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2 • THE MUSIC • 16TH OCTOBER 2013


THE MUSIC • 16TH OCTOBER 2013 • 3


themusic 16TH OCTOBER 2013

#010

INSIDE THIS WEEK Gravity

Loon Lake

feature

Alice Munro

NEWS

Queens Of The Stone Age & Nine Inch Nails Elizabeth Rose Dash Berlin

“I SORT OF THINK OF IT AS BEING A MATING DANCE THAT I’M DOING WITH THAT OBJECT.”

“CANADIAN SHORTSTORY AUTHOR ALICE MUNRO WON THIS YEAR’S NOBEL PRIZE FOR LITERATURE. SHE’S ONE OF LIKE ONLY THIRTEEN WOMENS EVER TO WIN IT.” THIS WEEK [P08]

GLASSER EXPLAINS HER NEW VIDEO TO US [P35]

Sons Of Rico

FEATURES

The Jungle Giants Zeahourse Soulfly Yuck Glasser Best Coast Mickey Avalon

ALBUMS Polica

The Necks The Morning Night Seabellies Kramies Roosevelt

LIVE

Welcome To The Valley Me First & The Gimme Gimmes WAM Song Of The Year Awards

“PROGRESSIVE HOUSE/TRANCE DJ MICHAEL WOODS CATAPULTED TO INTERNET STARDOM (UNUSUAL FOR A TRANCE DJ) BY REFUSING TO PLAY HIP HOP FOR JUSTIN BIEBER AT A CLUB IN SOUTH KOREA.” FRONTLASH [P53]

gaming “FIFA’S BACK. AGAIN. OK, SO IT’S NO BIG SURPRISE, BUT IS THIS ITERATION WORTH AN UPGRADE?” ANDREW SUTTON FINDS OUT [P44]

“I’M LIKING A BIT OF THE TWERK STUFF, 100 BPM TRAP - NOT THE MILEY CYRUS VIDEOS.” MICAH BLACK TELLS ANNABEL MACLEAN [P33]

Tired Lion EP Launch

THE GUIDE Asian Deserts Craft Beer Jerseys Dance Hall

review 6 • THE MUSIC • 16TH OCTOBER 2013

“SOON IT WAS TIME TO MOVE ON TO THE NEXT PLACE, AND BELVOIR WAS PROMPTLY OVERRUN WITH SWARMS OF PEOPLE (NOT) LINING UP TO GET THEIR NEXT DRINK.” LUKAS MURPHY AND TED DANA CAPTURE WELCOME TO THE VALLEY [P41]


WWW.YA-YAS.COM.AU

WED 16 OCT

GIGGIDY #2 The Midnight Mules, Paradise Motor Inn, The Devil In Miss Jones, Valentin’s Backpacker Band, The MoonWhores $6/7:30PM

THURS 17 OCT

YARKHOB Freqshow, Weapon is Sound, Child’s Play $8/7:30PM

FRI 18 OCT

THURSDAY OCTOBER 17TH

THE CROOKED CATS + NODES + FOREIGN ARCHITECTS + COASTAL KICKS

WISEOAKS Late Night Hysterics, Lunar Inverse, They’re There $10/$5 With Student Card/7:30PM

SAT 19 OCT

ARCADIA ALL-NIGHTER Party all night with DJ Mille on the decks! $5/9PM

SUN 20 OCT

LADY VELVET CABARET Dark Desires Graduation Show $15/6PM

MON 21 OCT

BIG TOMMO’S OPEN MIC

SUNDAY OCTOBER 20TH SPECIAL BREW

+ DJ RAZOR JACK

coming soon THURSDAY 24TH OCTOBER

THE CORONAL SKY

+ FROM FIRST TO LAST + IS THE LUNETTES + MIDNIGHT BOULEVARD SUNDAY 27TH OCTOBER

Our solution to the Monday blues Free/7:30PM

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TUES 22 OCT

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WE MOVE WALLS Eerie Serpent, Segue Safari, Nevada Pilot $5/7:30PM

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CHILLING WINSTON Celebrator, Dingbats, Dwyer $5/7:30PM Cnr James & Lake St Northbridge 147 James Street Northbridge 6003

FREE ENTRY

46 LAKE ST, NORTHBRIDGE 9328 2350 LIVE MUSIC EVERY NIGHT OF THE WEEK ENQUIRIES info@mustangbar.com.au www.mustangbar.com.au

THE MUSIC • 16TH OCTOBER 2013 • 7


CREDITS PUBLISHER

Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

EDITOR Callum Twigger

ASSISTANT EDITOR Cam Findlay

MUSO EDITOR Michael Smith

ARTS AND CULTURE EDITOR Cass Fumi wa.arts@themusic.com.au

GIG GUIDE Justine Lynch wa.gigs@themusic.com.au

CONTRIBUTORS Aarom Wilson, Adrienne Downes, Amber Flynn, Andy Snelling, Annabel Maclean, Athina Mallis, Chantelle Gabriel, Christopher James, Claire Hodgson, Daniel Cribb, Eli Gould, James Hunt, Jeff Kit, Jeremy Carson, Jessica Tana, Kane Sutton, Kershia Wong, Kitt Di Camillo, Liv Gardner, Lukas Murphy, Luke Butcher, Mac McNaughton, Marcia Czerniak, Mark Neilsen, Matthew Tomich, Michael Caves, Natasha Lee, Rachel Inglis, Renee Jones, Ross Clelland, Scott Aitken, Simon Holland, Steve Bell, Tess Ingram, Tom Birts, Troy Mutton, Zoe Barron.

THIS WEEK THINGS TO DO THIS WEEK • 16 OCTOBER - 22 OCTOBER 2013

PHOTOGRAPHERS David Lewis, Daniel Cribb, Ebony Frost, Elle Borgward, Jacinta Mathews, Michael Caves, Kieren Chew, Rhys Machell, Ted Dana

NATIONAL SALES MANAGER

nobel watch

Brett Dayman sales@themusic.com.au

ADVERTISING DEPT Bronwyn Bate bronwyn@themusic.com.au

ART DIRECTOR Nicholas Hopkins

ART DEPT Eamon Stewart, Brendon Wellwood, Julian De Bono wa.art@themusic.com.au

ADMIN & ACCOUNTS

Gravity is like a really bad nightmare: George Clooney and Sandra Bullock are two astronauts who get stuck in space. Being stuck in space is horrible and terrifying, naturally. It’s a great film and let’s face it 2013 has been a proverbial Mariana trench in film quality terms so buy a ticket to it and support it wherever it’s showing.

Canadian short-story author Alice Munro won this year’s Nobel Prize for Literature. She’s one of like thirteen women ever to win it, and you should read Selected Stories. We’ll quote her now because she’s a Nobel Prize winner, and she’s probably a better writer than we are. “It’s certainly true that when I was young, writing seemed to me so important that I would have sacrificed almost anything to it ... Because I thought of the world in which I wrote - the world I created - as somehow much more enormously alive than the world I was actually living in.”

Loretta Zoppolone Shelly Neergaard Jarrod Kendall Leanne Simpson accounts@themusic.com.au

DISTRO Anita D’Angelo distro@themusic.com.au

SUBSCRIPTIONS store.themusic.com.au

CONTACT US Tel 08 9228 9655 info@themusic.com.au www.themusic.com.au 1/205-207 Bulwer St, Perth WA PO Box 507 Mount Lawley WA 6929

Loon Lake trekked across the Nullabor to give us a live launch of their debut record, Gloamer, which means dreamer according to them. It’s a word they reckon they invented, derived from gloaming, an anachronism for twilight. Backed up by Timothy Nelson & The Infidels, the Lakers are performing at Flyrite on Oct 17. PERTH

launch


buy

You can buy an official Queen Bey 2014 calendar. That’s right. Ring in every month of the year with a picture of the idol herself looking bootylicious. She’ll inspire you to do great things and be an empowered woman and/or man. It’s pretty much the first step to becoming more like Beyonce, and harks back to when you all bought boy band merchandise in your tweens. Don’t deny it. Fall in love with her every day by purchasing one for US$15 from her website.

watch

lol

sculpture

The latest YouTube sensation is Telekinetic Coffee Shop Surprise. It’s a social experiment that freaked out a lot of humble coffee lovers. God we love it when New York actors decide to use technology to make people believe that telekinesis is real. (Hint: it isn’t, they have remote controls and pulleys and shit). This actually turns out to not just be hilarious, but a really good example of viral marketing, and is just an ad for Carrie, out 28 Nov. We’re not so interested in Lady Gaga’s Artpop as we are the sculpture of the starlet that adorns the cover. Designed by American Jeff Koons, the piece is eerily striking and seems set to become an iconic piece of pop culture in years to come. Whether or not the music’s as interesting is still up for discussion.

#StarbucksDrakeHands. That’s all you need to know. A Starbucks barista in LA asks a girl for her phone number. She gives digits, he sends video, and inadvertently he starts one of the biggest internet virals of the year. Guys, girls, babies, animals, Larry King – everyone is on this. All you need is a) your sleaziest creep face; b) Drake’s Hold On, We’re Going Home playing in the background; c) hands. Record, hashtag and send to that poor special someone you want to make really uncomfortable. THE MUSIC • 16TH OCTOBER 2013 • 9


national news news@themusic.com.au KYLESA

PULLED FROM THE PIT NINE INCH NAILS

FEEL GOOD HITS IN THE AUTUMN

In what’s shaping up to be one of the double bills of 2014, Queens of the Stone Age and Nine Inch Nails have both made good on their promising social media posts from a few weeks ago and announced a double headline tour, with top billing decided each night by the toss of a coin. The two Herculean rock bands have both showed their respective evergreen nature this year in the way of Like... Clockwork and Hesitation Marks, and with support kept in the family thanks to Aussie-American Brody Dalle these shows are going to electrifying right from the get-go. Dates are as follows: 6 Mar, Sydney Entertainment Centre; 8 Mar, Newcastle Entertainment Centre; 11 Mar, Perth Arena; 14 Mar, Rod Laver Arena, Melbourne; and 17 Mar, Brisbane Entertainment Centre, with tickets on sale 24 Oct.

THE DAPPER GENTLEMAN

Get set to sweat in that turtle neck (especially you ladies); the In Stranger Times EP is ready to land into our lives on 1 Nov, and the man behind it all, Jeremy Neale, wants to swing and shake with your sexy selves. The Brisbane songwriter has been on a hell of a run this year, and knowing his way around a hook far better than most, Neale has crafted an infectious record that’s pretty hard to turn your back on. He’ll launch the six-track on the following dates: 31 Oct, Goodgod Small Club, Sydney; 2 Nov, The Small Ballroom, Newcastle; 8 Nov, Northcote Social Club, Melbourne; 15 Nov, Solbar, Maroochydore; and 16 Nov, The Zoo, Brisbane. Supported by another great Brisvegas product in the way of Major Leagues, you can grab tickets for all shows now.

WHEN A FIRE STARTS TO BURN

There are few groups that can burn up the fret board quite as wildly as Guitar Wolf. The trio from Japan have earned a reputation for keeping things in the red – at all times – and with their amplifiers set to maximum volume they will return to Australian east coast venues, all but ready to roar into your life. Along with a range of supports including the likes of Batpiss, Mach Pelican and SixFtHick, the wolves in leather clothing will perform 28 Nov, The Espy, Melbourne; 29 Nov, The Square, Sydney; 30 Nov, The Gasometer Hotel, Melbourne; 1 Dec, The Tote, Melbourne; 4 Dec, The Basement, Canberra; and 6 Dec, Beetle Bar, Brisbane. For the full billing in your state check theMusic.com.au.

“YESTERDAY WAS A TOUGH DAY. TODAY IS A NEW DAY #KEEPBOXING” MARK WEBBER [@AUSSIEGRIT] TRANSLATION: ‘SPEWIN’ MY CAR WENT UP IN FLAMES’. 10 • THE MUSIC • 16TH OCTOBER 2013

Birthed from the great south of the States, Kylesa play a formidable brand of experimental sludge metal that has seen them mentioned in the same breath as bands like Mastodon, Baroness and Black Tusk. Getting more versatile and unpredictable as they get older, the band are set to return to Australia for the first time since 2011’s Soundwave, with the American group playing 7 Dec, Rosemount Hotel, Perth; 8 Dec, Corner Hotel, Melbourne; 10 Dec, Howler, Melbourne; 11 Dec, ANU Bar, Canberra; 12 Dec, The Hi-Fi, Sydney; and 13 Dec, The Hi-Fi, Brisbane.

ROSIE O’DONNELL

NOTHING SACRED

Before A League Of Their Own, before she had her own daytime talk show, before she was a panellist on The View, Rosie O’Donnell was owning it on the stand-up stage. The American funny-woman has been making us laugh for over thirty years, and will be wheeling out a no-holds-barred set for us Aussies in 2014. O’Donnell will perform a string of all-ages shows at Perth Concert Hall, 4 Feb; QPAC, Brisbane, 7 Feb; The Plenary, Melbourne, 8 Feb; and The Star Event Centre, Sydney, 9 Feb. Tickets on sale 9am next Monday.


national news news@themusic.com.au FLUME

CLAIRY BROWNE & THE BANGIN’ RACKETTES

RHYTHMIC DESIRES

Another local lass who is doing great things Stateside is Clairy Browne and her Bangin’ Rackettes, the soulstress showing off her staggering live shows in the US for the third time this year. As well as doing tour dates, they’ll also be writing and recording new material in Nashville, Tennessee, which hopefully we’ll be getting a taste of, alongside our favourites of course, during the group’s December tour. After playing Meredith Music Festival, 13 Dec, Browne and the Rackettes will perform at the Rosemount Hotel, Perth, 14 Dec; The Hi-Fi, Brisbane, 19 Dec; Factory Theatre, Sydney, 20 Dec; and The Hi-Fi, Melbourne, 21 Dec. Support at those capital city dates comes from Miles & Simone.

FLUME DOMINATES INDIE AWARDS

Young Sydney beat bloke Flume has added to an already monumental year by walking away with four awards at last week’s Carlton Dry Independent Music Awards, winning Best Album (Flume), Best Artist, Best Dance Album and Best Dance Single (Holdin On). Vance Joy picked up a double off the back of his much-loved EP, God Loves You When You’re Dancing, while uncompromising garage lads King Gizzard & The Lizard Wizard also received two nods, including the lucrative Carlton Dry Global Music Grant, worth $50,000. Other winners on the night included Paul Kelly, Seth Sentry and Catherine Britt.

COME AND TURN AROUND

Regular visitors to our country in the past, Gomez are currently on a break from band duties. However, one of the chief songwriters Ian Ball has still been at it, putting together a second solo album, Unfold Yourself, and will be bringing those songs, as well as some Gomez classics we’re sure, to our stages next month. Ball will play a host of shows, starting 18 Nov, Mojos Bar, Fremantle, before moving on 19 Nov, PICA Bar, Perth; 21 Nov, Barwon Club, Geelong; 23 Nov, Karova Lounge, Ballarat; 24 Nov, Northcote Social Club, Melbourne; 27 Nov, Brass Monkey, Sydney; 28 Nov, Annandale Hotel, Sydney; 30 Nov, Coogee Diggers, Sydney; and 1 Dec, Beetle Bar, Brisbane.

ELIZABETH ROSE

BLOSSOMING INTO SOMETHING SPECIAL

It swirls through your ears before bursting into a beat that you need. It’s The Good Life and its quickly shot Elizabeth Rose’s star into the stratosphere. And the Sydneysider is shaking things up globally too, heading over to New York to take part in the CMJ Music Marathon before officially launching the track around Oz. Joined by very special guest Charles Murdoch, you can catch Rose upon her return, 2 Nov, Alhambra Lounge, Brisbane; 8 Nov, Goodgod Small Club, Sydney; 9 Nov, Trinity Bar, Canberra; 15 Nov, Mojos Bar, Fremantle; 16 Nov, Amplifier Bar, Perth; and 23 Nov, The Workers Club, Melbourne.

“THERE IS NO BETTER WAY OF WOOING A WOMAN THAN RIDING A MECHANICAL BULL AND SENDING HER A VIDEO OF IT” WE HOPE [@TEEDINOSAURS] IS TALKING FROM EXPERIENCE.

BIGGER THAN TEXAS

He’s been touted as “the most impressive Kiwi cultural export since Flight Of The Conchords”, and we have to agree that ya’ll should be getting well and truly excited about the microphone style of David Dallas. Innovative, captivating and impossible to pin down, Dallas has just put together his third record, Falling Into Place, and invites you to share the experience in full colour when he takes to the stage this summer. Catch him 18 Dec, Causeway Bar, Perth; 19 Dec, Alhambra Lounge, Brisbane; 20 Dec, Beach Road Hotel, Sydney; and The Espy, Melbourne, 21 Dec.

LIFE IN THE FAST LANE

Beat fans will be grinning with the news that Dutch trance titan Dash Berlin will return to Australia next year to play some massive venues as part of his #musicislife #deluxe world tour. Three exquisite vocalists – Emma Hewitt, Jonathan Mendelsohn and Christina Novelli – will join Dash on this journey, as well as MaRLo, who will bring some domestic flavour to the three tour dates. Catch Dash Berlin 7 Feb, Sydney Showground Exhibition Halls; 8 Feb, Hisense Arena, Melbourne; and 9 Feb, Brisbane Riverstage. Tickets available 24 Oct. THE MUSIC • 16TH OCTOBER 2013 • 11


local news wa.news@themusic.com.au

SOSUEME DJS

DON’T MESS WITH THE SOUTH

BOOM! BAP! POW!

JOIN THE SPECTACLE

As we announced last week, WAM’s Saturday Spectacular is set to be, pretty much, a state of affairs of the WA music scene at the moment, with a huge amount of acts taking over 12 stages in Northbridge on Sat 9 Nov. Joining an already stellar lineup are Adam Trainer (DJ set), Amanda Merdzan, Anton Franc, Axe Girl, Boom! Bap! Pow! (WAM Song of the Year Winner – Pop), Chris Wheeldon (DJ set), Clint Bracknell, Codie Sundstrom, Cosmo Gets, Craig McElhinney, David Craft & Friends, Ekko & Sidetrack, Flighflow, FOAM, Gilded, Graphic Fiction Heroes (WAM SOTY Winners – Country), Jack Doepel (DJ set), Jake & The Cowboys ( Jarred Wall WAM SOTY Winner – Indigenous), Jordan McRobbie (WAM SOTY Winner – Blues/Roots), and a whole, whole lot more. Head to wam.org.au for the full lineup and the venues involved.

GRIZZLY BEAR IS BEST

Us; Or Optimism is the new single from Adelaide’s Sincerely, Grizzly, who’ve just announced a fresh run of shows for November. Mixed by Brad Wood (Sunny Day Real Estate, Placebo, Smashing Pumpkins) and mastered by Emily Lazar (Death Cab For Cutie, Brand New) Us; Or Optimism finds the selfproclaimed “lit-rock” trio maintaining their trademark combination of time signature changes and blistering pop quirk, while raising the production stakes a considerable level from previous efforts. They head to Newport Hotel on Thurs 14 Nov and Amplifier on Fri 15.

HANKERING FOR MORE

Hank Marvin has been a major influence on guitar heroes ever since he first played lead guitar with the Shadows, the UK’s top instrumental outfit during the ‘60s. Hank’s metallic, echoed picking on a red Fender Stratocaster – with generous employment of tremolo arm - is often cited as the inspirational source of the fretboard pyrotechnics of Jeff Beck, Ritchie Blackmore and numerous other guitar icons - Jimmy Page, Pete Townshend, Eric Clapton, Brian May, Mark Knopfler, Neil Young and more. It’s only been a few months since he stopped by, by Marvin heads to Fremantle Town Hall on Sat 9 Nov. Ticketbooth.com.au for tickets. 12 • THE MUSIC • 16TH OCTOBER 2013

SALTY SOUL

One of Perth’s favourite New Year’s Eve parties (hey, there’s a lot now), Salt On The Beach will play host to hip hop legends De La Soul and their unique samples, rhymes, humour and big tunes. Supporting them across two beachside areas will be the live funk sounds of The Funk Club House Band and Junkadelic, with DJs Charlie Bucket and Neil Viney. New support acts have just been announced to join the bill, including N’Fa Jones, DJ Mike Gurrieri, DJ Klean Kicks and DJ Cee. Tues 31 Dec is that date, with earlybird tickets still available through funkclub.com.au.

HELLO, STRANGER

Strange Paradise is the debut full length album from Mezzanine, and will be released worldwide on Gun Fever Records Fri 15 Nov. Recorded by renowned producer and local favourite Dave Parkin, the album is the culmination of Mezzanine’s history, distilling the five years of the band’s lifespan into 10 tracks bursting with character and atmosphere. Their classic indie rock influences are worn proudly on their sleeves, and provide power chord heavy foundations for singer Cory Rist’s angst ridden tales of lust and woe. Catch them launch it at Amplifier on Fri 15 Nov with Foam, Sincerely, Grizzly (Sa), Pat Chow and Depth Boys in tow.

