going to come out and exist outside of that project on its own. So, umm, that’s it. That’s all I can say.” Which begs a question: with both The Bronx and Mariachi El Bronx successful in their own right, is it easy to switch from one to the other? “It’s not easy, y’know, but it’s rewarding so it’s really exciting,” Caughthran admits. “It was a lot easier when we first started the band, mentally, to switch over. But now there’s a certain weight that each band carries so it’s harder to go back and forth. You can’t just switch anymore; you’ve got to allow some time for a headspace to be created. “Logistically it’s a fucking nightmare. When we have a tour with both bands we’ve got like 90 pieces of gear; we go to airports and it’s insane. But it’s all good. Even when we do Bronx tours now, it’s a bitch because there’s less gear but you’ve got to load in and out fucking heavy gear, so when we do mariachi stuff it’s like ‘Oh, it’s super easy going, there’s no heavy gear.’” The Bronx released IV last year to satisfy fans’ growing hunger for the Californian five-piece’s brand of punk/ hardcore songs. It had been five years since III, with Mariachi El Bronx I and Mariachi El Bronx II dropping in between. The album is a return to the highs the band is known for, and when The Bronx hit Australian 18 • THE MUSIC • 11TH JUNE 2014

stages they’ll be ready to unleash the whole album on punters. “We made a point on this record when we started touring with it. We have lots of songs from II and, particularly, III that are cool but we don’t play, so we were like ‘Let’s not do that with this record. Let’s

having been in a band for a while, it’s so awesome that we can go out and play a different set of tunes every night. We’re stoked, because we’re not going out and doing the same thing every night and the crowd’s stoked because the setlist is fucking cool.” It’s humbling – and, frankly, exciting – to hear Caughthran talk frankly about The Bronx’s shows and the search for improvement on stage. “I think we got a little lethargic in a couple of ways and started playing the same set a lot, but this time we’re going to come down to Australia with a new sense of pride and a new sense of energy.

“NOW THERE’S A CERTAIN WEIGHT THAT EACH BAND CARRIES.” make sure that when we go out we play these songs. Let’s know them.’ “There are certain songs off II and III, that, if someone in the audience shouted them out, we would be like ‘Yo, umm, sorry.’ We might be able to fumble our way through them but that would be a bummer. We don’t want to be that type of band. We want to be able to play anything any time. “For this new record, we just wanted to get out and fucking play all these songs because,

“We’re going to play some different tunes and some different sets each night and really have some motherfucking fun and get the place cranking like we always do.” While The Bronx aren’t getting out west this time around – “You know I’m a west coast guy, I love the west coast. Hopefully they’ll forgive us” – they are taking their high octane show to Tasmania for the first time. And though his choice of a tattoo of the Tasmanian Devil might not be particularly original, the opportunity to throw down a Bronx set on a whole new landmass is something that Caughthran is excited about. “When we go to any part of Australia and play shows, it’s something that’s really important and gratifying to us. It’s always been worth our while. It’s a beautiful thing, man. I seriously really, really love Australia.” WHEN & WHERE: 17 Jun, 170 Russell; 19 Jun, Mona Dark Mofo, Odeon Theatre, Hobart

ROCK’N’ROLL AWAY Taasha Coates from The Audreys spoke to Liz Giuffre about getting ready for the road, being real when talking to fans and only being kinda sorry about her potty mouth.


he Audreys are hitting the road to support new album, ‘Til My Tears Roll Away. Despite an ability to deliver a killer acoustic set with angelic precision, The Audreys are really quite wicked. It’s a spark that makes their shows always just a little unpredictable, and has seen interpretative dance iPad and ukulele solos just as likely to appear as big ballads and sweeping tear-jerker moments. “With the ukulele, I only started because I wanted to have something I could play standing up; I didn’t want to have to sit behind a piano. So I picked up a guitar and thought, ‘Six strings, too hard,’ so then there was a ukulele and it was, ‘Four strings, I can deal with

that,’” Coates suggests with the modest mild dismissiveness only someone who only knows music stuff can. When it comes to taking ‘Til My Tears Roll Away on the road, Coates is pretty clear about just going with the flow of the moment, rather than what it was in the studio or in a review months or years back. “It’s just whatever you feel. And once you’ve been doing it for a while people will come back – there are those that want things to stay the same to a degree, which they do, but they also want variety… You just can’t think about what people’s expectations are about what you do, you can’t let them limit your ideas and

creativity, you know what I mean? If I’m mucking around on an app and find a really great sound that’s fun then I’ll play it on stage; I’m not going to stop and think, ‘oh, it’s a folky crowd,’ – I’m not going to care about that.


“We once had someone call a venue really quite upset because we’d had been drinking on stage and we swore. And when we got the call from the venue we were just like, ‘Dude, it’s rock and roll!’” Coates laughs. “But that audience member sounds like a hoot, I hope they come back!” It seems the band’s drinking and potty mouths aren’t the only thing that can get them in trouble, with those expecting spelling to match their personal preference in danger of significant disappointment. “We’ve also had someone complain on Facebook about the way we spelt our album title ‘Til My Tears Roll Away with one ‘L’ rather than two. Well it was a public message on Facebook and I left it there, but at first I said, ‘We’re using the word in a different way. It’s not the word ‘till’, I know what that is, we’re using it in a slang way.’ I thought we had a perfectly reasonable explanation rather than sending a diatribe with links to dictionaries and all that. But then [the protester] signed off with, ‘I was going to buy your album until I realised you couldn’t spell, how embarrassing for you.’” And is this type of 24-hour feedback something that gets Coates’ goat? She channels her best ‘angry ABC viewer complaint’ voice. “See, I find that exchange deeply amusing.” Take that, musical media watchers. WHAT: ‘Til My Tears Roll Away (ABC/Universal) WHEN & WHERE: 12 Jun, Sooki Lounge; 13 Jun, Kyneton Town Hall; 14 Jun, Ormond Hall; 15 Jun, Golden Vine Hotel, Bendigo

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DOWN TO EARTH Seattle doom metal masters Earth may be everyone’s idea of brutal, but as Cam Findlay discovers exchanging Mighty Boosh quotes with Dylan Carlson, there’s a lot more heart than hate.


he story of Dylan Carlson’s doom metal musical project is long and intricate. Since 1989 – albeit with a big gap between the late ‘90s and 2002-3 – Earth has been an ever-influential, all-powerful behemoth of post-metal energy. One of the bands responsible for kicking off Seattle’s glory days, as well as the progenitors of the post-metal, Earth seems unstoppable. Poetic it is, then, that the 46-year-old Carlson is softly spoken, warm and conversational, obviously happy to delve into the deep lore of Earth once again in the lead-up to their eighth studio album, the follow-up to 2012’s Angels Of Darkness, Demons Of Light II. Carlson is currently sitting in his hotel room in London. “It’s good to have some down time,” Carlson admits. “I went and saw one show; it was for Bad Omen Records. It was these bands Witchhazel, Azazel and Satan’s Satyrs I think they were called. I liked Witchhazel. They were my favourite band out of the bunch. They were a) Christian, and b) the openers, but they were really good, I thought,” he laughs. “Lately I’ve been going to a lot more,” Carlson explains when asked if his gig attendances are still moderate to high. “I’ve been seeing a lot of bands back home in Seattle lately, and I’ve seen a bunch while I’ve been over here. So I’ve been busy.” On top of touring Angels Of Darkness, Carlson has spent the last few years working on a few solo projects, including his debut solo album. Its birth was slightly unusual. Carlson became heavily interested in English folklore and pagan rituals, and used that as a basis for writing music that may have surprised Earth fans. It was English folk rock, and Carlson has been pretty successful with it. Meanwhile, he’s working on the upcoming Earth album. “It’s done, it’s been mastered, I’ve just approved the CD master. We’re waiting for the test pressing now. I mean, it’s gonna definitely be more of a heavy metalleaning record, I’d say. There’s three songs with vocals, two with Mark Lanegan singing and one with Maria Cosi from Rose Windows. So I guess it kinda hearkens back to [1996’s] Pentastar in some ways. I think it’s a little heavier than Pentastar was, but it definitely has 20 • THE MUSIC • 11TH JUNE 2014

that feel to it, whether that’s from the period we’re in or what. We’re back to touring as a power trio again as well, so I think it’s more of a loud rock, heavy thing going on with the band; we’re excited to do it. So in a way it feels like we’ve come full circle.” That statement in itself sounds like a big deal for

in it all. “I mean, I kind of started doing the solo stuff because I was right into the whole English folk rock thing. I really didn’t want to sort of saddle Earth with that again. I want Earth to do what Earth’s going to do, and if I want to keep doing something different I can kind of do that on the side. Not that the solo side is exclusively that either, because I’ve got other elements that I’ve been playing with, like some free-jazz parts and stuff. I don’t know why I started doing all that, maybe I was going through a mid-life crisis or something. But I’ve also started listening to the metal bands I loved back in those days a lot more. I don’t think I ever stopped liking that type of music. I think I just forgot about it for a while.

“I WAS LUCKY TO COME OUT OF THAT TIME, YOU KNOW?” Carlson. Having spent a fair chunk of time sober, connecting back to his days of heroin abuse and a much-publicised friendship with Kurt Cobain cannot be easy. But, as fans and interviewers have learned in recent years, he has no plans to run away from the dark days between the incarnations of Earth. “Yeah, in some ways,” Carlson admits a certain cathartic retrospection

“I often joke with people that I only ever have had one idea, and that I’ve been running with it this whole time,” Carlson laughs heartily. “I was lucky to come out of that time, you know? I was lucky that I could start writing again. With all the changes, I’m still trying to pursue the same idea that I had all those years ago – the idea of the perfect riff.” He exclaims suddenly when this scribe jokes about the old cliché of ‘the New Sound’. “Whoa, I actually just watched that episode! The one with the New Sound!” This then leads us on to a slight detour as we compare Might Boosh notes. “Maybe I’m just waiting for the door to appear in my head,” he laughs once again. WHEN & WHERE: 21 Jun, The Hi-Fi



The members of Dune Rats have already seen places the rest of us only dream about on the back of their bratty punk nuggets. Guitarist/vocalist Danny Beusa tells Steve Bell how hard work (and weed) can lead to happiness.


iven all that they’ve achieved in their brief career, it’s staggering to contemplate that Brisbane’s Dune Rats are only now on the verge of releasing their debut album. On the back of three independent EPs and a couple of singles they’ve not only toured Australia extensively but already done stints in the USA, South Africa, Singapore, Malaysia, Indonesia and even China. They would have added Vietnam to that list as well but were denied entry – purportedly after officials caught wind of their bong-smoking heroics in the Red Light Green Light film-clip – but that blemish hasn’t even slightly derailed their justifiable pride in their achievements to date. “We’re so fortunate to be an Aussie band doing it DIY for so long, and now we’ve got our own label imprint, but we feel that we’ve done it on our own fucking terms and our own business skills and didn’t really bag any cunt out – it works for you,” marvels guitarist/vocalist Danny Beusa.

“We’ve just come back from the States and it was a really fucking fun two months – that’s a big bitch the States so you can’t really expect to make inroads too soon, but we frothed when we were in Hawaii and a couple of people stopped us in the street. It weirds us out just when people overseas order T-shirts and stuff, like some cunt in Ireland will buy something and it’s like, ‘How the fuck do they even know about us?’ And South Africa was crazy – it just blew our fucking brains being in Capetown for our first headlining show and there were 600 people there! “For us we literally thought it would be a funny excuse to see some places. We thought if we ever got a manager – which we do now – that they wouldn’t be down with it, so we just decided to travel to as many places as we could with the band money that we’d saved from live shows. It was so fucking worth it, and it ended up working for us because people actually liked our music in the countries we went to and when we came home people actually respected us for going to those countries. We were really lucky.” And while Dune Rats’ distinctive band of infectious punk is ludicrously catchy, it’s still bizarre where it’s taken them in such a short time.

“China was fucking crazy, dude!” Beusa continues. “We went right to the Mongol border so we didn’t really stick to the normal tourist spots – we didn’t go to Hong Kong or Shangahi, the normal fucking places people go to, but we went to Xinxiang, Xi’an and Chengdu, places where

Now the trio are about to get even happier with the release of Dune Rats, a batch of all-new originals which expands their horizons without straying too far from what made their early music so great. “It was kinda weird, the last EP we wrote [2013’s Smile] we were just getting used to the idea of people thinking we were a band,” Beusa laughs. “With the first two EPs we were pretty happy just flying under the radar and having people think we were nothing – just two really shit cunts just jamming around – but by the third EP we’d played in America [and people were noticing]. So when we decided that we were going to make an album

“WE LITERALLY THOUGHT IT WOULD BE A FUNNY EXCUSE TO SEE SOME PLACES.” they look at you, like, ‘Why the fuck is there a white dude with long hair and tattoos in my country town?’ But they were sick – they’d smile at you and feed you, it was so good. “That’s why for us going back to LA was like culture shock – we almost got anxiety about going back into the American storm when you’re so used to a different culture. We’re so fucking lucky, we get to pick the best bits out of every culture and appreciate what we’re doing massively – I guess that’s why we’re always happy!”

and that these were the songs that we were going to be playing [for a] year-and-a-half or two years – hopefully even longer than that – we just sort of thought, ‘Fuck it! We’d rather write songs that we want to play!’ “People were saying, ‘Oh, you should write an album that’s got slower songs and faster songs’ and all that sorta shit, but we went, ‘Fuck it!’ and just wrote whatever songs we wanted, including some ones that are pretty different to what we’ve done before. We knew that whatever we did would end up sounding like us anyway, so we were pretty happy just to lock ourselves in a shed for a month or two and just smoke weed and write whatever came out. It was a fucking cracker.”

