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W E D N E S DAY 2 5 A U G U ST 2 010 ~ I S S U E 14 9 0 ~ F R E E




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Fri 10 - Sun 12 September

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GIVEAWAYS Four friends fifind nd themselves trapped in their hometown in The Crazies, a reinvention of the George Romero classic 1973 film. The inhabitants of a small Kansas town are suddenly plagued by insanity and then death after a mysterious toxin contaminates their water supply. Thanks to Roadshow Entertainment we have five copies of the DVD up for grabs! Subject Line: THE CRAZIES OscarŽ-winning The Lord of the Rings Trilogy, one of the most magical adventures in motion picture history, can now be seen as never before. All three of Peter Jackson’s visual masterpieces have come together in The Lord of the Rings: The Motion Picture Trilogy Blu-ray Box Set. Thanks to Roadshow Entertainment we have three copies to give away! Each set has a RRP of $99.95. Subject Line: LORD OF THE RINGS ON BLU-RAY FRANKLY! It’s a pop festival, returns to the Brisbane Powerhouse with a stellar collection of artists: Xiu Xiu, High Places, Crayon Fields and more. We have got three double passes to give away to the event which is on Saturday Sep 4. Entrants must be 18+. Subject Line: FRANKLY!

On Saturday Aug 28, Kristian Fletcher presents the 5th Annual Brisbane Madonna Party an afternoon/evening of movies, rare footage and film clips, and a retro dance party at the Tribal Theatre. Thanks to Kristian Fletcher we have five double passes up for grabs! Entrants must be 18+. Subject Line: MADONNA PARTY In The Disappearance of Alice Creed, two ex-cons kidnap a young woman, Alice Creed, the daughter of a rich businessman and their passport to a better life. The film is a taut, emotionally intense thriller; the debut feature from writer/director J Blakeson eschews genre convention, generating tension from the sexual and psychological ties that bind captive to captors. Thanks to Icon Film Distribution we have 20 double passes to an advance screening on Wednesday Sep 1 at Dendy Portside at 7pm. Subject Line: ALICE CREED Brisbane poet Michael Thwaites, winner of the Newdigate Prize and Kings Medal for poetry, left behind a body of work that grapples with the immensity of space, terror of mortality, wonders of nature and legacy we leave. Director and grandson Robert Thwaites breathes new dimension into his verse with dynamic physicality, original music and powerful spoken word in A Catch of the Breath. It plays until Sep 4 at the Sue Benner Theatre, Metro Arts. Thanks to Metro Arts we have two double passes to the performance on Wednesday Sep 1 to give away! Subject Line: A CATCH OF THE BREATH



Get your music industry news from The Front Line 14 Lowdown – news, opinions, tours, Backlash, Frontlash 16 We say goodbye to Brisbane alternative rock heroes Powderfinger 20 Peter Fenton explains that Crow’s reunion was never going to be an exercise in nostalgia 22 Scary Kids Scaring Kids broke up, but couldn’t resist one last trip down under 23 Boston’s Death Before Dishonor are doing their best to negotiate an ever-changing industry 24 Freelance Whales are more likely to be seen in train stations than oceans 25 Chris Shifflet & The Dead Peasants is a way for the Foo Fighter to get in touch with his Americana side 28 Aussie legend James Reyne is happy to play while people are enjoying his work, old or new 28 There are big plans on the horizon for Bang Bang Boss Kelly 28 The Re-Mains tell us how they’re lucky to be alive 28 On The Record has the latest, greatest and the not so greatest new musical releases 30 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 30 Take a look at the fascinating performances that make up Brisbane Festival’s Under The Radar program this year 33 It’s been a huge couple of years for The Jacknives and they can’t wait to get up here to tell us all about it 41 Tiger Choir talk Tasmania and scheduling issues 41

CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Front Row Editor: Daniel Crichton-Rouse Editorial Assistant: Dan Condon Contributing Editor: Adam Curley ADVERTISING Advertising Account Executives: Melissa Tickle, Adam Reilly DESIGN & LAYOUT Designer: Matt Davis Cover Design: Stuart Teague ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Alex Gillies, Richard Alverez, Mark Beresford, Emma Heard, Andrew Haug, Stu Harvey, Adam Curley, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Bill Johnston, Tyler Jones, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Barrie Morgan



Find out what’s happening This Week In Arts 42 We cast a glance at the silver screen in Film Reviews 42 Robert Thwaites’ explores the work of his grandfather in A Catch Of The Breath 42 Emily XYZ encourages us to open our minds on the eve of this year’s Queensland Poetry Festival 43 Technical terminology is important to The Glorious Nosebleed director Benjamin Schostakowski 44 Cultural Cringe is Australian, whatever that means 44 As The Bedroom Philosopher, Justin Heazlewood is trying to figure out exactly what it is he does 46 We take a peek inside issue seven of The Lifted Brow 48 Actress Caitlin Stasey talks us through her relationship with Tomorrow When The War Began 48 Check DVD Reviews to ensure ultimate viewing pleasure 48


Our new Live section is packed full of tour info, live reviews, local news and more Stu Harvey gives us a Short Fast Report Dan Condon gets the dirt on the blues scene from the Roots Down Adam Curley cuts sick with another musical pop culture rant in The Breakdown Lochlan Watt gets brutal in our new metal column Adamantium Wolf We take you behind the music Behind The Lines What do you do when you need to get rid of something? g iFlog g





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INDUSTRY NEWS U2 UNITES COPPEL AND LIVE NATION American based concert promoter Live Nation Entertainment have announced their first foray into the Australian market, surprisingly alongside Melbournebased Michael Coppel Presents with U2’s upcoming tour. The press release for the Irish mega-band’s 360º tour, which has been long rumoured to come to Australia, states that the “dates are produced by Live Nation Global Touring in association with Michael Coppel and Live Nation Australia.” Live Nation, which puts on concerts in 57 countries and owns Ticketmaster, does not usually work with other promoters. The tour, whose dates were leaked on Saturday with a picture of a poster on a U2 fan website, was announced in an extensive eight-minute video on YouTube, where the band talk about the 360 degree stage. Coppel did not return The Front Line’s request for comments about the arrangement between the two promoters.

STOMP ENTERTAINMENT SOLD Stomp Entertainment announced a surprise sale last Friday via a press release posted on the company’s website. The Stomp Group – which includes STOMP, Play4Me and – has been acquired by a new company, Surrealus Pty Ltd, owned by Paul Uniacke and Edward Nedelko. They’re the owners/operators of the Franchise Entertainment Group, which owns Video Ezy, Blockbuster and EzyDVD. The press release outlined methods of payment to Stomp, but had no mentions of the company’s accounts payable, raising fears that, like Shock, Stomp’s creditors may not receive outstanding money. An email outlining the process of client’s invoices was circulated to stakeholders earlier in the day, but The Front Line understands that Surrealus will not be taking on any liabilities from the sale and the liquidity of the business is yet to be determined. It is expected that the directors of the former company will enter voluntary administration early this week, at which point a list of creditors will be available. Stomp will continue to work out of Abbotsford in Victoria and all existing staff have been offered employment with the new company although some have already indicated that they will be leaving.

SHOCK UPHEAVAL CONTINUES After Dotvan (formerly Shock Entertainment) entered into voluntary administration last week, a creditors meeting (who are owed a combined $4.2 million) was held last Friday and the Committee of Creditors was formed to consult with the voluntary administrator in regards to the process – and receive reports. The members are Matthew McQuade (Sony DADC), Belinda Dawson (Entertainment Distributors Company, EDC) Iain FynesClinton (Technicolor), Gil Mathews (Aztec International Enterprises), Johnathan Carter (Amcos) and Joel Whitford (representing Maria Falvo). As the assessments, which are being carried out by Hall Chadwick, continue a final report is expected within two to three weeks.

MOVES AND SHAKES Remote Control has announced a replacement for exiting Melbourne-based publicist Angela Ashley Chiew. Nicole Jones took up the role this week – for the past two-and-a-half year she has headed up the Teclo publicity team. The new freelance publicity company for Vanessa Bassili (formerly Shiny Entertainment) is called Little Old Me Publicity. The Front Line expects more freelance publicists to emerge in the next few months following the sales of Shock and Stomp.

45TH MUSIC DIRECTORY The 45th edition of the AustralAsian Music Industry Directory will be released Sep 1, the last to be published by IMMEDIA! before owner Phil Tripp retires. Early pricing stands at $55 for the print edition, $40 for a six-month subscription to the online version and $20 for the iPhone/iPad application. Tripp will be pursuing a career in stand up comedy in retirement, as well as writing a book on the industry.

INDEPENDENT NIGHT The fifth annual Jagermeister Independent Music Awards will be held Friday Oct 1 at The Forum Theatre in Melbourne. Formally known as the AIR (Australian Independent Record Label Association) Awards, AIR will continue to be a presenting partner despite the loss of branding. Performances on the night will come from The Amity Affliction, Cloud Control, Joe Chindamo, British India, Sally Seltmann and M-Phazes with Illy, Muph, Candice Monique, Solo & Mantra. Tickets are available now through Ticketmaster.

DEATH AT SWELL SEASON SHOW A 32 year-old man has jumped to his death on to the stage at a recent Swell Season concert at Saratoga Mountain Winery in California. Santa Clara Sheriff’s Office spokesman Rick Sung said police were treating the death as a suicide. Associated Press reported that Michael Pickels jumped six metres from the stage roof and landed near Irish singer Glen Hansard, who witnesses say put down his guitar to tend to the body. After a doctor in attendance tried to revive Pikels for an hour, he was pronounced dead. The duo (Hansard and Czech-born Markets Irglova) posted a message on their website after cancelling the rest of the show.

BOWDITCH LEADS LOCAL TOP TEN CHARGE Clare Bowditch (Modern Day Addiction) was the only Australian artist to debut in the top ten of the ARIA Albums Chart last week, landing at ten. UK metal icons Iron Maiden made the week’s highest debut with The Final Frontier slipping into second, unable to displace the incumbent Recovery by Eminem. But Australian-based acts make up half this week’s top ten with Bliss N Eso with Running On Air at three, Washington – who’s showing remarkable staying power – with I Believe You Liar at five, Birds Of Tokyo’s self-titled effort at six and Angus & Julia Stone (Down The Way) at eight. Former Killing Heidi team, Ella and Jesse Hooper, now known as The Verses, entered at 13 with their new album Seasons. Meanwhile, Powerfinger’s final and seventh studio album Golden Rule, has been certified double platinum, with the record sitting at 34 this week. And the figures for last week’s listings have been re-adjusted for Arcade Fire: they were incorrectly listed last week at ten, due to an issue with digital sales, but they actually held their sixth position with The Suburbs – they slip to 12 this week.

NOKIA CHANGES TONE Nokia’s lukewarm Comes With Music service, which was launched to streamline music access for phone users by bundling unlimited music access to a handset for a period of 12, 18 or 24 months, has been transferred to the global Ovi Music Unlimited brand.

PUKKELPOP TRAGEDIES 22-year-old Charles Haddon of Ou Est Le Swimming Pool died late Friday during the Pukkelpop festival in Hasselt, a town in eastern Belgium. District attorney Marc Rubens said police were treating the death as a suicide. After finishing their set, which concluded in a female fan needing hospital treatment after a stage dive from one of the members (reports are conflicting as to whether it was Haddon or keyboardist Joe Hutchinson), Haddon reportedly jumped from a mast in the artist parking area. Footage on YouTube, which has now been removed, saw Haddon say that the band were to be back in October for their own tour. Their single Dance The Way I Feel has been a triple j hit here and with their album Christ Died For Our Synths due for release in October, the band were booked to play the upcoming Parklife festival. La Roux vocalist Elly Jackson dedicated their set at V Festival to the late singer. In a tragic week for the event, The Call’s frontman Michael Been – who was at the festival working as a soundman for Black Rebel Motorcycle Club, which features his son Levon Been – also passed away on Thursday after suffering a heart attack.

INSTRUMENTS DOWN US singer/guitarist Kenny Edwards died age 64 of cancer last Wednesday – a founding member of Linda Ronstadt’s 60s country rock outfit The Stone Poneys, Edwards continued playing with Ronstadt when she went solo as well as working with Don Henley and Stevie Nicks. Robert Wilson, bassist with The Gap Band died age 53 of a heart attack at his home on California Sunday Aug 15 – he shared the band, who were hugely popular in the 80s, with his elder brothers Charlie and Ronnie Wilson.

GO FOR A GRANT Applications for the 2011 Lord Mayor’s Young And Emerging Artist Fellowships are now open to artists and art workers aged 17 to 30. The council will also be hosting another grant writing boot camp this Thursday at ACPA South Brisbane to aid applicants with their entries (bookings are essential through the council). Formed in 1995, the Fellowship has given grants to 70 individuals

up to $20,000 each. Applications for the 2011 Creative Sparks program are also open, with applicants in the following fields, Creative Projects that Enrich Brisbane’s Communities; Development Opportunities for Artists and Arts workers; Arts and Business Partnerships; and Creative Laneway Activation. Applications close Oct 11.

FRESHLY INKED Brisbane-based national post-hardcore leaders The Amity Affliction have signed a deal with American management organisation, The Artery Foundation (The Devil Wears Prada, Attack Attack!, Asking Alexandria) in the hope of cracking that market. They will be joint-managed by their current and Australian-based group Staple MGMT. The band, who are currently on a regional tour, also announced dates in the UK last week where they’ve built a steady following. Killswitch Engage guitarist Adam Dutkiewicz and former vocalist Jesse Leach have signed to Roadrunner with their new project Times Of Grace, who will release an album Nov 5. Hungry Kids Of Hungary, who recently won the Song Of The Year award for Wristwatch at the Q Music Awards, have signed to indie label Stop Start Music leading up to the release of their debut album Escapades Oct 1. The John Steel Singers have joined Dew Process ahead of their debut album Tangalooma, due for release in November. Melbourne’s Alpine have signed to Ivy League records and are currently celebrating with a residency at the Northcote Social Club in their hometown. The Other Tongues roster continues to grow with 78 Saab’s signature to add to the list. Their first album in three years, Good Fortune, will be released Oct 15.

MUSIC PLEADS TO GOOGLE Prominent American music industry groups have submitted a letter to Google CEO Eric Schmidt, asking him for more prevention from online music copying. The open letter features the signatures of the Recording Industry Association of America, Music Managers Forum, the American Federation of Music, the Californian Songwriters Association, American Association of Independent Music and more. The letter cites “child pornography” deterrents as an example.

2010 DELEGATES WILL RECEIVE ACCESS TO: sAll MUSEXPO Asia Pacific conference and panel sessions sOpening night function sDaily networking functions including breakfast, lunch and tea breaks sVIP delegate facility at ONE MOVEMENT MUSIC FESTIVAL sFull access to all artist showcases

2010 Speakers Include:

6TH – 10TH OCTOBER 2010

TODD RUNDGREN (USA) Hit singer/ songwriter and producer

STEVE SCHNUR (USA) Worldwide Executive and President of EA Music Group

TROY CARTER (USA) Founder, Chairman & CEO, Coalitiion Media Group and Worldwide Manager for Lady Ga Ga

RON SPAULDING (USA) President, Fontana Distribution



Delegate Passes Now On Sale: 14



Last week we had a look at some of the music industry’s makers and shakers who will move converge on Brisbane for the annual BIGSOUND 2010 conference – this issue we hear from some of the bands from all around Australia who will be trying to impress those bigwigs with their performances at the showcase component of the bash, a line-up which includes some of the brightest sparks on the current Australian scene. What are you hoping to achieve from showcasing at BIGSOUND? We hope to achieve a big round of applause and lots of smiling.



Short description of your band and your music: Loudness, softness, melodies, yells, happiness, sadness.

Hometown: Adelaide, South Australia

What are you hoping to achieve from showcasing at BIGSOUND? We’re hoping to meet some new people, make some new friends and visit them again when we get overseas soon! Why should people come and see you at BIGSOUND? It will make an already amazing conference a very memorable one.

Short description of your band and your music: Fire! Santa Rosa, Fire! are one of Adelaide’s finest musical products of late, touring nationally in amongst some of the country’s best. F!SR,F! perform inventive, unrelenting indie rock, with a keen eye for detail and originality. What are you hoping to achieve from showcasing at BIGSOUND? BIGSOUND is the kind of opportunity afforded to a precious few bands in Australia, not to mention Adelaide. We hope our musical product is at the level where it can impress a group of intimidating conference guests, alongside such an impressive group of fellow bands. From the showcase, we aim to make connections with larger/broader labels, management and marketing groups, in the hope that we can make our national product global, within the next 24 months. Why should people come and see you at BIGSOUND? Pretty much, we’ve been nailing it lately – we’re more confident, polished and sure of our set than we’ve ever been, and are determined to “blow the lid off of it” come BIGSOUND. We’ve also been lucky enough to find some time to write new material, and are keen to fit some of that into our set at the showcase. If you have never seen us play before, you can expect an awkward/hilarious/ impressive/epic set full of mischief and mayhem.

Why should people come and see you at BIGSOUND? Because we are a diverse and interesting bunch of young men and that is reflected in our music, because the audience is just as important as us so we need everyone to come help us make a happening, and because I’ve been known to paint my chest and the other guys’ heads during certain songs.



BAND NAME: RICHARD IN YOUR MIND MEMBER: RICHARD CARTWRIGHT (GUITARS, VOCALS AND HARMONICA) Hometown: The Inner West of Sydney Short description of your band and your music: We play lots of different styles I think, but we float around a psychedelic pop kind of thing. We like to make sure those who like loud messy stuff and those who like neat quiet stuff are all satisfied and if you like all the stuff inbetween then sheesh, you’re in heaven.

Short description of your band and your music: There are four of us and we all snore. At shows we like to give tambourines to people. Most of the time they give them back after we play. We sound like The Zombies playing volleyball with The Beatles listening to a late 90s indie band covering Pet Sounds on holiday in West Africa. What are you hoping to achieve from showcasing at BIGSOUND? This is our third one! We hope to have as much fun as the first two times. Why should people come and see you at BIGSOUND? Because if they play their cards right they might walk home with a tambourine. But remember, all musicians are broke and stealing is wrong.

Short description of your band and your music: Boozegrass songwriting collective with five men that all play in other bands and try to organise fishing holidays and music tours and record albums. What are you hoping to achieve from showcasing at BIGSOUND? We want to be at the toppermost of the poppermost. It’s always good to make new friends. Why should people come and see you at BIGSOUND? I think it’s best not to have any expectations in life, but I will say that we promise to try our hardest to entertain.

WHAT: BIGSOUND 2010 conference program WHERE & WHEN: Fortitude

Valley, Brisbane Sep 8-10

WEBSITE: go to au for more details on both the conference and live component of BIGSOUND 2010


IN BRIEF Ou Est Le Swimming Pool frontman Charles Haddon committed suicide after his band’s performance at Belgium’s Pukkelpop festival over the weekend. He was 22 years old. Michael Been, lead singer of American new-wave rockers The Call, also passed away at the Pukkelpop festival. The 60-year-old was working with his son’s band Black Rebel Motorcycle Club when he suffered a heart attack.

FAIR’S FAIR As a solo artist she has sold a whole heap of records, won a bunch of Grammy awards and penned plenty of compelling and beautiful songs that live on as favourites in the hearts and minds of many; but when Sarah McLachlan, pictured, makes her way back to Australia in October of this year, she’ll be bringing something particularly special – A Taste of Lilith. Lilith Fair is the name of the festival that McLachlan founded back in the mid-90s to showcase female musicians and after a lengthy absence she has started it back up in the US this year. Now that the US tour is over, McLachlan is keen to spread the word and, as such, she is coming out with a couple of artists from the bill for a run of big shows out here. On Saturday Oct 16 the Brisbane Convention Centre will play host to not only McLachlan, but also the Court Yard Hounds (Martie Maguire and Emily Robison of Dixie Chicks fame) and our own Kate Miller-Heidke and The Verses. Tickets for this event will be available from Ticketek as of Thursday Sep 2 from $149 up to $249. One dollar from every ticket sold goes to the Ovarian Cancer Research Foundation.

HATE YOUR HEROES Given the results of our recent federal election, it seems kind of appropriate to be announcing a tour from a band by the name of Despised Icon. No, it’s not the sideproject of one of our party leaders, the band are one of Canada’s most extreme metal bands, playing a brutally violent brand of deathcore. They’ve been together for ten years now, but their ensuing visit in November will be their first ever to our shores, so get ready for some seriously intense metal as we’re sure they’ll be looking to impress us. They play The Hi-Fi on Sunday Nov 14 with support from two of Australia’s finest in The Red Shore and Thy Art Is Murder. Grab yourself a ticket from OzTix and outlets from Saturday Aug 28.

Peter Gabriel has cancelled his trip to Melbourne scheduled for November. The show, set to hit Etihad Stadium on Monday Nov 1 will still go ahead with Beach Boy Brian Wilson taking Gabriel’s place on the bill.

THE FULL ROTATION There’s not too much that we really need to say about this tour announcement. U2 tend to speak for themselves. The Irish megastars are one of the most popular bands in the world and have been for decades now, their albums sell by the truckload but it’s their live shows that really set them apart from any other act on the planet. They pack out stadiums all over the world and treat their audiences to some of the most high-tech live music experiences you’re ever likely to witness, always ahead of the curve when it comes to providing a stunning live show. The band’s latest tour is called U2 – 360° and word is it has been blowing away audiences all over the planet since it began. Australia gets its turn at the end of this year with the band cruising in for a show at Suncorp Stadium on Wednesday Dec 8. Tickets go on sale from Ticketek at 9am Friday Sep 3, and you’re going to have to be like lightning if you want one. Word is some tickets will be available for just $39.90, with the majority available for $99.90. Support comes from some dude called Jay-Z!


Local noise rockers Sleepwalks are heading to Chicago in mid-October to record an album with none other than Steve Albini. Golden Rule, the seventh studio album from Powderfinger, has gone double platinum. The band are also set to release a vinyl boxset of all of their albums to coincide with their final tour. A Swell Season show in Saratoga, California has been marred by the suicide of a punter. The man jumped three stories and landed on stage. Attempts to revive him were unsuccessful. Dance music megastar Calvin Harris has leant UK’s The Ting Tings a hand, mixing their new single Hands.

Pink Floyd guitarist David Gilmour has teamed up with legendary UK dance duo The Orb for a collaborative album. Metallic Spheres will be released early in October.

SLEEP WHEN YOU’RE DEAD The rumours have been circulating for a few weeks now, but we’re now pleased to be able to dish out the full details of the brand new heavy music festival No Sleep Til Brisbane. It’s happening at the RNA Showgrounds on Sunday Dec 19 and, well, just take a look at this fucking line up. Megadeth will be playing their 1990 thrash classic Rust In Peace in its entirety in the headlining spot, alongside NOFX, Dropkick Murphys, local heavyweights Parkway Drive, punk rock legends the Descendents (their first Australian tour ever), A Day To Remember, GWAR, Katatonia, Alkaline Trio, Atreyu, Frenzal Rhomb, Me First and The Gimme Gimmes, 3 Inches Of Blood, Suicide Silence, August Burns Red, We Came As Romans, House Vs Hurricane, Break Even, Heroes For Hire, Confession, Antagonist AD, The Outsiders, Shitripper and Leeches. Tickets are available from Moshtix from Thursday Sep 9.

BAABA GETS GLOBAL The Bellingen Global Carnival has always offered up world class line-ups of music styles from all over the globe, and when they announced their line-up for this year we were once again suitably impressed. However, the festival have just dropped a bombshell in the past week with news that the one and only Baaba Maal has been added to the bill for the 2010 festival. His fusion of funk, rock and blues with West African beats and melodies has made him one of the most exciting performers in world music today and it is very exciting to have him performing a show exclusively for the Bellingen festival. The bill also features Mulatu Astatke with The Black Jesus Experience, Lulo Reinhardt, Gyuto Monks, Diego Guerrero Flamenco Latin Quintet, Ego Lemos, Ash Grunwald, The Bamboos, Public Opinion Afro Orchestra, Vulgargrad, The Bombay Royale and Grrilla Step featuring DJ Dexter and happens from Friday Oct 1 to Sunday Oct 3.

STILL TOGETHER American/Canadian supergroup The New Pornographers have been making amazing pop music for well over a decade now and have five wonderful records to show for their hard work, the latest of which is this year’s Together. While the members’ respective musical efforts outside of the band, particularly those of Neko Case, have arguably outshone the band’s work in recent time, you can’t deny that they still have a real knack for penning a killer tune. The band have been over to Australia quite a few times in recent years, but that doesn’t mean we’re any less excited to tell you that they are coming back later this year, stopping in to showcase tunes from throughout their awesome career at The Zoo on Tuesday Nov 9. Tickets are available from OzTix for $58.15 from Friday morning onwards.


FIFTH TIME LUCKY? You probably know by now that Angus & Julia Stone are really popular. Well if you want to know just how popular they are, check this out. The folky brothersister duo are hitting the road next month for a big national tour and have already sold out four shows at The Tivoli. As such, they have now announced a fifth and final date at the venue on Thursday Sep 23 and we reckon that’ll probably sell out too, so if you’re not already going to one of the shows (or you want to catch them more than once) you should hit up Ticketek right away to secure yourself a spot. Tickets are $57.20.

Hard rocker Ted Nugent has been fined $1750USD for violating hunting laws. With a total of $63 million dollars, Jay-Z has been declared hip hop’s highest earner of the past year by Forbes magazine.

MERRY MEREDITH If you’ve not yet experienced a Meredith Music Festival then perhaps you will be convinced to be a part of their 20th anniversary, which just so happens to be this year. The vibe at Meredith is inexplicably awesome and the festival is highly recommended to anyone who loves music and isn’t a massive jerk. The line-up for this year is incredible: The Fall, Dirty Three, Washed Out, Little Red, Girls, Neil Finn, The Clipse, Custard, Sharon Jones And The Dap-Kings, Reverend Horton Heat, Pantha Du Prince, C.W. Stoneking, El Guincho, The Heatwave, DJ Harvey & DJ Garth, Sally Seltmann, The Dead Salesmen (duo), Those Darlins, The Field, Broadcast, Jeff The Brotherhood, Hoss, Rat Vs Possum, Cloud Control, Combo La Revelacion and the City Of Ballarat Brass Band have all been announced for the latest instalment of the legendary festival, which takes place in Meredith (just over an hour from Melbourne) from Friday Dec 10 to Sunday Dec 12. The ticket ballot has already been drawn, if there are any left they’ll be available from Tuesday Sep 7 – hit up for all the info you’ll need.

Melbourne pop rockers The Basics have announced they will be releasing their fourth album online for free. A deluxe version will also be available for those who want to pay up. Hipper than thou indie rockers Warpaint have announced that their debut album The Fool will be released on Monday Oct 25. I’m Still Here, the Casey Affleck documentary following a tumultuous year in the life of actor turned rapper Joaquin Phoenix will be released in US cinemas on Wednesday Sep 8. Kanye West has told Justin Bieber (via Twitter, of course) he would like to collaborate with him and Raekwon. Word is ‘Ye and The Chef have already prepared a remix of Bieber’s Runaway Love. Ted Leo has completed a musical theatre project. All of the details are available on

THE STARS REAPPEAR It was 2006 when The Audreys appeared, seemingly out of nowhere, and stole our hearts away with their debut album Between Last Night And Us. Of course since then they have been widely acclaimed for their laid-back, rootsy style of music and as such their third album Sometimes The Stars is one of the most highly-anticipated local releases of 2010. The wait is almost over, with the release date set for Friday Oct 8. To coincide with the release you’ll have your chance to see the band live as they head out on the road for shows all over our part of the country. You can see them at the Gold Coast’s Sound Lounge on Thursday Oct 28, Bangalow’s A&I Hall Friday Oct 29, Joe’s Waterhole, Eumundi Saturday Oct 30 and the Brisbane Powerhouse Sunday Oct 31. Tickets for all shows are available from the respective venues from Friday morning onwards.





















2 STAGES - FROM 1PM - $25
























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Indie pop master Sufjan Stevens has released a new eight-track, 60-minute online EP called All Delighted People. You can grab it from sufjanstevens.

DANCE TO ARCHITECTS Fuck it’s a good time to be a fan of heavy music. As if you needed any more awesome tours to enjoy, a massive triple bill of fantastic modern hardcore has just been announced for this December and it’s going to have punters punching the air with glee in no time. The UK’s Architects first came to Australia earlier this year as a part of the Soundwave festival and blew just about everyone away with their killer songs and incendiary live performances – they’re coming back at the end of the year and they won’t be alone, in fact they will be joined by two of their touring buddies from Soundwave 2010! Canada’s Comeback Kid are no strangers to Australia and even though they underwent a drastic line-up change a couple of years ago they’re still one of the finest hardcore bands going around. Rounding out the bill is Long Island’s This Is Hell who, like their fellow acts, bring some of the real spirit of hardcore to the modern arena. These three great bands kick off their tour with a big show at The Hi-Fi on Friday Dec 3.

GOOD THINGS COME IN THREES He’s proven himself to be much more than the frontman of Something For Kate since the release of his Everything Is True album last year, and if the response to his upcoming visit to Brisbane is any indication, Paul Dempsey is more popular than ever before. He comes up to play as a part of the Brisbane Festival in a couple of weeks and will be turning in three performances at the wonderful Spiegeltent in King George Square on Sunday Sep 5, Monday Sep 6 and Tuesday Sep 7. Suffice to say, you need to be pretty popular to pull off three Brisbane shows, but there’s no doubt that Dempsey has the clout, so to avoid disappointment you ought to hit up Moshtix to grab a ticket now, it’ll set you back $40 or $30 if you’re a concession card holder.

FOR OUR ENTERTAINMENT He is one of the most talked about performers to emerge from the Idol series of television shows and Adam Lambert has proven since the competition’s end that he is one artist worth talking about. While a great deal has been made of his openly homosexual orientation – claimed by many to be the first openly gay mainstream pop artist to launch his career in the US – his music has spoken just as loudly, with his debut album For Your Entertainment selling over 700,000 copies in the US to date. Lambert will be treating Australia to some relatively intimate live shows later on in the year and word from those who have seen him overseas is that they are quite captivating. You can see him at The Tivoli Friday Oct 22; tickets are available from Ticketek now for $63.50.

ROXY RETURN IN FLESH AND BLOOD If you think you’re cool, then you’ve clearly never seen Bryan Ferry; even at 64-years-old this guy just oozes class and is without a doubt one of the greatest frontmen ever to strut a stage. Ferry has been here fairly recently, but next year he returns with what we’re not afraid to say is something a hell of a lot more exciting – his old band Roxy Music. These British art rockers dominated the charts in their heyday but more importantly, their music still sounds incredible to this day and the chance to see the original line-up of Ferry, guitarist Phil Manzanera, saxophonist Andy Mackay and drummer Paul Thompson is very exciting. The band play their first shows in around five years at the end of this year in Europe before they head over here to play the Brisbane Riverstage on Tuesday Mar 1, with support from Aussie legends Mondo Rock. Tickets are available from Ticketmaster right now; they start at $123.58 and go up to $184.96. If you can’t afford it, try and convince your parents to buy you a ticket. They love this shit.

IN FOR THE KILL Nobody does dirty gutter punk better than The Murder Junkies. The band, fronted by the master of gross shock rock GG Allin until his death 17 years ago, have made themselves a career out of their crazy as hell onstage performances as well as their music which is packed full of brutal yet comical lyrical imagery. The band at present features Allin’s brother Merle as the frontman and original drummer Dino Sex, so what you’ll witness when they are here for the very first (and possibly last) time this October is a little bit of gutter punk history. Make sure you’re at the Step Inn on Friday Oct 1 when it all goes down, it’s going to be a riot. Tickets go on sale Friday.


Not Music is the name of the forthcoming record from British indie darlings Stereolab. The songs were all recorded in the same sessions as 2008’s Chemical Chords (the band are currently on hiatus).

Jamiroquai will release Rock Dust Light Star, their first album in five years, through Universal on Friday Oct 29.

The solo debut from Radiohead drummer Phil Selway, Familial, will be released the US and UK next week.

Keith Morris (Black Flag/Circle Jerks), Dimitri Coats (Burning Brides), Mario Rubalcaba (Earthless/Hot Snakes/Rocket From the Crypt) and Steven McDonald (Redd Kross) have formed a new band called OFF! Their first 7” EP will be out on Tuesday Oct 12.

RED SPARKS FLY The new album from Little Red is called Midnight Rambler and will be out on Friday Sep 10. Of course the band are going to be launching the record with an enormous tour of the country, where they will be showing off all of their new material as well as tunes from their breakthrough debut Listen To Little Red. That’s not all though, they are dragging one of Australia’s much loved but possibly forgotten indie rock acts as main support: Sparkadia have been spending most of their time overseas for the past year-and-a-half but are set to make their return to the scene with the release of their Talking Like I’m Falling Down Stairs single. They will be heading out with Little Red on one of the great Australian indie-pop/rock tours of the season; they stop in at Joe’s Waterhole, Eumundi Thursday Oct 14, The Hi-Fi Friday Oct 15 and the Coolangatta Hotel Saturday Oct 16. Tickets are available from the venues, OzTix and outlets now!

Local chamber pop group The John Steel Singers have announced they have signed to Brisbane based label Dew Process. Their longawaited debut album Tangalooma will finally be released on Friday Nov 5.

R&B star Faith Evans has been arrested for driving under the influence of alcohol in Los Angeles. Telephantasm, the career spanning retrospective from Seattle grunge legends Soundgarden, will be released on Friday Sep 24. Pocahaunted, the other project for Best Coast’s Bethany Cosentino, have announced they have split up.

FREE DOWNLOADS There’s just one week left for you to secure a couple of free tracks from some killer Aussie female singer-songwriters courtesy of Universal Music and Street Press Australia. The hugely popular Washington offers up Swallows from her recently released I Believe You Liar album on the eve of her almost completely sold out national tour, while the West Australian Ben Harper endorsed Grace Woodroofe has made available her tune Quicksand. Hit streetpressaustralia to download them both for nix!

And They Call Me Mad is the name of the new spoken word 7” single from Conan O’Brien and Jack White. It’s released in the US today on White’s Third Man Records. American comedian Margaret Cho will release her album Cho Dependent next month. It features guest performances from Fiona Apple, Andrew Bird, AC Newman (The New Pornographers), Jon Brion, Tegan and Sara and Brendan Benson. Erykah Badu has been forced to pay a $500 fine and is on probation for the next six months, charged with disorderly conduct for her public stripping in the Window Seat video clip.

JUST THE TICKET Now we know that you know the Soundwave line-up for next year by now. You’d have to be blind and deaf not to. The next step now that it has been announced is going about getting some tickets! You won’t want to sleep on this one, tickets are going to sell quickly, so if you didn’t get amongst the pre-sale that happened last week, make sure you hit Ticketek or tomorrow morning (Thursday) from 9am to secure yourself a ticket. Because Satan knows you don’t want to miss Iron Maiden, Queens Of The Stone Age, Slayer, Primus, Slash, Social Distortion, Rob Zombie, Avenged Sevenfold, Thirty Seconds To Mars, Stone Sour, Gang Of Four, New Found Glory, Pennywise, Sum 41, Anberlin, The Gaslight Anthem, pictured, Third Eye Blind, Devildriver, Sevendust, Less Than Jake, The Bronx, Monster Magnet, Terror, MXPX, Protest The Hero, Melvins, 36 Crazyfists, Ill Nino, The Ataris, The Starting Line, Bayside, Mad Caddies, The Maine, Trash Talk, Mayday Parade, Foxy Shazam, Never Shout Never, The Blackout, Alesana, Asking Alexandria, All The Remains, High On Fire, Dommin, The Sword, Kylesa, A Skylit Drive, There For Tomorrow, Breathe Carolina, Taking Dawn, I See Stars, Rise To Remain, Nonpoint, Veara and Every Avenue. Soundwave 2011 is at the RNA Showgrounds Saturday Feb 26. Tickets are $150 + bf.



Wyatt Roy in office? You have to be kidding – he’s not even old enough to have studied government at uni. At his age he should be more worried about getting to second base than trying to run the country…

Finally now people might stop making excuses for uber-fuckwit Matthew Newton! How long can you blame a penchant for hitting women on addiction and maintain the credibility for a public career? Hopefully the answer is ‘not much longer’…



You have to feel for affable Swell Season frontman Glen Hansard after a punter committed suicide during their set at a winery by jumping from the top of the stage roof and landing next to him on the stage. No-one deserves that…

Cool to hear that the old Riverstage is getting a makeover with the view of turning it into a state-of-the-art venue for all manner of artistic pursuits. It’s a cool asset given our climate, but it could certainly do with a bit of a facelift…



We totally adore Minnesota indie legends Low, but their recent announcement of an Australian tour without a Brisbane show has relegated them to “that quiet band of fucking Mormons”. Get your shit together Low, we’re onto you… WYATT ROY

The piss funny filmclip for The Thermals’ new single I Don’t Believe You features ex-Sleater Kinney legend Carrie Brownstein trying to work out where the bloody music is coming from – typically awesome song from the Portland trio as well…





SCARY KIDS SCARING KIDS (USA) FRI 27 AUGUST w/ Mod Sun, Stealing O’Neal, We Are The Emergency


STRYPER (USA) SAT 28 AUGUST w/ Special Guests





SUN 29 AUGUST w/ Tama Waipara










TUE 7 SEPTEMBER w/ City Of Fire (CAN), Incite (USA)




FRI 17 SEPTEMBER w/ Cauldron Black Ram, Vomitor and More






ATTACK ATTACK! – 18/9 18+, 19/9 u18 ENTER SHIKARI(UK) – 20/9 18+, 21/9 u18 OVERKILL(USA) – 23/9 YOU ME AT SIX(UK) & THE AUDITION(USA) – 24/9 MAYHEM(NOR) – 25/9 ASLAN(IRE) – 2/10 EXODUS(USA) – 4/10 BEN KWELLER(USA) – 5/10







G U A 8 2 T SA N TRIO,









THE TEMPO HOTEL 388 Brunswick St, Fortitude Valley. 18+ ID Required. Management reserve the right to refuse entry.