The countdown to Southbound is well and truly on and we’re getting more than excited around these parts. With the likes of !!! (Chk Chk Chk), Bonobo, Big Scary, Hermitude, Emma Louise and more, there’s more to spice up that meatball with Anna Lunoe, Purple Sneakers DJs, Sosueme and Tyler Touche announced, as well as Coconut Club locals Boston Switch, Charlie Bucket, DJ Mandy Bubb with L.C.Drums, DJ Swami Adima, Frankie Button, The Housejunkie, Micah, Mutchy & LZ, Pussy Shoogah and Slumberjack. Southbound. com.au for tickets and details.

THE STARS ALIGN

Inspired by the intricate inner world of dream imagery and our unconscious desires, Aurora Jane’s new album Holding Pattern reveals a colourful and surreal soundscape. Blending psychedelic ‘70s analogue warmth with upbeat funk, soaring rock and intuitive song-craft, Aurora Jane’s fourth album unveils an expansive creative evolution. The trio head to Mojos on Wed 6 Nov; Indi Bar, Thurs 7; Settlers Tavern, Margaret River, Fri 8; White Star Tavern, Sat 9; and Redcliffe On The Murray, Pinjarra, Sun 10. Aurorajane.com.au for details. SONS OF RICO

HARVEST TIME

Nothing declares “winter is over” more than a massive cracking snare drum straight into the belter of a song that is Against The Grain. This blitz of an opener from the album In Rico Glaciers is that helpful slap in the face for when you’re in a bit of a rut. Laden with singer/songwriter Alex MacRae’s glamesque falsetto vocals and glorious guitar licks, Against The Grain is a foot-stomping, hair-trashing, festival in the ears. Following on from radio singles You Don’t Know What You’re Missin’ and I’m Not Thinkin’ About You, Sons Of Rico are set to storm into your earholes again at WAM’s Saturday Spectacular (Sat 9 Nov, Northbridge) before shows at Prince Of Wales, Bunbury (Fri 15), Indi Bar (Sat 16) and Newport Hotel (Sun 17).


THE MUSIC • 16TH OCTOBER 2013 • 3


local news wa.news@themusic.com.au CHAOS DIVINE

LUDOVICO EINAUDI

A MAN OF COMPOSITION

After captivating audiences with a stunning performance at the Sydney Opera House, Ludovico Einaudi has announced his first Australian tour that will see the acclaimed composer and pianist perform during Perth International Arts Festival on Sat 8 Feb at the Perth Concert Hall. Prolific as he is popular, Ludovico Einaudi has garnered both immense critical and commercial success and his music defies classical or contemporary categories. Australian audiences will have a rare opportunity to experience one of the planet’s greatest living composers live in concert. Head to perthfestival.com.au for full details.

HUMAN CHAOS

After the release of last year’s Africa - A Tribute to Toto single, Chaos Divine have spent the best part of the past year and a half writing their next full-length studio album, the follow up to their 2011 The Human Connection album - what critics have labeled as a benchmark album in Australian heavy progressive music. Polished, aggressive, melodic and mature - the band’s next installment is sure to ignite a spark amongst the Australian heavy music scene. Following an east coast tour, they bring it home to Amplifier on Fri 6 December with co-headliners Circles and guests Serial Killer Smile and This Other Eden. Tickets through Oztix.

YO DAWG, WE HEARD YOU LIKE FESTIVALS STANTON WARRIORS

BREAK IT DOWN

It’s won the Perth Dance Music Award for Best Event ten years running. It’s won numerous awards in both the inthemix and Australian Festival Awards in recent years. Yes, that big ol’ festival we all hold close to our hearts Breakfest is returning for another year and another round of blasting you away with the best in beats, boops and booties. The boutique festival tradition hits Belvoir Ampitheatre on Boxing Day, Thurs 26 Dec. On the bill are some big guns in Stanton Warriors, Ltj Bukem, Plump Djs, Deekline, Mafia Kiss, Dom & Roland, Nick Thayer, Meat Katie, Featurecast, Janette Slack, Hedflux and Stickybuds. Tickets on the go now through Moshtix and Ticketmaster.

14 • THE MUSIC • 16TH OCTOBER 2013

Is your car on the verge of a breakdown? Do you think MTV would be greater if it was a bunch of children decorating old cars? With the Beaufort Street Festival fast approaching, you now have an opportunity to hand over your old, still drivable car, and do some good instead of sitting in a scrapyard. During the Festival on Sat 16 Nov, children will be let loose on the car, armed with feathers, chalk, paint and all things messy and creative, so JumpClimb are asking you only hand over your car if you really, REALLY don’t want it back. On the arts front, they’re also looking for inflatable objects to cover a roof on the day of the Festival. Email familydirector@beaufortstreetfestival.com.au if you want to get involved.

RIO HALLOWEENO

Inspired Brazilian singer Juliana Areias celebrates the mysteries of the night the Brazilian way, exploring for the first time the collective imagination of her own culture and its “darker elements”. From traditional Gothic lullabies, seductive vamp ballads, African slave chants, blues and rock magic potions, to evolving energetic samba spells, it’ll be a night to have fun between fantasy and reality. Halloween dress is encouraged at this festival of fantastic creatures, tales, myths and songs, held at Kulcha on Sat 26 Oct. Tickets through kulcha.com.au.

HOT OFF THE PRESS

Holy Hotcakes! The popular RTRFM annual CD and vinyl sale has come around again. Up for grabs will be new releases, RTRFM feature albums and dusty deluxe classics, on Sun 27 Oct at The Velvet Lounge in Mt Lawley from 10am to 3pm. All CDs, DVDs, vinyls, t-shirts, bric-a-brac and other music paraphernalia are cheap-to-go and expected to fly out the door bright and early. Scout for your favourite records or find that hidden treasure that’s been stashed away in the RTRFM archives until now.


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243 ALBANY HIGHWAY VIC PARK X-WRAY 201 QUEEN VICTORIA ST NORTH FREMANTLE, WA PH: 08 9335 2725 | www.theswanhotelfremantle.com

FRIDAY 18 OCTOBER

REID COOPER + LIAM SORRELL + SPECIAL GUESTS 8.00PM DOORS

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SINGLE LAUNCH + SPECIAL GUESTS 8.00PM DOORS

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Food •

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Wednesday 16/10 – Singer-Songwriter Showcase with Matthew Waring and Samuel Barendse (7:30pm – 9:30pm) – free Thursday Quartet –

17/10 – The Jack free live jazz from 8pm

–

Doepel 10pm

Friday 18/10 – The Lammas Tide with special guests (8:30pm – 11:30pm) - $5 entry Saturday 19/10 – DJ Dick Tracy (8:30pm – 11:30pm) – free Sunday 20/10 – John Bannister & The Charisma Brothers live jazz (4pm – 6pm) / DJ Click Brown Fox (7pm – 10pm) – free

ENQUIRE NOW

Monday 21/10 The Actors presents “Agent Improvocateur� 8:30pm) - $10 entry – bookings

CONTACT (08) 9335 2725 SWANHOTEL@IINET.NET.AU

Tuesday – free

WWW.THESWANHOTELFREMANTLE.COM

Sound late

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Workshop (7pm – essential!

– The Tom Tale Quartet jazz from 7pm – 10pm

3 • 9399

13 •

Essex St Fremantle xwraymusic@gmail.com

THE MUSIC • 16TH OCTOBER 2013 • 15


16 • THE MUSIC • 16TH OCTOBER 2013


music

CLEARING HEADSPACE Words Benny Doyle.


What do you do after you break up with your girlfriend? If you’re Sam Hales of The Jungle Giants, you get her to play a bass line on your new record. And as Benny Doyle learns, that totally makes sense.

S

oaking in the combination of sunshine and nicotine, Sam Hales is feeling good: “The feedback has been actually better than we could have hoped for at the moment,” he remarks. “We can’t wait to get it out and just let the music speak for itself.” The Jungle Giants frontman is of course talking about the band’s debut record Learn To Exist, a release that feels like it’s been a long time coming, although the reality remains that it’s arrived fairly promptly when you consider the band are only two years old and have also cranked out a pair of EPs since forming in 2011. The Brisbane four-piece have found themselves on the radar of indie pop fans ever since the blissed out guitar bounce of single Mr Polite positioned them as Australia’s answer to Two Door Cinema Club. And now we get a musical snapshot of the interim time which has seen them mature as musicians and songwriters without turning their back on the vibrant sheen which endeared the gang to us originally.

to listen to the album in full instead of just going and looking for a single somewhere and then just playing that and not listening to the [other] tracks. “We’re really focused on trying new things and writing in certain ways, so with an A-side and a B-side it encourages everyone to listen to the album in full. The first half we kind of set the scene and then we taper off with Devil’s In The Detail and try and bring the album to a slower point, throw in a segue and then the next half you smash back onto the B-side. I love the whole idea; I think it flows well with the record. One of the most revered production names in Brisbane, Lachlan ‘Magoo’ Goold was just the expanded mind that The Jungle Giants needed, and pushed the gang to be as straight as possible with whatever they thought may work. “Magoo got us and we got him,” beams Hales. “He looks at music in a way that I really get and I really like. I look up to him in so many ways so it was sick working with him; he’s such a cool guy and he’s massively chilled out about so many things so we could just be ourselves and do exactly what we wanted to in the studio. He’d facilitate any idea, he would bring up so many ideas; it was just a really cool creative process and it was free and no one really felt like any idea was a bad idea which was sick.”

“RHYTHMIC MUSIC THAT MAKES YOU MOVE AND DANCE JUST FEELS AWESOME”

Learn To Exist isn’t a concept album by any stretch. It’s simply a warts-and-all documentation of life in your early twenties, with all the curveballs that come when you’re standing on the plate. Take the bare bones ramble of Devil’s In The Detail. “It’s a positive spin on a low point,” Hales says. “When you’re changing and you’re deciding the person you’re going to be forever or getting an idea who you’ll be, there’s moments of loneliness and, ‘Are you right?’, ‘Are you doing the right thing?’ And that’s what that song focuses on – sometimes you feel like you don’t know yourself but stick to it and you’ll figure it out.” Devil’s In The Detail is an interesting track for another reason. As well as being the most inward and emotionally fragile moment on the record, it also sits as the final song for the full-length’s first side. Taking a vinyl approach across every format, The Jungle Giants have revealed a maturity that goes deeper than the ‘hit single’ mentality which plagues many young bands. “Working with Magoo, he kind of listened to the songs we had for the record and we thought about the order and we were jamming on it and he brought up the idea that we could put it down as an A-side and a B-side because where we kind of got to was that the flow of the songs was almost in two parts,” Hales explains. “It set the glue between all the songs and I guess the whole [idea] is we wanted people 18 • THE MUSIC • 16TH OCTOBER 2013

Combine this openness in the studio with all the reflections and ruminations Hales and his bandmates – Cesira Aitken (guitar), Andrew Dooris (bass) and Keelan Bijker (drums) – took from last year, and what we’re left with is an album full of lust and laughter, remorse and heartbreak. But no matter the outcome of their (mis)adventures, relationships have been maintained, a fact that makes the frontman smile. “I’m friends with everyone man,” he admits. “The first segue after Devil’s In The Detail, the one that splits the A- and B-side, my ex girlfriend was over at my house one time in my little studio in my bedroom and I was just like, ‘Hey, pick up the bass and play some stuff if you want’, and she didn’t know I was recording. But I told her, then I put a bunch of effects on it so it didn’t sound like a bass line – it was ambiguous – and then I put a beat to it. It’s almost creepy but it’s cool, it’s my ex girlfriend playing that instrument, and the motion between the record is this memory of her, and she was a big part of 2012. “When I’m feeling something like that and if I’m writing something and it feels good – it encapsulates that idea and makes you feel good right there and then – [then you go for it]. A lot of these songs, it’s been cool to just listen to them and remember [back] – they’re pretty specific memories.”


BEST FRIENDS FOREVER Mates since high school, the dynamic of The Jungle Giants is built on tight knit friendships and a shared bond that’s remained unshaken by success. And if the gang can manage to sidestep the class A drug meltdowns, romantic dalliances and ego trips, who knows, they could go on to take their playground jams all the way to stadiums like these groups.

RADIOHEAD Before they turned the worlds of rock and electronica on their respective heads, the Oxford five-piece were first ripping out grunge riffs at Abingdon School, an independent day and boarding establishment, as On A Friday. Good call on the name change.

U2

But as far as personal recording touches causing on stage insecurities, Hales is unaffected. “Maybe if my ex was there and it’s a song about her, but I think I got over that after the first while of touring because I realised that, I dunno, if you’re feeling insecure while your singing you can’t really pull it off as much as you can if you’re feeling confident and just believing in the song,” he reasons. “I just try really hard to sing it the way it should be sung and not worry about my ex; if she’s going to be upset, she’s going to be upset.” Birthed from his bedroom, Hales says the writing period for Learn To Exist, “was a lonely time but one I needed and wanted”. Luckily, his bandmates encouraged this introspective journey and shared his musical vision. By the time they called on Magoo to finish tying up all the tracks at his Applewood Lane studio they were left with what we have now – a downright charming record that humbles with its consistent quality and energy. “Just generally how I’ve always looked at songs is that I like simple songs that can really affect people. I like the idea to be clear,” Hales reasons. “And if you can get a guitar line that’s [simple] and rhythmic – I love rhythmic music, I’ve been a drummer my whole life – and rhythmic music that makes you move and dance just feels awesome.”

Progress hasn’t changed things at the heart of The Jungle Giants, but growth is a constant – in music and life. Luckily for this lot, the fun’s only just getting started. “We spend so much time jamming in the band room,” he informs. “We try so hard to get songs down but for the first hour of every rehearsal we’ll just be shredding some huge distortion and Keelan will just be smashing the drums, just doing Led Zeppelin jams. But yeah, it’s cool man; all that stuff I feel is just as important as practicing the songs. “[And] we’re such best friends that we’re like fucking retarded,” Hales shrugs. “We just run around acting like idiots and we just have such a good time together. In that way we’re just the same, we’ll be friends forever man; even if we’re not in a band together when we’re sixty we’ll be hanging out on the front deck with no teeth. But we have changed so much in how we play together because we’ve been learning how each other plays. We’re just getting this feel for each other and finding out how we can make things sound good together. We’re always learning.”

WHAT: Learn To Exist (Amplifire) WHEN & WHERE: 17 Oct, Newport Hotel, Fremantle; 18 Oct, Capitol Theatre

Surely Larry Mullen, Jr. had no idea that the note he’d post on a message board at Dublin’s Mount Temple Comprehensive School would bring together one of the most successful musical acts in history. Wonder how long it took him to start calling Paul Hewson ‘Bono’ and David Evans ‘The Edge’?

THE OFFSPRING Have you seen that film clip for All I Want? Our renegade protagonist runs like a madman, much like frontman Dexter Holland and bassist Greg Kriesel would have as part of the Pacifica High School track and field team. Throw the school janitor in the mix (Noodles) and you’ve got punk rock gold!

THE MUSIC • 16TH OCTOBER 2013 • 19


music

SAVAGE MESSIAH

all about. They love Soulfly. I see the tattoos every night. Thousands of tattoos all around the world and to me that is approval. I’ve been in Soulfly longer than I was in Sepultura – more albums with Soulfly than with Sepultura, so it’s quite exciting and quite amazing to be a part of something so big like this.”

Max Cavalera attacked a career in heavy metal with a reckless abandon forged by growing up in desperate poverty. Simon Holland discusses the battle and the new Soulfly album with the legend.

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t wasn’t too hard to tap into rage in the mid-to-late ‘80s. Greed dripped from corporate America like a molten saturated fat and had begun to seep into the rest of the world. Those not fortunate enough to make a killing were left for dead yet were delivered the message of excess via MTV and targeted advertising. These conditions formed the ideal primordial requirements for heavy metal and the raw anger at a variety of institutions now had a soundtrack. A new, heavier rebellious movement began to take root in all corners of the globe. In the passionate land of Brazil a band named Sepultura, fronted by the furious Max Cavalera, sparked a passionate response, laying the foundations for a new style of detuned heavy music laced with equal parts culture and venom. Despite the glut of new opportunities for musicians in the US, forging metal in the mean streets of Brazil was tough as hell. “It was hard, man, y’know,” reflects Cavalera down the line from his studio in downtown LA. “I mean, we didn’t have any money, no promotion, no support or anything and we really had to do a lot of stuff on our own. It was difficult to find gigs, TV, media didn’t have no support for us at all so it was really a battle. But it was cool because we had our gang of people and all the people that hang out with us and did stuff with us together, kind of our own little gang, a little metal gang and y’know, it was cool like that. It was Sepultura against the world when we were very young and probably it was like that. For a long time it felt like that but it was cool because it was exciting and some really cool things happened like finding our name on a [Chuck Schuldiner’s] Death album. We were so excited, we were jumping up and down. When we got signed with Roadrunner in ’89 to do Beneath The Remains, it was such a cool thing. No one had ever been signed by an American label and things were looking up. Little by little things were happening and my life has been a big journey.

“I experienced a lot of success with Sepultura and I experienced a lot of tragedy. Then I had to leave that band behind and start something new and start over again and

The detuned riffing had taken a battering after being coined ‘nu-metal’, repackaged and milked for all it was worth by the increasingly parasitic late ‘90s music industry, yet even as that phase peaked and faded Soulfly arrived and survived. Last year’s Enslaved marked the biggest deviation to date – in lyrical content and concepts as well sound – with the collaborative track, Plata O Plomo, a fury-filled beast spat out in a combination of Spanish and Cavalera’s native Portuguese. “I don’t think too much; I let the records take their own form and it’s always something different,” Cavalera explains enthusiastically. “I never make the same record and even rarely make a record that sounds like another – it’s always something different and

“I DON’T THINK TOO MUCH; I LET THE RECORDS TAKE THEIR OWN FORM.”

reinvent myself, but I did it, man, and I had a good taste in my mouth when you do it, and you know you can do it. A lot of musicians fail when they go out on their own after they separate from their main band; a lot of them can’t continue. I was blessed with a second chance in metal, in the rock world. My fans gave me a second chance with Soulfly. They understand Soulfly, they get it, they know what it’s

something special about the record. Savages is going to be different from everything else I’ve done and it’s a lot of fun not trying to repeat yourself and search for all those different ways to outdo yourself. We have a new track on the new album called El Comegente which means ‘The People Eater’ that’s a continuation of Plata O Plomo. It’s really Plata O Plomo Part Two and it’s really cool. “On the new Savages album we have a few different things: Cannibal Holocaust, Ayatollah Of Rock N’ Rolla, from Mad Max. KCS is about the Indians so it’s different. You find different ideas, different topics to make different records. You cannot sing about the same things all the time; you’ve got to find different ideas all the time.” WHAT: Savages (Nuclear Blast/Universal)


music

DROWNING OUT THE BUZZ Forget second album syndrome. Instead, the teeth-gnashing and self-doubt hit Loon Lake early. Sam Nolan tells Simone Ubaldi about the challenges of their debut album.

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oo much success, too soon, and the songwriting process goes off the rails, says frontman Sam Nolan. “I got to a stage where I was feeling really messed up because I’d put myself under way too much pressure. I had writer’s block and the songs just weren’t coming out. I knew that there were heaps of people who had invested time and money into it and it was just getting to a point where it was too much.” Loon Lake rocketed into the spotlight on the strength of their 2011 EP, Not Just Friends. Barely a year old, the band went into high rotation on triple j, RRR and FBi with the infectious garage pop tunes Easy Chairs and In The Summer. There was a flash of brilliance there, a rough and ready exuberance. From nowhere, they were suddenly everywhere. In 12 short months, Loon Lake had released a follow up EP, Thirty Three, spawned the indie hit Cherry Lips and toured mercilessly, quickly escalating through support slots and headline club shows to appearances at major festivals. For this band of brothers (Sam, his biological siblings Simon and Nick, and honorary siblings Tim Lowe and Dan Bull), it was a breathless, intoxicating climb. “I remember the first time we were played on triple j, it was a real buzz,” Nolan says. “[And] I guess the more things that happen, the more you want it. People were taking us seriously so we had to too, so we kept raising the bar for ourselves.” By the time they came to record a full-length, Loon Lake had already started to evolve away from their signature sound. There was a feeling amongst the band members that the sugary insta-pop that had paved their way to success wasn’t substantial enough; the boys wanted to sink their teeth into something more challenging. As chief songwriter, Nolan struggled initially to meet their expectations. “We went to Bali on a surf trip in April and I wrote some stuff there. I took MIDI keyboards and a laptop and wrote loads of stuff, but the boys just weren’t taking it. It was probably too shiny and catchy, loads of stuff in the vein of Cherry Lips, but it wasn’t what they wanted.” Nolan was crippled by the stress, but his brothers told him to lighten up. Move faster, they advised, don’t labour 22 • THE MUSIC • 16TH OCTOBER 2013

on things. He responded by putting his guitar down altogether. Instead of writing, Nolan listened, drowning himself in pop music: Florence & The Machine, Frank Ocean, Rudimental, Rihanna. He also watched BBC songwriting lectures by Mark Ronson and Calvin Harris. Somewhere in the process, he found his voice again.

got rid of heaps of crap and we realised that we had some great ideas.” The ten-day working vacation was a huge restorative for the guys, who had reached the point where the thought of hitting a rehearsal room in Melbourne was nothing but a drag. “We surfed, we ate well and played all night... We had to find a way to get the buzz again and it worked, we just had a ball. Everything just fell in place.” Three months later and Loon Lake’s debut album is ready to hit the shelves. Called Gloamer, it is both a first step and a mature step forward for the band: dynamic, reflective and surprisingly textured. This is still a garage pop band, but the boys have stretched their wings a little, adding synth keys and the odd electro inflection to their sound.

