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2 • THE MUSIC • 26TH NOVEMBER 2014
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THIS WEEK THINGS TO DO THIS WEEK • 26 NOV - 2 DEC 2014
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CONTRIBUTORS Luke Carter, Anthony Carew, Oliver Coleman, Cyclone, Guy Davis, Simon Eales, Guido Farnell, Tim Finney, Bob Baker Fish, Cameron Grace, Andrew Hazel, Brendan Hitchens, Kate Kingsmill, Baz McAlister, Samson McDougall, Tony McMahon, Fred Negro, Matt O’Neill, Josh Ramselaar, Paul Ransom, Michael Smith, Dylan Stewart, Stephanie Tell, Simone Ubaldi, Glenn Waller, Matthew Ziccone, Sophie Blackhall-Cain
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Opening this week is the latest offering from indie theatre darlings Little Ones Theatre. It’s Wendy MacLeod’s black comedy, The House Of Yes, about Jackie-O’ Pascal who is obsessed with the 1963 Kennedy assassination. Directed by Stephen Nicolazzo this is an acidic satire about class, incest, innocence, and mental illness. Running 27 Nov to 13 Dec, at Theatre Works.
When an artist’s been featured in SPIN, Pitchfork and The Washington Post, it’s high time to check ‘im out. Rome Fortune, credited with turning trap on its head, hits Laundry Bar on 27 Nov and even the supports are enough to lure us down to the venue: Milwaukee Banks, Mikey Hundred and Yung Phos.
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Kirsten Moore began her vocal training in classical music and launches the Bare EP, with a little help from chosen support Tim Cullin, at Wesley Anne on 28 Nov. Rich strings and haunting piano underscore Moore’s lyrical themes that explore “all facets of body image and self acceptance”, according to the presser.
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WEDNESDAY 26TH 7PM
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THE MUSIC • 26TH NOVEMBER 2014 • 7
national news news@themusic.com.au BILL BURR
DRAKE
BURR HAHA
Considered one of the top comedians of his generation, Bill Burr first burst onto the international consciousness in his recurring role in the second season of Chapelle’s Show. Burr co-stars with Kevin Costner in the forthcoming feature film, Black Or White, and after that’s released, he’s coming to Australia on a national tour that will see him perform 27 Jan, Riverside Theatre, Perth; 29 Jan, Hamer Hall, Melbourne; 31 Jan, City Hall, Brisbane; and 1 Feb, Sydney Opera House.
FROM THE BOTTOM
Canada’s brightest contribution to contemporary hip hop and R&B, Drake will not only be headlining the forthcoming Future Music Festivals but also headlining his own sideshows. Drake hits the Allphones Arena stage in Sydney, 25 Feb; Rod Laver Arena, Melbourne, 27 Feb; Perth Arena, 3 Mar; and Brisbane Entertainment Centre, 5 Mar.
GONNA LIVE 4EVER
The Veronicas return to Australian stages with their Sanctified Tour, showcasing songs from their new self-titled album. They play Perth Concert Hall, 12 Feb; Forum Theatre, Melbourne, 15 Feb; Enmore Theatre, Sydney, 20 Feb; and City Hall, Brisbane, 21 Feb.
BREATHING DEEPLY
With standout sets at major festivals Bonnaroo and Austin City Limits in their home country, followed by a successful tour of the United Kingdom and Europe, American rockers Needtobreathe are hitting up Australia for the first time in support of their new album, Rivers In The Wasteland. They’ll be playing Hordern Pavillion, Sydney, 11 Feb; Royal Theatre, Canberra, 12 Feb; Festival Hall, Melbourne, 13 Feb; HBF Stadium, Perth, 16 Feb; Riverstage, Brisbane, 20 Feb; and Newcastle Entertainment Centre, 21 Feb. More dates from theMusic.com.au.
YULETIDE HANLON
Darren Hanlon is gearing up for his annual Christmas tour with the release of a new single, When You Go, lifted from his forthcoming sixth album. Hanlon plays solo 15 Dec at Mojo’s Bar, Fremantle; 18 Dec, Northcote Uniting Church, Melbourne; 19 Dec, Northcote Social Club, Melbourne; 20 Dec, St Stephens Church, Sydney; and 21 Dec, New Globe Theatre, Brisbane.
The finalists of the long-running Golden Guitar awards have been announced. Topping the list is Kasey Chambers and Luke O’Shea who are represented in six categories each, including Male and Female Artist Of The Year. Keith Urban, Adam Harvey, The McClymonts and John Williamson are also prominently featured, with the winners announced 24 Jan.
DOUBLE THE DEATH
Taking to the road together under the banner, The Despise The World Tour, two of the world’s most iconic and brutal death metal bands, New York’s Suffocation and Poland’s Decapitation are co-headlining their way across Australia in May. They hit Brisbane’s The Hi-Fi, 7 May; Sydney’s Manning Bar, 8 May; Melbourne’s Corner Hotel, 9 May; and Perth’s Rosemount Hotel, 10 May.
IM BORED OF THE OLD MEN THREATENING YOUNG WOMEN AS ENTERTAINMENT TREND AND MUCH MORE INTERESTED IN THE YOUNG WOMEN GETTING $ TREND. ZZZZ @IGGYAZALEA ADDRESSES EMINEM’S LATEST SONG THAT DESCRIBES THE OFFICIALLY IRRELEVANT RAPPER RAPING HER. 8 • THE MUSIC • 26TH NOVEMBER 2014
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UP THE CREEK
Tasmania’s boutique festival Party In The Paddock gets bigger every year, and next year, its third, sees acts such as The Beautiful Girls, Allday, Jinja Safari, Dune Rats, The Smith Street Band, Willow Beats, The Delta Riggs, KLP, Dappled Cities, Luca Brasi, Little Bastard, The Middle Names and more taking to the stage. Held at Burns Creek on 20 & 21 Feb, the festival’s also BYO alcohol. Good times ahead. Proudly presented by The Music.
BUILDING EXCITEMENT
Hugely influential metalcore legends Architects have unveiled the blueprints for their national headline tour. After selling out a few small shows in September they’re back in support of their Lost Forever, Lost Together record, joined by Stick To Your Guns, Being As An Ocean and Stories: 9 Apr, Capitol, Perth; 11 Apr, Arrow On Swanston, Melbourne; 12 Apr, 170 Russell, Melbourne; 15 Apr, ANU Bar, Canberra; 16 Apr, UNSW Roundhouse, Sydney; 17 Apr, Cambridge Hotel, Newcastle; and 18 Apr, The Hi-Fi, Brisbane.
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FRONTLASH VIOLENT HOHO
Limited edition Violent Soho Xmas jumpers!? Pre-orders end 1 Dec (or until stock runs out) and the jumpers will be shipped in mid-December to arrive in time for Christmas. Head to: 24hundred.net/products/xmasblazin-skull-limited-editioncrewneck.
ROCK THE VOTE Don’t forget your vote in this weekend’s state election can change issues that affect your giggoing. Don’t let a hangover stop you voting – maybe find a polling booth with a sausage sizzle to get you through the long wait.
SMOKIN’ GRANNIES The video of three nannas smoking pot for first time is adorable. (Please note: Paula, Dorothea, and Deirdre conducted their bong smoking experiment in Washington, where the drug is now legal.)
vic.news@themusic.com.au
BUILDING SPEED
HELPING HAND
Supports news time. Joining Eyehategod and I Exist, 30 Jan at The Hi-Fi will be The Ruiner. Sylvan Esso’s supports for their 3 Jan show at Northcote Social Club are WAFIA and DJ Anthony Carew. The 1975 have invited Circa Waves to join them at Festival Hall, 11 & 15 Jan. Opening for Every Time I Die and Touché Amore 16 Jan at Corner Hotel are Brittle Bones.
EXTRA EXTRA
Andras & Oscar play a second show 7 Dec at Shadow Electric, with guests Geoffrey O’Connor and DJ Sleep D. FKA Twigs has been announced a second show at 170 Russell on 29 Jan, which takes place before the first show later than night. Chet Faker will play a second and third show at Palais Theatre on 25 & 26 Feb.
FRANK ON THE SIDE NAN LOLS
BACKLASH OUT, DAMNED SPOT
Has anyone else noticed that, according to TV ads, it’s only mums who get excited about stain removal? It’s not only kids who drop beetroot/guacamole on their white clothes, ya know.
SMASH PALACE Still cannot get over the fact that demolition began inside Palace Theatre! It’s an outrage! And then a fight broke out during what began as a peaceful protest? Oh my. Protestors were even alleged to have been bitten?
DEAR BEER Overpriced boutique beers. Seriously, how much do malted barley, malted wheat and hops actually cost?
10 • THE MUSIC • 26TH NOVEMBER 2014
KINGDOM. PIC: JEFF BUSBY
UK duo Slow Club are returning to the country in 2015 off the back of their new album, Complete Stranger. Get in on their harmonious hooks and rockabilly beats at Northcote Social Club, 15 Jan.
Heading our way to play Bluesfest 2015, Frank Turner & The Sleeping Souls will also do a bunch of sideshows: 12 Apr at Corner Hotel and 16 Apr at Barwon Club, Geelong.
THE BIG DANCE
The 2015 Dance Massive program features a whopping 19 productions – 14 of which are world premieres – from some of Australia’s finest contemporary dancers and choreographers, including the likes of Chunky Move (Depth Of Field), Lucy Guerin Inc (Motion Picture), Phillip Adams BalletLab (Kingdom), Shelley Lasica (Solos For Other People) and more.
RESTLESS NO MORE
Leo Sayer has announced he’s heading Down Under for his Restless Years Tour next year. He performs on 5 Mar, Ballarat Regent Multiplex; 6 Mar, The Palms At Crown; and 7 Mar, Geelong Performing Arts Centre.
FILLING THE VOID
Julian Casablancas & The Voidz are coming down for Falls and have announced a sideshow, 6 Jan, Forum Theatre.
FESTIVAL UPDATES
The Knife have cancelled their planned arena tour in favour of a headline slot at Future Music Festival, 8 Mar, Flemington Racecourse. In Soundwave news, Bayside joins the line-up, 21 & 22 Feb, Flemington Racecourse.
CITY CALM DOWN
FILM FESTIVITIES
Made In Melbourne film festival is in its sixth year. This year, Opening Night Short Film Showcase features the best shorts on offer, and includes films such as Emo (The Musical). Peruse the program at mim.com.au and head down 27 – 30 Nov at Revolt.
MAMBO RETROSPECTIVE
Iconic Australian clothing brand, Mambo, is celebrating its 30th birthday at the NGV, with the opening of a retrospective exhibition: Mambo: 30 Years Of Shelf-Indulgence, starting 6 Dec.
5 ON THE SIDE
Jurassic 5 have been back in the studio and cut a new album, the first single from which, The Way We Do It, they’re sure to play at their Bluesfest sideshow 1 Apr at Festival Hall.
LEGITIMATE CAUSE
Local DJs City Calm Down, Barna Nemeth, Ella Thompson and Johnny El Pajaro will play the LEGIT Festival on 27 Nov at Rubix The Venue. Half-pipe skaters, street art, food trucks, break-dancers and a silent auction will accompany the tunes, with proceeds going to charity.
WHAT A TWERP
Local larrikins Twerps are set to play some shows in anticipation of their upcoming second album, Range Anxiety. Catch them 18 Dec, The Curtin.
MORNINGTONFEST
Running 1 – 11 Jan, various Mornington Peninsula venues host the Peninsula Summer Music Festival, kicking off with flamenco guitarist Vikingo de Jerez and his ensemble, followed by the likes of mezzo soprano Liane Keegan, Meow Meow, Genevieve Lacey & James Crabb, The Grigoryan Brothers and many more.
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local news vic.news@themusic.com.au SUNNYBOYS
SHINING BRIGHT
Punk rockers Sunnyboys celebrate the deluxe reissue of the band’s second and third albums, Individuals & Get Some Fun with a show at Forum Theatre, 5 Feb, with The New Christs in support.
A BIRDY TOLD ME
French hardcore outfit Birds In Row are embarking on a tour of Australia’s east coast tour for the first time, joined by fellow Frenchmen Calvaiire and Melbourne’s Colossvs. The three drop by Next, Colonial Hotel, 22 Jan and Dropout, 23 Jan (all ages).
VENUE OWNER BREAKS DOWN PARTIES’ POLICIES FOR MUSIC The state election campaign is underway. Both major and minor parties are pursuing the music community’s votes – a major turn around from five years ago. Currently, we are shifting away from fixing regulation into a phase where we need to increase the economic value of the music sector and address the viability of being a musician. Labor has announced a suite of policies funded to the tune of $22.2 million – significantly, the return of the Victoria Rocks program with specifically targeted grants to assist contemporary music. There is $400K to help local bands get overseas and $1.6 million dedicated to mentoring our artists. Martin Foley has also earmarked a shake-up of Arts Victoria, by replacing it with Creative Victoria which will merge Arts Victoria with Film Victoria and other multimedia agencies. Foley has stated that we “need a closer focus on the worth of creative mediums for their own intrinsic value”. The work of the Live Music Roundtable has essentially, 12 • THE MUSIC • 26TH NOVEMBER 2014
WET
GET WET
Proudly presented by The Music, Brooklyn’s minimal popsters Wet, who were heading Down Under as the supporting guests of London Grammar, will now also be putting in a couple of headline sideshows of their own. Catch the three-piece at 13 Mar, Howler.
DOUBLE TROUBLE
Mexican acoustic guitar duo Rodrigo Y Gabriela are returning to Australia for the sixth time in April next year, showcasing their recently released record 9 Dead Alive at Palais Theatre, 7 Apr.