END OF THE ROAD going to take enough energy just pooncing around onstage for a couple of hours every night.” While sales for the tour have been phenomenal all around the country it’s in their actual and spiritual hometown of Brisbane where the fans’ chance to say farewell to their heroes has reached a pinnacle – to say that the prospect of a local band headlining five Riverstage shows is incredible is an understatement of gargantuan proportions. “It’s weird isn’t it?” Fanning laughs. “It’s awesome. We’re so excited about it – we’re doing more shows here than anywhere which is great, because Brisbane is obviously a massive part of Powderfinger and how we’ve developed. All of our initial support came from here. I think there’s a lot of people who have nostalgia attached to Powderfinger – and I mean that in a sense of probably even more than we do, in some cases.” Brisbane, of course, is where the whole Powderfinger odyssey began. The band gigged relentlessly around our seedy clubs and pubs before success came a knockin’, this early slog laying the groundwork for their future triumphs. “Initially we were doing it because we just loved getting together and playing songs, but those kind of ambitions came really quickly for us, I suppose,” Fanning recalls. “We’d play at a party, then we’d play at the Rock Awards at the Spring Hill Hotel, and then you’d play at The Orient with the Worms and the Toxic Garden Gnomes and bands like that, and you’re like, ‘Fuck, these guys are amazing!’ Then you start thinking, ‘Maybe we could do our own show here!’ Then you do your own show, and then you think, ‘Maybe one day we could sell out The Orient!’ It just kind of escalates like that. We’ve certainly always been people who have always tried to have a forward momentum, we’ve always tried to keep going forward and not thinking about the past and talking about it like we are now. “I think we all had a really strong work ethic – initially it was the four of us with Bish [Steven Bishop] our original drummer, then Darren [Middleton] joined, and then Cogsy [Jon Coghill] joined after Bish left – and we were all prepared to work really hard. The reality is – and lots of Time Off readers will remember – that we were totally shit when we started (laughs). We were pretty shit! We needed to practice a lot and do all that sort of stuff – there were all these bands around that were clearly much, much better musicians than we were, but I think we had a pretty good nose for a song and how to put a song together, and I think ultimately what keeps a band together is not prowess on the seven string Ibanez, it’s more about your ability to communicate with people through a song. “We would do pretty much any gig we were offered in those early days. Once we got our manager Paul [Pittico] and our agent Jess Ducrou, things started to change. We’d been to Sydney and done some shows down there, and we were offered some shows with The Screaming Jets, and Paul and Jess were saying to us, ‘Turn it down. Don’t do it. It’s not the right thing for you guys’. And that was the first time to us where we realised that it’s not just about music and having a good time and getting pissed with your mates, you actually have to think about things a little bit. I think that was very much a symptom of the fact that Nirvana had come along and it was all about this idea of ‘indie cred’ and all of that shit. The fact is that early on we somehow obtained a bit of indie cred despite the fact that we were on the biggest fucking label in the world (laughs). It’s probably got just as much to do with your mentality.”

On the eve of their final ever tour, POWDERINGER frontman BERNARD FANNING tells STEVE BELL why the city of Brisbane has been so integral to their phenomenal success, and why he’s so proud of the band’s indubitable legacy.


here will in all likelihood never be another Brisbane band as successful on a national level as Powderfinger. Over the past 20-odd years they’ve achieved nearly everything that there is to achieve musically in this country, in the process racking up far too many accolades and awards to bother trying to list here. They’ve soundtracked the lives of generations of Australians, and done so with a constant humility that is incredibly rare amongst those who have scaled the stratospheric heights that Powderfinger attained. Now, sadly, the end is nigh for the pioneering band. For the next few months they will undertake The Sunsets Tour – the biggest tour that they’ve ever embarked on – and then they will disband the group forever. One would imagine that the prospect of partaking in such a prolonged series of goodbyes would be a bittersweet

one, but not so according to Powderfinger’s eternally affable frontman Bernard Fanning. “No, not for me. Not yet,” he muses. “That will probably come towards the end, maybe. As far as I’m concerned it’s business as usual. We’re just getting ready to go on tour – we’re about to do the biggest tour we’ve ever done, so I don’t really have enough energy to be getting all emo about it. It’s

Thursday 26th August Dead Shades| Newland Archer Harvey Satan + Penny Lame

As they got bigger and started to achieve commercial success the nebulous concept of ‘indie cred’ became less relevant to them, but Powderfinger still managed the difficult task of keeping their integrity intact by relating their passion for important societal issues without letting these concerns overshadow the band. “That’s been something that we’ve always been careful about, but that we haven’t all necessarily agreed about,

Sunday 29th August Vinyl Party Aniki | Butterz

Monday 30th august Friday 27th August The Bloodpoets Dance Single launch Apolonea (SYD) | Motive DJ Slynk |Sangers

Saturday 28th august

648 Ann street fortitude valley QLD 4006


Toy Balloon | Tiger choir (TAS) Black Bear Woods DJ Charlie Hustle| DJ Bacon

Lauren Moore | Matthew

Tuesday 31st August Ivy May Dillon | My own pet radio DJ Cutloose

WEDNESDAY 1st september Luke Brennan & the Lazy Dogs | Maggie Collins

but the reality is that if anyone was uncomfortable about something then the band always deferred to that,” Fanning explains. “We didn’t want anyone to be doing stuff that they didn’t agree with. That carried on for a really long time, and recently started to change – that’s another thing that’s probably contributed to the fact that we’ve all said, ‘Okay, maybe we’re starting to think about things differently’. We’ve become obstinate old codgers, and it’s less easy to be flexible the older that you get and when you have a family and more individual concerns. “Our mentality was always, ‘We’re not talking about this because we’re better than you and you need to know what we think – we’re talking about this because we’re as confused about it as everyone else and we’re asking questions’. We want more people to ask questions. Maybe Midnight Oil created this perception that if you start talking about politics in your music then you have to know more than anyone else – and that was very much the case with those guys, they were right across everything they were talking about and they had definite ideas coming from probably one section of ideology, but they were pretty united about that. I think for us we were never saying, ‘This is the right way to do things – you have to think like this’, we were saying – and I suppose this is in particular with Aboriginal and Indiginous issues – ‘If you treat people like shit for a really long time, how do you expect things to change?’ If you keep sweeping it under the carpet by refusing to learn about it and acknowledge things that have happened in the past – as well as just having the respect to understand cultures a little bit – then it’s never going to change. That’s just a fucking lame way for a society to be.” The fact that the members of Powderinger decided to stay in Brisbane en masse for the duration of their stellar career also went a long way to endearing them to the people of our fair city. “Yeah, and I think that is a really big part of why we’ve had so much support from here. Us along with Screamfeeder and Regurgitator and Custard – all of those kind of bands from our generation – proved that you could stay here during your career because everyone else had gone, starting with the Bee Gees,” Fanning chuckles. “We went to Sydney and did some shows, and we were like, ‘Why the fuck would you live here if you could live in Brisbane?’. The people in Sydney couldn’t understand that. But this is a great city, and it’s turning into a really great city – it’s going to be an awesome city in another 15 or 20 years time. On an international scale, once it’s properly transported and stuff it’s going to be a pretty incredible place. It already is, but it has enormous potential and we always felt that. “There was also another very practical reason – it was a lot cheaper to live here. We could actually survive here, without having to work at KFC. If we ever thought of moving anywhere it would probably be Melbourne, because in the early part of our career it was pretty quiet by comparison up here and back then Melbourne had the music scene that was the envy of everywhere else. That changed pretty quickly in Brisbane – those years in the mid-90s when everyone was rehearsing in the Target Building was a really exciting and fun time. And not just a musician’s point of view but for the people who went to see music, it went from being bad dudes who went to gigs – the punky, pot smoking dudes – to everybody. Triple J started to spread that to a really national audience, then even pooncy private schoolboys like us would start going to gigs.” And now that the time has come for them to look back and take stock of their time as a band – is Fanning proud of the Powderfinger legacy?


BERNARD FANNING takes Time Off through an overview of POWDERFINGER’s incredible recording career.


Highest Australian Chart Position: -

BF: “It was all very exciting obviously. We were really pumped up. The Brisbane scene was going off, and there were a lot of people taking a lot of interest from all around the country. We were pretty heavily influenced by the other bands around us in Brisbane. We steered away from what I think we were really good at, which was writing really basic songs with good melodies – I think one review at the time said that our songs “disappeared up their own arse”, which was a piece of journalistic brilliance I think. [Not charting] wasn’t that big a deal because we were still doing supports and travelling around a lot and doing lots of shows, so we were still kind of living it in that sense, but I think the disappointment at that time was because we’d been led to believe that we were going to be going and doing shows overseas and getting releases overseas and that sort of stuff, and that never happened – that kind of tempered our enthusiasm for the promises of the music industry, and from then on we always had modest ideas of how things were going to go.”


(Polydor, September 1996) Highest Australian Chart Position: 4

BF: “We made an EP in between called Mr Kneebone, and I think you can hear that that’s a bit of a link musically. Things were simplifying a little bit. I think that Pick You Up was the first song written for Double Allergic, and that certainly set us on a path. I remember that I had kind of written the bones of that in a hotel room in Canberra – that song was actually called Room 19 right up until it was released, which would have been another brilliant decision on our behalf – and I remember the first time we played it on tour and it felt awesome and the crowd went berserk the first time they heard it. So we had that feeling for the first time where it was kind of instant, because we’d been playing all of this complicated time signature, semi-metal bullshit for years, and then we played that and went, ‘This is what we’re supposed to be doing!’ That certainly sent us down that path to Double Allergic, and we gained a lot of confidence from that.”


(Polydor, September 1998) Highest Australian Chart Position: 1

BF: “We went on a tour around the country with You Am I when Double Allergic came out, and [You Am I’s] Hourly, Daily was going ballistic, and we supported them all around the country and the crowd was going fucking berserk. They were obviously pumped up for You Am I, but we got a lot of support as well and we learnt a lot from them about how to put on a show and how to write a set-list, and that kind of shit gave us a lot of confidence to go and make Internationalist where we experimented a bit more. That coincided also with Haugy having a studio under his house which became our rehearsal room, and we were able to demo things and that gave us more scope to do things like The Day You Come which were more gentle and not so much about punching people in the face. Was our first Number One album special? I don’t know man. We were trying to take a lot of things in our stride, and weren’t getting carried away by things. We just didn’t care about that side of it – obviously we’d be excited for ten minutes, but we didn’t go down to the Red Garter and shout the bar! We probably should have actually, then we’d have a better reputation around the Valley. I listened to the Internationalist the other day and I love it – along with Golden Rule it’s my favourite Powderfinger record. There’s a lot of joy in it, and a fair bit of piss-taking.”


“Absolutely,” he offers without a second’s hesitation. “Of course. Like I said there’s always stuff that you could do better, but in general we’ve tried to stick to our principles, and at the end of the day to me that’s what really counts.”

WHO: Powderfinger WHERE & WHEN: Brisbane Riverstage

Saturday Sep 4, Sunday Sep 5, Wednesday Nov 10, Friday Nov 12, Saturday Nov 13, Caloundra Music Festival Friday Oct 8, USQ Toowoomba Saturday Oct 9 (all shows sold out)

(Grudge, December 2000) Highest Australian Chart Position: 1

BF: “I remember that it was really hard getting it together, because we were trying really hard to make an album that would gel together and every song would fit in with the next song. I remember that being a really difficult process. Because we’d made Internationalist with Nick [DiDia – producer], hearing what he did with sound helped us have a bit of a vision for what we wanted with Odyssey Number Five. We had such a great time with

him – we became friends with him really quickly – and having that confidence made a pretty big difference in terms of us being able to say, ‘Okay, we can try anything sound-wise’. That’s why I think Odyssey Number Five was so landscapey and wide sounding – that was the whole idea, it was supposed to sound like a movie. And I think we hit a bit of a purple patch with songs for that too.”

VULTURE STREET (Universal, July 2003)

Highest Australian Chart Position: 1

BF: “We’d started to be fairly popular in the live sense, and we’d started to play bigger shows after Odyssey..., so we wanted to play music that was a bit more powerful. Not necessarily ‘stadium’, but just more powerful. A lot of the Odyssey... stuff was so wide and dreamy sounding, so we just wanted to make a dry rock record. I was constantly saying, ‘Let’s try and make Exile On Main Street – let’s get Exile On Main Street and Physical Graffiti to have a baby!’ Obviously it sounds fucking nothing like that at all, but that was my mentality anyway. People say, ‘You say ‘baby’ and ‘honey’ and ‘darling’ and shit like that a lot, and wear tight pants!’ But (Baby I’ve Got You) On My Mind is a great rock song, and we’ve never really had something that’s had that much energy before or since. That song still has an energy of its own, especially live – it’s an absolute beast.”


Highest Australian Chart Position: 1

BF: “It was strange going back to the band [following the hiatus between albums] because things did change, in the sense that there was a deliberate step away from my writing. Some people feared that it would end up sounding like [Fanning’s 2005 solo album] Tea & Sympathy, but I think in hindsight we realised that it was a mistake. Also we weren’t trying to make an ‘album’ like we had with Odyssey Number Five and Vulture Street, we just put together a collection of songs. By the time we had that break where I made a record and Haugy and Darren and JC made records – I think that’s one thing that a lot of people forget, that four out of the five of us made records, it wasn’t just me – but I think we were really ready for a break from each other, and by the time we got back together, we were probably still ready to be having a break (laughs). We might have come back a bit early. But then trying to do things a bit differently – not using Nick and going away from Australia to do it – that was a bit of a failed experiment. And it was an experiment: we wanted to try and do things differently to see what would happen, and I think there’s some great songs on there – in fact I think some of our best songs are on that record – but it just doesn’t hold together as an album as well as some of the others. I don’t think it’s a shit record and I’ve never said that, even though people think that I think it’s a shit record. I had a shit time when we were making it – I had a really shit time being in the band then. It wasn’t fun for me, and I didn’t feel a very much a part of it.”


(Universal, November 2009) Highest Australian Chart Position: 1

BF: “[Making Dream Days...] was a weird time – in my personal life things were fucking awesome and the best they’d been for years, but in the band they weren’t good – it was just a really odd feeling. I certainly lost a bit of focus then, but that also fed into why Golden Rule is a really good record – it helped us focus and think that we could do better than that. I love Golden Rule a lot because it’s still new, and I think there’s a lot of really well-executed ideas that we worked pretty hard at and actually cracked the code of. I’m really proud of it, we were actually able to make the kind of record that we were really trying to make – which was to change our sound, but to stay true to the things that we were really good at. Not be ashamed of the fact that we sometimes write big hairy, romantic choruses. That’s fine – not many people can fucking do it very well – so we thought, ‘Let’s be proud of that’. Also let’s try and look down some roads that we haven’t looked down before, and use some different sounds and stuff like that.”

to win free flights? It’s easy. Simply “like” AirAsia at for your chance to win. 7 prizes up for grabs. See full terms and conditions at

(09 AIR0555


AS THEY FLY Esteemed 90s rockers CROW have been off the radar for over a decade, but now they’ve returned clutching a brand new album. Frontman PETER FENTON talks to STEVE BELL about the signs, intuitions and unhinged imaginary characters that were pivotal in this most welcome reformation.


eformations are a notoriously tricky affair. Usually there is a very good reason why a band calls it quits in the first place, and often this will fade with the passing of time until the group can’t remember what the issue was, only for it to resurface almost instantly when they decide to get back together. Sometimes the intangibles which made a band great the first time around just don’t resurface when it’s their time to add to a reunion, other times the band should just have left good enough alone and realised that they weren’t that much chop first time around.

In the case of 90s Sydney stalwarts Crow there are no such concerns, for their return to the national spotlight sees them armed with a sterling new album – their fourth, titled Arcane – that proves without a shadow of a doubt that this fine band still has a hell of a lot to offer. The band

began flirting with reformation down in Sydney a few years back, with enough success that the original line-up – songwriters and co-frontmen Peter Fenton and Peter Archer, bassist Jim Woff and drummer John Fenton – were coerced back into the studio, where they quickly found that the chemistry which made them so enigmatic a proposition in their first incarnation was still firmly intact. “There were a series of signs,” Peter Fenton offers when quizzed about the band’s decision to put itself through the wringer again. “A late night text from Daniel Denholm who mixed our last record [1998’s Play With Love], saying ‘Hey, the time is right for another Crow record’. He’d just been working on a record and it reminded him of our last record in some ways, so he thought that the world might have shifted a little bit so that it understood us a little more. And my brother had returned back into the family fold after being adrift for a few years, we were spending Christmas at my place and I told him about these invitations to reform that had come from a Melbourne person putting on a retrospective bash – I think it was called Long Player or something – where you pull out some dusty old LP of your own doing and you play it from start to finish. Then there was another approach that was much closer and seemed a little more practical called That Was Then, This Is Now – that idea had a documentary basis where we each did an hour long interview with Simon Wooldridge who used to edit Rolling Stone – so we played a show for that, and it all went really well. “So it was here at my place on the outskirts of Sydney where my brother and I were having a celebratory drink and I just sort of said to him, ‘I don’t know how you feel about Crow, but there seems to be a level of interest to at least play some shows – would you like to be a part of that?’ And he was keen and it just went from there, it was just a matter of contacting Jim and Peter Archer. Peter these days lives in a mud brick house down near the fishing village of Eden on the NSW coast. Everyone seemed to know it was coming – to a degree there was sixth sense about what was happening, no-one seemed very surprised about the notion of us playing again. It’s all been really easy.” Few bands have as long a break as Crow – the final line-up called it a day back in 1999 – and then return immediately with an album as accomplished as Arcane: was it important from the outset that this not merely be an exercise in nostalgia? “Oh yeah,” Fenton confirms. “You go with what feels right and what your intuition tells you, and what my intuition told me was that I didn’t want to just play songs of yesteryear. In saying that I’m not bagging anyone who does shows like that – I’ve been to a few of those things and they were really good – but I was just so energised to a degree about the idea of playing music with my brother and my other brothers – Peter Archer and Jim Woff – that you sort of get reinvigorated. Something flows through your life and through yourself, probably part-inspiration and part-rejuvenation and partresurrection, but it all ties together and you start writing again. “I think I’d written Stray Leanne and another song called The Whole World Turns that I just thought sounded like Crow songs to me, and which wouldn’t sound very good on an acoustic guitar, dreadlocked, patchouli oil-bathed solo record, that they had to be birthed in the crowbar-prised environs of the band Crow. You can kind of feel them – they feel like you’re dealing with an unhinged, drunken sailor from a time long gone, sort of walking out of the mists of time shrouded in colonial dust and smelling of port wine and horse shit. Then you go, ‘I know you! I haven’t seen you for a little while!’ and then you throw them in the Crow bag and release them in the safe environments of the Crow rehearsal room, where we’ve all been trained in the art of dealing with these strange and distant characters.” Despite these charismatic offerings being clearly recognisable as Crow songs, Fenton claims that the band didn’t have any set agenda for what they wanted Arcane to sound like. “A lot of things you don’t want to talk about too much,” he reflects. “You’re operating on another level and exploring each other’s subconscious to a degree, so you sort of operate on that level yourself. So you sort of get in there and apply the same practice or ways of doing things with Pete’s songs, and I felt that’s what he was doing to me – you’re just listening to the other’s song, and if you listen to something carefully enough or look at something for long enough it will move. It moves in a direction, and songs have a way of suggesting a realm where you can hear things – ‘I can hear a horn section playing a line through out the back here’. You’re just kind of dressing the room for it, to be able to stumble around in and for the character of the song to become real. “It used to always be that we would play the songs to each other in a practice room environment, but Peter and I live eight hours driving time apart now, and so I whipped up a couple of ideas at home and think I sent the ideas for about ten songs down to him on a disc. He returned serve with a C-90 cassette wrapped in last week’s fishing news. The Eden Tribune or The Eden Gazette with the tide report and what fish are running. “So songs were exchanged with very little collaboration at all, apart from when we recorded and we would sit down side-byside and do what had to be done. It’s pretty coherent though: I had this great idea to get (a) a horn section, and (b) Jason Walker to play pedal steel on the record, and to a degree those things tied it all together and made the album.”

WHO: Crow WHAT: Arcane (Non Zero/Shock) WHERE & WHEN: Burleigh Underground

Drummers Saturday Aug 28, The Zoo Sunday Aug 29


DOING IT FOR THE KIDS SCARY KIDS SCARING KIDS called it a day earlier this year, but as founding member and keyboard player POUYAN AFKARY tells DANIEL JOHNSON, when the opportunity arose for one last Australian tour, everyone in the band jumped at the chance.


fter eight years, two full-length albums and an EP, Scary Kids Scaring Kids announced in November last year that they would be calling it a day after their final tour of the US, which wound up in March. So what prompted the decision to move on?

personally enjoy making people feel the music. It’s not like listening to the album in the car where you get it but you don’t really get it, it’s literally passing all this energy into the crowd.

“It was a small collection of things but honestly there were just a couple of things that became an overwhelmingly constant problem and we tried to resolve it as often as possible but it just wasn’t happening,” Afkary says. “We tried every way around it because obviously we’d put all our hearts and eight years and all our mental strain into this thing. We were touring relentlessly – I think ten-and-a-half-months out of the year was our average – and finally it was at the point that we wanted to do things properly and leave on the right note rather than falling away slowly and making things negative, you know?”

“The majority of the articles I’ve seen written, even if they say our album is absolutely mediocre and they couldn’t care less, I’ve never seen a negative thing written about the energy and the presence we have onstage, so we just hope to continue this and make it even moreso by making it a high-energy party onstage.”

Despite only touring Australia twice during the band’s lifetime, Afkary says it was one of the band’s favourite destinations, which is why everyone agreed to get back together for one last victory lap. “It was actually a pleasant surprise,” Afkary says. “We thought we’d be done completely – it had been months since our very last show in San Diego and we all said our goodbyes and were living in and visiting different places in America and we get a call from our manager and he says, ‘Listen this is an opportunity, we have the chance to go to Australia – is everyone available, can we make it happen, should we start looking at the time frame?’

WHO: Scary Kids Scaring Kids WHERE & WHEN:

The Hi-Fi Friday August 27, Coolangatta Hotel Saturday August 28

“Everybody said, ‘Yeah, if you can get this person and this person onboard I will be there indeed.’ So we all got onboard and we were all just happy everyone could make it. I actually just got back to Arizona two days ago and we’re just rehearsing together and working it out.” Scary Kids Scaring Kids first played in Australia in 2008 as part of Soundwave, and despite attracting some impressive crowds to their sets at the festival, Afkary says he was more pleasantly surprised by the reception the band received on their subsequent co-headlining tour with Haste The Day later that year. “There was one show at Soundwave that was beautiful,” Afkary offers. “The promoter came and told our manager after we played, ‘Today is a great day for your guys, you guys played to around 8000 people’, but we were just pumped about getting that exposure, period. “But yeah, the shows we’ve actually played in the clubs and the venues, to be playing a first club tour in the country and have that many people singing along – it didn’t happen for us anywhere else, and the number of people there was incredible. “To be honest I prefer clubs any day to the festivals – it’s just more intimate, it sounds better, looks better and you can have your drink immediately without worrying about the sun.” Afkary says that although there had been some friction between band members for a period prior to their US farewell tour, everyone in the band – with the exception of former drummer James Ethridge, who didn’t take part – left on good terms in the end. “I think the last tour was probably one of the most pleasant tours we were on because we had no concerns,” he explains. “There was no, ‘This is the set-up tour for the album, we have to be pristine and perfect’... There wasn’t the kind of concern for the petty detail. “The overall idea was we really just wanted to have an absolute blast and make it kind of the biggest party tour ever and if someone screws up or whatever...we’ve been playing these songs for so damn long, so no-one should be, but if anything happens that would otherwise be grounds for focus and more and more practice, it was just like ‘It doesn’t matter, this is the last time these people are going to see us, every day is the last time that these people are going to watch our show, so let’s make sure we are having the best time possible!’ “I think once you kind of let go of these things, then life becomes a little bit easier. I don’t really know why anybody worries about anything, because in the future you kind of say, ‘Oh well, why did I focus on this small thing?’, like it never really mattered, but you’re always concerned. In my mind, when I’m in Scary Kids for life, that means, ‘Five years from now, what is my decision today that’s going to get me there tomorrow?’ And when you don’t have that worry it’s so much damn fun. It’s so much easier to play and say, ‘Look at where I am now, because it’s the last time I’m going to be here with these people having a good time.’” The band will be accompanied by drummer Derek Smith for the Australia shows, and Smith will also be supporting the band under his hip hop alias Mod Sun. “He’s a hippy hip hop artist,” Afkary laughs. “We’ve known him for a while, he’s a good buddy. He used to play in a band called Four Letter Lie and he became a good friend of ours when his band opened up for us on one of headliners, and after that he started his hip hop project and then we brought him out on Warped Tour to drum tech and basically to have a good time and he did a hip hop show at our signing at the signing tent every day. “It’s not necessarily tongue-in-cheek ... I guess it’s almost tongue-incheek in the way that it’s someone with such a positive attitude singing hip hop. So in that sense it can seem tongue-in-cheek because it’s hip hop with such a positive frame of mind, but it doesn’t come off as dorky or kitschy or whatever. He is basically just a huge hippy, you know what I mean? But he’s very talented at being a hip hop artist and the two are rarely matched, so to see them together it takes you aback for second.” Although proud of the band’s discography, Afkary says Scary Kids Scaring Kids’ real strength is their live show, and he says even most casual observers, who are not necessarily receptive to the band’s albums, have praised the band’s live performance. “When you listen to the album, I think a lot of the positive articles we’ve gotten in the States have been about the live show. I


BLACK HUMOUR Melbourne reprobates BLOOD DUSTER have been ploughing their own path through the heavier parts of the musical realms for years – bassist JASON “PC” FULLER debates musical diversity and the merits of metal bands taking the piss with BEN SALTER.


’m sort of driving through country Victoria. Just being a dickhead, thought I’d go for a drive, you know?”

Jason “PC” Fuller, the charismatic bass player and evil genius behind Melbourne’s rock/metal/ doom/stoner institution Blood Duster, has kindly agreed to call in during a country drive to discuss what the band has been up to in the lead up to the their appearance at this weekend’s Bastardfest. Not much, by the sounds of things. “The only show we’ve done in the last six months has been the Maryland Deathfest and that’s pretty much it. We’ve been pretty quiet really.” The Maryland Deathfest, which takes place in the US city of Baltimore each year, is one of the biggest extreme metal festivals in the world, and this year was the band’s second visit, as Fuller explains.

“We played with Autopsy, Possessed, DRI, Watain... all these really cool bands”, he says. “If I was 16 I would have pissed my pants, but as I get older I’m getting a bit calmer about this stuff now. Now you know I just act like it’s all...” he assumes a pseudomacho voice “‘It’s all just fuckin’ rock’n’roll man, you know... whatever!’ And just quietly I’m giggling like a school girl inside.” Many Time Off readers would be aware that Baltimore is the setting for popular HBO series The Wire, which chronicles the lives of drug dealers, and the cops who try to catch them. Has Fuller seen The Wire? “Not really, and here’s why: I’ve been to Baltimore before [the band first played Deathfest in 2008] and we stayed in a pretty rough area, you know? And Blood Duster are a pretty tough band, we have photos of ourselves with guns and shit inside the records,” Fuller says sarcastically. “And they dropped us in the middle of the fuckin’ ghetto and left us there for three days! So after that I don’t want to watch The Wire, I don’t want to be reminded. (This time) I said, ‘Don’t even think about putting us in that fucking hotel!’ So they put us in the middle of the city which wasn’t too bad. Frank Zappa is from there and John Waters based all of Hairspray around that place so it’s not all bad. But the bad parts – it’s fucking more bleak than The Wire. When you get to some of those places you just go, ‘Fuck, I can’t believe this place is on the same planet that I live on’.” While their ferocious chops and high quality songwriting have earned them the respect of metal fans worldwide, humour has also played a big part in the band’s identity, as their artwork, song titles and general demeanour all testify. While Blood Duster don’t take themselves too seriously, Fuller must surely have run into a few that do? “Well, that band Watain”, he says solemnly. “Those guys were fucking serious, you know? We heard they buried their clothes with dead stuff so they’d have the stink of death or whatever. One of the guys from DRI got up onstage with them and did some Cossack dancing... the guitarist just did not see the humour in that; proceeded to try and kick the fuck out of him. So you do come across those kind of bands. Usually they’re just black metal dickheads, you know? They’re not bad dudes, they just take themselves really fucking seriously.” Given the lengths that a lot of black metal bands go to to portray themselves as the spawn of Satan or whatever, surely you can’t expect them to be cracking jokes? “I don’t want to say too much bad about black metal bands”, says Fuller, “But generally I find it’s the type of person that’s so serious that if they don’t find black metal, they’ll find something else. They’ll be like a serious car wanker, you know?” Next year marks the 20th anniversary of Blood Duster’s formation. Is there anything special planned? “We’ve got an album recorded, we just have to add some vocals and add some extra guitars and shit like that – we have to lay down some solos!” he laughs. “We’ve got a little bit of stuff to do, but we’re kind of finding it hard, we’re slowing down. It’s hard to get us all in the same room at the same time.” Family commitments? “No, not really. Matt the guitarist has got (a family)”, he says. “But everyone else is still kinda loose and shit... It’s just we’ve just got so much shit going on in our lives, and I guess as you get older you start to prioritise shit a little different.” Blood Duster’s last album Lyden Na was a novel attempt to divide the band’s sound into three components: there was an album of the band’s more ‘deathrock’ type material and then an album of grind. And then there was the downloadable, one-track doom album that caused a little bit of dissent in the ranks. “We wanted to try and let people see that Blood Duster don’t just do the same thing,” Fuller recalls. “My favourite band is the Melvins, and I really appreciate that every fucking album they do, they do whatever the fuck they want. You can’t pin that band down, they can do whatever they want and still sound like the Melvins. And that’s ideally how I’d like people to see Blood Duster. I think we’re a good rock band, I think we’re a pretty good grind band... you know, I’d like to do a little more experimental shit but certain members of the band wouldn’t have a fuckin’ bar of it... Collins [Matt Collins – guitar] just wants to be in an 80s thrash band. Beltsy [Belt Thrower – guitar] didn’t even play on [the doom record], he refused! He’s just so fucking close-minded, which is good ‘cause it stops me from going off on tangents that I probably shouldn’t.” Fuller has obviously given the topic some thought. “I don’t know why more metal bands don’t do more ridiculous shit... ” he mulls. “To start off you’re a metal band which, to me, by definition most of the time is pretty fucking funny. When you think about the original bands like Dio and all that kind of stuff – that shit is fucking hilarious and that’s what we’re all kind of based on. So, why don’t bands do more stupid shit? It’s just disappointing ‘cause I can see the potential. Look at some of those technical bands like Psycroptic. How good would they be if they wrote some funny shit? I don’t have the talent to go fuckin’ ‘widdledy diddledy’ at that kind of speed and do that kind of stuff, but Psycroptic do. And if they decided to put their fucking effort into something that wasn’t so... death metal, I think the results would be fucking awesome – it’d be something I’d wanna listen to! Maybe Psycroptic fans wouldn’t but...”, he laughs. “...I guess that’s why they’re not hiring me as producer anytime soon!”

WHO: Blood Duster WHERE & WHEN: The Globe Theatre Saturday Aug 28


HARDCORE RELAXATION Boston’s DEATH BEFORE DISHONOR has spent the bigger portion of the past five years solidifying their reputation as one of the hardest working hardcore bands in the world. Vocalist BRYAN HARRIS talks to LOCHLAN WATT about their busy lifestyle.


e’re leaving in a few hours, just getting some last minute stuff together,” explains the surprisingly chatty Harris, his band gearing up for a long weekend across the east coast of Canada. Describing the run as just a “fun little thing”, the punk-influenced hardcore five-piece that is Death Before Dishonor is much more used to tours that go from anywhere between one and six weeks, often back to back, in places much further away from Boston than Canada. In fact, the press release for their 2009 album Better Ways To Die states that the band has, on average, performed 250 shows per year since the release of their 2005 Bridge 9 Records debut, Friends Family Forever, with the group managing to squeeze another full-length and a couple of 7” records in between all the touring that surrounded such milestones. “We got back from Europe about a week-and-a-half ago,” he recalls of their most recent jaunt before going on to explain that, “we got this weekend coming up, this festival in Philadelphia called ‘This Is Hardcore’ next weekend, and then we’ve got two weeks of absolutely nothing before we do the massive, long flight to Australia.” With all this travel having a relatively firm hold on the member’s lives, what exactly does the band do when they aren’t inciting pits and delivering super tough riffs night after night?

Though it seems there’s no questioning a follow-up release, Death Before Dishonor is confident that there is “still a little more touring left” on their most recent release, with Harris citing the fact that September will be their first Australian tour off the back of it as an example. “We said it when it came out, and I know every band says that about their latest record, but we’re definitely the most proudest of this record. Now that almost everybody downloads it’s hard to tell, but kids seem to be knowing the words, and it’s going off real well, and for the band it’s just the record that we put a little more time into.”

WHO: Death Before Dishonor WHERE & WHEN: Club 299 Tuesday Aug 31 (18+), The Fort Wednesday Sep 1 (all ages)

“It kind of depends how much time,” comments Harris, mentioning that for a band at their level things can vary. “We’ve been to Europe quite a bit. We do really well and we play a bunch of big festivals, so we come home with a little bit of money, but not a lot, so you kind of just relax, you know what I mean? I’ve been doing a lot of relaxing. We’ll do this weekend, and we’ll just kind of hang out with friends and

“I don’t think we’re going to write a record and all of a sudden be touring with Slayer...” family for the next two weeks. We were in Europe for four weeks, and before that we had like two days off and we were in South America for a week. Sometimes if there’s more time off than normal, we’ll work somewhere, or find some other ways to make some extra cash.” Although Death Before Dishonor might not be rolling in dough, it’s the experiences along the way that make sacrificing a normal lifestyle completely worth it, and Harris speaks of their recent and first-ever South American tour with a reverential fever. “We actually got to go with the Cro Mags, so it was real good you know!” he exclaims. “They had never been there, we had never been there, and it was just like five shows but it was cool. I’ve always wanted to go to South America; their scene is just cool. The countries are kind of sketchy, you know, you hear all this stuff, but the kids were awesome and it actually went a lot smoother than I thought, so it was real cool. It’s weird – each country was different. Columbia’s is a smaller hardcore scene, so it was kind of like 200-300 kids, you know not a big venue, and then we went to like Chile, and that was like where the room was pretty much full, so I’m sure there was somewhere between 600-900 people, and then we played two shows in Argentina, one of them was in a smaller city, a few hundred kids, and then Buenos Aires was pretty big, there was close to 700 people. Then Sao Paulo was pretty big, there was a lot of people, so it was all pretty good. The Cro Mags taking us down there for our first time was awesome.” Asked if they will keep up the 250 shows per-year average in 2010, Harris puts the estimate at “probably somewhere maybe close to 200,” and goes on to explain why it seems that things may be slowing down a touch, stating that, “it’s weird because we’ve done a lot of tours, but a lot of them have been like two week tours, and then we came home for a week and did another two week tour. In years past we’d do like a four week tour, and then do a six week tour back to back. This year it’s been a little more sporadic.” One also notices that their level of US touring seems to have been reined in. “You get to a point, especially with The States... I feel like the US has, and not to knock it, but just so many bands that it gets oversaturated in a way. Not only does it make it harder, it’s like if you’re not always on a different type of tour package it makes it a lot more difficult to just go out and headline, or just go out with some younger bands and have fun, just because of the way the economy is – gas is more expensive, there’s less people at shows. You try not to burn yourself out too much. We want to just keep a little bit of a longer touring cycle with this record and just try to get a little more exposure, you know? In the fall we’ll try and do a US tour; support something a little bit different to try and see some new faces.” With the mention of an extended touring cycle, you can assume that it might be a little longer than the usual two-year wait for a new Death Before Dishonor record, however the band does have casual plans to begin writing after returning from their Australian tour next month. “I think on [Better Ways To Die] we experimented a little more than we have, and nothing like crazy, just added some more of the punk influences that we all love and they all factored into the music a little bit more,” muses Harris. “I think we’ll just keep the same thing. Anything we write, it’s obviously stuff that we really are into, and we’ll keep that going. I don’t think we’d sit down and be like, ‘Our music needs to go in a different direction’. We’ll just write something we like and hopefully stuff that kids will like. Try to keep some catchy stuff, and keep the heavy parts heavy, and the choruses catchy, and I think we’ll always factor in some punk rock into it, and even some thrash metal we’re into, but we’ll always be a solid, grounded hardcore band. I don’t think we’re going to write a record and all of a sudden be touring with Slayer because we have some crazy new sound or something.”

Sexual references, comedic violence and infrequent coarse language


FOLLOW YOUR DREAMS... Lauded as one of the year’s buzz bands and loved all over the interwebs for their spontaneous subway performances (though notably hated by Pitchfork full stop), FREELANCE WHALES’ frontman JUDAH DADONE gets intimate with TYLER McLOUGHLAN about the dreams that inspired their debut album Weathervanes.

“When I was working on this record I was responding to something that I’d done in college where I was keeping dream logs. It sort of became something that I became very transfixed on. I recognised that it was a totally valid place to draw from creatively. I took a lot of English courses that shimmied up against different psychological subjects – one of them was a class called Freud, Shakespeare and Dostoevsky. It was one of the most crazy concepts for a class I’ve ever heard in my life but actually ended up having a huge influence on my approach to writing the record.” So does this mean Weathervanes lyrically draws more from the imagination than from real life?

“The songs are based off of a lot a dream logging, so then the question becomes: are dreams really a representation of your real life or are they just a strange mash-up of different experiences that form some sort of collage that doesn’t actually reflect on you?” Dadone ponders. “And I think that’s an answer that people never really have been able to figure out. But for me I know that there are a lot of references in the songs that are extremely personal and they’re kind of densely veiled. Or maybe a little bit encoded.” One thing that’s certainly clear is that by the time Dadone made the trek to New York, his whole life had been building towards the concept of Weathervanes. All he needed to turn his dreams into an album was a band.


udah Dadone’s Freelance Whales are inhabitants of New York where the energy and framework of the city coupled with their indie-kid nous have made their pretty folk-pop known to the masses. It was, however, the frontman’s formative years in a rural community in Delaware that was the impetus for shaping both the band and the strong sense of place and childlike wonder that is so apparent on their debut album Weathervanes. “Most of the material on the record if you had to specify a certain type of landscape it’s more rural than it is urban,” says the sweetly spoken Dadone. “I know that one of the things that I associate with where I’m from is just being able to find comfort in solitude and I think the reason I connect with it so much is because that is really part of the creative process – finding moments to have clear, clear thoughts.”

Big dreams and bright city lights have been the hackneyed genesis stories of small town creative types for as long as either have existed, though the big dreaming that would eventually lead Dadone to New York began as the latent variety in the small hours of the night as a troubled child sleeper. “Certainly in my early childhood I was a really bad sleeper,” he recalls. “And I used to walk around the house really late at night and I guess I was an insomniac. When I did sleep I’d have these very strange, vivid, lucid dreams that all took place in my house. I had this sleeping problem which actually caused me to not get a lot of deep sleep and to just have a lot of low-level sleep where I was dreaming.” These experiences led Dadone to college studies in which dream theories and creative writing were continually overlapping subjects.