“WE SURFED, WE ATE WELL AND PLAYED ALL NIGHT… WE HAD TO FIND A WAY TO GET THE BUZZ AGAIN AND IT WORKED.” In late May, the band rented a house in the Victorian coastal town of Johanna to see what kind of album was taking shape. “We decided that it was time to get away from everyone and take every single idea that we had in our computers and work through them,” Nolan explains. “Every idea that was good went up onto this blackboard, then we nutted out the tracks and improved them. It was great because we

“We just want to be like everyone else,” Nolan jokes. “I think it’s tastefully done. We didn’t want to end up sounding like those triple j bands with the mad synth lines and everything, but instead of thinking that we couldn’t use synth because we’re a guitar band, we just forgot about the rules. Even if we wanted to program beats, if it sounded good it, it was going in. Honestly, I was worried about losing fans at the start. I thought it was arrogant to completely change, but the guys were like, ‘it’s good stuff, believe in it’. And they were right.” WHAT: Gloamer (Caroline) WHEN & WHERE: 17 Oct, Flyrite; 2 Feb, Big Day Out, Claremont Showgrounds


THE MUSIC • 16TH OCTOBER 2013 • 25


film

THE HARD ROAD Anthony Carew speaks to director Ivan Sen about the ongoing tension between Indigenous and settler Australia, and how this was drawn upon in his latest film Mystery Road. e had a big premiere screening back out in Winton last week,” says Ivan Sen, of returning to the rural West Queensland town in which he shot his latest feature film, Mystery Road. The film is a policier set against a tenor of racial tensions, in which Aaron Pedersen’s Aboriginal detective investigates the murder of a local black girl, to the dismissive ire of the white powers-that-be and the resentment of the local community. It’s a murdermystery as sociological study – boasting a cast including Hugo Weaving, Jack Thompson, Ryan Kwanten, Damian Walshe-Howling and Tasma Walton – and that meant the screening in rural Queensland was a loaded event.

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For Aboriginal policemen in rural communities, it’s a really difficult occupation, [one] that often doesn’t last for long. The psychological pressures of performing a job where you’re eventually forced, at some point, to lock up your own family members, it’s too much for them, and they inevitably quit.”

“The screening brought together all the Indigenous and non-Indigenous people, the traditional owners of the land and the current land-owners,” explains Sen, 41. “As far as we could gather, it was the first time that this had actually happened in the long history of this town. To have so many people, and such a mix of people, all gathering in the one place, all gathering to watch this film meant that we were asking a lot of non-Indigenous people to experience a story through the Indigenous perspective, in an audience filled with Indigenous people. It was a pretty powerful screening in that way.”

The story is set against a savage landscape, rife with wild dogs – “I saw dogs as a metaphor for rural Australia: you’ve got the native dogs, and you’ve got the introduced species, [and] you run into a lot of problems with the integration of these two worlds” – and ruled by guns. The film ends with another genre element, the shoot-out, torn from its familiar range and staged over a vast distance.

Sen’s fourth narrative feature – following 2002’s Beneath Clouds and 2011’s Toomelah, two portraits of wayward Aboriginal youth, and 2010’s Dreamland, a bizarre film-experiment obsessed with America’s extra-terrestrial hotspot Area 51 – was inspired by the idea of the Aboriginal cop, and what that culturally means, and the treatment of Aboriginal women by rural police. Two of Sen’s documentary works, 2004’s Who Was Evelyn Orcher? and 2007’s A Sister’s Love have explored the plight of the ‘lost’ Indigenous woman: a topic that hits close-to-home for Sen. “I had a distant cousin who, a month after going missing, was found under the roadway outside the local town,” Sen explains, declining to give the specifics, of an event that shadow’s Mystery Road’s plot. “The police investigation seemed non-existent; they were very inactive about trying to find the killer. There’s many other examples of that around, and even another one from my family: another cousin, in Tamworth, was the victim of a murder up there, and very little seemed to be done about trying to find the killer. If it were just my own experiences, I probably wouldn’t be motivated to make a whole film out of it, but it’s a problem that runs throughout the whole country: crimes against Aboriginal women being borderline ignored by law-enforcement.” So, Sen set about making what he calls “a multilayered genre-piece, as seen through the Indigenous perspective”, enfolding thriller, procedural and Western elements. Pedersen’s character is, therein, a maligned and borderline powerless figure – treated with a turncoat’s contempt – Sen seeing him as being a modern echo of the historical figures of Aboriginal trackers, who aided white settlers in apprehending wanted natives. “Growing up, I could never identify as being either white or black, so I’ve always sympathised with these people caught between two worlds,” Sen explains. “It’s an incredibly complex emotional experience for these turncoats, who are trying to lift themselves up by doing something that is, in its way, destroying their own people. 24 • THE MUSIC • 16TH OCTOBER 2013

“Out in the country, it’s the domain of the rifle,” Sen says. “Rifles are a part of culture. You use them to protect your stock from wild dogs, you use them to put your stock down, you use them for food, for hunting. That’s been my experience of using guns: you shoot, then there’s almost enough time for you to look at each other before you see the result of your shot.” Initially Sen hoped to make Mystery Road in an urban setting – “I felt like I’d done enough outback films” – but eventually ended up in Winton, which had been the location for John Hillcoat’s The Proposition. “I think The Proposition turned them all into film buffs,” Sen smiles. “They were very supportive – and very informed – of the whole filmmaking process.” But there were also three days shooting

“I HAVEN’T GOT MY HEAD UP IN THE CLOUDS ABOUT IT, BUT I THINK EVERY FILM CAN MAKE A DIFFERENCE TO PEOPLE WHO SEE IT.” in remote Moree, where the social problems Sen was dramatising – a stark divide between wealthy landowners and impoverished mission-dwellers, writ along racial lines – were manifest in reality. He went there to film amongst the housing-commission houses. The time in Moree was brief, and, logistically, fraught; there was, Sen says, an air of tension during the filming. But the filmmaker took it as a spur, that what he was doing with Mystery Road made it necessary. “I haven’t got my head up in the clouds about it, but I think every film can make a difference to the people who see it,” Sen says. “Whether it’s conscious or unconscious, whether it’s immediate or delayed, it will have some influence, and make some difference. We’re always conditioned by what we see and what we hear as human beings.”

WHAT: Mystery Road In cinemas 17 Oct


THE MUSIC • 16TH OCTOBER 2013 • 25


music

PARTY ROCKIN’

The first to admit he’s “not very smart”, Mickey Avalon somehow finds himself with a mortgage and a 16-yearold daughter. Simone Ubaldi discovers he still loves to party.

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ickey Avalon once described himself as the opposite of Radiohead. “Some kind of music is like real smartypants, you know, like Radiohead or something – nothing against them, I never heard their stuff actually but I know that they’re real smart,” he told Music Fashion Magazine. “I’m not very smart, so I think the masses can deal with it… someone’s gotta speak for the lowliest of the low… that’s me, a voice for the voiceless.”

When Avalon emerged in 2006 he sounded more like a voice for the brainless. His breakthrough single, a slinking rap anthem called Jane Fonda, was an ode to the many arses that Avalon has admired, complete with incest, big breasts and at least two references to poultry. In Mr Right, the follow-up single, Avalon introduces himself to the world as, “That dude sleepin’ with ya girlfriend/That man in the black Sedan with two cheap hookers and a Mexican/Pumpin’ white lines, sippin’ warm Coors Light/Mickey Avalon, call me Mr Right”. His notoriety grew from there. If anyone doubted Avalon’s credentials as a legitimate king of underdog sleaze, they were probably convinced by the biographic details that spiced up his early press releases. The son of a marijuana dealer and a heroin addict, Avalon ended up prostituting himself in Portland to support his own drug addiction before returning to his native Los Angeles to wreak havoc on the music biz. Seven years later, Avalon’s reputation is still grimy as sin, but his reality is a fraction tidier. At 37, the most exciting event on the horizon for the perennially youthfullooking waif is a mortgage; he just bought his first home: “It’s a very positive thing. I’ve never owned anything, I’ve always rented, so I’m super excited. I just wish I could be more present to take it all in, but once we’re done I can get stuck into it.” Fear not fans, the author of Stroke Me (2007) and Tight Blue Jeans (2011) is still devoted to his role as a first-rate hedonist and entertainer. As part of his forthcoming Australian tour, Avalon will host a private party for one lucky admirer and 20 of 26 • THE MUSIC • 16TH OCTOBER 2013

their closest friends. Presented by Kill Rock Stars, The Music and Store DJ, the ‘Project: Mickey’ competition is a first for Avalon: “I’m a little nervous!” he laughs. “I mean, it’ll be fun. Most people don’t look at partying as a responsibility or anything, but we’ve got

an hour meet-and-greet after the show or something, but I don’t go back to hotel rooms,” he explains. “Everything here is uptight and I’m scared of cops getting called. I don’t like being paranoid, either. If it’s too loud or you’re smoking in your room or whatever, the next thing you know someone’s knocking at the door. I don’t like things ending in handcuffs, you know, that’s never fun. [In Australia] things have to be a bit more drastic out there before they call the cops, right?” The favourable house party scene is just one of the things Avalon loves about our country. The heavily tattooed artist has an Australia flag etched

“I DON’T LIKE THINGS ENDING IN HANDCUFFS, YOU KNOW, THAT’S NEVER FUN.” so much stuff to do. I gotta make sure I don’t get stuck there, you know what I mean? Like a one-night party turns into a three-day party, you know, that’s my concern. But I also don’t want to be the guy who’s like, ‘Oh yeah, that was fun, now I gotta go!’” Avalon says he wouldn’t dream of attempting a private party in the States; that privilege is reserved for his followers Down Under.” I hang out with my fans [in the States] a little. I’ll do

on his right arm and his next visit will be the fifth in almost as many years. Avalon brought his 16-year-old daughter with him last time he was here and he plans to stick around after the shows and have a little vacation with his girlfriend. “I always used to say… people around the world suck, I mean, except for your friends and family. For the most part people are shitty, so just go where the weather is good. Australia is the first place I found where the weather is good and everyone’s super cool,” he enthuses. “If there was anywhere I’d live other than [the United States], it’s there. I mean, I’d probably live there rather than here, but getting visas and leaving all my family and stuff is tough. But if shit ever went down here and I had to leave, Australia is where I’d go.” WHEN & WHERE: 19 Oct, Capitol


THE MUSIC • 16TH OCTOBER 2013 • 27


travel

PARKS & PRESERVATION Brendan Hitchens visits the historically rich city of Suzhou in China and finds plenty of things to keep him occupied that don’t involve using Facebook or Twitter.

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ounded in 514 BC, Suzhou is China’s hidden heaven. In stark contrast to the modern metropolis of Shanghai and the swarming populus of Beijing, Suzhou seamlessly merges the past and the future, with a calm and personal touch. An ideal weekend trip when visiting China, Suzhou is an hour and a half drive from Shanghai or just 25 minutes on the fast train, which rarely reaches its maximum speed of 380 kilometres an hour before reaching its destination. Suzhou is a city world renowned for its varied attractions – most notably is its ancient gardens. Hidden from the shadows of skyscrapers and the buzz of passing traffic, the gardens of Suzhou are a picture of tranquillity. Like simultaneously stepping through a history book or a panoramic postcard, the sites, world heritagelisted by UNESCO, aren’t so much for tourists as they are for everybody. A combination of art and architecture, the classical gardens are a preservation of a nation’s storyline, steeped in history and tradition. Commonly referred to as the ‘Venice of The East’, Suzhou is also world famous for its river canals. Gliding through the mercy waters via a rickety boat makes you feel at one with the locals, as washing hangs from lines, chickens linger in backyards and children peep beneath curtained windows. Temples, gardens and arched bridges all pass by, but it’s the connection to the people that makes it so special. Being a water city, the majority of Suzhou’s signature dishes come in the form of seafood. The most popular local delicacy is the squirrel fish: a soft meat complemented with dried bamboo shoots and sweet 28 • THE MUSIC • 16TH OCTOBER 2013

and sour sauce. Other common delicacies include shrimp, stir-fried eels and whitebait soup. Shopping in Suzhou varies between retail stores and local markets. Down the narrow side streets you’ll find cheap knock-offs of Fred Perry polos, Ray Ban sunglasses and Rolex watches, along with, of course, the more traditional fans, silks and tapestries. Bargaining with street vendors is a fast way to learn the local dialect, while fruit on sticks and fried breads are the perfect cure to a shoppinginduced appetite. The tourist precinct of Suzhou is Shantang Old Street, a 1,200-year-old street. Stone-lined paths run by the canals as couples pose for wedding photographs – the water and boats providing a picturesque backdrop. It’s at night that the street

truly comes to life as glowing lanterns hang from ceilings and reflect off the river, giving the street a newfound ambience that again, connects the past with the future. For a one-stop tourist destination that encompasses all the hallmarks of Suzhou, Panmen Gate is the spot. You can explore the 2,500-year-old landmark at your own leisurely pace, strolling past pagodas, classical gardens, canals and ponds filled with some of the largest goldfish you will ever see. For something completely different, you can dress up like an emperor, complete with chest guard, helmet and sword and pose on a frail toy horse, to relive the ancient history, ironically, all captured on digital photography. The Suzhou Industrial Park is reminiscent of Melbourne’s Docklands and Sydney’s Circular Quay. Heavily backed by Singaporean investors in the mid 1990s, it represents the modernisation of China. The ever-developing precinct boasts hotels, residencies and a university, with the Jinji Lake as its centrepiece. Misleading in title, the park’s abundance of grasslands and recreational activities, together with its postmodern statues scattering the pastures, make it a necessary asset to the city. Artistically, Suzhou is known for its unique brand of opera. Dating back over 400 years, the style merges art, music and literature and is led by a cast of just two or three. Performers are dressed in traditional gowns and full make-up and exchange dialogue through singing and movement. Significantly different to Western operas, performers sing in an octave rarely heard, and while hard to swallow at first, it becomes a distinguishing trait to the storytelling.


“GLIDING THROUGH THE MERCY WATERS VIA RICKETY BOAT MAKES YOU FEEL AT ONE WITH THE LOCALS, AS WASHING HANGS FROM LINES, CHICKENS LINGER IN BACKAYRDS AND CHILDREN PEEP BENEATH CURTAINED WINDOWS.” The people of Suzhou are warm and welcoming and willing to try their limited English on passing tourists, with a simple “hello” and beaming smile. It’s a simple metaphor for the city and how it embraces change. While the local government censors social mediums of Facebook and Twitter, all it takes is a visit to Suzhou, a glimpse into its long history and a passing interaction with its people, to realise the tranquillity of a life pre-internet. THE MUSIC • 16TH OCTOBER 2013 • 29


music

LIVING LARGE Keeping up with the Kardashians is one thing, but rolling with the Stafford Brothers, Australia’s first reality show DJ stars, is another. Chris Stafford welcomes Cyclone to the entourage.

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ast year Matt and Chris Stafford transplanted from the Gold Coast to Los Angeles, determined to conquer the US. They have already signed to the urban Cash Money Records and aired Hello, featuring Christina Milian and Lil Wayne, a track that went double platinum here. But this December the Staffords will return home for Stereosonic, and with such a behemoth line-up they could ironically get lost. The Staffords, originally from New Zealand, have been active as DJ/producers since at least the mid-

2000s. Early, they covered Boston’s hoary More Than A Feeling. They’d disseminate music through labels as varied as Toolroom, Defected and Armada. In 2011 the Staffords were voted Australia’s number one DJs at the annual inthemix Awards – and they won for the third consecutive time this year. The brothers tapped into a whole new audience with two seasons of The Stafford Brothers on Fox8 – and, Chris says freely, their involvement was always more about strategy than any lofty ambition of educating the masses about DJ culture. “It definitely

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opened us up to other markets because, if we’re in the airport or something, parents were coming up to us; a lot of the time they wouldn’t be in the clubs because they’ve got little kids. But I found that we got a lot more kids who can’t actually go out clubbing hitting us on Facebook and Twitter. So I think it’s great.” Signing to Cash Money was a coup. Bryan ‘Birdman’ Williams’ label is home to hip hop superstars Lil Wayne, Drake and Nicki Minaj (via Weezy’s Young Money imprint). Milian, who was Ashanti’s rival at Def Jam and enjoyed a hit in 2004’s Dip It Low, is recording a comeback album for them. Cash Money has also taken on Limp Bizkit. But what the label was missing was an EDM act. “They’ve got a huge reach and that sort of pop/hip hop market and, just as a label, they’re a huge influence in the scene in America,” Chris extols. “We’re planning an EP at the moment. We’re looking at two new singles, both with features from Cash Money,” Chris continues. The duo have stopped prepping a long canvassed ‘artist’ album, now in favour of releasing tracks that can be “bundled” into an LP later. “Dance music moves so quickly, you’ve got to be ahead of the game, so singles and EPs are the way to go at the moment.” Dance music has never been bigger Stateside. Some worry that the bubble may burst, but not the Staffords. “It’s just the start in America. We’re playing in Milwaukee and Cincinnati and all these different places, so it’s definitely spreading in America.” WHEN & WHERE: 30 Nov, Stereosonic, Claremont Showground; 2 Mar, Future Music Festival, Arena Joondalup

BATHING IN THE AFTERGLOW

After frontman Daniel Blumberg left Yuck, it seemed to sound the death knell for the British band. Max Bloom tells Brendan Telford that their legacy is far from over.

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low And Behold may be Yuck’s second album, yet in many ways it plays like a new beginning. After the massive success of their eponymous debut which led to riotous adulation on festival stages and abroad, what seemed like a band in control was completely undermined when leading contributor Daniel Blumberg left to pursue his solo career under the guise of Hebronix. The remaining trio – Max Bloom, Mariko Doi and Jonny Rogoff – never once considered downing tools, though. “I don’t really know if it was personal [when Blumberg left] but he had always wanted to focus on his solo show,” Bloom iterates. “It was something that he had figured out, that obviously was driving him, so he left. However, I had a clear vision of what I wanted from the band before he left, and had most of that written; I didn’t want to write another Yuck. So this album is completely different stylistically, because I’ve moved on since recording that first album. It wasn’t a conscious decision to change in light of what happened – we had just changed as people.” Contrary to popular belief, the differences between the last album and Glow And Behold come from Bloom’s willingness to push beyond the boundaries of the Yuck 30 • THE MUSIC • 16TH OCTOBER 2013

of old and were already in effect since 2012. “I’m not the kind of person who gets satisfied by what they’ve done, regardless of [if ] it’s done well or not. There was never a sense of looking back to try and make Yuck better; we aren’t better, we are just different to what we were before. I really liked [the first album], and it works for what it is: a collection of songs that are excitable and almost naïve. But I wanted to make a record that was a little more in sync, more of a whole piece that you could listen to from start to finish. That was my starting point, to focus on a general

vibe or atmosphere that would cover the entire album, and then arranging the pieces like a jigsaw puzzle.” Glow And Behold is a marked shift sonically, which had some influence by introducing Chris Coady (Beach House, Grizzly Bear) into the studio, an experience that Bloom found daunting and enlightening. “I always approached this as being something we could sequence rather than it be a set of songs that we had written, so I already had a particular idea of what it should sound like,” Bloom explains. “It was never my idea to have someone to come in, so it was difficult at first. I didn’t need anyone to come in and change the music, but then that wasn’t Chris’ role. He essentially became a member of the band. The reason the album sounds the way it does is because the first one was recorded in my bedroom at my parents’ house, and we suffered very rigid limitations. Going into the studio allowed us to experiment with things, to get out of my comfort zone a little bit.” WHAT: Glow And Behold (Caroline)


THE MUSIC • 16TH OCTOBER 2013 • 31


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BEST IN THE WEST

“Oh, maybe I am a good role model,” says Best Coast’s Bethany Cosentino as she speaks to Hannah Story about feeling the pressure and crafting a second EP.

“I

know there are a lot of young girls that look up to me… and it’s a really amazing thing, and I don’t feel any pressure to not be the person that I am,” says Cosentino. However, she admits that it’s difficult not to feel pressure when you’re doing something so personal, and that she struggled with anxiety while making Best Coast’s second album The Only Place. For her latest EP Fade Away, she felt more comfortable. “I

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know making the EP was definitely a very easy process for me where I didn’t feel any sort of anxiety or anything, I was just in the studio making the songs.” It’s important for the singer-songwriter from California-based surf pop band Best Coast to stay true to herself. She focuses her songs on love and relationships, because it’s the kind of subject matter that means the most to her. “I feel like I always write about what’s going on in my life or at least things that have gone on in my life… I feel like it’s what I know best; even though I’m completely confused about almost everything all the time,” she jokes.