LOVE GOIN’ ‘ROUND
Australia’s longest running large-scale Led Zeppelin homage concert, Whole Lotta Love, returns for the third time to Palais Theatre on 21 Mar for one night only, following the first-ever Geelong show at Geelong Performing Arts Centre on 20 Mar next year.
for the music industry, been doing exactly this to date. This philosophic shift would potentially align Victoria with the national cultural policy and in the longer term is a model that works well for contemporary music. However, this radical restructure is liable to take time and has the potential to distract government in the short term, which is why the Live Music Round Table needs to be maintained. Thankfully, both major parties are committed to its continuation. $10.3 million of Labor’s commitment is for capital works and planning to create a dedicated hub and home for the peak bodies (Music Victoria, The Push, AIR), other industry development NGOs and for a Hall Of Fame. It is to be known as the Music Market and is intended to be a “one-stop shop” to service artists and the industry. Importantly, part of its function is to monitor the efficacy of the law reforms consolidated over the last five years. The Liberals have also made significant commitments to the tune of $2 million. The Liberal/National Coalition has committed $1 million to revitalise the regional touring circuit which has mostly disappeared over the years. Ex-Loin Groin bass player and National Party member for Western Victoria, David O’Brien will no doubt take personal interest in this initiative if the Coalition is re-elected. The Libs have also committed $400K over four years to fund Music Victoria. This won’t be enough,
but it certainly is welcomed. Lastly, there is a commitment of $500K for acoustic attenuation to help music venues that are not directly protected by the recent Agent of Change provisions inserted in the Victoria planning scheme. Labor has topped this with $1.48 million on a dollarfor-dollar basis capped at $10K per venue. The Greens have always been supportive of live music, keeping the pressure on the government by asking uncomfortable questions in Parliament and sponsoring the FairGo4LiveMusic petition to remove the high-risk conditions on liquor licenses for venues and to implement the Agent of Change in 2010. They can also take credit for getting Melbourne Music Week off the ground through the hard work of Councillor Cathy Oke. They are broadly on board, as are the Australian Sex Party who have stated that they would like to see 1% of the arts budget directed to contemporary music; if you do the math that works out to be $1.95 million over four years. Jon Perring is part owner of The Tote and Bar Open, former board member of Music Victoria, member of both Live Music Roundtables and the Live Music Taskforce, and signatory to both Live Music Accords. He is also a guitar player in Slocombe’s Pussy and a sound artist. To read the full article head to theMusic.com.au
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music
YOU KNOW YOU LIKE IT AlunaGeorge’s collab with Disclosure nearly didn’t happen, Cyclone discovers, because Aluna Francis was worried about embarrassing herself. Meanwhile, George Reid has a “penchant for all things funky”.
T
he British combo AlunaGeorge was one of 2013’s buzz acts. Singer/songwriter Aluna Francis and producer George Reid premiered with Body Music, a slinky post-dubstep mutation of ‘80s synth-pop, ‘90s R&B and noughties two-step garage – and hit Australia for the inaugural Listen Out. Now the futuro duo behind Attracting Flies are already back with the discofied Supernatural, the
such that the pair were shortlisted for the BRIT Awards Critics’ Choice and The BBC’s Sound Of 2013 poll. Body Music was unveiled mid-last year – and garnered reassuring reviews. The LP contained, brilliantly, a ‘bonus’ cover of Montell Jordan’s new jack swing anthem This Is How We Do It. AlunaGeorge’s sound has morphed into something modishly amorphous – it’s retro and futuristic, soulful and electronic. Mainstream commentators classify them as ‘electro-pop’ as it’s seemingly safe.
at that time can tie in with that. Because we didn’t box ourselves into a type of music, we’re free to flow with whatever’s inspiring us.” Reid figures that often when artists seek to recreate a music, they “fail” – albeit in a good way. “I think that’s happening with a lot of people – they’re trying to emulate a lot of records they love and end up nowhere near what they’re trying to do, but you get your own thing as well doing that.” For Francis, what distinguishes AlunaGeorge in contemporary electronic music circles is the fact is that they’re self-contained. “There’s a lot of, like, producerand-singer kind of combos that are quite short-term. So you might just have a producer who gets a singer in for a day, and then the next singer – or a singer who then gets a producer in for the day and the next producer…” she says. “Because me and George have that continuous process behind us, I think mainly it’s just really enjoyable, the whole writing process, for us. It isn’t about finding the next ‘cool’ person to work with. We’ve learnt to really treasure that and not just take it for granted, in some ways.” Their dynamic has changed little since Body Music, Reid holds. He produces the beats and Francis composes the songs, but they share the credits. “I think on the outside, myself and Aluna might be running a slightly
“BECAUSE WE DIDN’T BOX OURSELVES INTO A TYPE OF MUSIC, WE’RE FREE TO FLOW WITH WHATEVER’S INSPIRING US.”
first taste of their sophomore. And their band will perform it this summer at Beyond The Valley. Reid doesn’t actually appear live with AlunaGeorge – though he does tour. “I’m not on the stage,” Reid confirms. “I’m just part of getting the music ready for the live shows and [I] make sure it’s all sounding how it’s meant to sound. I’m very proud of the music that myself and Aluna make and so it’s important to me that we get it sounding right at the shows, as much as we do on the recorded versions of the songs.” Francis, her heritage Indian and Jamaican, was born in Wales, but grew up on both sides of the Atlantic, settling in London. She worked as a reflexologist and fronted the vaguely trip hop outfit My Toys Like Me. In the interim, Reid played guitar in the math rock group Colour but, being fixated on Flying Lotus, switched to electronic production. He met Francis in 2009 after approaching her band to remix a song. They bonded and began developing a progressive pop paradigm referencing ‘90s R&B auteurs like Timbaland as much as IDM’s rebels. AlunaGeorge uploaded their first track, the forgotten glitchy romp Double Sixes, for free. Their breakthrough, You Know You Like It, was released on Raffertie’s micro-indie Super – and then the cred New York label Tri Angle (apparently impressing Grimes). AlunaGeorge, now sorta like Janet Jackson fronting The xx, eventually signed to Island Records. Anticipation for their 2013 debut would be 14 • THE MUSIC • 26TH NOVEMBER 2014
Others defiantly call it ‘R&B’, AlunaGeorge a reincarnation of Aaliyah with Timbaland. Nonetheless, every write-up positions AlunaGeorge differently, the music subjective for the writer or blogger. AlunaGeorge don’t know whether they belong to a new ‘postgenre’ movement or not, Francis admits. “I think we are lucky in the way that, from the beginning, we experimented with a lot of different types of music and, at a certain point, we did find what our sound was – as a sort of streamline. Now we can continue to kind of do whatever we want – and, for some reason, just whatever’s fashionable
slicker show, as it were. But when the doors shut and it’s just the two of us in the studio, everything’s exactly how it’s always been. It’s just the two of us making music and generally having a laugh! ‘Cause when you see each other every day, especially when you’re doing something creative, it’s hard to sit down and just go [drawls] ‘So, man, let’s make some really good music’. You just have to have fun with it and something will happen.” Ironically, AlunaGeorge’s greatest hit was that collaboration with Disclosure, White Noise – a UK No. 2 (their own biggest single, Attracting Flies, only just made the Top 20). Francis had encountered Disclosure and deemed them “cool guys”, but was “pretty reluctant” to team up in the studio – despite Reid’s encouragement. Such scenarios are “scary” for her. “When me and George work together, we don’t really have that pressure – we have tonnes of days where we don’t do well and we just eat a sandwich and make a bad song. So I was like, but what if I have one of those days? That’s embarrassing!” White Noise (auspiciously) blew up just months before Body Music was issued, bolstering AlunaGeorge’s pop profile. Yet they’re selective about collaborating. Early on, Francis led a vocal rendition of Rustie’s After Light off the acclaimed Glass Swords. More recently, AlunaGeorge hooked up with Baauer on his posttrap banger One Touch – also featuring Mike WiLL Made-It’s rap protégés Rae Sremmurd. Remix efforts are likewise rare. Reid lately transformed Coldplay’s
KEEPING IT LIVE AlunaGeorge are fans of Australia – and its music culture. Perth’s Ta-ku remixed their single Best Be Believing off Body Music – and AlunaGeorge’s Soundcloud has playlist links to songs from Future Classic stars Seekae, Chet Faker and Flume. The Brits enjoyed, too, their first Australian tour in 2013 with Listen Out. Francis recalls her time Down Under as “amazing”. “It’s a really lovely place and all the cities are different and everything but, as a whole, we had a wonderful experience,” she raves.
Magic, layering on stalactite synths. AlunaGeorge subsequently supported the rockers in London. AlunaGeorge’s stunning latest single, Supernatural, is distinct from anything on Body Music – it’s a bit New Romantic disco, a bit early ‘90s house, and a bit balletic Goldfrapp. The two are surely aware that the illwave Banks and co are biting their steez, necessitating a reinvention. Regardless, AlunaGeorge stress that Supernatural isn’t a ‘lead’ single. “We’ve kind of stepped off the track of traditional releases, to be honest,” Francis says. “The really highbrow, crazy thought process behind this was: Just put it out and see how it goes [laughs].” They were listening to the LP, largely mixed and mastered, and fancied sharing a song, Reid adds. “The label were happy enough to back that idea, just as a little reminder to everyone that we’re still hanging around, making music, really.” Indeed, the album won’t drop until 2015. AlunaGeorge are doubtful if Supernatural is representative. Francis says that two tracks, including the single, are more uptempo – even “disco”. “The thing is George has got this incredible penchant for all things funky…” Reid interjects, “Basically, this is the only way I was able to slip funk into the new album in an accessible form for Aluna to take – through disco,” he chuckles. “There’s a couple of tracks with this kind of influence – [but] we haven’t got anything that sounds exactly like Supernatural on the album.” Ask AlunaGeorge what they’re currently vibing to and their responses are suitably unexpected. “You
know what, I bought three whole CDs yesterday,” Reid joyfully announces, as if it’s show and tell time. “Who knew people still bought CDs?” A couple are replacements, he concedes. Reid picked up Blur’s ‘best of (for a mere £3, he exclaims), Daft Punk’s Discovery (“just an absolutely classic album from them”), and Lil Wayne’s Tha Carter IV. Meanwhile, Francis has fully embraced Flying Lotus. AlunaGeorge’s soulstress had long suspected that the althip hopper was “maybe slightly too clever”
for her – but, having streamed his jazzadelic opus You’re Dead!, she’s “jumping on George’s bandwagon.” “I locked myself in the studio, turned all the lights off, and put the big screen on and watched the videos and listened to the album in full. It was really incredible – it was a really enjoyable way to do it, ‘cause [Flying Lotus] did say, like, if you listen to it, you’ll have to sit down and concentrate and not do anything else in order to get the value of the album. So I did as instructed – and he was right.”
WHEN & WHERE: 30 Dec – 1 Jan, Beyond The Valley, Phillip Island Circuit
This New Year’s Eve AlunaGeorge will headline Beyond The Valley on Phillip Island. “We will perform [the new single] Supernatural,” Francis says. “[But] we’re still kind of holding onto our first album’s material, ‘cause we haven’t actually released any new songs other than Supernatural. We’ve really been working hard on preproduction to hone the songs in the live sets and just get them really tight – and get them sounding as good as we can possibly can, rather than branching out and creating a whole new live show.” Reid will be labouring behind the scenes as quality controller. “Like Aluna was saying, there’s been a lot of work recently gone into the actual sound of the show – which is something I guess taken for granted at the moment because, with so much electronic music, a lot of people will turn up and just press ‘play’ on a laptop. It’s something that we never really wanted to do. We love having live musicians.”
THE MUSIC • 26TH NOVEMBER 2014 • 15
music
PARTY BUSINESS Ten years, seven albums and countless tours after two friends came together for a fateful blaze-up, Alaskan psychpop-rock four-piece Portugal. The Man are finally happy with themselves – but it was anything but easy, frontman John Gourley tells Mitch Knox.
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hroughout history, some bands have consistently existed and thrived in seemingly paradoxical circumstances. Born of a “smoke sesh” between close friends John Baldwin Gourley and Zachary Carothers in 2004, and following the dissolution of their previous outfit Anatomy Of A Ghost, Portugal. The Man is such a band. The band is populated with members whose outwardly chilled and worry-free demeanours belie the fact that they are collectively one of the hardest-working touring acts around, having put out last year’s Evil Friends as well as six other full-length albums (plus a handful of assorted other releases) in their decade together. And yet, when vocalist/guitarist John Gourley talks of the benefits behind doing sponsored tours, such as his band’s upcoming jaunt to Australia with the assistance of booze giant Corona, it quickly becomes clear that he and his bandmates are business-minded in instances of necessity only – despite their prolific career, they’re totally happy to not be in control of some things. “We like doing things like this; I think there’s just some really great adventures to doing sponsored tours,” the affable Gourley says. “I mean, they put you in a position where you can play free shows, and play a lot more of Australia than you would normally play. It’s really great; I think it’s great for the music industry, too. I mean, so many bands, like, they survive on touring, and they have to worry about those bullshit ticket prices and, like, ‘How do we pay it off? How do we do this?’ … and cutting the business side out of it is fuckin’ rad! Fuck yeah! Fuck business!” Given the band’s isolated physical roots in Alaska (and despite their eventual relocation to Portland), those instances of necessity occurred with greater frequency while the band were establishing themselves. “The reason we were making so many records early on … was just kind of the experience, and making as much music as we could and learning as much about songwriting as we could,” Gourley reflects. “Really, we’re just from Alaska, with no experience in the music industry, so it took a lot of work. “I mean, I really didn’t play guitar all that well when we started. Everything on our first two records was loops. I would play a part and just loop it. And it 16 • THE MUSIC • 26TH NOVEMBER 2014
was kind of like hip hop production, in that sense, the way we would kind of build up blocks of songs and play to it. Yeah, it just took a lot of work.” However, he explains, that all finally eased when Portugal released their watershed 2009 LP, The Satanic Satanist
that brings you through songs,” he clarifies. “I think The Satanic Satanist was honestly the first time we had come into something, like, come into our own as a band, and it’s why we signed for Atlantic Records after that, because we actually felt ready to play the late night talk shows, and felt comfortable enough to do the video interviews that we were so terrified to do. We could finally do all that stuff because we felt more confident in the music. “There was something about it – I don’t know if it was where we were at with music at the time, but we just said, like, ‘Fuck trying to jam all the ideas into
“WE’RE JUST FROM ALASKA, WITH NO EXPERIENCE IN THE MUSIC INDUSTRY.”
– although he admits that, despite growing considerably in his talent as a guitarist, he has never quite grown out of using the old loop trick. “I kinda still do that – there’s something you get out of that sound. I mean, like, I’ll loop some things, and play straight through on others … and you need that organic element, but you also get something out of that loop, and there’s just familiarity to it
this, and let’s sit back and actually just pick the three best parts.’ And you can say whatever the fuck you want about that, but there’s nothing ‘experimental’ and ‘cool’ about not trying. You need to take those steps, you need to feel comfortable with yourself to do it. It took a lot, though. It feels so weird, you know what I mean? You come across a chord progression, and you feel like you know exactly what you should sing, and you don’t expand upon that… sometimes it’s the best thing you could do. Like, you don’t need every melody. Ain’t No Sunshine is two minutes and it’s just the same progression – it’s one of the greatest songs ever. Really finding that, and being comfortable enough to just deliver on it, is a very, very exciting thing.” WHEN & WHERE: 28 Nov, Torquay Hotel; 29 Nov, The Westernport Hotel, San Remo; 30 Nov, Penny Black (4pm), The Deck (8.30pm)
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THE MUSIC • 26TH NOVEMBER 2014 • 19
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EATING AN APPLE
“The English gentlemen of the rock’n’roll community”, The Delta Riggs’ Michael Tramonte and Elliott Hammond explain to Hannah Story why they’re not “cunts”.