“I think it was just one of a portfolio of different methods,” he says of his craigslist post of four tracks to find the like-minded musicians that would become Freelance Whales. “Another one of those methods was hanging out riding the subway and seeing strangers carrying instruments and accosting them to ask what their deal was. If you ride the subway, especially where I was living when I first moved here, ten people pass you every day carrying cellos, or carrying some other sort of case that looks completely unfamiliar and you don’t know what’s in there,” he says with the excitement of genuine curiosity. “It was kind of like ‘by any means necessary’ sort of approach, trying to uncover every stone we could and eventually we did – it took a few months. There were three of us first and then a few months later there as a solid group of five.” It appears to be a fairytale story; a melding of perfectlymatched minds who each by the stroke of fate managed to find each other in the giant musical playground of New York. Though as Dadone explains, it certainly was not all sunshine, lollypops and rainbows. “I definitely did encounter a lot of people that seemed to have questionable motives,” he says seriously. “There

was one scenario where I had correspondence with someone via email and it was a girl named Amanda. And Amanda told me she was 25-years-old, I can’t remember what she played, but she said she wanted to give it a go and try to jam together to see what happened. I got to the apartment and a gentleman in his forties opened the door, so I asked for Amanda. He was like, ‘Oh, no, Amanda doesn’t live here. That’s my daughter. I just use her email address sometimes.’ He sounded like he thought that wasn’t going to weird me out, but it did weird me out!” he laughs. “I reminded him that I referred to him as Amanda in three emails and he didn’t correct me, and that was a little too much for me so I did not enter his apartment.” Filling the line-up with the very normal Kevin Read, Doris Cellar, Jake Hyman and Chuck Criss, the subway riding only progressed further as Freelance Whales found a promotional niche in spontaneous station performances. You need only look as far as YouTube to understand the impact of these performances. “I think it’s one of the most genuine ways that someone can form a connection with a band,” Dadone admits. “Some people have told us they were having a really bad day and that was something they really needed and you can tell for some people it’s really substantial. It’s crazy but I think what we’ve learned is that it’s a really powerful way to have a first encounter as opposed to seeing a band at a proper show. “It’s something that we still really love and certainly feel nostalgic about already somehow. We want to continue doing it.” It’s incredulous to find they toured their own country for the first time in November, though 2010 will close with the band appearing on all manner of year end buzz lists after logging performances at some of the world’s biggest festivals: Lollapalooza, Reading and Leeds. So will we be crossing paths with Freelance Whales on the platforms of Roma Street Station any time soon? “We don’t have any specific plans but we do so very badly want to make it out there,” Dadone says wishfully. “It’s a big point of pride for me to know that there’s a possibility that I might be able to see a part of the world like Australia that I’ve never been to in my life and come there with something to offer – to not just be coming as a tourist or something like that, but to come over there and have the possibility of giving something to people.”

WHO: Freelance Whales WHAT: Weathervanes (Dew Process/Universal)




WED 25 AUGUST BRISBANE POWERHOUSE Three amazing live bands bring 16 original short films to life in a night devoted to the freedom of the open water and the people who live in its spirit.


Warning: Recommended for people aged 15 years and older.



COUNTRY HOLIDAY It’s not every day you get a Foo Fighter on the phone but today sees BEN PREECE chatting to CHRIS SHIFLETT, guitarist for the aforementioned megastars and now the lead in his own group CHRIS SHIFLETT & THE DEAD PEASANTS.

EASY ON YOUR OWN He’s a legend of the Australian music scene, having fronted the iconic Australian Crawl and forged a lengthy and acclaimed solo career, but as JAMES REYNE tells TYLER McLOUGHLAN, sometimes possessing such a lauded background can become burdensome.

And then I started to get that itch to make a record and do something useful again. It’s been great because the whole process of making my record and being home for the last couple of years has been really inspiring.”

who this year released an album of his favourite Elvis tracks. “But I also understand that that’s what a lot of people what to hear, the old stuff, so I just play the lot. “I accept it and it’s part of what it is that allows me to have a comfortable career in the Australian music industry and look, believe me, considering the way the industry is not a lot of people do, so I’m one of the lucky ones. I’ve sort of rationalised it to myself. And the more you bitch and moan about it, the more you fight against it, the harder it is and people just go, ‘Bugger you’.”

The eponymous debut is not what fans of the Foo Fighters would expect, it’s steeped in Shiflett’s love of classic country, rockabilly and outright rock and deep-rooted rock bands like The Rolling Stones or The Replacements. Expect plenty of pedal steel and accented twang-guitar.


ne would suspect that when playing in an internationally mega-famous rock band like Foo Fighters under a man like Dave Grohl, who undoubtedly writes songs in his sleep, you’d probably need your own creative outlet at some point. Drummer and obvious Grohl-clone Taylor Hawkins has a couple of solo records under his belt while bassist Nate Mendel plays in sometimes reunited Sub Pop heroes Sunny Day Real Estate from time to time. Guitarist Chris Shiflett is no stranger to the side project, what with being the frontman for Jackson United and playing in punk rock covers bands and all. Well now he is unveiling a new project, one a little more personal called Chris Shiflett & The Dead Peasants. “I’ve been working on it for so long now, it’s exciting for me that it’s so close to being released,” he enthuses. “The last couple of years we’ve been on kind of an extended break from doing Foo Fighters stuff. There hasn’t been much going on, we decided a couple of years ago to take a break for a while so I’ve actually had plenty of time to dive into this solo project thing. Really for the first year or so when we were off the road, I didn’t really do much – a little here and there but nothing too much. I had never really had a long break off the road to spend with my family so I did that for about a year.

“It’s a whole different thing, no doubt,” Shiflett says vaguely. “I hate describing my own music but it definitely has more of an Americana, twangy feel to it. Whether it’s like Willie Nelson, Hank Williams or whatever, it’s a style of music that I’ve loved for a long time and that I’ve never really had a chance to play. Making this record has changed my approach to guitar playing. It’s opened my mind to other things that I’ve never focused on before. I kind of feel I stagnated as a player for a while and it certainly shook me out of that. It’s funny when you’ve been on a long tour, I love touring and I love travelling, but playing the same show every night, after a while it loses some of the buzz. Don’t get me wrong, I’m a lucky guy and love what I do and enjoy it most of the time but it’s like anything else – no matter how much you love your job, sometimes you need to step out of it to appreciate it a little more.” After re-familiarising himself with his old country music collection, Shiflett wrote some songs and assembled a crack-team of musicians to record the album. “Some were friends, some were some I wanted to play on my record,” he explains. “The core of it was me and my friend Lou [John Lousteau – drums], he engineered the record. We started to invite different people in. We started recording in December for a couple of weeks and finished it in January. It was just relaxed with no real strict timelines, we sure didn’t feel like we were stressed out in the studio. Hopefully that all shows on the record.”

WHO: Chris Shiflett & The Dead Peasants WHAT: Chris Shiflett & The Dead Peasants (Sony Music)


Local upstarts BANG BANG BOSS KELLY are launching their debut eponymous EP this month, only a few short months after forming and making a quick mark on the local scene. MITCH KNOX chats with guitarist/vocalist ALEX HENRIKSSON about their fast formation and grand plans.


he last time James Reyne visited Brisbane just over a year ago, The Troubadour attracted an interesting mix of older generation music fans who’d most likely caught the man himself in his Australian Crawl days prior to their 1986 split, and younger Valley-going types most of whom were barely in school by that stage. Though the resounding element that brought the sell-out crowd together was that no one was afraid to yell out a favourite track to Reyne, who becomes a greatest hits request machine the moment he takes to any stage. “There are a few of them,” he laughs when prompted on which tracks get shouted out the most. As he begins to reel off the big ones, a tone of going through the motions creeps into his voice. Does it piss him off that Reckless and The Boys Light Up will always be the favourites despite having a solo catalogue many times larger than the four albums he made with Australian Crawl? “It’s a blessing and a curse,” he admits candidly. “It allows me to keep doing gigs and I’m lucky that I do lots of shows every year all around Australia all the time. But there’s the downside that you’re always defined by your past; it’s just the way that the industry is. I’m that guy from that band from the 80s, you know? That’s the box I’ve been put in, so that’s where they’ll keep me. So it gets very difficult to break out of that, even though I carry on regardless. I don’t mind, it’s sort of a challenge and you find ways around it,” demurs Reyne,


“For most of us I guess it’s our first serious launch, except for Bos [Peter Boswell], our drummer, who’s played in other bands,” Henriksson admits. “We’re just hoping for a good turnout, a good performance; we’re going to release a few songs off the next EP which we’re going to be recording in January, which should be a bit more in-depth. This one, we wanted to get it out and get heard, so we’ll probably spend a little bit more time on the next one.” Second EP? Already? That’s the kind of work ethic our fine city’s inhabitants will need to get accustomed to, because it’s been Bang Bang Boss Kelly’s modus operandi from the start. Even their formation was divinely swift, with Henriksson meeting vocalist Chris Drage here in a previous band, after moving from Townsville. “We decided to start doing the folkier stuff, and got hooked up with the other guys through friends and mainly people who’d heard us playing as a duo. And then we got another guitarist, and then they heard us like that, and then we got a drummer who was a friend, and his friend wanted to come play bass, so that’s how it all got hooked up fairly quickly.”


“We’re looking at doing some small little ones here and there; nothing big, because it would probably just die in the arse if we went out on a limb,” he says. From here though, the plans get big; really big. “Kelly Gang, roll out” big. “We want to tour like the mining towns and all the rural areas with a really country band supporting us and a really rock band supporting us, not sure who, on the back of a semi,” Henriksson says, deadly serious. “We’re getting quotes for all that at the moment; see if we can do a semi-trailer tour. “I’ve looked into it with a friend of mine, and he’s done it once before, and you basically rig an entire sound rig and everything to the back of a semi and pull the sheet thing across it from the side and then you have your stage set up so you can set up anywhere – any field – as long as they’ve got enough power. So that’s the idea next year, to do something like that for about a month.”

WHO: Bang Bang Boss Kelly WHAT: Bang Bang Boss Kelly (Independent) WHERE & WHEN: The Old Museum, Saturday Aug 28; Bar Soma Tuesday Sep 7, Brisbane Festival Sunday Sep 19

His story of starting as a songwriter is as simple as his theory of growing as one: “I just did it.” “I picked up how to play the guitar because my friends played. I was always the singer guy – I dunno why, I didn’t think about it, I just did it. I just organically started writing little songs. They were absolute rubbish the first ones, but I just did it because I liked doing it.” And all these years later it still remains that simple for James Reyne. “I’m just happy to play to anybody who’s enjoying it.”

WHO: James Reyne WHERE: Hamilton Hotel Saturday Aug 28,

Hinterland Hotel Sunday Aug 29, 600 Sounds, Broadwater Parklands, Saturday Oct 23

THE RE-MAINS have had more than their fair share of drama since the release of their last studio album, but they’ve finally released their new album The Inland Sea and as vocalist/guitarist MICK DALEY tells DANIEL JOHNSON, it’s a relief to finally have it out there. the minute they hear the word country they think Lee Kernaghan or bloody... I don’t know – the bad country,” he says. “And there’s so much bad country around that it’s fair enough that they cringe, but quite often when people see the band they realise that we’re actually more of a rock band with a banjo and whatever.”

“We could’ve released this a lot earlier but our producer got a new job and he sort of had to focus on that for a little bit,” Henriksson says. “But we started tracking before Robbie, the bass player, or the drummer even knew all the songs. We were in the studio almost straight away. So there’s newer songs that don’t quite sound like our older ones, but we just wanted to get something out there.”

lex Henriksson’s calm demeanour belies the excitement that is surely coursing through the Bang Bang Boss Kelly camp this week. A few days out from releasing their debut self-titled extended player, and he comes across more seasoned cowboy than rodeo virgin. But, truth be told, this is kind of a big deal for the members of one of Brisbane’s most quickly up-and-coming young bands, even if they’re not letting on.

“I think like any craft the more you do it, and if you remain self-critical, the better you get at it,” he offers seriously. “You’ve learnt more about yourself and you’re older, wiser and you know more about the world and you know more about writing and you’ve read more and heard more and experienced more. That’s what I think songwriting is about.”


So quickly, in fact, that late additions Boswell and bassist Robert Smith hadn’t even learned all the songs properly before the band was in the studio and laying tracks down.

To support the release, the band are undertaking a few small shows around the state, although Henriksson seems hesitant to refer to it as an all-out “tour”.

Reyne is a straight-talker who is very open about his career and his place in the industry, but also quite the funny man when he gets going. The thing that makes him laugh the most is how little sense it makes to be hung up on material from 30 years ago when he was essentially a beginner songwriter. In a mock yell he squawks: “Thank you very much! I’m very grateful you appreciate my early work, but crikey, can’t you see I’m much better now!

The Re-Mains have built quite a following in Canada, where Daley says audiences have been less inclined to approach the band’s music with preconceived notions. “In Australia the sort of alt-country or whatever you want to call it – we call it country rock‘n’roll, but alt-country’s obviously the big term – but in the States and Canada it’s got a much bigger following and a much bigger scene.


fter our live album [2006’s Love’s Last Stand] was a time of great change for the band – three players left the band after that and we got a bunch of new guys in. Shortly after that we had a bad accident in the Northern Territory on the eve of our biggest tour yet and we were all nearly killed – that set us back a bit,” Daley says almost nonchalantly. He explains that the band was driving on dusk in cattle country when one of the bovines wandered into the path of their van. “We hit the cow and straight away smashed the front of the vehicle and smashed the two guys in the front – they were very badly damaged – and we careered off the road and if it hadn’t been for the trailer on the back we probably would’ve rolled and all been killed. As it was, we went in between two big clumps of boulders; it was a miracle, because we had no steering column by that stage. “We came to a stop in the bush and fortunately there was a big mine nearby and one of the guys went out to the road and he was able to attract the attention of a miner but it still took them five hours to get the boys out and airlift them to Alice Springs. It could’ve been a lot worse.”

The band plays a blend of folk, rock’n’roll and alt-country, and Daley admits being pigeonholed with the “alt-country” tag has been a bit of a stumbling block for the band. “We’re all from rock‘n’roll backgrounds and punk bands and stuff but we all love that Johnny Cash and all the alt-country of Wilco, but a hell of a lot of people,

“We’ve played some very big festivals; we’ve played a lot of gigs. There’s a lot more gigs in Canada as well – you can gig five or six nights a week over there and it’s a lot bigger too, so we did a lot of driving, a lot of playing, a lot of big festivals, had a lot of big crowds and sold a lot of CDs and it was a very successful couple of tours.” The band has already released The Inland Sea in Canada, but Daley says the Australian release is a more fully-realised version of the album. “They loved it over there but I wanted different songs and I wanted a bit more production and a few things here and there, and we were able to get it out because we had an Austrade grant and the money finally came through late last year and we were able to finish the album and get it out in Australia. “A good mate of mine who has been following the band for years and is pretty knowledgeable about music says this is the first real album we’ve done, because the other ones are just documents of the live experience. He’s pretty right really.”

WHO: The Re-Mains WHAT: The Inland Sea (Croxton Records/MGM) WHERE & WHEN: The Old

Museum Saturday August 28




Strange Weather, Isn’t It? (Warp/Inertia)



Melbourne’s one man instrumental landscape artist Brain Drain uses his effects units and pedal set up like a photographer changes lenses. It’s not about using machines to create the sounds – it just changes the focus, lets different light in and allows different areas of the sparseness to shine through. All the tunes on his debut cassette rest on a lilting guitar melody picked around a couple of simple chords, and the layers are built up live and slowly using nothing much more that the aforementioned guitar and some very minimal and simplistic synth. Most of the time it’s very easy listening and soundtracky, with a quiet drone building out of nowhere and catching you unawares as you carry about your business, drawing you in again. Things get a bit more fuzzed out on Ooh, and the shoegazey element works great with the reverb drenched guitar picking. A great cassette release for sure, and there’s even an electronic download for those of you who no longer rock a Walkman.


(Can’t Do No) Red Head Girl (Ocean Beach Records)

While racism and sexism are the cornerstones of so much Australian comedy, and have helped waste of space Austen Tayshus sell a bunch of records in the past, he’s really pushing the envelope on his latest crime against entertainment. He has assumed the identity of Moses ‘Turkeyslap’ Washington, a blues singer from the deep south of America, who is portrayed in the video clip by a man of Indian appearance. The song itself is this kind of baffling light metal thing, not even vaguely referencing the blues, and played by a bunch of fat Aussie dads he obviously met at a BBQ. Oh yeah, and the chorus is I Want Candy with different words. There’s nothing even close to a joke here, except that this loser still thinks he deserves a career as a comedy-musician.

!!!’s Myth Takes was easily one of 2007’s most refreshing albums. Fast-forward three years on, though, and much has changed within popular culture. The bohemian funkiness that defined Myth Takes has been fully assimilated into popular culture via newer New York acts like High Places and Sleigh Bells while even recent records from established acts like The Flaming Lips, Four Tet, Caribou and M.I.A. have referenced the raw funkiness of the !!!’s sound. Which brings us to the band’s long-awaited and innately problematic fourth album Strange Weather, Isn’t It? The sound of a band attempting to navigate a musical climate wherein their own sound has become increasingly ubiquitous, Strange Weather is very much a difficult record. The unforgettable choruses, irrepressible energy and jagged guitars of Myth Takes have effectively been banished – only throbbing soundscapes left in their place. Opener AM/FM buries frontman Nic Offer’s falsetto chorus deep beneath layers of synths, bass and percussion while funky follow-up The Most Certain Sure is a blurry haze of rhythm, whispered vocals and distant string sections. When the band do emphasise their songcraft, as on the otherworldly Steady As The Sidewalk Cracks, they still avoid the furious celebration of their earlier works in favour of a more contemplative energy. The entire record feels very much like an escape for !!! – but this is not necessarily a bad thing for the band. There is a depth of consideration and sentiment to Strange Weather, Isn’t It? that !!! have always managed to avoid in their prior works. One suspects that, with so many bands emulating their electric disco-punk, !!! felt obligated to construct something of greater substance. Have they succeeded? Undoubtedly. ★★★★ Matt O’Neill



AVENGED SEVENFOLD Nightmare (Warner)

We could dance around it, we could paint pretty pictures of it, but there’s really no point. It was pretty obvious with their previous two albums that Isobel Campbell wanted her partnership with Mark Lanegan to be the dawning of a new Nancy Sinatra and Lee Hazelwood age of sultry, country-pop song.

The passing of A7X drummer and co-founder Jimmy ‘The Rev’ Sullivan last year was shocking to both fans and the band themselves. However rather than wallow in the pain, the boys have used destruction as a form of creation, returning with Nightmare to try and exorcise these demons. The album debuted at #1 on the Billboard Charts, truly highlighting the support their fanbase is willing to throw behind their heroes in a dark and trying time.

Whereas Hazelwood wrote and reigned over timeless tunes like Some Velvet Morning and Sundown, Sundown, Campbell is definitely wearing the pants (and the boots) having written all of the songs here bar two Townes Van Zandt covers (Snake Song, No Place To Fall). And let it be clearly known that for the first couple of songs, it’s nigh on impossible to fault the twang of steel strings and the chemistry that Lanegan and Campbell’s voices have with each other. Occasionally our pair skirt into new and intoxicating territory, Come Undone with its luscious strings and staccato piano rekindling the bygone friction of when love was whispered and not shouted.

With such a well-grooved drumstool to fill and The Rev’s incredibly technical legacy to uphold, the band needed to enlist someone who was going to both pay homage while maintaining the high level of stickwork, so it’s understated to say Mike Portney is a fairly adequate replacement. As one of the world’s leading drummers through his work with prog-metal kings Dream Theater, his prowess across the album is sheer sorcery, his creative rhythms and fills lifting many moments and really driving songs like Natural Born Killer and Danger Line.

With such successful protégés on offer, it’s a shame to see the ideas run dry as this album plays out. The babyplease-don’t-go guitars that drive Get Behind Me still belong to Them and what the heck is going on with Time Of Season? Dolly Parton’s 1969 song Down From Dover was a country classic before Nancy Sinatra made it her own – somehow Campbell expects us not to notice the exact same melody or syllables of verse, feebly claiming the songwriting credits for the most obvious of rip-offs.

It’s understandable that there are moments of reflective melancholy and plenty of poignant lyrical content, but it’s when the band’s at full throttle that they really shine. As such, therapeutic numbers like So Far Away, Tonight The World Dies and Fiction seem far too grandiose and animated to be sincere, M. Shadows’ vocals reduced to barely a whine at times. Tracks like these were to be expected but they really don’t meld with the band’s ideals as a whole.

While Hawk, as a whole, is their best effort together, the jazz noise of the title track and a simmering tail end of tunes doesn’t wash away the doubts, as you’re left wondering if Campbell is so blinded by her adulation of others that’s she’s forgotten how to write her own songs.

So as a fitting farewell and tribute to their brother, Nightmare very much succeeds. But as far as being the best effort from the band? Not quite. Once the dust settles, the following release from A7X should be a far better indication on where the group are heading. But for now, may The Rev rest in peace.

★★★ Alex Gillies






Benny Doyle

THE PRETTY RECKLESS Miss Nothing (Universal)

The Pretty Reckless is the vehicle name for some jailbait American actress from Gossip Girl called Taylor Momsen who is being dressed up in proper medieval slutwave garb and rollicking around on a table of food while the creepy pseudo-goth disgustoids in her band leer at her and the food like disgraced high school teachers. The grossest thing about the whole exercise is the media release specifically pointing out the fact that she is 16 for the extra shock value and hope it will cause some kind of uproar one would imagine, obviously the motivation behind The Last Supper video as well – ‘Blasphemous!’ they will cry!! The track is new-rock-pop, designed to detract teenagers from discovering any actual real music, and the bio contains the hilarious comparison “what might have happened if Led Zeppelin was fronted by a chick”. For fuck’s sake.


Pixiphony (Popfrenzy)

Sydney girl duo Kyu come out the gates strong and fast with the teaser track from their debut album coming out later in the year on Popfrenzy. It’s big tribal drums soaked in reverb with enough space for proper atmosphere to breathe between the cracks. The vocals are weird and indistinct, some soaring majestically over the top of the mix, some rambling away in the mix and with a nice chorus voice nestled in the middle. It comes across like either of Karin Dreijer Andersson’s projects The Knife or Fever Ray, mixing very feminine vocal sounds with confronting beats and trippy sounds, non-conventional songwriting but very pop-focused melodies. It’s at once extremely exciting and very frustrating that it finishes so abruptly while the appetite is excited for more!



Surfing The Void (Modular/Universal)

This isn’t easy to admit, but Klaxons’ sophomore full-length effort Surfing The Void is actually a pretty good record. Not the flashiest of introductions in this reviewer’s history, admittedly, but it’s actually a fairly high, unveiled, and non-metaphorical compliment from someone who so often very publicly takes at least a small amount of pleasure in crushing the hopes and dreams of people far more talented (the Germans have a word for it and it’s fun to say: schadenfreude). Truth be told, Klaxons’ 2007 debut Myths Of The Near Future does not sit in the “heartily enjoyed” pile of this reviewer, so that should give you an indication of the weight with which the above compliment is paid. It’s one thing for a band to impress someone they’ve already impressed before but entirely another for them to win over an existing sceptic. They waste no time in doing so, with opener Echoes carrying a “fuller” feel to it than any of the band’s previous compositions and a super-catchy chorus to boot, while the paced stalk of Same Space’s verse slowly edges its way towards its upbeat conclusion and flows seamlessly into the frantic title track, replete with discord, bashed piano chords and backing falsettos. There’s definitely an 80s Bowie space-feel going on throughout the record. Reverb, eeriness; it’s all very retro. And a little Wolf Parade-ish, especially in the synth sounds of Venusia. But then, you should expect some atmospheric and spaced out stuff on an album featuring a kitty-naut on its cover and ostensibly recurring galactic themes throughout. Extra Astronomical throws in some industrial percussion while Future Memories takes a few pages from Mew’s well-read book with a bassier instrumental – and higher vocal – focus. Ultimately, it’s obvious the band took more risks in approaching this record – and we all win as a result. ★★★★ Mitch Knox

Butterfly House The Coral has always been that band that throws the kitchen sink at their recordings. Starting with their 2002 eponymous debut, these NME darlings were born with a dizzying array of influences and made relentlessly exciting, swashbuckling psychedelic records that often featured nothing but crazy arrangements and chaotic sonic bindings. Now in 2010, they give us their most mature and calculated release to date. Butterfly House is overflowing with dreamy folk-pop, all delivered with that reassuring nature and confidence that The Coral are almost notorious for. Lush in texture, their songs are richer than ever with a shimmering quality that is undoubtedly owed, in part, to veteran producer John Leckie who has worked on such classics as The Stone Roses’ debut, Radiohead’s The Bends and Muse’s Origin Of Symmetry. Here, he helps The Coral find themselves an impressive and bountiful album of tender psych-pop. The likes of Sandhills, Walking In The Winter and Roving Jewel reveal themselves as tuneful beauties, landing in the same sonic territory as the likes of Fleet Foxes. Then there’s the Simon & Garfunkel-esque Falling All Around You and harmonydriven single 1000 Years that seems to suggest you check today’s newspaper to ensure it’s not actually 1968. The Coral don’t put a single foot wrong on Butterfly House and there lies the single flaw – their craft has become so polished and perfect, it’s slightly less interesting than before. Sure, they really couldn’t have delivered a shenanigan-filled sixth album filled with mischievous spirit. Butterfly House is almost a period piece, not without its highlights and relentless qualities, however, let’s cross our fingers that the mischief that made them so intriguing in the first place isn’t gone for good. ★★★ Ben Preece


Go outside and stand on the edge of the road. Peacefully warble away like you’re in some exotic choir and keep doing it for maybe an hour or so, letting it mix with the rumble and hiss of the traffic. Then come back inside and put this album on your stereo. Now, let’s see if we can spot the difference between you and them. Chances are that the difference is going to come down to location, with this Swedish duo decamping to Iceland to soak up some of the virgin landscape and translate it into two albums of song – here reduced down to a singularly packaged, double album release. Now you can’t deny that beauty exists in the music of Marium Wallentin and Andreas Werliin, but the couple’s desire to take one idea and minutely trickle it out over the course of their songs succeeds in relegating its appeal to the background more so than engaging with you. For the minimalists out there though, this could be the kind of organic execution of a renegade form of chamber pop that will swoon and serenade you. And playing no small part in the realisation of Rivers’ two halves, Retina and Iris, is Australian wunderkind Ben Frost – now a firmly entrenched part of Iceland’s fertile electronic and experimental music scene. Much of what constitutes the nine songs that make up Rivers, in fact, has more in common with the form and function of Henryk Gorecki’s Symphony No.3 than it does contemporary music. The emptiness found here, however, will likely drive you to fill it with your own feelings – or it’s just as possible that you will be left with no greater motivation than to mistake it for that PJ Harvey album that it looks a little too much like. ★★½ Alex Gillies






(Asthmatic Kitty)


(Lexicon Devil/Fuse)

All We Grow

All Delighted People EP

Perhaps to fill in time while Justin Vernon is off gallivanting with Kanye West, Bon Iver drummer Sean Carey has released an album of his own. And Carey has produced an LP of a quality that equals, and on occasion surpasses that of his much-lauded day job. A classically-trained percussionist, Carey’s tunes are certainly instrumentally driven, but Carey avoids the unfortunate tendency of similarly-educated musicians to get lost in their own cleverness. Move is an apt initiation into the record’s dreamy, falsettofilled standard but We Fell is the control test against which the album’s other tracks should be judged. On this goosebump-inducing tune Carey demonstrates the difference between “percussion” and “drumming” – an education which continues for the rest of the album – with a piano-backed multi-instrumental that ends in an understated crescendo of tear-jerking beauty. Carey wears his most obvious influences on his sleeve – Sufjan Stevens is a recurring reference point – and there are moments when he becomes briefly disoriented and deviates from songwriting to indulge in a little navel-gazing. But the moments of task-related amnesia are brief and the album is capably propelled ever forward with the comparatively loud Action punctuating midway. All We Grow finishes on a softly majestic note with the penultimate title track and the wonderfully lingering finale Broken. Writing a down-tempo, sad-folk album filled with tracks that are – for all intents and purposes – instrumental without being intolerably dull is no mean feat. But to write such an album and imbue it with an intoxicating intimacy and beauty is an achievement verging on miraculous. ★★★★½ Helen Stringer

After a three year absence from the spotlight, indie-folkpop troubadour Sufjan Stevens returned last year with The BQE, an ambitious and on many levels completely baffling orchestral accompaniment to his film of the same name, about the Brooklyn-Queens Expressway. It received pretty mixed reviews, especially in the wake of his previous records – from the soft beauty of Seven Swans (2004) to the grandiose overtures of 2005’s Illinois . The term “EP” is used pretty loosely here – the record has eight tracks and comes in just shy of 55 minutes – but Stevens has worked it into the title so there it is. The EP revolves around two different versions of the title track: the opener, subtitled (Original Version), is gorgeous; a haunting, 11-minute swell complete with choir, strings, horns, woodwinds and all manner of lifts and crashes in terms of dynamics. The other, (Classic Rock Version), is placed halfway through the album, utilising banjos, guitars, small group harmonies and a different style of horn work. It’s three minutes shorter than its counterpart, but no less enjoyable. Both versions contain elements of Stevens’ signature styles, but in distinct capacities, making them both stand out as individual tracks. There’s a sense of amalgam in terms of atmosphere on this record that Stevens has not previously shown, deliberately or otherwise; i.e., where 2001’s Enjoy Your Rabbit was entirely electronic, All Delighted People uses elements of electronica (as in From The Mouth Of Gabriel). There’s a uniform beauty as the album progresses, whether it’s found in Enchanting Ghost’s ethereal guitar lines, the unsettling loveliness of The Owl And The Tanager, or glorious 17-minute long closer Djoharia, and it’s truly good enough to qualify for album status. ★★★★½ Mitch Knox

It’s A Shame About Gemma Ray In those awkward few days between Christmas and New Year’s, the UK’s Gemma Ray found herself laying a bunch of her favourite songs down on tape with a little help from and Heavy Trash’s Matt Verta-Ray in his New York studio. She says that it was unexpected, but rest assured we should all be thankful that she did it. A covers record is very rarely going to blow you away, but if approached with the right attitude then it can bring all sorts of delightful new elements to the source material. Here Ray unapologetically approaches the tunes with a minimal frame of mind, it’s bare bones, lonely bar room type fair, which, when the material is as varied as this, is intriguing. At its best, it’s sublime. Ray doesn’t ruin the classics (The Gun Club’s Ghost On The Highway, The Cookies’ Only To Other People), makes you realise just how good some modern tunes are (Obits’ S.U.D.) and completely subverts others (Sonic Youth’s Drunken Butterfly, Mudhoney’s Touch Me I’m Sick). And that voice is so charmingly beautiful and certainly very powerful. Look no further than the cleverly dreamy harmonies in Buddy Holly’s Everyday to experience said chilling beauty. Sadly, it’s not all great – some of the arrangements are too flat to work for very long and by the time you’re at the tail end of the female side of the disc (it’s split in two by gender) you start wishing that Ray had another trick up her sleeve. The occasional push of a drum machine and some colourful organ don’t quite cut it. But with that stunning voice and what seems a genuine appreciation for the originals... let’s just say that next time you find yourself up too late with too much whiskey under your belt, you’ll be wanting this record. ★★★★ Dan Condon


The jazzed-out, post-rock scuzz of bands like Don Caballaro, Storm & Stress and US Maple have been thin on the ground for almost a decade now. Sure, there’s the updated polish of Battles or the more elongated, avant garde stylings of The Boredoms, but the bands that helped defined record labels like Touch & Go in the late 90s are scant today. From out of leftfield as much as Kent in the UK, instrumental trio Honey Ride Me A Goat are here to disjoint your ears and mess with your sense of melody. Melding the claustrophobia of the aforementioned Storm & Stress with the No Wave agility of DNA, these three fellows make difficult music for folks who don’t want an easy ride. Scatterbrain guitar chords shoot sparks over the waves of big-swell bass lines that seem intent on tangling themselves in a percussive maelstrom that flicks from linear to lateral like a faulty light switch. There’s no point highlighting one sound or looking for that single song, this just isn’t that kind of band. This is a dark journey that rewards when you sort out the shadows from the trapdoors and ride along with this album as it hurtles towards some inevitable oblivion. The initial bluster of such ordered chaos does, however, give way to the noticeable guitar intricacy of a fellow simply known as Ryan – Udders developing a real Fucking Champs level of agility that will hook you (if you’ve made it this far already). At some point we all have to draw a line where the music stops and the sound of a herding stampede of elephants starts – HRMAG are right there, on that line, dancing and prancing over and around it, back and forth, while kicking a little dirt in your face, just for good measure. ★★★½

Richard Alverez

Ministry’s Spring season instalment of Clubber’s Guide is mixed by Sydney’s queen of clubs Anna Lunoe, and Melbourne’s dance floor ace John Course. Together, they mix up 46 freshly hatched club tracks across two CDs, delivering you the best straight-up club jams the universe has to offer. Artists include Art vs Science, Bart B More, Laidback Luke, Moby, T-Rek, Carte Blanche, Crookers, Hook N Sling, LCD Soundsystem, Flight Facilities, Two Door Cinema Club, Crystal Castles and so, so much more!

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2 CD





We All Get Exactly What We’re Asking For (Yarraville Recording Co.)

There are plenty of rock bands in this country, but so many of them seem caught up in sounding like they come from foreign shores. But when you hear bands like The Church, Died Pretty or The Johnnys, you know exactly what wide brown lands their muse has laid her plot within. Speed Orange have this same iconographic sense of our country’s hardship soaked heavily into the 12 songs of their second album. Infusing a dose of outlaw country – the kind steeped in goldfield bloodshed, the kind adored by many fellow Melbourne bands of yore – tracks like She Killed Me In My Sleep and The Ballad Of You, Me And Donnie McGee are perfect complements to the electrified pub brawls that are I Am The Devil They Call Love and Playing To The Dead. The complete lack of pretence within this music makes it so easy to feel like you’re right there with the band in the gutter staring up at the stars, and that’s refreshing. But you can’t say that the five members of this band live in isolation, with a Compulsive Gamblers dose of Memphis swagger making itself known through the eked-out organ melody throughout The Serpent Song and the title track. The eucalypts, however, cast the longest shadows throughout Funeral Pyre with a resolute, Louis Tillett-styled piano holding up weary words. Never as revisionist or wild-eyed as the muchloved Drones, Speed Orange clearly stick to their strengths. Their torn and frayed rock songs are as reliable as the summer sun’s desire to beat you down – which is something you’d be hard pressed to find much of in Australian music these days. ★★★½

Alex Gillies




(Albert Productions)



By Limbo Lake

Church With No Magic

Alive Till I’m Dead

With an extended lead up for any band’s debut album, there’s always a chance that they will run dry on ideas before the final hurdle has been tackled. Providing an ever hungry music public with fresh tracks is an excellent way to maintain a buzz, but if that debut album falls flat then all that hard work quickly dissolves. So it’s with great pleasure to find that the long wait for Sydney-based six-piece Seabellies; debut By Limbo Lake is totally worth it.

It’s difficult to feel anything other than disappointment following one’s initial hearing of PVT’s Church With No Magic. The follow-up to the Sydney/London trio’s staggering 2008 breakthrough record O Soundtrack My Heart (delivered under their original Pivot moniker before recent legal proceedings forced a name change), Church With No Magic represents such a stylistic departure from the band’s previous output so as to immediately predispose most dedicated listeners against it.

Lucky doesn’t even begin to start with this East London MC. Stabbed in the neck with a broken bottle in 2009, the mere fact that Stephen Manderson is even alive little own rapping to a successful degree is a victory that any future record sales will probably be dwarfed by. Having already fell in and out of one recording contract with Mike Skinner’s The Beats label, this is the Professor’s second bite at the cherry and this time, he has given it a far more solid chomp.

A complete revelation, it’s arguably one of the most complete and assured releases of the year thus far. And considering the band is still very much in its infancy, it just makes it that much more special. Every track wraps around you like a warm blanket on a winter’s night, the euphoric exuberance leaping out of the speakers, the tunes just bristling with energy and flair.

The dense precision of the band’s former incarnation has been replaced with layer upon layer of synthesisers; Laurence Pike’s hyper-dextrous kit-work has been pared back to an austere pulse and the intertwining instrumental melodies that haunted O Soundtrack My Heart have been superseded by Richard Pike’s texture-driven vocal work. Whereas Pivot’s output was angular, complicated and confronting, PVT’s is lush, moody and minimalistic.

His nasal tone gives an Eminem-like spin to his grime flow and the production is simple yet effective, the vocal samples and loops on tracks like Jungle and opening highpoint Kids That Love To Dance really shaping a fresh sound that jumps from the speakers. And he holds the humour of the former great from Detroit to, lines like “I’m rap’s George Best with a lot more cess/A little more liquor and a lot more sex” (Oh My God) working with his tonguein-cheek nature rather than an overtly cocky overture.

Singles Orange X, Young Cubs and Trans Ending have already established the album with the foundation from which to get some decent rotation but By Limbo Lake never once rests on its laurels, the entire 50 minutes of music exciting and elating, your feet barely touching the ground over the 12 tracks. With a striking yet simplistic string riff, opener Ices (Death & Love) is a summary of everything amazing to follow, a huge part of which comes down to Trent Grenell’s dreamy vocals. These are no better heard than when they are complementing the layered percussive work on the gorgeous Board The Apartment Up. But probably the toughest and most transcending element Seabellies have achieved with By Limbo Lake is that they’ve managed to create a sound that although bred Australian, is truly world class. It’s bands like this that make you realise just how good our domestic product really is. ★★★★½

Benny Doyle

Fortunately, time heals all wounds. Once one is willing to suspend one’s expectations regarding what PVT should sound like and simply engage with the record that the band have made, a decidedly different listening experience is revealed – a better listening experience, even. The record’s more atmospheric and inviting aesthetics may represent a stylistic shift for Pivot fans but, in truth, there is little to no deterioration of the band’s quality or invention. Song-oriented works like surging lead single Window or the album’s title track are deeply intelligent, warmly engaging and subversively challenging while less conventional numbers like Waves And Radiation are gifted with a depth and richness not previously showcased by the band. The whole album, meanwhile, revels in a truly distinctive atmosphere and a remarkable cohesion – ensuring the band’s position as one of Australia’s most unique exports.