“I just feel inspired by real life and things that happen to people and things that are relatable to almost everybody.” Cosentino started writing songs when she was 16 and was influenced by seminal pop punk artists like Green Day and Blink-182. She thinks her age played a factor in the kind of musician she is today: “Maybe it’s the fact that I started writing music as a teenager and that’s why my music still kind of sounds like a teenager has written it – because I’m basically just a teenager in a mid 20-something-year-old’s body.” The 20-something released the EP on her own label Jewel City and, while writing, was heavily influenced by the likes of Mazzy Star and My Bloody Valentine. “I kind of wanted to do something that was really poppy and kind of simple and catchy and straightforward. I took inspiration from both of those bands in the sense that I feel like there’s a little bit more like distortion and some higher guitar parts.” Cosentino enjoyed the chance to really take the creative reins, without the influence of her former record label Mexican Summer. “I’ve always wanted to start a record label and have the freedom to do what I want to do when I want to.” Best Coast are currently in the process of writing their third album and intend to tour the world once they’ve finished up in the studio. “I want to write a lot of songs to kind of pick and choose from, because on the last two records I wrote just a record. I wrote twelve songs and then we ended up using every song and so I feel like for this experience I’ve set a goal for myself to write about 25 songs so that we can sit in the studio and choose the best and have some options for ourselves.” WHAT: Fade Away ( Jewel City/Kobalt)

WRITING HISTORY Masked metal juggernaut Slipknot are “by no means going anywhere”, drummer Joey Jordison explains. In the meantime, he tells Brendan Crabb about broadening his musical scope via new project Scar The Martyr.

“I

guess if I didn’t form this band maybe I would have used one or two of them or something, but I think at the time when I was doing this project, I wasn’t thinking Slipknot at all,” Joey Jordison says of newly born Scar The Martyr. “They weren’t written with Slipknot in mind. I was just, ‘Slipknot’s got time off, and I want to form a new project’. That’s when I started working on, ‘What do I want to do? What kind of band do I want to form?’” One somewhat removed from previous qualifications on an already lengthy CV, seemingly. Aside from being drummer/co-songwriter for Slipknot and co-leader of glam-punkers Murderdolls, the Iowan native has also enjoyed stints with Korn, Satyricon, Ministry and Rob Zombie. As Scar The Martyr took shape ( Jordison plays guitars, bass and drums on their selftitled debut), contributions were sought from lead guitarists Jed Simon (Strapping Young Lad) and Kris Norris (ex-Darkest Hour), vocalist Henry Derek, keyboardist Chris Vrenna (Nine Inch Nails) and mixing by Rhys Fulber (Fear Factory, Paradise Lost). The new disc infuses industrial and ‘90s alt-rock elements within its melodic metal structure. Exploring fresh territory must have been liberating: “I really wanted to construct great songs,” he tells, “each song had to 32 • THE MUSIC • 16TH OCTOBER 2013

stand out on its own. It came together with me not listening to any specific thing; I really wasn’t listening to any music at the time of the inception of these songs. I didn’t want to be influenced by anything on the outside. If I was going to make a record, I wanted to do something that I hadn’t done yet.” Although enthused about touring his new outfit (“We’ll be down in Australia soon… Probably around like February”) and boasting the aforementioned collaborations, a name remains unchecked on his proverbial bucket list. “I’d really like to work with Mike

Patton. I have no clue what that would sound like; I guess that’s what’s intriguing about it.” While hopeful about making such a musical union a reality, there’s also Slipknot’s first studio album since the death of bassist Paul Gray in 2010. The man known as #1 is emphatic that a new LP will happen. “I demoed more than my writing’s share already for Slipknot. I’ve got so many damn songs. It’s just when everyone is ready to get together and do it. At the time I was doing all my demos other people weren’t necessarily ready, but I got material dude, I got a lot of it. “What I can say is there is material, there will be another Slipknot record, and then one after that. We are by no means going anywhere. You had the first record that did what it did and it blew doors open. Iowa, we went darker and heavier. On Vol. 3, working with Rick [Rubin] and stuff, we opened ourselves up for more melody. All Hope Is Gone, we polished up the sound a little bit. So the next record… I know it’s gonna probably be the most important record we’ve ever released. I’ll leave it at that.” WHAT: Scar The Martyr (Roadrunner/Warner)


JUST KEEP SWIMMING

Zeahorse put their debut together in the northern NSW bush three years ago. So why are we only hearing it now? Morgan Anthony and Ben Howell explain the situation to Dave Drayton.

“O

ur plans were to get it out but we’d run out of money,” Zeahorse frontman Morgan Anthony says in earnest. “Our guitarist moved to Tasmania and that put a huge stump in the road. So we stopped playing shows, stopped rehearsing and stuff like that. We were trying to save money and we eventually got enough.” “We had enough to get a run of 250 vinyl pressed, that was it, so we were going to do that, and that was

it, us putting it out,” continues bassist Ben Howell. “But then Morgan sent it around to some labels, which was just as we were planning everything, and a couple of them got back to us. One of them wanted to put it out, and that brings us to now,” – in a pub, with beer on someone else’s money, and deep-fried pickles on the way. This scene seems pretty indicative of the Zeahorse story so far – charmingly ignorant of the way things ‘should be done’, the band have just focused on the music, playing shows relentlessly (at least, when

geography allows), as the rest has pleasantly and haphazardly fallen into place.

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Anthony recounts his surprise that even after finding a label, Pools still took another year or so to release as they had to take into account the business side of things: “They were like, ‘Well, we need to bring a single out’. We were just going to drop the album and move on and do another one.” Their education continued with a recent trip north for BIGSOUND, perhaps a strange move from a band who seem to have no trouble landing some enviable gigs – Jello Biafra, Mark Of Cain, some little band called Them Crooked Vultures. “BIGSOUND is really different,” Howell insists. “We’re used to just playing shows around here where 90 per cent of the crowd are our girlfriends’ parents or drunk friends that feel obligated to come to shows. So it’s weird to go up there and play where the crowd is all industry people. Everyone there was lovely and great.” “But we just thought we played awful,” interjects Anthony. “It’s hit and miss with us. We can play an amazing show and the next show we play is terrible, but people tell us that as well; that’s what makes it real, you know? It’s not just an orchestrated set, time after time.” “It’s good though,” Anthony muses, “because people can listen to the record and get a more introverted idea of the band and then they go to a live show and see an extroverted version of our band. At that time when we were writing the songs, we’d play them fast and then we’d slow them down. We were probably listening to lots of Slint, and we just slowed all those jams down and they became kind of sluggish and sink into themselves a bit.” WHAT: Pools (HUB/Inertia)

FULL STEAM AHEAD

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Local DJs, producers and RTR FM’s Monday Full Frequency radio hosts Philly Blunt and Micah Black – aka partners-in-crime duo Black & Blunt – are in full swing. Annabel Maclean chats with the lads about fresh production in the pipeline and their radio show ahead of their set at Broken, Beaten, Scratched.

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hilly Blunt and Micah Black have been rather busy of late. Recently scoring a nomination for WAM Song Of The Year with their tune, Wandering Strangers ft MC Coppa and Sam Perry and playing Listen Out amongst their usual weekly gigs, they’ve just returned from a couple of gigs over east. “We played Chinese Laundry on Saturday and then Ivy on Sunday, which was pretty crazy; there was about 1800 people there,” Blunt begins. The boys have got some great gigs lined up including the Yolo Halloween Party in Karratha as well as sets alongside Porter Robinson on his upcoming tour at Villa and Stereosonic, but for now, the focus is on Broken, Beaten, Scratched, a night dedicated to RTR FM’s flagship dance music program, Full Frequency. “I love RTR gigs, they’re just different,” Black admits. “They’re not like normal club gigs out because the RTR crowd is not your mainstream clubbing crowd. They’re a little bit more alternative. Some people don’t go out to gigs other than RTR gigs so you see faces that you’re not going to see anywhere else and I really, really like that.”

Black and Blunt have hosted Full Frequency on Mondays for almost two years together, with Black having previously hosted alongside DJ and producer stalwart Ben Mac. “Full Frequency is going great. I just love it. I love presenting it… Phil and I work a lot together. I just enjoy having an outlet like Full Frequency as a DJ – my first and foremost joy that I get from it is sharing music and we just love finding new music and then being able to show it to people through a DJ set or a radio show.” Indeed, both push new sounds on their Monday show.

“We try and push a lot more of what’s currently out there in club land, which is a pretty versatile range of stuff. I’m liking a bit of the twerk stuff – 100 bpm trap, not the Miley Cyrus videos. Loads of trap stuff and a bit of what they’re calling the ‘Australian sound’, which is pretty hip right now everywhere. We like to know quite a lot about music and we like to share that with each other and talk about it on air so we tend to yabber on a little bit.” They’ve got an EP coming out with Deekline in November, a collab with Meat Katie out in the next couple of months and a remix for Central Station Records in the pipeline. As for Broken, Beaten, Scratched, Black says punters can expect a set that is “going to be the kind of music that you’re going to hear on the show”. WHAT: RTR FM’s Full Frequency: Broken, Beaten, Scratched WHEN AND WHERE: 18 Oct, Geisha Bar THE MUSIC • 16TH OCTOBER 2013 • 33


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CHASING ZOMBIES Guy Davis chats to actor Pierre Perrier, star of Studio’s new apocalyptic TV series The Returned about the undead.

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ombies are traditionally uncomplicated. Sometimes they shamble, sometimes they run. Generally they want to devour your flesh, although sometimes they like to shake it up a little by feasting only on your brain. (They’re the gourmets of the zombie population.) Leave it to the French, though, to put a bit of an existential spin on the whole walking dead pop culture phenomenon by making a television series where the dearly departed return from the grave looking to pick up their lives where they left off, reconnect with loved ones or maybe begin indulging in some of the nasty habits - such as murder - in which they indulged before they shuffled off this mortal coil. In The Returned, premiering soon on pay-TV channel Studio, the residents of a small French town are shocked and stunned when several people believed dead for years simply...well, return. “We put the zombie theme back into some kind of reality,” says Pierre Perrier, who plays Simon, who comes back to find that Adele, the woman he was going to marry, has given birth to his daughter Chloe but has also found new love with another man, Thomas. “One of the biggest themes of the show is this fantastic scenario but it has a very real effect on the people. We managed to do something new with something fantastic like the undead, something very realistic about what would really happen if you opened your door in the morning and you saw your dead father or your dead mother or your dead little brother… we wanted to show a realistic reaction to that.” That’s not to say that The Returned is simply some moody kitchen-sink melodrama where a few of the major players happen to be zombies. While it would be unfair to reveal just what happens as the first season of The Returned progresses, let’s just say that some mysteries are unravelled while others deepen. (And fear not, a second season is currently in the works.) The show has proven a critical and commercial success in France and internationally (UK and US remakes are reportedly in development), and Perrier is quick to attribute the quality of The Returned to its producers and directors but primarily its screenwriters, especially series creator Fabrice Gobert. “Fabrice is great,” Perrier says. “He really created a close atmosphere between the writing team and all the actors, which is difficult because there are a lot of actors. He was continually rewriting the script, every day and every night, then in the mornings he’d come and say ‘I have a new idea’ or ‘What do you think of this?’ He has great humanity and he managed to keep it all very real. There was a lot of money and a lot of expectation involved, but he managed to keep his own very strong idea of the show intact. He fought a lot to keep some ideas in, and I think it was a great success.” “It was a long process writing the story, with five or six people working over maybe five or six years just to get it right. The subject of zombies and undead people are so overused in other movies and TV shows that now they’re almost a non-serious subject, and I think The Returned takes it somewhere very realistic in a French cinematic way, very ‘auteur’.” 34 • THE MUSIC • 16TH OCTOBER 2013

The French film industry has embraced genres like horror and fantasy with gusto, but Perrier feels that The Returned breaks new ground in terms of the country’s small-screen produce. “I think the success is because it represents a new French identity,” he says. “France hasn’t been able until the last two or three years to make good TV shows that it can export abroad. We do this in cinema, but we don’t usually have the balls to do it on TV, we normally stay classic. But France is growing slowly, and this is hopefully our time.” As far as his character Simon is concerned, Perrier says he was initially described as “a classic romantic”. “All sad, always in black, big hair, looking desperately for his wife and child,” says Perrier. “Like some classic character out of literature but there is a twist: Fabrice told me at the beginning ‘Maybe he is not so innocent’.” Indeed, just as there is mystery surrounding the return of Simon, there is also mystery surrounding the circumstances of his death. Did he take his own life? Was there something more sinister involved? Or something more banal? “If he actually killed himself, then he was somebody depressed and sad,” muses Perrier. “Maybe he tried to get away on his wedding day because he was crazy, or he was a little bit sick, so he went from being this classical character to being some kind of pervert narcissist, playing with other people’s feelings.” Regardless, Simon’s return plays havoc with the life Adele

“WE MANAGED TO DO SOMETHING NEW WITH SOMETHING FANTASTIC LIKE THE UNDEAD, SOMETHING VERY REALISTIC ABOUT WHAT WOULD REALLY HAPPEN IF YOU OPENED YOUR DOOR IN THE MORNING AND YOU SAW YOUR DEAD FATHER OR YOUR DEAD MOTHER OR YOUR DEAD LITTLE BROTHER.” has created in the years since. To their daughter Chloe, she refers to Simon as “an angel”...but is he? “Well, who is entirely an angel and who is entirely a devil?” says Perrier. “It’s the same for all characters. I think every character in the series has their own questions and anger and joy. It’s almost impossible to imagine what it would be like to be this guy and come back. Can you imagine it? You find your wife with another man and your child already grown up. It’s just impossible. There was a lot of ambiguity about the character and I loved that about him. I mean, with Thomas - Adèle’s new husband Simon’s going to be a devil, and with his child, he’s going to be an angel. It’s just the character.”

WHAT: The Returned WHEN: Premieres 16 Oct, Studio


GEOMETRY AND THEOLOGY

music

Oh, Kafka. “It’s a modern trouble/Metamorphosis,” sings Glasser in Interiors’ track, Exposure. “In its reflection we can feel our lives ahead,” it goes. Cameron Mesirow tells Callum Twigger about the shapes of contemporary love.

“M

y room has no shape/nothing to upset me, but it keeps me safe,” sings Mesirow in Shape, track one of Interiors. Glasser is the Kafkaesque solo project of Mesirow; she openly admits her being besotted by the shapes of the modern world and their strange revelations. “Each decision made on the record was one that was taken very seriously. I took a really long time to make it, because of having to spend a night thinking about each decision,” says Mesirow. It’s a preoccupation that informs her work, but our conversation begins with the banal logistics of the wining hour in Western Australia. “Are you sipping wine out there in Perth? On the beach?” she asks. I don’t get time to reply. “No, Perth isn’t wine country, I’m wrong now…” Mesirow sighs, sounding defeated. “My apologies, I didn’t realise you weren’t in the cocktail hour. You could have been sipping on wine. I wouldn’t have known. Oh gosh, I’ve been rolling around the city of New York, taking in the sights. Taking my shoes to get repaired, stuff like that. Loads of interviews. I’ve just finished a pizza. This is wonderful, because as you can tell, I’m already getting a little loopy. I’ve answered the ‘what are your influences’ question so many times now I’m going to start telling you about pizza.” New York means more to Mesirow than pizza, naturally. “I’ve been to lots of galleries. One thing I’d definitely put on my list is the Dream House, a gallery-type situation, but it’s very droney… a drone space, all loud, low, drone sounds. It’s a project by the Miller Foundation. It’s all purple inside, like a sound and light exhibition. It’s been around for a really long time, since the ‘70s or something, maybe the ‘90s, the early ‘90s perhaps.” Cameron Mesirow, Glasser. A ferocious intellectual, an inheritor of the New Wave preoccupation with the manifesto, and attempting the migration of the political (or at least, the philosophical) into pop music. 2010’s Ring was one of the year’s strongest records; Interiors looks to be one of 2013’s, but, tragically, it’ll probably just escape that myopia of mainstream breakthrough. Ring had a frustrated, thwarted sensibility, with all the flamboyance and megalomania of a villain comforted

that even in defeat she outshone the hero. Faux timpani drums, gloriously synthetic Muscat plucks and fifths – Mesirow relishes in the simulation of the import, in creating fake fakes. Electronica, experimental, but defensively democratic – infamously, Glasser’s first EP was conceived on a Macbook’s Garageband.

“I sort of think of it as being a mating dance that I’m doing with that object,” explains Mesirow of the video. “The object of my desire. And I’m trying to woo it, and eventually getting a little less… no more Mr. Nice Guy. What inspired it was just everyday moments of titillation. “For when we have moments that are so wonderful and precious, where you get to experience pure joy. Before, you know the joy is coming, and the joyful experience is knowing you’re going to experience something good. You just run towards it, rather than trying to savour the moment. It’s a different, more humorous take on that curiousness, a housewife, played by me, chasing after the refined object of her desire.

“I SORT OF THINK OF IT AS BEING A MATING DANCE” There is architecture in her songwriting. Mesirow cites architect Rem Koolhaas’ Delirious New York as a major influence on her recent work. Flirting with Kafka, Koolhaas declared “The City is an addictive machine from which there is no escape” in his manifesto. Mesirow feels this persuasion in the modern object; the video for Design (Interior’s debut single) witnesses Mesirow yielding to an amorphous metallic object - a lover made of mercury, the metal of sex and hunger. At Mesirow’s whim, the object mutates, but she never escapes its orbit.

“The object was sort-of conceived by Jonathan Turner, the guy who made all of the visual stuff for the record. He’s a very talented animator. I basically just said to him that the record’s about structures; when I first approached him about doing this, it was about architecture. And we’re talking about how with people, a certain niche clings to a home in a way that consumes the whole space, really, whereas a home is just as malleable space as a street really. That’s sort of where that material substance comes into play, reflective liquid that signifies you’re not in control. It’s chaos. “I love listening to music through headphones,” she confesses, “and I suppose the fact the experience that I incurred with my music is like… although I do think it’s wonderful that music brings people together, I think that the subject matter in my music is almost a little private stress that I’m carrying. Just making this record sort of consumed me.” WHAT: Interiors (True Panther) THE MUSIC • 16TH OCTOBER 2013 • 35


Smartphone App for Managing Cannabis Use Do you use cannabis? Are you over 16 years of age? Do you have an iPhone or iPad? Int erested in trying out a smartphone app? If so, you might be interested in taking part in our study. We are developing a mobile phone app for cannabis users wanting feedback on their use & tools for self-monitoring to reduce or quit their use. We are recruiting individuals interested in self-managing their use of cannabis to try out the app for a month. In addition to using the app, the study requires the completion of three online assessments.

You will be compensated for your time. If you have any questions or would like to participate in the study,

please contact Sally Rooke on: s.rooke@unsw.edu.au

36 • THE MUSIC • 16TH OCTOBER 2013


Smartphone App for Managing Cannabis Use Do you use cannabis? Are you over 16 years of age? Do you have an iPhone or iPad? Interested in trying out a smartphone app? If so, you might be interested in taking part in our study. We are developing a mobile phone app for cannabis users wanting feedback on their use & tools for self-monitoring to reduce or quit their use. We are recruiting individuals interested in self-managing their use of cannabis to try out the app for a month. In addition to using the app, the study requires the completion of three online assessments. You will be compensated for your time. If you have any questions or would like to participate in the study, please contact Sally Rooke on s.rooke@unsw.edu.au

36 • THE MUSIC • 16TH OCTOBER 2013


reviews

This week: If you love football, you’ll love FIFA 14, feel the sense of foreboding lingering in Fruitvale Station and could The Avett Brothers’ grip be slipping in their quest for mainstream acceptance?

ALBUM OF THE WEEK

BODYJAR Role Model UNFD Punk rock doesn’t need leather. It doesn’t need eyeliner. It doesn’t need breakdowns or double-kick, guttural screams or any sort of ‘core affixation. Vocal hooks, constant speed and singing guitar work is all that’s required to produce cracking punk, and Bodyjar have delivered that here – as they always do – in abundance.

★★★½

TRACK LISTING

The Melbourne quartet’s first record in eight years is a little slow on introductions with Petty Problems and Role Model letting you feel your way back. But nostalgia is brushed aside by the time the chunky chords of Stranglehold introduce you to a blast of uplifting glory. Cam Baines knows his way around a melody, and it’s his tone that really takes these songs into fist-pumping, pogo pitting, singalong territory. His lyrics don’t need great analysis; there are no hidden agendas. They’re humble, honest, relatable and they perfectly complement the no-nonsense playing that you get on the double-time jolt of Hope Was Leaving and Natural Selection, which cuts through more sections than a pro surfer. Together Alone kicks late and is probably the most perfect ‘Bodyjar’ song found here, complete with stuttering tempo changes, guitar soloing and a stirring chorus to latch on to, while Light is short, whimsical and ties the whole record up nicely.

1. Petty Problems

7. Hope Was Leaving

2. Role Model

8. Break This Feeling

3. My Mistakes

9. Natural Selection

4. Stranglehold

10. If This Is It

5. Fairytales

11. Together Alone

Role Model is impossibly fun, and what could’ve been nothing more than a run around the park for old times’ sake instead stands as one of Bodyjar’s best albums. Now, to dust off the skateboard.

6. Vessel

12. Light

Benny Doyle THE MUSIC • 16TH OCTOBER 2013 • 37


album reviews

BEST COAST

POLIÇA

Jewel City/Kobalt

Pod/Inertia

Best Coast are a band that seem to be constantly evolving; they’re light-years away from their lo-fi debut Crazy For You, and for Fade Away have paired high production values with the freedom of recording the EP/ mini-album on their own label. This is a tight indie pop release with few surprises, which feels comfortable, like snuggling into your favourite pillow.