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t’s like eating an apple,” singer Elliott Hammond says of the reception so far to The Delta Riggs’ second record, Dipz Zebazios. “Some people wanna eat the skin and some people just wanna go deeper. In some cases we’ll just dice it up and give it to them with skin and other cases they’ll peel it themselves.” “I don’t know if that makes sense,” says bassist Michael Tramonte. “He’s stoned as though.” We laugh. Sitting at a pub in Sydney’s Surry Hills with The Music, Hammond hides behind vintage shades, while Tramonte slumps in a black shirt. They order burgers and beer, and as knives and forks clatter on plates, they talk shop. They’re a self-described “working-class band”; most
members have day jobs on top of their touring and recording schedules. “We’ve got a cost of living, y’know, that we have outside of the band,” says Tramonte. Hammond continues, “You’ve still got to take your girlfriend out for dinner on a Wednesday night.” Tramonte concludes, “Pay your rent, pay your bills, buy your drugs. All that shit.” But they’re not “doing a Sticky Fingers in Wagga Wagga”, living the ‘sex, drugs and rock’n’roll’ lifestyle. (“That shit’s gay as,” says Hammond.) Tramonte admits, “Yes, we all play rock’n’ roll, have sex and do drugs. But we don’t wear it on our sleeves. We’re like the English gentlemen
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of the rock’n’roll community.” Hammond goes on, “We don’t think that we’re more important than anyone... The band is awesome, we love playing in the band, but it’s not a platform for us to be cunts. We’re just a bunch of polite dudes who use our manners and love our mums.” Some of the subject matter for their latest record focused on celebrity culture. Hammond opines, “We kind of feel like Nicki Minaj and Miley Cyrus are like a fucking joke. We find that funny that they call themselves artists and say this shit is art. And to us it’s like it’s just a fucking cash-grab.” They’re fans of and influenced by Beastie Boys, Primal Scream and Oasis, as well as Australians REMI and Violent Soho. “We listen to heaps of the good ones,” says Hammond. “There’s shit ones too. There’s just bands right now that are either doing good things for rock’n’roll or bands that are watering it down and making it more like Thirsty Merc.” And Hammond’s not worried about sounding too close to their influences. “If you like it because you love it and you think it’s sick, just fucking go for it. Don’t hold back. There’s bands out there that completely plagiarise shit and I don’t actually have a problem with that.” The boys are keen to head back on the road again. “We haven’t done our own tour for a while so I’m excited to just see who comes,” says Tramonte. “Maybe Kyle Sandilands will come. Maybe Karl Stefanovic,” Hammond muses. “He’ll come,” Tramonte is certain. WHAT: Dipz Zebazios (Rah Rah Radio/Inertia) WHEN & WHERE: 28 Nov, Queenscliff Music Festival; 29 Nov, Ding Dong Lounge; 30 Nov, NYE On The Hill, Kernot
A NEW DIRECTION
Singer Hayden Somerville and guitarist Alex Trevisan tell Michael Smith how the new Lurch & Chief single sees the six-piece finally honing in on what they want to be.
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her and it was more or less saying that hopefully she can just keep going forward and get up.”
“We’ve never ever gone in looking to [be like] this song’s gonna be mine or this song’s gonna be Lil’s, from a vocals perspective,” Somerville explains. “I know it’s just a cop-out to say, but it sort of just happens when we’re writing. We never try to overpower each other – we grew up together and have sung together before – so it’s really easy to write with Lil and I think it just comes with knowing the person for ten years or so. Lil gets really emotionally attached to not only what she’s singing but the lyrics that are said. So she’s constantly asking me, ‘What am I meant to feel here? What does this lyric mean?’ It makes me write a certain way as well because I’ve got to impress her in a way – I have to have an answer.”
Meanwhile, guitarist Alex Trevisan has also seen the band’s approach to recording change for Keep It Together. “We’ve kind of had a little bit of a different process this time. We’ve more conversation between the musicians before we did the vocals this time. It’s usually been a group sort of thing but we had a lot more time to sit down and kind of take it in the proper direction we wanted to.”
It’s all there in their new single, Keep It Together, a cautionary tale addressed to a friend of Somerville’s. “Lyrically, the songs are a little bit darker this time. So, for Keep It Together, it was really just about a friend losing some of her friends in her life, and I was quite close to
“Yeah,” Somerville chips in. “The band all sat down and talked about what type of music we wanted to write,
oming together just over two years ago, Melbourne six-piece Lurch & Chief, essentially old friends who’d previously been playing in various combinations, have begun to evolve quite an intriguing sonic fingerprint on which the voices of singers Hayden Somerville and Lili Hall are placed, singing conversations rather than merely duetting.
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and where we wanted the sounds to go and even with this is the first time we’ve used samples in a song, like in the background there are some sloughing guitar samples. So just talking about the direction we wanted to go before we went into the studio and before we even went into the jam room to write. For me that was extremely beneficial because we were all in the same headspace and all going forward in the same direction, whereas before it was sounds from everywhere. I guess we took a bit of a risk going in this direction, darkening things up a bit and changing the style of sound but that’s the direction we all wanted to take.” “Since we started the band,” Trevison adds, “this is the first time we’ve ever taken a twomonth, three-month period off and just really concentrated on the demos and it shows I guess.” WHEN & WHERE: 29 Nov, Northcote Social Club; 30 Dec – 1 Jan, Beyond The Valley, Phillip Island Circuit
THE MUSIC • 26TH NOVEMBER 2014 • 21
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THE POP VIEW
Dash, a very spontaneous collection in a way that draws on the music of her childhood, as played by her bohemian mother Genevieve de Couvreur.
Bertie Blackman’s latest album draws on the music her bohemian mum played when Blackman was a child, as Michael Smith discovers.
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he task singer, songwriter and multiinstrumentalist Bertie Blackman set herself on her last album, 2012’s Pope Innocent X, was an examination of her relationship with her father, the late and celebrated Australian painter Charles Blackman; an intense experience to say the least and one that consumed two years, coming out of it, Blackman felt she needed to recharge the creative batteries with a project a whole lot more fun. “Working with (producer) Francois Tatez,” she explains, “was a very complex experience. He likes to get in and
really know you and what you’re about and what the songs mean, and I spent, like, a year in a room with him just talking about the songs and then writing more songs. So I took a breather for six months before I could really write anything else again and then I really wanted to do a bit of an opposite process and just write whatever came to me and finish it on the spot. I wanted to explore whether that process would work for me, whether I could write a song and finish and produce it and everything with the co-writers in two days, which I think brings a bit of a freshness and an airiness to the record.” The result is her fifth album, The
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“I grew up in Australia in the ‘80s and hanging out with mum, who was wearing full-length hand-knitted flouro dresses and having really cool parties playing music really loud, as an eight year old, life was really good. So I thought, why don’t I start there and go where the music takes me.” In another first for Blackman, she decided to try writing with other songwriters, among them Julian Hamilton from The Presets; Louis Schoorl, who has worked with Daniel Johns and 360; and John Castle, who has worked with Megan Washington. “I definitely learned about pop song structure,” she admits. “Sitting in a room and working with someone who understands music keys and what chord goes better next to that chord and all that kind of stuff, for me I don’t think about music in that way. For me I just hear it and it comes out, so it was interesting being around people who work in that world.” Inevitably though, in there amongst the chirpy ‘80s synths and pop, the lead guitar-wielding indie-rock chick still comes through, in the track Darker Days. “Yeah, it always does. As much as I was actually trying to show a bit of a different side of me on this record, it always kind of slips through, and usually it’s that one that’s my favourite song. It’s a very Bertie song!”
WHAT: The Dash (Warner) WHEN & WHERE: 27 Dec, Woodford Folk Festival
THE LAST GOODBYE The dynamic singer-songwriter Joan Armatrading tells Jazmine O’Sullivan why she’s decided to make her forthcoming world tour her last.
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hen the news came that Joan Armatrading, whose career spans over six decades now, had announced her final world tour, there can be no doubt of the collective feelings of despair among her legions of fans across the globe. Her Australian fans have had the privilege of witnessing her prowess on the stage several times, notably her standout performances at the Byron Bay Blues & Roots Festival over the years. With the reaction from her fans in mind, Armatrading explains that her age is a contributing factor in calling it quits for the major touring circuit. “From when the tour first starts off they tend to go for 18 months, and when I tour I like to do it all in one go and not have great big long breaks in the middle of it. I’m sixty-three now, I’m sixty-four at the end of the year, and I’ll be sixty-five when the tour is finished. If I were to record again I would be about sixty-seven when it was finished, which means I would be sixty-nine when that was all finished, and I don’t really want to be on the road non-stop at that age.” Armatrading is a woman who has come a long way, both professionally and personally, as she recalls. “In the beginning I was so shy. I think all the audience ever used to see was the top of my head, and the record company that I was with at the time knew I could sing but they didn’t know I could talk – so being on stage was quite traumatic, I’m surprised I did it actually. But 22 • THE MUSIC • 26TH NOVEMBER 2014
over the years you’d hear the applause, and the audience would come up to see you afterwards and tell you how much they’ve enjoyed your performance and what it means to them, and that just builds the confidence and makes it less frightening.” Armatrading intends making this last world tour really count, both for herself and her audience. “I have a feeling it is going to be emotional, and that’s one of the reasons I’ve chosen to do intimate shows. Half the shows are between 300 and 500 seaters, and then the other half are in larger theatres, and I’ve deliberately done that
to get this sort of atmosphere that I want to create and these memories that I want to create for myself.” Armatrading has also managed to find a way to make things new by taking the stage completely solo for the very first time. “I’ve had to acquaint myself with playing some of the songs actually,” Armatrading admits. “Even though I have written some of the songs and initially I would have played some of them on stage, over the years I’ve stopped playing and just sang. I haven’t played the piano on stage since 1976 and I haven’t done a world tour on my own before either, so there’s quite a lot that’s making me anxious about this tour really,” she laughs. “But the audience only has me to look at this time, so hopefully they’ll be alright with that.” WHEN & WHERE: 8 Dec, Recital Centre; 15 Dec, Comedy Theatre
THE MUSIC • 26TH NOVEMBER 2014 • 17
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ALL GROWN UP
bands including, notably, Lions At Your Door, an epic-rock six-piece whose ranks included future Bloods “brothers” Sweetie Zamora and Dirk Jonker.
Determined to put the fun back into the music, Bloods singer Marihuzka Cornelius plays ball with Anthony Carew.
“Y
ou can get carried away with ambition for making an album,” says Marihuzka Cornelius, the 32-year-old guitarist/ singer of Sydney trio Bloods. “Like, ‘We’re going to record it, spend this much money on it, send it away to this amazing producer in America to mix it.’ When I thought about all that stuff, I was like: ‘That’s just fucking nuts. We’re a punk band!’” So, for their debut LP, Work It Out, Bloods recorded live, straight-to-tape, with Straight Arrows’ Owen Penglis. “He’s just a vibe guy, always ‘If it feels good,
don’t overthink it,’” Cornelius says. “Move on and then you can capture that energy, that urgency you get when you see a band play live.” Bloods’ sound – fuzzy, furious, melodic – harks back to Cornelius’s childhood. Born Marihuzka LarenasEsquivel in Panamá to a Panamánian mother and Chilean father, she landed in Sydney aged three. Coming of age in an era in which Nirvana and the Red Hot Chili Peppers topped the charts, Cornelius started her first band at 13 in thrall to riot-grrrl and heroes like Sleater-Kinney (“they’re like my favourite, favourite band”) and Veruca Salt. Over the years, there have been scores more
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“Towards the end of [Lions At Your Door], it was no longer fun; it became a bit of a chore. We wanted to start something that was fun, that was just for us.” The three picked up instruments they’d never played – Cornelius guitar, Zamora bass, Jonker drums – and their sound “came from us all not knowing what we were doing.” Their name referencing their tight bond of friendship, not Los Angeleno street-gangs (“if we ever tour America, we might have to change our name, to, like, The Bleeders,” Cornelius laughs), Bloods turned out early singles at a furious rate before delivering a debut EP, 2013’s Golden Fang, and, now, LP. If their fast, fun songs seemingly spoke of youthful hijinks, new single, Penelope, runs contrary, chronicling Cornelius’s anxieties about becoming a mother. It’s an ode to a daughter, standing in defiance of gender stereotyping. “From the moment I was pregnant, people were asking things like ‘What’s going to happen with the band?’ And I’d be like, ‘Um, we’re recording an album next year!’ Even in the face of newfound responsibility, Bloods’ founding tenet, that the band is always fun, remains. “It actually feels like, three years later, it’s more fun. The more people that hear of us, the bigger the shows get, the more fun it becomes.” WHAT: Work It Out (Tiny Galaxy) WHEN & WHERE: 29 Nov, The Curtin
A WHOLE NEW WORLD Ahead of her first visit to Australia, Danish songwriting sensation Agnes Obel tells Jazmine O’Sullivan about her recording process and the simple things that influence her music.
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gnes Obel has been something of a household name in Europe in recent years, thanks to her gorgeous debut album, Philharmonics, in 2010, which went to #1 in her home country and earned platinum status in select countries across the continent. Late last year she released her second effort, Aventine; its success now allows her to make her first visit to Australia. With one of the more striking features of her work being its simplicity and minimalism, Obel explains that for her, this is best achieved when she’s working on her own in her home studio, now located in Berlin. “For me producing an album is very much something I can do and like doing by myself. I feel there is a bit more freedom there, and I can record at two o’clock at night if I want to, and very often things sound different in your head to how they do recorded, so I spend a lot of time on the little things, like how my voice is going to sound, and I can do the best when I am doing that in my home studio. It’s just easier for me to do it myself, and it feels more natural. It’s actually not that I ever want to record by myself; I actually always think I’d like to go in with other people and re-record everything and do it properly, but I always just end up liking what I’ve done myself. “I have a studio with a piano inside with lots of different amps, and my computer, so it’s quite nice. My boyfriend has made a big hole in the wall so I can see everything 24 • THE MUSIC • 26TH NOVEMBER 2014
going on in the outside world as well,” she laughs. “Then I just have like compressors and preamps and reverbs and some instruments like guitars and a harp, and organ, so it’s just a room filled with lots of instruments basically.” Working from home means she’s often in close contact with her boyfriend, who she lives with, which she explains has a mostly positive effect on her work, as she’s able to bounce ideas off him. “Something I learned is that I can’t just play my songs for anybody when I’m working on them because in the beginning it’s very fragile, and you don’t want to get the wrong input,
so it’s better to show it to somebody who is sort of in tune with your emotions. I mostly play my songs to my boyfriend, which works for me. Sometimes in the very early stages if I haven’t finished the lyrics or something he might say I need to work more, because he’s very into hip hop and focused on the lyrical side of things. I don’t always agree with him, but it’s cool to get ideas from him. He’s also very good when I’m producing it later, because he can tell me if I’m repeating myself too much. He’s also good at pushing me towards simpler, more straightforward and transparent ways of sound-making.” WHAT: Aventine (PIAS Recordings) WHEN & WHERE: 28 Nov, Recital Centre
WRITERS IN THE HOUSE Mary Helen Sassman from La Mama and writer/actor Katie Beckett talk to Sarah Barrett about the Ilbijerri Writer’s Residency at La Mama Theatre this December.