Although weaker moments like City Of Gold and Do For You threaten briefly to derail this single-filled LP, Alive Till I’m Dead has enough readymade hits on it to see Professor Green shine bright on the musical landscape for at least the immediate future. It’s danceable, it’s fun and it’s as much a party record as a dark tale of redemption. Hopefully listeners will look further than the Lily Allen assisted hook on ultra-catchy Just Be Good To Green and take this album for what it is – another solid stone in the street level freestyle that’s taking the spotlight from the east and west coasts and planting it square on Ol’ Blighty. ★★★½

Benny Doyle

★★★★ Matt O’Neill



Always Coming Down (Rubber Records)

It feels a little strange to be holding a Cordrazine record after a wait of 13 years. The good news is if you were a fan of the band and their work in 1997, then there won’t be much you don’t love about Always Coming Down. They always seemed like a band with a sound a little in front of their time with the potential to re-steer the Australian music sound. Hamish Cowan’s haunting Morrissey-esque vocals are intact and are as stunning as ever, while their jazz-infused rock sound sits as well in 2010 as it did in 1997. The songwriting reeks of the old school, the stuff that makes the greats great and Cowan would be the first to admit it purposefully steers away from gross modernday leanings of super-obvious hooks and contrived arrangements. Each and every song is obviously an experience and not without its atmosphere, with an intimate Cowan wearing his vulnerability on his sleeve throughout. The likes of There’s So Much More For You and Keeping Warm are simply beautiful love songs recalling the likes of R.E.M. while the string-laced Sunshine and its suggestion to “blow all the storm clouds away” would be utterly cheesy if not delivered by Cowan’s harmonic urges. Untitled strays a little into Kid A-era Radiohead without completely knocking it off, while Damaged unravels with trademark understated drums and beautiful often Harrsion-esque quitar. Breaking up before they could ever truly break through, it’s brilliant to have Cordrazine back. Always Coming Down is a fitting follow-up to their debut album From Here To Wherever no matter how long it has been between drinks. It’s stunningly executed and beautifully delivered – it might be too late to truly break through but that is perhaps what makes it even more special. ★★★★ Ben Preece

(Righteous Babe/Shock)


(Richter Collective)

It’s easy to rattle off a list of bands who prove that words have the capacity to ruin everything when it comes to music and sometimes the instruments are all you need – pre-Punkgasm Don Caballero, Explosions In The Sky, God Is An Astronaut; this could go on all day – but only a few of them pull off instrumental rock with the sass, irreverence and likeable charm that Ireland’s The Redneck Manifesto do. During their 12-year history, the band have developed into one of the country’s best bands nobody’s heard about, which is practically criminal given how consistently good they have proven to be in that time. Sixth full-length Friendship is no exception. At a pinch under five-and-a-half minutes, opener Black Apple stands as the album’s longest track, and the group kick things off in style. The song is essentially a very subtle build-up, starting with a deep funk groove before picking up multiple times through use of nimble percussion work and intertwining, noodly guitars before culminating in a simultaneous snare and hi-hat backed, synth-driven outro. There’s barely time to catch your breath before the gleeful twiddle of Smile More’s intro kicks in, under-ridden by a staccato bass jive and more loose drums. Like Black Apple before it, the song – and indeed, the album – is a journey, through dance vibes, rock outs, jangles, funks, up-steps and half-times. When vocals are used, as in the falsetto lacing on Drum Drum’s chorus, it is to great effect and limited to monosyllables – really little more than another instrument to be used in a similar way to a xylophone or chimes or bells – while album standout Rubber Up features delicious atypical time signature work and a song-making wind-up that sports all the elasticity of the track’s namesake. It is, in a word, glorious. Like music? Like fun? Like this. ★★★★½


Mitch Knox


Fail Like You Mean It (Other Tongues)

Scott Spark’s debut album is a friendly superhero affair. Filled with toys and friends, the little girl inside me kind of wishes it was recorded in a treehouse or a bat cave, but Spark had to settle for bedrooms and houseboats instead. Tinkling on a piano since the days of wearing superhero outfits, Spark offers up an album filled with quirky ballads that talk about shift-work, Christmas, the importance of delusions and strategies for outsmarting death – sans tights. And like all good superheros, Spark has his fair share of sidekicks with the likes of Megan Washington, Seja and Chris Pickering joining the fight against lacklustre singer-songwriter music. With an arsenal of instruments tucked into his utility belt including a toy piano, Spark also samples sounds from scissors, piano slaps, a Polaroid camera, a match box, kitchen sieve, and a boy scout bird-caller. He’s the MacGyver of music. As a teen he also learned saxophone, that is, until someone tried to shoot him. Thankfully he enlisted the help of some other friends to fill out the brass section. The result is a beautifully crafted pop album that’s never too happy. Instead Spark has a way of writing that first makes you laugh, but then go, ‘Oh hang on, that’s actually a bit depressing’. Title track Fail Like You Mean It is an upbeat and catchy opener that sets the scene for the rest of the album while Eat Your Heart Out has some interesting beats that still allows the story to be told without getting bogged down by the sound of that kitchen sieve. As far as superpowers go, Scott Spark has the ability to turn his life into quirky, thoughtful pop that could bring his arch nemeses to their knees. ★★★

Rachel Tinney

Rock operas are old hat, been and done. Folk operas based on Greek tragedy, however, there’s an unploughed field ready for sowing… Hadestown is the transformation of Orpheus and Eurydice out of ancient history and into a futurist America. Here composer, guitarist, vocalist and epicentre Anais Mitchell has taken the ancient tale and furnished it with a complete classical score underpinning the folk music skeleton that wraps up the 20 chapters of this tale. Mitchell is clearly smitten and guided by the musings of Ani Difranco and comparisons are easily made between the two’s folk stylings. And what better than to surround yourself with musicians of the strongest suit – Difranco herself (as Persephone), Bon Iver (as Orpheus), Greg Brown (as Hades) and many more – completing the circle of Mitchell’s inspired musical voice. The flipside to such a grand undertaking is that Hadestown is not the kind of easy, laidback listening that folk music often is. While not delivered with the vitriol that is attributed to much of Difranco’s output, the depth of the story and its detail means that dipping into this album makes it difficult to draw much reward. However, if albums are like books to you and a good tale can hold you captive, then the benefits here are great and many. Sweeping styles from the album’s backbone of folk to cascading strings and the occasional Tom Waitsstyled gumbo groove fill our protagonists with life. No chapter or tune stands out, but the richness of verse here is quite beautiful and of course the messages and the thinly-veiled metaphors that underpin this entire album are like bouts of intoxicating vertigo. Mitchell may very well have started off as Difranco’s unofficial protégé, but with work like this she’s clearly already in a field of her own. ★★★½ Jo Hill


THE PROBLEM WITH EVIL Leon Ewing is a self-confessed unrepentant nihilist – and in a strange way, that’s the driving force behind his art, he says. The humour in his show The Problem With Evil is beyond dark, to the point of absurdity. “People often wet themselves at the time, and then days later think to themselves, ‘I can’t believe I laughed at that’,” Ewing says. “But the show is intentionally provocative. I would like to shock audiences into action, but I’m an utter nihilist myself. I read The Road by Cormac McCarthy and felt like I had come home. I read John Birmingham for laughs.” So, as a nihilist, does this mean that Ewing reckons that Evil has already won, and that humanity is on a slippery slope to its own doom? “Yeah, I think the time for action has been and gone, and we didn’t give a fuck,” he says. “The only thing left is to enjoy the twilight years of our civilisation – beyond a human timescale the planet will adapt and evolve, but I

think we have reached an evolutionary dead end. I’m open to being proven wrong, but I don’t see the evidence that we are up to the task. “Interestingly, it is this nihilism that motivates me to lead a rich and full and happy life, because I don’t believe in the future – only the moment. There is a great Charlie Chaplin quote: ‘Life is a tragedy when seen in close-up, but a comedy in long-shot’.” This might all sound a bit depressing – but it’s given Ewing a new perspective on the world. Rather than getting depressed by, say, an oil spill, he thinks ‘Hey, great material!’. So, fuck it, Brisbane – we might as well enjoy the time we have left, and The Problem With Evil seems a mighty fine way to piss away one of our last few precious hours – a PowerPoint presentation with live feeds of puppets manipulated into cameras, beatboxing fish, and skeletons playing rockabilly. BAZ MCALISTER WHAT: The Problem With Evil WHERE & WHEN: The Studio, Metro Arts Monday Sep 20 to Wednesday Sep 22

THE POMEGRANATE CYCLE Violence against women is an ugly and deeply embedded side of our society. It’s odd, then, that such an act would be so frequently depicted – with arguable indifference – in the otherwise graceful and aesthetically sophisticated world of opera. Eve Klein thought so too, and it was this realisation that led to the eventual development of her take on violence against women, as inspired by the story of Persephone, in The Pomegranate Cycle. “In many operas, female characters experience violence, go mad and die or are killed,” Klein explains. “Rarely do they pick up the pieces of their life and live it again. When I was teaching music technology, I had worked with a number of students who used the recording process to tell stories of how they healed from violence. My experience with these students was that the technology empowered them to move their stories to a new space, a place where they felt comfortable with themselves and their history. With Pomegranate I wanted to draw from that idea and use the textures of ambient electronica to break open stories of violence depicted in traditional opera and tell a story of healing.”

It’s an ambitious goal, to be sure, but one that Klein seems entirely capable of achieving. She’s an intelligent lady; she’s laden her work with metaphors and meanings that provide added emotional depth for those who understand them – although she does concede that perhaps the best place from which to grasp Pomegranate’s true scope is from the audience. “Pomegranates are laden with meaning. They have been used as a symbol of divinity and worship across many cultures, and are present in the scriptures of Judaism, Christianity, and Islam,” Klein says knowingly. “A lot of the earliest opera was based around ancient Greek mythology so I wanted to draw from that tradition, and based The Pomegranate Cycle around the myth known as The Rape of Persephone. In the myth, Hades steals Persephone into the Underworld. While there he tricks her into eating pomegranate seeds. When she is allowed to return to her mother, she is told that she must return to the underworld each year for several months, effectively winter, because she has eaten the seeds.” MITCH KNOX WHAT: The Pomegranate Cycle WHERE & WHEN: Out the Back, Metro Arts Thursday Sep 16 to Sunday Sep 19









LOVE SONGS FOR FUTURE GIRL Shane Adamczak is halfway through the run of his show Love Songs For Future Girl at The Blue Room in his base of Perth when he speaks to Time Off. Or, rather, we should say, Zack Adams is halfway through. “Zack has always been a vehicle for me to explore performance styles that I’m interested in and I’ve been able to live out my rock’n’roll star fantasies on stage,” Adamczak says. “Sometimes I feel like we’re a married couple. And like any relationship I think time apart is essential. I spent so much of 2009 performing Zack shows (in Adelaide, Melbourne, Sydney, and New York) that by this time last year, I was so incredibly ready to move onto a new non-Zack Adams project that I just had to force myself to take a break from writing. “So I spent a few months working with my band The Spin Chorus and various other theatre projects and it was really refreshing. When I came back to write this new show it was all fresh and exciting again and I was able to approach the character with new eyes and ideas.” The new show marks Adamczak’s first visit to Brisbane in four years, and is a semi-autobiographical reflection on relationships of the past. Adamczak says his dating history has been pretty rich ground to mine for material – even though he’s embellished parts to protect the innocent (and the guilty). “Sometimes life just hands you these great stories and ideas and you can’t pass them up, you don’t feel the need to make things up,” he says. “Unfortunately the part about being dumped after a long tour was based on a true story! It’s been interesting to see how much I can get away with, but the show is essentially fun and I wouldn’t go out of my way to make anyone (even fictional versions of people I know) look too bad.” BAZ MCALISTER WHAT: Love Songs For Future Girl WHERE & WHEN: Friday Sep 10 to Monday Sep 13


MOTHLIGHT Name and role: Skye Gellmann, co-deviser and artistic director. Tell us about Mothlight? We are creating a performance installation. We can’t tell you too much about what our installation is – it’s a surprise – but we can tell you it takes influence from those little winged creatures, moths! We want Mothlight to be a real experience for our audiences. Within this environment, intense yet brazenly honest circus performance about estranged intimate relationships takes place. How did it evolve? Originally the idea started with how interesting I thought moths were as symbols. I like all the things moths can mean to different people. So I applied for Brisbane Festival’s Under The Radar programme, and Melbourne Fringe’s Hub with my idea and got both. I decided that it

would be interesting to work with a non-circus performer for this project, and found Naomi Francis, who was a new friend, rock climber and engineer in the water sector. Also I like to find interesting ways of lighting my work. In the past we have used flash lights, slide projectors, but this time I wanted to use everyday light bulbs. So. Moths were interesting. Lights were pretty. Mothlight, seemed an appropriate title. What themes and ideas does it involve? We look at the different ways people treat each other. We mainly look at objectification of peoples bodies and the natural need to redistribute emotional energy in physical and sometimes violent ways. Also the role of touch within intimate relationships and all communication, is a big part of the work. WHAT: Mothlight WHERE & WHEN: The Whitlam, Metro Arts Tuesday Sep 21 to Friday Sep 24

In today’s speed-dating, online-meeting, ex-stalking society, it seems there is a never-ending list of ways in which folks try and win someone’s heart. You might take them to a formal dinner; you might just put formaldehyde in their dinner. Whatever, there’s no judgment here – but the point remains that even if – if – you find someone you’re initially compatible with, there are still so many variables at play that could turn the whole thing into a disaster. Like, for example, when a loaf of bread is being baked. Man, dating is hard. “We found some classified advertisements and became interested in how people described themselves and what they wanted in a partner,” performer Rachael DysonMcGregor explains. “How do you frame yourself accurately in a few lines to attract the right mate? At the same time we were looking at the process of baking and how the accuracy of chemistry, craft and timing is very specific. Like finding a partner; there are so many variables that can go wrong ... We saw the parallels between these two ideas and began to overlap material we were making into the show.” The show has already faced one such proverbial disaster in the departure of a previous cast member to be replaced by newcomer Zac Jones, which ordinarily would be no big deal (did Rhodey look different in Iron Man 2?) but for the fact that Mr. Jones would be replacing Miss Departing Cast Member. Still, the troupe pressed on. “Our new cast member is a man, where before we were three women so that immediately changed the dynamics in the group,” Dyson-McGregor says. “We were eager to develop the material from the original show and it didn’t seem right to transfer old choreography from one dancer to another so we went back to what was the essential idea behind each scene and shaped new material around that. It was great to throw out old material that we had lost connection with and re-work the main ideas. I think the show has strengthened in this process.” MITCH KNOX WHAT: Neon Toast WHERE & WHEN: Sue Benner Theatre, Metro Arts Thursday Sep 16 to Sunday Sep 19


GOOD CLEAN FUN Melbourne circus pranksters The Caravan of Dooom are making their Brisbane debut with their first full-length show Good Clean Fun. Don’t be misled by the title; only two of the three adjectives are accurate and neither of those is “clean”. To have some kind of preparatory notion of what to expect from the Caravan of Dooom it might be wise to imagine a sideshow act performed by Iggy Pop and the Stooges – if they were coherent Australian political satirists with absurdist leanings and a taste for audience participation. The Caravan blends acrobatics-driven slap-stick comedy with not-so-clean humour, a DIY ethic, and a healthy dose of irreverence. Performer Captain Ruin cheerfully explains that the show is likely to include “whips, chains, cigarettes, knives; quite a lot of bodily fluids, a little bit of acrobatic skill, but not too much” and, he continues, “a lot of nudity,” because “you’ve got to have nudity; it goes with the bodily fluids.” If the nudity, weapons and bodily fluids don’t draw you in, Ruin also assures that there will be “carnies, a few motorcycles, hundreds of packs of cigarettes, lots of booze and thousands of stunned onlookers”. Captain Ruin promises that Brisbane “can expect some good, wholesome clean fun, as well as some bodgy acrobatics, targeted political satire, and a feel good message at the end that you can take away with you.” And what’s the take-home message? “Buy a T-shirt.” WHAT: Good Clean Fun WHERE & WHEN: Out The Back, Metro Arts Friday Sep 10 to Monday Sep 13

BIRDMACHINE Dance and robotics might seem a somewhat unlikely combination, but multidisciplinary artist Ivan Thorley – along with composer and programmer Federico Reuben – has used these almost diametrically opposed elements to create installation piece Birdmachine. While he admits that it might seem a little “outrageous” for a dancer to explore movement using robots, this incongruity – creating responsive robots that move with some of the poeticism of a dancer – is representative of Thorley’s larger interest in our relationship with and expectations of technical objects. With Birdmachine Thorley’s aim was to create an autonomous environment for his robotic creatures to exist in; the challenge, then, was to build robots that appear completely unreal – the critters themselves are more alien than animal – but which respond almost naturally. As he says, the creatures have “a tiny bit of randomness; that’s what we wanted to get in to the environment. With a lot of responsive media installations people expect to put something in and get something out, but in the environment things don’t actually work like that. We wanted these guys to just be existing in their own world.”

The point of making a “grotesque” world for these dark and creepy robots to inhabit, Thorley explains, “is to mimic those elements that we have in our lives and put them into an artificial environment... If you situate that with a sound and an ecology… people suddenly read it as being alive.” While his dance background is evident in the mimetic responses of the robots Thorley is keen to delineate between human performance and his immersive installation. “There are other projects that I’ve seen with dancers performing with robots, and I’ve always found that the relationship between those two things sometimes it works, and sometimes it doesn’t. So to put a performer in the installation and make it a performance; I just think it looks ridiculous.” He adds that there’s an expectation “that the dancer will be replicated…that’s a very linear view of how technical objects should be manipulated; that we should be at the centre. I was really interested in developing a movement vocabulary [specific to] those technical objects.” HELEN STRINGER WHAT: Birdmachine WHERE & WHEN: Sue Benner Theatre, Metro Arts Monday Sep 20 to Wednesday Sep 22

Speaking on behalf (and as half) of the pianoBoat project, Raku Pitt is “really excited and a little nervous about the trip to Brisbane. We got involved because the ethos of the programme seems to be a great match for our own endeavours to connect our passions for multiple artforms through experimental approaches to street theatre and performative installations.” Pitt and his sister Freya are introducing themselves, the disillusioned Howard, and a mystery plant peddler through puppetry, music, storytelling and animation in a family friendly show. The idea for the show “was seeded by seeing a wild fig tree growing in a drain on an inner-city street and also noticing the increasing profusion of guerilla gardens being tended in unlikely urban spots,” and it’s grown into a conceptual exploration of how stories and meaning can take on a life of their own and flourish in different forms. “Its distinctive aesthetic starts with richly detailed 2D drawings which are simply animated,” explains Pitt. “These city scenes are inhabited by videoed silhouettes of the protagonists as well as by live shadow puppets interacting with the projected characters. The soundtrack is also provided live for each show by piano-accordion and voice.” It’s a lot for two people to take on, and the multimedia presentation is being used to develop ideas about performance as well as to be engaging in and of itself. The Pitts are “intrigued by the possibilities that could arise from uniting various forms of expression and communication, from the simplicity of stripped-down shadow-storytelling and acoustic music to the hypnotic power of digital and analogue projection technologies,” and Howard Grey is a way of playing with these, and of getting audiences even more involved in the storytelling and “actively imbuing the show with their own Whys and Therefores”. BETHANY SMALL WHAT: Howard Grey’s Unsame Day WHERE & WHEN: Riparian Plaza Tuesday Sep 14 and Thursday Sep 16, Stamford Plaza Hotel Helipad Wednesday Sep 15, Queen St Mall Friday Sep 17




PAPYROPHOBIA IN YELLOW If Melbourne’s Theatre of Rats is any indication, youth is most certainly not wasted on the young. None of the ensemble’s members have yet seen the dark side of 20 and they’re confidently tackling feminism, madness, and polysyllables with one-act black comedy Papyrophobia In Yellow. Rats performer Andrew Eddey explains that the company was formed after a group decision to drop out of their various university degrees to pursue – hopefully – lucrative careers in the performance arts. “We’re all approaching 20 so we decided we’d get things done before we lost the opportunity,” Eddey jokes. Their Brisbane Festival offering Papyrophobia is based on some pretty heavy material. The black comedy is inspired by a short story – The Yellow Wallpaper – by early 20th Century feminist Charlotte Perkins Gilman, which chronicles a young woman’s descent into madness after she’s locked in a yellow wallpapered room in an attempt to cure her “hysteria”. Gilman herself underwent the archaic “rest cure” to treat post-partum depression, but after the prescribed immobility, forced intellectual stagnancy, and deliberate overfeeding drove her to the brink of insanity the audacious lady wisely decided to cease treatment. Eddey – who plays Papyrophobia’s protagonist Allison’s nefarious husband– explains that in the Theatre of Rats interpretation the prisoner of the hideously wall-papered room begins to see not just a woman – as in the original – behind the eponymous paper, but a cast of characters who either lure her deeper into psychosis or facilitate her metaphorical escape, in a satirical one-act romp. “Maybe they drive her insane or maybe they make her free. That’s the question. We wanted to explore that kind of side of madness and visions…that’s what we wanted to explore.” HELEN STRINGER WHAT: Papyrophobia In Yellow WHERE & WHEN: The Studio, Metro Arts Friday Sep 10 to Tuesday Sep 14

SMUDGED Name and role: Richard Pettifer, director. Tell us about Smudged? It’s a tragedy about social networking, how it makes us all bow down and participate in it, and the play speculates that the human cost of this might be us all becoming clowns in some terrifying circus. How did it evolve? Megan [Twycross] wrote the script at Melbourne University based on research she had conducted into ‘the self’ and contemporary identity in contemporary media-saturated society with its cornucopia of images, and the judgements these images make, giving us the feeling that one is

always being evaluated. I was part of the initial reading of the script in 2009 (which was very different to the one we’ll present for the Brisbane Festival). Megan asked me to direct after I engaged with her on a number of the issues she proposed, and I have taken things my own way since then as well as incorporating the ideas of the actors and design team who have played key roles in the development process. What themes and ideas does it involve? Social networking is a key theme of the play and the central problem that it tries to resolve, somewhat successfully but with a degree of ambiguity and fear. WHAT: Smudged WHERE & WHEN: The Whitlam, Metro Arts Friday Sep 10 to Monday Sep 13


BRIGHTNESS Arguably one of the most ambitious works to be showcased by this year’s Under The Radar programme, Denis Buckley’s Brightness is a multimedia performance encompassing poetry, cinema, and live performance designed to interrogate contemporary society’s complex relationship with the significant intangibles of spirituality and the environment. While originally designed to be performed solely in Ireland, Buckley has since decided to bring it to Australian audiences. “Brightness was conceived and made in Kerry on the south west coast of Ireland. The work is region specific, in the projected skies and the sweeping cadence of the language. The Atlantic predominates here. The vast expanse reflects unseen worlds, both real and imagined. This early ecological imagining is found in cultures worldwide and none more so than in the Aboriginal practice of Dreamtime. “I wanted to show how central a part Irish poets and poetry played in imagining Ireland, going on to suggest if imagination has brokered a country and that country has forgotten or worst misunderstands the unseen, then it is time to break down and start again,” Buckley continues. “I don’t see this principle as local. To bring this work to Australia will change it irrevocably and that for me is the most exciting part.” MATT O’NEILL WHAT: Brightness WHERE & WHEN: Queen St Mall Stage Sunday Sep 12 to Tuesday 14, Thursday Sep 16

NOSTALGIA Surprisingly, the three Brisbane artists and fellow QUT students collaborating on Nostalgia – Matt O’Neill, Kieran Law, and Ron Seeto – have a relationship that’s based on hatred. “I hated Kieran when I first saw him,” says O’Neill. “I hated Ron too, actually. I hate everyone. All my best friends, I hate on sight. I first saw Ron at my first drama lecture at university and this guy walks in with a fucking haircut like a samurai and I went ‘You complete wanker’. Then it was in second semester I was in a tute with Kieran, and he looked like a fucking lumberjack and kept referencing all this nerdy bullshit, and I was like ‘I fucking hate you’. I’m still not sure how we became friends.” O’Neill says that Nostalgia is a work that centres around the way it makes an audience feel, disregarding any deeper level of meaning. From the very beginning of the process, the three had a clear vision of the audience reaction they wanted, and used that as a jumping-off point for their development. “We wanted people to walk out and go, ‘I have no idea what that meant but I really enjoyed it’ and we knew all the


artists that we had wanted to reference that had achieved similar things – in the literary field, Virginia Woolf and James Joyce; musically there’s early serialist people like Karlheinz Stockhausen; performance-wise, the absurdists like Samuel Beckett and Euguene Ionesco; and performance arty people, even someone like Yoko Ono. We want to get the same reaction those things got – for people to enjoy an experience. We want people to realise that meaning is irrelevant; we want them to engage with things for the sake of being things.” O’Neill himself figuratively tripped over the touchstone for this entire philosophy one night while wending his way home after one too many. “It all came to me one night when I was wandering home at 3am, completely drunk,” he says. “When you’re wandering home drunk in the middle of the night everything’s very funny but very sad but very beautiful but very annoying. All these things sit on top of each other. There’s no particular reason you feel like that – you’re just engaging with stuff.” BAZ MCALISTER WHAT: Nostalgia WHERE & WHEN: Sue Benner Theatre, Metro Arts Friday Sep 10 to Sunday Sep 12


The cross-platform artists behind The Last Man To Die love to argue – in fact, arguing about new ideas, philosophies and the future is what brought the four together. “We decided to take one idea, the concept that a person could live forever, and focus our artistic philosophical and social argument on that,” says Charles Martin, the group’s musician. “That particular idea has been one we’ve talked about for a while, among other concepts from transhumanism, and we thought we could probably contribute a new perspective.” The experience, Martin says, is a mix of going to see a play, a concert and an exhibition. “The idea is that the audience is entering a museum where the exhibits aren’t physical objects, but stored personalities and scenes from different time periods and different dimensions,” Martin says. “When you come to our show we give you a special ticket at the door with a ‘QR code’, a 2D barcode, and during the show you can scan your code at a special station, which changes the whole performance environment. Each time a ticket is scanned the whole nature the space and the performers can change. It’s okay to move around so you can focus on different elements or whatever you happen to like best.” The major theme of the work is an exploration of the ethics, practicalities and consequences of extending human life indefinitely. During the writing process, the artists did a lot of reading and spoke to scientists on the subject. “Although there’s lots of interest and many research ideas in anti-aging, it’s hard for researchers to pursue them,” Martin says, “both because of the way medical research is set up and because many people have the attitude that we don’t/ shouldn’t want to extend our life spans. Even so, the real research results are fascinating and so are super-cool ideas from science fiction and future studies. There are, however, squillions of crystal-worshipping crackpots, but we generally stay away from them.” BAZ MCALISTER WHAT: The Last Man To Die WHERE & WHEN: The Whitlam, Metro Arts Tuesday Sep 14 to Friday Sep 17

Rae Howell’s just back from a residency in regional Victoria where she’s been working up new material for the East Coast tour she’s about to start developed from another residency she did at the end of last year, a UNESCO one in Brazil. She’s a little bit busy at the moment. “I guess I only got, like, 500 emails?” She says she’s picked up “a whole heap of amazing rhythms” that are going to come out in Primavera, with a “quite funky and toe-tapping quality” to both the new compositions and the pieces she’s reworked to fit the current incarnation of Sunwrae, the group she composes for and performs with. Sunwrae has been around in various forms for long enough to release four albums and play at places like Golden Plains and The Spiegeltent and SXSW, and they cover enough ground musically to have a range of audiences. Sunwrae usually has nine or ten members, but its 2010 incarnation is a trio, playing Howell’s compositions with her on vibraphone, Emily Rosner on harp, and Luke Richardson on double bass, and their Primavera is accompanied by visual projections. “It’s not theatrical, but there’s a the music and the visual arts, that kind of crossover, and it seemed like the trio would be interesting as a performance in that context. We haven’t done the Brissie Festival before, but we were doing the tour and we just saw it and went for it.” BETHANY SMALL WHAT: Primavera WHERE & WHEN: The Warehouse, Metro Arts Monday Sep 13 to Wednesday Sep 15

COUSIN LOVE Like the Ekka, Under The Radar this year intends on bringing a little bit of the country to the city – that’s why Metro Arts is to become the temporary squat of inbred knife-happy bogans the Love family. Well, not Metro Arts exactly – they’re billeted in the back courtyard, appropriately dubbed ‘The Cage’. “The Cage makes the Weeping Scab players feel right at home,” says performer Neridah Waters. “For those of you who haven’t been out the back of Metro Arts this is where all the bins, mops and buckets and toilets can be found and where drunk people go to smoke and spew.” “It even smells right,” says fellow Scab Kellie Vella. “This show wouldn’t work in a straight theatre. It’s made for pubs and back alleys. “And luckily they allowed us to house such filth. There is a lot of liquid spilled and sprayed and squirted throughout the show so many venues are not up for that kind of mess.” The Weeping Scab players came together over a mutual love of B-grade horror films and a shared sick sense of humour “from the slightly off to the completely rotten” during The Globe’s Schlockfest a couple of years ago. Punters will have the chance to spend an hour with Granma Love, whose pendulous lactating breasts produce the finest milk in town; her nephew/son/lover Jesus Judas Whitey Beer Love who has just had his pretty pig taken away from him by the RSPCA; and his cousin/lover/sister Lou-Ann Love who’s constantly ‘hawny’ and has popped out more babies than an entire Catholic family. And you don’t have to just watch this The Hills Have Eyes train-wreck hurtle off the tracks, you can get involved too. “Audiences get to taste the delicious Granma titty-milk, throw beer cans at us at anytime during the show, touch up Lou-Ann if they so wish (and probably even if they don’t) and maybe even punch one of her mewling spawn,” says Waters. “Think of it like a stall in the Woolworth’s Pavilion at the Ekka where you get to sample new and exciting things.” BAZ MCALISTER WHAT: Cousin Love WHERE & WHEN: Out The Back, Metro Arts Wednesday Sep 22 to Saturday Sep 25


CONCENTRIC CIRCLES ON RED “My works flow as new and relating ideas, impressions and improvisations responding to the fragmentation of perception, a glimpse into the incomplete and ephemeral nature of human experience,” performer Velvet Pesu says. “Concentric Circles on Red is a constantly changing rhizome of interconnected elements. It is an organic investigation into the passage of time, a mapping of new ephemeral collaborations with the temporal, each process informing the next allowing nature’s cycles of production and destruction to work hand in hand. My performance art is in constant state of flux, a framed act of conscious play, the unfolding, becoming and unveiling of self through process, chance, accident, change, temporality, rhythm, voice, light and image. I have always had an innate sense of spirit, internal rhythm and a naturally powerful voice. I’m an avid collector of ‘organic’ and ‘recycled’ materials that inform my process of art making.” As you might have gathered by now, Concentric Circles of Red is anything but ordinary. A fusion of sounds, sights, movements, shapes, and recycling (Pesu’s costume is

a playable instrument and made entirely from reused materials), it promises to be one of Under The Radar’s most intriguing performances, and like all good things, it definitely didn’t happen overnight. “It has definitely been a work in progress for many years,” Pesu says. “For instance this year I have created a new recycled pendulum instrument out of an old penny farthing bike wheel that is played with two cello bows and hosts up to 40 recycled strings from double bass, cello, piano, and other found materials in prepared fashion. Last year I created the costume which is also played as an instrument and made from recycled and organic materials. I spent months weaving the skirt out of old film strips and other materials with filmic qualities that is lit from the inside. It is multi-layered with mirror balls, reflectors and crystal pieces that capture the light and fragment it in different directions. For the last five years I have been compiling the multiple projections, handmade/drawn film using entirely recycled materials and have modified a purpose built hand cranked projector.” MITCH KNOX WHAT: Concentric Circles on Red WHERE & WHEN: Sue Benner Theatre, Metro Arts Monday Sep 13 to Wednesday Sep 15

Art Container is a gallery and studio space in Tallinn, Estonia that provides a platform for a loose collaborative group of artists (who are also, in various combinations, academics, writers, and curators) focusing on independent visual art and performance, four of whom are bring The Bathers to Brisbane for Under The Radar. The show, which since premiering in Tallinn in July 2009, has also been enacted at festivals in Latvia, Chile, and Miami, is described by current Art Container manager/curator Sandra Jögeva as “haptic theatre.” Um? It’s “a mixture of ancient Estonian sauna customs, architectural installation, and interactive performance.” Jögeva and six other performers begin the piece inside a sauna constructed outdoors. As they go through the traditional Estonian sauna customs of “sitting a very hot room, throwing water to the oven, thus raising the temperature inside, hitting oneself with the dried branches, socialising with each other, telling stories,” viewers have visual access to the sauna via windows into it, and also the capacity to physically enter the space and the work itself. “Every member of the audience can become a performer. The sauna is open for everybody. So far, people with very different social status have taken their clothes off and joined the Art Container Group in sauna, where everybody is just equal. Homeless men from the streets of both Tallinn, Estonia and Miami, Florida. Artists from New York, who came to exhibit their art works to Miami Art Fair and are using that chance to relax from their pressure to achieve and finally make it there. Cheerful West Coast party people. Art collectors, gallerists, and curators. Chilean young people, who wanted to buy the sauna and to take it to their home country.” BETHANY SMALL WHAT: The Bathers WHERE & WHEN: King George Square Saturday Sep 4 to Tuesday Sep 7



CHEER UP KID Name and role: Natalie Randall, creator and performer. Tell us about Cheer Up Kid? Cheer Up Kid is a tragi-comedy that intimately explores legitimate anxieties children face while growing up, from learning to swim, to weeing in public, to generally feeling unwelcome in social situations. It’s set entirely in a blow-up pool. It’s a really confused, manically enthused and strangely distorted representation of what we go though as children. How did it evolve? Originally it was a short work I made for Performance Space’s Nighttime Statewide programme, which we toured to regional galleries in NSW. The theme of ‘Every Day Hero’ inspired me to delve into the psyche of Bindi Irwin. Cheer Up Kid has sort of evolved beyond Bindi and now delves deeper in the psyche of kids who aren’t tainted by the national spotlight although who still have their own problems to deal with. It’s a bit less of Bindi, a bit more of me and whole lot funnier. What themes and ideas does it involve? Processed meats, childhood anxiety, Vick’s VapoRub, the function of a tantrum, primary school, and first loves… WHAT: Cheer Up Kid WHERE & WHEN: Sue Benner Theatre, Metro Arts Thursday Sep 23 to Saturday Sep 25

THE PRIDE Side Pony Productions’ The Pride is a surreal piece of work chronicling a lion’s attempt to renovate his kitchen while maintaining his primacy within his pride. It offers genuine commentary on human behaviour but, at its core, it was the result of a simple fascination. “The initial starting point for the work was that I had a fascination for the aesthetic of lions; specifically, the idea that someone dressed in a lion costume has a certain amount of prestige when compared to someone in a giraffe or elephant costume,” director Zoe Pepper reveals. “It was the research behind that which really gave birth to the work. I basically just looked at the social structures of lions and then used the rigid frameworks, family units and social

dynamics as limitations for the devising and improvising process we use to create the work. It’s always nice to have structure within that format to really help with constructing the material. “I was mainly thinking about this idea of forgiveness,” Pepper considers. “In that, when you break it all down, the brutality of lion culture is not that dissimilar to the way we as humans behave – the real challenge has been to get these characters behaving like lions while still keeping the audience on side and empathetic with the characters despite the brutality.” MATT O’NEILL WHAT: The Pride WHERE & WHEN: The Studio, Metro Arts Thursday Sep 23 to Saturday Sep 25

Twenty years ago, Kay Armstrong was on tour in Indonesia in her first professional dancing job with a company called One Extra when, during a spontaneous cultural exchange between the traditional dancers from both visitors and hosts, she found herself doing the Nutbush because, well, it was all she had from the Australian ‘traditional dance’ corner. This naturally led to something of an epiphany for the young dancer a while later. “On reflection and further down the track I realised that I had spent half of my life in the ballet studio trying to become a sexless, flightless bird,” she laments. “This was my culture. I also soon realised, as I decided to make my career in the performing arts, that high brow art is not high on the list of priority in an outdoor-loving, sport-crazed country. “So jump to 2007 and I decide to make a solo work about an Aussie beer loving chick who has one shoe in the world of the dying swan and the other quite literally the other attached to a six pack of beer,” she says. “It was about identity and the struggle between being who I am, who I was, who I should be and who people think you are... and of course about being silly.” There you have it; a classically trained dancer from West Sydney who admits to owning ugg boots and can smash beers when the call is raised. Still, that isn’t really the point of Ballyhoo. “Our ballet bogan chicks make a brief appearance before they get sucked into the mayhem of the space so rather than hammering the point it will be more of a cameo performance as a way of setting the tone of youMove’s festival appearance,” Armstrong explains. “It’s about energy, exuberance, humour and not taking yourself so seriously. Essentially Ballyhoo is about hijacking the space. With a mixture of flash mob, performance art, contemporary dance and complete lunacy I think that it in amongst it all there will be something for everyone.” MITCH KNOX WHAT: Ballyhoo WHERE & WHEN: Queen St Mall and Reddacliffe Place Sunday Sep 19 to Tuesday Sep 21

IN THE LIGHT OF THE MOON SOFTLY AND SUDDENLY Name and role: Sean Whelan, poet, writer, and Andrew Watson, musical director, composer, violinist. Tell us about Softly And Suddenly? AW: The Interim Loves score a soundtrack to Sean M Whelan’s spoken word story. This is kind of a response to Lewis Carroll’s Hunting Of The Snark. I grew up with that story. My parents introduced it to me, and it has always intrigued me. But here it’s a modern day setting, it’s the Australian landscape and there is something very real and familiar to most people a stake. SW: I loved the absurdity of the original poem and the idea of turning that idea to the absurdity of love. What themes and ideas does it involve? AW: Love, loss, cats, horses, the letter B, sad violins, and losing yourself into the Australian landscape. Careful of what you wish for, be careful of what you search for... because your snark may turn out to be a boojum. SW: Love is definitely the strongest theme running through the poem. But also the power of ritual, animal magic and the delicious allure of surrender. WHAT: Softly And Suddenly WHERE & WHEN: The Studio, Metro Arts Thursday Sep 16 to Sunday Sep 19

OF THE CAUSES OF WONDERFUL THINGS Name and role? Talya Rubin, writer and performer. Tell us about Of The Causes Of Wonderful Things? Of The Causes of Wonderful Things is a solo show about five children who go missing in a small town. It is an unsettling piece with a dark comic sensibility that involves a rich text, a unique visual language and an intricate sound design. I am playing with an entirely performer-run sound and lighting rig that includes household lamps, tiny LEDs, projections of large format negatives, a reel to reel player and several other playback devices. The characters include a detective, who has basically given up on his life and is bored with his job, a lonely middle aged woman who was looking after her sister’s children when they went missing


and who was never deeply involved with anything until these children came into her life, her sister who works for Pall Mall cigarettes and is an interminable flirt and lover of men, her boyfriend (who is a puppet), and a Japanese man who speaks with an accent from the southern United States. There are scenes that take place in miniature dioramas, in the underworld, and on a Town Hall stage that is a portal to the dead. What themes and ideas does it involve? Originally I was interested in exploring the idea of the shadow, of looking at darkness and how difficult it is to accept the unacceptable both within ourselves and outside of ourselves. I don’t think there is anything darker or more sinister than children disappearing and it hit a deep note about how the darkest things affect us. WHAT: Of The Causes Of Wonderful Things WHERE & WHEN: The Basement, Metro Arts Thursday Sep 23 to Saturday Sep 25


“In Light Of A Moon is an exploration of one woman’s obsessive habit of moon tanning,” Friends With Deficits member Amelia Wallin explains. “The action revolves around the central character of Celeste, and Lisa [Mumford], Maria [White] and myself all perform different sides of her. It’s a lonely life for Celeste, she has spent every night for the past 30 years moon tanning and now she can’t go out during daylight anymore; she gets confused.” The debut Brisbane performance for the trio, In the Light of a Moon finds Friends With Deficits both exploring what definitive characteristics their performances have thus far developed in their twelve month history as a collective and incorporating new areas and disciplines into their work. The entire performance unfolds beneath the trees and park spaces of Brisbane City but, unlike the ensemble’s previous works, Wallin says the work is somewhat more theatrical. “In Light Of A Moon is quite different from our other works,” the performer says of the work’s genealogy. “In this piece, we’ve been working more with narrative, character, and storytelling which definitely feels new to us. It is still a very visual based work, with moments of stillness – which we seem to work with a lot – but I think it still represents something of a new direction for Friends With Deficits.” MATT O’NEIL WHAT: In Light Of A Moon WHERE & WHEN: City Botanic Gardens Wednesday Sep 22 and Thursday Sep 23, Fig Trees Thursday Sep 23 September and Saturday Sep 25



WED 25 – SAT 28 AUGUST BRISBANE POWERHOUSE An intimate performance that highlights the moral and ethical commitments binding Australians and the people of Bougainville (PNG) in the wake of a brutal civil war.


BELLE DU BERRY: QUIZZ Fri 3 Sep 7.30pm TICKETS $34 – $45

Experience the intoxicating blend of classic French cabaret and American jazz from French songbird Belle du Berry and Australian multi-instrumentalist David Lewis, who have sold out venues across the globe – including the 17,000-seat Hollywood Bowl in Los Angeles.