WHAT: Dune Rats (Ratbag/Warner) WHEN & WHERE: 15 Jun, Grace Darling Hotel (under-18); 19 Jun, Karova Lounge, Ballarat; 20 Jun, Corner Hotel THE MUSIC • 11TH JUNE 2014 • 21

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TOUCHING THE VOID Southampton blues rockers Band Of Skulls have consolidated their crushing aesthetic on third album, Himalayan. Russell Marsden explains to Brendan Telford the masochistic process in full.


ince bursting out with their breakneck debut, Baby Darling Doll Face Honey, Band of Skulls have held sway internationally, their brand of crushing riffs on top of a chugging rhythm section and the vocal interplay between Russell Marsden and Emma Richardson striking an indelible chord with a loyal legion of fans. 2012’s follow-up, Sweet Sour saw some slight deviations from this rough and ready path, yet with the release of third album, Himalayan, the trio (Matt Hayward on drums rounds out the unholy trinity) have clearly drawn the line in the sand insofar as what they want to achieve as a band, with a strong focus on rhythm as refinement and backbone as much as a propulsive beast. “I think after we made our first record and were then on tour for a very long time, we made Sweet Sour all in one movement; it all melded into a bit of a blur for us,” Marsden explains. “We had a slight pause to think on how we wanted to [record the new album]; we evaluated everything and took it all upon ourselves to make things the best we felt we could. We decided to be really strict with ourselves in terms of writing and performing and recording, so that whilst there were internal restrictions the benefits of this came out in the music, something that was incredibly focused and powerful. If things didn’t work well the first time we would cut them out, just like that. “We love the two records we made before, but it’s fair to say we wanted to make something better than the two of them combined. We set our own goal posts and we are our own worst critics anyway, so we didn’t allow ourselves to relax. We remained very critical – after each day we’d sit down and talk. ‘What did we actually achieve today?’ We threw ourselves into it; we had to.” It sounds like Himalayan was a gruelling exercise, but Marsden admits the writing process is a serious part of the band for him – up to a point. “I think we like the punishment,” he laughs. “We’ve toured the world now, we have seen what expectations are for different audiences, and we wanted to really

push ourselves so that we could meet those expectations. It’s like going from secondary school to senior school; we feel like the little kids in a bigger school, and we better toughen up if we want to make it out alive, otherwise we will get pummelled. So as much as it’s great

Sweat, the album conveys a level of control and commanding confidence that hasn’t been present in past offerings, another sign that the strict regimen of the writing process brought dividends. “With [Sweet Sour] we were wary of being typecast, so we attempted to broaden our horizons before anyone could tell us what they were. There was rebelliousness to that, to this idea that we wouldn’t be told what to do. Now that we have that out of our system it was important that things be more focused now; there is no need to let fly on a whim when you can control what that whim is and time it and make it important rather than impulsive. We have realised what our sound is, what the crux of the band is, and that is pretty powerful, to know who you are and what you are capable of. Which is weird to think about, this idea of power – when you start out you are throwing everything at the wall and are just happy to get a gig. But really there is a sense of responsibility. It’s almost like having a child, where you have to learn how to look after and nurture it so that it can grow and be its own thing, get it dressed and send it off to school; the album has made us into proud parents.”

“I THINK WE LIKE THE PUNISHMENT.” to tour the world and meet new people, [the band] is essentially a constant battle against ourselves, and it’s something we enjoy.”

It seems prescient that Himalayan became the album’s title then, what with the gruelling selfimposed effort the band imposed upon itself just to reach this peak of achievement. Whilst it wasn’t as considered a choice as that, Marsden admits wryly it sums up the band’s efforts thus far quite nicely.

Slight masochistic undertones aside, Himalayan is an album that presents a band assured of their own abilities and convictions. From the ‘to the floor’ growl of Asleep At The Wheel to the brooding Cold

“Because we had set our goals so high we felt that the album should be called something quite epic. We liked the sound of the word. But then again, even though we like to set the bar high, we’ve outdone ourselves with this one I think.” WHAT: Himalayan (Electric Blues Recordings/[PIAS] Australia) WHEN & WHERE: 17 Jun, The Hi-Fi

THE MUSIC • 11TH JUNE 2014 • 25


SONGS FOR UNITY Richard Dormer talks to Guy Davis about portraying the unlikely Terri Hooley in a new film chronicling an oasis of music in the midst of sectarian Belfast during the Troubles.


n the 1970s, when the Catholics and Protestants of the Northern Ireland city of Belfast were exchanging gunfire and throwing bombs in the sectarian conflict known as the Troubles, a local DJ and music aficionado named Terri Hooley responded to the violence the best way he knew how: by dropping the needle and turning up the volume. In a bid to give the kids something to do other than kill one another, and also because he probably had a bit of a problem with any form of authority, Hooley decided to open a record store “on the most bombed half-mile of road in Europe”. And he gave it the name Good Vibrations. That’s also the name of the film telling Hooley’s funny, frustrating, inspirational and irreverent story, which sees his musical crusade stretch beyond his


to set foot in. “He was going to use music to get people back into the heart of the city, which was deserted,” says Dormer, born and raised in the neighbouring town of Armagh (“so I spent my youth in the Belfast area”). “Opening a shop called Good Vibrations under those circumstances is pretty amazing, I think. But Terri’s like an alien, really;


back on it, he probably stopped a lot of those kids getting involved in political organisations. I think he probably did a lot more for hundreds of teenagers at the time in Belfast, Protestant and Catholic alike, than a lot of the politicians did. There was almost a Pied Piper kind of thing to Terri – he wanted to lead people out of the darkness.” And it was qualities such as these that made Dormer want to get involved with Good Vibrations. “I didn’t know anything about Terri until I heard about the film. I’d heard his name mentioned but I didn’t know what he did or what he was famous for. What I loved was that this was a film from Northern Ireland that wasn’t about the Troubles. The Troubles are in the background, sure, but it’s about this larger-than-life character that had a dream. I really think it’s nice to see a character in a film that is so optimistic and fun-loving, that has such a joy of life.” Not to mention a little madness. “There was a craziness to Terri then, and it exists to this day,” laughs Dormer, who admits he shared “a few pints” with Hooley in the name of research. “He’s still slightly mad in the nicest way. But all great creative thinkers are slightly bonkers, you know. You have to be, you have to see the world a bit differently


“HE WANTED TO LEAD PEOPLE OUT OF THE DARKNESS.” shop to become a tiny but mighty record company that produced tracks from the likes of Ash, Snow Patrol and The Undertones, the punk band behind the awesome Teenage Kicks. For all his enthusiasm and good intentions, though, there are times when Hooley just can’t get out of his own way. “He was incredibly frustrating, and he still is,” says Richard Dormer, who vividly and winningly brings Hooley to life in Good Vibrations (Game Of Thrones fans may remember him as Beric Dondarrion, oneeyed leader of the Brotherhood Without Banners). “He’s a loveable guy but he’s also one of these people who seem to exist on a different plane. He lives for the moment, and that can be detrimental because we have to be aware of consequences. But I don’t think Terri ever was. It’s also a good thing, though, because he never would have done what he did otherwise.” It was Hooley’s ambition to bring people back into the heart of Belfast, a place they were too terrified 26 • THE MUSIC • 11TH JUNE 2014

he sees the world in a different way. And this was him basically sticking two fingers up at the world and saying he wasn’t going to let any terrorist or paramilitary group tell him what to do.” Dormer believes Hooley was pulling off some pretty revolutionary stuff. “At the time people just thought he was helping kids – by buying them instruments and getting them to form bands – but looking

in order to shake it up. And I think that’s what Terri did. There’s a song that’s performed the end of the film, this Sonny Bono song called Laugh At Me, and I think it sums Terri up perfectly.” Despite many ups and downs, Hooley and Good Vibrations have proven indefatigable, with the shop closing its doors and then reopening “something like seven times in the last 12 years,” says Dormer. “Since the film came out, there’s been a lot more interest. And it’s a bit of an historical landmark in Belfast. Terri will be there till he drops. It’s not about money for him – it’s about having a place where people can get together, have a laugh and listen to some old vinyl.” WHAT: Good Vibrations In cinemas 12 Jun

AN EXOTIC TWIST One of The Bombay Royale’s vocalists Parvyn Kaur Singh explains the allure of her onstage persona to Kate Kingsmill: “I can be as sexy and outrageous as I want… I really love having that ideal of The Mysterious Lady.”


n a plane somewhere above the Pacific, The Mysterious Lady and her crack team must rid the dastardly Skipper and the fiendish Dr Electrico of the key to their secret lair – and rescue the Tiger! But how?” So begins the concept for The Island Of Dr Electrico, the second album from local Bollywood band The Bombay Royale. Clearly, the record is a high concept tale of drama and intrigue, and the music, as you’d expect, is a high energy

rampage through classic Bollywood, surfadelica, spaghetti guitar, space disco and funk, with the Hindi and Bengali vocals of Parvyn Kaur Singh and Shourov Bhattacharya. All of that in one album and, even so, Singh (aka The Mysterious Lady) says this record is more refined than their debut. “The last album was just crazy, non-stop party the whole way through, but this album has more of those reflective moments – it’s more of this storytelling-type journey. There’s a lot more complexity in this album, you can pick up new things [with each listen].” The idea for The Bombay Royale emerged from the

massive record collection of saxophonist and Bollywood enthusiast Andy Williamson (aka The Skipper).


“He had a lot of old vinyl that he would listen to,” says Singh. “And he did some research and realised that there’s no one else really in the world doing that style of music live. And so he sat down and he wrote out all of the parts of some of the greatest hits of the ‘60s and ‘70s. So we started off doing covers, [but we soon began] making our own music with that vibe, and now it’s purely originals.” And Singh, who teaches Bollywood dancing as her day job, was the perfect fit for the band. “I grew up singing. My dad Diasingh is a singer, and I’ve been singing in an Indian style since I was five.” All band members have aliases, characters they take on onstage, which is great for the atmosphere of gigs, says Singh. “I find it a really useful tool to let go of any self-consciousness. I’m a character onstage and so I can be whatever I want to be – I can be as sexy and outrageous as I want, and I really love having that ideal of The Mysterious Lady and what she’s capable of.” When asked what punters can expect from The Bombay Royale’s The Island Of Dr Electrico launch, Singh extols, “The usual antics of The Bombay Royale! There’ll be screens with images from a VJ and I’m sure The Colonel will be there: he’s our big, blow-up elephant. And just the general, crazy vibes with lots of colour and costumes and all that sort of stuff.” WHAT: The Island Of Dr Electrico (Hope Street/Rocket) WHEN & WHERE: 20 & 21 Jun, Howler



Although she’s better known for her stripped-back songs, Jess McAvoy is ready to get louder and livelier with her new project. She gives Benny Doyle a hint of Heroine.


ack in Melbourne after a two-year stint in Toronto – a city she admits was a “place of healing” for her, though it “thinks it’s bigger than it is” – Jess McAvoy has got a string of shows booked this month; some in her usual mould as a solo artist, but one which explores a whole new musical style and personal side. Heroine is a fresh venture for the 34-year-old, and it’s a platform she’s wanted to sing out from for a while now. “I’ve been an acoustic singer-songwriter for 20 years, and it just got to a point where trying to pull people into a room to listen to introspective chick music is really challenging,” she admits. “I’ve been really blessed and fortunate with my audience over the years, but once you get to a certain point where people see you do it once or twice, it’s like, ‘Well, I don’t really want to sit there and think about stuff.’ People want to go into a room and have an experience they’re going to be guaranteed to enjoy, and if you’re rocking out or doing something that makes people want to move, it seems to be easier to entice people in to try something new.” The Quickening – the debut track doing the rounds from Heroine – is a co-write with Karnivool guitarist Drew Goddard, an old friend of McAvoy’s from her hometown of Perth. “I’ve been writing these tracks for years, just to see if it was something I could do. And when it turned out I’m actually not shit at it I threw it at Drew

and [asked him] if he wanted to [contribute], so we wrote that song over Christmas.” Indeed, a menacing Karnivool-styled bottomend can be heard on The Quickening, while another bit of crossover contact – producer Forrester Savell – helped McAvoy pull musicians together for Heroine, with the band set to debut at the Evelyn as a spirited sevenpiece unit in amongst McAvoy’s monthlong solo residency at Retreat Hotel. “There hasn’t really been an example like [this] for a really long time,” McAvoy admits of Heroine. “There really hasn’t been something heavy

that’s trying to hit the pop markets since the Divinyls, and that was the ‘80s. I chose singer-songwriter music when I was 14 and that became ingrained in me. But it really took me almost quitting [music] to realise that there were other things that I could explore.” And since McAvoy has dug into this rockier realm, she admits to having a better perspective as a songwriter. “Now I just write a song if it feels good,” she smiles. “It can go over here, it can go over there, or maybe it doesn’t have to go anywhere? I don’t have that anxiety of, ‘Who Am I?’ and ‘How am I going to define myself?’ People aren’t expecting anything, I’m expecting things. So the more I broaden my [scope], the less pressure I put on myself, because fuck, no one knows who they are.” WHEN & WHERE: 11, 18, 25 Jun, Retreat Hotel (solo); 13 Jun, Evelyn Hotel (as Heroine) THE MUSIC • 11TH JUNE 2014 • 27


BENEATH THE STARS While we were all sleeping, Sohn, aka Christopher Taylor, was crafting one of the year’s most striking debuts. He tells Benny Doyle why he followed the darkness to find the light.


f you’re looking to get lost in a record this year, then Tremors is for you. The debut from south London-bred, Vienna-based electrosoul creator Christopher ‘Sohn’ Taylor is a direct product of its surroundings, the music drifting with a comfortable loneliness; analogue-centred melancholy which the striking cover shot all but suggests. Creatively nocturnal, the young Brit made the most of the night, working on Tremors from sundown until sunrise. Without such a schedule, Taylor doesn’t think the record would exist. “I’m just really bad at following things

through so that was one of the main reasons I made it at night,” he explains. “After about seven hours I always get to a point where I’m banging my head against a wall and so I’ll stop and try again the next day. This time, I knew that seven-hour point would come about one or two in the morning, which meant there’d be no public transport and no way of getting home, so I’d have to carry on until the morning.” Balance and variety is at the core of Tremors. Darker moments like Paralysed, where Taylor’s falsetto sings morbidly, “Nobody can slit my throat/Nobody can leave me lying by


the road like you can”, are levelled out by lively numbers such as Artifice, which is rooted on Northern African/ Middle Eastern percussion and textures. And, impressively, for all the electronic elements, he’s still managed to make the record feel very human. A few artists have set the bar for Taylor, namely Kanye and Radiohead. “Yeezus has massively changed what a lot of people feel like you’re allowed to do, which is great,” he gushes. “A long time ago Kid A was a big inspiration in terms of how you get songwriting to be electronic music, in terms of actual songs.” And of course, there’s James Blake’s emergence. “Those three, for me, forged what’s now being made by most people.” Taylor, however, admits to a lack of technical knowledge, surprising when you consider that as a producer he’s worked with and remixed for the likes of Banks and Lana Del Rey. “My way of recording is really scruffy, really instinctive,” he concedes. “A lot of it is just based on playing around with analogue synthesisers, while the vocal-chopping and voice manipulation stuff I’m doing in probably the most basic way.” Where he’s found his self-belief it seems is his adopted home of Vienna, Austria. Here, Taylor’s managed to soak up the city’s thriving electronic scene and to avoid an existential crisis in the process. Here, he’s found Sohn. “I would have never learned to be comfortable with myself had I stayed in London, I was way too hyperactive and needy,” he levels. “Moving to Vienna took all that away – I just felt like I didn’t have anything to prove to anybody. I got to grow up and actually become a man.” WHAT: Tremors (4AD/Remote Control) WHEN & WHERE: 25 Jun, Ding Dong Lounge