“I was trying to build myself up and get strong and be assertive. It’s a little bit rawer; I’m a little bit angrier and a little less victim,” claims Poliça’s Channy Leaneagh of her approach to her band’s second album, Shulamith. If only the results matched the intention. The icy, spacious sound of last year’s Give You The Ghost has been embellished with surplus electronic padding, softening the impact of Leaneagh’s angsty musings. More disco-y it may be, but with less bite, as can be heard on Very Cruel, with its squelchy bass that obviously aims to menace but falls flat, much like a badly judged Halloween costume.

Fade Away

Singer-songwriter Bethany Cosentino is beginning to grow into her own skin; this release seems to have a far more upbeat and far less morose feel than last year’s The Only Place. But with Best Coast you have to expect the tried-and-true formula of a mixture of love and lovelorn songs. I Wanna Know has the surf pop sound we’re so used to, with a few opportunities for Cosentino to show off a little more of her vocal range. She sings like a teenager who is desperately in love. There’s a definite catchy pop track about

Shulamith

★★★½ halfway through in Fear Of My Identity, with repeated one-liners and the refrain, “You taught me that my heart would grow old” to get your hips shaking. Her existential crisis kicks in by Baby I’m Crying where the rumbling bassline really steals your attention, and closer I Don’t Know How is sparse, with bittersweet harmonies to fill the space. The influence of the likes of Mazzy Star and My Bloody Valentine seem obvious on later listens, with a more garage sound underlying catchy pop riffs. It’s an assured album that tries to experiment a little with different sonic elements, but ultimately is very Best Coast. Hannah Story

SEABELLIES Shock

Yet Fever Belle is an inspired listen when the band delves into gossamer orchestration, dialling down the plaintive pop machinations for more delicate 38 • THE MUSIC • 16TH OCTOBER 2013

failed relationships – and is a great single. Tiff too is well written, featuring guest vocals from mega-fan Justin Vernon of Bon Iver (Poliça are the “best band” he’s ever heard apparently; way to blag yourself a guest slot Justin), but a better approach might’ve been that found on Drake producer Doc McKinney’s non-album remix, which illuminated Leaneagh’s delivery with sparse yet imposing beats. In 2012, Poliça gave us ...The Ghost, a chillingly effective debut. In 2013, they’ve given us something of a missed opportunity. Christopher H James

THE AVETT BROTHERS

Fever Belle

Newcastle five-piece Seabellies have spread their wings on their second record, both figuratively and sonically, and in the process have crafted an assured album of ethereal ebullience that nevertheless starts to wear thin over its 53-minute running time. Produced by Berkfinger (Philadelphia Grand Jury) and Tim Whitten (The Go-Betweens, Augie March), the album opens innocuously enough with the title track, an indie gem that nevertheless doesn’t set the band apart from many of their contemporaries. There is a marked shift however with ASCE, the intricacies underpinning Trent Grenell’s elevated vocals. Atlantis floats along at a lysergic pace, slowly coalescing on a bedrock of strings into a choral crescendo.

There’s still evidence of good songwriting here. Check Chain My Name. It’s a superficially positive banger – I say superficially as it bounces the listener all around the room with its solid bass and bells, but is packed with Leaneagh’s usual themes of conflict and

★★★

Magpie And The Dandelion American/Caroline

★★★ straits, thus making the soaring outros all the more impressive. Aerialite bubbles away, a gentle wraith floating on the slipstream, while Bodies is an insidious spiral into early Sigur Ros territory, a true highlight. The ‘80s new wave influence on Paper Tiger opens up into an overblown strings concerto; Context condenses into a mixture of Conor Oberst’s entire oeuvre; but by the time Dark Echoes closes out the album it feels like a retread – Foals at their most esoteric. The band’s instrumentation is precise and energising, but Fever Belle remains an ambitious, if somewhat over-familiar attempt at expanding horizons. Brendan Telford

North Carolinian string band The Avett Brothers forged their reputation releasing incredible albums on shoestring budgets, but these days they’re operating on a whole new plane. Their eighth studio album Magpie And The Dandelion is their third in a row with renowned producer Rick Rubin, and sometimes when studio flourishes kick in you have to wonder whether such polish could actually be detrimental (like when Guided By Voices went major label). As with GBV, however, the songwriting strengths of the actual Avett brothers – Seth (vocals/guitar/ piano) and Scott (vocals/banjo/ guitar) – save the day, their complementary styles shining through the sheen like a beacon. Magpie... was written and recorded during the same sessions as its predecessor The Carpenter (2012), and purportedly carries

★★★½ a theme of “youthful wonder”, explaining the airy feel of tracks such as Never Been Alive and Bring Your Love To Me. Catchy single Another Is Waiting and upbeat opener Open Ended Life both favour an expansive band sound, but the tempo drops as the album meanders into its second half. Their soulful intimacy and potent familial harmonies remain, but this run of solemn ballads badly misses the grit of yore. The Avett Brothers are steadfastly clinging to what made albums like 2007’s Emotionalism so special, but you get the feeling that their grip may be slowly slipping. Steve Bell


album reviews

★★★½

AMOS LEE Mountains Of Sorrow, Rivers Of Song Blue Note/Universal Bookending itself with two reflective, pretty songs (Johnson Blvd and Burden) might give the impression that country superstar Amos Lee’s follow-up to his US chart-topping 2011’s Mission Bell is a one-trick pony. But as soon as the banjo introduces Stranger, it’s clear Lee has a few strings to his bow. Channelling contemporaries Zac Brown Band and Ray LaMontagne on his fifth record, Lee confirms himself as a diverse, impressive songwriter, and with his band of some of Philadelphia’s finest musicians – not to mention guest spots by Alison Krauss and Patty Griffin – Mountains Of Sorrow, Rivers Of Song is a rollicking ride. Dylan Stewart

★★½

★★★

★★★½

CFCF

CHASE & STATUS

DAY RAVIES

Outside

Brand New Machine

Tussle

Dummy/[PIAS] Australia

EMI

Popfrenzy

For Montreal-based Mike Silver (aka CFCF), his second album is a personal project that explores the landscapes – both aural and visual – of his own life, delivered in stereo to a mostly captive audience. Outside follows the repetitive, dark nature of Fuck Buttons, but at times Silver juxtaposes this with his own voice, prompting comparisons to Justin Vernon or even Arcade Fire’s more experimental moments.

Drum’n’bass, dub, garage, trap; Chase & Status’ third album is everywhere, but because of that it sometimes floats nowhere. Guests appear throughout but they too are hit and miss. Moko is class on uplifting synth-led number Count On Me; however, the likes of Pusha T (Machine Gun) and Elli Ingram (Heaven Knows) sound like they sent through a one-take vocal line and simply cashed the cheque.

Individual songs – the ethereal Strange Form Of Life for example – are very strong, showing immense promise. Overall, though, Outside is better enjoyed as a collection of songs, rather than an album in full.

Although they’re arena-worthy performance wise, Chase & Status still seem to be finding the full-length format elusive. The final track, Alive, is incredibly affirming stuff, however. More of that please.

Tussle, as a debut album, is an impressive statement indeed. This is a slice of dreamy, fuzzy, Galaxie 500-cumDrop Nineteens shoegazing pop from a group who know exactly what they’re doing. Obvious and boppy lead single Double Act and Pinky give a one-two punch that shows the band are as comfortable with pop melodies as they are with harder edged fuzzy droning. Tussle is leaps ahead of the group’s confident self-titled EP from last year and never feels derivative, despite how passionately the group wear their influential touchstones. This is modern music, just with an eye to 1991.

Dylan Stewart

Benny Doyle

Andrew McDonald

★★★

★★★★

★★★★½

★★★★½

GEORGIA FAIR

THE ANCIENTS

OMAR SOULEYMAN

Trapped Flame

Night Bus

Wenu Wenu

Sony

Chapter Music

Domino/EMI

Napalm/Rocket

Georgia Fair are a couple of strikingly good-looking 20-something Melburnians who produced a sun-glazed debut LP of cohesive indie-folk in 2010. They seem to have lost themselves in Trapped Flame amid overly produced tracks, meritless choruses and the seductive allure of commercial pop. Underlying the record is a sense the boys are trying to describe some profound existential ‘discoveries’ they’ve made, with washy pop tunes and lyrical enigmas such as “I am love, I am free, I am me”. In the end it’s stripped back tracks Old Friend and Wrong Side that feel more like they have something to say.

The third album from Melbourne’s The Ancients is a record that hurtles, ambles and breezes by with equal amounts of intricate musicality and simple skewed-pop broad strokes. There is a wistful ‘60s folk tinge to songs like House Of Cards, the lighter contrast to their more layered and dense psych excursions such as the shoegaze haze of Hamster and the epic Molokai that manages to sound like Boo Radleys, High Llamas and Ariel Pink all at the same time. Ultimately this is a gorgeous, wideranging melancholic pop album that embraces sonic friction, frayed edges and melodic beauty with equal aplomb.

Syrian wedding singer Omar Souleyman is a non-stop party machine. Impassive behind his aviator shades and traditional kufiya headwear, he prowls the stage, earnestly proclaiming his declarations of love and revving up the crowd over banging Syrian techno. His first studio recording, after 500 cassette releases in Syria and a series of compilations in the West, going into a Brooklyn studio with Four Tet, he’s made what’s essentially a live album, with synth god Rizan crafting remarkable snaking Middle Eastern melodies over the kind of relentless electronic hand percussion that’ll remind you you’re still alive.

Last Patrol is a record that has the riffs, the boogie and that supersonically bombastic production of stoner outfit Monster Magnet’s best work. Played through a decent set of headphones (the best way to enjoy them), the kaleidoscope of sounds on Three Kingfishers and Paradise will strike you like a mind expander, while the overthe-top boogie of Hallelujah can swing dick with anything on their seminal 1998 Powertrip record. So put on a good pair of headphones, chill out and let Last Patrol take you on an epic trip through outer space.

Ash Goldberg

Chris Familton

Bob Baker Fish

MONSTER MAGNET Last Patrol

Tom Hersey

THE MUSIC • 16TH OCTOBER 2013 • 39


singles/ep reviews

★★★

LOCAL NATIVES Ceilings

Liberator Music Ceilings is a pretty swell tune when wanting to zone out on that harsh thing we call life. Throw it into the pile of ‘classic indie-pop song’.

BRITISH INDIA Blinded

Liberation Records Blinded is from British India’s recent album, Controller; the band go from I Can Make You Love Me to “I used to be so blinded” in one record. Ouch.

THE JUAN MACLEAN Feel Like Movin’ DFA A funky house track you could probably hear at your local discotheque, however, the lyrics are a little cheesy.

★★★★

★★★½

SHINE 2009

JORDIE LANE

THE LITTLE STEVIES

Modular People

Vitamin

Love Your Records

On Our Nation Shine 2009 combine enticing synth beats with heavenly vocals and lyrics that show a passion for discussing social issues, such as the financial issues facing Europe (Eurozone). Eurozone and Older best showcase the duo’s ability to combine punchy dance beats with harmony-laden vocals and a sound that is reminiscent of yesteryear. With that said, it is hard to pick outright favourite as each song on the album has its own merits, whether a catchy line or two (Love Love Love) or a rhythm that would make your heartbeat jealous (Good Times).

Maybe Jordie Lane just had to get out of his homeland and comfort zone to find the perspective he needed. For this, recorded in Nashville under producer Skylar Wilson ( Justin Townes Earle and many etcs.) is the music of weight you hoped was in him. It’s gimmick-free, warm and sincere craftsman’s work. He observes what’s going on – the slowing train dark inevitability of Here She Comes – and what’s inside himself, as in the furry-mouthed awakening and knowing he’s Lost In You. It’s what you want alt.country to be before it got diluted. Nigh-on great.

Elegant writing, simplistic yet thoughtful instrumentation and heartfelt delivery make Diamonds For Your Tea an incredibly strong record, and show The Little Stevies’ evolution as musicians. First single Thunder is catchy, pensive, strongly emotive and is already being well received. It’s marvellous to see such attention and devotion given to a release, especially considering the budding families and careers that sisters Byll and Beth have been preoccupied with over the past year. But Shattered Dreams is the highlight here, the song hitting a deeply empathetic chord with its gritty realism.

Renee Jones

Ross Clelland

Lukas Murphy

OUR NATION

Not Built To Last

Diamonds For Your Tea

KATE MARTIN Awaken

★★★½

Shock Records This is an empowering song about awakening and becoming stronger. Her voice is timeless and unique in that folky-pop kind of way.

DAN LE SAC VS SCROOBIUS PIP & FLUX PAVILLION Gold Teeth Sunday Best A song based on wearing bling to look pretty. Think of a touch of Flux Pavillion drum and bass with a really, intense rapper and a hint of auto-tune - that’s basically Gold Teeth. Athina Mallis

40 • THE MUSIC • 16TH OCTOBER 2013

★★★★

THE MORNING NIGHT

KRAMIES

ROOSEVELT

Walking Horse/MGM

Hidden Shoal

Greco-Roman/Future Classic

The Morning Night are not an experimental band. Their sophomore effort sits pretty next to The Laurels and King Gizzard, with obvious attraction to The Triffids and The Saints. But they pull off the psych/ indie “Australiana” tag with so much passion and effortlessness. Everything I See is a winding psych jam, So Now is ethereal; Isaura Campbell steals the show with her smooth vocals on Crowd Around Her and Creepy Corners. Swaying boy/girl vocal harmonies, rocking guitar licks, solid percussion and great variation, amberola is the complete package, and something the group should be very proud of.

Cut through the bark of dreampopper Kramies’ latest release The Wooden Heart and you find an intoxicating collection of melancholic ballads that fuse together flawlessly. The Wooden Heart is mix-tape for those nights when you find yourself lying in bed at 2am, yearning for that someone you love to be by your side. Dawdling acoustics are textured flawlessly against rich production as the record glides through an emotional realm. Clocks Were All Broken delves into the unmapped waters of psychedelic folk whilst the releases’ title track offers a fullbodied taste of the Coloradobased performer’s inventory.

This Cologne producer’s debut EP is light-hearted without being frivolous, its warm synth tones driving bright spots of melody among its watery phaser beams and rhythmic drum patterns. The first two tracks seep echoing vocals into cinematic, dreamy soundscapes, the first of which has added disco flavour. Rather than peaking, these tracks ebb and flow in a chilled, oceanic fashion. Closer/title track Elliot has a dream-pop flavour, with more prominent vocals and restrained instrumentation. Though its deeper bassline lends itself to a more accessible, club vibe, the three tracks on this electronic release prove equal in quality.

Cam Findlay

Sean McKenna

Stephanie Tell

Amberola

The Wooden Heart

Elliot


live reviews

WAM SONG OF THE YEAR AWARDS 2013 Fly By Night 9 Oct One of the best things about WAM’s award system is that it balances the democracy of mass approval against the cultural aristocracy of industry approval: on the one hand are the WAM Public Voted Awards, which provide an assay of popular taste (head to themusic.com.au to vote for them if you haven’t already, yikes), while the Song Of The Year Awards are the first in several generalised awards determined by music industry consensus. 2013’s Song Of The Year was hosted by the incandescent Tomas Ford – the man could convince

WAM SOTY. PIC: LUKAS THURNER

water to run uphill. First cab off the proverbial music rank was Country, which went to Graphic Fiction Heroes for First And Last. School 14 Years & Under went to Emmanuel Navarro aka ENAV for Listen. Blues/Roots went to Jordan McRobbie for High Tide, Nick Abbey of Abbey | Foster | Falle scored the Jazz gong for Avina, Formidable Vegetable Sound System landed Folk for No Such Thing As Waste in a category that was markedly light – the absence of any content from Patient Little Sister’s eponymous debut EP was unfortunate. The same was true of the Electronic award nominations, which had a Ta-Ku-sized hole – but WAM’s Song Of The Year awards are drawn from public submissions, and fuck, it’s totally cool that acts don’t win what they don’t submit. Rachel Gorman picked up the socially-conscious Mentally Healthy award for Hurting Bird.

7 Beats, Ananth scored the World award for The Endless Dance, the Heavy award went to Sleepfreak for Frankenstein, and Indigenous went to Jarred Wall of Jake & The Cowboys for Friends. Cycle~ 440 edged out arguable genre favourite Kucka to score the Experimental award for So We Beat On, Boats Against The Current, and Minute 36 picked up the Regional award for Three States. Boom! Bap! Pow! scored the contextually appropriate onomatopoeia of the Pop award for their single, Suit, heading off Stillwater Giants’ triple j-thrashed Fly Under The Radar (j-thrashed, hey, let’s make that an adjective) and Rainy Day Women’s baroque Temaze. Pop fielded a solid set of nominations, and frankly, it could have gone any which-way. The Rock award went to Perth titans Eleventh He Reaches

hop, but we’ve changed, and that’s a fantastic thing to be part of. Congratulations to all the WAM Song Of The Year nominees and winners, and best of luck in the upcoming Public Voted WAM Awards. Callum Twigger

TIRED LION, SUGARPUSS, THESE WINTER NIGHTS, THEE GOLD BLOOMS, FEYEK

I’ve saved the killer trio for last: Mathas and Abbe May cleaned up with an unprecedented trifecta for their collaboration, Nourishment, scoring awards for Electronic, Urban/Hip Hop and the overarching Song Of The Year Award itself. It was an ingenious pick; ten years ago it would have been inconceivable for the premiere West Australian songwriting award to go to homegrown hip

After a slightly longer break, Sugarpuss took to the stage. Having only seen them once before, I’d forgotten how much fun they were to watch – their tunes were super groovy and they produced some insanely catchy riffs. Lead vocalist/guitarist Jake Webb’s voice was in supreme form and the band had no dramas taking the inebriated crowd on a fuzzy, sunburnt journey into the hour before midnight, exploring a range of influences including ambient synth jams

The Bakery 12 Oct

FEYEK kicked off proceedings to a small and quiet bunch of

TIRED LION @ THE BAKERY. PIC: TED DANA

London for Body Unbind, taken from their recently launched LP, Banhus. Post-hardcore veterans, Eleventh have been putting their shoulder to the wheel for over a decade now, and the vindication of a SOTY gong for arguably the night’s secondmost savagely contested category was tribute indeed - particularly considering the competition from Timothy Nelson & The Infidels and The Big Splash wunderkinds Apache was fierce.

build layer onto layer reaching dazzling crescendos is no doubt their biggest strength and most appealing asset; and what’s better, the group continue to improve as time goes on. Given they’ve got a bunch of industry folk on their side following Big Splash, their prospects seem extremely bright. Watch this space.

TIRED LION @ THE BAKERY. PIC: TED DANA

people, showcasing their lullsy instrumental tunes. It was an unusually long bill for an EP launch, but nonetheless, the duo secured the stage. Thee Gold Blooms picked up the pace after a short 15-minute break, wooing the crowd with an infectious blend of surf-pop that could have been relevant in any decade of music from the ‘70s onwards. The quartet’s setlist was built beautifully with gradually increasing momentum, and as a first-timer seeing the group do their thing, I’ll be keeping a keen eye on them; they certainly had mine and the rest of the rapidly growing audience’s attention. Big Splash grand finalists These Winter Nights were the next group to take command of the stage, and they showed once again why they have Perth in a buzz, playing a wonderfully diverse set containing everything from ballads to jigs. Their ability to

and some real swell psychedelic rock. We had a great time. The crowd continued to get rowdier with anticipation as the minutes ticked by between sets. Finally, the opening guitar sequence to Tired Lion’s most recognised tune, For The Wolfman, was heard through the speakers and within a second, the crowd was cheering with encouragement at the band members, who hadn’t yet taken the stage. Vocalist Sophie Hopes wisped her way in front of the mic and sang delicately into it before the chorus hit and we were struck by the full force of the band. From there, the band never looked back, playing a bunch of songs from different sections of the catalogue. Long-time fans were eager to hear the new material from the EP released just a day before, and the band didn’t disappoint. First single, Desperate, was a belter, with Hopes’ powerful THE MUSIC • 16TH OCTOBER 2013 • 41


live reviews high-end a great showcase for just how strong her vocals are, while Little Girl was a slower tune but backed up with equally powerful musicianship to produce a sound reminiscent of a fuzzy ‘90s psych-groove. The crowd was intoxicated by the band’s tunes the entire set, and it was fantastic to see such a big turnout for a local band’s first EP. We wish them all the best from here! Kane Sutton

ME FIRST & THE GIMME GIMMES, LEECHES, FAIM Amplif ier Bar 11 Oct It was an eclectic crowd that turned up to the fabulously named Me First & The Gimme Gimmes gig; punters ranged from 40-year-

St, Leeches managed to endear themselves to the surprisingly discernible crowd. Finally, clad in their trademark Hawaiian shirts, Me First & The Gimme Gimmes took to the stage. Frontman Spike Slawson is ridiculously charming, albeit in a slightly cheesy way, and the crowd turned into an sweaty, heaving mosh pit as they launched into I Will Survive. While the band ran through a reliable set of their most popular hits, including Jolene, Take Me Home Country Roads, and even an Olivia Newton John number, there were some unexpectedly lovely moments mixed in when Slawson played some acoustic tracks on the ukulele; sweet renditions of Needles & Pins and Green Green Grass Of Home had the crowd crooning along and showcased Slawson’s exceptional voice.