“Belle du Berry, vocalist/ accordionist and lyricist extraordinaire...” BILLBOARD 07 3872 9000

the dance of the home

18th - 25th September Metro Arts Galleries Level 2, 109 Edward St, Brisbane

Photographer Edwin Comey Performer Alison Currie

Opening night: 6pm, 18 September Monday-Friday 10am-4:30pm, Saturday 2pm-5pm An interactive dance installation

FREE ENTRY more info





The 2010 Music Industry Summit & Showcase 3 days of seminars, events, networking and live music Brisbane, Australia 8 – 10 September 2010 OVER 60 SPEAKERS FROM AROUND THE WORLD Robert Forster – The Go-Betweens (AUS) / Richard Kingsmill - Triple J (AUS) / Michael Azerrad – author (USA) / Michael Gudinski – The Mushroom Group (AUS) / John O’Donnell – Cold Chisel management/ Odfellows Publishing (AUS) / Ed Kuepper – The Saints (AUS) / Andy McGrath – ATO Records (USA) / Jonas Woost – digital music consulant (CAN) / Tim Dellow – Transgressive Records (UK) / Dave Faulkner – Hoodoo Gurus (AUS) / Brian Ritchie – Violent Femmes/MONA FOMA (USA/AUS) / Peter Jesperson – New West Records (USA) / Morgan Lebus – Domino Records and Publishing (USA) / Jake Stone – Bluejuice (AUS) / Victor Van Vugt – producer (USA) / Brett Williams – Monotone Management (USA) / Colin Roberts – Big Life Management (UK) / Catherine Bottrill – Julie’s Bicycle (UK) + MANY MORE!

60 HOT ACTS PERFORMING AT BIGSOUND LIVE Washington, Children Collide, Boy & Bear, The Naked and Famous, The Vasco Era, Ernest Ellis, The Gin Club + MANY MORE!


Full details and summit registration at Tickets for BIGSOUND Live available now through Oztix Presented by Q Music – Across Brisbane’s Live Music Precinct Fortitude Valley


Tasmanian indie electro-pop trio TIGER CHOIR are leaving their tiny island behind to grace Queensland’s stages for the first time in their burgeoning career. To prepare us, members SAM NICHOLSON and HAMISH CRUICKSHANK school MITCH KNOX on life in one of the nation’s most oft-overlooked scenes.

DANCE MOFOS, DANCE! After partaking in a mass relocation from the west, newfound Melbourne rockers THE JACKNIVES are turning their attention to the north. Vocalist KYLIE COUFOS tells BEN SALTER in no uncertain terms what they’re expecting from the visit. to a couple of shows, ‘cause he has to want to do it too. He’d worked with some pretty well known bands – Mach Pelican and Something For Kate – and he liked punk rock.”

which actually gives the southerners more in common with Queensland than you might have previously thought – ask anyone from Townsville or Cairns.

These days ‘producer’ can mean lot of different things, ranging from simply someone who operates the recording equipment all the way up to someone who gets involved in the arrangements of the songs as well as the recording process – perhaps the most traditional definition. And as Coufos explains, Maddock was definitely the latter.

“I guess it is pretty close-knit,” Nicholson says. “There’s not heaps of bands so everyone has to be a bit creative, like, in getting gigs together. So you’re playing with all kinds of bands in all kinds of venues. There’s a fair few kind of house shows and gigs where you hire out halls and stuff. But yeah, there’s more bands that are getting to the mainland, which is really cool. It’s not that hard.”


here are several stereotypes about Tasmanians that are deeply embedded in our country’s collective psyche. Granted, most of them involve their sisters and aren’t suitable for reproduction here (double entendre, what?) but there are some stereotypes that perhaps are worth addressing for the greater good of our country’s mutual understanding between its (more eclectic than is often acknowledged) states. And it just so happens it’s a day for busting stereotypes both ways, because Sam Nicholson and Hamish Cruickshank of Tiger Choir sound surprised to hear that, just like where they are, it is raining in Brisbane when Time Off reaches them at the bookstore where Nicholson works. “To us, we just imagine we’re coming up to paradise next week,” Nicholson admits. But that’s the thing about our states – we all imagine different, not necessarily true, things about each other. We imagine New South Wales is full of decaf half-strength skinny mocha latte drinking pansies; Victoria, their gay brothers. Western Australia may as well be a giant marijuana crop and South Australia is probably full of fugitives posing as fishermen. These are the assumptions we carry from our apparently racist, banana bending thrones (ask any other state). And as for Tasmania, well, they’re that tiny isolated island at the bottom of it all, right? “Quite often you hear that it’s isolated, but we don’t really buy into that, because you can book a plane ticket for 40 bucks to Melbourne or Sydney or wherever, so it’s really not as isolated as it used to be,” Cruickshank explains. However, the island’s small geographic area does mean that the bands circulating within Tasmania’s growing scene (they have a scene, people!) are especially close,

In a reversal of Australia typically pilfering New Zealand’s finest, the Tiger Choir boys say Kiwiland has become something of a stop of choice for bands from Tasmania. “There’s bands around at the moment who are all starting to tour a bit,” Nicholson says. “And especially in New Zealand; like, a few bands have gone over to New Zealand.” Cruickshank continues, “I think at some point, someone within the close-knit scene went over there and said, ‘Guys, you’ve gotta go check this out!’ so someone else went, and then someone else went, and now we’re planning to go there next year, so yeah.” “It’s a cultural exchange,” laughs Nicholson. Before they cross the seas, the boys are preparing to make their first jaunt to Queensland, which promises to be a cultural exchange on a level its own. Hopefully though, their booking will pan out a little better for them when they actually do make it to New Zealand. “We’re actually playing two shows on the one night,” Nicholson says. “We’re playing at the X&Y with Toy Balloon, and then we’re getting to the show at Browning St Studios. I just hope we get to catch most of the other bands. We’re coming for like four nights, and we kind of thought we’d have gigs on different nights, but the two of them both happened on the one night.”

WHO : Tiger Choir WHERE & WHEN: X&Y Bar, 6pm

Saturday Aug 28, “Almost Invisible” @ Browning St Studios, 9pm Saturday Aug 28


he Jacknives are no strangers to Queensland’s fair shores, first touring here with ne’er do wells SixFtHick while they were still based in Perth. That was a few years ago now – since then they’ve followed a familiar path for Western Australian bands and relocated to Melbourne, along with (what sounds like) half of the Perth music community, as singer Kylie Coufos explains. “It was really cool when we moved here”, she says, “because our friends’ bands Institut Polaire and Jack On Fire moved over at the same time as us, and all their partners as well. So it was like a mass exodus, about 30 of us moved. It was almost like we robbed the scene, by all of us moving!” The band’s touring plans were temporarily put on hold last year while guitar player Krystal battled with cancer. However she has since thankfully made a full recovery and The Jacknives are about to head back up Brisbane way in support of their second album, Backhanded Sting. A tasty slice of greaser rock bump’n’grind and punk attitude, it’s the first time the band has worked with a producer, in the form of Matt Maddock. “We’ve never done that before”, says Coufos. “We didn’t really know what to expect. Jack On Fire got the same guy when they recorded their album and everyone was saying it sounded really great. So we met him first to make sure we liked him and that he had a good understanding of what we were like and what were were into, and he came

“He did change the arrangement of a couple of songs”, she says. “And that actually turned out really good. [In the old arrangements] sometimes Krystal would do a solo, and then Maisen would do a solo straight after. And he was like, ‘One of those solos has got to go!’ And it was really good, ‘cause we all compromised and there wasn’t anything he said that we didn’t agree on. And that was a relief ‘cause I thought, ‘Gee, there’s gonna be a punch up with someone dropping a solo!’, ‘cause you know... Guitarists and their solos!” So is Coufos looking forward to the tour? “I’m extroverted... band practise I find very boring!” she says. “We were playing so much... it’s so good to be going on tour because we’ve exhausted Melbourne. Like we played four or five weeks in a row and we were jamming, so you can imagine we were all starting to hate each other. We’ve now had two weeks off and no gigs and only one band practise, so now I’m like, ‘Let’s get out of here!’ You know... ‘Let’s go crazy!’ Let’s have fun and put on some good shows for people that haven’t seen us.” So what can Brisbane punters expect from The Jacknives? “The thing that I remember from when I came to Brisbane was that people danced”, she enthuses. “And that is always the aim of the show for me. For me, I love people to dance, ‘cause that’s what rock’n’roll is all about, that dancing. It should be sex, drugs rock’n’roll and dancing!”

WHO: The Jacknives WHAT: Backhanded Sting (Independent) WHERE & WHEN: The Step Inn Friday Aug 27, The Prince Of Wales Hotel Saturday Aug 28





BOY Kiwi writer/director Taika Waititi’s 2003 ten-minute short film Two Cars, One Night was a fascinating snapshot of small-town Maori life in New Zealand. With Boy, the talented Waititi expands on the delightful quirks and irreverent humour of that very special short, and explores that lifestyle in some detail. He even seems to have gone to the length of casting kids who resemble the kids from Two Cars, as they were seven years ago. The film kicks off as James Rolleston’s ‘Boy’ (real name: Alamein, after his dad) introduces us via monologue to his life, schoolmates, and family. When his carer, Gran, heads off for a week to a funeral leaving Boy in charge of the brood of kids, he’s shocked when his long-lost delinquent dad Alamein (Waititi) shows up with a flash car and a ‘gang’ of a couple of hard mates. When his dad starts digging obsessively for ‘treasure’ in a nearby field, Boy starts to suspect his old man isn’t the heroic figure he’s conjured in his own mind. Boy


is a father to his cousins and brother, and a far better one than his father ever was to him. So who’s the parent and who’s the child in this poignant relationship?


Boy is one of the most charming films you’ll see this year, hands down. Waititi used to collaborate with the Flight Of The Conchords lads, and that rich vein of off-beat Kiwi humour is front and centre in Boy. Its 80s setting is a delight, too, and pop culture references abound to Michael Jackson, The Dukes Of Hazzard, and E.T. Anyone who grew up in a small town during the ’80s – whether in the Bay Of Plenty, in Middle America, in the wilds of Scotland, or country Australia – will find something resonates in this wonderfully inventive tale of fathers and sons. WHERE & WHEN: Screening in cinemas Thursday Aug 26


A lot of ink has already been wasted on The Killer Inside Me’s reception at Sundance – some of the crowd nearly turned on director Michael Winterbottom, yelling ‘How dare you? How dare Sundance?’. Sure, this trip inside the mind of West Texas sheriff and serial killer Lou Ford (Casey Affleck) is dark and twisted, and the scenes where he inflicts violence on women are hard to watch, but The Killer Inside Me is ten times less horrific, sick or repellent than any given Saw film. It’s just that Saw films don’t make it to Sundance. Based on a 1952 novel, an adaptation of The Killer Inside Me has been in ‘development hell’ for decades. We follow the schizophrenic Ford as he pursues a secret tryst with prostitute Joyce (Jessica Alba in a great performance, maybe the best she’s been in years) behind the back of his girlfriend Amy (Kate Hudson). Winterbottom’s version is somewhat flawed – it’s noir-ish and shot in his own unique style but sometimes his style misses the mark. Here and there it feels like the focus of a scene is slightly off, or we arrive too late and leave too early. The casting is generally great though, and some of the bit-part players get juicy roles they can sink their teeth into, like Elias Koteas, Bill Pullman, and Simon Baker. But Ford’s a bit of a misstep, as a character – he’s just not captivating enough to sustain the movie, and totally unsympathetic. He’s no jolly Dexter-style serial killer that you’d enjoy spending a couple of hours with, that’s for sure. And while Casey Affleck is generally good in everything he does, his

wheedling voice grates. No matter what film he’s in, it seems, he sounds like a lad on the edge of puberty, close-mouthed and mumbling his way through his lines. I think I caught about two-thirds of what he says

7 UP

in this film. You’re an actor, Casey enunciate! WHERE & WHEN: Screening in cinemas Thursday Aug 26

BAZ MCALISTER NOT SUITABLE FOR XENOPHOBES: FINE PERFORMANCES BY FOREIGNERS IN AUSTRALIAN FILMS BY JOHN EAGLE 1. Peter Coyote in That Eye, The Sky (1995) 2. Donald Pleasence in Wake In Fright (1971) 3. Kate Winslet in Holy Smoke (1999) 4. Edward Woodward in Breaker Morant (1980) 5. Meryl Streep in Evil Angels (1988) 6. Gabriel Byrne and Laura Linney in Jindabyne (2006) 7. Ray Winstone in The Proposition (2005)


THURSDAY 26 April’s Fool – a dramatisation of reactions to the death of local teenager Kristjan Terauds from drug use, based by David Burton on interviews with his friends and family. Closing night. Judith Wright Centre. Cine Blatz 1 – selection of films from experimental British filmmaker Jeff Keens, made in the years 1960 to 1972, love letters to silent film, B-grades, thrillers, exploitation flicks, and more. Institute Of Modern Art, 6pm.

FRIDAY 27 Marie Ellis OAM Prize For Drawing – exhibition of shortlisted works. Closing night. Jugglers Art Space. Queensland Poetry Festival – three days of poetry (most of which is free) from the likes of Adam Phillips, Air For The Birds, Emily XYZ, and more. Judith Wright Centre until Sunday Aug 29.

SATURDAY 28 Madonna Party – afternoon and evening of Madonna love, kicking off with a double screening of Desperately Seeking Susan and In Bed With Madonna, followed by a Madonna video dance party, screening Madonna videos and spinning tunes throughout the night. Tribal Theatre, 3pm (films), 7pm (party).


Second Hand Pose: Portraits Of The Unknown – series of pictures by Kim Demuth that blur identity and boundaries between 2D and 3D. Closing day. Jan Manton Art. Support The Fort #2 – event raising money for The Fort artspace, featuring art exhibition, celebrity auction, stand-up comedy, live music, live art, markets, and more. Artists include Anthony Lister, Sofles, Shida, Maryanne Oliver, and more. The Fort Arts Hub, 6pm.

SUNDAY 29 Jesus Christ Superstar – Luke Kennedy reprises the title role ten years on from the original run of the musical in Brisbane. Closing night. Playhouse, QPAC.

ONGOING A Catch Of The Breath – new work by Robert Thwaites about Australia’s uneasy relationship with its past. Metro Arts until Sunday Sep 5. Sunshine Coast Art Prize – an exhibiion of the finalists in this competition. Caloundra Regional Art Gallery until Sunday Oct 3. Valentino, Retrospective: Past, Present, Future – major exhibition exploring the work of the Italian fashion house from 1959 to the ’09/’10 collection. Opening day. GoMA until Sunday Nov 14.

A SHINY NEW THEATRE WORK HAS DEBUTED IN BRISBANE AS PART OF THE METRO ARTS INDEPENDENTS PROGRAMME. ALICE MUHLING CHATS TO DIRECTOR AND EMERGING ARTIST ROBERT THWAITES ABOUT HIS SHOW, A CATCH OF THE BREATH. The life story of Michael Thwaites reads more like a spy novel than the biography of a well-known wordsmith. As a locally born and British-educated literary scholar, he was set for a promising career in academia after winning a handful of high-profile poetry prizes. Before he had finished forging his name amongst the greats, he was whisked away to serve in World War II and was later recruited as part of the counterespionage contingent of ASIO. His career dreams of becoming a fulltime scribe were lost in the blinding reality of a duty to his country. After his death in 2005, Michael left behind a legacy of words – poems that chronicled the hopes and anxieties of a life well-lived. Director/creator Robert Thwaites is breathing new life into his grandfather’s written works in his innovative show, A Catch Of The Breath. Melding the lulling lyricism of Michael Thwaites’ poems with multimedia, an original music score and powerful physical theatre, the show weaves a fictional narrative about four characters entering a deceased estate through true-tolife spoken-word pieces. As such, A Catch Of The Breath steps away

from a traditional narrative structure and partners the domestic with giant leaps of imagination. “The words of his poetry are inherently theatrical,” Thwaites says. “So it lends itself to be explained through movement and music rather than a more literal storytelling form, which is kind of my style.” When it came to making the creative decision to use Michael’s poems as the centrepiece for a theatre work, Robert acknowledges that he was always aware of his grandfather’s compositions but the gravitas of Michael’s words didn’t hit home until later. “I have always loved my grandfather’s poetry,” Robert explains. “After he died, I read his collected works and I was surprised by what I found. The mood was quite apprehensive and dealt with some dark themes. His life took him in a different direction than being a full-time writer. Those experiences of war and his involvement in world experiences shaped his poetry and gave it a real kick.” While A Catch Of The Breath encompasses some very personal themes, Thwaites has no hesitation in putting his (and his grandfather’s) art out there into the public

consciousness. “The poetry speaks personally but the thing about art is that you have to talk about the specific in order to find themes that resonate generally with people,” Thwaites muses. “I guess the paradox is the more articulately you can speak personally, the easier it is for people to identify with what you’re saying.”

the feedback would be positive. “I think he’d be very interested! He was quite a humble man and I think that he would be stoked to see his words being put in a new context. He had a real concern for future generations and a real connection with young people so I think he’d be thrilled that these words are being used to speak with a younger generation.”

As for what Michael would say about his grandson transforming his words into a contemporary theatre piece for a modern audience, Robert thinks

WHAT: A Catch Of The Breath WHERE AND WHEN: Sue Benner Theatre, Metro Arts until Saturday Sep 4

IT’S ONLY WORDS PERFORMANCE ARTIST, AUTHOR AND QUEENSLAND POET-IN-RESIDENCE EMILY XYZ REDEFINES THE POPULAR UNDERSTANDING OF CONTEMPORARY POETRY. MATT O’NEILL CAUGHT UP WITH THE VETERAN PERFORMER TO DISCUSS HER APPEARANCE AT THIS YEAR’S QUEENSLAND POETRY FESTIVAL. Poetry, popularly speaking, only ever seems to be afforded one definition per person. There are some who consider the form to be comprised exclusively of flowery prose penned centuries ago while others would contend that only live and improvised freestyling constitutes true poetry. There are some, meanwhile, who

would even argue that the concept of poetry is best illustrated through popular song-craft. In reality, however, poetry is all of these concepts and more – this is precisely what the Queensland Poetry Festival celebrates each year. Rather than perpetuating the various stereotypes surrounding

poets and poetry aficionados by limiting their program to one specific variety of content or writer, the Queensland Poetry Festival celebrate the multiplicity of definitions and understandings the poetic form enjoys throughout society. “People always slag off poetry. It is very much a thing to do,”

performance poet Emily XYZ considers. “Poetry, philosophy, even – these things that are very much essential to human culture are knocked in the mainstream. I remember I took an economics course at Columbia University and, the first session of the course, the professor slagged off poets. Often,

the first thing I have to teach new writers is the idea that their work is actually important and has value.” The work of current Queensland Poet-in-Residence Emily XYZ is a case-in-point. A celebrated performance poet since the mid-80s with roots in Manhattan’s respected performance art community, XYZ’s output is characterised not so much by emotional catharsis or beauty (though both qualities are certainly present within her work) as it is by an ongoing interrogation of the aesthetics of wordplay and the structure and arrangement of identifiable ideas. “Most people who are new to poetry write a poem and they think about what they’re writing about but, what I’ve been asking people in my workshops here to think about is, what are the aesthetic choices you are making?” XYZ explains. “What are you doing to bring your own voice to poetry? Are you bringing anything new to poetry? I really try to get people thinking about those issues and their own writing voice rather than talking about things like meter or rhyming scheme.” The majority of XYZ’s work, for example, is written not to be read and analysed but to be performed and often by multiple performers. XYZ’s most celebrated work as a poet is actually the countless poems the writer has composed for two voices while, globally, she is perhaps most renowned for her performances alongside actress and voiceover artist Myers Bartlett – who has been reading poetry with XYZ for over 15 years. “I write mostly for performance. I write my pieces with performance in mind,” XYZ reveals of her work. “I am not like all poets. A lot of poets write their poems with the idea of a poem existing on the page and I think




FRIDAY, 27 AUGUST 11:00 AM, 1:30 PM, 4:00 PM,

MONDAY, 30 AUGUST 11:00 AM, 1:30 PM, 4:00 PM,

6:30 PM, 8:45 PM 6:30 PM, 8:45 PM

“I think the best thing about a festival like this is that it creates a real sense of community for artists,” XYZ reflects of the event. “It’s incredibly rare for an artist to create and develop something great in isolation and, through events like this, great artists are developed and introduced to each other and they gain a greater understanding of both their own work and the context in which that work is created – and context is vital for any kind of artistic growth. “I think, from what little I’ve seen of Brisbane in my stay here, that’s actually what you guys really have going for you here,” she says. “It’s really easy to live here, it isn’t too crowded and everyone seems willing to engage in other people’s work – those are the main reasons New York evolved into the hub that it did and I think there’s a similar spirit to what’s happening here in this city. There’s a real sense of creativity, growth and community.

WHERE & WHEN: Judith Wright Centre Friday Aug 27 to Sunday Aug 29


SATURDAY, 28 AUGUST 11:00 AM, 1:30 PM, 4:00 PM,

It’s in the presentation and promotion of artists like Emily XYZ that the Queensland Poetry Festival distinguishes itself. The assertion that poetry is more deserving of respect and attention within popular culture ultimately rings hollow if the claimant fails to advocate the form’s more adventurous practitioners but, in supporting performers like XYZ, Queensland’s Poetry Festival reveal not only the depth and complexity of poetic performance but of their own comprehension of that phenomenon.

WHAT: Queensland Poetry Festival

SALT 8:45 PM

“My main inspiration is music. It’s not really literature – it’s music,” the poet explains. “I love poetry, I love literature, but really, what gets me thinking creatively is music. My poems tend to function more as music and I like that about them and I want them to do that so, for me, poetry will always be more of a performance thing for me. It can be either or it can be both, though. I think, in a way, the most successful poems are both but, personally, I will always gravitate towards performance.”

“I mean, I’ve only really stayed in my room and written since I got here about three months ago,” XYZ laughs. “But, from what I’ve seen of the city, it seems to have a real energy to it.”


of the divide as literature versus performance. Shakespeare was good at both and that’s something I try to keep in mind because, sometime, I’ll catch myself writing and writing with only one area in mind.




11:00 AM,1:15 PM, 3:45 PM, 6:00 PM 6:30 PM, 8:45 PM

TUESDAY, 31 AUGUST 11:00 AM, 1:30 PM, 4:00 PM, 6:30 PM, 8:45 PM

WEDNESDAY, 1 SEPTEMBER 11:00 AM, 1:30 PM, 4:00 PM,


6:30 PM, 8:45 PM


Sip N Sup Fri 5 – 8: Live music, tapas, light meals and Lavazza coffee available at the Espresso Bar and Cafe




FRI-SUN 2.20, 4.25, 6.30PM





WED 10.00, 2.10, 4.15, 6.15, 8.15PM THU-TUE 10.10, 2.30, 7.10, 9.10PM

WED 12.05, 2.35, 6.45, 9.20PM THU/SAT-TUE 11.00, 1.30, 6.45, 9.20PM FRI 10.00 (BABES), 1.30, 6.45, 9.20PM

THU/SAT-TUE 10.00, 12.05, 2.10, 4.15, 6.40, 8.45PM FRI 11.00, 1.15, 3.30, 6.40, 8.45PM




WED 12.15, 2.20, 4.30, 7.00, 9.05PM THU/MON-TUE 10.10, 12.15, 2.20, 4.30, 7.00, 9.05PM FRI-SUN 12.15, 2.20, 4.30, 7.00, 9.05PM



WED 10.00, 12.05, 2.15, 7.15PM THU/MON-TUE 10.00, 8.40PM FRI-SUN 10.10, 8.35 WED-TUE 10.00, 12.45, 3.30, 6.30, 9.15PM


07 3852 4488

Meet Writer, Director & Actor Taika Waititi at Palace Centro at a special Q and A event Thursday August 12, from 6:30pm– drink on arrival, entertainment, preview screening of Boy and Q and A with Taika Waititi. Tix $15 movie club members, $20 non members. Tix on sale now at Centro Box office, online or 3852 4488.





WED 4.25PM THU/MON/TUE 12.10, 4.00PM FRI-SUN 4.00PM


FRI 8.30PM

THU- TUE 11.50, 2.00, 4.15, 6.40, 8.50PM THU/ FRI/ MON-TUE 10.00, 2.40, 7.15, 9.30PM SAT/ SUN 10.00, 12.10, 6.45, 9.00PM

WED 10.10, 12.45, 3.30, 6.20, 9.00PM THU/ MON-TUE 12.10, 4.50, 8.30PM FRI 12.10, 4.50, 8.40PM SAT 9.50, 4.00, 8.30PM SUN 10.30, 3.50, 9.20PM



WED 10.30AM (GOLDEN LUNCH) THU/ MON-TUE 10.30 (BABES), 12.30, 2.15, 6.30PM FRI 10.30, 12.30, 2.30, 6.45PM SAT 2.20, 4.20, 6.20PM SUN 2.20, 5.40, 7.30PM

WED 4.30PM THU- TUE 10.10AM






WED 2.40, 6.55PM THU-TUE 4.30PM



WED 4.40PM THU/MON/TUE 4.20, 6.30PM FRI-SUN 10.00AM



SAT 11.30AM SUN 1.00PM THU (02/09) 11.30AM



BOY (M) (NO FREE TIX) THU/ MON/ TUE 10.20, 12.15, 2.10, 6.20, 8.20PM FRI 10.20, 12.15, 2.10, 6.20PM SAT 9.45, 12.20, 2.10, 6.30, 8.40PM SUN 10.20, 12.10, 2.00, 6.20, 8.20PM WED 10.30 (GOLDEN LUNCH), 12.20, 2.10, 4.10, 9.30PM


WED 10.20, 2.20, 6.40PM THU/ FRI/ MON/ TUE 4.10PM

WED 4.45PM WED 4.00PM WED 10.00, 7.10PM

I AM LOVE (MA15+) WED 12.15, 9.30PM




ROBIN WILLIAMS TOURING AUSTRALIA Robin Williams, a master of comedy, is making his way to Australia for his first ever stand-up tour. The star of countless films you grew up on, from Good Morning, Vietnam to Mrs Doubtfire, Dead Poets Society to Hook, began his career in stand-up, taking a decade-and-a-half break to work in Hollywood, before returning to the stage in 2002. We are so excited about this tour you have no idea. Williams will play Brisbane Entertainment Centre Thursday Nov 4. Tickets go on sale Thursday Sep 2 through Ticketek.

WORKSHOP YOUR ACTING SKILLS Got a younger brother or sister with an interest in acting, looking to break into a career on the stage or behind the screen? You should enrol them in La Boite’s school holiday workshops, which will run Monday Sep 20 to Friday Oct 1. More info available at

UP LATE WITH VALENTINO The Gallery of Modern Art’s next exhibition Valentino, Retrospective: Past/ Present/Future is taking an in-depth look at the work of designer Valentino Garavani. In addition to showcasing his haute couture from 1959 through to 2009, will be a selection of films showing at the cinémathèque, across three strands: This Fashion Life (portraits on fashion designers, models, and behind-the-scenes docos), Glamour: Adrian and the Golden Age Of Hollywood (a showcase of films by director Gilbert Adrian), and Masquerade (a particularly impressive collection of films exploring identity through clothes, makeup, and accessories). Their Up Late programme is about to begin, with DJs each Friday night, including Towa Tei, Canyons, Krush, Bang Gang Deejays, Kid Kenobi, and more. Up Late runs until the exhibition’s final weekend, Friday Nov 12. See qag. for details.

ROB SCHNEIDER RELEASES ALBUM, TOURS Funnyman Rob Schneider is an acquired taste, but judging by the amount of money his films (such as 50 First Dates, Deuce Bigalow: Male Gigolo, The Hot Chick, The Animal) have made it’s a taste a lot of you like. The American comedian has just released his first comedy album Registered Offender and is visiting Australia for the first time in stand-up mode, playing the Tivoli Wednesday Nov 24. Tickets go on sale Thursday Sep 2 through Ticketek.

Benjamin Schostakowski is hardly an unknown quantity within Brisbane theatre. While admittedly still very much a developing artist, Schostakowski’s exceptional work in productions such as Ben Knapton’s Genesis and Dead Puppet Society’s Victor Blott: A Desire To Rot and Little Grey Wolf has already positioned the young performer as a skilled theatrical artisan with a flair for precise delivery and a predilection towards adventurous work. Forthcoming independent production The Glorious Nosebleed, however, is likely to showcase an entirely different facet of Schostakowski’s creativity. A devised work inspired by Edward Gorey’s picture book of the same name, The Glorious Nosebleed marks Schostakowski’s debut as a director. Granted, the devised nature of the work Schostakowski has engaged with have always ensured


he’s been more than a blank canvas, but he’s also never explicitly driven a work’s direction. “The book The Glorious Nosebleed is basically an alphabet book,” Schostakowski explains of the work. “It goes through the whole alphabet and each page uses each letter as the start of a descriptive word – the first page is ‘she walks through the trees Aimlessly’, the second page is ‘the creature regarded him Balefully’ and so on – and each couplet comes with these beautiful illustrations, which is probably what Gorey is most well-known for. “What I like about the book is that it’s completely random and it’s very mystery-orientated. There’s nothing that ties the book together besides the alphabet and each image is only an image of the moment before or after the event. I really liked that concept of seeing things before or

after, so I took some of the themes of the book and its general ideas and, with my co-devisor Athalia Foo, went about devising a completely new show.” The entire work, meanwhile, has been devised with the explicit intention of exploring the performance studies research Schostakowski is conducting at the Queensland University of Technology as a post-graduate student – guaranteeing that the performer’s directorial debut will showcase the same dedication to boundary pushing and experimentation that has typified his work as an actor. “I’m researching two aspects of post-modern performance – scenography in the form of visual theatre and synecdoche; parts representing wholes and vice versa,” the director explains. “I basically want to re-explore synecdoche in postdramatic theatre in the visual theatre form. I do feel a bit like

a wanker saying that but I think adopting established terminology and ideas from other mediums is really what performance needs at the moment because it’s become quite murky and gross. “You know, people need to define precisely what they’re doing with their work and borrowing literary terms and conventions like synecdoche, I think, could really contribute to that process,” Schostakowski continues. “Synecdoche was basically the perfect term to describe what was happening in the book of The Glorious Nosebleed and that understanding really helped develop the work and the research – that idea of letting the audience figure out the piece from small parts.” WHAT: The Glorious Nosebleed WHERE & WHEN: The Studio L202, QUT Kelvin Grove Thursday Aug 26 to Saturday Aug 28


WITH MANDY KOHLER At the time of writing the future of Australia hangs in the balance. We have no elected leader and with the choice between a woman and a man renown for sexist comments, the divide couldn’t be more concise. In recent years Australia has struggled with identity, and defining what is it to be Australian. We have no trouble pigeon holing other nations – to be German is to eat sausage, to be French is to be arrogant, to be American is to be loud – but




FIRST LOOK: LET ME IN Australia actor Kodi Smit-McPhee (The Road) in Cloverfield director Matt Reeves’ Let Me In, the English-language remake of the brilliant Swedish horror-drama Let The Right One In, which was Front Row’s Best Film Of 2009. Let Me In hits cinemas Thursday Oct 14.

to be Australian is to be….a knife wielding crocodile hunter? A beer swilling football lover? A leatherskinned jackeroo? We’ve tried to make uniquely Australian stories in film and literature only to find that those narratives aren’t commercially viable and this reflects a disconnect between what artmakers think of as Australian and what the public see, or at least want to see, in themselves. So after we settled for not knowing what we are, we became good at knowing what we’re not, and terming those things un-Australian. Our inability to seek and sort out a common set of ideals that make us Australian has never been as apparent as it is now. Perhaps this shouldn’t surprise because what it is to be Australian is to be far, far away from the rest of the world where the influences of the motherland are

too faint to define us and this void is filled not with a single idea but with many. With Labor’s throw-it-atthe-wall-and-see-if-it-sticks style of campaigning, it’s not such a surprise that Tony Abbott is considered a viable candidate and that we’re now a nation divided. One outcome of the election that did come as a surprise is the election of 20-year-old Wyatt Roy to the Brisbane seat of Longman, just hours after voting in his first federal election. The matter isn’t entirely settled yet with Roy refusing to claim his seat before all the votes are counted, despite holding a convincing lead. Maybe he’s hesitating because he’s just realised that he’s 20 and should be binge drinking and trying his darndest to feel the underneath of girls’ clothes. It seems we’re all trying something new. Liberal is so hot right now, Labor is out

of touch, and the youth of today are fit to serve as parliamentarians. What’s the world coming to? As with Britain’s hung parliament snafu coming down to the UK’s Liberal Democrats leader Nick Clegg getting into bed with Tory leader David Cameron thereby making Cameron the British PM, Australia waits while three independents decide who to back in a mighty slow two horse race. It’s now, more than ever, a Labor vs Libs, broad vs bogan smackdown and it’s not pretty. I do wonder, readers, what would happen to the arts under an Abbott leadership, besides an Australian Chariots Of Fire remake – that’s a given. What Australian stories would emerge from this? Abbott’s is not so much one of the little engine that could it’s more like the little engine that fakes it until he makes it.



I’m looking forward to talking to Justin Heazelwood, better known as The Bedroom Philosopher. Impersonation is my favourite kind of comedy and the man does it so well on his latest album Songs From The 86 Tram,

taking off a variety of typical punters on the notorious Melbourne tramline, from bogans on the nod to Sudanese refugees. Interview time approaches and I find myself wondering what the man himself sounds like. It turns out

he sounds a bit sick of explaining himself. “It’s enormously frustrating, because you get on music blogs and they spend the whole time arguing about the fact that they hate music and comedy together and they completely ignore what the jokes are on about or what you’ve just done,” Heazelwood says, grumbling. “It’s just a concept album where I try to impersonate different characters.” Heazelwood is both defiant of and ambiguous about his work. He describes it as being both a comedic and musical endeavour simultaneously. “I’m constantly swinging between one scene or the other, trying to feel comfortable in a zone. I guess I’m just a classic only child, a Gemini, always split in two…I think it’s just the way my brain works. I could have easily made life easier for myself after I’m So Postmodern; I could have kept playing that song and sticking to the comedy scene, playing it pretty straight. I probably would have ended up on TV and maybe been a bit more known, but I like the cult, underground, slow burn that I’m going down. Meanwhile I’m trying to figure out what it even is I do.” One thing he does do is deliver uncannily accurate imitations of very disparate characters. At times he sounds like an actor describing putting his all into a role. About the Nan character, he says “within myself, I just really try to become a Nan. Like, my body language becomes really hunched and my breathing changes, like I do this kind of short gasping breath in between the lyrics



which is how an elderly person breathes.” As for the indie wanker in the hit single Northcote (So Hungover)? “[The album] is like a songwriting equivalent of what the Trainspotting book does, you know. You’re getting a whole second layer of meaning across simultaneously. You’re getting double value for your money. And I guess with Northcote you’re getting triple value because it’s the first time I’ve really made the music 100 percent integrated with what the character is. It’s that indie rock, chugging two-note stuff. It’s probably my least favourite music in the world. God, it’s awful. But it’s high concept, like the music has to match the character and the character has to match the accent.” Although early on Heazelwood declares, “I don’t really give a shit about politics,” it does sound like there’s an underlying point to all this. “If there is a political angle, then I’m really passionate about – as an artist – capturing the Australian culture, the Australian voice,” he later concedes, “Like, sure Australia likes the underdog, but we’re like the underdog in the world stakes that’s bombarded by media from the rest of the world. We’re battling to forge out own identity here. And things like comedy concept albums about Australian characters are things to throw on the fire. Things to add to a fun, interactive museum of what Australia’s about.” WHO: The Bedroom Philosopher & The Awkwardstra WHERE & WHEN: The Troubadour Saturday Aug 28, The Old Museum Sunday Aug 29 (afternoon), Great Northern Hotel, Byron Bay Sunday Aug 29








LIFTED LITERATURE DANIEL CRICHTON-ROUSE TALKS TO RONNIE SCOTT, EDITOR OF THE LIFTED BROW, A QUARTERLY LITERARY MAGAZINE THAT HAS JUST PUBLISHED ITS SEVENTH ISSUE. Blake Butler, Diane Williams, and Bryce Wolfgang Joiner; and some of the best writers working in Australia today - Michaela McGuire, Chris Currie, Krissy Kneen, and Frank Moorhouse. Matt Furie drew us a cover that looks like coral penises on acid, and it’s illustrated throughout by Jeffrey Brown, Ron Rege Jr, Mel Stringer, Howell Golson, Seripop, and Phil Elverum.”


So what does Scott look for when reading submissions?