INSIDE STORY He writes the songs and sings them, plays the guitar and piano parts, and records and produces the records – New Empire’s Jeremy Fowler is one very busy young artist. Michael Smith caught him on a break.


e’re lucky enough,” Jeremy Fowler begins after chuckling about how he’s “all over” New Empire’s third album, In A Breath. “I own my own studio so we decided to do most of the record there. That’s kind of my background – I have a degree in audio engineering and music production, so it kind of made sense to do everything in-house. It was a big job,” he admits with another chuckle, “a lot to think about when you’re doing so many different roles as the one person, but I’m really happy with it in the end.” Even the olds have heard at least one song from the Cronulla foursome: One Heart/Million Voices, courtesy its selection for the 2012 Summer Olympics on Australian television. The rest of us have been hearing New Empire tracks on triple j since they released their single, The Summer Sky, in early 2010 – they’d released a album, Come With Me Tonight, in 2008, three years after forming at high school – which was followed by another nine singles, the latest, 2013’s Say It Like You Mean It, the teaser off the just-released In A Breath. “Because the songs [for In A Breath] were written over a two-year period,” Fowler explains, “you go through different seasons in life in that time, as a band and individually as well. We went through some pretty difficult trials, and just growing up and trying to find

28 • THE MUSIC • 11TH JUNE 2014

out who you are and finding out how to love basically. So it really does feel like the album’s a tapestry that shows that journey over the last two years for us.” The album opens with a track titled Tale Of Jonah, and Jeremy sees some small parallel between the biblical story of Jonah and the whale in being “in the belly”, so to speak, of a band rising in the music business. “That’s always been a story I’ve been intrigued with and loved the imagery that comes with it, and I guess there are some similarities in Jonah’s life and in my life, so we really wanted to

take a modern twist on something that’s one of the oldest stories ever told in human history. “You can feel like you’re surrounded by the unknown a lot when you’re in a band. For us, you have to get used to not knowing what’s around the corner, what opportunities are coming next – you don’t know what country you’re going to be in in the next two months – so in many ways it can feel like you’re in the belly of a whale,” Fowler admits with another chuckle. Actually, there’s no mystery about what’s next. First there’s an east coast tour to launch the album and then it’s off to the US for their third tour. The only unknown is if they then head for Europe.

WHAT: In A Breath (Permanent/Shock) WHEN & WHERE: 19 Jun, Northcote Social Club; 21 Jun, SUB

THE MUSIC • 11TH JUNE 2014 • 29


IT’S A MOVEMENT When solo dancer and choreographer Benjamin Hancock met our dance correspondent Paul Ransom, the result was largely improvised.


he idea of Princess is that idea of being important or interesting,” Benjamin Hancock states simply. As a part of Chunky Move’s annual Next Move series, Hancock’s Princess forms one stanza of a three-part programme of short works from a trio of Australia’s next generation of independent contemporary choreographers. Joining Hancock for the season, Atlanta Eke and Paea Leach will also create and perform in their own specially-commissioned works. Together, all three will be showcased under the moniker It Cannot Be Stopped, a unique window into the creative practice of an emerging wave of Australian dance-makers.



However, as to what ties this triple bill together, Hancock says: “The real connection is that we’re three very different people who make independent work, and I think we all have very particular methods. Actually, we’re the trial group to see if this structure works for Next Move.” Since its inception in 2008, Next Move has given its commission to a single choreographer, but for 2014, Chunky Move’s Artistic Director Anouk van Dijk wanted to break the mould. The result is three works across three spaces, two of them solo pieces. For Hancock, the challenge of being both performer and director is something

he’s well used to. His solo, site-specific work at Mona Foma and at NGV during Melbourne Now has necessarily blurred the distinction for him. “I’ve always kept my creative and artistic practice mixed into my private and social life. So y’know, I’ll go home and dance around in my kitchen and be influenced by everything I see and witness in the world. I live in my artform, whereas some people lock off. Y’know, they rehearse until six o’clock and then just go home and make dinner.” Hancock is also renowned for his improvisational style. “It’s not about creating something new every time. I have this toolbox, or this vocabulary. Some things are known and remembered; and then it’s how do I place them in the timeline that I’ve given myself?” Given the often daring and inventive approach favoured by a company like Chunky Move, Hancock’s deliberate flirtation with ‘looseness’ is perhaps entirely appropriate. Indeed, as he says it, “When I watch prescribed movement I feel that there’s something missing. If I learnt a phrase and then just performed it to you, something gets lost, whereas a lot of my phrasings or elaborations just seem to happen out of the nowhere.” For Hancock, Eke and Leach, the Next Move commission is clearly both a challenge and an honour. “It suits this works because Princess does have this idea of importance. It’s about finding my own vocabulary and understanding what I’m doing, even though it’s improvised.” If indeed there is a big wave of young Oz choreographers out there, this programme proves that It Cannot Be Stopped. WHAT: It Cannot Be Stopped WHEN & WHERE: 20 – 29 Jun, Chunky Move Studios

SYMPOSIA OF SICKNESS With their latest album, death metal titans Carcass achieved the impossible: a credible and exciting comeback. Mark Hebblewhite asked guitarist Bill Steer how the legendary Scousers pulled it off.


o many reunions, so many disappointments. We won’t name the culprits but it’s undeniable the metal landscape is littered with once great bands who reunited in a blaze of glory and then disappointed with sloppy shows and new material that besmirched their legacy. With Carcass, nothing could be further from the truth. Since reforming in 2007 their shows have been masterclasses in perfection and the new LP, Surgical Steel, is an absolute behemoth. In fact it could be described as the long-lost bridge between Necroticism... and Heartwork. The Music wondered whether this was by design – a belated step that should have been taken back in the early 1990s. “We can’t really be that calculated – it’s not that kind of group,” reveals Steer, nonchalantly adding that Carcass “just goes with what feels right… In hindsight though it does sit comfortably with the music we did in the band’s middle period. It’s hard to analyse why it happened that way although I was listening to a lot of the same types of music I did back then. Maybe that’s also why the album doesn’t sound very modern – except for the production, which is very contemporary”. On the issue of influences Steer is at pains to note that Carcass has never been derivative. “Although we love bands like Obituary we were never part of the whole 30 • THE MUSIC • 11TH JUNE 2014

Morrisound thing, which to our minds got very boring very quickly when all the ‘clone’ bands came on the scene. A lot of them were very proficient players but their music didn’t have the impact on me that say the first two Death records had. As a band we actually didn’t listen to a lot of extreme metal – except when we were just starting out. We realised early that just listening to your contemporaries doesn’t help you innovate – instead we all gravitated towards music that excited us and gave us inspiration. As far as metal was concerned that was the older stuff – Death, Possessed and classic metal bands.

We didn’t just sit around listening to Cannibal Corpse all day – which is what some people think. [laughs]” Steer and his bandmates seem genuinely humbled by the ecstatic reception Surgical Steel and the band’s reformation has had. In fact he sees their return to our shores as symbolic of their good fortune. “This will be our third visit to Australia. We played way back in 1993 and then as part of the reunion thing a couple of years ago. It’s the kind of place people from the UK would love to get to but can’t – so for us it’s always an amazing experience.” As for recording plans, Steer pleads, “We’re booked up touring for so long that we really can’t think past that right now. I think we have to wait until at least the end of winter. I will say though that among the three of us – Dan, Jeff and myself – we are very keen to write new material and push the whole thing forward. That said we’re in no rush to do it at the moment.” WHEN & WHERE: 15 Jun, 170 Russell

THE MUSIC • 11TH JUNE 2014 • 31



album reviews





Chicagoan five-piece The Orwells are barely out of high school but are already onto their second album of ragged doowop garage-rock, and from the opening bars of bouncy opener, Southern Comfort, it’s clear that they’ve progressed far beyond the snotty punk of 2012 debut, Remember When. Frontman Mario Cuomo’s louche vocal delivery retains some grit, while the songs conjure the same restrained menace as Murder City Devils married with the ramshackle catchiness of Black Lips (and even The Strokes in parts).

Kasabian’s 2009 endeavour West Ryder Pauper Lunatic Asylum took the concept album route and nailed it. By contrast, 2011’s Velociraptor! was too many ideas with no direction. So here we are, album five, and 48:13 is somewhere in the middle. It’s not quite thematically cohesive, but neither is it as choppy as the preceding record. When 48:13 hits its stride, it is truly fantastic rock music: the anthemic, shout it at the top of your lungs, slow motion bodies jumping in a crowd type of rock music that is being consistently watered down on radio right now by the dreary likes of Coldplay.


Whether brash and up-tempo (the contagious Dirty Sheets, nagging highlight, Let It Burn, or the politically infused Who Needs You) or sedate and cruisy (the chugging sway of Bathroom Tile Blues, slowburning death lament, Blood Bubbles) understated guitar lines abound, hooks are abundant and catchy melodies effortless. Despite using a trio of producers (relatively big indie names Dave


Sitek, Chris Coady and Jim Abbiss) it sounds cohesive, far more polished than in the past but never super-slick. The lyrics are all pretty juvenile (in the best rock’n’roll tradition of lust, drugs and violence plus swathes of selfdisgust and suburban alienation) but this quest for teenage kicks is perfectly legitimate given their actual youth. The Orwells may not have captured the ferocity of their live show on this occasion but they still possess the swagger of true rock’n’roll believers and this conviction is infectious. Not the direction some early fans were hoping for but a cool album in its own right. Steve Bell


Teaming up with a host of guests from vocalists Icona Pop and Ladyhawke to producers like Hardwell, few of the 18 tracks on the deluxe version of A Town Called Paradise are designed for 32 • THE MUSIC • 11TH JUNE 2014

48:13 isn’t the start of a musical revolution the way Kasabian dream it to be, but it’s still going to make you want to move. Sevana Ohandjanian

Utopia Forthwrite/EMI


He runs his own radio channel (take that Bob Dylan), his own headphone brand and watch brand (take that Dr Dre), is in the middle of two Las Vegas residencies (take that Celine Dion) and is one of the biggest drawcards at festivals and nightclubs the world over. It’s little surprise, therefore that the refrain on one of the biggest tracks on A Town Called Paradise is, “Leaving footprints all over the world” (Footprints).

Keats, you’ve taken a wrong turn, and it’s a cold-hearted soul who doesn’t join in on the bridge of “Gonna keep you up all night”. It’s all about melody here, be it via the insistent pulse of guitar on Stevie – lyrical content eerily reminiscent of New Order’s 1963 – or the spaghetti western synth lines on Doomsday. Bow, meanwhile, is Serge Pizzorno’s finest hour, with little electronic twinges and simple bass keeping him company as he crows, “Take a bow and say goodbye”.


A Town Called Paradise A quick scroll of Tiësto’s resume would suggest that, despite his ascendency to the pinnacle of the dance genre and his general superstardom, the Dutch producer is still one of the hardest working guys going round.

The band have stripped back the excess for a happy balance between ballads and fist-pumping adrenaline. Tom Meighan is loaded with braggadocio on Bumblebee, and lead single Eez-Eh is pure dance rock amusement. The lyrics are mostly nonsensical, but if you’re coming to Kasabian’s music looking for


★★★½ the club; instead, anthems like Light Years Away are built for stadiums full of euphoric ravers. Singalong choruses like the title track’s “Let us wash away into a neon sea of light” are pop-tastic in their simplicity, but unexpected drops like that in Echoes blow away any notion that Tiësto has traded his credibility for the big bucks. A Town Called Paradise is probably not going to silence those who see house music as anything but fuel for pill-popping teens, but it is an expertly-produced dance record filled with three-to-fiveminute tracks begging to be remixed and rained down upon dancefloors the world over. Dylan Stewart

It’s difficult to divorce a 360 release from its creator. Each record is an opportunity to answer the question: how is this guy the biggest rapper to come out of this country’s rap scene? It’s like trying to crack a code. So let’s start at the start. Our host’s biggest assets as a rapper are those he shows off in his a cappella battles: his sense of humour and his boundless charisma. There’s a reason he gets millions of YouTube views. Strangely, he rarely deploys either of these traits on this record. Here, he prefers a slightly clumsy treatise on religion with It’s All About To End. Or, alternatively, By All Means, a candid and gripping dive into 360’s recovery from drug addiction. Even as he throws “ninja stars in a titty bar” on Sixavelli, the fun is not in the jokes, but in guessing how long Six can ride the same rhyme scheme. Eddie Jones, a woozy, swinging, swaggering brag track, is the record’s highlight.

★★★ Uncle Six’s flow has developed since his early days but he still rides a similar bar structure for the entire album. Over 17 tracks on the deluxe edition, it’s a little exhausting. So why (ignoring the Iggy Azalea-shaped elephant in the room) is 360 comfortably the most successful rapper we have? Perhaps the secret is we don’t know. The mystery remains unsolved. So we have to listen to some more of his music to find out. James d’Apice

singles/ep reviews







White Reaper

Broke Generation


Let Me Down Gently

Polyvinyl Records



This fresh Kentucky outfit’s style of sunny garage-punk is coloured by high octane drum patterns and retro-psych flavours. These short and sweet tracks suggest hints of Ramones in their orchestrated slackness and overall rapidness. Singer Tony Esposito’s blasé vocal chops and bratty, everyday lyrics contribute to a youthfully exuberant quality. Surf-rock offering Half Bad is a stoner’s paradise in which cheery extraterrestrial tones back a scuzzy melody line. Meanwhile, Conspirator really brings the noise, demonstrating this hot little trio are capable of lashing out on their instruments without sacrificing a killer pop hook.

Fusing a mystical quality with a lo-fi bedroom aesthetic, Breve’s songs are characterised by a meandering, elongated approach. They amble within a haze of lush guitar, building slowly towards segments of fuzzed-up distortion. Despite the track name, opener She Gets Around is languidly romantic in tone. It swims through a thick, candlelit fog towards an echoing, ‘80s-style guitar solo that would make John Hughes swoon. Though a lesser component of their psychedelic soundscape, frontman Douglas Shaw’s amicable, chilled-out vocals shine on follow-up track Fool Moon. They play at Yah Yah’s on 19 Jun.