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he Ilbijerri Writer’s Residency is a partnership that premieres this year between Ilbijerri Theatre Company and La Mama Theatre, which provides a platform for some of Australia’s emerging Indigenous writers. This year’s writers are Jacob Boehme and Katie Beckett. Mary Helen Sassman tells us of a long history of mutual appreciation that’s existed between the two organisations, with artistic directors and young writers teaming up on numerous occasions in the past. “Our raison d’etre is to
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support the creation of new work and especially new plays. On the top of our priority list is working with minority voices to make sure their voices are presented on stage.” The new residency aims to give emerging writers access to a supportive audience to test their work, something inspired by successful theatre visits to La Mama for Aboriginal writers La Mama and Ilbijerri have organised in the past. “This is the first of its kind and hopefully it is the beginning of something ongoing. For an audience, there’s something really special about witnessing the process of how the work is made.”
An intimate theatre space in Carlton with a very relaxed atmosphere, La Mama provides writers and performers the chance to sit around a fire before or after shows to discuss their work in its infancy with a receptive audience. Sassman attests to the nurturing environment of La Mama that allows them to feel less isolated and intimidated when they create work.
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The residency involves an intensive workshop process, allowing writers to work with directors, dramaturges and performers. Writer and performer, Katie Beckett explains how the workshop has assisted her own creative process. “I went out to a farmhouse with no reception for about nine hours a day. I only went with ten pages and was performing in a show, so that first workshop we isolated ourselves and generated material.” Beckett’s story focuses on the relationship she had with her father as a child, their ups and downs and what it’s like to be an Aboriginal single father. Themes in Beckett’s work include family relationships, childhood, parenthood, Aboriginal history and identity, connection to the land and how all this shapes culture. She believes a lot of our ideas of culture, history and identity come from the family. “I don’t want the audience to walk away feeling sad or depressed. There’s comedy, there is sadness, there is grief and there is joy. I want people to see a different side to Aboriginal men. They can be portrayed in the media as quite violent, drunken people. I want people to see what I grew up with, which was a gentle giant of a father.”
WHAT: Ilbijerri Writer’s Residency WHEN & WHERE: 5-12 Dec, La Mama Theatre
BEST YEAR OF MY LIFE
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On the eve of yet another sold-out tour, Illy chats with Scott Aitken about some of the highlights from his massive year, future plans and how everything is coming up Illy.
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t was a headline performance at One Night Stand this year which saw Melbourne rapper Illy close out the night in front of a huge crowd of more than an estimated 16,000 fans. The MC says despite being nervous about playing a show of that scale, it was one of the highlights of what he’s calling the best year of his life. “I was shitting myself, you know, because it’s being broadcast so there’s cameras flying all around you; it was quite nerve-racking,” he says. “I didn’t get comfortable until probably two-thirds into the set but then I enjoyed the last 20 minutes or so, but it was unreal.” It’s just one part of a huge year for Illy that’s been filled with sold-out tours across the country and abroad, bolstered by the success of his fourth album Cinematic and hit singles like Tightrope and On & On. “I put so much of myself into my music and this year it really feels like it’s gone up a few levels and it’s just been non-stop from the start of the year. There have been festivals and writing overseas, touring Europe with the Hilltop Hoods and the regional tours and it’s just been awesome being able to do exactly what I’ve wanted to do for more than half my life now. Everything that could go right has gone right this year.” His One For The Cities tour is hitting up capital cities throughout November and December, featuring the biggest headline shows of his career and coinciding with
the release of Cinematic Uncut, a repackage of his latest album featuring six new tracks. Illy says while there was more material on Cinematic to choose from, there’s still a tonne of material and collaborations that haven’t seen the light of day. “There were a quite a few tracks with Phrase that never came out and a lot of the collaboration stuff was with more underground dudes but it’s mainly just tracks of my own that haven’t come out yet.” So far tickets for the tour have been selling like hotcakes, with his Perth show at Astor Theatre sold out. “This whole tour is looking like most of it should
come pretty close to selling out but I’ve always had really good support in Perth and WA in general actually. It’s nice to slap that sold out sign over one of the dates and hopefully get a few more up there.” After the dates, Illy says he’ll focus on a range of projects, but for now his focus is on putting on the best shows possible to cap off the year. “Next year will be spent pretty much working on the new album and I’ll also be going into the States to write for some non-hip hop people and trying to get my feet wet with that, so there’s some pretty exciting things on the horizon. My focus right now is just getting through these shows, making this tour a really great end to probably the best year of my life.”
WHEN & WHERE: 29 Nov, Forum Theatre THE MUSIC • 26TH NOVEMBER 2014 • 25
tv
GETTING ANIMATED
The lesson for the day is never assume, as Guy Davis learned when he spoke to actor Elijah Wood.
O
ne should try to avoid pre-conceived notions about another person, but I just assumed Elijah Wood would be an Adventure Time fan since, in addition to his lengthy list of acting roles, the Lord Of The Rings star is renowned as something of an avid pop-culture geek, and the quirky, inventive animated series just seemed right up his alley.
Imagine my surprise, then, when I discovered he’d only recently joined the show’s legion of admirers, and only after working on Over The Garden Wall, an animated program created by writer Patrick McHale, who’d
music
previously worked on, you guessed it, Adventure Time. “I kept hearing from my adult friends how brilliant Adventure Time was, and it wasn’t until I finished Over The Garden Wall that I finally started watching it,” laughs Wood. “Then I retroactively realised how brilliant Patrick really is. I mean, I knew already, but seeing Adventure Time put everything into further context. I don’t think I truly appreciated the effort Cartoon Network” – the station behind both shows – “is putting into the world of animation. So many of their shows have that dual appeal, where they work for both adults and kids, and Over The Garden Wall works that way as well.”
Based on McHale’s short film Tome Of The Unknown, Over The Garden Wall is Cartoon Network’s first animated mini-series, an idiosyncratic ten-episode fairytale adventure. Creepy and comical by turns, it follows Wirt (voiced by Wood) and his younger brother Greg (Collin Dean) as they try to navigate their way home through a strange realm called the Unknown, with a little assistance from ill-tempered talking bluebird Beatrice (Melanie Lynskey), but face many adversaries, voiced by the likes of John Cleese, Chris Isaak and Christopher Lloyd. Interest was piqued the moment Wood received an information package, finding the artwork, character designs and story synopses “incredibly appealing”. “I love animation, and I hadn’t really seen anything like this in a very long time – the notion of handpainted backgrounds and an animation style that evoked something from decades ago; a style of storytelling that seemed to be inspired by fairytales.” The relationship between the endearingly naive Greg and his slightly more jaded brother also appealed. “These two brothers find themselves on a wayward path they don’t understand, and Greg is completely and blissfully unaware because of his youth and his naiveté... But Wirt has passed a certain age and sees the world for all its darkness and danger. If I may get a little deep, Wirt’s journey is an understanding of self. He has to confront his own weaknesses and also understand his own strengths, which has never been tested. He has to confront his own weaknesses as well.” WHAT: Over The Garden Wall WHEN & WHERE: Premieres 15 Dec, Cartoon Network (Foxtel)
ELECTRO TACOS
The days of Mariachi El Bronx just being a vehicle for punks The Bronx to dabble in something festive are over. Singer Matt Caughthran tells Carley Hall they’ve finally settled into their adopted genre on their third album.
D
oing something off-kilter has always been a way to blow off steam for LA hardcore punks The Bronx. Since 2003, the loveable genre stalwarts have regaled us with short, snappy, blistering ditties. So in 2009, after three killer Bronx albums were unleashed and loved, the five-piece made a huge left turn with Mariachi El Bronx, their festive Mexican counterpart that immediately tapped into a fresh take on a traditional sound. But after two albums of mariachi gems, singer Matt Caughthran says it was time to step things up a notch for their third, Mariachi El Bronx III, and take the music and the lyrics beyond what he admits was at first an exploration and expedition away from the punk rock side of things. “Yeah it’s a darker record, you know,” Caughthran admits. “I think there’s more reflection lyrically, musically we did a bit of experimenting with different layers and samples. So it was about doing things differently and to open up to show a different artistic side.” The affable frontman says their third for Mariachi El Bronx was the hardest to get off the ground following the release of The Bronx IV. 26 • THE MUSIC • 26TH NOVEMBER 2014
“Going into the third El Bronx album, it was a tough transition for me personally; it took a bit of time to sink into the record,” Caughthran says. “And the music was coming out a lot darker this time around and I could feel it was going to be tough to kind of match that and write into it. I was dreading it to be honest with you. (The guys) were sending me six or seven songs that I hadn’t even started on yet. But I was able to do it and it kind of opened it up and gave it what I think is our best record.” What Matt believes is their best was aided in no small part by heading to Dave
Matthews’ farm to record, where, this time around, they chucked out the rulebook and fused a bunch of sequencers with traditional melodies, and by inviting mariachi harpist Willie Acuna and DJ Bonebrake of Eyes and X to work their magic. However, having such talent on board was daunting. “Fuck yeah, it’s scary because it’s still a genre that we’re outsiders in!” Caughthran laughs. “It’s our take on a style of music and with this record we branched out even further. But that’s what keeps you motivated, what keeps you inspired and what keeps you going after you’ve been doing it for twelve years. “We’ve kind of accepted that this is our lot; we are two bands. And that’s the way it’s going to be so we just go back and forth whenever it feels right.” WHAT: Mariachi El Bronx III (White Drugs/Cooking Vinyl) WHEN & WHERE: 4 & 6 Apr, Bluesfest, Byron Bay; 10 Apr, 170 Russell
album/ep reviews
JOOLS HOLLAND & HIS RHYTHM & BLUES ORCHESTRA
A Better Tomorrow Warner
Sirens Of Song ★★★½ reinvigorated, while lower profile emcees in the crew offer up some of the best verses of their careers (check out U-God’s furious verse on The Pioneer Frontier). That said there are still missteps (the bouncy Hold The Heater comes off as lightweight and the hook-driven Miracle is somewhat saccharine) but none are serious enough to sink the project. The first emcee you hear on this record is ODB (RIP) – a clear admission that the Clan knows they have to recapture what made them great in the first place. And on the whole they’ve done that – where they go from here will be interesting. Mark Hebblewhite
Warner Jools Holland is prominent as one of British music’s most recognised and trustworthy. A couple of years back, Holland’s talent for composition was refreshed with 2012’s The Golden Age Of Song, a star-studded effort. Holland must have had the itch to repeat that highly successful and pleasant experience, only this time around he’s kept it between him and the ladies. What Holland nails here are his choices of leading ladies for each track, which offer so much in the way of delightfully surprising and sublime covers. Jamaican songstress Ruby Turner sasses up Ray Charles’ Jumpin’ In The Morning, our own pop princess Kylie Minogue puts
COLLARBONES
AC/DC
Two Bright Lakes/Remote Control
Sony
Return
Collarbones are a force all of their own. On Return they can be heard switching it up from down-tempo pop tunes to straight-up acid house jams in the space of a heartbeat. Their take on club music, dance music, electronic music, whatever you wish to call it, is removed from trend and focused entirely on making ears tingle and feet move. Marcus Whale has the melodic vocal tones of the finest R&B performers and he can make them soar or surrender over beats with his bandmate Travis Cook. There’s something deliciously subversive in the way the sung voice is often disassociated from the central beat, and it’s only once immersed in the music that it all seems to fit perfectly in place. There’s a clever mix of catchy tunes on Return: Only Water featuring Oscar Key Sung is one that’s bound to be stuck in brains after a few spins. Big reverberating synths, two-
her pout to The Clash’s Should I Stay Or Should I Go, and Emeli Sandé admirably takes on 1920s standard Love Me Or Leave Me. Among the standouts, though, are Louise Marshall’s A Vow, a poem by one of Holland’s favourite English poets, Wendy Cope; Joss Stone’s soulful attack in Letting Me Down; and the playful ska in Monkey Man, brought to life by the late, great Amy Winehouse. Holland’s orchestra never falters, nor do the man’s fingers on the ivories, and running throughout is a vibrant sense of celebration for not only these skilful lasses but for the sheer act of making music with many different talents. Carley Hall
ALBUM OF THE WEEK
Back in the day ‘The Wu’ could do no wrong. A superb debut album, banging side projects like the Gravediggaz and a string of superlative solo releases meant that the Wu-tang logo equaled instant quality. Then came the missteps – bloated double LPs, overly commercial hooks, albums from shady hangers on and second-rate solo albums. Well, it seems those days are over. A Better Tomorrow is probably the best Wu-tang ‘group’ album since the debut. Behind the boards RZA brings a slew of soul samples, sparse beats, kung-fu samples and some lush arrangements. This isn’t a return to the grimy styles of Protect Ya Neck, but it is an album that boasts a sonic coherence that has been sorely lacking in Wu efforts of late. Vocally the entire Clan shines – well-known members, most prominently Method Man, sound
★★★★½
WU-TANG CLAN
Rock Or Bust
★★★★ part harmonies and a mess of modulated noises make for a magnificent tune. There are clever little hooks laid into each track that enter the mind deceptively and keep the listener coming back for another listen, like the trilling synth twirl on Emoticon, perfectly complemented by Whale’s voice calling out “echoing emotion/Duplicate devotion/Binary emotion.” Turning is an immediate standout on the record; lavishly produced, vocals catch up with an electronic crescendo that is pure dance magic. It’s hard not to envision yourself on a dancefloor somewhere, lasers and fog machines in full force, leaping in time. Sevana Ohandjanian
Victims of their own success, AC/ DC long ago passed the point where anyone expected them to ever again reach the heights of their late ‘70s, early ‘80s heyday. The best part of any new album from the last 30 years has been that it’s an excuse for the band to tour and play those ‘70s and ‘80s favourites, while the audience grudgingly puts up with whatever two tracks they insist on playing off the latest release. It’s those last three decades of disposable filler that makes Rock Or Bust such an awesome surprise. This is a looser, more organic, authentic sounding AC/DC than anything since Back In Black. Don’t let first single, Play Ball fool you. While it might sound like it came straight out of the AC/DC-o-matic computer program that has given us so many interchangeable singles over the years, it’s a rare dip on an album that reaches frequent and impressive heights. Songs like the opening and title track and Miss
★★★★ Adventure embrace the dirty blues that helped define the band all those years ago. They also add a new groove and cocksure strut to the guitar sound that embraces that classic Young brothers sound, while evolving more in one album than they have in decades. There’s still the odd track of formulaic clichés, but when Rock Or Bust hits, it hits hard. While it’s easy to take AC/DC for granted, this latest collection is proof that these old boys still have plenty of life left in them. Pete Laurie
THE MUSIC • 26TH NOVEMBER 2014 • 27
album/ep reviews
★★★
★★★★
★★★★
★★★½
BUSTAMENTO
DAVID BOWIE
FRANK TURNER
MARY J BLIGE
Intercontinental Journey 7
Nothing Has Changed
The Third Three Years
The London Sessions
Parlophone/Warner
Xtra Mile/Shock
Capitol/EMI
This umpteenth overview of Bowie’s nearing 50-year career comes in various formats, but the double-disc edition is a straightforward choice. It’s a handy grab bag from the glam of Ziggy, through the coke-headed funk of Young Americans, the glorious aloofness of the Heroes years, to ongoing moments of some extraordinary pop constructions. There are even new things, among them, Sue (Or In A Season Of Crime) is studied but still distinctively of him, while a James Murphy remix of Love Is Lost shows ongoing generations still falling over themselves to get a nod of recognition.