A few years ago in Brisbane a tightknit bunch of a friends published a literary journal called The Lifted Brow. “My friends and I, who were writing students, would put on informal nights of readings and drinking anyway,” says founder Ronnie Scott, “so it just made sense to put out this cheap magazine.” Soon after, the group relocated to Melbourne. With each edition of the magazine came a successful launch/live gig/party, and later issues even boasted a complimentary CD or two of music from local and

international artists (the last of which boasted Eddy Current Suppression Ring, Fulton Lights, and Because Of Ghosts). Now, literary renaissance man Ronnie Scott has published his seventh quarterly of creative writing. “The Lifted Brow No. 7 is probably the weirdest issue we’ve ever done,” he admits. “I don’t really know how it happened, but it kind of works. It’s a mash-up of Halloween stories from the likes of Brian Evenson, Rob Shearman, and Matt Bell; comics by Kirsten Reed and C.F.; noisy, off-balance blasts of writing from

“This might sound strange to writers, who often imagine that magazines are held together by more than just a person in his underpants, but the submissions I accept depend on an embarrassing number of personal needs,” he says. “On a Monday morning, I might accept something because it’s rough but smart and I know I can fix it up – not thinking about the two days I’ll have to spend actually doing so down the line, when I will hate myself for locking in that story. On a Friday afternoon, I’m more likely to say yes to something funny. And short. I am trying to think more and more about publishing stuff that other people wouldn’t, because otherwise, why bother?” WHAT: The Lifted Brow 7 WHERE & WHEN: In bookstores and now


HAMISH & ANDY’S CARAVAN OF COURAGE Roadshow Comedic duo Hamish and Andy host the most successful radio show in Australia, pulling in around two million listeners to their drive time slot daily. Given their phenomenal success there is an expectation that anything else they produce will be quality material and this is the release of a DVD compilation of their hilarious campervan journeys throughout the US in 2009 and Great Britain and Ireland earlier this year. The bar is raised highest in second expedition across Great Britain and Ireland where they find themselves killing falcons, boxing in Belfast, and searching for the Loch Ness monster. The irritating part of the series is that it feels rushed and the edit is questionable in terms of what situations are featured prominently and what is skipped across. Audience laughter that filtrates throughout the show is also unnecessary and overly cheesy. However the compilation really does serves to punctuate the comedic talents of the pair. AMBER MCCORMICK




Directors Suite/Madman It’s something of a swan song for the great Orson Welles, his final completed traditional narrative film. By 1967 the luster of Citizen Kane and even the far superior Touch Of Evil had dissipated. Initially it’s a little underwhelming, the colour indeed looks awful, the camera is static and the sound is poor. In fact it all screams vanity as the morbidly obese Welles with a fake nose plays Clay, a rich elderly businessman, who’s clerk reads banks statements to him as he drifts off to sleep. Then the plot appears and it changes everything. At 55 minutes it’s frustratingly short, free from the precocious showmanship of Welles’ earlier work, yet laden with themes that continued to haunt him, notions of power, impotence, fate and authenticity. Imbued with a deep melancholy, it’s a reflective work, more theatrical than filmmic, yet it remains fascinating, the parallels between Clay and Welles himself impossible to ignore. BOB BAKER FISH

Directors Suite/Madman Another film to add to the Orson Welles myth. Another fish that got away, hacked to pieces by uncaring producers in the editing room. Made in 1955, Welles had apparently envisaged layers of flashback to reveal the life of the great billionaire Gregory Arkadin (played by the director with a pointy beard). But what we get is a straight narrative, focusing on the cat and mouse game between Aradkin and Van Stratten, the shyster he hires to dig into his past. It’s a film full of holes, yet there’s that precocious Welles playfulness to many of the scenes, as Van Stratten criss crosses the globe meeting all kinds of bizarre characters from Arkadin’s former life. Perhaps most interesting is the lack of depth to the characters. It’s a mess. It’s imperfect, but it’s an imperfect Wellsian mess, which means that it’s all about him. It’s a seedy take on Citizen Kane with far sinister overtones, yet approached with little regard for realism. Yet maybe that’s the point. BOB BAKER FISH

TOMORROW NEVER DIES “I remember reading or hearing John Marsden in an interview saying he wrote these books because he wanted to promote teenagers in a good way, because every generation goes through the ‘You’re lazy, you’re worthless...’, you know, ‘God, what’s the future generations going to come to.’” reveals Caitlin Stasey. “And I think that the war is essentially just a backdrop to show that these kids are capable of looking after themselves and are far more capable than adults and, you know, we’re not completely worthless and we’re not completely useless.” Based on John Marsden’s bestselling novel, Tomorrow When The War Began is both the debut feature for writer and director Stuart Beattie (screenwriter of Pirates Of The Caribbean: The Curse of the Black Pearl and Australia) as well as Stasey’s film debut. However, Stasey’s no camera-shy novice having earned her stripes on the small screen, dropping into Australian lounge rooms week in and week out for four years as part of the cast of Neighbours. In Tomorrow When The War Began, Stasey plays Ellie Linton who, together with a group of school friends, sets off on a camping trip into the wild bush near their fictional town of Wirrawee. And while they are in Hell, their camp, Australia is invaded by an unknown foreign power, and the teenagers soon find themselves waging a guerrilla war against the occupying army. “People get really bogged down on the racial issue,” observes Stasey, “and people get really wound up by the fact that they can’t identify them, but it’s beside the point. If that’s something you’re focusing on, then you’re missing the entire heart of the story. It’s not about the war, it’s about the relationships, it’s about the characters, and it’s about growing

up. And I think that’s what’s most important. It’s like, you know, if it was set in a zoo, that’s the backdrop. And it’s just that this had to be an extreme situation to show an extreme side of teenagers.” Stasey’s character Ellie is one of Australia’s best-loved literary characters. And it was with great pride that she took on and tackled the role. “Gosh, it’s so funny. When you’re with this person for so long, you feel like you’ve become them and then you try to step out of it, and it’s hard to explain, but I feel like she’s a deep thinker, most definitely, I think she’s a natural born leader and she’s got a deep loyalty to her friends and to her family; I think she always puts the needs of others before her own. I think when it comes to matters of the heart, I think that can make her a bit more nervous. I think she’s very strong, obviously, and she’s incredibly kind, and she’s very, very logical, but she’s also very vulnerable and she’s very scared, particularly in situations she finds herself in… she feels the need to put it all on her shoulders, because she knows she’s the only one who can get it done, and even if she can’t, she just knows that she’s got the best chance out of anybody.” Gruelling for Stasey and the rest of the cast, preparation for the film included physical training that was basically bootcamp. They “had to learn how to ride dirt bikes, and didn’t have to go to arms training or anything, we just had to learn how hold an AK47 or hold a shotgun, which was pretty gruesome actually to hold a gun like that, it was vile.” Although aware of the popularity of the books and the gravity her performance for the thousands of Aussie fans of Marden’s novel, Stasey

came to the project without having read the book. “I think when they were sort of height of their popularity that I was too young and I think that [at the time] I was travelling a lot with my parents. And we never studied them at school and so for some reason, and people will disagree with me and say that I am wrong, I don’t think it was ever brought up to us because I think they were trying to bring in a new range of Australian literature.” In eventually receiving Beattie’s script, “I was like, ‘This is fantastic!’ And obviously the script isn’t the book, but it’s an interpretation of it… So then I read the book and I just loved it. I really thought I’ve missed out on a lot by not having read them. And I wish I’d read the book first and then the script, but I think being handed the script first was probably a good thing cause I had a really, for the lack of a better word, a really fresh approach to Ellie. Instead of having clung to an idea for ten years.” Understandably, for fans the news of Tomorrow When The War Began hitting cinemas is met with both high expectations and trepidation. To this Stasey says, “Go with an open mind, the fact is we’re not taking the books away. The books aren’t going to disappear off the shelves, the film won’t either. This is our interpretation, and I think that if any fans of the book have a bad experience with the film, I don’t think that’s going to damage their relationship with the characters or with the story because it’s something they love and it’s just unfortunate that we didn’t represent it in a way that they wanted us to. But I think so far everyone has been quite pleased about it!” WHAT: Tomorrow When The War Began WHERE & WHEN: Screening in cinemas Thursday Sep 2

This is your all-expenses-paid opportunity to live Melbourne’s arts, dining and culture like a local and get your Fringe on for free. Don’t miss this moment. to enter. Travel from 1 – 4 October, 2010.


‘Crow’s first album in more than a decade proves they should be mentioned in the same breath as The Triffids or The Bad Seeds.’ – Mess & Noise ‘This album is a part of a line of Australian music that hands down from bands like The Triffids, The Go-Betweens … with that innate sense of space those bands used so well.’ ËËËË – Courier Mail ‘…Crow return triumphantly with their fourth album, the boisterous and beautiful Arcane.’ ËËËË – The Age ‘Crow have again taken to the skies with a solid set of songs that emphasise the band’s ability to translate harsh beauty into enjoyable, cathartic and stirring music.’ – Time Off ‘… Arcane is full of beautiful chaos.’ – City Hub ‘Dark and soulful music such as this, intelligently done and strongly and imaginatively delivered will always win the hearts and minds.’ – Jim Moginie

Crow live in August: Saturday 28 at Burleigh Underground Drummers, Burleigh Heads with Talltails + Hope Springs Sunday 29 at The Zoo, Fortitude Valley with Hope Springs + At Sea

Arcane out now on Non Zero/Shock (NZ054)


0 25TH AUGUST 201 Y A D ES N ED W 0 ISSUE 149

DZ NAMES/INSTRUMENTS Simon Ridley: drums/vocals Shane Parsons: guitar/vocals


SR: We started around February 2008, we were living in the same house and decided to write some bangers to play at our friends’ house parties.


SR: I used to be a race car driver back in the 80s and had it all, the women, the money and the championship title. But one day I hired a new mechanic – he was bright, quick with a spanner and became the captain of my pit crew after the first race. Eventually after living the dream at the top of our careers for a few years, we realised we had the same tastes in music and decided to leave it all behind settle down and start a touring party band.


SR: I guess since we started touring we’ve met with a lot of people that are able to travel the world playing in front of audiences and actually make a few bucks doing it. The more you tour and meet people who are able to do it the more you want that level of success. I think right now we’re just getting to do some of the things we’ve dreamed of doing through music.


SR: Justice. I’m pretty sure we did that for a straight year probably still will...

SR: There has been many, and fortunately we’ve been able to become friends with a lot of them. For me it’s been bands like Stature::Statue, Dictator Chic, SixFtHick and I Heart Hiroshima but most especially for both Shane and I Violent Soho were the most inspirational. We’ve been friends with them for years and they’ve always stuck to their guns regardless of whether anyone liked them or not and whenever we’ve played a terrible show, you know they’ve played the same thing three times as often as you.





SR: Our friends run The Club House and we all share the same music tastes so we usually go there to work on our livers.

WHAT REALITY TV SHOW WOULD YOU ENTER AS A BAND AND WHY? SR: Wipeout maybe? We’re pretty uncoordinated so that could be pretty entertaining.


SR: There is no sport we’d be triumphant at.


We just put a single called Gebbie St and are doing a quick national tour to support it along with a massive fundraiser show at The Zoo on Friday Aug 27 to help us get over to NY to play some showcases. It should be pretty fun, we decided to try and do something we’ve never seen done at any other gigs we’ve been too. DZ play The Zoo on Friday Aug 27. Gebbie St out now through Useless Art.




SCARY KIDS SCARING KIDS: The Hi-Fi Aug 27, Coolangatta Hotel Aug 28 DEATH BEFORE DISHONOR: Club 299 Aug 31, The Fort Sep 1 L.A. GUNS: Step Inn Sep 2 BELLE DU BERRY, DAVID LEWIS: Judith Wright Ctr Sep 3 NAPALM DEATH: The Hi-Fi Sep 3 SOULFLY, CITY OF FIRE: The Hi-Fi Sep 7 THE WONDER YEARS: Globe Theatre Sep 9, The Fort Sep 10 BULLET FOR MY VALENTINE: Riverstage Sep 11 CANCER BATS: The Zoo Sep 11 ATTACK ATTACK!: Albert Waterways Sep 17, The Hi-Fi Sep 18 &19 DJ KRUSH: GOMA Sep 17, The Tivoli Sep 18 ENTER SHIKARI: The Hi-Fi Sep 21 & 22 OVERKILL: The Hi-Fi Sep 23 YOU ME AT SIX: The Fort Sep 23, The Hi-Fi Sep 24 MAYHEM: The Hi-Fi Sep 25 PETER HOOK AND FRIENDS: The Tivoli Sep 27 EMILIE SIMON, MELANIE PAIN: Brisbane Powerhouse Oct 1 THE MURDER JUNKIES: Step Inn Oct 1 ASLAN: The Hi-Fi Oct 2 EXODUS: The Hi-Fi Oct 4 BEN KWELLER, DELTA SPIRIT: The Hi-Fi Oct 5 AGAINST ME!: The Hi-Fi Oct 7 ALEXISONFIRE: The Tivoli Oct 7 JONNEINE ZAPATA: The Zoo Oct 7 GBH: The Zoo Oct 13 THE BLACK SEEDS: The Hi-Fi Oct 14 BEDOUIN SOUNDCLASH: The Zoo Oct 15 DEAD MEADOW: Globe Theatre Oct 15 RUFUS WAINWRIGHT: QPAC Oct 15 SAGE FRANCIS: Step Inn Oct 16 SARAH MCLACHLAN: Brisbane Convention Ctr Oct 16 BARONESS: The Zoo Oct 17 PARAMORE: Riverstage Oct 17 METALLICA: BEC Oct 16, 18 & 19 CONCRETE BLONDE: The Hi-Fi Oct 19 PAUL WELLER: The Tivoli Oct 19 & 20 PAT BENATAR, THE BANGLES: Brisbane Convention Ctr Oct 20 SOILWORK: The Hi-Fi Oct 21 ADAM LAMBERT: The Tivoli Oct 22 MIRAH: Lofly Hangar Oct 22 GUTTERMOUTH: Surfers Paradise Beer Garden Oct 27, Fusion Villa Noosa Oct 29, The Hi-Fi Oct 30 MOUSE ON MARS: The Zoo Oct 27 ROBIN GIBB, BONNIE TYLER: BEC Oct 29 AMERICA, CHICAGO, PETER FRAMPTON: Riverstage Oct 30 ICE CUBE: The Tivoli Oct 30 ED KOWALCZYK: The Hi-Fi Nov 2 CELTIC WOMAN: BEC Nov 3 LEONARD COHEN: BEC Nov 6 CROWDED HOUSE: Brisbane Convention Ctr Nov 9 THE NEW PORNOGRAPHERS: The Zoo Nov 9 THE CHARLATANS: The Hi-Fi Nov 10 OWL CITY: The Tivoli Nov 11 SHIHAD: The Zoo Nov 12, Neverland Nov 13 MANIC STREET PREACHERS: The Hi-Fi Nov 13 DESPISED ICON: The Hi-Fi Nov 14 SMOKIE: QPAC Concert Hall Nov 21 ARCHITECTS, COMEBACK KID, THIS IS HELL: The Hi-Fi Dec 3 MUSE: BEC Dec 5 & 6 HOT WATER MUSIC, BOUNCING SOULS: The Zoo Dec 11 BLONDIE, THE PRETENDERS: Sirromet Wines Dec 12 EAGLES: BEC Dec 13 & 14



THE ZOO, SUNDAY AUG 29 If it seems like a long time between drinks since Sydney rockers Crow have breezed through these parts that’s because it has been. Something like 13 years in fact! The enigmatic outfit disbanded back at the tail end of last millennium, but a couple of years ago their name started popping up in gig guides around Sydney, then they released their (excellent) fourth album Arcane, and now they’re finally coming back up north! Always renowned as an awesome live proposition, whispers from down south suggest that this aspect of the band hasn’t changed one iota – find out for yourself on Saturday night when they play Burleigh Underground Drummers on the Gold Coast with Talltails and Hope Springs, and Sunday night at The Zoo with Hope Springs and At Sea. PVT @ The Zoo by Alex Gillies

PRESENTS SCARY KIDS SCARING KIDS: The Hi-Fi Aug 27 DAN KELLY & HIS DREAM BAND: The Spiegeltent Sep 9 VALLEY FIESTA 2010: Fortitude Valley Sep 10-12 THOUSAND NEEDLES IN RED: The Step Inn Sep 10, Swell Tavern, Gold Coast Sep 11 TAKE ACTION TOUR: Albert Waterways, Gold Coast Sep 17, The Hi-Fi Sep 18 (18+), The Hi-Fi Sep 19 (all ages) BIRDS OF TOKYO, SILVERSUN PICKUPS: Brisbane Convention Centre Sep 24 THE PARADISE MOTEL: The Troubadour Oct 1 RICHARD IN YOUR MIND, PIKELET: Coolangatta Hotel Oct 1, The Club House Oct 2 THE HOLIDAYS: The Troubadour Oct 2 BELLINGEN GLOBAL CARNIVAL: Bellingen Oct 2-4 BEN KWELLER & DELTA SPIRIT: The Hi-Fi Oct 5 CLARE BOWDITCH: Surfers Paradise Beergarden Oct 7, The Hi-Fi Oct 8 SMUDGE: The Troubadour Oct 9 DEAD MEADOW: The Globe Theatre Oct 15 SAGE FRANCIS, DEXTER, HORRORSHOW: The Step Inn Oct 16 SARAH BLASKO: Nambour Civic Centre Oct 19, QPAC Oct 21, Stereo, Southport Oct 22 SHIHAD: The Zoo Nov 12 FESTIVAL OF THE SUN: Port Macquarie Dec 11-12 THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4, 2011


Armed with an acoustic guitar Emma White takes the mic at Beetle Bar. With a percussive pinch fingerpicking style White sets herself apart, with her clear bluestinged voice giving opener Alone an extra edge. Switching to quick slip shuffle guitar White adopts a testifying voice which reverbs powerfully over the blues funk chord progression. Changing to more of a lilting folk style White confronts her muse directly in new song New Days. Reverting back to a more traditional to blues/roots style, White leaves a strong impression on her audience with closer Open Up The Door.


Launching the similarly titled lead single of forthcoming sophomore album Let’s Get It Straight, Axxonn’s Tom Hall opens tonight‘s proceedings with the kind of set that, in an ideal world, would garner the one-man-band’s idiosyncratic noise-pop an entire slew of new converts. Hall has decided to focus on his more melodic material this evening and, in doing so, delivers one of his most unique sets this year – effortlessly combining blistering noise with beat-driven synthesiser vignettes. Unfortunately, an early start means only a handful of potential converts actually manage to observe Axxonn in action. Sydney trio Seekae represent the inverse scenario – a significant crowd of onlookers bearing witness to a set of decided insignificance. The three-piece’s organic electronica is certainly well-crafted, imminently listenable and presented with a lively spontaneity and enthusiasm far beyond most electronic acts but the trio’s combination of subdued melody, glowing synth textures and loping glitch-hop rhythms is severely lacking in regards to originality. The occasional stab of live instrumentation (drums, melodica) occasionally staves off monotony but it isn’t until the violence of the band’s almost-industrial closer that one is genuinely impressed.

That said – any supporting act was going to struggle for relevance this evening. The advent of PVT’s new name and sound (following the success of the Sydney/London trio’s work under their original Pivot alias) was always going to ensure the headliners were tonight’s main attraction. Audiences have all been asking the same question since the doors opened – will the sedate and synthesiser-driven sounds of PVT’s Church With No Magic release compromise the their legendary competence as a live act? The impeccably delivered arpeggios and slow-build dynamics of opener Timeless, however, provide the ideal response.

Starting solo and in acoustic mode, ex-Little Vegas and The Fuzz Parade frontwoman Sabrina Lawrie builds into her set with the pulsing opener Angry Voices In The Mountain. Giving the appropriate hint of menace Lawrie works into a bare bones cover of Bruce Springsteen’s State Trooper with PJ Harvey wails punctuating the tension. Switching to an electric guitar Lawrie lets loose on High Time To Fly, with drummer Jeff Hahn joining mid-song. Although Lawrie’s voice is slightly overshadowed by the mix her guitarwork, reminiscent of Led Zeppelin and The Music, draws the audience’s attention while Hahn plays a busy beat. Grabbing the moment Lawrie’s rocker Booze Made It Easier takes off with the singer furiously strumming against slow sliding guitar work and finishing slightly abashed by the applause. Bringing her set to a close Lawrie plays the chiming blues guitarwork of Ringing In My Ears.

Indeed, the only fault one could ascribe to the band is their insistence on gilding the lily – delivering Only The Wind Can Hear You after presenting the perfect closer with O Soundtrack My Heart.

Daisie May bring post-feminist heart-on-sleeve lyrics with indie rock and punk energy. Opening with the languid burn of Sweet Song, singer Pauline Maudy deftly tells both perspectives of a difficult relationship. With guitarist Matt Ward starting the double-time riff of Generation Unsatisfied, Maudy adds intrigue to the jaunty rocker by singing the bridge in her native French. Getting into the material the band are clearly enjoying themselves, with ex-Kate Miller-Heidke drummer Steve Pope meshing percussion with bassist Ben McBurnie’s bass hook on the mostly French language song Lonely Lions. Introducing Baby’s Alright as her inspiration to join the band, Maudy inhabits the song, turning it into a punky onstage rave up. OK Cowboy is introduced as a song against wannabes and the band follow up with a gently grooving number that has couples ballroom dancing. Introducing a new song and drummer Pope, Maudy debuts the anti-consumerist pop-punk number Money and storms about the stage, in the process inspiring a furious headbanger. Closing with Fire Song the band feed off each other’s energy and bring the set to a resolute close for the charged audience.



PVT’s penchant for minimalism may not be to everyone’s liking but, as a live act, the band remain superb. The trio’s musicianship has only grown more exceptional over time and the band’s improvisations are now effectively focused as opposed to frustratingly inconsistent. The lush melodics and austere rhythms of newer numbers like Crimson Swan, The Quick Mile and Circle Of Friends, meanwhile, actually serve as a remarkable counterpoint to the complicated arrangements of Pivot classics like Sweet Memory and In The Blood.



Basement Birds @ The Tivoli by Stephen Booth

JACK JOHNSON: Riverstage Dec 13 BON JOVI: Suncorp Stadium Dec 14 GORILLAZ: BEC Dec 19 MISFITS: The Hi-Fi Feb 6 RIHANNA: BEC Feb 25 ROXY MUSIC: Riverstage Mar 1 THE CHEMICAL BROTHERS: Riverstage Mar 4


THE CAT EMPIRE: The Tivoli Aug 25, Beach Hotel Aug 26, Coolangatta Hotel Aug 27, The Tivoli Aug 28 CABINS: Neverland Aug 26, The Troubadour Aug 27 BASTARDFEST: Globe Theatre Aug 28 CROW: Burleigh Underground Drummers Aug 28, The Zoo Aug 29 JAMES REYNE: Hamilton Hotel Aug 28, Hinterland Hotel Aug 29 THE BEDROOM PHILOSOPHER: The Tivoli Aug 28, Old Museum Aug 29, Great Northern Aug 29 CROW: The Zoo Aug 29 AUSTRALIAN ROCK LEGENDS IN CONCERT: QPAC Sep 2 THE AMITY AFFLICTION: Byron Bay High School Sep 2, Albert Waterways Sep 3 WASHINGTON: The Zoo Sep 2, Joe’s Waterhole Sep 3 FABULOUS DIAMONDS: Burst City Sep 3 POWDERFINGER: Gold Coast Convention Ctr Sep 3, Riverstage Sep 4 & 5, University of Southern QLD Oct 9, Riverstage Nov 10, 12 & 13 SKIPPING GIRL VINEGAR: The Troubadour Sep 3 CORDRAZINE: The Zoo Sep 4 THE WHITLAMS: The Tivoli Sep 4 CHILDREN COLLIDE: The Zoo Sep 10, Great Northern Sep 11 LIONS AT YOUR DOOR: The Troubadour Sep 10 THE BEARDS: Ric’s Sep 10, The Loft Sep 11 THOUSAND NEEDLES IN RED: Step Inn Sep 10, Swell Tavern Sep 11 OLD MAN RIVER: The Spotted Cow Sep 11, Brisbane Festival Sep 12 PRINCESS ONE POINT FIVE: The Troubadour Sep 11 MARK SHOLTEZ: Judith Wright Ctr Sep 17 THE MESS HALL: The Zoo Sep 17 REGURGITATOR: The Tivoli Sep 18, Great Northern Sep 19 PARKWAY DRIVE: Riverstage Sep 22, Byron Bay High School Sep 23 ANGUS AND JULIA STONE: The Tivoli Sep 23 – 26 JOHN BUTLER TRIO, BLUE KING BROWN: Riverstage Sep 23. Empire Theatre Sep 24 MM9: Miami Tavern Sep 23, Step Inn Sep 24 BIRDS OF TOKYO: Brisbane Convention Ctr Sep 24 CALLING ALL CARS: Neverland Sep 24, X & Y Sep 25, Great Northern Sep 26 FLYING SCRIBBLE: Lofly Hangar Sep 25 BOY & BEAR: Great Northern Hotel Sep 30, Soundlounge Oct 1, The Zoo Oct 2 RICHARD IN YOUR MIND: Spotted Cow Sep 30, Coolangatta Hotel Oct 1, Club House Oct 2 AMY MEREDITH: The Zoo Oct 1, Coolangatta Hotel Oct 2, Great Northern Oct 3 MILES AWAY: The Fort Oct 1, Rosie’s Oct 2, YAC Oct 3 THE HOLIDAYS: Elsewhere Oct 1, The Troubadour Oct 2 THE PARADISE MOTEL: The Troubadour Oct 1 CLARE BOWDITCH: Surfers Paradise Beer Garden Oct 7, The Hi-Fi Oct 8, Irish Club Toowoomba Oct 10 SEABELLIES: The Troubadour Oct 7 DIESEL: Kedron Wavell Services Club Oct 8, Logan Diggers Oct 9, The Zoo Nov 6 SMUDGE: The Troubadour Oct 9 LITTLE RED: Joe’s Waterhole Oct 14, The Hi-Fi Oct 15, Coolangatta Hotel Oct 16



It’s a dismal sight early on, walking into a virtually empty Tivoli, upstairs cut off and a restless crowd with the first set running 20 minutes behind, but The Sun Orchestra seem like they’re up for it. Opening with Record Player, the stripped-back trio make full use of the smaller crowd with creaking lap-steel slides and a strong acoustic resonation. While their performance is flawless, as Kill Me and Shoot You Down can attest too, their gentle approach to the evening is lost and the crowd noise overtakes their sombre tones quickly. With little gear to change over, Old Man River emerges quickly and turns the room around. Main man Ohad Rein bubbles with energy and plays off the band’s appetite for attention. Turning the set quickly with the Cream sampling of Sunshine followed closely by crowd favourites Summer and You’re On My Mind, Rein is in full swing and quickly switches between acoustic and electric with genuine enjoyment shining through – he wins the room over easily, even without playing his breakthrough single La. With silk birds set up to soar across The Tivoli stage, the room has finally fi lled out slightly more to give a respectable view as Basement Birds step onto the stage and begin fluently with Waiting For You. The group show almost instantly that they are not to be taken too seriously tonight as they continue with titbits of tomfoolery in-between and during songs, though Kav Temperley sets the mood by informing that tonight is likely the last Basement Birds show with the group already having done more than was expected. The stage chemistry between the four is something unto itself, as Bob Evans takes the majority of the vocal duties, Steve Parkin performs some scene stealing backing vocals throughout Not The One and Heartache On The Radio, and Temperley is in full crowd interaction mode – the odd one out is Mr. Josh Pyke, who despite his best efforts, seems to just come off as a twat. The middle-of-the-road country and rotating vocal harmonies are a constant feature, and as their back catalogue is rather thin diving into covers is to be expected, but the performance given for a rendition of Sarah Blasko’s All I Want is astonishing, peeling back layers of what was already a raw track, the shifting harmonies taking the song to another level that surely Blasko herself would be proud of. With time running out and Josh Pyke’s jokes wearing thin, the four gather together for one last belt of Waterline before taking a unified bow and leaving the stage for possibly the final time. MARK BERESFORD


Friday night is the launch of area rock group The Stress of Leisure’s third album Soft Approach and poetry/art/whatever provocateurs ouTsideRs have put together another memorable line-up of music, poetry and oddness to help them celebrate. As follows, the theme of the night is ‘soft’, and hosts Ghost Boy, Pascalle and Tess enthusiastically greet the motley stream of suitably attired punters already patronising the bar with their performance art/poetical schtick. Girl With Cake take the stage for the first musical set of the night, warming up the crowd with their naïve riot grrl racket. Some highly catchy tunes are

excellently presented courtesy of The Zoo’s kick arse new PA system and a crystal clear mix. The poets are back in the interval, and with their not so gentle coercion the initially awkward joining of rock and poetry crowds soon begin to comingle, and a healthy buzz builds around The Zoo. Grand Atlantic are up next, taking the stage in a matching set of suitably ‘soft’ cotton wool jackets. The band impress all present with their extremely disciplined performance and tasteful, considered compositions. The crowd is treated to a brace of new songs in the form of doleful ballad Yesterday and the amazing Poison To The Vine, both of which indicate that Grand Atlantic’s next album will really be something to look forward to. Eventually all of the band’s ‘soft’ jackets are discarded in surrender to the heat of the stage lights, and they finish their set with a powerful rendition of Chaos Theory. Perhaps in Grand Atlantic Australia has found a worthy successor to Anglo pop rock exponents like Even and Sidewinder – they are certainly well on their way. After another intensive round of hand massages and waffle courtesy of the ouTsideRs crew, ringleader Ian Powne and the rest of The Stress Of Leisure take to the stage to the strains of REM’s soft masterpiece Shiny Happy People. With little ado they crash straight into twin cuts On The Weekend and All Australian Punk Band 1979, and it is immediately clear they have a point to prove. Pascalle Burton’s miminal keyboard and backing vocals more than compensate for the lack of a second guitar, while the rhythm section of Ben Moore and Jessuca Seitz are propulsive. The band are soon joined by Pascalle’s sister Almaryse Burton on backing vocals. The siblings are a valuable ace up TSOL’s sleeve, with their highly infectious percussion, harmony and dancing providing the perfect counterpoint to Powne’s psychosexual, guitar-driven outpourings. The band power through selections from all three of their albums, including Apartment To Apartment, latest single Death On The Magic Mile and Jennifer Sharp. Powne announces “I was forced into this but I loved every minute of it” before they execute a dizzying, dynamic rendition of Iggy Pop’s I’m Bored. They finish the night with the imperious House & Garden and punters fi le out the night left in no doubt that something really special is afoot on the streets of Brisbane. JACK STEVEN


More accustomed to packed venues and many more opportunities for shenanigans than are available tonight, The Monitors graciously deliver the first note of the evening. Specks fi ll the bar gradually bearing friendly faces of the band’s usual followers. With a voice resembling the depths and emotions of Libertine Carl Barât, Jimmi Lucas effortlessly instills a new addiction to the sound of this trio. The backline support of drummer Matt Schrader risks shattering his wrists on skins, while bassist Barney Gickel projects complementary engaging riddles of splendour. Styled in true indie fashion, the final track Sex City Lovers sees the girls in front swinging for more action and demanding signatures on their new free CDs. Having been established in Brisbane for nearly four years now, The Gonzo Show are a familiar sound that combines early-90s artistic rock with the sounds of a late-60s prom night. Utilising dual vocals from the start, the four musicians establish themselves as equals early on, the chorus of Big Green Apple Eyed Girl resounding with those in attendance. Sweeping the evening off its feet, Anthony Nowak – otherwise known as the ‘Gonz’ – playfully retorts, “I love how you’re screaming at me – I’m right here…” before

launching into sombre sounds that sing of desolate surroundings. The rest of his family, made up of statuesque bassist Petra and steady handed stix-man Mono, never fail to offer solid support. Lifting the mood and never wasting an inkling of irony, the next melody outlines the story of a $200 fine handed out for dropping a cigarette butt on the fi lthy streets of Fortitude Valley. Grasping at the soul that has been quashed by modern life’s mundane existences, a tribute to the Pavement era is led by six-stringer/second vocalist John Sarn. Neuron Fire/Frozen Sands, the split single we are here to celebrate is offered towards the close, suitably igniting baby-doll shakes and drunken appreciation – two more swigs of the chorus barrel completing the performance in high spirits. KENADA QUINLAN


Local four-piece Marathon warm things up for the touring bands tonight and waste no time getting stuck right into a set of unhinged and destructive metallic hardcore. Erratic vocalist Luke Smith announces that they are playing a bunch of new songs, and the band experiences a small handful of weaker moments as the levels of the PA are adjusted. Wearing their hearts on their sleeves but perhaps attempting the impossible, the band covers Converge’s Eagles Become Vultures, inspiring some commotion from the growing crowd. Finishing with the more controlled and progressive length of Silence Where Sound Ought To Be, the set ends on its strongest note. Adelaide’s Sex Wizard introduce themselves as tour mates I Exist, and hit the stage hard with a guitartoting vocalist that’s wearing a pretty firmly-fitting cowboy hat. After the instrumental beginnings of their sludgy, stoner-influenced hardcore set is over, vocalist ‘Jiggzy’ puts his guitar down and the band picks up the pace a little. Having both the drummers from such technical acts A Secret Death and Robotosaurus playing full kits, it is perhaps surprising to see how little the parts vary from each other, the duo of James Balderston and Adam Myers opting for the pure force of simply producing a beat that’s twice as loud as any normal band. Continuing the gag, vocalist Jake Willoughby of Canberra’s I Exist introduces his band, who are tonight performing as a six-piece with three guitarists, as Sex Wizard. Although still within the realm of stoner and sludge influenced hardcore, I Exist’s sound is unique and the band flies through a selection of tracks from their recently released full-length I: A Series of Unfortunate Events. A fight breaks out in the pit when some guy in a Dead Kennedy’s jacket decides that he doesn’t like being pushed around by scrawny hardcore kids, and decisive guitarist Aaron Osborne quickly makes sure his band stops playing before the commotion is overcome. Undoubtedly Perth’s most relentlessly savage hardcore export, Extortion is a band that doesn’t fuck around and doesn’t give a fuck. The mixed crowd of new-age and old-school hardcore kids, grim metalheads and crusty punks that have fi lled out the disco that is 299 reflects this healthy attitude, and thankfully, no one fights this time around. Small-statured and sweatdrenched vocalist Rohan Harrison leads his band through a relentless set that, with most of their songs clocking in at about 30 seconds, feels like it’s over almost as quickly as it begun. LOCHLAN WATT


It‘s not too long now until Boston hardcore heavyweights Death Before Dishonor are in town for what we are sure will be a punishing tour of our country and the lucky bands chosen as support for these hardworking dudes have just been announced. Local hardcore stalwarts Against require little introduction, having been around the local scene for many a year, this band still sound as vital as they ever have and you’ll see it for yourself when they play main support across the country with Sydney’s Relentless. But there have been other bands added to the Brisbane dates as well, with The War and Grace Is Gone opening things up at Club 299 on Tuesday Aug 31 and Th ird Strike and Driven Fear taking the early slots for the all ages show at The Fort on Wednesday Sep 1. Tickets for both shows are available from OzTix.

CULTURES COLLIDE French songbird Belle Du Berry and Australian multi-instrumentalist David Lewis have been making waves all around the world with their gorgeous blend of French cabaret and American jazz and now they’re heading to Brisbane to show us just why they have become so acclaimed. The two artists have performed together for over a decade in the band Paris Combo, but with their new album Quizz, they have gone back to duo mode for the first time in a very long while their band takes a break. You can see what they’ve been up to when they play the Judith Wright Centre Friday Sep 3, tickets are available from the venue from $34 up to $45.


A GALLOPING GOOD TIME They have been kicking goals left, right and centre since their relocation to the United States but we’re pleased to report that the wonderful An Horse are making their way back to Australia for the first time in what we deem to be far too long. They’re coming back as the very special guests of US indie-punk world beaters Against Me! Th is awesome support slot comes after the duo have shared stages both here and overseas with acts like Tegan and Sara, Death Cab For Cutie and Silversun Pickups to name but a few. While they take on all of the east coast dates, the opening slot in Brisbane will be fi lled by locals Dead Riot who just love getting amongst it. So get to The Hi-Fi early on Thursday Oct 7 so you don’t miss out. Tickets are still available from OzTix for $35 + bf.


We’ve little doubt that there would be many up-andcoming local metal bands scrambling to get themselves a spot on the bill for the massive Napalm Death and Dying Fetus tour that hit Brisbane next week and we’re pleased to let you know that local brutal death punishers Disentomb have been given the nod. The band, who formed at the start of last year, will have a new record out soon so this show has probably come just at the right time for them. If you like what you see when they play with these two killer international acts at The Hi-Fi on Friday Sep 3, then make sure you get along to see them co-headlining with the UK’s Cerebral Bore at Rosie’s on Friday Nov 19 as well.

LOCAL ROCKERS ARCTIC ARE LOOKING FORWARD TO PLENTY OF ACTIVITY IN THE NEAR FUTURE. DRUMMER SCOTT WADE TELLS DAN CONDON WHAT THEY’RE ALL ABOUT. very confident in the sound we have now and just want to play in front of as many people as possible. We were lucky enough to play with Dead Letter Circus and MM9 last December on a run of shows up and down the coast. These shows gave us the opportunity to play in front of a large and receptive audience as well as get an idea of what people really think about our music and whether they like it! We were blown away with the positive response and still have people from those shows coming to our current gigs around Brisbane.”

When asked to describe what it is that makes the band stand out when they hit the stage, Scott Wade is quick to give us the lowdown. “Dual guitar melodies with a heavy edge, accompanied by powerful and emotive vocals with a hook and a bass and drum sound that will hit you harder than a Chuck Norris round house kick!” he enthuses. This powerful brand of melodic rock has connected well with punters: Wade explains that a recent high profile tour really put the pressure on Arctic, but of course they stood and delivered. “We have had nothing but positive feedback since we first set foot on stage,” he says. “We are

If you like the live shows then you should be excited about the chance to pick up the band’s debut EP. Wade assures us we won’t have to wait long. “The EP is now complete and we are currently planning towards the release,” he reveals. “We are extremely excited about releasing it as we have put the last two years of our lives into this. We couldn’t be happier with how the EP has turned out and are very proud of the job our good friend and fellow musician Clint Vincent has done with recording, mixing, mastering and co-producing this EP. WHO: Arctic WHERE & WHEN: The Globe Theatre Friday Aug 27









When it came to a general musical goal for the record, Smith wasn’t interested in producing anything with too much sheen on it. “More and more I’m getting into albums that are raw and not so polished, where it’s all about the way the story is delivered by the band,” he says. “I really wanted this album to have that kind of feel to it, and I think that if you can nail stuff live, then you should. You can hear it in the end result as a listener. We just picked the songs we all enjoyed playing and jammed it out until we got a good take, then moved on to the next one.” The live band has undergone a few changes since the recording, but Smith says that everyone has settled into the new line-up well, in fact he believes it has brought on a great improvement.

“There were so many things that had to line up for us to be able to pull it off, but once [producer] Scott Horscroft came on board we realised we just kind of had to make it happen,” he begins. “We organised a fundraiser to get us over the line, borrowed a car and trailer to get the band and all our gear to Sydney, and the guys at Big Jesus Burger studio gave us a patch of floor to sleep on. We started tracking Sunday evening and by late Wednesday night we pretty much had it in the bag.”

“I think we’re starting to grow into the songs now we’re becoming more comfortable playing together,” he says. “The addition of the electric guitar is having a really great effect on the songs too. It kind of fills in all the gaps, and makes the stuff less delicate and more gutsy.”

WHO: Phil Smith and The Lights WHAT: Second Hand Heart (Independent) WHERE & WHEN: Ric’s Bar Thursday Aug 26

ON THE DOWNLOAD... Wilderness Heart, the new record from Canadian psych-rockers Black Mountain will be released Stateside midnext month. The band have thown a track from it on their MySpace (and a whole bunch of music blogs) called The Hair Song, following on from the chunky drive of first single Old Fangs (also on their MySpace). It’s quite a good song, but the breezy, melodic and, frankly, not particularly heavy nature of it really took us by surprise. It’s good to hear the band trying something a little different, though and it has certainly got us intrigued about what the new record will have in store. If the first two tracks are any indication, we’re going to be heading back to the 70s this summer. Scottish twee-originators The Vaselines’ second ever studio album Sex With An X will be released on Sub Pop in September. The record comes over 21 years after their debut Dum-Dum, so it’s safe to say fans have been waiting a while. The title track and second single from it has made its way online and is available for free from subpop. com right now. If you haven’t already, check out the first single (also for free) I Hate The 80s at Cee-Lo has released a lyric video (a really good one) for his new tune Fuck You! The song is a gorgeous piece of cruisey soulful pop and we suggest you lap it up now and enjoy it while you can, because every fuckwit bogan will be thrashing it by the end of the year. UK publication The Independent has enlisted Best Coast’s Bethany Cosentino to provide them with a ‘mixtape’ which they have uploaded on their website. With selections ranging from Pavement to The Queers to Billy Joel to Weezer – Cosentino has captured the hearts of the gentlemen in the Time Off office. At a show in Philadelphia a couple of weeks ago, Arcade Fire performed a majestic rendition of Jay Reatard’s Oh, It’s Such A Shame. They give it a complete makeover, but do it well. Look for it on YouTube. On the final night of Crowded House’s recent three night stand at New York’s Bowery Ballroom, they were joined by none other than David Byrne and proceeded to work through a rendition of Talking Heads’ Once In A Lifetime. It’s also on YouTube.



One of punk rock’s most enduring bands, The Clash are without a doubt one of the most important bands to ever come out of the UK. Just prior to their split in 1986, guitarist Mick Jones went on to form Big Audio Dynamite.

BIG AUDIO DYNAMITE (II) By 1991 Big Audio Dynamite had become Big Audio Dynamite II and now featured Chris Kavanagh, drummer from Sigue Sigue Sputnik.