Horror Pain Gore Death Productions

Stephanie Tell

Stephanie Tell

LA ROUX La Roux’s kept her ‘80s power-pop ballad synths and assertive attitude – just pulled back and with added suspense (and a sax solo!). Elegant electro. A strong return.

JASON DERULO FT SNOOP DOGG Wiggle Warner A gross and vapid ode to ladies’ butts: “Patty cake, patty cake, with no hands.” If you’re going to be mindless, at least be fun; the whistle refrain’s just another Talk Dirty trumpet riff with a different instrument. Snoop’s verse? Just no.

Seeming to revel in its own unlistenability, this EP kicks off with two murky tracks that combat their unpleasantness with pure, merciless length. Despite balancing this abrasiveness later with tinkering segments of sickly guitar notes, this Philadelphian black-metal trio are too dysfunctional as a band to pull these off. Ludicrously theatrical while lacking artistry and self-awareness, the band’s heavy power chords are buried beneath unrelenting distortion and unbearably off screamo vocals. Siren Song Confessions offers muchneeded restraint and ambience, but over 11 indulgent minutes fails to redeem this release. Stephanie Tell

USHER Good Kisser


RCA/Sony A mostly monotone verse to lure you in, falsetto to keep you there, a low funk pre-chorus then soulful harmonies in the chorus for the kill. Cheeky playground chant bridge. All the while, bare bass and joyful percussion, bright piano, warm vibes.





Hammered In




Tom Vek – Luck

A coldly colourful Club Kids aesthetic propels this instrumental release, which is in equal parts annoying and compelling. In his third EP for the year, this Sydney producer piles several indiscriminate samples onto thin, crunching bass and frantic drum patterns. In their own way, these paranoid layers of others’ songs and YouTube clips are a tribute to the random trashiness of pop culture. A more subdued cohesiveness can be found in closer 666, with its oddball percussion akin to a funked-up cricket. At times hellish and uncomfortable, Simo Soo fully commits to his brand of messy, disharmonious electronica.

Arch Enemy – War Eternal

The future-beats producer sings a heartfelt chorus and a detached, off-centre verse – an outsideinside perspective atop rich and textured synth lines woven through each other, punctuated by hip hop percussion.

Laden with hissing feedback and heavy distortion, the grimy brand of blues-rock from these local DIY dudes takes a leaf out of The White Stripes’ book. Frontwoman Kate Alexander is the quintessential modern rock chick with her amped-up vocal stylings. However her sultrier, more subtly powerful vox on Sucker, combined with moody rhythmic guitar and clacking percussion, informs a more effortlessly executed track than some of the others on Hammered In. Another highlight, Ravens really cranks out the clashing backing tones that the release has only hinted at previously. They play The Workers Club on 12 Jun.

Stephanie Liew

Stephanie Tell

Stephanie Tell

SIMON ASTLEY Temptation Melodic Music Can probably soundtrack Paul Rudd’s Celery Man dance on Tim & Eric and that’s about it. Strained and mawkish: MOR, daggy dad pop-rock.

AKOUO Not Enough Diehigh

Beaty Heart – Mixed Blessings Die Antwoord – Donker Mag Marathon – Cure The Painted Ladies – Play Selections From The Loner Chrissie Hynde – Stockholm The Bombay Royale – The Island Of Dr Electrico Voyager – V

THE MUSIC • 11TH JUNE 2014 • 33

live reviews


Corner Hotel 5 Jun Guarding their spots front and centre, Liars überfans interpret the neon wool theme from the band’s latest Mess album cover art via their outfits. While the curtains are drawn back, the Liars intro borders on terrifying: horror movie soundtrack-style. Projections on draped white curtains make us feel as if we’re in a DIY warehouse party. Frontman Angus Andrew is a focus-pulling machine in his all-white getup plus multi-coloured knitted balaclava with excess wool beard. His piercing blue eyes peek through straggly blonde hair, which we view through the balaclava eye-hole. If you need

through the crowd, his neon wool crown ravelling and unravelling – like a moving installation. Andrew does love rhythmically shaking his shaggy, Kurt Cobain-esque barnet left and right. And when he eventually draws his hair to the side to ogle audience members, his presence is powerful as he possesses the mic. Mess On A Mission absolutely devastates with its playful Game Boy bleeps and rallying chorus. Andrew spits out the fourtimes repeated, “Facts are facts and fiction’s fiction”, conclusion with maximum vitriol, now sporting a tangled wool scarf probably offered up from the nosebleed section. In terms of banter, Andrew utters a coupla scattered “Thank you”s throughout the evening. There’s some eerie, skeleton-clown


local references, Liars could be TISM meets The Presets. Mask Maker barges in all menacing at song two: “Eat my face off!” And that sharp, mechanical, dog bark sound is enough to blow your face off! Toward the end of this song, Andrew spins his balaclava around so the wool beard becomes a mullet and we can now see his mouth. He then head-bangs so ferociously that he loses his headwear altogether leading into the band’s next song. There’s something Nick Rhodes genius about Aaron Hemphill’s fluttering synth lines and you’d swear the live drumming of Julian Gross was automated. Gross has lopped off his long locks and now adopts the hairstyle of a banker (it’ll grow). Suddenly, one of Liars’ frontrow diehards comes hurtling 34 • THE MUSIC • 11TH JUNE 2014

HOLEANDCORNER Shed 14 7 Jun Winter dance music festivals don’t usually click in Melbourne – even if held indoors. But this long Queen’s Birthday weekend, the inaugural dayto-night “boutique” party HOLEANDCORNER has managed to pull off the impossible: bringing in a crowd. There is a growing anti-EDM movement in Melbourne that is ensuring hipster dance music festivals like Let Them Eat Cake and Listen Out, with their cred techno, house, progressive, bass and indie-electro acts, are transcending ‘boutique’. And so the timing is perfect for HOLEANDCORNER, which actually has Mexican food trucks


imagery for the coulrophobics and an enthusiastic moshpit pogos violently down front. Andrew accepts some signs fans have made and then scrunches and stuffs the pieces of paper down the front of his white T-shirt. Closer Broken Witch bristles with sinister incantation: “I/I am the boy/She/She is the girl/He/ He is the bear/We…” – it’s a rampaging track that leaves us rocking and nursing our psychological wounds. The Liars live experience is so much more than a mere gig – it’s an exorcism. If the pot of gold at the end of the rainbow were filled with Walter White’s pharmaceutical grade blue meth, Liars might just have discovered the stash. It’s always a good sign when the merch sells out. Bryget Chrisfield

the grimy warehouse of yore. The heritage-listed building, over 100 years old, has been treated to a Grand Designs-like makeover, with (clean) carpet, swish bars and illuminated white sofas. The glamorous toilets might belong to a five-star hotel with their marbled fixtures and floral displays. We arrive early at 1pm to catch two members of Illusive’s synthpop signings Clubfeet DJs – in fact, it’s so ignominiously early that the cavernous Shed 14 is empty but for staff. Clubfeet are surely Melbourne’s counterpart to Hot Chip – and this afternoon they blend low-key deep house with inflections of electro and techno. Visibility isn’t great. The DJ console is shielded by a video screen, synced in with, not only the larger one behind them, but also banners throughout the


outside – and, being at Central Pier’s Shed 14, the Victoria Star boat, with DJs on two levels. Today any dude in a Swedish House Mafia T-shirt will attract scowls. Instead the guys have donned skinny jeans – and bushranger beards. Girls are in grungey beanies. Most of the action at HOLEANDCORNER is to take place in Shed 14, with the live Xosar the sole international headliner to play the boat – at night’s end, up against (the admittedly overrated) Guy J on land. Nevertheless, many punters are seemingly reluctant to cruise the Victoria Star for an hour-and-a-half at a time and miss a major drawcard. So much for techno seadogs…

venue. Regardless, the Clubfeet DJs may as well be playing in a bedroom. Poor lads.

While the promoters maintain that the choice of Shed 14 for HOLEANDCORNER is to “pay homage” to Melbourne’s fabled rave epoch, it’s not quite

It’s 4pm when Hot Chip DJs get the party officially started with a sound systemy DJ set – the now decently sized crowd stops chattering on the sidelines

Next is a capped and suitably hirsute Tornado Wallace – the cult alter-ego of local Lewis “Lewie” Day equated with ‘slo-mo’ house. His set is the event’s most musically adventurous, spanning disco, deep house, retro-rave and ‘80s-moulded synth-pop. He drops records with vocals, guitars, epic drums and twittering birds. Plus Wallace spins some vinyl. A lone raver, in an Underground Resistance T-shirt, breaks into the Melbourne shuffle. For a minute it really feels like old times.

live reviews and boogies. The Brit indieelectro group, quiet of late, are reportedly slowly progressing on the follow-up to 2012’s In Our Heads. Joe Goddard has notably taken time out to focus on his clubby side project The 2 Bears. Today it’s Hot Chip’s other frontman, Alexis Taylor, DJing alongside guitarist Al Doyle – they’re meant to be accompanied by Felix Martin but he’s mysteriously absent. Not that it matters. Hot Chip’s quirky mix revels in ‘90s club culture as they DJ such classics as Green Velvet’s Preacher Man – not to mention So Phat!’s twisted remix of Sheila E’s ‘80s A Love Bizarre, which Solomun recently contemporised. Taylor picks up a mic sporadically to sing some Hot Chip favourites, live PA-style – the best being the dark Flutes. The Hot Chip

true heir. Post-slot, he descends to the stage barrier and allows fans to take selfies with him. It’s now 7.30pm and Cosmin TRG leads the music in a very different direction. The Berlinbased Romanian specialises in the kind of pummelling, hard techno that is often branded the ‘Berghain sound’ (think Ben Klock) but, with his background in dubstep industrialism, he instills it with mystique, a few of his eerier, textured tracks possibly made by vampires in the Carpathian Mountains. Alas, the crowd isn’t wholly feeling it. American Matthew Dear, fresh from Ghostly International’s 15th anniversary, is more modulated in his approach. Dear has famously experimented with electro-soul on his albums, but tonight he’s in Audion mode,


singer, due to unveil a balladic second solo album in Await Barbarians, may be slight and geeky, yet he possesses a tremulous, soulful voice, redolent of Boy George. Many of those at HOLEANDCORNER have come especially for Henry Saiz. The Spaniard is performing live in Australia for the first time as part of a three-man “band”’: Saiz, on synths, is joined by multi-instrumentalist Luis Deltell (primarily on electronic drums) and vocalist Eloy Serrano, doubling up as VJ. Saiz’ show, centred on 2013’s debut album Reality Is For Those Who Are Not Strong Enough To Confront Their Dreams, is ambi-prog – innovative, deep, melodic and groovy. Live, it’s way more ‘big room’ – albeit without the crass tropes of trance. Saiz could be Vangelis’

with his football résumé, having played 246 AFL games for the Geelong Cats including three premierships. Tonight is a celebration of music and football and, fittingly, Ling walks on stage to the sounds of Buddy Holly. He begins by reminiscing over his parents’ vinyl collection which included the likes of The Everly Brothers, Simon & Garfunkel and The Beach Boys. But then, Ling tells us, he rebelled as a teenager, acquiring his own tastes beginning with a cassette of AC/DC’s The Razors Edge. Ling shares stories about his teammates’ musical preferences, including James Kelly’s fascination with gangsta rap and how David Wojcinski would pump weights to Korn in the gym. He also reveals Xavier Rudd’s Green Spandex featured heavily in


expertly mixing strobey, slammin’ techno in the Richie Hawtin tradition. The dancefloor is loving it. Later, Dear will play a HOLEANDCORNER afterparty. It’s gonna be a long night. Cyclone

PRESENTATION NIGHT #3 FT CAMERON LING & PAUL DEMPSEY Corner Hotel 4 Jun Though Cameron Ling doesn’t carry the cult status of former Presentation Night guests Matthew Richardson and Bob Murphy, he makes up for it

his own pre-match routines. Through his work at Channel 7, Ling tells of a chance opportunity to interview The Beach Boys and proudly displays a photo of himself, his father and Mike Love. Now a seasoned media professional, Ling spends the night answering and asking questions, as comfortable on the stage as he was on the football field. His fellow guest Paul Dempsey, on the contrary, is mellow and always understated, casually glossing over Something For Kate’s number one record and their ARIA nominations. He offers musical anecdotes of touring with David Bowie, turning down a dinner with Bruce Springsteen due to his own recording commitments and how a photo shoot between his mother and Julio Iglesias ended badly. Dempsey plays a recording of his mother and auntie’s Gaelic

folk band from 1978 and talks about his upbringing and how he was surrounded by musicians. A remarkably tall man and avid St Kilda supporter, host Francis Leach fails to ask the guests about any junior football achievements and, regretfully, gets lured into asking a musician questions about music. Dempsey performs three songs, including his band’s 2003 hit Déjà Vu, a stirring acoustic rendition of Born To Run and, fittingly, The Angels’ Am I Ever Gonna See Your Face Again to honour the passing of Doc Neeson earlier today. Presentation Night isn’t overly original in its format – three men at a pub talking about football – but what makes it so unique is the access you get to professionals discussing their crafts. Brendan Hitchens



The Harpoons @ Shebeen Bandroom The Operatives Tenth Birthday @ Revolt Armin van Buuren @ Hisense Arena

THE MUSIC • 11TH JUNE 2014 • 35

arts reviews


Dance Preview Dancehouse to 15 Jun Perspective is such a pivotal thing, and for a largely abstract performance piece like James Batchelor’s eerie and psychedelic Island this is doubly true. With its deliberate reworking of space and form, this evocative dance work challenges the audience to continually reinvent ways of seeing. Set to Morgan Hickinbotham’s dense and hypnotic soundscape, Island is a triptych of musings on utopia, isolation and environment. Using six illuminated hoops and six Perspex screens, it creates a dizzying world of reflection, distortion and multiple vanishing points. This is further enhanced by the lack of traditional seating, meaning that the audience are always moving in and throughout the piece, seeing themselves as part of Batchelor’s


haunting, disorienting world of far-flung islands. The effect is mind-bending and translucent, the dancers at once revealed, concealed and bizarrely reproduced. Batchelor’s precise, almost geometric choreography (with its small, intricate movement palette) sits in contrast to the broad, oceanic nature of the work and the often brutal power of Hickinbotham’s relentless score. Island is daring and lovely at once. Our freedom to move around and find the ‘best view’ means that we can participate directly in the shape of the 36 • THE MUSIC • 11TH JUNE 2014

work. The clever use of line, light and reflection means that we have an almost endless array of possibilities here, perhaps proving that every punter is an island unto themself. Paul Ransom

into dramatic tension, lose pace and coherence. It’s the writing that seems to drop the ball here. And then, when we think the tracks are being laid for Act II, Air Force One (figuratively) just drops out of the sky.

creativity: how we desire it; how, in its purest form, it feels unattainable; and importantly, how the search for creativity has motives which can define its longterm winners and losers.