The English folk-punkster’s strength has always been in his storytelling rather than in his vocal chops, which is undeniably part of his everyman charm. This, his third in a series, again celebrates that fact by bursting with songs that make you reflect, enjoy and even feel warm and fuzzy inside with some festive tidings. Covers of Queen, Bruce Springsteen, Paul McCartney and Tom Petty are humbly done with no ego-filled attempts to make them his own, while rarities and live gems The Ballad Of Me And My Friends and Dan’s Song are poignant.
Mary J Blige’s The London Sessions is proof that switching things up can be the best thing for an artist at any stage of their career. It’s been a while since we heard the queen of hip hop and soul sound this fresh. The London Sessions is best when it goes house, particularly when the Disclosure boys come into play (Right Now, Follow). And it’s a shame the ol’ school, gritty blues feel of opener Therapy doesn’t appear more on the album – a great start to an even greater record. The queen is back.
ABC/Universal “Please mister, don’t touch me tomato. Please mister, don’t touch me tomato/Please mister, I’m a pumpkin potato. Please mister, don’t touch me tomato,” Nicky Bomba sings in the penultimate track of this album. Yes, readers, it was necessary to mention that – these things have to be appreciated. Such nonsense is rarely utilised in such a juxtapositional way, matched with both expertise and musical frivolity. Drummer, ukulele player, band leader and singer Bomba, in one-ofmany projects Bustamento, does that and much more. This album is to be taken with a hearty dose of carefreeness. Lukas Murphy
Ross Clelland
Sally-Anne Hurley
Carley Hall
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★★
★★★
★★★★
CJ RAMONE
MISTER & SUNBIRD
Sounds Of The 80s
Last Chance To Dance
Warner
Fat Wreck/Shock
The Anatomy Of Mister & Sunbird
Even for a cover album, Sounds Of The 80s is uninspiring. With 37 tracks, you’re assured a certain quota of the listenable (London Grammar) and the inventive (Ward Thomas), but before long you’re drowning in a sea of similarity. Ed Sheeran covering Atlantic City sounds exactly like Ed Sheeran (with a chord sheet) singing Atlantic City – neither terrible nor worthwhile. Nostalgia and fidelity have their worth, but this feels too much like an album of remasters, like a computer program stripped old tracks of their vocal parts and cut-and-pasted in their nearest contemporary equivalent.
Late entry to the Ramones family, CJ Ramone hasn’t stopped carrying the four-chord poppunk torch since his namesake band split in the mid-‘90s. His second solo album, Last Chance To Dance sounds exactly as you might expect: full of mid-tempo, pleasantly nostalgic punk tunes peppered by sing-along choruses. It never reaches the heights of the band that spawned him, but what could? Considering CJ himself is now the age Joey was when he died, this fanpleasing album is really all we could ever ask from him.
VARIOUS
Naaman Zhou
28 • THE MUSIC • 26TH NOVEMBER 2014
Andrew McDonald
Independent It’s been four years since M&S’s first record, and they’ve compensated well: Anatomy Of Mister & Sunbird stretches over 65 minutes and is split up into four parts: Bones, Blood, Body and Brain. It’s a little difficult to tell if that layout has any effect on the style, but they’ve managed to create some catchy and enjoyable jazz music, and Scott Kociuruba’s vocal performance oozes a sense of smooth confidence – exactly what you want out of a blues singer. If they’ve proved anything with this record, it’s that it’s worth the time to get it right. Kane Sutton
Azealia Banks – Broke With Expensive Taste RL Grime – Void XTRMIST – XTRMST Vices – We’ll Make It Through This Matt Andersen – Weightless Richard Dawson – Nothing Important Ani DiFranco – Allergic To Water Speed Orange – The Order Of The Brave Young Souls Grigoryian Brothers – This Time
live reviews
NOFX, FRENZAL RHOMB, THE BENNIES Forum Theatre 20 Nov The Bennies, momentarily home after an intensive threemonth tour that included shows across the US, never disappoint. With the theatrics of Spinal Tap meets the off kilter sounds of Lee “Scratch” Perry, the hometown heroes play a short set but manage to pack in all their hits including Anywhere You Wanna Go and Highrider. They’re a bundle of unrelenting energy; there’s something particularly special about watching
tour, which grabbed headlines around the world. Opening with Backstage Passport Theme Song, the singer replaces the, “We’re NOFX/ Screwin’ up since 1983,” opening lyrics with, “We’re NOFX and now we’re kicking kids on TMZ,” which sets the tone for what’s to come. When the constant chatter between songs stops and they let their music do the talking, NOFX race through classics such as Green Corn (1991) and Stickin In My Eye from a year later. There’s an inspired cover of the late Tony Sly’s The Shortest Pier and a brief reggae sojourn via Eat The Meek. Lyrically, NOFX aren’t particularly cerebral, molding their brand of skate-punk around a jocular punchline and sing-along chorus. However, moments of
NOFX @ FORUM THEATRE. PIC: JAY HYNES
a band live out their dreams right in front of your eyes. Frenzal Rhomb are the surprise packet of the night. A last minute ring-in as Cam Baines from Bodyjar’s wife went into labour earlier today, Frenzal Rhomb put together a makeshift set that rivals their headliner complete with quick-witted stage banter, guitarist Lindsay McDougall’s fine vocal harmonies and decadespanning song selections. This is no mean feat considering half of the band members just flew in from Sydney and, up until a few hours earlier, one was hosting a drive-time radio show. If you’ve ever listened to either of NOFX’s live albums, or watched their Backstage Passport documentary, you’d already know what to expect from the band: 50% music and 50% talking, they rarely deviate from their tried and tested formula and tonight is no exception. Frontman Fat Mike is at his self-loathing best and promptly gets on the front foot to discuss an incident that occurred with a fan earlier in the
voice. Brown’s long white jacket and fluorescent-coloured onesie reflect the lights as she grooves on the spot and we follow suit, her Balearic beats making it easy. She dedicates Ninja to her sister (“She comes to every show and she’s pretty much the strongest person I know”) and finishes with her “one song that’s kinda boogieish”, Let’s Go To The Beach. The talented producer receives a welldeserved, enthusiastic farewell and has no doubt nabbed new fans. Kimbra certainly makes an entrance, walking onto the decked-out stage wearing a fuckoff huge, fluffy robe and Litastyle, mega-high platform boots. The band bewilder with an intro instrumental featuring crunchy, industrial beats and noises – the
NOFX @ FORUM THEATRE. PIC: JAY HYNES
political scrutiny and global consciousness – explored during tracks such as Perfect Government, Kill All The White Man and Franco Un-American – are sheer brilliance. Cutting through any ambiguity, NOFX deliver a knock-out punch and highlight why a band of Californian misfits are still creating music 30 years after forming and continue to sell out venues on the other side of the world. Brendan Hitchens
KIMBRA, BANOFFEE The Hi-Fi 22 Nov “I will reign down,” sing three ‘Banoffee’s – well, one Martha Brown backed by pre-recorded harmonies. Despite being just one person on a large stage, Brown does her best to reign over the crowd, tapping at sample pads, kicking switches and pushing keys while delivering chill R&B melodies in that crystalline
and the audience shouts the “Hey! Oh-OH!” part with gusto. Kimbra’s sheer effervescence and stage presence and the band’s energy give songs from The Golden Echo the extra spark that’s missing on the recording. The real highlight is that voice, though, which unfortunately gets drowned out occasionally by the band. However, encore song one, As You Are, allows Kimbra one more chance to really showcase the light and shade of her vocals, accompanied only by piano. Kimbra walks the line between control and nuance, and barely-restrained excitement – that’s what makes her shows so thrilling to witness. Stephanie Liew
KIMBRA @ THE HI-FI. PIC: GEOFFREY D’UNIENVILLE
drummer looks straight out of a hard rock band, if you can spot him behind all the cymbals, and the bassist has more funk than blue cheese – but as they kick off with a stadium-sized version of Teen Heat and dial up the mania of 90s Music, it all makes sense. Extended, spiralling outros, beefy bass bits and attention-stealing solos are par for the course this evening. Everything’s elevated. Kimbra removes the robe to reveal a dress that looks like it’s made from repurposed scrap metal (it’s probably silver plastic) and the effect is mesmerising: she moves her hips and shoulders and the stiff dress, its skirt about five Kimbras in diameter, stays put, only seesaw-ing a bit. It’s a dress that encapsulates Kimbra and her music: it’s glitzy yet unconcerned with elegance, futuristic-leaning and a bit awkward, but oh so fun! And nothing about it is subdued.
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YES @ PALAIS THEATRE. PIC: DAVID HARRIS Yes @ Palais Theatre Beaches @ Queen Victoria Market Japanese Wallpaper @ Kelvin Club Marcus Whale @ The Toff In Town Cumbia Cosmonauts @ NGV The Babe Rainbow @ The Workers Club Kingswood @ Queen Victoria Market
Settle Down is one of a handful of older tracks that makes an appearance; the Vows tunes get the loudest cheers. This rendition features mad keyboard shredding THE MUSIC • 26TH NOVEMBER 2014 • 29
arts reviews
MAPS TO THE STARS
MAPS TO THE STARS Film
In cinemas
★★★ In David Cronenberg’s seething LA satire Maps To The Stars, Hollywood is a place where a “disfigured schizophrenic” gets off the bus from backwater Florida and a week later is driving a convertible, instantly at home in this rarefied realm of grotesque wealth and sociopathic privilege. A Greek tragedy in the form of a caustic comedy, Bruce Wagner’s
30 • THE MUSIC • 26TH NOVEMBER 2014
script turns the lives of celebrityculture’s modern-day gods into fable for a self-consuming society, Hollywood, here, a realm of decadence and death. Its denizens are haunted, often literally: Julianne Moore an aging starlet involved in a vindictive/victimised dialogue with the cruel ghost of her bellewho-died-young mother, Sarah Gadon; Evan Bird a cunty tween superstar visited by the spectre of a girl he PR-opp visited on her deathbed; Mia Wasikowska the upwardly-mobile schizophrenic whose burns are the scars of past building-to-the-big-reveal trauma. John Cusack plays a new-age soothsayer who presides over the trio – and a media empire – with his healing hands, spouting quasi-mystical jargon rich with self-help platitudes, 12-step philosophies and selfmythologising horseshit. Wagner’s righteously-revolted script is full of familiar satirical tropes but Cronenberg, as is his way, literalises the horrors-of-Hollywood into a horror-film, the movie-biz a glittering necropolis, celebrity itself a veritable deathwish. Anthony Carew
NIGHTCRAWLER Film
In cinemas 27 Nov
★★★ ½ As an indictment of the amoral mindset the media can sometimes display in the pursuit of ratings and profit, Nightcrawler is very effective but doesn’t say anything especially new. As an exploration of various ugly and unpleasant character traits – desperation, entitlement, blind ambition – it feels original and striking. And much of the credit must go to Jake Gyllenhaal. Here, as Lou Bloom, the night-crawling freelance news cameraman of the title, he pulls off the remarkable feat of draining himself of all humanity while creating a compellingly poisonous character. Bloom exists on the fringes of Los Angeles’ society, scavenging and stealing whatever he can sell in order to get by. But he has dreams of something better, and he’s cunning enough to work hard
for his goal. When he discovers that local news stations will pay for video footage of accidents and aftermaths of crimes, he invests in a cheap camera, recruits an intern (Riz Ahmed, terrific) and begins his new career. Bloom is a natural – mainly because he doesn’t care about the injured or dying people on the other side of his lens. Writer-director Dan Gilroy has a number of fair-tomiddling B-movies on his resume as a screenwriter, but he’s upped his game with his debut behind the camera, giving Nightcrawler a propulsive, pulpy energy that meshes ideally with its unsettling insights into human nature. Guy Davis
NIGHTCRAWLER
the guide
Answered By: Andrew Coates. How did you get your start? James [Lee] and I got together way back in 1993 in a pretty ordinary Melbourne electro-rock band called Foil. James was playing in a bunch of bands before that and we thought it would be good to have someone in our band who could actually play a proper instrument. Sum up your musical sound in four words? Electronics to think to. If you could support any band in the world – past or present – who would it be? I’m going to say Cabaret Voltaire. James would say Kraftwerk.
BLACK CAB
You’re being sent into space, no iPod, you can bring one album – what would it be? Throbbing Gristle’s 20 Jazz Funk Greats. Greatest rock’n’roll moment of your career to date? Supporting Tangerine Dream at Melbourne Town Hall with James playing the 10,000 pipe grand organ. That was definitely a thing. Why should people come and see your band? We’re kinda fun now – you can dance to us! When and where for your next gig? Games Of The XXI Olympiad album launch, 29 Nov at Howler with Lowtide and Queens Head. Website link for more info? interstate40music.com
Pic: Tim Bell
THE MUSIC • 26TH NOVEMBER 2014 • 31
eat/drink
WAFFLES Not just an alternative to the pancake, waffles are taking on a new personality. Still sweet as ever, they’re also getting serious and savoury these days, popping up on cafe menus everywhere. But enough waffling; onto some waffle talk. Words Sarah Barratt. Illustration Sophie Blackhall-Cain.