WELCOME TO THE VALLEY. PIC: TED DANA

old rockers to barely legal teens tizzied up in hot pink minidresses. The crowd were packed wallto-wall into a claustrophobically tiny space to watch the fivepiece pop-punk band do their unique brand of novelty punk. First up were local band Faim. While they certainly looked the part of your typical punk band, with lead singer Noah Skype doing Iggy Pop-style antics and rolling around on the filthy Amps floor (although the crowd seemed more bemused than impressed), their set seemed to be more rushed and messy than raw and powerful. The audience were then treated to Leeches, a much more exciting representation of Perth’s punk scene. The red-haired frontman went from joking amiably with the crowd to screaming into the mic with alarming ease. With songs like Junkie, Born And Bred Fuckhead and Wilding 42 • THE MUSIC • 16TH OCTOBER 2013

While the Gimme Gimmes music is undeniably fun, it’s a pity that the crowd didn’t have quite the same attitude. There were fights breaking out everywhere over the course of the night, and to quote a punter: “Why are people fighting at a covers show?” Luckily, the band’s great attitude and overall feel-good tunes still made it a show worth coming out for.

available too, so there was a lot of attention directed away from the stage. A DJ set had a few people dancing, however, most were simply enjoying the sun and the gallons of beer sloshing about the place, following Crawford for the remainder of the time at Elmars. The ale was most certainly flowing; one particularly exhibitionist couple could be seen groping one another and having a good old munch on the other’s face, but for the most part everyone was just having a great time amongst friends.

Elmars Brewery, Oakover Winery, Belvoir Amphitheatre 12 Oct For a day that was considerably devoted to standing in line (half an hour here, half an hour there, and so on) punters at the bus-about pseudoOktoberfest extravaganza that was Welcome To The Valley had an absolute whale of a time. The day began at roughly midday, where buses full of people already well on their way made the trip out to either Oakover Winery or Elmars Brewery. The numbers began swelling at Elmars just a little bit after 1pm, and by this time it was pretty evident that many pre-drinks had been consumed,

WELCOME TO THE VALLEY. PIC: TED DANA

Although there was Eric Melvin filling in for Fat Mike as bass player and Chris Shiflett replaced by his brother Scott, the band still had excellent chemistry and their banter between songs was almost as entertaining as the songs themselves (although the line “This next one’s a cover” did start to get a little old after the six or seventh time).

Tara Lloyd

WELCOME TO THE VALLEY

Soon it was time to move on to the next place, and Belvoir was promptly overrun with swarms of people (not) lining up to get their next drink. One was probably better off at this point getting two or three drinks for themselves before elbowing their way out of the crowd waiting for theirs; it was definitely not worth two trips. As the crowd went

WELCOME TO THE VALLEY. PIC: TED DANA

as the lads had already started pissing on the fences (which was promptly brought to a halt). Inside the venue, the music had seemingly already started; an unlisted surprise addition to the set. A gentleman in traditional lederhosen was treating the masses to some pretty cool jams on his piano accordion. Playing a quick set, the unnamed accordionist finished with Sailor’s Hornpipe and made his exit while people were still filing in and finding their spot on the grass. Next up was acoustic soloist Logan Crawford. He played a mix of originals and covers, including Everlong by Foo Fighters, and was received warmly. Many people at this point were still very much concerned with getting themselves enormous steins of Elmars beer, and getting right up into the summer festival spirit of things. Free meals from vegetarian to pork roast to bratwurst were

from the queue for drinks down to the Amphitheatre, the boys from Aston Shuffle had their set well under way, and the dancing numbers were considerably larger by then. Preceded by another DJ set, Ball Park Music made their much-awaited appearance. Patrons began to promptly lose their minds as the band played Hanson’s MMMbop, and sang along to It’s Nice To Be Alive. Frontman Samuel Cromack’s hips were wiggling as he threw his guitar aside for a few songs, and some very formidable moves were busted. After a tribute to Frankie & The Four Seasons, the group rolled out their closing numbers, iFly and Fence Sitter which were absolutely lapped up by the crowd. More DJ sets followed the band’s time slot, but all too soon we were hopping on the bus and heading on back to the city. Lukas Murphy


arts reviews

FRUITVALE STATION

FRUITVALE STATION Film

In cinemas 7 Nov Just from the initial few scenes of writer and director Ryan Coogler’s first feature film, inspired by the true story of a police shooting at an Oakland train station in 2009, you can already see what’s going

to be laid out ahead of you. You know that Coogler sets out to get you invested in the character of Oscar Grant (Michael B Jordan) – portraying his journey from ex-con to young man trying to get his life on track and do good by his daughter (Ariana Neal), girlfriend (Melonie Diaz), mother (Octavia Spencer) and himself. And you can feel that sense of foreboding lingering over everything from the outset, slowly

elevating through the course of the film. You see it all coming and you’re still not prepared for how much it’s going to destroy you when it all culminates in the film’s final quarter. Despite this emotion-baiting storytelling device – or perhaps because of it – the film and its brilliant actors excel at what they aim to do: highlight the injustice of the real-life events Fruitvale Station is based on and pay

tribute to Oscar Grant. It’s also coincidentally timely, arriving in the wake of the Trayvon Martin case. While the film itself stands on its own legs as a poignant story, in a wider context it also serves as an important reminder that we remember these tragedies and keep discussion around race-based violence and discrimination going, as it still occurs far too often. Stephanie Liew

THE MUSIC • 16TH OCTOBER 2013 • 43


games players precise control of the ball. Although enjoyable to use, defending against it is a misery. This has been counterbalanced by the more realistic player acceleration new to FIFA 14. Upon receiving the ball, players will slow down as they gain control. This emphasises the importance of playing balls into space, showcasing EA’s dedication to hyperrealism, Sega Soccer Slam this is not.

animating actual zombies. I mean, fuck, translating the abstraction of mathematics into simulation is like the entire point of computer games. DUH.

CHAINSAW WARRIOR

★★

Auroch Games PC/Mac

Okay, so Auroch Games took their mandate of turning a boardgame into a video game way too fucking literally. A licensed adaptation of Games Workshop’s ‘80s boardgame, Chainsaw Warrior gives you a board and a set of cards and sixsided cyber-dice you actually have to cyber-roll. It’s baffling why the effort that went into animating dice rolls that represent conceptual zombies didn’t just go into

★★★

SOUNDODGER StudioBean PC/Mac

Soundodger+ is one of the best “music” games to come out in a while. It easily has the best soundtrack to any game I’ve played this year, and has a really polished and minimalist art style to boot. The game is simple – you control a circle inside a much larger circle and you have to dodge a whole 44 • THE MUSIC • 16TH OCTOBER 2013

Anyways, the game is a singleplayer turn-based RPG: you’re a cyborg fighting a demonic incursion in a dystopian New York city block in the grim darkness of, like, 15 years from now (stick to your 40,000 year projections, GW), and you have 60 minutes (translated into 180 turns) to stop ultimate darkness fucking everything up. You get a randomly generated often unbalanced statline (you sometimes don’t even spawn with the eponymous goddamn chainsaw) and encounters are determined by similarly fickle card draws – expect to die a lot from pulling up a boss card ten draws in. I guess Chainsaw Warrior is challenging in the same way getting a flat tyre or being hit by a car during a bike race is challenging. Still, it’s entertaining to give the game half-a-dozen run-throughs, and there is something noble in an Oedipal struggle against fate. Just buy the boardgame on eBay instead. Callum Twigger bunch of arrows and other shapes that shoot inwards from the outer circle. The arrows always come in waves, which are perfectly choreographed to the song for that level; one of the drum’n’bass tracks becomes insanely difficult at the drop, for example. This makes the relevance and involvement of the music much more obvious and satisfying – many games that play on the “use your own music” theme often fail in this regard. Although Soundodger+ has a game mode where it can generate levels from your own music, the generated levels cannot approach the choreographed awesomeness. Soundodger+ also comes with its own level editor, which is fairly intuitive. This allows you to choreograph your own levels as well as share them with the community. As fantastic as the game is, it isn’t very deep in terms of gameplay. I mean, all you do is dodge shapes. It’s technically very solid, but I found myself wanting more from the game. In any case, it’s worth it for the music. Lachlan Petersen

FIFA 14

★★★★

EA

Xbox360/PS3/XboxOne/ PS4/Vita/PC/Mac FIFA’s back. Again. Ok, so it’s no big surprise, but is this iteration worth an upgrade? In short, yes, FIFA14 is a remarkable football sim with fluid gameplay and multitudes of sweet fan-service. Sporting a definitive catalogue of who’s who in world football, EA’s attention to detail is superb. Your favourite club is there with players that look and feel like they do IRL. Suaraz wriggles between tightly packed defenders and Özil is masterful with the longball; FIFA just feels right. Graphically, FIFA 14 is a minor improvement over last year’s effort. Pitches are radiant on sunny days with long shadows falling over the pitch. Unfortunately, the other weather variants are ugly as hell. Rain doesn’t even look like it exists in the game world; rather, your TV screen is covered with diagonal lines that don’t even strike the pitch. These flaws amount to sheer laziness by the developer and are disappointing to see in a game with such a colossal budget. The football itself is familiar and enjoyable. Dribble mechanics have been enhanced to give

FIFA finds ways to challenge you off the field. After splurging $10 mil on Spanish superstar Xabi Alonso, the newspapers criticised my rash decision to spend so much on a 31-year-old. I soon found my star signing getting prematurely tired and constantly injured. These niggles saw him relegated to the bench, a poor result for a huge investment. Combine this with players constantly whining about their salaries makes for a realistic managerial experience, although maintaining contracts felt more like a chore then anything. If you love your football, you’ll love FIFA 14. The gameplay is deep and competitive, catering well to the robust online play. The multitude of game modes gives FIFA 14 extensive legs, lasting well up ‘til FIFA 15’s inevitable inception. The developers are obvious fans of the sport, with so much detail and nuance packed onto the disc, FIFA 14 is a love letter to the world game. Admittedly, I did tire of the FIFA 14 after extensive playtime. I binged too hard and couldn’t even look at the game anymore. This is a warning to those non-footy fanatics: despite all the game’s modes and settings, it really is just soccer on repeat. Andrew Sutton


classies

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THE MUSIC • 16TH OCTOBER 2013 • 45


46 • THE MUSIC • 16TH OCTOBER 2013


the guide

G!RL TOY Perth-based artist. Describe your art. Not good enough to be featured in this magazine. Mostly consisting of cartoon dogs. What medium do you work in? Spray, acrylics, oils, house paint, markers, video, photo; all of which are applied on your dad’s back fence or your mum’s silky-smooth upper legs. Your favourite colour. Pink - neon or pastel. Personal favourite visual artist? The man that does that OBEY hat. It’s dope! Where can we catch your work? On that gigantic exterior wall via Good Shepherd Bar in Leederville… Or the nearest public toilet scrawled across the mirror; so you think of me as you ponder your life and outfit choices.

eat

drink

opinion

culture

fashion


eat

DESSERTED IN ASIA Want a sweet treat that that’ss not your y regular cake cake, ice-cream or pudding? Cyclone delves into the world of Asian desserts. Illustrations by Sophie Blackhall-Cain.

A

sian cuisine is mainstream in Australia, and has been for decades. But traditionally most Western people equate Asian food with savoury dishes – yum cha, sushi, noodles and home-prepared stir-fries – rather than desserts. It’s even been suggested that the very concept of ‘dessert’ is Western. At the end of domestic meals in China, fresh fruit is often served with tea. Sweet edibles like soup are enjoyed between courses at banquets, again as palate-cleansers. Nevertheless, sweets are popular snacks throughout Asia, where they’re sold by street vendors as a local fast food. Still, many Asian recipe books available in Australia skip the dessert section. And, when they do contain a recipe, as does the slick Australian Women’s Weekly tome Japanese, it’s frequently for something decidedly inauthentic – cue: Chocolate Pudding with Red Bean Heart. Once a typical Chinese restaurant in suburban Australia might list a couple of desserts in the menu as a concession to its Western clientele – perhaps a banana (or pineapple) fritter with vanilla ice-cream. Ironically, the banana fritter was introduced to the Malay Archipelago region as a breakfast food by the Portuguese (as was the Portuguese custard tart to China and tempura to Japan). Talk about Asian fusion – or gastronomic cross-cultural exchange. Then that restaurant’s patrons would be offered the ubiquitous fortune cookie – which is non-existent in China, being invented in America by immigrants in the 20th century and feasibly based on old Japanese customs. But perceptions – and tastes – have changed. Today desserts from across Asia’s myriad cultures are all the rage. We’re discovering unique and innovative custards, puddings, dumplings, pancakes, doughnuts, buns, icecreams and shaved ice delicacies. Much of this Asian dessert mania is a blissful legacy of multiculturalism – yet Australians are also travelling like never before, with Asia a common holiday destination. Our palates are more sophisticated and so the idea of tofu (bean curd) in a dessert intrigues. Catering to this collective curiosity is the posh magazine Gourmet Traveller. 48 • THE MUSIC • 16TH OCTOBER 2013

ASIAN FAVOURITES BUNGEOPPANG A fish-shaped dessert that literally translates to “carp cake/bread”, this is a popular Korean street vendor treat that has red bean paste inside a pastry. Some versions are filled with ice-cream and sold at supermarkets.

AIS KACANG

The craze for Asian desserts began with many sampling the subtle flavour of green tea ice-cream. Now that same ‘healthy’ green tea is even being added to cupcakes. What’s more, Australian franchises are marketing a variety of Asian sweet treats. Breadtop, an Asian bakery chain launched in 2002, sells the kind of buns savoured as snacks in Asia – including a red bean one. Red bean paste is a favourite ingredient in Asian delicacies such as Chinese mooncakes, the azuki bean boiled with sugar syrup. (It tastes like marron glacé – candied chestnut purée.) Breadtop also displays a range of cakes, from chestnut gateau to Japanese cheesecake to green tea mousse... not to mention the iconic ‘Australian’ lamington. Melbourne’s David Loh started Dessert Story (dessertstory.co), specialising in “Taiwanese and Hong Kong dessert secrets”, albeit with “a modern twist” – and currently has outlets in Chinatown, Chadstone and Richmond. When it opened in Chinatown, queues descended on Little Bourke Street. Dessert Story’s menu entails taro balls, black glutinous rice, crushed ice, sago black pearl soup and grass jelly. It has smoothies, too – like the lychee lingo with rainbow jelly.. Inevitably, supermarkets have acknowledged the appetite for multicultural desserts. Tucked away in the Asian section in Coles are affordable items such as Pandaroo tropical fruit jelly with coconut gel in flavours like papaya, imported from Malaysia, plus canned mangoes, lychees, rambutans and jackfruit. However, the wider Australian restaurant trade is yet to catch on. Not everyone is into Asian desserts. On the US blog chow.com there’s a long-running thread entitled “Asian desserts... why don’t I like them?” by one Morticia of Indian origin. “Excluding those pseudo-Asian dishes like fried banana with coconut ice-cream that are standard and geared to Western tastes, Asian desserts seem to be an acquired taste that I just cannot seem to acquire,” she writes. “Is it just me?” It soon could just be.

This Malaysian dessert is also commonly known as ‘ABC’, an acronym for ‘Air Batu Campur’ which means ‘mixed ice’. It’s shaved ice commonly topped with palm seed, red beans, sweet corn, grass jelly, cendol, ice-cream, cubes of agar agar (jelly) and drizzled with milk and syrup.

DOUHUA/ DOUFUHUA Also known as tofu pudding, this Chinese dessert is made from very soft, silky tofu. It’s often made to be neutral in flavour so you can add your own toppings, which include sweet syrup, tapioca, mung beans and coconut milk. Interestingly, douhua is also eaten as a savoury dish, with soy sauce, chilli oil, scallions and rice. Variations of the dish are often regionspecific. It can be served warm or cold.

MOCHI A Japanese rice cake made from short-grain japonica glutinous rice, mochi has a sticky, chewy consistency. Mochi can be filled with various things, like sweet bean paste, ice-cream and fruit.


drink

BEER IN POP CULTURE

SO GOOD YOU COULD BOTTLE IT

FILM

The IMDB synopsis for 2006 American comedy Beerfest reads: “Two brothers travel to Germany for Oktoberfest, only to stumble upon secret, centuriesold competition described as a “Fight Club” with beer games.” Rated 6 on IMDB and 41% on Rotten Tomatoes.

Whether you’re a craft beer expert, novice, or even new to beer in general, Sydney Craft Beer Week has something for everyone (above the age of 18). Danielle O’Donohue walks us through some options.

TV

“Duff beer for me/ Duff beer for you/I’ll have a Duff/You have one too.” So the Duff beer jingle goes on The Simpsons. Homer’s favourite beverage is not just fiction though, with real Duff beer available in selected stores in selected countries (without consent or permission from Matt Groening).

ART

Google “beer art” and you’ll find pics a plenty of impressive sculptures made entirely of beer cans. One example is New York-based Greek artist Nikos Floros’ piece for an exhibition in Athens – opera costumes made from aluminium strips using 20,000 beer and soft drink cans.

FASHION

Well... there’s a Pinterest: pinterest.com/ vermontbrewers/ beer-fashion-whoknew. And as well as beer goggles, you can actually buy cartoony beer-shaped novelty spectacles. Let’s just leave it at that.

D

rinking beer may be considered a national sport but there’s a big difference between picking up a couple of slabs at the local bottlo to chug at a mate’s barbie and the very thoughtful and considered consumption of the latest craft beers that have come out of some of the smaller breweries dotted across the land. Craft beer opens up a world of possibilities for the average beer lover; the flavours and variations seem endless and a real connection can build between drinkers and their favourite brewer. Sydney Craft Beer Week gives beer drinkers at all levels a chance to get to know their beer and brewers at a range of events in some of Sydney’s dedicated craft beer pubs. And don’t worry if you don’t know your Thunderbolt Strong Ale from your Moo Brew Hefeweizen. There’s plenty of events for the novice craft beer drinker as well as the aficionado. Not sure how to plan your Sydney Craft Beer Week? Maybe we can help.

Vic) will discuss their way into the industry, while each will match two of their brews with tasty treats. And you don’t even have to be a woman to attend. Feral Game Of Thrones Lunch If the intrigue on your average episode of Wonderland isn’t quite up to the conniving of Cersei Lannister, or you’re waiting for dragons to fly over the Beauty And The Geek set, this lunch may just get you through until the new season of Game Of Thrones starts. Drink and eat like a Lannister about to go into battle. Two WA breweries, Feral Brewing Company and Nail Brewing are supplying the beer that will accompany this medieval banquet at the Royal Albert Hotel on 22 Oct. Over the course of the week there’s plenty of food matching events so you should be able to find one to suit your taste buds. The Brewers Bowl Off

Regardless of your level of expertise about craft beer, Meet The Brewer gives you a chance to quiz the makers themselves about what makes their beer stand out from the crowd. There’ll be 19 brewers from all over the country in attendance – each bringing one of their brewery’s latest supply – including Tassie’s Moo Brew, Victoria’s Two Birds and Byron Bay’s Stone and Wood. Held at Hart’s Pub in the Rocks on 25 Oct, there’ll also be pizza and the evening will set you back $90, but don’t forget there are 19 beers to taste.

Polish the shoes and gel the quiff. Manhattan Super Bowl in Mascot is hosting a bowling tournament with a difference on 24 Oct. First you’ll get the chance to knock over some pins, then the brewers themselves will challenge each other for the Brewers Bowl Off Trophy. You’ll also get the chance to enjoy some quiet brews in the lanes and after the bowling everyone will be heading to the Newmarket Hotel next door. If bowling seems a little too athletic, there’s also A Viking & An Elf… bingo at the Welcome Hotel featuring beer from The Little Brewing Co (NSW) and Ekim Brewing Co (NSW) or Stone & Wood’s Beer Trivia (NSW) at the Union.

Women Of Beer

Beer Mimics Food

While much of the advertising and conversation around beer in this country is directed at the blokes, there’s plenty of women who also enjoy a glass or two. Craft beer has also given women a chance to get involved in the brewing process. Several prominent craft beer labels have women at the helm. At Flat Rock Brew Cafe on 21 Oct Danielle Allen (Two Birds, Vic), Karen Golding (Red Hill, Vic) and Beth Williams (Hargreaves Hill,

One of the joys of craft beer is the sheer variety of flavours that brewers come up with. This event teams brewers up with foodies such as Ben O’Donoghue and Poh Ling Yeow to produce beers that tastes like some of your favourite dishes. The Welcome Hotel is even building a beer laboratory and producing speciality snacks for the occasion. Beer Mimics Food takes place on 20 Oct.

Meet The Brewer

THE MUSIC • 16TH OCTOBER 2013 • 49


fashion

TOP 5

JUMP BALL

SELLING NBA JERSEYS 1.

Carmelo Anthony, New York Knicks The defending NBA scoring champ, Melo stands as one of the most pure scorers of the last decade.

More fashion statement than fandom NBA jerseys are becoming fandom, the summer singlet of choice at Australian festivals. Benny Doyle enters the game to find out why.

2.