Simon Eales

Michael Fassbender stars as the film’s surreal title character – a man, for the majority of the film, who stays obstructed within a giant cartoon head-mask. Frank is the vocalist for a band of incongruous outsiders (with an unpronounceable band name), who one day are joined by amateur keyboard player, and aspiring creative, Jon (Domhnall Gleeson).

THE SPEECHMAKER MIXTAPE MEMOIRS Theatre MTC, Arts Centre, Playhouse to 5 Jul Imagine a show in which the cast of Packed To The Rafters and the cast of Offspring combine to perform a cross between Kevin Spacey’s House Of Cards and a G-rated version of Snakes On A Plane. Add to this fantasy that the show’s written by the Working Dog team that created such Aussie comedy gems as Frontline and The Castle. Not so hard to get your head around. We get pretty much this in MTC’s The Speechmaker. Mounted on a slick revolving set and with an all-relatable cast including Erik Thomson, Nicholas Bell


The Toff In Town (finished) Proving first experiences of love are almost always embarrassingly shameful and capable of making the most rational of us stalkers, Mixtape Memoirs brings together writers, musicians and poets for a personal reading matched with their nostalgic song of choice. Part of the Emerging Writers’ Festival, the theme this year is ‘Love + Lust’. Time Out Melbourne editor Jenny Valentish weaves wit and humour as she tells of her first crush on a goth lifeguard; writer Chad Parkhill’s graphic loss of his virginity is more than a little unnerving,


and Kat Stewart, the show has the makings of a nice little set piece in itself. We’re on the US President’s plane with his entourage, it’s nearing Christmas, when intelligence comes of an impending terrorist attack on one of the US’s European allies. Cue hijinks, wordplay, a bit of hamming it up, and some pretty cutting repartee on America’s erosion of what used to be called democracy. Sam Strong whips the stellar cast through these sections with precision, often laying big haymaking jokes over insidious slow-burners. But digressions pursuing the odd flimsy premise, and lurching

and artist Anna Dunhill’s brutally honest speech, complete with a song on ukulele, sobers the night. Musician Geoffrey O’Connor also takes to the stage, along with Killing Heidi’s Ella Hooper and poet Laurie May. All woven together by Jack Colwell’s suave MC skills – complete with a dance-off. Gabrielle Easter


In cinemas 19 Jun A fictionalised account of indeed, a real person, Frank is a film ultimately about

The head, which is inarguably a very symbolic trait, is an interesting device. Having the same, bold intentions as the film’s blank slate title, the head allows Frank to encompass all the enigma of unattainable creativity; it keeps him and his talent at arm’s length from the desperate Jon. Frank is aloof and divine, tantalisingly unknowable. In his desperate


quest to be Frank, Jon turns from affable audience conduit, to the band’s Yoko Ono, a bitter Nick Carraway whose motivations reveal (never to him, interestingly) a disingenuousness that leads to both his and Frank’s downfall. Ultimately, Frank is revealed as the natural creative where Jon most definitely is not. Frank’s not who he is by divine right, or by having pushed himself through some extended phase of suffering; he’s there, as it’s put at the film’s very end, “because he was always quite good at music”. Sam Hobson

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but still trying to be a jugband. [Producer] Peter Dawkins flew over from Sydney, came and saw the jugband play and offered us a deal – a dream come true! But we turned it down because we’d made the decision to form a rock band.” With Neeson on bass, John and Rick Brewster on rhythm and lead guitar respectively, and Charlie King on drums, The Keystone Angels started to learn how to play rock’n’roll. “They eventually had enough original material for us to come to Sydney,” manager John Woodruff remembers, “and I took them into EMI’s studio to do Am I Ever Gonna See Your Face Again … The Angels took a long, long time to break and radio took a long time to start playing the band. The first single to do anything meaningful was Take A Long Line [August 1978]. It was a long uphill fight. Part of why it took so long was down to getting some idea of ‘cool’, which none of us had.”


VALE BERNARD ‘DOC’ NEESON 1947-2014 With the recent passing of Doc Neeson, Michael Smith looks back at the career of The Angels’ frontman, drawing on interviews conducted with and about Neeson over the years.


t suddenly became international in its own way,” Bernard “Doc” Neeson happily admitted in an episode of ABC TV’s Australian Story that aired in April this year. Neeson was referring to the crowd “response” to a question posed in the title of one of The Angels’, the band he fronted for three decades, most well known songs. With Neeson singing, “Am I ever gonna see your face again,” the crowd would respond with, “No way, get fucked, fuck off” – never lyrics in the song. “It now gets sung in pubs in England,” he continued. “In a way I’m really delighted to hear that because it’s Australian audiences making a song their own. And from the point of view of when the band first started, we were trying to write songs for Australian audiences; they’ve made it their own in a way I’d never have thought possible.” Neeson lost his 17-month battle with a recurring cancerous brain tumour 7.15am, Wednesday 4 Jun. Born in Northern Ireland’s capital, Belfast, 4 Jan, 1947, Neeson arrived with his parents, aged 13, in Adelaide in 1960. His original career choice was primary school teacher, and he was in his final year of study when he was conscripted. On finishing his two years’ service, he took advantage of a Federal Government retraining scheme, enrolling at Flinders University and gaining an honours degree in Drama. In 1971, at the suggestion of his flatmate John Woodruff, who was involved in their management, Neeson joined a band called the Moonshine Jug & String Band, which included brothers John and Rick Brewster. 38 • THE MUSIC • 11TH JUNE 2014

“The Jugband recorded a song that I wrote called Keep On The Move,” Neeson recalled, “and, really, it was a rock song. We recorded it as a jugband but we got a couple of players in and we had a bit of a hit with it. It went to #4 in the charts in Adelaide. The jugband pulled lots and lots of people and it gave us a bit of a taste of success. We realised we could actually write a song, record it, put it out there and have a hit! “We tried to do it again, and it was getting silly. Instruments started creeping in like a proper bass drum, and a bass guitar instead of a tub bass. I got an electric guitar and suddenly there was an amp on stage and we were getting more and more like a rock band,

The iconic Am I Ever Gonna See Your Face Again, released in May 1976, only reached #58 in the charts at the time. Take A Long Line only managed #29. It was live in concert where The Angels won their spurs, and it was the character Neeson created out front that made the band. Touring their eponymous 1977 debut album, The Angels were still wearing their hair long and John Brewster was playing long harmonica solos, the songs betraying a forgettable countryrock element. Something had to change. “Probably where I drew on my drama more was in creating a ‘Doc’ persona,” Neeson explained, “and in that respect I drew a lot on stuff I’d studied in German Expressionism, and particularly German Expressionist cinema. One of the things about the Expressionists that I really got into was that they looked, in performing, on using a process of distorting the persona, the character, even the environment, to show the inner self, to define the inner soul, and I guess one of the things I got onto was we’ve all got a dark side which many of us try and stay away from.” By the time second album Face To Face was released in August 1978, the long hair was gone, as were the harmonica solos and Neeson was careening around the stage, arms outstretched, eyes bulging. The album sold more than 280,000 copies, peaking at #16. Their next, 1979’s No Exit, did even better. In March 1980, Face To Face was released in America. Over the next two decades, The Angels released ten more studio albums, including one #1, 1990’s Beyond Salvation, toured America, mounted record-breaking tours of Australia, became for a time the highest-paid band in the land, and were inducted into the ARIA Hall of Fame in 1998. A horrific car accident the week before flying out to East Timor capital, Dili, to entertain the troops in December 1999, left him with severe whiplash and serious nerve damage to his neck and spine. He managed to get through the Dili gigs, gigs that he had organised, but over the next three years, he experienced extensive periods of pain, illness, hospital and rehabilitation, effectively spelling the end of his association with The Angels, though they reunited briefly in 2007. Neeson restarted his own career fronting, first, Doc Neeson’s Angels, then Red Phoenix and finally, in rehearsal at the time he was felled by the brain tumour, The Angels 100%.

the guide

Answered by: Lewis Walsh How did you get your start? Mitch and I started jamming in high school and later when we left we asked Robbie to join. We played random gigs together until we got the cash together to record an EP. Pretty much from then on it’s been a slow, steady build. Sum up your musical sound in four words? Soft, loud, happy, sad. If you could support any band in the world – past or present – who would it be? The Beatles.


You’re being sent into space, no iPod, you can bring one album – what would it be? Rick Astley – Greatest Hits. Greatest rock’n’roll moment of your career to date? Supporting The Melvins. Why should people come and see your band? Because I’ll put out ;) When and where for your next gig? 13 June at Shebeen Bandroom. Website link for more info?

Pic: Girl

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CHOCK FULL O’ HOT CHOC Everyone’s favourite liquefied brown confectionery. Some options if you want to stray from the traditional. Illustration Brendon Wellwood.


they pronounce “mee-loh”) sweetened with evaporated or condensed milk. A simple but genius combination. Low GI, high in sugar... so it evens out?

Sem Semi-sweet chocolate, cinnamon, sugar, vanilla with hot water, milk or cream. Add a van pinch of chilli powder for the chilli version, pin for those who like their hot chocolate to than one kind of hot. Best served be more m on a two-thirds-full stomach alongside churros or pan dulce (sweet pastries). chu

ITALIAN HOT CHOCOLATE Or cioccolata calda. It’s much thicker than the milky, watery stuff we’re used to. It does use milk, cocoa powder and sugar, but the secret’s in the extra ingredient – a little bit of potato starch or corn starch to make that rich texture.

FLAVOURED HOT CHOCOLATE FLA Ap Apparently just plain chocolate isn’t exciting enough for some people. Flavoured syrup eno suggestions: caramel for sweet tooths, hazelnut sug for those who want a ‘more mature’ hot chocolate, mint for those who don’t mind cho when they accidentally swallow mouthwash. whe

WHITE HOT CHOCOLATE One for the FREAKS. Just kidding. More like one for those who don’t appreciate REAL chocolate. Heat up some milk on the stove and melt grated white chocolate in it. Drink it while thinking about how you can look in the mirror every day and think you’re an alright person.

HOT MILO HO Th Malaysian/Indonesian version The hot chocolate is just Milo (which of h

COLA 36-48mg 375mL cup GREEN TEA 30-50mg 250mL cup

MILK CHOCOLATE 20mg 100g bar

CAFE COFFEE 113-282mg 250mL cup

INSTANT COFFEE 60-80mg 250mL cup

ENERGY DRINK 80mg 250mL can


BLACK TEA 25-110mg 250mL cup ESPRESSO/SHORT BLACK 107mg (25-214mg) 1 shot

ICED COFFEE 30-200mg 500mL bottle

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the guide


EP FOCUS with Honeybone, The Black Alleys and Rabid Zulu; 13 Jun, The Espy, with Leez Lido, A Cheeky Grin and Greeves; and 14 Jun, Whole Lotta Love, with Two Headed Dog, Jukai Forest and Evil Twin. Website link for more info?

JUNK HORSES Answered by: Kate Alexander EP title? Hammered In How many releases do you have now? Three EPs, you can get ‘em all on Bandcamp – the first two are free. Was anything in particular inspiring you during the making? A desire to make good, delicious, surprising, big rock and bloody roll! The stains of the mattress I sang into to get vocal takes in my arctic hallway were also kinda inspiring.

We’ll like this EP if we like... Lots of people say Patti Smith. Dueling guitar of Television. Spat-out words of Birthday Party. Brooke from Saint Jude also said Van Halen once but he was a bit pissed.


When and where is your launch/ next gig? 12 Jun at The Workers Club. We’re selling 30 horseshaped USB EPs filled with our music and whatever else I feel like putting on them! Probably naked people.

Was anything in particular inspiring you during the making? The making of my breakfast and the voice of a certain lady who possesses ‘the’ swagger.

Website link for more info?

What’s your favourite song on it? Sucker. It’s epic, lush and tragic – I love singing it.

Answered by: Salv Di Criscito EP title: Hey Pretty Swagger How many releases do you have now? Uno. Aiming for dos.

What’s your favourite song on it? Both tracks on this CD butter our parsnips. We’ll like this EP if we like... Gluteus maximus rock‘n’roll. When and where is your launch/ next gig? 12 Jun, The Bendigo,



takes time to chase unicorns. Was anything in particular inspiring you during the making? Unicorns and goats – not in any particular order. Sometimes goats are good on Saturdays when there are no penguins but seeing it’s getting cooler then unicorns are awesome at the moment.

VANISHING POINT Answered by: Chris Porcianko Album title? Distant Is The Sun Where did the title of your new album come from? It came from a twilight awakening while observing stars and goats with my telescope after chasing lubricated unicorns during an epic and progressive mushroom-picking session in The Dandenongs... How many releases do you have now? Five albums so far. We are yet to release some unicorns though :/ How long did it take to write/ record? Roughly two years due to being a part-time band. It also 42 • THE MUSIC • 11TH JUNE 2014

What’s your favourite song on it? Distant Is The Sun; it’s a unicorn thing. Will you do anything differently next time? I’ll definitely have more unicorns on there to step up the epic drive as we want it to sound like a unicorn armageddon. When and where is your launch/ next gig? We have our album launch 14 Jun at Evelyn Hotel with supports coming from Horizons Edge, Damnations Day and Crimsonfire. Doors open at 8.30pm. Website link for more info?


repetitive; trance like.

Answered by: Andre Solano

We’ll like this EP if we like... If you like space rock, psychedelic, noise, kraut rock, improvisation, DIY production.

EP title? Niko Niko How many releases do you have now? This is the first, but we’ve got another two ready to roll soon, so keep your ears to the ground. Was anything in particular inspiring you during the making? It was all improv, so whatever came out went to tape. We all listen to a broad palette of music, so bring those influences individually. What’s your favourite song on it? Chika 2 as it feels the most complete. It’s driving,

When and where is your launch/ next gig? 12 Jun, Yah Yah’s. We’ll be joined on the night by Babooshka Bot and Doggerel. Free entry – best price ever! Website link for more info?