PULLED PORK WAFFLES
CHICKEN & WAFFLES
Mix your standard waffle-mix with some finely chopped parsley, chopped spinach and grated potato. Or try your hand at making cornbread waffles. Top with some slow roasted pulled pork and caramelised onion from the pan.
Bring that authentic feel of the streets of Harlem to your plate with the classic chicken and waffle combo. Take your normal waffle; pile on a fried chicken wing, garlic aioli, gherkin and homemade coleslaw. Add maple syrup to be truly authentic.
CHOCOLATE WAFFLES
FRUITY WAFFLES
A good dessert or dessert-forbreakfast option. The ultimate one for sweet-tooths. It doesn’t really matter what else you put on the waffle in this instance besides chocolate sauce/melted chocolate, but you can add sliced bananas, strawberries, cream/ice cream. Just anything that won’t take away from the hero: chocolate.
You can’t go past the classics sometimes. Trick yourself into thinking you’re balancing the stuff that’s bad for you with the stuff that’s good for you: top your waffle with seasonal fruits (berries, mandarin pieces, stone fruit all work well) and maybe a scoop of ice cream or dollop of whipped cream, and a splash of maple syrup or berry coulis.
32 • THE MUSIC • 26TH NOVEMBER 2014
the guide vic.live@themusic.com.au
LIVE THIS WEEK
CHART WRAP
SMITH STREET SERIES
POST-PUNK REVOLUTION
SOUND OFF
The Smith Street Band are bringing their new album Throw Me In The River to their hometown, having sold out three shows at Corner Hotel on 26, 27 and 28 Nov. Supports are The Front Bottoms and Apologies, I Have None.
Leon Trotsky stayed true to the Revolution and paid with an ice pick in his head. Postpunks The Trotskies are staying true to the musical revolution with new single, DYR, taking their musical ice pick into The Workers Club, 29 Nov.
Ten bands are playing at Grace Darling Hotel on 30 Nov, as part of the next instalment of the SOUNDINGS event series. The line-up includes Tangrams, Tender Bones (pictured), Holy Lotus, Orbits, Broken Needles and more.
NOISE BBQ
PUMPIN’
DIDYA WARNER?
Mutton, The Kremlings, Scul Hazzards and Hard Rubbish are set to unleash a noise-fuelled BBQ of tunes on innocent ears at Victoria Hotel on 29 Nov. Entry’s free so why wouldn’t you head down for tunes and a cold one?
It’s trap, hip hop and bass all night long at Rubix The Venue on 28 Nov, featuring Mat Cant, JVMVNJI, Dion Jackson, Cat Party and OG Rilla and there’ll be $10 cocktails, half price pots, burgs and a mini-ramp until 10pm.
On 30 Nov Drunken Poet hosts Dan Warner, who has just released his third solo album, Fall Into The Sky. He’ll play those tunes and no doubt a few from his extensive back catalogue live from 4pm.
FEELING MEAN
CAN I BUY A VOWEL
READY AND ARMED
The Mean Times are performing at Whole Lotta Love in East Brunswick on 29 Nov. They’ll be launching their mini-album, You’ve Got The Wrong Guys, with help from supports Long Holiday and The Night Party.
With a nod and a wink to the good times ahead Vowel Movement are launching their new single To Get Things Right on 28 Nov at Alia Arthouse. It’s a lazy-paced ode to positivity.
It’s the last Shady Lane ever at Evelyn Hotel on 26 Nov, so why not launch a new artist into the world in Alma Kalorama? Playing on either side are the popular Oliver’s Army (pictured) and Discovery Of A Fox.
TAKE THE EXPRESS
TOTE-SHIRT
SLIDE OVER HERE
The National Evening Express will roll into Whole Lotta Love on 28 Nov to launch their debut single, This Ain’t Real. A gritty mix of garage band and dirty blues, The National Evening Express takes cues from MC5, The Stooges and The Cramps.
The fourth instalment of The Tote T-shirt gigs is on 28 Nov; Batpiss’ Paul Portal has designed this one and a limited number can be bought on the night. Playing are Batpiss, Mutton, Weedy Gonzales, Acid Vain and White Wash.
Seven-piece Slide Night play kitsch ‘50s exotica music with a dark twist, and they play Spotted Mallard, 29 Nov. The ensemble mixes classic arrangements from the likes of Les Baxter and Martin Denny with original compositions and arrangements.
FOR MORE HEAD TO THEMUSIC.COM.AU
Newly minted Future Music Festival drawcards Knife Party have emerged as the best-performing newcomers in a week of fresh debutants on the Carlton Dry Independent Music Charts, with their debut album Abandon Ship claiming the third-highest spot on the Albums ladder, just beating out old school fave Countdown and its various artists compilation (#4) for the honour. Extreme prog-metallers Ne Obliviscaris step out at an impressive #7 with Citadel, while Dan Sultan is back in action with Dirty Ground, which slides in at #12. CW Stoneking strums his way to #12 with Gon’ Boogaloo, and Jack Ladder & The Dreamlanders rounds out the field with Playmates, which enters at #17 this week. However, despite all the fresh faces, incumbent respective top two the Hilltop Hoods (Walking Under Stars) and Flight Facilities (Down To Earth) remain unmoved from their positions atop the pile. It’s a similar situation over on the Singles chart, where the top two have switched since last week to see the Hilltops’ Cosby Sweater in pole position once more, finally displacing the longtriumphant Freaks, by Timmy Trumpet (now #2). Vance Joy has released yet another top ten single on debut, with new cut First Time coming in at #8. That’s just below Riptide (#7), but well above recent track Mess Is Mine, which is hanging in there at #15. The week’s final newcomer, Will Sparks’ Ah Yeah, steps out at #16; Sparks is one of only four acts, alongside Sia (Chandelier, #6), San Cisco (Run, #9) and Meg Mac (Roll Up Your Sleeves, #19), to be a unique proposition on the ladder – every other spot is filled by a multiple place-holder. THE MUSIC • 26TH NOVEMBER 2014 • 33
the guide vic.live@themusic.com.au
SINGLE FOCUS
EP FOCUS play live. I really love the energy of that song. We’ll like this EP if we like... Americana music. I’ve really been influenced by Ray Lamontagne and Van Morrison so hoping if people like those guys then they like our music too.
GEORGE MAPLE Single title? Talk Talk What’s the song about? Talk Talk is written from a place of frustration. It is about longing for people to take action. How long did it take to write/record? It was written in Sydney in January. It followed me around the room for a few months and then Harley and I finished it in June. Is this track from a forthcoming release/ existing release? It’s taken from Vacant Space EP which will be released via Future Classic on 1 Dec.
What was inspiring you during the song’s writing and recording? It was summer in Australia. I was having fun. It was the first time I’d had a break in a year. It was a time of complicated romance.
MILLAR JUKES & THE BANDITS
We’ll like this song if we like... To dance?
How many releases do you have now? This is our debut EP with lead single called Be Mine.
Do you play it differently live? I play with two other musicians when I perform live. We workshopped the track until we were all happy with how it felt. It was a challenging process. Website link for more info? facebook.com/georgemaplemusic
When and where is your launch/ next gig? 27 Nov at The Toff In Town with supports from Big Smoke and Steve Clifford from The Hello Morning.
Answered by: Millar Jukes EP title: Millar Jukes & The Bandits
Website link for more info? millarjukes.com
Was anything in particular inspiring you during the making? I just really wanted the EP to tell a story so I tried to keep to a certain theme and make the story flow through the order of the songs. What’s your favourite song on it? Out Of Time as it is my favourite song to
SINGLE FOCUS
LISTEN IN
cutouts from magazines like TIME and Vice. I laid it on the table as we formed the track then flipped through my lyric journal to see what popped out. We’ll like this song if we like... Extremes.
GRACE Single title? Pluto What’s the song about? Wanting something out of bounds, giving in to temptation and then chaos erupting. How long did it take to write/ record? Dave (Sitek) and I wrote the song in one night on our first day in the studio.
Do you play it differently live? The recording is made up of mostly electronic instruments, so to develop it for the shows we incorporate live drums and guitar to enhance the sound and volume.
How did you start out producing tracks? We got a sampler and ran with it.
What is something unique about your live set? Our vibe. Trying to keep late night music a touch more light and classy.
When and where is your launch/next gig? 6 Dec, The Workers Club.
Sum up your musical sound in four words? Want you to groove.
When and where is your next gig? 27 Nov, LEGIT: Street Art And Music Mini Festival, Rubix The Venue
Website link for more info? iheargrace.com
If you could collaborate with any producer – past or present - who would it be? Moodymann.
Website link for more info? facebook.com/ condensedmilkprod?_rdr
Is this track from a forthcoming release/existing release? Pluto is the first single from my EP which will be released in the new year.
Which piece of gear are you rinsing the fuck out of at the moment? Roland SP-404SX. Greatest musical moment of your career to date? Moments are temporary, being able to do what we do every weekend is what keeps us going.
What was inspiring you during the song’s writing and recording? My scrapbook which has 34 • THE HHEE M MUSIC • 26TH NOVEMBER 2014
COCOA NOIRE
S U P P O R T I N G
I N D E P E N D E N T
A U S S I E
M U S I C
opinion WAKE THE DEAD
VICTORIA VOTES 2014
THE GET DOWN
PUNK AND HARDCORE WITH SARAH PETCHELL
BY PATRICK DONOVAN, CEO MUSIC VICTORIA
FUNKY SHIT WITH OBLIVEUS
While I was at uni I worked at JB Hi-Fi. I was the resident punk/hardcore/emo “expert” on staff and maybe then, when they were new and a novelty, the Punk Goes… series of CDs was kind of cool. Maybe. But now, over ten years on, enough is enough. They need to stop. I don’t need to hear bands doing bad deathcore covers of Beyoncé’s Drunk In Love or Drake’s Hold On, We’re Coming Home, no matter how much I may love the originals. I’m all for bands making some money out of what they do, but there’s something that just feels dirty and wrong about these releases. They’re symptomatic of a cookie cutter, sell as many records as possible mentality that had the mainstream media screaming that hardcore was the new big genre. Even then, the media meant Parkway Drive and Bring Me The Horizon, bands about as hardcore as We Came As Romans or Upon A Burning Body are punk. I’m all for a good cover. Evergreen Terrace released Writer’s Block back in 2004. Not everything on that record is great but the covers of Smashing Pumpkins’ Zero and Tears For Fears’ Mad World are still songs I get psyched on when they come on shuffled through iTunes. There’s too much good, original music with something meaningful to say being released for anyone to waste their time or money listening to a bad band do a bad cover of a good song. So Fearless Records, I beg you, just stop. Do us all a favour and stop releasing this crap. wakethedead@themusic.com.au
NO MORE BAD DEATHCORE DRAKE COVERS PLEASE
With the State election a week away and all parties having made their commitments, it’s time to compare the policies and commitments to contemporary music. In the wake of the SLAM Rally, contemporary popular music became a key issue at the last election. The concern had been that music was off the radar this year and it would be harder to get the parties to make similar commitments to Labor’s 2010 Victoria Rocks policy, which promised $24 million in support. So after consultation with the industry, Music Victoria identified key projects and initiatives that were critical to the development of the contemporary music sector, which are outlined in our Position and Priorities industry paper. Music Victoria posted a Victorian State Election Report Card to assess and compare the various parties’ commitments to and support of the sector for the next four years at this year’s state election, to help Victorians in making an informed choice at the 29 Nov election. Labor came out of the blocks early, announcing its $22.2 million policy on the first day of their campaign. Music Works includes $8 million in funding for touring, music festivals, music tourism, community programming, sound and light engineers, advertising and transport. They include Quick Response Grants, $1.6 million for mentoring and career development, music in regional Victoria, dollar-for-dollar grants to venues to manage problems with encroachment from neighbours, poor acoustics and dodgy PAs and establishes the Music Passport for exports. Big acts brought to Australia with assistance from the Victorian
Government will also be required to tour with support from local emerging bands, while $400,000 will go to develop the tourism potential of Victoria’s musical heritage. In his letter to Music Victoria outlining details of the package, Mr Foley said the package intended to “secure Victoria’s reputation as the Music State.” He said Labor would continue to support peak bodies such as Music Victoria and The Push to provide a leadership role in these programs. Since Labor announced Music Works, the Opposition Leader Daniel Andrews committed to $2million in funding for the Music Futures Australia program to allow access to music education and instruments for primary school students. Then, after rock star Tex Perkins announced he’d run as an independent candidate on the single issue of saving the Palais Theatre, Andrews committed a further $14million to help restore the Palais Theatre. We’re thrilled that the Coalition’s committed to funding our $1million Live Music Regional Action Plan to help stimulate the regional touring circuit. This will employ a full-time regional officer who will be a central hub of information for artists, venues, agents and promoters; support six high-profile tours over two years at established venues to stimulate the regional circuit at arts centres, universities, RSLs and halls and fund an annual regional music conference, which will move to a new city or town each year. Whichever party wins, there’s something on the table for music. Visit the Music Victoria website and read all of the policies to ensure you make an informed vote for music.
Grab the baby powder, find your spot on the dancefloor and prepare for an account of the funkiest shit to hit nightclubs since nightclubs went funky. No, I’m not talking about the new Mark Ronson, even though Uptown Funk is a slice of go-go funk fatness that Prince is kicking himself for not making. Even with Bruno Mars it’s…well, a fucking good song that brings me back to bad afros and Cameo. I’m digressing, because I’m not even talking about the synthladen, dirty-pop electro-bass genius of Carmada’s muchloved Maybe, which caused a miraculous impregnation of my cat the other night. If my excessive use of hyphens didn’t convince you, try the jams on offer from the L D R U (half of Carmada) Soundcloud page. This Sydneysider has tropicalhouse on lockdown and his fused and abused deep, reggae and slick nu-disco edits and originals are all about this summer. I suggest you find his rework of the YesYou mammoth hit from last year, So Much To Give, to hear what I’m on about. With all of that, you’ll forgive me for waiting to tell you who I’m really hyping for the funk, who happens to be a Paris producer by the name of FKJ aka French Kiwi Juice. To finish off, his edit of the ZHU megahit, Paradise Awaits, has been getting folks up in my face for its smoothedout, Tutto Matto-esque vibe that takes the original into new funky territory. And with that, I am out.