LeBron James, Miami Heat The greatest player currently walking the planet, the guy is a beast and does everything on the court.

P

erhaps it’s the fact that the game is played with a round ball that’s bigger than one’s fist – that does tend to make Australians a bit nervous. Maybe it’s the reality that no, we, a predominantly white country, can’t jump. Whatever it is, basketball has never gained a strong foothold in a sporting nation dominated by three codes of rugby and the baggy green. With this in mind, the increase of NBA jerseys throughout youth culture is rather astounding. More than ever before – even in the halcyon days of the early-‘90s when basketball cards were a religion and people actually watched NBL games – guys and girls are turning to the iconic sporting strips from the other side of the Pacific, the resurgence driven by men called LeBron and Carmello. “The ‘90s are back in, that’s what it is,” says Ty Joyner, store manager of Culture Kings urban wear store on Brisbane’s Queen Street Mall. “It was a ‘90s type of thing and it’s certainly come back to play. Jordan’s legacy will stay there forever; it’s kinda been what you’d call a staple type of singlet.” Mesh meat and potatoes if you will, this “staple” significance means that even if you don’t know your Kobe from your KG, you’re still going to be familiar, obviously not with flavours and textures, but with the colours, designs, logos and names. NBA singlets are now a standard sight at summer music festivals, and it’s not uncommon to see a roaming pack of youths adorned in ballin’ apparel, each repping their team of choice in a setting about as far removed from the parquet floor as possible. “I would have said a couple of years ago that it was more your basketball fans,” remarks Joyner when asked if there’s a typical type of customer purchasing strips anymore. Now, it seems, there’s no specific demographic whatsoever. “These days I think it’s just the fashion; it’s become more of a fashion [thing] than taking something away from the game itself.” So if it’s not the freak athleticism, the gravity defying slams or the incredible tenacity and speed of one of the world’s most exciting sports, then what’s 50 • THE MUSIC • 16TH OCTOBER 2013

pulling people towards the purchase of an NBA jersey? Musicians themselves. Joyner relates: “You see Snoop dropping an LA Lakers top and then everyone wants an LA Lakers top; you get Jay Z taking over Brooklyn [Nets], so hip hop and Jay Z fans are going to go out and buy a Brooklyn jersey.” Los Angeles and New York tie up the worlds of east and west coast rap quite nicely. Venture to a hardcore show, however, and it’s a completely different scene, with Boston Celtics and Chicago Bulls apparel preferred among the circle pit dwellers. Kim ‘Chewy’ Choo from Melbourne metalcore heavyweights Feed Her To The Sharks has seen the greens and reds spin and swing from the stage, and says that the NBA’s popularity now drives merch ideas for acts of their ilk. “I know a lot of bands from the last few years that have made jerseys up for their merch ‘cause they look pretty cool,” the guitarist says. “Even if someone doesn’t like basketball they’re happy to wear Bulls [gear]; it’s pretty fashionable I guess.” Ironically, Chewy supports the Nets, but he assures us he’s been with them long before Hova threw his weight behind the franchise and removed them from the cracked roads of New Jersey. For guys like him, though – real fans – what’s to make of all this: positive proliferation or bastardisation? “I’ve got some mates that are hardcore NBA fans and they kinda get annoyed when they see a kid wearing a jersey that doesn’t really follow the sport. But that’s just personal opinion,” he finishes democratically. The flipside to this is that the spike in jersey sightings is simply being dictated by music festivals in general. Bands used to be the only thing that mattered; now they’re part of an encompassing experience that can see you launching skywards in a bungee rocket one moment, dancing with masked men on stilts the next. Festivals are now designed to liven up the senses, and NBA singlets offer punters many shades of colour to help paint the party palette. And really, who wants to be part of the crowd? It’s about dunking on top of them.

3.

Kevin Durant, Oklahoma City Thunder It takes a special player to put Oklahoma on the map; Durant is that and so much more.

4.

Kobe Bryant, Los Angeles Lakers Going into his 18th season, the ‘Black Mamba’ still encompasses the glitz and glam of LA.

5.

Derrick Rose, Chicago Bulls Arguably the best Bull since Jordan, Rose has put the Windy City back on the basketball map.


culture

WHERE TO GET DOWN

SWEATIN’ IT OUT

MELBOURNE

Monday and Tuesday Booty Camp Workout, Next Level studio, 325 Victoria St, Brunswick. 7.15-8am. Tuesday and Thursday Beginners Class, Fusion dance studio, 478 Smith St, Fitzroy. 7.30-8.30pm.

From hypersexuality yp y to homophobia, homophobia p , Giuliano Ferlaa talks Jamaican dancehall dancehall.

Tuesday Open Class, Fusion dance studio, 478 Smith St, Fitzroy. 8.30-9.30pm.

BRISBANE

Wednesday Elements Collective, 17 McLachlan St, Fortitude Valley. 7.30-8.30pm.

SYDNEY

Thursday Dance Central, Level 1 – 268 Cleveland St, Surry Hills. 5.30-6.30pm.

PERTH

Wednesday Rita’s Dancehall Class, 357-365 Murray St, Perth. Grooves 5pm, choreography 6pm, collab class 7pm.

I

t’s last Thursday night and my friend Hanna and I are going to Fusion Studio in Fitzroy to learn how to dance dancehall. I’d done my research. I’d seen the YouTube videos of hypersexual women, shaking themselves all over so that they wobble and wiggle provocatively. I’d watched barely clothed and jiggly Jamaican women grinding up against sweaty, athletic Jamaican men. I had looked surreptitiously over my shoulder to make sure no one was watching me watch these videos, because they’re pretty much porn and it’s all pretty arousing. Anyway, I asked Hanna to come along to the class, mainly because I knew there would be a majority of, if not all, girls there. I thought that if I brought along a girl then that would add some kind of legitimacy to me being there. Like, maybe if I brought a girl I would present as a non-threatening male who was there to dance and not to perve on girls. If I’m going to be honest though, I brought Han along for one more reason. You know, the dancers are so sexually aggressive and like a lot of guys, I am both turned on by women who are sexually aggressive, and intimidated by them. I brought Han along because I was a bit scared. So we got there and I adopted my most journalistic and indifferent air and approached the reception desk at Fusion.

MC. They have a mic, and they play the instrumental B-side of a pop single, then start improvising lyrics over the top of it. The quality of the DJ is decided by how many ‘forwards’ – cheers or shows of hands – they get from the crowd. This still happens today, and as a result the pace of its evolution is fast. New rhythms and dances are constantly being created and producers will release new songs every week for the DJs. I called up Cat and KD Pwiti from Jungle City Projects, who put on the dancehall classes. They were good enough to give me an impromptu interview. I asked them about the hypersexuality of it. Cat said, “I think a Western person might listen to the lyrics and be really shocked or disgusted by it, but I think you have to put it into context and realise what that country has gone through, what their culture is, and what they relate to. When it comes to the sexual side of things they are a lot more liberated than we are.” Well, kind of. It’s the sexual aspect that gives rise to one of the dancehall culture’s most glaring contradictions – one that Cat and KD acknowledge as a problem. Dancehall is hugely sexually liberated in respect to heterosexuality, but completely repressed and phobic in respect to homosexuality, as in much of Jamaica.

Goddamn. What to do now?

In terms of hypersexuality, it canbe pretty affronting to an Australian. Cat explained: “The most notorious dance is called ‘daggering’ and it’s basically having sex with your clothes on. In Jamaica the chicks get right into it; it’s something that they do and don’t feel uncomfortable about. But in Australia and other Western countries that side of it is a bit intense and they find it off-putting. If that were to happen here you wouldn’t have anybody coming to classes,” she laughed.

First, a bit of history. Dancehall, which evolved from reggae, began in Jamaica in the late ‘70s. It came out of the ghetto culture and got its name because dancehalls were the only place you could see it. It all began with the DJs. See, in Jamaica a DJ doesn’t just play records to people (that’s what a selector does), a DJ is more like an

Jungle City Projects do classes every Tuesday and Thursday at Fusion Dance Studio in Fitzroy, as well as a two-hour jam session at Next Level Studios in Brunswick plus more – check their website for the full timetable. I’m going to get along to a jam session, and not just to perve, I promise.

Me: Hey, so, like, um… I’m writing an article for The Music. I’m here to do the dancehall class, or whatever. Girl: The dancehall class? Me: Yeah. Or whatever. Girl: The dancehall class has been cancelled.

THE MUSIC • 16TH OCTOBER 2013 • 51


opinion

OG FLAVAS

TRAILER TRASH

ROOTS DOWN

URBAN AND R’N’B NEWS BY CYCLONE

DIVES INTO YOUR SCREENS AND IDIOT BOXES WITH GUY DAVIS

BLUES ‘N’ ROOTS WITH DAN CONDON

Canada’s Aubrey Drake Graham has journeyed far from his days portraying basketballer Jimmy Brooks in Degrassi: The Next Generation. The rapper/singer is now promoting his third album on Lil Wayne’s Young Money, Nothing Was The Same – a US charttopper. Drizzy’s debut, Thank Me Later, and particularly 2011’s Take Care changed the timbre of hip hop, the MC not so much chronicling his lifestyle as revealing his psyche. Graham was dubbed ‘an emo rapper’ but, like his hero Kanye West, his music is inherently meta. He’s introduced fresh avant-garde sounds into urban, being inspired by Marvin Gaye, Aaliyah and James Blake. Nothing Was The Same led by the murky bass music of Started From The Bottom, completes a dysphoric trilogy. Graham consolidates and refines his musical ideas and consolidates themes. If anything, this album sees a slight shift in focus from examining the singular experience of fame to sustaining relationships. On the intricate opener, Tuscan Leather, Drizzy channels Yeezy at his flossiest (and uses chipmunk samples) – and references Australian actor Guy Pearce in Memento. The production is handled by Graham’s brilliant ally Noah “40” Shebib and their OVO Sound crew (which includes Boi-1da). Alas, there’s no further collaboration with The xx’s Jamie Smith, but Graham taps into post-dubstep with the Blake-y Worst Behavior. Still, most surprising is the ‘80s groove, Hold On, We’re Going Home – a deserved hit. ogflavas@themusic.com.au

DRAKE 52 • THE MUSIC • 16TH OCTOBER 2013

The St Jerome’s Laneway Festival has not traditionally been a blues/ roots/soul-friendly event, but this year they have managed to program a bill that’s diverse and brilliantly complementary.

PLANET TERROR

The post-movie debrief is de rigueur among my circle of film-reviewing pals, and so it was that a few of us recently shuffled out of a screening of Robert Rodriguez’s latest fauxgrindhouse epic, Machete Kills, and allowed the healing to begin. A friend aptly pointed out that Rodriguez (whose industriousness and ingenuity as a mini-mogul I increasingly admire much more than his chops as a screenwriter or director) has basically evolved into a super-villain known as The Trapmaster. “You think Machete Kills was lame? You’ve fallen into my trap!” he said, channelling Rodriguez. “If you think my movie is shit, you’re right – it’s meant to be shit! And if you think it’s great... well, thanks! Whatever view of Machete Kills you choose, YOU LOSE! Muahahaha!” The rest of us looked at him strangely before conceding he had a point. Then we started working out the plot of The Trapmaster, which is probably never coming soon to a cinema near you. Maybe it’s symptomatic of a deeper malaise or disenchantment, maybe it’s just the mood I’m in as I write this, but I’m lately finding myself kinda burnt-out when it comes to ‘so bad it’s good’. Sure, I jumped about with the Sharknado bandwagon when that masterpiece was doing the rounds but looking back I just feel dirty and a little ashamed that I gave such a nonentity the time of day. Yes, it had all the stuff any rational human would scoff at – a tornado full of sharks! The hero chainsawing his way out of a shark’s belly! – but in hindsight I realise I wasn’t even vaguely amused in any organic

fashion. Indeed, any laughter would have felt like a polite reaction – or worse, an obligation – to its desperately hacky schtick. One expects Sharknado-style nonsense from bottom-end hustlers looking to make a few bucks, but shouldn’t we be asking more from someone like Rodriguez? Even if the guy is renowned for his B-movie aesthetic, his work in the past has tended towards hotted-up, tricked-out B-movies with a dash of spice and verve. (We’re talking about the likes of From Dusk Till Dawn or his Grindhouse chapter, Planet Terror, here; some of his other stuff has been slapdash and sloppy.) Maybe being part of the ill-fated Grindhouse experiment was the worst thing that could have happened to Rodriguez. Yes, I dug Planet Terror the way one might dig a particularly greasy cheeseburger when nursing a particularly gnarly hangover. But his other submission, the Machete trailer, seems to have given rise to a franchise that should have been tossed in a sack and dumped in a creek the minute someone suggested transforming a two-minute gag into a full-length feature that has somehow spawned a sequel that’s equal parts shrill and sluggish. And seriously, if you can’t make effective use of Mel Gibson’s emergent craziness when you’ve cast him as a megalomaniacal nutjob out to establish a new world order from his space-station base, you might wanna reconsider this whole making-movies career.

But if you’re reading this, you probably don’t care much about the hip hop, indie rock and electro brilliance on offer. You should be interested in a few acts, however. The blunted psychedelic soul of Portland via Auckland trio Unknown Mortal Orchestra’s second LP II is one of 2013’s truly great records (it has suffered a little from being released in the first week of the year). The beguiling indie-folk of Daughter has captivated millions around the world over the past few months and their quick visit for Splendour a couple of months ago well and truly won over Australian audiences. Likewise, Melbourne lad Vance Joy seems to be winning scores of new fans each and every day with his restrained brand of luscious folk. Scotland’s Frightened Rabbit are a pretty great rollicking rootsrock band, King Krule is yet to prove himself to me, but the scarily young British troubadour has won over Billy Bragg, so he’s worth keeping an eye on as well. But the jewel in the crown is Kurt Vile. If you’re avoiding him because he’s cool, then wake up to yourself – he’s one of the great folk artists of our time with ridiculous songwriting chops and an expansive sonic palette that steers his songs into gloriously psychedelic territory a lot of the time. Don’t miss him. roots@themusic.com.au

KURT VILE


the guide wa.live@themusic.com.au

FRONTLASH

LIVE THIS WEEK

MY STORE

The old Myer building in Fremantle reopened as MYRE two weeks ago – if you haven’t dropped by to check out the art/ cultural/music community that’s flourishing, you certainly should.

DIRTY ‘GURGE

WAKE UP

Regurgitator’s The Dirty Pop Tour hits Indi bar on Wednesday 16 October; Prince Of Wales, Bunbury Thursday 17; Metropolis Fremantle Friday 18; and The Rosemount Hotel Saturday 19. Tickets through Oztix.

Off the back of their sophomore album Inside/Out, Melbourne’s Sleep Parade are set to hit the road once again with fellow rockers The Butterfly Effect for their October tour. They head to The Rosemount Hotel on Thurs 17 Oct.

ADDICTED TO BASS

THREE’S COMPANY

Thurs 17 Oct sees a big bass-heavy lineup descending on Ya Ya’s for all your live danceathon needs, as Child’s Play, Freqshow, The Weapon Is Sound (soundsystem) and beats maniac Yarkhob all drop it like it’s hot. $8 on the door.

After a wonderful decade of dynamic music making, Eddie Staszak, Laura Mitchelland Corinne Brokken, aka Trio Alegra, celebrate with this special concert at Kulcha on Sat 19 Oct. Tickets through kulcha.com.au.

ALL THE COLOURS

MOONLIGHT SERENADE

After a six-month trip around the world, Lower Spectrum has returned with a full-length album and a special evening to launch it, diving in full-force at The Bird on Thurs 17 Oct. Head to lowerspectrum.com to get your hands on a copy beforehand.

Insomniac? Shift worker? Jet lagged out-of-town visitor? Vampire? Night Cap Sessions at The Ellington has the cure for what ails you. Catch a late night helping of jazz goodness from 10.30pm on Wed 16 Oct. $5 on the door, no bookings required.

... AND SHOUT

INSATIABLE YOU

Hey all you dancers, It’s that time of the month again. Thats right, TW!ST descends on The Bird on Wed 16 Oct for their monthly midweek meeting. RTR’s Soulsides doyen DJ Fox will run you through it. Cheap pints and free entry!

Local trio The Insatiables found themselves facing a scary precipice after some pretty great releases and big shows in their history. After a big reformation, the band hit The Fly Trap on Sun 19 Oct with a new EP, Let Go Of Limbo, on the books.

OUT OF YOUR GOURD

XO

Singer-songwriter-musicians Totally Gourdgeous are festival favourites, playing their extraordinary handmade instruments created from woody vegetables. Catch them at Kulcha on Fri 18 Oct, tickets through kulcha.com.au.

It’s been 10 years since the sad passing of Elliott Smith, the man responsible for some pretty heartfelt music. Anton Franc, Our Man In Berlin, Archer and Light, The Shallows and many more honour his memory at The Bird on Sun 20 Oct.

FOR MORE HEAD TO THEMUSIC.COM.AU

LONG AND SHORTEN OF IT The Labor party has as a new leader in Bill Shorten. We give him twelve months.

BELIEVE IT Progressive house/trance DJ Michael Woods catapulted to internet stardom (unusual for a trance DJ) by refusing to play hip hop for Justin Bieber at a club in South Korea.

BILL SHORTEN

BACKLASH HACK AND SLASH

THIS WEEK’S RELEASES… BEST COAST Fade Away Kobalt/Jewel City KID MAC Head Noise MGM SEABELLIES Fever Belle Shock THE AVETT BROTHERS Magpie & The Dandelion Caroline

Slash has made his debut as a film producer in horror film Nothing Left to Fear, the Prognosis via Rotten Tomatoes is not good. Rob Zombie, don’t fret about the competition anytime soon.

BANKRUPT Laneway, Big Day Out, Southbound, Soundwave, etc, etc: It’s time to start setting aside those hundreds for the festival ticket trust fund.

PINGAZ AND DURRIES Bush Doof is now in the Macquarie Australian English Dictionary as a turn of phrase.

THE MUSIC • 16TH OCTOBER 2013 • 53


the guide wa.live@themusic.com.au

HAVE YOU HEARD

FOR THE BENEFIT OF

LIVE THIS WEEK

THE KIN

HEIRING OUT THE VIBES

SUNDAY CALLING

Answered by: Isaac Koren

The quirky, uncontained brilliance of Prince Rama is coming back Down Under. Disappear in the synth swirl created by sisters Taraka and Nimai Larson when they head to Amplifier on Sat 19 Oct.

The much loved Sunday Gentleman of Australian hip hop, Spit Syndicate head to Amplifier on Friday 18 Oct; Prince Of Wales, Bunbury, Saturday 19; and The Newport Hotel, Sunday 20.

CHASSION THE SUN

DOOM AND GLOAM

Watch out Australia, Canadian Tim Chaisson is returning to our land to once again embrace the tour circuit with ARIA award-winning artist Diesel. The two head to The Ellington Jazz Club on Thurs 17 Oct. Tickets through ellingtonjazz.com.au.

Written at a time when Loon Lake were on the road more than ever before and when members of the band were going through some major life changes, their debut album Gloamer is a bit of a trip. They bring it to Flyrite on Thurs 17 Oct.

NOT THE HEDGEHOG

GIRLS’ NIGHT OUT

Fremantle Arts Centre’s highly intimate concert series Sonic Sessions is set to , with twotime ARIA winner Sarah Blasko joining Grammy Awardwinner Lucky Oceans for an intimate evening of music and conversation on Mon 14 Oct.

Head down to The Bird on Sat 19 Oct to belatedly celebrate The International Day Of The Girl. An all-girl lineup of Nora Zion, Mei Saraswati, Jo Lettenmaier and Dianas will take you though it, with a special art exhibition in the house as well.

THE GRASS IS BLUER

I’M A WINNER

Bluegrass Parkway have recently returned from headlining a string of major US festivals. Fronted by famed bluesman Charlie Walden, their authentic 1940’s presentation and style will have you hoeing down at Kulcha on Thurs 17 Oct.

Aimee Francis has already established an impressive musical resume. She heads to The Court, Thurs 17 Oct; Elliot St Bar, Bunbury, Fri 18; Duckstein Brewery, Margaret River, Sat 19 (day) and Swan Basement, Sat 19 (night).

How did you get together? My brother and I made an album together in an old farm house and needed a drummer. We saw Shakerleg busking in the NYC Subway and asked him to join. He said no... Sum up your musical sound in four words? Beats, harmony, musical robbery. If you could support any band in the world – past or present – who would it be? The Beatles. You’re being sent into space, no iPod, you can bring one album – what would it be? Brian Eno – Music For Airports. Greatest rock’n’roll moment of your career to date? Musically ‘robbing’ Sharon Stone in Los Angeles with a get-away vehicle. Why should people come and see your band? Because our drummer doesn’t use sticks. When and where for your next gig? Our Get On It Tour starts in Perth at Ya Ya’s on 24 Oct! Website link for more info? thekin.com

BECAUSE I AM A GIRL Answered by: Francesca Hyde Who/What is the benef it for? In honour of The International Day of The Girl, proceeds are donated to Plan’s Because I Am A Girl Campaign. Why do they need help? Supporting girls’ education is one of the single best investments we can make to help end poverty. What’s the current situation like? Globally, one in three girls around the world are missing from classrooms – denied their right to an education by the daily realities of poverty, violence and discrimination. Who else is helping on the night? The members from Girls For Girls Perth, the generous musicians and artists who have donated their time and talent to the cause, the great people at The Bird. When and where can we help out? 8pm Saturday 19 Oct, The Bird, 181 William St, Northbridge. Website link for more info? facebook.com/ BecauseIAmAGirlPerth

FOR MORE HEAD TO THEMUSIC.COM.AU 54 • THE MUSIC • 16TH OCTOBER 2013


the guide wa.live@themusic.com.au

LIVE THIS WEEK

HAVE YOU HEARD

MY MARINA

RIDING SHOTGUN

CHILDSAINT

See Marina Prior as you have never seen her before - in an intimate performance, singing her favourite songs and sharing stories from her career – when she steps into The Astor Theatre on Fri 18 Oct. Showticketing. com.au for tickets.