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the guide




Don’t be put off by H&M’s queues; they’re to limit the amount of shoppers inside at any given time! #ohiseenow

SOMETHING ABOUT HARRY I Wanna Marry Harry is craptacularly compulsive viewing. How are 12 American girls fooled into thinking a Prince Harry impersonator is the real deal?!

COLLECTOR’S CORNER Liars’ merch is as killer as their show: Check the pukka transparent string-embedded Mess On A Mission 12” we picked up at their recent Corner Hotel show! Swoon.




Psych-poppers Go-Go Sapien (pictured) return to launch their mind-altering new video clip for The Panopticon, 13 Jun at Old Bar. Supporting are retro-futuristic Plague Doctor and powerpop-punk lords D-Grades.

Dust off your party pants and whip out your get-lucky undies, because punk rockers Rehab For Quitters (pictured) are headed back to The Espy, 12 Jun. Strawberry Fist Cake, Now You Die!!, 12FU and Liquor Snatch also play.

For an atheist, Shelley Segal (pictured) sure has a hell of a lot of soul. Her latest release An Atheist Album gives her views on religion and shows perspectives from non-religious people. See the folk-rocker 13 Jun at Northcote Social Club.




Get ya spooky on at the The LuWow, 13 Jun for some boneshakin’ and toe-tappin’ good times with The Tarantinos. Playing alongside Melbourne original soul artist Florelie Escano and DJ Barbara Blaze. Dress-ups a must.

Jesse Sullivan aka Nightwrk has a long and prestigious affair with electronic music. Somewhere between a disco dervish and sweaty warehouse rave, Nightwrk will remind you of where it’s at on the floor, 13 Jun at Loop.

The Amy Winehouse Tribute Band are set to recreate and remind you of the unique contralto vocals and eclectic sound of one of the greatest singer-songwriters of the last 50 years at Ding Dong Lounge, 11 Jun.




Producing hip hop, futuristic beats with a bit of soul and roots, N’fa Jones (pictured) celebrates the release of his new album Black + White Noise and will play with Joelistics and Dialectrix in an all-star show at The Workers Club, 14 Jun.

Their music is grand, theatrical, eclectic and frequently epic. Robot Child (pictured) plays melodic hard rock and are launching their new album One More War, they will play at Caravan Music Club, 14 Jun.

He’s the guy that could charm the birds out of the trees. Debuting his new old school album The Fantastic Mr Fox, Bobby Fox (pictured) will unleash ‘60s modern jazz-fusion at The Toff In Town, 15 Jun.




Eight-piece band Purple Tusks are an exciting combination of funk, hip hop and psychedelic sounds. Consisting of instrumentals, crazy solos and monstrously good looks, they’ll get you on The B.East’s D-floor, 14 Jun.

Crack open the coconuts and pour yourself a piña colada... Calypso Carnival #3 is happening 14 Jun at Reverence Hotel. The most tropical festival in the middle of winter sees Fear Like Us, God God Dammit Dammit and more take the stage.

Last year, Mallee Ensemble released a free double album, Two Volumes. Few heard it, but those who did were struck by its restless psych-folk and hazy pop. See Mallee Songs (as they’re now called) celebrate new single Since The Kingdom at Boney, 12 Jun.


AUSTRALIA’S GOT TALENT? As if poor Eleanor Rigby didn’t have it hard enough, The Voice battle round of Matthew Garwood Vs Peter White was entertaining for all the wrong reasons. Standing ovation? “Lonely people”, indeed.

SUBURGATORY Gotta love those voice-overs on A Current Affair ads delivered in prophecy-of-doom timbre while trying to tap into popular culture references: “Melbourne’s REAL Breaking Bad suburbs…”

SLIDING DOORS To meet Metro’s “monthly punctuality target”, Victoria’s Public Transport Minister Terry Mulder reckons that trains skipping stations when they are running late is a necessary strategy. Cue your new favourite/legitimate excuse for being late to work.

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the guide





Come warm yourself by the fire and hear the sweet, melancholic folk-inspired songs played by Waywardbreed (pictured) 13 Jun at The Catfish. They’ll be performing songs from their second album Gathering For The Feast.

Digger & The Pussycats (pictured) play a final show 14 Jun at The Tote before taking an extended hiatus until early 2016. Also playing will be Midnight Woolf, Kids Of Zoo, Bad Vision, Ross De Chene Hurricanes and Aye Candy.

The second installment of Bowie Night is on at Great Britain Hotel. After three years The Queen’s Head (pictured) are going to blow the roof off, 14 Jun. Alex Lashlie and more will also be performing.




A friend of The Catfish has a broken leg and to help lift his spirits and soften the blow of medical costs, they’re throwing a benefit night, 14 Jun. Performing will be The Ocean Party, Grand Prismatic, Big Tobacco and Brother.

Two-piece punk, funk and psychedelic band The Brain Snaps are everything your mother warned you about. Eventuating out of a garage, the lovers of skateboards and motorcycles do covers and originals. See them 11 Jun, Bar Open.

Gigs like these make Melbourne the music jewel it is. At Yah Yah’s, 14 Jun, see trash post-punk-pop Harry Howard & The NDE play following the release of second album Pretty. Alongside Steve Miller Band and Hierophants.




Soul-soothing slacker country troubadours The Glorious North (pictured) are back at Retreat Hotel to boot scoot their way into your whiskeystained heart after the launch of their debut EP. Hear their swaggering country-rock 14 Jun.

After selling out their Wine Dark Sea EP launch in Feb, local deep-blues pioneers The Groves (pictured) are returning to their home court at Evelyn Hotel for a four-week residency. See them 17 Jun.

Byron Bay indie-rockers The Familiars (pictured) are four dudes with a bunch of cardigan jams. Touring nationally and releasing their new single Stranger Faces means they’ll work the stage at The Workers Club, 13 Jun.




Hailing from Melbourne’s northern suburbs and with backgrounds in jazz and improvisation, Thirty Seventy put a fresh spin on live hip hop and beat music. Come get into the cosmic groove at Grace Darling Hotel, 11 Jun.

Recent winners of the Fresh Industry Showcase Single Recording award, Séb Mont & Thee are returning to Revolver on 13 Jun with talented friends Barcelos, Black Harry’s, Lani Zimmer and Tash Sultana to once again captivate the masses.

Following the release of EP One Of A Kind, Lachlan Cross is raising the performance stakes with a choir comprising other talented singer-songwriters. See his enigmatic and blistering rock vocals 13 Jun at Wesley Anne.


THIS WEEK’S RELEASES… KASABIAN 48:13 Sony THE FELICE BROTHERS Favorite Waitress Spunk BOB MOULD Beauty And Ruin Merge/Inertia STRAIGHT ARROWS Rising Rice Is Nice THE MUSIC • 11TH JUNE 2014 • 45

opinion HOWZAT! LOCAL MUSIC BY JEFF JENKINS ASTRAL TRAVELLING Fresh from her striking cameo in the 7 Creeks video for Charles Jenkins & The Zhivagos, Georgia Fields is now focusing on finishing her second album, Astral Debris, which comes four years after her self-titled debut. The difficult second album? “Well, it’s definitely been a long time coming,” Georgia says. “Whether it’s difficult or not, I think I’ll need to make a few more albums and decide retrospectively!” Georgia’s new single, Hood And The Hunter, is a modern retelling of Little Red Riding Hood. “There are so many versions of that story,” she explains, “including one where the Wolf tricks Little Red into unwittingly cannibalising her own grandmother. I wanted to reimagine the version where the young girl cuts her way out of the Wolf ’s belly – being both the ‘Hood’ and the ‘Hunter’. The meaning of the story changes

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completely when the girl is the heroine.” Georgia’s new album has a cosmic theme. “The title refers to the aftermath of a cosmic explosion, and also the star matter that we’re all made of. While writing, I was interested in shared myths and symbolism. My father used to take me to Sydney Observatory as a young girl, and I’ve always been fascinated by astronomy and science fiction.” Georgia is also interested in how the natural world influences our human experience. “For example, how sunlight and moonlight might affect our moods. It is common knowledge that the moon affects our ocean tides and the way we plant our crops – it would be folly to think humans are exempt from astronomical influence, too.” Georgia’s Pozible campaign, to help fund the album, closes on 12 Jun.


Rogers and Sophie Koh. Ben is also working on a new record, Love Is The Great Rebellion, which he says is a pop album, in contrast to the “impressionistic psychedelia” of his last album. GOAL! As we catch World Cup fever, Melbourne’s Vaudeville Smash have teamed up with the legendary Les Murray to deliver the soccer anthem Zinedine Zidane, which celebrates one of France’s greatest players. The clip had more than 200,000 YouTube views in three days.



Ben Lee is playing at Howler on 2 Jul, with a band featuring Dave

He was one of the greatest Australian frontmen of

all time. A charming man offstage; a magical, menacing presence onstage. Rock in peace Doc Neeson. HOT LINE “Gimme the sound of the rolling dice/Gimme a whiskey, don’t think twice/Deal me the card that takes my blues away/ Take me away to Marseilles” – The Angels, Marseilles.

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opinion OG FLAVAS






In the free market of pop music, death has been commodified – arguably starting with Elvis Presley and reaching bizarre levels with Tupac Shakur. Natalie Cole covered Unforgettable as a duet with her late father Nat King Cole in 1991 – setting a precedent for digitally enhancing, or altering, material by fallen stars. This practice of commercial resurrection now extends to visuals – a holographic Shakur performing at 2012’s Coachella. Meanwhile, we have Sony’s second posthumous Michael Jackson album, Xscape – the track Slave To The Rhythm cannily used for that Xperia smartphone campaign. Fortunately, Xscape is stronger than 2010’s contentious Michael. This time the King of Pop’s estate, and Epic chairman LA Reid, have brought in Timbaland, Rodney ‘Darkchild’ Jerkins and StarGate to “retool” and “contemporise” his demos, circa 1983 – 1999. Jerkins both originally produced the title track – an Invincible outtake – and handles its ‘remix’ here. Nonetheless, Xscape contains only eight salvaged songs… The lead single, Love Never Felt So Good, harks back to Off The Wall’s high-disco (the version with Justin Timberlake is on the deluxe album). It’s no Godzilla classic hit, but still memorable. Like This Is It, Jackson penned Love… with Paul Anka, the evergreen Johnny Mathis recording the number in 1984 (!). The Bad-era Do You Know Where Your Children Are? is edgier, Timbaland transforming it into supernatural Gary Numan-esque electro with rock guitar. And A Place With No Name, modelled on America’s ‘70s folk-rock chestnut, is suitably wacky-cool. @therealcyclone


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Psycroptic just adopted a Tasmanian Devil by the name of, yep, ‘Psycro’. The band played a show in their hometown of Hobart last week, with the performance being filmed for a bonus DVD feature on their forthcoming sixth album. All proceeds from the $5 donation/ entry went towards Devil Ark, an organisation dedicated to preserving the endangered Tasmanian Devil, with the band pulling in a little over the $2,000 required to name your own. All hail, Psycro! Word is the band has taken a very diverse and experimental approach to the vocal tracking of their new effort and that we can expect some twist and turns in their sound as a result. The band kick off their tour with Belgium’s Aborted and Brisbane’s The Schoenberg Automaton this weekend. Thy Art Is Murder have just left the country again, and this time they’re back off to Europe for the summer festival season, playing legendary events like Download Festival, Graspop Metal Meeting, Summerblast and more. In between all that, they’ve got some club shows with Suicide Silence and The Dillinger Escape Plan. After that they’re off to go tour the USA again, then record album number three, all before being back in home in December for their next Australian headline tour that contains no less than two fellow Australian bands and two American bands on the bill. No signs of slowing down for one of the world dominating forces in deathcore! Orpheus Omega will be jetting off on their first-ever tour of Asia next month to hit some common and not-so-common locations. The Melbourne-based

melodic death metal band will head to Singapore, Hong Kong, China, Taiwan and Korea in support of last year’s Resillusion album. And according to some social media activity of late, the band has also started knuckling down on writing material for album number three. In Hearts Wake kicked off their rather extensive Earthwalker tour with fellow Aussies Dream On Dreamer and US group Being As An Ocean last week. The Byron Bay metalcore dudes cracked the ARIA Albums Chart top five, with 1379 pre-orders for the release resulting in 1379 trees being planted by their partners at Carbon Neutral. They’ve also just released a second video clip from the album, this time for the title track, which features guest vocals from The Amity Affliction’s Joel Birch. Strangely enough there doesn’t yet seem to be any more word on this band heading overseas again, but surely it can’t be far off. Voyager just released their fifth album – V. A very successful crowdfunding campaign saw the band raise $18,874 in total after having set their target at only $10,000. Despite crowdfunding clearly wiping out a lot of preorders and making a release redundant in the eyes of many labels, the killer album was picked up by Bird’s Robe Records for an official release. The Perth band’s modern and melodic progressive metal now contains a little twist of djent, and you’ll be able to catch them all around the country in July with Brisbane prog group Caligula’s Horse in tow. October will also see them jetting off to Europe once again for the ProgPower festival and a collection of surrounding shows.

If you’ve seen Henry Rollins on his last couple of tours here, he’s talked about some of the places he has visited over the last few years. Places most of us would never even think of going to – North Korea, Sudan, Afghanistan. These trips, among others, are the subject of his newest book A Grim Detail, which has just been released through his own publishing company. I’m a huge Rollins fan. I subscribe (in most instances) to the acronym WWHRD? (What Would Henry Rollins Do? Thanks Mitch Clem) in more than a few situations. I have a huge respect for his knowledge of all types of music and his ability to make fun of his self, his country and its government. I admire that he tries to educate himself about world events by travelling to places like North Korea. I respect the work he does in promoting LGBT rights, end to world hunger, end to war and water conservation, even if the latter means that he has some wacky ideas about water being the cause of the new world war (mentioned in a podcast he was interviewed on called Food Is The New Rock two years ago… Excellent podcast, excellent interview. Many recommendations). So this week is an ode to Henry Rollins. I may not be a huge fan of your bands, but as a person I respect and admire you. Check out the new book (and all his old books as well – start with The Portable Henry Rollins for an overview) and catch him next time he’s in town.


opinion THE GET DOWN







Wassup, Get Down massive? I’ll start with the best news I can think of and hype the The Bombay Royale and their newest release The Island Of Dr Electrico. Not ones to stick to a formula for very long, this album is chock a block full of Spaghetti Western Bollywood sing-alongs that work for all the right reasons. The new single, Henna Henna, is an absolute monster of a Dick Dale surf jam that is twisted and catchy and I suggest you get on this quick like. While we’re local, let’s dig into Melbourne Town’s very own, Cookin’ On 3 Burners. Their new album Blind Bet is sure to be another foray into southern fried, deeperthan-deep funk and is one that any self-respecting lover of groove should get onto. Adding to the hype for its release later this month, my sources tell me that the first single, Losin Streak featuring the vocal styling of a certain Mr Daniel Merriweather on one side with the always pleasing Kylie Auldist gracing the other on Mind Made Up, is well and truly selling like crack at a Bobby Brown house party. Both songs are funkier than a stale fart, but I have to give props to Merriweather for the range he covers. Haven’t heard him sounding this good since his Love & War album and let’s hope these two tracks are a sign of what I presume will be my two favourite albums of the year. With that, I am outta here.