FKJ
THE MUSIC • 26TH NOVEMBER 2014 • 35
opinion HOWZAT! LOCAL MUSIC BY JEFF JENKINS BLOOD MEMORY Two years ago, Mike Brady flew to Ireland to visit his eldest son, Christian. As the Aer Lingus flight prepared to land in Dublin, it was cold and wet. Mike looked out the window as tears filled his eyes. “Aye,” said the woman next to him, “you’re coming home, are you?” Mike smiled. “In a strange way, I am.” Strange because Mike had not been to Ireland since he was a baby. Even stranger is the trip has led to Mike creating the finest music of his career – at the age of 66. But, first, let’s rewind 35 years to when Mike was having a drink with Melbourne musician Steve Cooney. “Steve always thought he was Irish,” Mike laughs. Flush with royalties from Up There Cazaly, Mike wrote Steve a cheque and told him to follow his Irish dream. Steve has been living in Ireland ever since, and he co-produced Mike’s new album, Bloodlines, The Australian
36 • THE MUSIC • 26TH NOVEMBER 2014
Irish Story. “Steve certainly repaid the favour – in spades.” As soon as he arrived in Ireland, Mike says, “I understood myself, and I felt at home, with the people, the humour and the culture.” The Irish love to tell a story, and Bloodlines is filled with some rippers. The album has even been a way for Mike to connect with his father, an Irishman who felt disconnected from his homeland after fighting in the British Army. The opening track, Christy Son Of Erin, is about an Irish soldier who can’t go home and “gradually mentally declines”. Mike claims it’s a fictitious character, but the inspiration is obvious. Mike’s family moved to Port Melbourne when he was 11. Another song is called Say It While You Can. “I didn’t get on with my father,” Mike says, sadly. He sings: “I would have liked to ask him where he thought the demons led/Before I got to know him, my father, he was dead.” Mike has four kids, aged 19 to 42. “And I tell them I love
MIKE BRADY
them after every conversation.” Bloodlines features a single tear on the cover. “The Irish express their sadness – they are full of melancholy. And I think this is a sad album.” Mike Brady has had a remarkable career, from MPD Ltd in the ‘60s, to Up There Cazaly in the ‘70s and signing Joe Dolce in the ‘80s. But Bloodlines is his best work. “I’ve always had a crack at making records, but I don’t really think I had my heart in it,” Mike admits. “But this was a really spiritual experience. If I don’t sell a single copy, I don’t care. The experience of doing it was something you can’t buy.” SEPARATION STREET Northern Ireland’s Andy White
– who has called Melbourne home for nearly two decades – is launching his new breakup album, How Things Are, at The Toff In Town on 26 Nov. So what are Andy’s favourite break-up albums? “Blood On The Tracks, Bob Dylan. White Ladder, David Gray. Grace And Danger, John Martyn. How easily they roll off the tongue!” ROCK THE VOTE Whichever way you look at it, it’s great that music is being taken seriously at this state election. HOT LINE “Too many words are left unsaid, say ’em while you can,” Mike Brady, Say It While You Can.
the guide vic.gigguide@themusic.com.au Dave Warner’s Red Laminex Table: Caravan Music Club, Oakleigh
THE MUSIC PRESENTS The Smith Street Band: 26–28 Nov Corner Hotel; 6 Dec Reverence Hotel Pierce Brothers: 28 Nov Spirit Bar & Lounge Traralgon; 4 Dec Torquay Hotel Portugal. The Man: 28 Nov Torquay Hotel; 29 Nov The Westernport Hotel San Remo; 30 Nov The Deck The Delta Riggs: 29 Nov Ding Dong Lounge San Cisco: 29 & 30 Nov Corner Hotel Sage Francis: 4 Dec Corner Hotel Jack Carty: 4 Dec Howler; 5 Dec Kay St Traralgon; 6 Dec Montrose Town Centre; 7 Dec Bended Elbow Geelong
The Kujo Kings: Catfish, Fitzroy
The War On Drugs: 8 & 16 Dec 170 Russell; 11 Dec The Hi-Fi Chronixx: 11 Dec The Espy Gyroscope: 13 Dec Corner Hotel
Friday Knock Off + Spencer P Jones: Cherry Bar, Melbourne
Thy Art Is Murder: 13 Dec The Hi-Fi; 14 Central Ringwood Community Centre
Spiral Arm + Rabble Rouser + Coast Busters: Cherry Bar, Melbourne
Dead Letter Circus: 20 Dec The Hi-Fi UBERfest: 1 Mar Elephant & Wheelbarrow 65daysofstatic: 8 & 9 Mar Northcote Social Club Wet: 13 Mar Howler Band Of Skulls: 7 Apr Corner Hotel
WED 26
Griya + The My Way Killings + Aimee Volkofsky & the Molotovs + Pasko’s Panda: Bar Open, Fitzroy Melbourne Folk Club feat. Mia Dyson + Al Parkinson: Bella Union, Carlton South
Wine, Whiskey, Women feat. Freida le Bjorn + Beth Cleary: The Drunken Poet, Melbourne Ryan Nico: The Fitzroy Pinnacle, Fitzroy North Slow Galo + The Icypoles + David Bramble: The Gasometer Hotel, Collingwood Karl S Williams + Leah Senior + Josh Seymour: The Old Bar, Fitzroy
River of Snakes + Space Junk: Cherry Bar, Melbourne
Public Bar Comedy + Claire Hooper + David Quirk + Becky Lucas + Adam Rozenbachs + Steele Saunders + more: The Public Bar, North Melbourne
The Smith Street Band + The Front Bottoms + Apologies, I Have None: Corner Hotel, Richmond
Andy White & The Antipoet Orchestra + Alison Thom: The Toff In Town, Melbourne
Mrs Smith’s Trivia: Edinburgh Castle Hotel, Brunswick
DD & The Damaged Goods + Rattlin’ Bones Blackwood + Junk Horses: The Tote, Collingwood
Coloured Clocks + Chimper Kimblay: Catfish, Fitzroy
Klub MUK: Edinburgh Castle Hotel, Brunswick Shady Lane feat. Oliver’s Army + Alma Kalorama + Discovery Of A Fox: Evelyn Hotel, Fitzroy Broods: Forum Theatre, Melbourne Shelley Segal: Laundry Bar, Fitzroy Gear Shift feat. Koshowko + Clan Analogue + Object_State: Loop, Melbourne Col Perkins: Manhattan Hotel, Ringwood
Tulalah + Lazercatz 2000: The Workers Club, Fitzroy Hollow Drums + Elliot Friend + Annan Blix: Wesley Anne (Band Room), Northcote Leo Sayer: West Gippsland Arts Centre, Warragul Lucie Thorne: Yarra Hotel, Abbotsford
THU 27
Thanksgiving + The Consort of Melbourne: Melbourne Recital Centre, Southbank
Lucky Thursdays + Various DJs: 170 Russell, Melbourne
Spirit of India: Melbourne Recital Centre, Southbank
Kickin The B at 303 feat. Artie Styles Quartet: 303, Northcote
Sondre Lerche + Olympia: Northcote Social Club, Northcote
Karl S Williams + Claude Hay: Baha Tacos, Rye
Kris Schroeder + Lachlan Bryan: Retreat Hotel, Brunswick
Secret Valley + School Damage + Girl Mountain: Bar Open, Fitzroy
Maxi + Uncle Bobby + James Franklin: Revolver Upstairs, Prahran
Neil Murray: Basement Discs (In-Store/12.45pm), Melbourne
Minton’s Playhouse Sessions + Robert Simone Big Band: The B.East, Brunswick East
The Preatures (DJ Set) + Urby + DJ Bobby Gray: Elephant & Wheelbarrow, Melbourne
Merauder + Blood Duster + Metal Storm + Against: The Bendigo, Collingwood
Echo Drama + The Seven Ups + Reuben Stone + Midnight Tenderness: Evelyn Hotel, Fitzroy
Luluc + Ryan Downey: The Bridge Hotel, Castlemaine
Sound Splashes Vol 6 feat. DJ Spice Lord + Document Swell (DJ set) + DJ Wet Beat: Ferdydurke, Melbourne Brendan Scott: Gateway Hotel, Corio Gold Class + Possible Humans + Trust Punks: Grace Darling Hotel (Basement), Collingwood Big Winter + Human Woman: Grace Darling Hotel, Collingwood Ian Moss: Hallam Hotel, Hallam American Panorama + MSO: Hamer Hall, Melbourne Giraffage + Special Guests: Howler, Brunswick Violent Soho + Special Guests: Karova Lounge, Ballarat Mikey Hundred + more + Yung Phos + Hucci: Laundry Bar, Fitzroy Station Street + Josh Cohen: Melbourne Recital Centre (Salon), Southbank Hurray For The Riff Raff + Brighter Later: Northcote Social Club, Northcote Northside Space Funkers: Penny Black, Brunswick The Black Seeds: Prince Bandroom, St Kilda Earthcore 2014 feat. 1200 Micorgrams DJ + Astrix + Boris Brejcha + John OO Fleming + more + Earthcore: Pyalong, Pyalong Spencer P Jones & The Escape Committee + Falconio + Wally Rankin: Retreat Hotel, Brunswick Simon Taylor + Peter Jones + Megan McKay + Lisa Skye + more: Reverence Hotel (Front Bar), Footscray Plugged In Thursdays with The Lost Day + Greta Stanley: Revolver Upstairs, Prahran City Calm Down (DJ Set) + Johnny El Pajaro + Cocoa Noire + Barna Nemeth + Ella Thompson: Rubix The Venue, Brunswick
SFKNG + Trash Fairys + Cheeky Goose: Catfish, Fitzroy
Andy Brown + Forest Falls: Spotted Mallard, Brunswick
Kylie Auldist: Cherry Bar, Melbourne
Elvis Forever - Tribute Show+Damian Mullin: Sandbelt Hotel, Moorabbin
Violent Soho + Special Guests: Star Bar, Bendigo
Wil Anderson: Comic’s Lounge, North Melbourne
Step-Panther + Bearhug + Reptiles: Shebeen Bandroom, Melbourne
The Smith Street Band + The Front Bottoms + Apologies, I Have None: Corner Hotel, Richmond
Dream Legacy: Sooki Lounge, Belgrave
Holyoake + Goliath Tigerfish + Poison Fish + Zephyr: The Bendigo, Collingwood
Jakob + Bear The Mammoth + Spider Goat Canyon: Ding Dong Lounge, Melbourne
The Smith Street Band + The Front Bottoms + Apologies, I Have None: Corner Hotel, Richmond
EC Cocktail Hour with DJ Knave Knixx: Edinburgh Castle Hotel, Brunswick
Gabrielle Parbo: Skyways Hotel, Airport West
Stu Thomas Paradox: Tago Mago, Thornbury
Wil Anderson: Comic’s Lounge, North Melbourne
GIG OF THE WEEK VIOLENT SOHO: 28 NOV 170 RUSSELL
Jungle: 4 Feb 170 Russell
Dallas Frasca: 5 Dec The Golden Vine Bendigo; 12 Dec Yah Yah’s
Tom Fryer Band + Chris Frangou’s Kaleidoscope: 303, Northcote
Rick Astley + Special Guests: Chelsea Heights Hotel, Chelsea Heights
The Purple Dentists + Saoirse: Spotted Mallard, Brunswick
S U P P O R T I N G
Ben Whiting + Benjamin James Caldwell + Harrison Storm: The Curtin, Carlton Fat Cousin Skinny: The Drunken Poet, Melbourne The Pharcyde + Special Guests: The Espy, St Kilda Anne Of The Wolves + The Bangs: The Fitzroy Pinnacle, Fitzroy North Sagamore + Lalic + Crepes: The Gasometer Hotel, Collingwood Dave O’Connor & Humans + Don Bosco + Reuben Bloxham + Go Away: The Old Bar, Fitzroy Van Walker + Shane Reilly: The Post Office Hotel, Coburg Prints + The Scouts + The Marlenes: The Public Bar, North Melbourne Dinner Beats with DJ Shuttersound: The Thornbury Local, Thornbury Kill Dirty Youth + The Burning Roaches + Muscle Mary + Bonnie Doom: The Tote (Band Room), Collingwood Straylight + Tlaotlon: The Tote (Upstairs), Collingwood Sons of Rico + New Gods + Sleepy Tea: The Workers Club, Fitzroy Anna’s Go-Go Academy: Victoria Hotel, Brunswick End of Year Bang with +Squawkestra: Wesley Anne (Band Room), Northcote Austin Brady: Wesley Anne (Front Bar / 6pm), Northcote The Ugly Kings + The Love Bombs + Filthy Lucre: Yah Yah’s (Downstairs), Fitzroy Brooke Russell & The Mean Reds + Dan Parsons: Yarra Hotel, Abbotsford BYO Vinyl Night + Various Artists: Yarra Lounge, Yarraville
FRI 28
Violent Soho + Special Guests: 170 Russell, Melbourne The Resignators + The Ramshackle Army + The Tearaways + Speedball + Agent 37: 303, Northcote Explosion + The Scrimshaw Four + Ebonie Hyland + Buffalo Paintrain: Bar Open, Fitzroy Davey Lane: Basement Discs (In-Store / 12.45pm), Melbourne
I N D E P E N D E N T
A U S S I E
DJ Simon Laxton + JMS Harrison: Edinburgh Castle Hotel, Brunswick The Australian Kingswood Factory + Forbidden Planet + Daisy West: Exchange Bar, South Yarra The Ruminaters: Grace Darling Hotel, Collingwood The Screaming Jets: Hallam Hotel, Hallam Paradise Music Festival feat. Kirin J Callinan + Oscar Key Sung + Crooked Colours + Young Franco + Drunk Mums + Rat & Co + UV Boi + more: Lake Mountain Resort, Marysville Da Club (Queer Party Launch) with +Various DJs: Laundry Bar, Fitzroy Agnes Obel + Slow Galo: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank Kristin Beradi + James Sherlock: Melbourne Recital Centre, Southbank Friday Nights at Jean Paul Gaultier with Nun: National Gallery of Victoria, Southbank Luluc + Ryan Downey: Northcote Social Club, Northcote Chelsea Handler: Palais Theatre, St Kilda Vibraphonic Orchestra + Flagrant + B-Two + Nam: Penny Black (Main Bar), Brunswick Earthcore 2014 feat. 1200 Micorgrams DJ + Astrix + Boris Brejcha + John OO Fleming + more + Earthcore: Pyalong, Pyalong Nahko & Medicine For The People + Hurray For The Riff Raff + Kristy Lee + more: Queenscliff Music Festival, Queenscliff Red Ink: Railway Hotel, Brunswick La Danse Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy Simon Hudson Band + Kunataki: Retreat Hotel, Brunswick Toy Boats + Brittle Bones + Disappear + Yachtburner: Reverence Hotel (Band Room), Footscray The Tarantinos: Reverence Hotel (Front Bar), Footscray Mammal Sounds Christmas Party feat. cln + Back Back Forward Punch + Midnight Pool Party + Acid Stag DJs: Shebeen Bandroom, Melbourne Pierce Brothers: Spirit Bar & Lounge, Traralgon Merauder + Within Blood + Against + Crowned Kings + Outsiders Code: The Bendigo, Collingwood Pony Face + Ladie Dee: The Bridge Hotel, Castlemaine Danny Walsh Banned: The Drunken Poet, Melbourne