Over the course of his career, Paul Dempsey has penned songs that have become part of the Australian musical landscape here him bring his new covers EP, Shotgun Karaoke, to Fly By Night on Sun 20 Oct, with special guest Olympia.

Answered by: Jane Azzopardi

HERE COMES THE CAVALRY

MOTOR CITY RAMPAGE

After spending their formative days writing songs in an old attic, Perth-based garage rockers Oh White Mare are set to unleash their debut self-titled EP. Officially released this month, their celebrating the launch at The Rosemount on Fri 18 Oct.

Untitled Collective presents a monthly journey through musical capitals in City To City, with Detroit being the first at The Bird on Fri 18 Oct. H. Maxwell, Mike P, H.W Sims and Viv G b2b Jeffrey A drop D-Town techno, house, funk and more.

OUT OF YOUR SCREENS

STICKS AND STONES

You may know Shameem’s voice from her track Turn It On, which has been featured in a major advertising campaign all over Western Australian prime time TV. Catch her live at The Ellington on Fri 18 Oct, tickets through ellingtonjazz.com.au.

RTRFM’s flagship dance music program Full Frequency will come to life at Broken, Beaten, Scratched – a night showcasing Perth’s thriving electro, breaks, d’n’b and dubstep scenes with unrelenting dance floor action on Fri 18 Oct at Geisha Bar.

How did you get together? Wine and cigarettes and late night songwriting sessions. Isn’t that how every band does it? A guy called Dave Taylor (Man the Clouds) is also partially responsible but don’t give him credit for it. Sum up your musical sound in four words? Gritty, dark, pretty, harsh. If you could support any band in the world – past or present – who would it be? TLC. Those babes are an inspiration to all women of our generation. No scrubs, bitches. Greatest rock’n’roll moment of your career to date? A lot of people seem to think we’re a lesbian band. Is that rock’n’roll? Chloe offered to get her kit off on stage once, but we ended up telling dad jokes instead. Why should people come and see your band? We may have the most awkward stage banter of any band in Perth. When and where for your next gig? 15 Oct, Ya Ya’s.

FOR MORE HEAD TO THEMUSIC.COM.AU

Website link for more info? facebook.com/childsaintband

PERSONAL BEST RECORDS

RABBIT ISLAND Answered by: Amber Fresh Best record you stole from your folks’ collection? Pentangle, Cruel Sister (1970) First record you bought? Kylie Minogue, in primary school. Some nice boys from Vanuatu came to stay next door. They showed me what “pop” music was and gave me a Vanuatu t-shirt. First CD was Led Zeppelin Remasters. Record you put on when you’re really miserable? Modern Lovers, Modern Lovers (stolen copy from Deni of Mental Powers). Or I just call up Lil’ Leonie Lionheart or Cam Avery and get them to sing for me. Or I play Cat Power covers on guitar. Website link for more info? facebook.com/pages/RabbitIsland/193486294006588

THE MUSIC • 16TH OCTOBER 2013 • 55


the guide wa.gigguide@themusic.com.au

THE MUSIC PRESENTS THE JUNGLE GIANTS: OCT 17, The Newport; OCT 18, Capitol

PATRICK JAMES: NOV 14, The Ellington; NOV 15, The Fly Trap

WOLF & CUB: OCT 26, Amplifier

BOY & BEAR: NOV 22 Metropolis Fremantle; NOV 23 Astor Theatre

THE CRIBS: OCT 29, The Rosemount

POND: DEC 12, Metropolois Fremantle

THE BREEDERS: OCT 31, Astor Theatre

ONGOING:

DAN SULTAN: NOV 16, Fly By Night; NOV 17, Ellington Jazz Club

GIGNITION: Upcoming band showcases 4-8pm last Sunday of each month at The Railway Hotel

GIG OF THE WEEK THE CRIBS: OCT 29, ROSEMOUNT HOTEL

WED 16

THE JUNGLE GIANTS: OCT 17, THE NEWPORT; OCT 18, CAPITOL

Johnny Cash The Concert feat. +Daniel Thompson + Stuie French + Tamara Stewart: Albany Entertainment Centre, Albany Amorphis: Amplifier Bar, Perth Rob Schneider: Astor Theatre, Mount Lawley Sugar Blue Burlesque: Brass Monkey Hotel, Northbridge

CLUB GUIDE

WED 16

Troy Division + Tomas Ford: The Aviary, Perth Motor City Miscellaneous feat. +Various: The Bird, Northbridge

Island Nite+Various DJs: Hula Bula Bar, Perth Tw!st feat. +Foxman + Seventh Son: The Bird, Northbridge

SAT 19

THU 17

Japan 4 feat. +Escue + Mo’Fly + DNGRFLD + Marko Paulo + Oli v Tone: Ambar, Perth

The Hi-Fi Lounge+Various DJs: Hula Bula Bar, Perth

Paul Scott + Jackness + Acebasik + Chiari + KNO Agents: Parker Nightclub, Perth

FRI 18

Zel + Troy Division + NDorse: The Aviary, Perth

Breakfest Warm-Up Party feat.+Tonic + Bezwun + Panda + DNGRFLD + Mo’Fly + Tee EL + 4by4 DJs + Marko Paulo: Ambar, Perth Rumpshaker Records Launch Party feat. +Beatslappaz + Philly Blunt + Nightcrawlaz + Ru-Kasu: Flyrite, Northbridge Sandro Silva + Zelimir + Mel Bee + Jump The Gun: Parker Nightclub, Perth

2 X TICS

SAT 19 OCT

Amorphis: Capitol, Perth

Rene Lavice + Mind Vortex + Mefjus + Rregula + DJ Illusiv + more: Villa Nightclub, Perth

SUN 20

Rooftop Sessions feat. +Dj Ben Sebastian + Paradise Paul + NDorse: The Aviary, Perth

Open Mic Night with +Chris Gibbs: Carine Glades Tavern, Duncraig 5 Shots: Crown Perth (Groove Bar), Burswood Night Cap Session: Ellington Jazz Club, Perth Bernardine: Greenwood Hotel, Greenwood Regurgitator + Wampire: Indi Bar, Scarborough Howie Morgan : Lucky Shag, Perth Fremantle Blues & Roots Club feat+Lloyd Spiegel + Rose Parker + Anton Thomas: Mojos Bar, North Fremantle Craig McElhinney + Ringham + Alpha Is The Omega: Moon Cafe, Northbridge Flash Nat & The Action Men + DJ James MacArthur: Mustang Bar, Northbridge Louis & The Honky Tonks + 10 Points For Glenroy + Golden String + Odlaw: Rosemount Hotel, North Perth

IL TIX AVAOR AT DO

SUNSHINE BROTHERS & EARTHLINK SOUND

SUN 20 OCT

EMAIL: WA.GIVEAWAYS@THEMUSIC.COM.AU

LADY VELVET CABARET

Nevsky Prospekt + The Loved Dead + Ben Protasiewicz: The Paddo, Mt Hawthorn Leighton Keepa: The Vic Hotel, Subiaco Mick Bennet: Whalers Restaurant, Exmouth Giggidy+Various DJs: Ya Ya’s, Northbridge

THU 17

Howie Morgan : Balmoral, East Victoria Park Open Mic Night with +Rob Walker: Brighton Hotel, Mandurah Monarchy: Crown Perth (Lobby Lounge), Burswood Rock n Roll Karaoke+Various: Devilles Pad, Perth Open Mic Night with +Pat Nicholson: Dunsborough Tavern, Dunsborough Night Cap Session + Tim Chaisson: Ellington Jazz Club, Perth Loon Lake + Timothy Nelson & The Infidels : Flyrite, Northbridge Diesel: Friends Restaurant, Perth Greg Carter: Gate Bar & Bistro, Success Karin Page : Grand Central, Perth Bluegrass Parkway + Charlie Walden: Kulcha, Fremantle James Wilson : Lucky Shag, Perth Bobby Alu + Mister + Simon Kelly Acoustic Trio: Mojos Bar, North Fremantle The Crooked Cats + DJ James MacArthur + Guests: Mustang Bar, Northbridge The Jungle Giants + Northeast Party House (DJ Set) + Greyjoy: Newport Hotel, Fremantle Regurgitator + Wampire: Prince of Wales, Bunbury The Butterfly Effect + Sleep Parade + Opia: Rosemount Hotel, North Perth Open Mic Night with +Claire Warnock: Settlers Tavern, Margaret River Lower Spectrum + Leon Osborn + Alpha Is The Omega: The Bird, Northbridge Jen de Ness : The Boat, Mindarie Libby Hammer: The Laneway Lounge, Perth Voudou Zazou: Vic, Subiaco Yarkhob + Freqshow + Weapon Is Sound + Childs Play: Ya Ya’s, Northbridge

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 56 • THE MUSIC • 16TH OCTOBER 2013

FRI 18

Money Over Bullshit Tour+Spit Syndicate + Joyride: Amplifier Bar, Perth Marina Prior: Astor Theatre, Mount Lawley Shades Of Indigo: Balmoral, East Victoria Park Mama Red & The Dark Blues + Feisty Burlesque : Belgian Beer Cafe, Perth Matt Angell: Belmont Tavern, Cloverdale Carbon Taxi: Best Drop Tavern, Kalamunda Frenzy: Boab Tavern, High Wycombe Acoustic Aly: Brass Monkey Hotel, Northbridge Trevor Jalla : Broken Hill Hotel, Victoria Park B.o.B: Brook Bar & Bistro, Ellenbrook CoverUP: Brooklands Tavern, Southern River The Jungle Giants + Northeast Party House (DJ Set) + Greyjoy: Capitol, Perth Velvet: Carine Glades Tavern, Duncraig James Wilson : Chase Bar & Bistro, Baldivis Jean Proude: Citro Bar, Perth Seth ‘Squid’ Lowe: Clancys Fish Pub, Dunsborough Elouise & The Infinite Squeeze: Claremont Hotel, Claremont Cal Peck & the Tramps: Devilles Pad, Perth Northern Muse: Dunsborough Tavern, Dunsborough Dean Anderson: East 150 Bar, Ascot Howie Morgan : Empire Bar, Rivervale Diesel + Tim Chaisson: Fly By Night, Fremantle Dirty Scoundrels : Gate Bar & Bistro, Success Micah & Philly Blunt + Darts + Sardi: Geisha Bar, Northbridge Chris Gibbs: Gosnells Hotel, Gosnells Greg Carter: Greenwood Hotel, Greenwood Ricky Green: Hyde Park Hotel, North Perth Ben Merito: Indian Ocean Brewing Company, Mindarie Leah Grant: Inn Mahogany Creek, Mahogany Creek Almost Famous: Kalamunda Hotel, Kalamunda


the guide wa.gigguide@themusic.com.au Totally Gourdgeous: Kulcha, Fremantle Retriofit: M On The Point, Mandurah Daniel Thompson + Stuie French + Tamara Stewart: Mandurah Performing Arts Centre, Mandurah N’Fa Jones : Manor, Leederville Regurgitator + Wampire + Cow Parade Cow : Metropolis, Fremantle Hunting Huxley + Foam + Mudlark + Race To Your Face: Mojos Bar, North Fremantle Adam Hall & the Velvet Playboys + Cheeky Monkeys + DJ James MacArthur + Swing DJ: Mustang Bar, Northbridge Acoustic Nites: Peel Ale House, Halls Head One Trick Phonies: Port Kennedy Tavern, Rockingham Bobby Alu: Prince of Wales, Bunbury Ol’ Bouginvillea + Goat + The Right Way Up + Kortisol: Railway Hotel, North Fremantle Oh White Mare + Doctopus + Apache + Erasers: Rosemount Hotel, North Perth Howie Morgan Duo: Sail & Anchor, Fremantle Nightshift: Sail & Anchor (Upstairs), Fremantle Boom! Bap! Pow! + Clint Bracknell: Settlers Tavern, Margaret River Greg Carter: Swinging Pig (3.30pm), Rockingham Tandem: Swinging Pig, Rockingham Adrian Wilson: The Boat, Mindarie Jessie Gordon Trio + Karin Page : The Laneway Lounge, Perth The Midnight Collective + The Blues Stooges + Heath Marshall + more: The Northshore Tavern, Hillarys Easy Tigers : The Paddo, Mt Hawthorn Jamie Powers : The Principle Micro Brewery, Midland Shane Dickson: Wintersun Hotel, Geraldton Wiseoaks + Late Night Hysterics + Lunar Inverse + They’re Here: Ya Ya’s, Northbridge Nathan Gaunt: Yallingup Caves House Hotel, Yallingup

Halloweenfest feat. +In League + Emberville + Cupid Falls + Dropbears + It All Ends Here + The Moment We Fall + The Vultures + Tyto Kings + Life In A Glass House + Travis Collins: YMCA HQ (All Ages / 5pm), Leederville

SAT 19

Prince Rama: Amplifier Bar, Perth Johnny Cash The Concert+Various: Astor Theatre, Mount Lawley Retriofit: Balmoral, East Victoria Park Travis Caudle: Belgian Beer Cafe, Perth Astrobat: Boab Tavern, High Wycombe The Polka Dots: Broken Hill Hotel, Victoria Park Tandem: Brook Bar & Bistro, Ellenbrook Gee Whiz Duo: Brooklands Tavern, Southern River Mickey Avalon: Capitol, Perth Diesel + Tim Chaisson: Charles Hotel, North Perth Antics feat. +The Empty Cup + Antics DJs: Claremont Hotel, Claremont Why Georgia: Crown Perth (Lobby Lounge), Burswood Johnny Law & the Pistol Packin’ Daddies: Devilles Pad, Perth Ian Cocker: Dunsborough Tavern, Dunsborough Jonny Dempsey: East 150 Bar, Ascot The Insatiables: Fly By Night, Fremantle Greg Carter: Gate Bar & Bistro, Success Electrophobia: Gosnells Hotel, Gosnells Supernova: Greenwood Hotel, Greenwood Adrian Wilson: Hotel Rottnest, Rottnest Island Howie Morgan Project: Hyde Park Hotel, North Perth Boom! Bap! Pow! + Clint Bracknell: Indi Bar, Scarborough Shawne & Luc: Indian Ocean Brewing Company, Mindarie Trio Alegra: Kulcha, Fremantle Stratosfunk: Lesmurdie Club, Walliston Rhythm 22: M On The Point, Mandurah

The Sunshine Brothers + Fisherman Style + Earthlink Sound: Mojos Bar, North Fremantle Rocket To Memphis + Milhouse + DJ James MacArthur + Rockabilly DJ: Mustang Bar, Northbridge Light Street: Peel Ale House, Halls Head Stu McKay: Port Kennedy Tavern, Rockingham Money Over Bullshit Tour+Spit Syndicate + Joyride: Prince of Wales, Bunbury Chill Divine: Quarie Bar & Bistro, Hammond Park Teachings In Dub feat. +The KBI Sound System: Railway Hotel, North Fremantle Regurgitator + Wampire + Cow Parade Cow : Rosemount Hotel, North Perth Better Days: Sail & Anchor, Fremantle Bobby Alu: Settlers Tavern, Margaret River Aimee Francis: Swan Basement, North Fremantle Frenzy: Swinging Pig, Rockingham Greg Carter: Swinging Pig (3pm), Rockingham International Day of the Girl feat. +The Dianas + Mei Saraswati + Nora Zion + Jo Lettenmaier: The Bird, Northbridge The Insatiables: The Fly Trap, Fremantle Astrid Ripepi + Libby Hammer: The Laneway Lounge, Perth Huge: The Shed, Northbridge Arcadia All-Nighter+Various: Ya Ya’s, Northbridge Masketta Fall + Forever Ends Here + The Take Over + Calm, Collected: YMCA HQ (All Ages / 1pm), Leederville

SUN 20

Kim Wilde + Nik Kershaw: Astor Theatre, Mount Lawley Electrophobia: Balmoral, East Victoria Park Shawne & Luc: Beaumaris Sports Club, Iluka Belleville Quartet: Belgian Beer Cafe, Perth Dove: Belmont Tavern, Cloverdale

Ricky Green: Brighton Hotel, Mandurah The Hitmen: Brooklands Tavern, Southern River The Polka Dots: Captain Stirling, Nedlands Jonny Dempsey: Carine Glades Tavern, Duncraig Lloyd Spiegel: Clancys Fish Pub, Dunsborough Velvet: Como Hotel, Como Monarchy: Crown Perth (Lobby Lounge), Burswood Kris Buckle: Dunsborough Tavern, Dunsborough Paul Dempsey + Olympia: Fly By Night, Fremantle Loren Kate: Fremantle Arts Centre, Fremantle Greg Carter: Gate Bar & Bistro, Success +Steve Parkin: Hyde Park Hotel (Courtyard), North Perth Retriofit: Indian Ocean Brewing Company, Mindarie Alitia Martin: Kalamunda Hotel, Kalamunda Megalight Multiculture: Kulcha, Fremantle Wesley Goodlet Jamboree Scouts: Lakers Tavern, Thornlie Nathan Gaunt: M On The Point, Mandurah Time To Jam +Various: Mojos Bar (Afternoon), North Fremantle Datura + The Last Fair Deal + Villain: Mojos Bar, North Fremantle Mossy Fogg + Curtis McEntee: Moon Cafe, Northbridge Tailgate Sundays feat. +Special Brew + DJ Razor Jack: Mustang Bar (4pm), Northbridge Blue Gene + DJ James MacArthur: Mustang Bar, Northbridge Money Over Bullshit Tour+Spit Syndicate + Joyride: Newport Hotel, Fremantle Sophie Jane : Peel Ale House, Halls Head Darren Gibbs: Quarie Bar & Bistro, Hammond Park Diesel + Tim Chaisson: Ravenswood Hotel, Ravenswood Acoustic Session with+Bobby Alu: Settlers Tavern (Afternoon), Margaret River Anthony Nieves: South St Ale House, Hilton

Pat Nicholson + Dean Anderson: Swinging Pig, Rockingham Elliott Smith Tribute feat. +Anton Franc + Our Man In Berlin + Archer & Light + The Shallows + Sidewalk Diamonds + more: The Bird, Northbridge Matt Angell: The Saint (Cider Bar / 12.30pm), Innaloo Howie Morgan Project: The Saint, Innaloo Retriofit: Universal Bar, Northbridge Chris Gibbs: Wanneroo Tavern, Wanneroo James Wilson : Whistling Kite, Secret Harbour Lady Velvet Cabaret+Various: Ya Ya’s, Northbridge Adept + A Breach Of Silence + Finders + Exanimis + Defy The Leader: YMCA HQ (All Ages / 1pm), Leederville

MON 21

Wire Birds: Brass Monkey Hotel, Northbridge Wide Open Mic+Various: Mojos Bar, North Fremantle Triple Shots: Mustang Bar, Northbridge Big Thommo’s Open Mic Variety Night: Ya Ya’s, Northbridge

TUE 22

Hot Chocolate + Jason Ayres: Astor Theatre, Mount Lawley Open Mic Night with +Josh Terlick: Brass Monkey Hotel, Northbridge James Wilson : Crown Perth (Meridian Room), Burswood Jack & Jill : Crown Perth (Groove Bar), Burswood Hans Fiance: Crown Perth (Lobby Lounge), Burswood Open Mic Night with +Anthony Kay: Kalamunda Hotel, Kalamunda Mind Canary + Little Skye + Wander Lust: Mojos Bar, North Fremantle Barefaced Storiebattle 2013 - Heat 3+Various: The Bird, Northbridge We Move Walls + Segue Safari + The Eerie Serpents : Ya Ya’s, Northbridge

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 16TH OCTOBER 2013 • 57


the end

EARLY XMAS DECORATIONS THE BAUBLE USAGE

It seems they are meant to replicate the apples that were originally used to decorate Xmas trees.

PROS Handy to have around if you run out of table tennis balls.

CONS Oops… not so handy if you have the glass ones.

TOO SOON? If these appear before Halloween, be careful when bobbing for apples.

THE ANGEL USAGE

Something to do with the baby Jesus?

PROS Can keep the kids occupied for hours trying to get this on top of the tree.

CONS An arseache to get on top of the tree if you have no kids.

TOO SOON? Seriously, these can wait to Xmas Eve.

CRACKERS USAGE

Covering awkward silences at Xmas dinner.

PROS See above.

CONS Dad jokes.

TOO SOON? Xmas Day is even too soon for these.

58 • THE MUSIC • 16TH OCTOBER 2013



The Music (Perth) Issue #10