The fan-folk section of the internet got its collective balls in an uproar recently when geekfriendly filmmaker Edgar Wright made the unexpected decision to walk away from the upcoming comic book adaptation Ant-Man, a project he’d apparently been developing with the Marvel people for close to a decade. Wright has kept mum on the subject, uploading a Photoshopped image of sad-faced comic Buster Keaton holding a Cornetto to Twitter briefly before removing said image. If one wanted to read things into it, it’s pretty savvy stuff from Wright – Keaton symbolises artistic genius railroaded by The Man; the Cornetto is, of course, Wright’s personal brand (y’know, his Cornetto trilogy); taking the image down and seeing how many times it is reprinted on social media enables him to gauge the number of people sympathising with his stand (it got extra traction when Avengers director Joss Whedon tweeted a pic of himself holding a Cornetto aloft in a sign of solidarity). My balls, however, remained somewhat calm upon hearing this news. Part of it stems from my lack of interest in Ant-Man as a character – to the best of my knowledge, he can shrink to the size of an insect and put his size-shifting ability to good use in a fight, and he can also communicate with insects – but part of it stems from my increasing disinterest in Wright. Or maybe it’s my disenchantment with the cult of personality that has sprung up around him. I’m still working that out. But the fact that most everyone has been awfully quick to decry Marvel Studios as some evil empire that wouldn’t let Edgar do Edgar strikes me a tad disingenuous,

especially since many of those very same people have been happily gobbling up Marvel’s product. An online acquaintance of mine, Erix, had some interesting things to say about this: “A heavy faction of the Internet community likes to latch on to certain filmmakers and form a cult around them, especially the underdogs, while shunning and hating other filmmakers – usually more successful ones – simply because, well, that’s what they like to do.” We all like the underdogs, don’t we? And when it comes to movies, certain nerds tend to side with the directors who walked it like they talked it, rising through the ranks by making micro-budgeted labours of love until their sheer talent and street cred earned them a shot at a blockbuster project. Call it the Peter Jackson Paradigm. But it doesn’t always pay off. Not every filmmaker has the ability or the nous to balance crowd-pleasing chops and their own quirky sensibility. As beloved as Guillermo Del Toro is, for instance, there’s no denying his The Devil’s Backbone or Pan’s Labyrinth is better in every way than his Pacific Rim. Not everyone works to their best within the system. It doesn’t mean the system is intrinsically flawed or bad. With Wright’s Ant-Man, even though he and the talented Joe Cornish worked on the script and it had attracted cool cast members like Paul Rudd (in the title role), Michael Douglas, Evangeline Lilly, Patrick Wilson and Michael Peña, you were unlikely to get a full-on Wright movie. You were going to get Marvel Studios AntMan, directed by Wright. It may have been the tastiest and most lovingly prepared Big Mac the franchise served up that week, but it was still gonna be a Big Mac.



After two years, this will be my last Intelligible Flow column for The Music. I love this publication and I love hip hop – particularly the locally grown variety – but I’m no longer an energetic 20-something with endless energy to channel into attending countless gigs. Valar morghulis, indeed. When I first started going to Australian hip hop shows, the thing that blew me away was the happiness in the room. I’d grown used to going to indie gigs where people stood in one place, nodded seriously at the music and didn’t talk to each other. Hip hop shows were something else entirely – everyone dancing, shouting and singing. I met a dear friend at a hip hop show because she strolled up and said hello to me, then suggested we do shots. Australian hip hop is more than a genre – it is a community, one that I love contributing to in my own small way. I have screamed along to The Herd tracks, cried over Horrorshow lyrics and bounced uncontrollably in the car to Remi’s jams. I have cheered the likes of Seth Sentry and Thundamentals as they pushed to new heights, and marvelled at the staying power of Hilltop Hoods and Drapht. I have applauded the people who have begun to question racism, homophobia and sexism within hip hop, and who are beginning to steer the scene to a place of genuine inclusiveness. I am grateful to the venues that have encouraged hip hop to flourish, both in Melbourne and the rest of Australia. I love this music and, even though I may not be writing this column every month any more, I’ll be in the front row of the next killer gig. See you there. THE MUSIC • 11TH JUNE 2014 • 49

the guide

THE MUSIC PRESENTS Hard-Ons: 12 Jun Karova Lounge Ballarat; 13 The Wool Exchange Geelong; 14 Corner Hotel; 15 The Bridge Hotel Castlemaine

Theatre Royal Castlemaine; 20 Spirit Bar & Lounge Traralgon

The Audreys: 12 Jun Sooki Lounge; 13 Kyneton Town Hall; 14 Ormond Hall; 15 The Golden Vine Bendigo

Melody Pool, Marlon Williams: 17 Jul Beav’s Bar Geelong; 18 Fitzroy Town Hall; 19 Caravan Music Club; 20 Major Tom’s Kyneton; 14 Aug Ararat Hotel; 15 Harvester Moon Cafe Bellarine; 16 Baby Black Cafe Bacchus Marsh; 17 The Bridge Hotel

Dune Rats: 15 Jun Grace Darling Hotel; 19 Karova Lounge Ballarat; 20 Corner Hotel The Bronx: 17 Jun 170 Russell St New Empire: 19 Jun Northcote Social Club; 21 Sub Usurper Of Modern Medicine: 27 Jun Grace Darling Hotel; 30 Northcote Social Club Bonjah: 4 Jul Cherry Bar; 5 Yah Yah’s; 4 Oct The Hi-Fi Jeff Lang: 4 Jul Caravan Music Club Oakleigh; 5 Thornbury Theatre; 18 Williamstown RSL; 20 Beav’s Bar Geelong REMI: 10 Jul Karova Lounge Ballarat; 11 Corner Hotel The Beards: 16 Jul Karova Lounge Ballarat; 17 Barwon Club Geelong; 18 170 Russell; 19

The White Album Concert: 15 & 16 Jul Hamer Hall

Something For Kate: 18–20 Jul Forum Theatre Sky Ferreira: 23 Jul The Prince Tune-Yards: 24 Jul Howler


Grouplove: 25 Jul 170 Russell Metronomy, Circa Waves: 25 Jul Forum Theatre Skaters: 26 Jul Corner Hotel Foster The People: 28 Jul Palais Theatre Jungle: 29 Jul Corner Hotel Sleepmakeswaves: 1 Aug Corner Hotel Gorguts: 14 Nov Northcote Social Club

The Scrimshaw Four + Up Up Away + Velma Grove: Bar Open, Fitzroy Mallee Songs + Sagamore + Rough River + Fraser A Gorman: Boney, Melbourne Kylie Auldist & The Glenroy All Stars + Vince Peach + Pierre Baroni: Cherry Bar, Melbourne

Birchall & Woolhouse: Paris Cat Jazz Club, Melbourne

Next feat. Iron Mind + Born Free + Caged Grave: Colonial Hotel, Melbourne

The Ten Tenors: Athenaeum Theatre, Melbourne

Jess McAvoy + Dan Parsons: Retreat Hotel, Brunswick

Karaoke: Commercial Hotel, Werribee

Elliot The Bull: Baha Tacos, Rye

The Acoustic Sessions feat. Ariela Jacobs + Guests: Revolver Upstairs, Prahran

La Dispute + Balance & Composure + Have/Hold: Corner Hotel, Richmond

Yumi Zouma + Wintercoats: Shebeen Bandroom, Melbourne

Slim Jim Phantom + Fireballs: Ding Dong Lounge, Melbourne

Morning Melodies + Steve Lawson: Somerville Hotel, Somerville

Nebraskatak + Hunting Season + Sleepy Dreamers + Jungle Crooks: Evelyn Hotel, Fitzroy

WED 11

The Brain Snaps + Black Mayday + System of Venus: Bar Open, Fitzroy Trivia: Bayswater Hotel, Bayswater Melbourne Folk Club feat. Matt Walters + Anika Moa + Tim Guy: Bella Union, Carlton South Curious Tales + DJ Who + Tigerfunk + Tom Showtime + DJ Flagrant: Bimbo Deluxe, Fitzroy Humpday Project + Various DJs: Chelsea Heights Hotel, Chelsea Heights Horsehunter + My Left Boot + Elbrus: Cherry Bar, Melbourne Trivia: Edinburgh Castle Hotel, Brunswick ScHoolboy Q + Isaiah Rashad: Forum Theatre, Melbourne Open Mic Night + Various Artists: Great Britain Hotel, Richmond Free Like Me + Blue Eyes Cry + The Wild Comforts: Laundry Bar, Fitzroy

Wine, Whiskey, Women feat. Natalie Tamlins + Celia Church: The Drunken Poet, Melbourne Adrian Stoyles: The Gasometer Hotel (Front Bar), Collingwood Trivia: The Sporting Club, Brunswick Mike Elrington: The Standard Hotel, Fitzroy The Controls + The Solicitors: The Tote, Collingwood New Gods + Rich Davies: The Workers Club, Fitzroy My Imaginary Heart + Alison Thom + Michael Hood: Wesley Anne (Band Room), Northcote Morning Melodies + Sue Corell: Westside Hotel, Laverton

THU 12

The Songbook Continues + Jessica Aszodi + Peter de Jager: Melbourne Recital Centre (Salon / 7pm), Southbank

Zachary Raffles + Zombitches + Old World Sparrow: 303, Northcote

TLC + Special Guests: Palais Theatre, St Kilda

The Ten Tenors: Athenaeum Theatre, Melbourne

We Disappear + Aurora Tide + Reckless June + Peter Dickybird: Reverence Hotel (Front Bar), Footscray Plugged In Thursdays with Accidental Bedfellows + Dario & Elise + Finn Doyle: Revolver Upstairs, Prahran

The Audreys + Special Guests: Sooki Lounge, Belgrave

The Ten Tenors: Athenaeum Theatre, Melbourne

Teeth & Tongue + Dave Graney: The Bridge Hotel, Castlemaine Sam Lohs: The Drunken Poet, Melbourne 8 Foot Felix + Friends: The Luwow, Fitzroy The Weeping Willows: The Post Office Hotel, Coburg Thursday Night Live + Various Artists: The Prince (Public Bar), St Kilda

Hard-Ons + Clowns + Dead: Karova Lounge, Ballarat

Elliot The Bull + Tanya Batt: The Toff In Town, Melbourne

Open Mic Night + Various Artists: Kindred Studios (Bar of Bengal), Yarraville

Black Sea of Trees + Orsome Welles + Siren Sun + They Move Like Wolves: The Tote, Collingwood

Without Parachutes: Musicman Megastore, Bendigo Kristin Hersh + Anne Of The Wolves: Northcote Social Club, Northcote Mesa Cosa + Citizen Sex: Old Bar, Fitzroy Bedrock + DJ Ontime: Pier Live (Flanagans), Frankston Drifter + Charm + Garden Of Eida: Retreat Hotel, Brunswick

Soda Eaves + Snowy Nasdaq + The Finks: The Tote, Collingwood Humans As Animals + Kat Antoinette & The Tomcats + Chapter Ray: The Vineyard, St Kilda

Funk Buddies + Jules Boult & The Redeemers: Bar Open, Fitzroy June-Kaboom with Witchgrinder + Death By Six + Heathercross + The Weight Of Silence + Valleys Of Vermont: Beaconsfield Neighbourhood Centre (All Ages / 6pm), Beaconsfield WHOW 2014 Fundraiser feat. Model Super Orchestra + Jack Howard + The Large Number 12s + Brian Nankervis: Caravan Music Club, Oakleigh Karaoke: Chelsea Heights Hotel (Sports Bar), Chelsea Heights Spencer P Jones: Cherry Bar (5.30pm), Melbourne Various Artists: Cherry Bar (8pm), Melbourne Trivia: Commercial Hotel, Werribee La Dispute + Balance & Composure + Initials: Corner Hotel, Richmond

Junk Horses + The Infants + Greeves: The Workers Club, Fitzroy

Howl & Crow + DJ Steely Ann: Edinburgh Castle Hotel (6pm), Brunswick

Anna’s Go-Go Academy: Victoria Hotel (6.30pm), Brunswick

Heroine + Guests: Evelyn Hotel, Fitzroy

Renee Geyer: Wellers, Kangaroo Ground Behind The Seams with Bobby & The Pins + The Ukeladies: Wesley Anne (Band Room), Northcote Kain Borlase Trio: Wesley Anne (Front Bar ), Northcote


FRI 13

Laura Pausini + Anthony Callea: Rod Laver Arena, Melbourne

Richie 1250: The Sporting Club, Brunswick

Kill TV + The Rolling Perpetual Groove Show + The Dead Elected + Bombs Are Falling: Laundry Bar (9pm), Fitzroy

Niko Niko + Babooshka Bot + Doggeral: Yah Yah’s, Fitzroy

Lincoln Le Fevre + Donnie Dureau + Adeline Pines + Heath Anthony + Georgia Maq: 303, Northcote

Dirty Elvis: Great Britain Hotel, Richmond

Acoustic Session with Ben Salter: Labour In Vain, Fitzroy

Chet Faker + Yumi Zouma: Wool Exchange, Geelong

Kristin Hersh + Ben Mason: Flying Saucer Club, Elsternwick Chet Faker + Yumi Zouma + Rat & Co: Forum Theatre, Melbourne Hue Blanes: Grant Street Theatre (Lionel’s Bar), Southbank