M U S I C
the guide vic.gigguide@themusic.com.au Sun City: The Espy, St Kilda The Naysayers + Honeybone + Neon Queen: The Espy (Gershwin Room), St Kilda Goatpiss Gasoline: The Fitzroy Pinnacle, Fitzroy North Flawless Queer Party: Seeya 2014! feat. Whiskey Houston + Hannah Wintour + Eaton Mess: The Gasometer Hotel, Collingwood Dick Diver + Holy Balm + The Native Cats + Hierophants: The Hi-Fi, Melbourne Matt McFetridge + Bruce Milne: The Luwow (Island Village), Fitzroy Tek Tek Ensemble + The Wikimen + BJ Morriszonkle: The Old Bar, Fitzroy
The Music of James Brown with Reverend Funk & The Horns Of Salvation: Flying Saucer Club, Elsternwick
The Sunday Social feat. The Reason Why + Hayden John + Allegra + more: Prince Bandroom, St Kilda
Illy + Tkay Maidza: Forum Theatre, Melbourne
Earthcore 2014 feat. 1200 Micorgrams DJ + Astrix + Boris Brejcha + John OO Fleming + more: Pyalong, Pyalong
Kitty Flanagan: Geelong Performing Arts Centre, Geelong
Ron S Peno & The Superstitions: Labour In Vain (5pm), Fitzroy Paradise Music Festival: Lake Mountain Resort, Marysville Hurray For The Riff Raff + Brighter Later: Meeniyan Town Hall, Meeniyan
Thomas Henry Walker + more: The Thornbury Local, Thornbury
Christmas in New Spain + La Compania: Melbourne Recital Centre (Salon), Southbank
The Artist Is Not Present with Damien Minards + Ryan Lloyd + Dylan Martorell: The Tote (Upstairs), Collingwood The Lost Fridays + The Dirty Birds + The Tremors + Happiness: The Workers Club, Fitzroy The Soul of Aretha Franklin feat. Florelie Escano & Her Soul Orchestra: Thornbury Theatre, Thornbury
Lurch & Chief + Flyying Colours + Trophy Wife: Northcote Social Club, Northcote Rick Astley + Special Guests: Palais Theatre, St Kilda Afternoons On The Green + James Bennett: Penny Black (Beer Garden), Brunswick Sleepy Dreamers + Matt Rad + Flagrant + DJ Obliveus: Penny Black (Main Bar), Brunswick
Eaten By Dogs + Alex and The Shy Lashlies + Green Tins: The Gasometer Hotel, Collingwood Husky + Ali Barter: The Hi-Fi, Melbourne George Kamikawa & Noriko Gogo Goddesses + DJ Screamin J: The Luwow, Fitzroy
Julitha Ryan Band: The Post Office Hotel, Coburg
Bluegrass Open Session+Various Artists: Charles Weston Hotel, Brunswick
Pussy XXX + Spacejunk + The General + Cement Pig: The Public Bar, North Melbourne Priestessa & Dash: The Thornbury Local, Thornbury Chugga & The Fuckheads + The Stinklines: The Tote (Front Bar), Collingwood
Kirsten Moore + Tim Cullin: Wesley Anne (Band Room / 8pm), Northcote
Queenscliff Music Festival: Queenscliff Music Festival, Queenscliff
Slow Grind #19 with Richie 1250 + Pierre Baroni + Mohair Slim: The Tote (Upstairs), Collingwood
The National Evening Express: Whole Lotta Love, Brunswick East
Ross McLennan & The New World: Railway Hotel, Brunswick
Portugal. The Man: The Westernport Hotel, San Remo
Gossamer Pride + The Starks + The Lucilles: Retreat Hotel, Brunswick
JP Klipspringer + The Trotskies + Kinder: The Workers Club, Fitzroy
Redcoats + Child: Bar Open, Fitzroy Violent Soho + Special Guests: Barwon Club, South Geelong Parking Lot Experiments + Denim Owl + more: Boney, Melbourne Juke Joint Jump feat. The Three Kings + Chris Russell: Caravan Music Club, Oakleigh Kiri + Stockades + Slums Mckenzie + more: Catfish, Fitzroy Midnight Alibi + Austrailan Kingswood Factory + Pink Harvest: Cherry Bar, Melbourne Wil Anderson: Comic’s Lounge, North Melbourne The Screaming Jets: Commercial Hotel, South Morang San Cisco + Gunns + Montaigne: Corner Hotel, Richmond The Delta Riggs + Lime Cordiale + White Summer: Ding Dong Lounge, Melbourne
Pinch Hitter + Lincoln Le Fevre + Jamie Hay + Georgia Maq: Reverence Hotel (Band Room), Footscray Bang feat. I Exist + Mason + Hornetz Nest: Royal Melbourne Hotel, Melbourne Brunswick Burlesque: Rubix The Venue, Brunswick The Ruby Rogers Experience + DJ Roy: Spotted Mallard, Brunswick Bastard Squad + Alkira + Hailgun + Wolfpack + The Fckups + Split Teeth + Drain Life + The Maggot Men: The Bendigo, Collingwood Geoff Achison & The Soul Diggers: The Bridge Hotel, Castlemaine Bloods + Scotdrakula: The Curtin, Carlton The T-Bones: The Drunken Poet, Melbourne Sean McMahon & The Moon Men + The Happy Lonesome: The Fitzroy Pinnacle, Fitzroy North
Coach Bombay + Lanks: Boney, Melbourne Ian Moss + Alex Formosa Baudo: Caravan Music Club (3pm), Oakleigh
Portugal. The Man: Torquay Hotel, Torquay
SAT 29
SUN 30
Bop Art with Hawaii + Lewis CanCut + Matt Radovich + Tigerfunk + Who: Bimbo Deluxe, Fitzroy
Kids Of Zoo + The Peep Tempel + Bad Vision + AD Skinner: The Old Bar, Fitzroy
Earthcore 2014 feat. 1200 Micorgrams DJ + Astrix + Boris Brejcha + John OO Fleming + more + Earthcore: Pyalong, Pyalong
Capital Club + Various DJs: 170 Russell, Melbourne
The Darling Downs + David Cosma: Retreat Hotel (5pm), Brunswick
ECHO DRAMA: 27 NOV EVELYN HOTEL
Black Cab + Lowtide + Queens Head: Howler, Brunswick
Shit Sex + Loose Tooth + Messed Up + Bonnie Doom: The Public Bar, North Melbourne
Tote T-Shirt Gig #4: Paul Pirie (Batpiss)+Various Artists: The Tote (Bandroom), Collingwood
Queenscliff Music Festival: Queenscliff Music Festival, Queenscliff
Brave - Bands Rock Against Violence Event + Rosie & The Mighty Kings + more: Grace Darling Hotel, Collingwood
Exhaustion + Zond + Sky Needle + Dribble: The Tote (Band Room), Collingwood
Mick Flannery + John Spillane: Thornbury Theatre, Thornbury Miserable Little Bastards: Union Hotel, Brunswick Mutton + The Kremlings + Scul Hazzards + Hard Rubbish: Victoria Hotel, Brunswick Old Timey Jam Session + Craig Westward: Victoria Hotel (Beer Garden / 5pm), Brunswick
Dreadnaught + System of Venus + Borrachero: Cherry Bar (8pm), Melbourne Wil Anderson: Comic’s Lounge, North Melbourne San Cisco + Gunns + Montaigne: Corner Hotel (Under 18s), Richmond Ellie B: Edinburgh Castle Hotel (5pm), Brunswick You Beauty + Tim Richmond + Monnone Alone + Magic Steven: Evelyn Hotel, Fitzroy California Dreaming - A Tribute to The Mamas & The Papas: Flying Saucer Club, Elsternwick Rick Astley + Special Guests: Geelong Performing Arts Centre (Costa Hall), Geelong Soundings #6 feat. Tangrams + R. Electrique + The Broken Needles + more: Grace Darling Hotel (4pm), Collingwood Backwood Creatures: Labour In Vain (5pm), Fitzroy Paradise Music Festival: Lake Mountain Resort, Marysville
The Flumes + Pear & The Awkward Orchestra + Tyto: Wesley Anne, Northcote
Summer Madness feat. Tom Trago + Sleep D + Myles Mac + Dylan B: Lounge, Melbourne
The Mean Times + Long Holiday: Whole Lotta Love, Brunswick East
Oriental Flow: Melbourne Recital Centre (Salon), Southbank
Make Them Suffer + I, Valiance + Hands of Hope + Your World In Ruins + Overpower: Wyndham Cultural Centre, Werribee
Shaun Kirk + Rattlin’ Bones Blackwood: Northcote Social Club (1.30pm), Northcote
Darcee Fox + Sons of Jericho + Bandintexas: Yah Yah’s, Fitzroy The Rechords: Yarra Hotel, Abbotsford
Luluc: Old Hepburn Hotel, Hepburn Springs Portugal. The Man: Penny Black, Brunswick Easy Now feat. Agent 86 + Tom Showtime + DJ Maars: Penny Black, Brunswick
DJ Barney: Edinburgh Castle Hotel, Brunswick
S U P P O R T I N G
I N D E P E N D E N T
Jerome Knappett + Georgia Maq + The Berkley Hunts + Jason Morrison: Reverence Hotel (Front Bar / 3pm), Footscray Dub n Grub with Ellie B + Operator Andy + SK + more: Rubix The Venue, Brunswick Dr Crask & His Swingin’ Elixir Band: Spotted Mallard, Brunswick Davidson Brothers: The B.East, Brunswick East The Post + Charm + TJ Alcaniz + Luke Seymoup: The Bendigo, Collingwood Slow Galo: The Bridge Hotel (4pm), Castlemaine Ginger Soul + Sarah De Haan + Beth Brown + Harp Samuels: The Curtin, Carlton Portugal. The Man: The Deck, Frankston Ghost Towns of The Midwest + Dan Warner: The Drunken Poet (4pm), Melbourne Dale Ryder Band + Stand And Deliver: The Espy (Front Bar), St Kilda The Four Scoops: The Fitzroy Pinnacle, Fitzroy North Dreamcoat + The McQueens + Old Violet: The Gasometer Hotel, Collingwood Emergenza Final with Various Artists: The Hi-Fi, Melbourne Here Comes The Sun feat. Buried Feather + The Citradels + Waterloo + Luna Ghost + The Psychedelic Girl Guide’s Guide: The Old Bar, Fitzroy Dan Lethbridge & The Campaigners: The Post Office Hotel (4.30pm), Coburg Sunday School feat. The Rolling Blackouts + The You Yangs: The Public Bar (4pm), North Melbourne The Story So Far + Ella Hooper: The Toff In Town, Melbourne Twin Ages + Berlin Sirens + The May Rivers + Luna DeVille: The Toff In Town (7.30pm), Melbourne The Sunday Sixpack wit +Red Sky Burial + I Am Duckeye + Fuck The Fitzroy Doom Scene + El Colosso + El Sydonia + Lucid Planet: The Tote, Collingwood Amber Isles + Jasia + Lauren Glezer + Heloise: The Workers Club (1pm), Fitzroy Pink Tiles + School Damage + Chook Race + Stink Lines: The Workers Club, Fitzroy
A U S S I E
M U S I C
the guide
REHEARSAL STUDIOS
vic.gigguide@themusic.com.au Carus Thompson: Union Hotel, Brunswick Ladie Dee: Victoria Hotel, Brunswick Wayfare: Wesley Anne (Front Bar / 6pm), Northcote
MON 01
The Waifs + Sal Kimber & The Rollin’ Wheel: Corner Hotel, Richmond Tony Lee: Melbourne Recital Centre (Salon), Southbank Monday Night Mass feat. Las Tetas + Miss Destiny + Asylum Sisters: Northcote Social Club, Northcote Earthcore 2014 feat. 1200 Micorgrams DJ + Astrix + Boris Brejcha + John OO Fleming + more: Pyalong, Pyalong The Mutual Appreciation Society with Les Thomas + Guests: Retreat Hotel, Brunswick Rock & Pop Culture Trivia with Jess McGuire & George H: The Gasometer Hotel, Collingwood Vinyl Splinters + Arbes + The Factory: The Old Bar, Fitzroy The Shelf Season 10 + Justin Hamilton + Adam Richard: The Toff In Town, Melbourne
TUE 02
Morning Melodies - Christmas Show + Rick Charles: Bayswater Hotel, Bayswater
backstage
Saucy Summer Sessions with +The Resignators + The Outsiders: Cherry Bar, Melbourne
RATES: (GST INCLUDED) SMALL LARGE Monday - Friday 11am-5:30pm $35 $45 Monday - Friday 6pm-12midnight $60
$70
all sessions
$55
$65
day sessions
$55
$65
Weekends Public Holiday
The Drums + Sunbeam Sound Machine: Corner Hotel, Richmond
Solo Practice
Mon-Fri 11am-5:30pm $15
Solo Practice
with a drum kit or amp
Beyond The Bathroom Choir: Edinburgh Castle Hotel, Brunswick
9415 7177
Kathy Selby + Timo-Veikko Valve: Melbourne Recital Centre (Salon), Southbank
www.midianrehearsals.com
Col Perkins: Monash Hotel, Clayton
2 York St Richmond
BJ Morriszonkle + Orlando Furious: Retreat Hotel, Brunswick Seb Mont & Thee + Ben Whiting + Ruby Jay + Tash Sultana: The Gasometer Hotel, Collingwood ‘Roswell That Ends Well’ Paul Pirie art opening with AD Skinner + Spermaids + Flour: The Old Bar, Fitzroy Sleep Decade + Heir Fuller + Nick Smethurst: The Public Bar, North Melbourne Lotek + Florelie Escano + Ras Jahknow + Kwasi + Lucas Miller: The Toff In Town, Melbourne December Spectacular with Moulin Beige: Wesley Anne (Band Room), Northcote
Klub MUK: 303, Northcote
S U P P O R T I N G
$20
GROUND FLOOR | OPEN 7 DAYS
I N D E P E N D E N T
A U S S I E
M U S I C
40 • THE MUSIC • 26TH NOVEMBER 2014