This British new wave band achieved moderate success in the late 1980s, but more recently – in 2002 – featured in a short film called Ant Muzak, which featured them visiting a supermarket late at night at the same time as Adam And The Ants.


These 80s new wave heroes released a number of hit singles in their own right, but after their buzz had died down the band’s Marco Pirroni and Kevin Mooney played on Sinéad O’Connor’s massively successful sophomore record I Do Not Want What I Haven’t Got.


The aforementioned record featured O’Connor’s biggest ever hit Nothing Compares 2 U, which was written by none other than Prince.


He’s one of the most incredible musicians of our time, but he’s also a massive freak. One little quirk he has been known for in the past is only eating foods that are white in colour, a trait he shares with eccentric late 19th/early 20th Century composer Erik Satie.


He mightn’t be a household name, but we are willing to guarantee you that you know his composition Trois Gymnopédies (First Variation). It’s about as far from the brash and uncouth punk rock of The Clash as you can get – but both rule. Mick Jones and Paul Simonon of The Clash play with Gorillaz at the Brisbane Entertainment Centre Sunday Dec 19

Q MUSIC IS A NOT FOR PROFIT ORGANIZATION SUPPORTING QUEENSLAND MUSIC, MUSICIANS AND INDUSTRY WORKERS. THIS COLUMN WILL PRESENT YOU WITH INFORMATION ON GRANT AND EXPORT OPPORTUNITIES, CONFERENCES AND THE GENERAL LOW-DOWN ON THE STATE’S MUSIC INDUSTRY. BIGSOUND ADDS WASHINGTON TO BIGSOUND LIVE, ANNOUNCES EVEN MORE SPEAKERS, AND REVEALS 2010 CONFERENCE PROGRAM BIGSOUND Live is proud to announce Washington has joined the official line-up of showcasing artists again for this year, alongside Canadian outfit Amos The Transparent and respected Brisbane artist Katie Noonan. triple j Music Director Richard Kingsmill leads off another batch of newly announced BIGSOUND 2010 speakers that also includes: Ford Englander from Sonicbids (USA), EMI Music Australia Promotions and Publicity Director Darryl Bailey, Universal Music Australia Marketing Manager Tim Kelly, and many more. For details, and to register, see CONTEMPORARY MUSIC TOURING PROGRAM SUBMISSIONS NOW OPEN Round 20 of the Contemporary Music Touring Program is now open. The Contemporary Music Touring Program provides opportunities for a wide range of music to tour the country – including but not limited to rock, pop, jazz, folk, country and Indigenous music. Information can be found at: The Round 20 closing date is Monday Sep 6. APRA & Q MUSIC PRESENT OPPORTUNITY FOR THREE QUEENSLAND INDIGENOUS ARTISTS TO ATTEND BIGSOUND APRA and Q Music are pleased to announce an opportunity for three Queensland Indigenous Artists to attend the 2010 BIGSOUND Music Industry Summit and BIGSOUND LIVE, being held in Fortitude Valley from Sep 8 – 10, 2010. Producing three days of panels, workshops and artist showcases for local, national and international music industry representatives BIGSOUND 2010 is this year’s must-attend event for artists and industry alike. Submissions close Wednesday Sep 1. WANT TO KNOW MORE? For these stories and more, go to www.qmusic. WANT TO BECOME A Q MUSIC MEMBER? For membership details and application forms, go to




RELENTLESS SYDNEY HARDCORE OUTFIT RELENTLESS ARE ON THE ROAD WITH LEGENDARY BOSTON BAND DEATH BEFORE DISHONOR. ACCORDING TO VOCALIST TRENT BALDOCK THIS MEANS ONE THING AND ONE THING ONLY: PARTY TIME. TONY MCMAHON JOINS IN THE FUN. got caught up in it as well. With a few years’ experience and life lessons under our belt, we’ve come out with something we are very happy with. From track one to 11 it is the sound of who we are and not what people want us to be.” So, what will punters at the upcoming Death Before Dishonor shows see on stage? Not surprisingly given the above statement about the band’s EP, Baldock says it’s all about honesty.

“When DBD were over here about two years ago with Madball we only got a tiny taste of what these boys from Boston have to offer,” says Baldock. “I think there’s going to be some serious partying going down on the east coast of Oz in the first week of September.” In talking about the new Relentless album, Set In Stone, Baldock compares it to their earlier EP and makes the heartfelt admission that the earlier record was, well, not so great. “We were just a young band when we wrote the EP. We were trying to write music that other people would like to hear, trying to be a band in the eyes of everyone else. Too many bands want to be the next Terror or Madball and we

“No rehearsed stage moves, head bangs or punk jumps, no fake stage presence or put-on personas. A hardcore band playing in-yourface music with passion and a meaning behind it. And also some stage dives, singalongs and good times thrown in there too.” In parting, Baldock offers some philosophical advice, hardcore style. “Hardcore isn’t a fashion, support young bands ‘cause they’re the future. Buy bands’ CDs and read their lyrics, find out their stand on this weird fucked-up rollercoaster that is life” WHO: Relentless WHAT: Set In Stone (Dogfight Records) WHERE & WHEN: Club 299 Tuesday Aug 31 (18+), The Fort Wednesday Sep 1(all ages)



“Right now I’m listening to The John Steel Singers. I’m listening to Grizzly Bear, I’m listening to The XX. I’m listening to Laura Marling. I’m listening to Eva Popov, who’s an Australian woman [Melbourne 2004 triple j Unearthed singer-songwriter] with a beautiful new album [Hello Satellites]. Who else am I listening to at home? The National’s new record and also the new Boat People album [Dear Darkly] – it’s a great album, really strong album. But there’s lots of really interesting stuff at the moment – The Middle East – all of that and more.”

The Sisters of Mercy – The Damage Done: Fairly obvious, this one. The title of The Sisters of

SPIN THE YARN Some of Australia’s rock royalty are coming together in a very interesting new show called Australian Rock Legends In Concert. While you will get to hear Joe Camilleri, pictured, Grace Knight and Normie Rowe perform their classic hits, you’ll also get to hear them spinning some fine tales about their lives in the industry. None other than Frankie J Holden will be onboard as the host for the evening and we bet he will be able to coerce plenty of great stories out of these legendary figures, making it a night to remember for any self-respecting fan of the history of Australian music. It all happens at QPAC’s Concert Hall on Thursday Sep 2 from 8pm. Grab a ticket from QTix now for $69 (or $59 concession).


We hope your funny bone is nice and strong at the moment, because The Bedroom Philosopher (and his band The Awkwardstra) will be in town on the weekend and will certainly be giving it a tickling. But the band have some very special guests helping to make these dates particularly exciting, the main support being (kind of ) local pop favourites The Boat People who will play each show on the tour – The Troubadour on Saturday night, The Old Museum on Sunday afternoon and Byron Bay’s Great Northern Hotel on Sunday evening – while Pinky Beecroft and the White Russians join in the fun at the Troubadour and Charlie Mayfair will open things up at the Old Museum.

Mercy’s debut single, released in 1980, is basically lifted straight from Mr Young’s 1972 hate mail to heroin The Needle And The Damage Done. Mudhoney – Broken Hands: Young’s influence on the Seattle grunge scene was enormous, in fact many say he was the single biggest influence on everyone from Nirvana to Pearl Jam to Soundgarden and beyond. You can’t miss it here, before the song kicks in Mudhoney guitarist Mark Arm doodles around with the closing lick of Young’s 1970 hit Cinnamon Girl. Lady Gaga – Fooled Me Again (Honest Eyes): Yep, even Lady Gaga is in on the act. The opening verse from this track is pretty much lifted word for word, note for note from Out On The Weekend, which is Side One, Track One of Young’s 1972 classic Harvest.



James Reyne’s brother David Reyne is the co-host of the Ten Network’s 9am with David & Kim. PARIS IS FALLING




Def Leppard – Rock of Ages: On this 1983 single, Def Leppard front man Joe Elliott kicks things off by referencing Young’s 1979 single Hey Hey, My My, hollering “I’ve got something to say; It’s better to burn out; Than fade away”.

Young pop-rockers The Paris Crash are fresh out of the studio with a brand new single by the name of Honeymoon In Vegas and boy are they ready to rock. The band are celebrating the release of this slick piece of catchy rock’n’roll with a tour of the east coast, taking in a series of regional venues to help spread their sound high and wide. You can catch them when they briefly drop by the Miami Shark Bar this Friday night – they will be joined on the night by the stellar support cast of Fall To Earth, Private Radio and Miles And Miles, making it a night of quality original music that no coastal-based music lover should miss. Doors open at 8.30pm. Stay tuned for more tour dates up this way soon!

The next in the series of Almost Invisible shows being run by the good people (person) at Incremental Records is almost upon us, taking place at Browning St Studios in West End this very Saturday night. Once again the show features a wonderfully diverse array of acts that ought to please any self-respecting, openminded indie music fan, this time around featuring Tasmanian act Tiger Choir and locals Monster Monster, Ghost Notes, Nimble Animal (aka Dom Stephens of Oh Ye Denver Birds in some form of solo mode) and Mt Augustus. The show kicks off at 9pm. Young psychedelic folk artist Kim Churchill is having a hell of a year really – between a tour of the United States, Canada and Japan, he’s also made a showing at some of Australia’s biggest festivals, and earned himself an army of fans through nothing but hard work and his amazing talent. The latest feather in Churchill’s cap has come with news that he will be joining Powderfi nger at the Caloundra Music Festival on the Friday evening of the festival. It’s sold out, but if you’re lucky enough to have tickets already, you’ll get the chance to see some Aussie legends and one of the country’s most promising new talents. It happens at Kings Beach Friday Oct 8.

Lynyrd Skynyrd – Sweet Home Alabama: Probably not the most positive example of Neil Young showing up in other people’s work. Skynyrd lyricist Ronnie Van Zant reacting to Young’s songs Alabama and Southern Man, both of which lambasted America’s south for their part in America’s history of racism and slavery. “Well I heard mister Young sing about her; Well, I heard ole Neil put her down; Well, I hope Neil Young will remember; A Southern man don’t need him around anyhow.”

If you’re looking for a festival with a bit of a difference, you simply can’t go past Equinox Rocks, trust us. It’s not just a music festival; it’s a music and skydiving festival, which is pretty damn amazing. Featuring legendary rocker Angry Anderson, newly Gold Coastbased Dallas Frasca and her Gentleman, punk rock ladies Legless, German acoustic artist Robert Carl Blank, Sydney hard rockers L.U.S.T, Sunshine Coast hip hop act Truth Serum, rockers Arado and many more still to be announced. It’s open to all ages and takes place at Toogoolawah’s Ramblers Drop Zone on Saturday Oct 16; tickets are available now for $49.50.

FREAK OUT If you haven’t had a chance to see local band Freak Morice yet then we wholeheartedly suggest you take the next opportunity you can to do so. If these young musicians are feeling any pressure in an industry dominated by people a whole lot older than them then they sure as heck aren’t showing it. They have their debut EP Secret Handshake all finished up and will be launching it with a big show at the Caboolture RSL this Saturday night. Don’t let the fact that the average age of the band members here is just 13 years old, they manage to belt out a diverse blend of pop and rock music that ought to make any musician proud. Clare Quinn will play support to the band on the night and you can get a ticket from OzTix now for just $13.30.


CHOICE CHECKS Kiwi rockers The Checks have enjoyed plenty of success in their homeland, with shows alongside AC/DC, Oasis, Muse and Black Rebel Motorcycle Club, have toured Japan with The Hives and made a hell of a sweet noise while doing all of the above. It has come time for them to come back to Australia and they do so with their debut album Alice By The Moon under their arm. The record will be out on Thursday Sep 2 and the band are hitting Brisbane the week after to give us a dose of their heavy rocking antics. They play a showcase set as a part of BIGSOUND Live at The Troubadour on Thursday Sep 9 and follow this up with a free headline show at X&Y Bar on Friday Sep 10 with support from Montpelier, Charlie Mayfair and Dancehall Paradiso.

We can feel the palpable excitement from the glam rock crowd out there as the upcoming tour from the legendary LA Guns is creeping ever closer. Support acts for the night have been selected and we think it’s fair to say that Southside hero JJ Speedball would be fairly excited with the news that him and his band have been selected as one of the local supports, alongside another great local act The Jim Rockfords. No matter which way you look at it, it’s going to be one big, dirty, sweaty night of debaucherous rock’n’roll goodness and it’s one that is simply not to be missed. It all goes down at The Step Inn on Thursday Sep 2. There are still a few tickets available from OzTix for $53.05, but we reckon you should snap one up mighty quickly because... well... it’s LA Guns...



Escape The Fate’s Craig Mabbitt filled in as lead vocalist for Scary Kids Scaring Kids at the end of last year’s Warped Tour.


SHORTFASTREPORT Hardcore and punk with Stu Harvey Big hardcore tour announced late last week, sees England’s Architects team up with Canada’s Comeback Kid and rounding out the line-up is New York hardcore powerhouse This Is Hell. All three bands toured Australia earlier this year on Soundwave and they will again hit the road in December. Catch them Friday Dec 3 @ The Hi-Fi (18+). Tickets go on sale Thursday Sep 2. 17 years after the death of their infamous leader, the one and only GG Allin, The Murder Junkies have announced they will tour Australia for the very first time. With GG’s brother Merle Allin and original drummer Dino Sex at the helm, these guys have been going strong for over 20 years, conquering Europe and the US many times over. Get set to experience The Murder Junkies on Friday Oct 1 @ The Step Inn. Alexisonfire have let us know the progress of their latest recording via their Twitter, noting that drum and bass parts were completed. “Hard at work. Drums and bass for Digs Blood are done!” “And by ‘digs’ I mean ‘dogs’.” The new EP, titled Dogs Blood has been a long time coming. They’ve been referring to the release since late 2009 when George from the band told Metal Hammer; “(There’s) Two really, really heavy songs, two atmospheric songs. I’ve started working on some lyrics…” Don’t forget Alexis are here real soon. Legendary punk act Crass will be remastering and reissuing their back catalogue over the next few months. The series will kick off with a repackaged version of 1978’s The Feeding Of The 5000 which will feature remastering from the original analog studio tapes and be bolstered with rare and unreleased tracks. Following that release will be new editions of 1979’s Stations Of The Crass and 1981’s Penis Envy. Southern Records will also be publishing Crass member Steve Ignorant’s autobiography The Rest Is Propaganda. LA hardcore vets, Terror are preparing for the release of Keepers Of The Faith their new 14 track album that they produced with Chad Gilbert of New Found Glory at Buzzbomb Studio in Orange County, CA, engineered by Paul Minor (Death By Stereo) and mixed by Matt Hyde

(Slayer, Hatebreed). The album hits stores Sep 14 on Century Media. The Rumjacks will release their debut album Gangs Of New Holland on Sep 3. Having spent the last two of years peddling their blue collar brand of folkloric ‘rotgut’n’roll’, The Rumjacks are forging their own sound, over rattling bottles and twisted tales, they’ve supported names like Gogol Bordello, UK Subs, Leftover Crack, Magic Dirt and Regular John. They also headlined the National Celtic Folk Festival this year. September will see them playing all regional shows along Australia’s East coast and in October they are getting set to support Punk-rock legends GBH on their national tour. He was just here a month or two ago with his band The Loved Ones, and now it’s been announced that frontman Dave Hause will be heading back down here in December to play support on the Hot Water Music / Bouncing Souls tour. Tickets on sale now for Saturday Dec 11 at The Zoo.

SHORT FAST REPORT TOP 5 Miles Away. The new album Endless Roads is their best so far. Check it out. Instores now Skyway! Nauseating Suburbia is the new EP for the Gold Coast pop punk act. It’s out in stores now and you can catch them when they hit the road with The Wonder Years in September. Thursday Sep 9 @ The Globe and Friday Sep 10 @ The Fort (all ages). The Devil Wears Prada. Cracking new EP from TDWP out in stores this week. Zombie is the band’s first release since the With Roots Above And Branches Below and is a brutal release that you need to get your hands on before they hit the country in September to support Parkway Drive Cancer Bats. Headline show tickets are selling fast for their gig at The Zoo. If you want a ticket for the show on Saturday Sep 11 get in fast! Bill Stevenson. Chatting to me on SFL this Wednesday night @ 10pm on triple j.

ADAMANTIUMWOLF Metal with Lochlan Watt Despised Icon

The hyper-technical musicians and dual vocalists of Canadian deathcore forefathers Despised Icon will finally be making their way to Australian shores for the first time, joined by Melbourne’s The Red Shore and Sydney’s Thy Art Is Murder. Sunday Nov 14 will see the tour end in Brisbane at The Hi-Fi, which currently stands as the final ever show in the band’s schedule, having announced plans to break up last April. The heavy grooves of Perth act Dyscord, having last been in town supporting Whitechapel in 2009, will once again grace Brisbane stages this weekend. Catch the band on Friday night at Monstrothic with Brazen Bull, The Fevered and Wornaway. Young ones can catch the group on Saturday evening at The Black Box Theatre in Nambour. Here’s another reminder that Bastardfest will be hitting Brisbane this weekend. Rock up to The Globe at 7pm on Saturday evening if you’re interested in seeing the stellar all Aussie line-up of Astriaal, Blood Duster, Pod People, Defamer and High Plains Drifter for only $25. The destructive and chaotic sounds of Adelaide/Melbourne metalcore group In Trenches will be up in Brisbane one last time before the band knuckles down to work on their sophomore effort, and you can catch them with new drummer Adrian Horsman at The Zoo on Saturday Sep 11 in support of Canadian rockers Cancer Bats. The touring Doomsday Festival II has just been announced and is set to hit Rosie’s on Friday Oct 1. Headlined as part of the full Australian tour from San Francisco stoner act


Acid King, the show also features a wealth of doom, stoner, sludge and post metal talent from all over Australia in Clagg, Looking Glass, Summonus, Sons Of The Ionian Sea, Fattura Della Morte, Fear The Setting Sun, Agonhymn and Adrift For Days. Melbourne progressive power metal group Vanishing Point recently lost three of their members, with keyboardist Jake Lowe, bassist Adrian Alimic and guitarist Tommy Vuèur all exiting the group due to “a growing gap in which they wanted to explore different avenues of music yet the rest of us wanted to keep writing melodic metal music.” The remaining three musicians of the group, which formed in 1995 and has since endured countless line-up changes through the course of four full-length albums and world touring, have not yet set a date but plan to enter the studio soon. Adelaide metallers Truth Corroded have been hard at work in the studio on their new album Worship The Bled, planned for release in late 2010. The entire of the album’s drums were provided by Kevin Talley, a man responsible for the hectic blasting on many recordings by the likes of Daath, Misery Index and Chimaira, and is currently being mixed by Jonas Kjellgren of Scar Symmetry fame, who also contributed a solo to the album’s opening track. NSW folk metal group Ironwood has just announced that the mixing and mastering of their upcoming album Storm Over Sea will be handled by Swedish metal legend Dan Swanö, a prolific engineer and multi-instrumentalist, as well as a member of such acts as Edge Of Sanity and Bloodbath. Following on from their 2009 release :Fire:Water:Ash:, a statement reads that the album has been inspired, “by the majesty of the ocean” and that it will feature “dizzying technicality, rich vocal harmonies, and the introduction of new elements such as piano, cello, and fretless bass.”


Blues ‘n’ roots with Dan Condon Court Yard Hounds

Just when you thought it couldn’t get any bigger, the Great Southern Blues Festival organisers have just dropped another massive announcement on us – surely they don’t have any more left in them? One of the biggest acts to ever grace the stage of the festival in its 15 year history is also likely to be one of its most controversial. Court Yard Hounds is the new project from Texans Martie Maguire and Emily Robison. You might know them better as two-thirds of the Dixie Chicks. Their main (and hugely successful) project went on hiatus back in 2008, but these two members got the itch to start playing again so formed this new duo. Their debut album came out earlier this year and has done quite well, as for whether it’s any good or not – well I’ll let you be the judge. Let’s just say that if you’re not a Dixie Chicks fan, you might want to steer clear. Also in this final announcement for the festival is Australia’s newest supergroup The Travellers, who will feature Darryl Braithwaite, Brian Cadd, Joe Camilleri and Russell Morris in a Travelling Wilburys style show. American indie kids Delta Spirit, the great Floyd Vincent & The Childbrides, Swamphouse, Blue Murder, Christian Power & Lonesome Train, Tony Jaggers & Friends, Penny & The Mystics, Adam Hole & Marji Curran Band, St Peter’s Blues Band and Railjam round out the bill. Batemans Bay Friday Oct 1– Sunday Oct 3. Tickets are still available from The north coast’s home of the blues the Palmwoods Hotel is firing up for another big month in September and we’re just a little bit

excited about it. See, even though our winters up here are a bit pissweak, it’s still a heck of a lot nicer heading up the coast when the weather is nice and warm and when there’s the promise of some scintillating blues on offer when you reach your destination then it really seems like all is good with the world. Saturday Sep 4 is the first date to pencil into your blues diary as Canberra combo DJ Gosper and the Hot Flush Blues Band trek up the highway to lay down a couple of sets to the Palmwoods massive for the very first time. Gosper has recently overcome a two year battle with breast cancer and has come out the other side with her passion for the blues still burning strongly. This award winning vocalist and harp player will make sure you’re moving and grooving all night long as her and her band churn through tracks from her debut album. The pub turns blue again two weeks later as a big triple bill descends upon the venue for a long night of cracking music. The Mason Rack Band are fresh from their third trip to Canada and, as Palmwoods favourites, you can bet they’ll be packing the punters in for this one. In support is Sydney combo Swamphouse, who specialise in gutbucket blues and boogie and opening things up is hardworking Gold Coast based solo man Mark Easton. As always, both shows are absolutely free of charge. The Gympie Muster has kicked off and while they, as always, have enlisted a who’s who of Australian country music to draw in the crowds, the festival organisers have also programmed a pretty incredible blues line-up for those of us who are that way inclined. Harry Manx, Chase The Sun, Anni Piper, Blue Shaddy, Brewster Brothers, Chubby Rae & the Elevators, Jan Preston, Jim Conway’s Big Wheel, Ian Moss, Dallas Frasca, The Blues Preachers, Tom Richardson, Lloyd Spiegel and many, many more local artists make up this year’s blues bill. There’s also heaps of really good country and roots music on offer, a bit too much for us to mention here in fact. The festival continues through until Sunday night (it really starts kicking into gear on Friday); hit up for all the info you’ll need.

THEBREAKDOWN Pop culture therapy with Adam Curley

And as the American summer of ‘chillwave’ enters its third phase, whereby the most obvious signifiers of the sound (‘genre’?) – high, saturated keys; condensed vocals; faded album photos of skinny-laughing-girls on jetties, etc – are tacked onto albums that would better stand on their own merits and the label is given to music that bears no resemblance to things that ‘chill’, we’ve got our own shit going on. In Brisbane, where things tend to get a little bit ‘big-fish’ and yet undeservedly overlooked down south, two remarkable releases appeared last week. The first is the debut album from Disco Nap, the newest band project for former Iron On singersongwriter Ross Hope, titled Running Red Lights and out independently. Though the sound itself is a fairly subtle update on fuzzy 90s indie-tronica, it’s one of those releases where the songwriting and the little ideas that fill it keep you going back; not to mention knowing those ideas are being executed by a band featuring Screamfeeder’s Dean Schwereb, Seja Vogel of Sekiden and former Gin Clubber Jane Elliot on cello. It’s nuanced and blissful (and oftentimes blissfully angst-making) Aussie pop rock, Hope showing he really has reached the point of knowing his voice and using it well. The second Brisbane brag is BigStrongBrute, the project of Paul Donoughue that he’s now been building for four years (and for those of us who remember him starting it as a teenager, that’s a very scary prospect). Donoughue is ever so slightly more jam-band than Jens Lekman, which results in his new EP, We Can Sleep Under The Trees In The Morning (Independent), being a pairing of early Midlake horn expresses and some charming, deep crooning. Even his aesthetic is a little bit Juergen Teller meets Huck Finn. Both BigStrongBrute and Disco Nap are out on tour. Speaking of Lekman, the tall one with the handsome mug has a new track out, awesomely titled The End Of The World Is Bigger Than Love, and available for free download – just key the name in along with either of the blogs getting all the exclusives these days, Stereogum and Pitchfork. Do I really need to sell this one? It’s called The End Of The World Is Bigger Than Love and it’s by Jens Lekman.

Anyone who remembers the very early houseparty shows of Melbourne’s Flying Scribble was a) probably not on the same stuff as everyone else in Brunswick in the mid-2000s, and b) probably not thinking the lopsidedly talented, somewhat hopelessly introverted pair were going to become one of the most delicately intriguing pop prospects in the country. The duo call themselves “spookpop”, and their debut album, We’re A Chameleon (Independent), is full of the kind of broad, colourful synth atmos Bachelorette also likes, along with church organ, live drums and hand-holding vocals that make you want to join a convent. Qua’s Cornel Wilczek is behind the production and the attention to detail and his ability to keep sounds continually pushing forward is at its best. Truly great stuff. I mentioned it last week, but the new Julian Mendelsohn remix of Catcall’s Swimming Pool is probably the best ten minutes you’ll spend staring at a wall and rubbing your own leg fondly all month. Sydney’s Catherine Kelleher is from the new class of subverted pop (as taught by Cyndi Lauper) and understatedly brings the sexy, slightly off-balanced-ly singing, “This is for my body,” over French post-punk guitars and twinkling synths. Get it free from But of course this whole American ‘chillwave’ thing/misnomer is still producing some excellent stuff. The announcement of the Meredith festival line-up last week somewhat surprisingly included new Atlanta hyper-colour-wearing man Washed Out, who trades in a West Coast version of Roots Manuva’s beats. There’s a great (and apparently ‘fanmade’) video for his track Feel It All Around online, and so far I haven’t been able to find out whether anyone in Australia is releasing his recorded stuff. I’ll keep you posted. Also coming out are San Francisco’s Girls – but if you like them, then also check out Ryan Lynch’s other project, Dominant Legs, who are, unlike the Canadians themselves, excellently furthering Arcade Fire’s trembled fearpop by adding hand-hit percussion and less obvious (and pretty damn sweet) melodies. Yeah, yeah, AF obsessives, bring it on.






Ranke has performed in places as diverse as Japan and the Middle East. Not speaking the language, he says it became all about trust.

“We had a heap of time and a really flexible and hungry engineer/producer, so we were able to try every idea we had,” Thorne says of the recording. “At the end of it we have no regrets and are really excited for people to hear something we are really proud of and also we feel represents our sound really faithfully.”

“I went to Japan to teach English and brought my guitar, bass and songs with me. Started playing in a seedy jazz bar in Osaka to two people. The bar was such an authentic place run by this old Japanese jazz freak. After one year the place was packed. Things just kept snowballing. Funny thing was I never really knew what I was in for when I went to these things because hardly anyone spoke English. I went along on trust and it all went really well for me.”

Ranke himself describes his songs as having a multiple personality disorder. “I’ve had a diverse kinda life so far and I write about it. It’s always changing. I find myself in different cities, jobs, social networks and bands with alarming regularity. I’m never the same person from year to year and my songs reflect that. I was trained in jazz, and although it’s not my favourite form of music, it gives me the ability to write outside the musical box. With all this, it can get a bit confusing for listening audiences sometimes as they try to classify me, but that’s okay. I still get gigs. Some people love it and some people scratch their heads and get a crinkly mouth and that’s really okay.”

You might want to think about bringing earplugs along to the Globe Theatre this Friday night, because if the band get their way they’ll be turning up nice and loud.

As far as his regular performances at Fretfest are concerned, Ranke is enthusiastic for a number of reasons. “Fretfest is a great idea. It’s a win-win for everybody involved. It takes the format of five artists performing five or six of their songs in a show with an MC. It’s more than just a show though. It’s about giving singer-songwriters an appreciative positive forum to play in. It mentors young artists coming through.” WHO: Rene Ranke WHERE & WHEN: Chalk Hotel Wednesday Aug 25, Montegos On The Bay Friday Aug 27, QPAC Saturday Aug 28, Chalk Hotel Wednesday Sep 1

“Our music is what happens when my riffs meet Pete’s natural drumming style,” Thorne says matter-of-factly about how they come about putting together their material. “We originally wrote really straight-ahead driving rock tunes but when we started grooving on these Sabbath-type tunes we found our point of difference and really natural style of our own.” Fans of the band will finally have a chance to bring home a full-length record packed to the brim with this unique style of groovebased rock’n’roll as the band launch their debut album Sinking Ships this weekend.

“Pending decibel limits, a wall of sound!” Thorne exclaims when pressed for what they deliver in the live stage. “We have been told we are a tight band and our secret weapon is our little bundle of rock power that is our bass player Brent Cattle. He has all the moves, all the ‘rock faces’ and he does some scary back-up yells. “We plan to try and have fun and not worry about how many people will turn up. We hope to bring the house down and have nothing left when we leave the stage.”

WHO: Returns WHAT: Sinking Ships (Independent) WHERE & WHEN: The Globe Theatre Friday Aug 27

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SIX PACK SHADOW THIEVES JACK LETIZIA, BASSIST WITH EMERGING GOLD COAST ALT. ROCKERS SHADOW THIEVES, TALKS TO TONY MCMAHON ABOUT NOT MAKING THE BAND’S DEBUT EP, SPACE BETWEEN, A CONCEPT ALBUM AHEAD OF THEIR BIG SHOW AT THE HARD ROCK CAFÉ. magnifying glass. Our own personal hurdles are highlighted, as well as our feelings towards the more obscure things life offers. I guess if you had to label the theme of the CD, ‘the beauty of reflection’ would be pretty close to the mark.” Interestingly, opening track Gardens had been abandoned by the band for quite some time, but Letizia explains that the song seemed to display a life of its own.

“So much thought is put into every aspect of all the songs,” Letizia offers of band’s approach to the task of making the record. “Getting the right vibe of music to suit the lyrics has been a major focus for us. Some days we would write songs with specific intentions, and other days ideas would just pour out naturally. There’s no doubt that there’s diversity in the lyrics, but I guess that just displays our perception on life.” Is there an overall thematic structure to the record? Letizia balks at being compared to Pink Floyd, but admits there were overarching songwriting concerns. “It’s definitely not a concept album. But there is an underlying theme of putting life under a

“Ideas never go away. They’re like evil little infections that inspire insomnia. Gardens was one of our favourite songs in the early days and as we wrote more it became less appealing to play. About a week before we went into record the last lot of tracks for the CD, we decided to jam it out for old times’ sake. One thing led to another and it ended up changing a fair bit but still kept its old balls. It’s found itself in our good books again.” And how would Letizia describe a Shadow Th ieves live show? One word appears to sum things up. “Sweaty! We love a good shimmy.” WHO: Shadow Thieves WHAT: Space Between (Lungata Records) WHERE & WHEN: Hard Rock Café Friday Aug 27

Their penchant for writing intelligent, infectious indie pop music and delivering energetic, danceinducing live shows has not gone unnoticed, thus it is awfully exciting to hear news that Sydney sextet Lions At Your Door are back on the scene after a few months tucked away writing and recording and are ready to unleash their new single In a Sea on the general public. The band have adopted a more melodic way of playing but reportedly have not lost any of their trademark live energy, but you can see that for yourself when the band launch the single with a show at The Troubadour on Friday Sep 10. The Oyster Murders, The Belligerents and Bird And Prey will join in on the fun. Grab yourself a ticket from OzTix right now for $10 + bf.



Blood Duster got their name from a John Zorn song of the same name? The song, on Zorn’s 1990 album Naked City, goes for 17 seconds.


After three years living what some would call a very quiet existence, Brisbane punks We Are Box are back on the scene and have a brand new EP ready for you to get amongst to see what the hell they’ve been writing of late. The band, along with special guests Spitfi reliar, One Shot Salute, Kids On Glue and D-Rouser and the Dastardly Duo, are going to be celebrating the launch of this, their second EP, upstairs at the Jubilee Hotel’s Star Bar from 7pm this Saturday night. They have a new condensed line-up and, in their words “a fervent resolve to question everyone from fundamentalist religious sects to greasy real estate agents and the legal harpies in their pockets”. Get along, grab a copy of the self-titled EP and enjoy some fast and heavy good times. Tickets are just $10 at the door.



“If a tree falls on Lady Gaga, and no one’s there to hear it, does it make sound? Yes it does. A sound sweeter than any of her songs.” Not Gary Busey (@GaryJBusey) is one of Twitters most hit-and-miss users. We’ll give you this one, Not Gary.


Aug 25, 2001 – Aaliyah and eight others are killed when their plane crashes in Marsh Harbor, in the Abacos Islands of the northern Bahamas. Aug 26, 1970 – Jimi Hendrix’s Electric Lady Studio opens in New York City. Aug 27, 1990 – Stevie Ray Vaughn and three members of Eric Clapton’s band are killed in a helicopter crash in Wisconsin. Aug 28, 1963 – Peter, Paul & Mary perform Blowin’ In The Wind before Civil Rights marchers who have gathered in Washington to hear Martin Luther King Jr. speak. Word... Aug 29, 1958 – George Harrison joins the band Quarrymen. John Lennon and Paul McCartney are also members. Mild success ensues... Aug 30, 1993 – Billy Joel becomes the first musical guest on CBS-TV’s The Late Show with David Letterman when the show debuts. Aug 31, 1997 – James Brown becomes the first US artist to appear in Lebanon following the recent lift of the ban on US travel to the country.


Three ladies and two blokes slamming out sweet garage rock – sounds like a recipe for a hell of a good time. If you agree, then we’d suggest you seek out former Perth-, now Melbourne-based quintet The Jacknives when they’re in our part of the country this weekend. The band have managed to pull through after a ridiculous number of line-up changes, a life threatening illness, late-stage pregnancy and a whole lot more, but are now set to release album number two Backhanded Sting, which they recorded at Sing Sing and Sound Park Studios with Matt Maddock in the producer’s chair. It sounds fucking killer, but don’t take our word for it, get out to The Step Inn on Friday night to catch them with Gentle Ben and his Sensitive Side, The Keep On Dancin’s and Tiger Beams and the Prince Of Wales in Nundah to see them alongside The Jim Rockfords and Quest For Glory.


THE POWER OF TWO When Melbourne duo Luluc relocated to New York earlier this year, we were kinda worried that we’d never get to see them again. Thankfully we couldn’t have been more wrong, as news has just come through that they are returning to Australia very soon to play support to the massively popular Angus & Julia Stone. It’s quite a good match and will be a great opportunity for this stunning outfit to get their gorgeous music out to a wider audience than ever before, here’s hoping it goes well. Catch them at The Tivoli on Thursday Sep 23, Friday Sep 24, Saturday Sep 25 and two shows on Sunday Sep 26. Tickets are only available for the Thursday show and you’d better hurry if you want one of them – Ticketek have them for $57.20.


Local act Dos Hell have pulled out all the stops for their new EP In Stereo, enlisting Eddy Current Suppression Ring’s Mikey Young and industry heavyweight Matt O’Connor to produce the recording, Don Bartley to master it and picking up distribution through The A&R Department to make sure anyone who wants to wrap their ears around the band’s raw 50s and 60s influenced brand of poppy rock’n’roll can do so with ease. Indeed so can you, as the band have a show coming up at The Globe Theatre tomorrow night (Thursday). They will headline proceedings, with support coming from Floating Bridges and Brickfields. Entry is just $10 + bf and the doors open at 7pm.


Dyscord are one of Perth’s finest exponents of death metal and have progressively been rising through the ranks of the Australian metal scene since their inception back in 2005. The band are over east this week and will be brutalising Queensland venues with their punishing brand of death and thrash metal this weekend, playing a selection of tunes from their Tirades LP of this year as well as from 2008’s Dakota. You can see them smashing it out at Rosie’s weekly metal fest Monstrothic on Friday night before ducking down to Gympie’s Black Box Theatre on Saturday.

LEROY from CABINS Best record you stole from your folks’ collection? The first I can remember would be Never For Ever by Kate Bush. I stole it off my mum and for some reason the Babooshka video clip really did it for me... If you know what I mean. First record you bought? I think the first record I bought was either Nirvana’s Unplugged In New York or Rage Against The Machine’s The Battle Of Los Angeles. My influence of record choices came from my older brother at the time before falling down into a rap scene and mainly listening to Dr. Dre. Record you put on when you’re really miserable? Pet Sounds by The Beach Boys. Although it usually makes me much more miserable, I feel a sense of enormous well being when listening to tracks like Don’t Talk and That’s Not Me. Not even the fact that

Cadbury and other companies’ commercials have destroyed many of the tracks stops me from putting it on. Record you put on when you bring someone home? Pop Crimes by Rowland S Howard. It’s sexy... Most surprising record in your collection? The track Empire State Of Mind by Jay-Z. I can’t get enough of that song. People have told me to look up the video clip because Alicia Keys’ mannerisms would put me off, but I refuse. Last thing you bought/downloaded? Never Met A Girl Like You Before by Edwyn Collins. I can’t believe I forgot that song existed. Cabins play Neverland Bar, Gold Coast on Thursday Aug 26 and The Troubadour on Friday Aug 27. Bright Victory out now through Ivy League.