THE MUSIC • 11TH JUNE 2014 • 51

the guide The Morrisons + Bad Vision: Great Britain Hotel, Richmond Absolutely 80s feat. Brian Mannix + Scott Carne + Dale Ryder: Hallam Hotel, Hallam Howler Comedy with Dave Thornton + Karl Chandler + Adam Rozenbachs: Howler, Brunswick The Audreys + Guests: Kyneton Town Hall, Kyneton Coin Banks + Fingertips + Young Lean + Stateovmind: Laundry Bar, Fitzroy Shelley Segal + Bethany The Brave: Northcote Social Club, Northcote Go Go Sapien + Plague Doctor + The D Grades: Old Bar, Fitzroy Justin Bernasconi + Laura Jean: Old Bar (2pm), Fitzroy Karaoke: Pier Live (Flanagans), Frankston Heavy Judy feat. Heads Of Charm + Worm Crown: Retreat Hotel (10pm), Brunswick Stopping All Stations presents + Seb Mont & Thee + Guests: Revolver Upstairs, Prahran

God God Dammit Dammit + Mesa Cosa + Crypt + Uncle Geezer: The Public Bar, North Melbourne 2AM Slot with The Love Bombs: The Public Bar, North Melbourne East West Protest feat. The Ocean Party + Sleep Decade + The Primary + Laura McFarlane + Fluorescent Organs + Pioneers Of Good Science + Wet Lips + Em Vecue Aquieu + Teenage Libido + DJ Geoff O’Connor: The Tote, Collingwood The Familiars + Pretty City + Halcyon Drive + Hoy: The Workers Club, Fitzroy Peter Gaudion’s Blues Express: Transit Rooftop Bar, Melbourne


Reckless June + Sienna Wild: Victoria Hotel, Brunswick Village Sounds + Chris G: Village Green Hotel, Mulgrave Lachlan Maclaine-Cross + Man City Sirens + Aurora + Stefan Sorensen: Wesley Anne (Bandroom), Northcote

Who Said What: Cramers Hotel, Preston Kate Bart + Sarlin: Dancing Dog Cafe, Footscray

Planet X: Royal Hotel, Sunbury

Trio Agogo: Wesley Anne (Band Room / 6pm), Northcote

Wolf & Cub + Flyying Colours + The Trotskies: Ding Dong Lounge, Melbourne

The Love Junkies + Guests: Shebeen Bandroom, Melbourne

Hard-Ons + Clowns + Wicked City: Wool Exchange, Geelong

Vanishing Point + Damnation’s Day + Horizons Edge: Evelyn Hotel, Fitzroy

Jo Meares: Spotted Mallard, Brunswick

Speed Orange + Robot Mugabe + The Cockles: Yah Yah’s, Fitzroy

Steve Poltz: Flying Saucer Club, Elsternwick

CW Stoneking + Kira Puru: St Michael’s Uniting Church, Melbourne Lost Heart Sirens + Steve Lane And The Autocrats: The Bridge Hotel, Castlemaine Andy Phillips & The Cadillac Walk: The Dava Hotel, Mt Martha Traditional Irish Music Session with + Dan Bourke & Friends: The Drunken Poet (6pm), Melbourne

Cisco Ceasar: Yarra Hotel, Abbotsford

SAT 14

Sacred Word: 303 (4pm), Northcote

Wendy Rule: 303, Northcote The Ten Tenors: Athenaeum Theatre, Melbourne Judge Pino & The Ruling Motions: Bar Open, Fitzroy

David Cosma: The Drunken Poet (8.30pm), Melbourne

The Twoks: Bella Union, Carlton South

Lucha Libre + Sonidero Esperanza + Mexican Music Man + more: The Hi-Fi, Melbourne

Robot Child + Jesse Hooper + Keagan Clothier: Caravan Music Club, Oakleigh

Drunk Mums: The Loft, Warrnambool The Tarantinos + Florelie Escano + DJ Barbera Blaze + The Gogo Goddesses: The Luwow, Fitzroy The Sociables: The Middle Ferntree Gully Hotel, Ferntree Gully Buttered Loaf: The Post Office Hotel, Coburg

The Dub Captains: Cherry Bar (Afternoon), Melbourne Dead City Ruins + Child + Uptown Ace: Cherry Bar (8pm), Melbourne La Dispute + Balance & Composure + Outlines: Corner Hotel (Strictly Under 18’s / 12.30pm), Richmond Hard-Ons + Clowns + Wicked City: Corner Hotel, Richmond

Chet Faker + Yumi Zouma + Rat & Co: Forum Theatre, Melbourne 80s R Us: Gateway Hotel, Corio Without Parachutes: Grace Darling Hotel, Collingwood Songs of David Bowie feat. The Queen’s Head + Alex Lashlie + more: Great Britain Hotel, Richmond The Cactus Channel + Beaten Bodies + DJ Manchild: Howler, Brunswick Pheasant Pluckers: Labour In Vain (5pm), Fitzroy Leegit + Whodat + Chevy Levett + DJ JFunk + Shook: Laundry Bar, Fitzroy Van Walker: Major Tom’s, Kyneton American Songbook Festival + Nichaud Fitzgibbon & her Swingtette: Melbourne Recital Centre (salon / 4pm), Southbank American Songbook Festival + Nichaud Fitzgibbon & her Swingtette: Melbourne Recital Centre (Salon / 8pm), Southbank

Melbourne Cans + Parading + Totally Mild + Ships Piano: Northcote Social Club, Northcote Mara Threat + Lucy Wilson: Old Bar (3pm), Fitzroy Damn Terran + The Once Overs + Dead River + Spermaids: Old Bar, Fitzroy The Audreys + Guests: Ormond Hall, Melbourne Fudge + DJ Craig: Pier Live (Flanagans), Frankston Cisco Ceasar: Rainbow Hotel, Fitzroy Dirt River Radio + The Glorious North: Retreat Hotel (5pm), Brunswick Calypso Carnival Festival feat. Fear Like Us + Michael Crafter + Gatherer + Tired Breeds + Uncle Geezer + more: Reverence Hotel, Footscray

Forever The Optimist + The Controllers + Shadowgame + The Quarters + Acolyte: The Espy (Gershwin Room), St Kilda The Major Rock Hard Abs + Dr Chank + Roscoe James Irwin: The Gasometer Hotel (Band Room), Collingwood Psycroptic + Aborted + The Schoenberg Automaton + Hadal Maw: The Hi-Fi, Melbourne Tropicana Island Party + Jaspora + DJ Jumpin’ Josh + The Gogo Goddesses: The Luwow, Fitzroy Dragon: The Palms, Southbank Andre Warhurst & The Rare Byrds: The Post Office Hotel, Coburg

Bonsai: Royal Hotel, Sunbury

Vrag + Mardraum: The Public Bar, North Melbourne

Bang feat. + Betraying The Martyrs + Save The Clock Tower + I, Valiance: Royal Melbourne Hotel, Melbourne

2AM Slot with + Cosmic Kahuna: The Public Bar, North Melbourne

All The Colours + Guests: Shebeen Bandroom, Melbourne Tim Guy & The Land Of Confusion + Anika Moa: The Bridge Hotel, Castlemaine Best of The Cabaret Fest + Various Artists: The Butterfly Club (10.30pm), Melbourne the Gunbarrel Straights: The Drunken Poet, Melbourne Coin Banks + Guests: The Espy, St Kilda


52 • THE MUSIC • 11TH JUNE 2014

Hellhounds + Phil Para Band: The Espy (Front Bar / 6pm), St Kilda

Kill TV + Spidey + MisSstA: The Sound Bar, Werribee Royston Vasie + Willow Darling + Pat Chow: The Toff In Town, Melbourne Digger & The Pussycats + Midnight Woolf + Kids Of Zoo + Bad Vision + Aye Candy + Ross De Chene Hurricane: The Tote, Collingwood Danny Whitten’s Veins + Soma Coma + Dribble + Power: The Tote (Upstairs / Afternoon), Collingwood


THE MUSIC • 11TH JUNE 2014 • 53

the guide Frozen Ocean + Mangelwurzel + Mutton + Loobs: The Tote (Upstairs), Collingwood TTTDC + Dead: The Tote (Front Bar / 4pm), Collingwood Pierce Brothers + Guests: The Westernport Hotel, San Remo Joelistics + Dialectrix + N’Fa Jones: The Workers Club, Fitzroy The Shuffle Club: Transit Rooftop Bar, Melbourne The Large Number 12s: Union Hotel (5pm), Brunswick Old Timey Music Jam with Craig Westward: Victoria Hotel (5pm), Brunswick Cold Iron’s Bound + The Minute Takers: Victoria Hotel, Brunswick Sunday Chairs + Alec B + Smoke Stack Rhino: Wesley Anne (Band Room), Northcote Broni: Wesley Anne (Front Bar ), Northcote Harry Howard & The NDE + Steve Miller Band + Hierophants: Yah Yah’s, Fitzroy

SUN 15


Carcass + Special Guests: 170 Russell, Melbourne Young & Pretty + Beautiful Beasts + Ellery Cohen: Bar Open, Fitzroy The Beatles 1st Oz Tour - 50th Anniversary Show feat. Billy Miller + The Love Brothers: Caravan Music Club (3pm), Oakleigh Cherry Blues with + Chris Russell’s Chicken Walk + DJ Max Crawdaddy: Cherry Bar (3pm), Melbourne 4Tress + Black Fuel + Garden Of Eida: Cherry Bar, Melbourne Brian El Dorado + Andy McGarvie Trio + Hue Blanes + Davy Simony: Evelyn Hotel, Fitzroy Caribbean Cookout with USK + Jesse I + Lotek + Sista Zai + more: Ferdydurke (12pm), Melbourne Bastille + Foxes + Alison Wonderland: Festival Hall, West Melbourne Lamine Sonko & The African Intelligence + Somali Peace Band + Iran Zamin Band + more: Fitzroy Town Hall, Fitzroy Chet Faker + Yumi Zouma + Rat & Co: Forum Theatre, Melbourne Dune Rats + The Bennies: Grace Darling Hotel, Collingwood Spoonful: Labour In Vain (5pm), Fitzroy Tim McMillan Band + Guests: Musicman Megastore, Bendigo Little Wise + Susannah Coleman-Brown: Northcote Social Club (2pm), Northcote

Modesty + The Council + Alice Dee: Old Bar, Fitzroy The Baudelaires + The Bakers Digest: Old Bar (3pm), Fitzroy Jo Meares: Pure Pop Records (4pm), St Kilda The Large Number 12s: Pure Pop Records (6pm), St Kilda Dan Dinnen Trio: Rainbow Hotel (4pm), Fitzroy Song for Song with Liz Stringer + Van Walker: Retreat Hotel (7.30pm), Brunswick

Dale Ryder Band + Gary Eastwood Express + DJ Roc Landers: The Espy (Front Bar / 5.30pm), St Kilda Jemma & The Clifton Hillbillies: The Gasometer Hotel (Band Room / 4.30pm), Collingwood The Audreys + Special Guests: The Golden Vine, Bendigo Caroline No: The Post Office Hotel (4.30pm), Coburg Sunday School + Various Artists: The Public Bar (4pm), North Melbourne

Playwrite + I, A Man + Wishful: Evelyn Hotel, Fitzroy Checkerboard: Great Britain Hotel (9pm), Richmond Chamber Music with Teddy Tahu Rhodes + Wilma Smith: Melbourne Recital Centre (Salon / 6pm), Southbank Dear Monday feat. Columbia + 19th Century Strongmen + Anna Smyrk + Bee: Retreat Hotel, Brunswick Monday’s Covered + Various Artists: The Espy, St Kilda

Midnight Hunting Crew: Retreat Hotel (5pm), Brunswick

Greens Dairy Angel Ensemble: The Sporting Club (5pm), Brunswick

Damon Smith: The Gasometer Hotel (Front Bar ), Collingwood

Adeline Pines + Initials + Tim Hampshire + Laura Palmer: Reverence Hotel (3pm), Footscray

Snooks La Vie + Fee Brown: The Standard Hotel, Fitzroy

The Black Molls: The Prince (Public Bar), St Kilda

The Dukes of Despair: Royal Oak Hotel (4pm), Fitzroy North The Icypoles + Lehmann B Smith + Easy Money Club: Shebeen Bandroom, Melbourne Butcher The Hogs: The Bodega (4pm), West Melbourne Hard-Ons + Dead: The Bridge Hotel, Castlemaine Grumpy Neighbour: The Bridge Hotel (4pm), Castlemaine

Bobby Fox - The Fantastic Mr Fox: The Toff In Town, Melbourne Archer + Darcy McNulty: The Workers Club, Fitzroy Gretta Ziller: Victoria Hotel (5pm), Brunswick Heart Strings Showcase + Various Artists: Wesley Anne (Band Room / 2pm), Northcote Pear & The Awkward Orchestra: Wesley Anne (6pm), Northcote

MON 16

Jed Rowe: The Drunken Poet (6.30pm), Melbourne

Cherry Jam: Cherry Bar, Melbourne

James McCann: The Drunken Poet (4pm), Melbourne

Morning Melodies + Marcia Rae: Deer Park Hotel, Deer Park

TUE 17

The Bronx + High Tension + Freak Wave: 170 Russell, Melbourne The Pass Outs + Rick Ralli: Cherry Bar, Melbourne The Groves + The Ivory Elephant: Evelyn Hotel, Fitzroy Jazz In The Attic + Sonny Veronica Trio: Ferdydurke, Melbourne Trivia: Great Britain Hotel, Richmond Baroque Re-worked + Melbourne Guitar Quartet + Donna Coleman + Ron Murray: Melbourne Recital Centre (Salon / 6pm), Southbank


Maxim Rysanov: Melbourne Recital Centre (Elisabeth Murdoch Hall / 7.30pm), Southbank Deep Heat + AD Skinner + Flour: Old Bar, Fitzroy Brooke Russell + Benjamin James Caldwell: Retreat Hotel, Brunswick Never Cheer Before You Know Whos Winning: Revolver Upstairs, Prahran Fresh Industry Showcases + Various Artists: Revolver Upstairs, Prahran Trivia: The Drunken Poet, Melbourne Brightside Live Music Showcase + Various Artists: The Espy, St Kilda Band of Skulls + Apes: The Hi-Fi, Melbourne Open Mic Night with Nicolette Forte & Friends: The Prince (Public Bar), St Kilda Trivia: The Public Bar, North Melbourne Trivia: The Standard Hotel, Fitzroy Amistat + Stonefox + Anno: The Toff In Town, Melbourne Ruby Tuesday feat. Dominique + Rach Brennan + Alison Thom: The Workers Club, Fitzroy NMIT Showcase + Various Artists: Wesley Anne (Band Room), Northcote





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THE MUSIC • 11TH JUNE 2014 • 55

56 • THE MUSIC • 11TH JUNE 2014

The Music (Melbourne) Issue #42  

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