THE GLOBE THEATRE 220 Brunswick St Fortitude Valley - 1300 762 545


Qsong Finalist 2010

“The Definition Of...” Launch Debut Album

Sunday September 5

FREE show, all ages from 3 pm Brisbane Power House 119 Lamington St, Newfarm

with special guests bessyloutunes

Anna Weatherup AND balloons by twisted designs


This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body


WED 25

A Breach of Silence, Witness To The Slaughter, Chasing Augustus, Erase The Thought Step Inn Abby Skye The Tempo Hotel Dos Gusanos Café Checocho, West End Fretfest Acoustic Sessions: Jessiah, Bree Bullock, Matt Newnham, Rene Ranke, Angharad Chalk Hotel In Sepia, Castles Sunk Below The Sea, The Peel Street Band The Troubadour James Johnston Cleveland Sands Hotel Live Jazz at Limes Limes Hotel Mark Bono Fibber Magee’s, Toowoomba Mark Sheils Royal George Open Mic Night, Amygdala-0 The Music Kafe Per Purpose, Lewis O’Leary and The Cucumbers Ric’s Soula’ Flare Glass Bar & Restaurant The Bowery Hot Five With Mal Wood The Bowery The Cat Empire The Tivoli The Chutes, Fiction, Parades & Performances The Zoo The Windy Hills, Holly Throsby, Machine Translations Brisbane Powerhouse Theatre Tyson Faulkner Fiddlers Green Young Giriffo, Cassia, One Year Later Club 299

THU 26

A Percussion Gathering QLD Conservatorium Of Music Abby Skye Story Bridge Hotel Angela Fabian The Joynt Ballad Boy Loving Hut Benjam Victory Hotel Blues Jam Broadbeach Tavern Brisbane Gypsy Jazz Festival: Ewan MacKenzie and Swing Manouche, Gypsy Swing Quintet Brisbane Powerhouse Bud Fisherman’s Wharf Tavern Cabins Neverland Caliber Cats Cloudland Chris Ramsay Logan Diggers Club Cradle Songs QPAC Concert Hall Dan England CBX Dave & Steve Fibber Magee’s, Toowoomba Dos Hell, Floating Bridges, Brickfields Globe Theatre Forget Me Not Children’s Home Fundraiser: The Indigo Kids, Caves, Tin Can Radio The Zoo Funky Miracle Press Club Gerard Mapstone Queen Street Mall Gonzales Satellites The Bowery James Johnston Coolangatta Hotel


Katouche, Fred Graham, Nice Verdes The Bug Lachlan Bell Trio Jazzworx Lambda: Polaroid Fame, The Faze, My Cassidy Alhambra Lounge Live Jazz at Limes Limes Hotel Machine Translations, Mosman Alder The Troubadour Maisey Rika, Tama Waipara Surfers Paradise Beer Garden Matt Joe Gow & The Dead Leaves, Phil Smith and The Lights Ric’s Platform Winner Elephant & Wheelbarrow Rob Black Ryan’s Bar, Treasury Casino Rokeby Venus, Who Is John The Tempo Hotel Songwriters Network Of QLD Presents Kitty O’Shea’s Steph Rainsford, The Channelers, At Band, The Royal Artillery The Music Kafe Stewart Fairhurst Oxford 152 The Cat Empire The Beach Hotel, Byron Bay The Club House: The Crashlights, Running Guns, The Goldentones The Tempo Hotel Stage Door The Paris Crash Rosie’s

FRI 27

2 Not Out Criterion Dalby 22 Hotels, Two Way Street Ferny Grove Tavern 22 Hotels Hotel HQ 3 Days Off Surfers Paradise Beer Garden A Percussion Gathering Qld Conservatorium Of Music Abby Skye Mick O’Malley’s After Glow Kedron Park Hotel Akasa North Burleigh SLSC Anthony Aggs Trio The Point Restaurant Bands on Film, Dave McCormack, Tara Simmons, Steve Grady Tribal Theatre Benjam Hamilton Hotel Berst Broadbeach Tavern Blind Lemon Seagulls Bob Mouat Murrumba Downs Tavern Brisbane Gypsy Jazz Festival: Zaiti Trio, Ziveli Orkestar With Susana Djordjevic Brisbane Powerhouse Bud Victoria Point Tavern Cabins, Step-Panther, Vassy Mollo The Troubadour Call Back Four Mile Creek Hotel Callum Taylor Commercial Kingaroy Candice Long Shafston Hotel Capital Groove Press Club Cheap Fakes Railway Bar, Byron Bay Chester Wharf Tavern Corn Liquor The Joynt Dan England Alexandra Headlands Blue Bar Darren Scott Q Bar Holiday Inn

Demon Parade Neverland DJ Toxic Beerwah Hotel Doc Span & Ross Williams Nambour Moonlight Markets Double Dose Jimboomba Country Tavern Down, Epithets, Ran Jacobs Ric’s Drew Wilson Villa Noosa Hotel DZ, Velociraptor, Sleepwalks The Zoo Fretfest Acoustic Sessions, Pat The Tom, Rene Ranke, Angharad Montegos On The Bay Geoff Rayner Norfolk Hotel Gig-Antics, The Ride, Hard Graphic, Tinian’s Boy Uber Ground Hog Australian National Hotel Hemi Kingi Trio The Morrison Hotel Hippopotamus Hinterland Hotel Hodads Varsity Lakes Tavern James Johnston Shamrock Hotel Jeff Carter Victory Hotel Jeff Wright Kitty O’Shea’s Jimi Beavis Locknload West End K2 Duo Edinburgh Castle Hotel Kevin Clough Beenleigh Tavern Live Jazz Redefined Restaurant Wine Bar Local Residents Calypso Bar Locky, Ramjet Elephant & Wheelbarrow Macka Spring Lake Hotel Mark Plumb Narangba Valley Tavern Mark Pradella & The Bazkatz Brisbane Jazz Club Michelle Brown Duo Caloundra Bowls Club Monstrothic: Dyscord Rosie’s Moon Zoo Burleigh Heads Hotel Nik Phillips Newmarket Hotel PJ Hooker Eleven 17 Punchline Albany Creek Tavern Rawr Vanity, Parlour Scene, Auxiliary In The Music Kafe Rob Black Ryan’s Bar, Treasury Casino Russian Kidd Swingin Safari Saint Surly, Monster Monster, Desmond Cheese Alloneword Savvy Live Wire Bar, Treasury Casino Scary Kids Scaring Kids, Mod Sun, Stealing O’Neal, We Are The Emergency The Hi-Fi Scat Jazz At The Hangar Scott Dean Club Hotel Waterford Second Gear Horse & Jockey Warwick Simon Kennedy Fernvale Hotel Simon Watson Trio, Funk Yeah The Tempo Hotel Sinking Ships, Returns, This Collision, Rvlr, Arctic Globe Theatre Solar Rush Royal Exchange Hotel Some Jerks, Skritch, Dan Huey The Beetle Bar

Space Cadett Stones Corner Hotel The Bloodpoets Suncorp Stadium The Bloodpoets, Phil Hancock, Aplonea X & Y Bar The Cat Empire Coolangatta Hotel The Club House: No Anchor, Fangs Of…A TV Evangelist, Undead Apes, Tiny Spiders The Tempo Hotel Stage Door The Febs Fibber Magee’s, Toowoomba The Firetree, Charlie Mayfair, Drew Wilson Band Fusion Villa Noosa The Green Sinatras Alderley Arms Hotel The Jacknives, Gentle Ben & His Sensitive Side, The Keep On Dancin’s, Tiger Beams Step Inn The Kate Mackie Quartet Gertie’s Restaurant and Bar The Paris Crash, Fall To Earth, Private Radio, Miles and Miles Miami Tavern Shark Bar The Residents: Gentle Ben & His Sensitive Side Brisbane Powerhouse Turbine Platform The Roger Gonzalez & Rohan Somasekaran Trio Cuvee Lounge Bar, Sofitel The Yayas, Generation Jones, The Bells, Cram Prince Of Wales Hotel Toby, CC The Cat Soundlounge Currumbin Todd Burns Centenary Tavern Tom Foolery Grand Central Hotel Two Way Active Miami Tavern Vaughan Ney Hotel LA Velvet Kiss Palmwoods Hotel Wiley Reed Dm Jazz Bar & Restaurant Ziveli Orkestar, Harii Bandhu, Natalie Weir, CC The Cat Queen Street Mall

SAT 28

1.1.1., Celebrity Stalkers, Graveyard Rumble, Shoot The Piano Player The Squealing Pig 8 Ball Miami Tavern A Percussion Gathering QLD Conservatorium Of Music Abby Skye, Punchline Jupiters Casino Almost Invisible: Tiger Choir, Monster Monster, Ghost Notes, Grids/Units/Planes, Mt Augustus, Saint Surly Browning Street Studios Bang Bang Boss Kelly, The Re Mains Old QLD Museum Bastard Fest: Blood Duster, Astriaal, Defamer, High Plains Drifter, Pod People Globe Theatre Darker Half, Hoops, Iron Wombat Step Inn Ben Eaton Trio, Brooksy & Co The Tempo Hotel Brisbane Contemporary Jazz Orchestra Brisbane Jazz Club Brisbane Gypsy Jazz Festival: Zaiti Trio, Ziveli Orkestar With Susana Djordjevic Brisbane Powerhouse



Powderfinger’s second EP Transfusion knocked Nirvana’s Heart Shaped Box off the top of the ARIA Alternative singles chart?


4ZzZ FM NOW PLAYING 1. Beyond The Banana Curtain VARIOUS 2. Worldwize Part 1: North and South BLUE KING BROWN 3. Deathwish THE GIN CLUB 4. A Deafening Silence TIN CAN RADIO 5. Gebbie Street DZ 6. Catch My Drift LOVEJOY 7. Out Of The Woodwork SAINT SURLY & MONSTER MONSTER 8. Neuron Fire/ Frozen Sands THE GONZO SHOW 9. Lights out Zoltar! GEMMA RAY 10. Crazy For You BEST COAST Chisel Revived The Pink Hotel Crow, Talltails, Hope Springs Burleigh Underground Drummers Down, Black Mustang, Obliterati Ric’s Dyscord Club Envy Freak Morice Caboolture RSL Fretfest: 14yos Industry Presentations, Pat The Tom, Rene Ranke QPAC Playhouse Green Horrorshow, Seth Sentry, Eloquence & Truth The Zoo Natural Ball The Boundary Hotel Popalicious Brisbane Powerhouse Turbine Platform Rodney Rude Springwood Hotel Scary Kids Scaring Kids, Mod Sun, Mission In Motion, We Are The Emergency Coolangatta Hotel Secret Killer Of Names, Thumbtack, Greg Reason The Beetle Bar Stryper The Hi-Fi Support The Fort: The Optimen, Tom Thum, Dubmarine, The Kelly Gang, Tailormade, Kryptamistik The Fort The Bedroom Philosopher and His Awkwardstra, The Boat People, Pinky Beecroft & The White Russians The Troubadour The Cat Empire, Mama Kin, Clairy Baby Brown & The Bangin’ Rackettes The Tivoli The Club House: Bonfire Nights, Horse Fight, Our Ithaca Creek, BNTK, Lazertooth Tiger The Tempo Hotel Stage Door The Hayden Hack Infusion Locknload West End The Jacknives, The Jim Rockfords, Quest For Glory Prince Of Wales Hotel Thriller: Torn Asunder, The City In Motion, Midnight Alaska Rosie’s

Tiger Choir, Toy Balloon X & Y Bar Todd Burns Centenary State High Toni Pollard & The Rhythm Method, Bic Benedict, The Brickfields, Rhythm Express The Music Kafe Venus Envy Elephant & Wheelbarrow Vertigo Broadbeach Tavern We Are Box, Spitfi reliar, One Shot Salute, Kids On Glue, D Rouser An The Dastardly Duo Jubilee Hotel

SUN 29

A Percussion Gathering QLD Conservatorium Of Music Abby Skye Logan Village Hotel Amber & Eddie, Jabba, Woody Elephant & Wheelbarrow Ange Takats, Elly Dear Queen Street Mall Arete Locknload West End BASEQ Performer of The Year: Tin Roof Hustlers, Dillion James & The Tone-Bakers, Transvaal Diamond Syndicate, The Blues Doctors, Natural Born Lovers, Black Cat Blues Band, Mad World Jubilee Hotel Crow, Hope Springs The Zoo Dan England Titanium Bar Exposed Sundays: The Snatch, The Androgyny, Ironside, Donnie’s Guns, Cuttooth Ric’s Fangs Of…A TV Evangelist, Die On Planes, Cured Pink, Psy Ants Burst City Funk’n Soul’d Out: Coalition Crew, Lore Crew, Scripted Dialects Globe Theatre Hoodoo Gurus, Asa Broomhall Sunshine Coast Function Ctr James Reyne Hinterland Hotel

Schiamachy play The Globe Theatre on Saturday Aug 28 How did you get together? Mitch Alexander (vocals): “The majority of the band actually met while we worked at Big W. We asked Brendan (drums) if he played an instrument or liked metal because he had tattoos! Everyone in the band has known each other in some way or another for years before playing together.” Sum up your musical sound in four words. “Metallic, experimental, progressive, abrasive.” If you could support any band in the world – past or present – who would it be? “There are heaps, and everyone in the band would give you a different answer, but for me it would be Totally Unicorn. They formed out of Hospital The Musical, and watching their singer every night would be a treat. They’re absolutely mental, and cool dudes. Failing that, The Dillinger Escape Plan.” You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? “I’m just stoked Apple don’t get to spread their crap off-world. I like that rule. I’d go with Grand Opening And Closing by Sleepytime Gorilla Museum, I’m yet to get over that album.” Greatest rock’n’roll moment of your career to date? “Playing Rosies on my 21st with our mate’s bands was awesome, but really, there’s been nothing more rock’n’roll than playing the Metal N Strippers Chug And Grind Fest. Strippers onstage! I felt like Axl Rose before the cornrows.” Why should people come and see your band? “Even if you don’t like the music at all (which is highly unlikely, in all honesty), we promise to give you the most entertaining and intense show we can deliver. We don’t believe in leaving people bored; there’s always something going on, something you can enjoy. You’ve got to watch just one more minute, just to see what’ll happen.”

Live Spark: Rhiannon Hart & The Umm-Ahhs, The Paper and The Plane Brisbane Powerhouse Turbine Platform Maisey Rika, Tama Waipara The Hi-Fi Palmwoods Got The Blues: Blues Jam, The Blue Monks Palmwoods Hotel Sunday Session The Tempo Hotel The Bedroom Philosopher and His Awkwardstra, The Boat People Great Northern Hotel Byron Bay The Bedroom Philosopher and His Awkwardstra, The Boat People, Charlie Mayfair Old Qld Museum The Jazz Cellar Sessions, Georgia Potter Trio QA Hotel

MON 30 Ellie Kelliwood, Ysobella, Garry Bagnell, The Dao, Nothing But Trouble The Music Kafe Friends Of Ben, The Submariners Ric’s

TUE 31

Death Before Dishonor, The War, Grace Is Gone, Relentless Club 299 Escalate, Al Buchan, Zimmer Twins, Ephemeris, Cavity, Harvton The Tempo Hotel Jolly Jolly Doowhacker, Mats Lideborg Ric’s Paul Young Trio Locknload West End Platform Elephant & Wheelbarrow














Level 2, 322 Brunswick St, Fortitude Valley (next to Cosmopolitan Cafe in the Valley Mall) Bookings and enquiries:





















Thursday Lambda: Polaroid Fame, The Faze, My Cassidy

Thursday Bud Saturday Bud

BRISBANE POWERHOUSE Thursday Brisbane Gypsy Jazz Festival: Ewan Mackenzie and Swing Manouche, Gypsy Swing Quintet Friday Brisbane Gypsy Jazz Festival: Zaiti Trio, Ziveli Orkestar With Susana Djordjevic Saturday Brisbane Gypsy Jazz Festival: Zaiti Trio, Ziveli Orkestar With Susana Djordjevic

BRISBANE POWERHOUSE THEATRE Wednesday The Windy Hills, Holly Throsby, Machine Translations

BRISBANE POWERHOUSE TURBINE PLATFORM Friday The Residents: Gentle Ben & His Sensitive Side Saturday Popalicious Sunday Live Spark: Rhiannon Hart & The Umm-Ahhs, The Paper And The Plane

COOLANGATTA HOTEL Thursday James Johnston Friday The Cat Empire Saturday Scary Kids Scaring Kids, Mod Sun, Mission In Motion, We Are The Emergency

1. The Suburbs ARCADE FIRE 2. I Believe You Liar WASHINGTON 3. The Final Frontier IRON MAIDEN 4. Innerspeaker TAME IMPALA 5. Slash SLASH 6. Modern Day Addiction CLARE BOWDITCH 7. Birds Of Tokyo BIRDS OF TOKYO 8. Nightmare AVENGED SEVENFOLD 9. Lungs FLORENCE & THE MACHINE 10. Basement Birds BASEMENT BIRDS

FUSION VILLA NOOSA Friday The Firetree, Charlie Mayfair, Drew Wilson Band

GLOBE THEATRE Thursday Dos Hell, Floating Bridges, Brickfields Friday Sinking Ships, Returns, This Collision, Rvlr, Arctic Saturday Bastard Fest, Blood Duster, Astriaal, Defamer, High Plains Drifter, Pod People Sunday Funk’n Soul’d Out, Coalition Crew, Lore Crew, Scripted Dialects

GREAT NORTHERN HOTEL BYRON BAY Sunday The Bedroom Philosopher And His Awkwardstra, The Boat People

JUBILEE HOTEL Saturday We Are Box, Spitfireliar, One Shot Salute, Kids On Glue, D Rouser An The Dastardly Duo Sunday BASEQ Performer Of The Year: Tin Roof Hustlers, Dillion James & The Tone-Bakers, Transvaal Diamond Syndicate, The Blues Doctors, Natural Born Lovers, Black Cat Blues Band, Mad World



Friday Abby Skye

Thursday Platform Winner Friday Locky, Ramjet Saturday Venus Envy Sunday Amber & Eddie, Jabba, Woody Tuesday Platform

Thursday Cradle Songs Saturday Mahler’s Resurrection Symphony, Qld Youth Symphony


RIC’S Wednesday Per Purpose, Lewis O’leary And The Cucumbers



ON THE TIME OFF STEREO Grinderman 2 GRINDERMAN Shine Not Burn THE REAL MCKENZIES The Bones ROCKETSMITHS Saturation URGE OVERKILL It’s A Shame About Gemma Ray GEMMA RAY Ruby CATFISH The Modern Lovers THE MODERN LOVERS King Of The Beach WAVVES Don’t Pretend That You Don’t Know Me THE MOJOMATICS Champ TOKYO POLICE CLUB Thursday Matt Joe Gow & The Dead Leaves, Phil Smith and The Lights Friday Down, Epithets, Ran Jacobs Saturday Down, Black Mustang, Obliterati Sunday Exposed Sundays, The Snatch, The Androgyny, Ironside, Donnie’s Guns, Cuttooth Monday Friends Of Ben, The Submariners Tuesday Jolly Jolly Doowhacker, Mats Lideborg

ROSIE’S Thursday The Paris Crash Friday Monstrothic: Dyscord Saturday Thriller: Torn Asunder, The City In Motion, Midnight Alaska

STEP INN Wednesday A Breach Of Silence, Witness To The Slaughter, Chasing Augustus, Erase The Thought Friday The Jacknives, Gentle Ben & His Sensitive Side, The Keep On Dancin’s, Tiger Beams



Saturday Bastard Fest Afterparty, Darker Half, Hoops, Iron Wombat



THE HI-FI Friday Scary Kids Scaring Kids, Mod Sun, Stealing O’neal, We Are The Emergency Saturday Stryper Sunday Maisey Rika, Tama Waipara

THE TEMPO HOTEL Wednesday Abby Skye Thursday Rokeby Venus, Who Is John Friday Simon Watson Trio, Funk Yeah Saturday Ben Eaton Trio, Brooksy & Co Sunday Sunday Session

Thursday The Club House, The Crashlights, Running Guns, The Goldentones Friday The Club House, No Anchor, Fangs Of…A Tv Evangelist, Undead Apes, Tiny Spiders Saturday The Club House, Bonfire Nights, Horse Fight, Our Ithaca Creek, Bntk, Lazertooth Tiger

THE TIVOLI Wednesday The Cat Empire Saturday The Cat Empire, Mama Kin, Clairy Baby Brown & The Bangin’ Rackettes

THE TROUBADOUR Wednesday In Sepia, Castles Sunk Below The Sea, The Peel Street Band

Thursday Machine Translations, Mosman Alder Friday Cabins, Step-Panther, Vassy Mollo Saturday The Bedroom Philosopher And His Awkwardstra, The Boat People, Pinky Beecroft & The White Russians


If you could support any band in the world – past or present – who would it be? “Frank Zappa and the Mothers of Invention.” You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? “Frank Zappa – Lather.” Greatest rock’n’roll moment of your career to date? “Considering I’m not really a rock’n’roll musician, the closest thing would be playing at the Woodford Folk Festival Fire Event with [former band] Seventh Chapter to a crowd in excess of 15000 people on the main stage.”


Why should people come and see your band? “To see what happens when classically trained musicians are let loose with electronics, new compositions, a live drum kit and a small stick of dynamite…”

Friday The Bloodpoets, Phil Hancock, Aplonea Saturday Tiger Choir, Toy Balloon



Mo nta gue




Ri ve rs id eD r



Sum up your musical sound in four words. “Trumpet, Piano, Percussion, Electronics.”

Wednesday The Chutes, Fiction, Parades & Performances Thursday Forget Me Not Children’s Home Fundraiser, The Indigo Kids, Caves, Tin Can Radio Friday DZ, Velociraptor, Sleepwalks Saturday Horrorshow, Seth Sentry, Eloquence & Truth Sunday Crow, Hope Springs


Brisbane’s Largest

How did you get together? Dave Kemp (percussion, composition): “We (Clint Allen, Kellee Green and myself ) met as students studying music performance at university and discovered a mutual interest in exploring the most recent music composed for our collective instruments of trumpet, piano and percussion. In 2009 we got together to talk about what to do next with our collective music making and decided to commission composers to write specifically for our instrumentation. Also we wanted to explore the use of electronics as both its own instrument within the band and as a way to alter the acoustic sound of our instruments. We also play together in the Zappa Big Band and identify with Zappa’s exploratory of view of music making mixing many styles and genres.”

Ever since Joaquin Phoenix’s strange appearance on the Late Show With David Letterman (he showed up with a bushy beard and didn’t really talk much) at the start of last year, we’ve been very interested in seeing what this apparently former actor, now rapper is really up to. The trailer for the Casey Affleck film I’m Still Here has been released and, while it doesn’t really clear up anything at all – in fact we’re more confused than ever now – we’re still intrigued. Tuesday Escalate, Al Buchan, Zimmer Twins, Ephemeris, Cavity, Harvton

Thursday Maisey Rika, Tama Waipara Friday 3 Days Off Saturday Ramjet

Sympatico play Queensland Conservatorium of Music Recital Hall (Southbank) at 6pm on Saturday Aug 28


B LU C Vulture St D EN













They’re fresh, they’re free and they’re moving in. A new band makes Brisbane Powerhouse their home each month.




New York, London, Paris, Munich, everybody talk about... Pop Musik...shoobie doobie do wop...Pop Musik.




Featuring the best indie pop/rock talent from Brisbane and beyond.






Funny, free and freakin’ awesome.







Since hell somehow froze over several years ago, The Eagles have been touring pretty consistently and are returning to Australia in December. So perhaps this is the opportune time to let the guitarists out there know that Gibson guitars have released a strictly limited edition of the guitar original guitarist Don Felder, no longer with the band, used when he recorded “that” solo in Hotel California. The Don Felder “Hotel California” SG Double Neck guitar, of which only 50 aged and signed units and 100 aged units have been produced – so we’re talking a collector’s item – is crafted in the image of Gibson’s iconic EDS-1275 Double 12 model, of which only around 110 were originally produced between 1962 and 1968 (though the demand prompted Gibson to do a reissue in 1977, one of which Felder used). The guitar’s top neck is a 12-string, the bottom the standard six-string, while there are four Gibson PAF-style humbucking pickups (two per neck) on a resonant solid-mahogany body. In addition, the guitar also includes custom wiring and modifications that Felder himself added to his EDS1275 to help it suit his live performance needs.


Talking to singer and guitarist Jae Laffer from The Panics about his part in a forthcoming showcase gig, The JD Birthday Set, in Sydney, I wondered when we’re likely to hear something new from The Panics. “We’re about six weeks off going to New York to spend a couple of months there and come back with a new album, so we’re frantically finishing off all our favourite songs we’ve been writing over the last couple of years. We’re recording in a converted church in upstate New York, just outside of Woodstock, and then mixing it down in Electric Lady Studios in New York City, where Hendrix used to make records, which is fucking awesome – not that that helps you record but it’s a really nice environment, a great space to make music, so we’re very much looking forward to doing it. We’ll be doing a lot of the production ourselves as we usually do and we’ve got a young Irish guy called Jonno Mahoney, who’s coming to help us out. We’ve spent a long time talking to him and I think we’ve kind of set up a situation which is just perfect for what we’re doing musically.”


While Nick Oliveri (Kyuss/Queens of the Stone Age) was in the country on tour recently, he took the opportunity to pop into Main Street Studios in Wollongong to put down a couple songs for an upcoming single release with engineer Adam Jordan. He also performed a live set in the studio that was filmed as part of the Main Street Sessions. The sessions are available for viewing and free download on the Main Street Sessions website. Michelle Madden (Tourettes) also performed guest vocals on the tracks.


Be as prepared as possible. Research the type of studio you are going to and make sure when you get there you utilise your time to the fullest. Bring music examples for referencing and also contact us before coming to make sure you mixes are right and in the right format.


The studio uses a combination of state-of-the-art audiophile equipment and professionally installed acoustic treatments to realise the potential of your recordings. Gear includes; B&W 802 main speakers with Bryston 4b amplifiers and a Dynaudio BM9s subwoofer. These are fed via a Benchmark DAC1 D>A convertor. Secondary monitoring is via Genelec 8240a DSP monitors with GLM measurement system – individually tuned and time aligned to suit DOMC’s dedicated mastering studio. DOMC uses a purely digital signal path to all monitoring so no unnecessary conversions are made up to 192khz. Outboard includes a custom designed Crookwood M1-3AI mastering console, custom modified Vactoral/ Tube compressor with Telefunken NOS tubes, Cranesong IBIS EQ, API 2500 compressor, TL Audio Valve Classic EQ-2, TL Audio A2 stereo processor, Studer Revox C270 1/4-inch tape machine – rebuilt and calibrated by Chris Naimby at Totally Technical. Acoustics-wise the room has been design by Andrew Steel from Ultrafonic, and includes Fonic Real Bass traps, Vicoustic Wavewood Panels and Panel Diffusors, Auralex Corner traps, GIK Monster Bass Trap, and GIK 244 Bass Traps.


I think that both of these have a place in the modern audio world. The quality of D to A convertors and also the quality of “plugins” means that any home and professional studio can make a top quality recording if they use the right item for their music. It all comes down in the end to how it sounds. If it sounds right then it is. I think that some things that happen in the analogue domain have a certain “je ne sais quoi” that sounds RAD that just doesn’t happen in the digital domain. On the flipside there are some things that I can do in the digital domain that I can’t do in the analogue world. I use both in my mastering setup.”

But Maiden being set in their ways also extends to how they recorded the album, which for The Final Frontier was done in Compass Point Studios, Nassau, in The Bahamas. “We could probably go and save ourselves hundreds of thousands of dollars by doing the album in our bedroom and it wouldn’t sound radically different. Most bands do that now. We put all our kit in a sea container and ship it out to the Bahamas and set it up with roadies and do the whole thing. It’s just what we do,” Dickinson states.

Producer Mark Ronson used a stack of vintage keyboards he’d bought on eBay in the recording of his latest album, Record Collection, recorded at Dunham Studios in Brooklyn, NYC.

“It’s like making a Hollywood movie – you need at least 50 trailers and nine million assistants and everything else to make a Hollywood movie, even if it sucks. It’s just the way we are. I suppose it’s a bit like the Stones really – you know, go and take over half an airfield and rehearse for about two months. ‘Isn’t it a bit unnecessary? Couldn’t you just do it in a little basement room somewhere?’ ‘No, we’re The Rolling Stones, it’s what we do.’ So we still make records and have real amplifiers and plug everything thing and do it all live. And Kev works really well with that.

Clinic recorded their sixth album, Bubblegum, at Elevator Studios in their hometown Liverpool, UK, with producer John Congleton (Bill Callahan, St Vincent). Cradle Of Filth have been locked away in Monkey Puzzle Studios, a purpose-built residential studio in Bury St. Edmunds in the UK recording their new album, Darkly Darkly Venus Aversa. The debut album, Fallen Empires, by Sydneysiders Our Last Enemy was recorded and produced in Los Angeles by Christian Olde Wolbers (Fear Factory, Threat Signal). Interpol recorded and produced their selftitled fourth album, due for release in Australia Monday Sep 13 through Shock, at Electric Lady Studios in New York, calling on Alan Moulder to mix it at Assault And Battery in London.


Domc Mastering is run by Dominic McGlinn – B.Mus. T (Hons). Dominic has been involved in the music industry for many years in various roles including pianist, live sound engineer, broadcast engineer, manager and many more. He has worked with Resin Dogs, Thirsty Merc, The Screaming Jets, Paul Mac, The Living End, Fast Crew, Ricki Lee, the Australian Idols, Brian Cadd, Russell Morris, and many more. Dom is also a music technology educator.

Time Off recently caught up with IRON MAIDEN vocalist BRUCE DICKINSON in California. It was quite a chat, so here’s the first of a two-part look behind the recording of their new album The Final Frontier.

Chicago five-piece Plain White T’s’ forthcoming album, Wonders Of The Younger, now almost ready for release, was recorded and produced by Ian Kirkpatrick.

Perth-formed Melbourne based four-piece The Holy Sea coproduced their latest album, Ghosts Of The Horizon, due out end of September, with Dave McCluney (Nick Cave & The Bad Seeds, Robert Forster), who also recorded, engineered and mixed it at Atlantis Sound in Port Melbourne. It was then mastered by Tony Mantz at Jack The Bear Deluxe Mastering.


Bands are welcome to bring their own engineers and their own ears to my studio and encourage this. It takes a little more time – but you get a better end product.


WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATION? I always work to a band’s budgets: I have set fees but I am always willing to cut a deal to help out bands – the more music out there the better it is for all of us in the end

DO YOU HAVE ANY IN-HOUSE INSTRUMENTS AT THE STUDIO ACTS CAN USE, OR IS IT TOTALLY BYO? I do have some in house instruments – guitars, piano, synths, a vocal booth – but again I only really do mastering. They are just there for fun

WHAT’S THE ACCESS TO THE STUDIO LIKE WITH REGARDS TO PARKING, FLAT LOAD, ETC? There is plenty of parking at the studio and it is in an awesome location just near the beach at Margate.

WHAT ARE YOUR CONTACT DETAILS? Dominic McGlinn 50 Dodds Street, Margate. 0421 961 641


Dave Faulkner talks about My First Gig and more as he talks to Jimmy Barnes on the show of that name 9.30pm Tuesday Aug 31 on MAX.

Having experienced hard drive infections, lost data, a flooded recording studio, blizzards and more over the past three years, Mojada have managed to finish their self-titled debut album, recorded by producer Sylvia Massy (Red Hot Chili Peppers, Rage Against The Machine, Cog, Spiderbait) in seven different studios here and in the US.

DJ tyDi, MC Shureshock, Words Versing Verses, Tony Byrne, Soma Rasa and many more



nce again, the band worked with producer Kevin Shirley. It’s a relationship Maiden are obviously comfortable with, as Shirley has worked on the past four studio albums by the band. “Well, yeah. Maiden, we’re nothing if not a little bit set in our ways,” says vocalist Bruce Dickinson. It’s a bit of an understatement – since 1982’s Number Of The Beast, Iron Maiden have only had three producers over the course of 13 studio albums. The band’s bass player Steve Harris produced 1995’s The X Factor and 1998’s Virtual XI, while Martin Birch produced all seven of Maiden’s albums from … Beast through to 1992’s Fear Of The Dark. In fact, one wonders if the band would still be using Birch today had he not retired after Fear Of The Dark.

“He’s committed himself to a style of working with us which, in fairness to Kev, he actually persuaded us to do it, which is seeing that the band is effectively a live band and we can actually do what we do, he said, ‘Why don’t you just do that?’ rather than recording things in little bits and slices and doing it like other guys who spend months nitpicking through things.” This approach was something that Shirley brought with him when he first worked with the band for 2000’s Brave New World album, which, surprisingly for a band with Maiden’s live prowess, they had never done before. “We were all a bit sceptical at first,” Dickinson remembers of Shirley’s nominated recording approach. “Then he turned up with this wonderful Kevin Shirley monitoring system whereby each of us gets a little mixing desk and a set of headphones and we can do our own mixes for what we want to hear. We were like, ‘Hey this is cool’. So we’ve been trying it now and actually we’ve probably been getting more comfortable with it with every album. “Kev’s been refining his little bits of technology so it gets a bit easier. It’s almost come round full circle because this album, we went into the studio

probably the least prepared of any album for the last three we’ve done. Brave New World, we could basically have gone out and done a gig with all those songs. So we went in and went straight down.” Similarly, 2003’s Dance Of Death and 2006’s A Matter Of Life And Death were quite extensively prepared and rehearsed before Maiden entered the studio. For The Final Frontier, however, the band had just two weeks rehearsal in Paris. Dickinson says this yielded around six or seven songs, with the rest to be figured out in the studio. “Even the ones that we rehearsed in Paris, we only spent one day on each song. It was just a bare bones run through of everything. I was still writing lyrics on the airplane; I was still writing lyrics in the studio, you know, going, ‘Oh shit, we’re supposed to do this song tomorrow and I haven’t got the words yet’. So, it was a bit less prepared and therefore in a sense it was almost like going full circle to the days when we did have to do things in bits. “The last track on the album is the eleven and a something minute Where The Wild Wind Blows. We just learnt that in sections, because it would have taken everybody three or four days to learn that as a piece and to get our heads around all the various different changes and things like that, so we chopped it up into sections – did it section by section, edited it together and then when it was mixing time, I just came out here and did the vocals in Malibu, in Kevin’s mixing studio, which is a tiny little place: you just set up a mic in the corner and it was really cool.” Dickinson estimates that around half to 60 percent of the vocals on The Final Frontier came from the Nassau sessions. “But it wasn’t a great place to sing in to be honest with you,” he admits. “It was a pokey little telephone booth that Mick Jagger liked but I didn’t. So it was quite nice to get into somewhere a bit more relaxed and a bit more open in terms of doing the singing. And it was great; it was instant gratification in terms of doing the singing because you’d two or three takes on a tune and you could look at Kev grooving away and you’d have Steve sort of sitting about the same distance away as me [at this point, Dickinson is across a table from Time Off ] listening as well. So it made it really easy. Like a little miniature, very appreciative audience, hopefully.” In part two next week, Dickinson goes into more detail about Compass Point Studios and its strange, time warp quality.

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NY TRAINED SONGWRITING TUITION PROFFESSIONAL ROYALTIES EARNING POP ROCK SONGWRITER AVAILABLE FOR TUITION AND GUIDANCE. TRAINED WITH LEADING NYC VOCAL TEACHER WHO HAS WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. COMMERCIAL RADIO PLAY FOR ORIGINALS. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME OR BEGINNING FROM AFRESH. K.I.S.S. = $$$$$. 0435 426 012 iFlogID: 4454 PIANO: BLUES, ROOTS & POPULAR Spaces available now. Specialized tuition from Don Hopkins (Jim Conway’s Big Wheel). Improvisation, piano technique, theory. Songwriting skills. Reading music, chords. Individual sessions. Beginners to advanced. Get to where you want to be. 0425201870 iFlogID: 6813 Pro Tools tuition for beginner to advanced users. Covering all aspects of LE and HD systems. Will cover any aspect of using Pro Tools, whether it be recording, mixing, composition, or post-production. For more information or queries email: iFlogID: 7368 SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace. com/mazvocalstudio - Contact Maz 0412 340 659 - iFlogID: 7291



Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae,latin, rock, folk. If interested contact me at 0410041979. Cheers. Lorenzo iFlogID: 4974 Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681 VIDEO RECORDING / PRODUCING by MMOffice - Motion menu, Scene selection, Web video, DVD or CD, CD Business Cards, On-wall presentations. We’ve done it all - would like to do yours too. $290.00 per final / edited minute. iFlogID: 7188


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MUSICIANS WANTED BASS PLAYER BASS PLAYER WANTED Bassist wanted to join melodic metal band with death/black/thrash influence. Must be determined, skilled and have own gear and transport. Easygoing but professional environment. Ages 18-30 Wollongong/Sydney based. Influences: Dimmu, Old man’s child, arch enemy, children of bodom, immortal, megadeth, slayer, amon amarth etc. Interest gained nationally and internationally with distribution deals on offer for the band. Great opportunity. asmodaiaus or email asmodai_aus@ iFlogID: 5302


GUITARIST 18 Y/O Greensborough-based Lead/ Rhythm guitarist (whichevers needed) looking to get in a working band. Styles include Psychobilly, Punk, Rockabilly, Ska, Hard rock and Blues. Gig experience, stage presence and subject to public transport. Contact Crow on 0403 319 663 iFlogID: 7289 18-year-old Male guitarist looking to join metal core band has experiences From Campbelltown is looking for local or no local call 0435881737 would like to start up band if their is not one looking a pop punk or alternative iFlogID: 7287 18yr old lead guitarist to start/join a band to play any rock/punk/metal/indie/ etc. Open minded. Keen to jam/gig ASAP. Want something that’s raw, youthful, energetic. Don’t call if you’re a die hard screamo or hair metal fan Otherwise, Benjamin 0448221479 King-y_21@ iFlogID: 6800 Lead guitarist looking to jam/form a heavy metal band, preferably on the central coast but willing to travel. Influences: Mercyful Fate, Judas Priest, Metallica, Iron maiden - Blake 0403138542 iFlogID: 6829


Professional Trombone player available for gigs, session and tours. Jazz, Funk, Latin, Pop, Rock and Classical. Can sight read, improvise and write parts. Contact Brendan 0409833827. iFlogID: 4099 iFlogID: 7355



Who wants to be in a all girls original pop rock band hav some fun and make some $$$?! Guitar/bass/drummer needed. Must be able to sing passable back up vox and luv performing!Practice 1-2 times per week. Gig asap. All ages welcome. 0435 426 012 iFlogID: 4390

Who wants to be in a all girls original pop rock band hav some fun and make some $$$?! Guitar/bass/drummer needed. Must be able to sing passable back up vox and luv performing!Practice 1-2 times per week. Gig asap. All ages welcome. 0435 426 012 iFlogID: 4394



seeking people to join a band pop punk or alternative band live Roughly around Campbelltown age between 17 - 20 Guy or girl with experience Playing Bass Drums Guitar Synth Call 9am - 9pm Name Email Corey_staples@hotmail. com 0435881737 or iFlogID: 6964

seeking people to join a band pop punk or alternative band live Roughly around Campbelltown age between 17 - 20 Guy or girl with experience Playing Bass Drums Guitar Synth Call 9am - 9pm Name Email Corey_staples@hotmail. com 0435881737 or iFlogID: 6966

Crouching 80s Hidden Acronym (Sydney - listen to some of our EP (played on FBi) at Are seeking adrummer for recording/ gigs. Influences include Bloc Party, The Cure (original, right?), Bowie, Foals and Metronomy. Interested? Contact Dean on 0431477933 iFlogID: 6833


Drummer required for International touring starting December for covers band. Expenses paid such as free flights, food, accommodation. Good salary. Must have passport and available to tour worldwide. Great money saving opportunity. Pro players only. Email drumming CV to iFlogID: 6765 DRUMMER wanted for indie pop/rock band. Infl. Paul Dempsey/SFK, Neil Finn, Sarah Blasko, Radiohead, Neil Young. Harmonies would be nice but not essential. Check out demos @ cobwebtelemetry. iFlogID: 7026 drummer wanted.. great gear and great feel essential.. must have the taste of wanting to make music a career!! and would prefer you be between 18-30. check out the sample page: http://www. and if you like it email: iFlogID: 6970

wanted for multi award winning, highprofile band. Preferably male under 30. Experience not necessary. Talent is. Ph: (07) 33526937. darrenjray@bigpond. com iFlogID: 5430 HIGHWAY TO HELL - THE ULTIMATE AC/ DC TRIBUTE are looking for a bassplayer. We really love putting on a good show without taking ourselves too seriously. Work waiting with agency support. Must have good gear and transport. Peter Ph:0400123945. iFlogID: 7283 Members of Sunk Loto and Miacarla need experienced and dedicated bass player. Someone who is ready to tour has good equipment & transport with a positive attitude. iFlogID: 6906

NOT AVAILABLE FOR FREE ADS. CL Dedicated bassist needed to finish the lineup of Brisbane/Gold Coast southern hardcore band. must have own gear and transport. influences include Every Time I Die, Norma Jean, Maylene & The Sons Of Disaster. Demos are available. contact Jon asap at iFlogID: 7370

seeking people to join a band pop punk or alternative band live Roughly around Campbelltown age between 17 - 20 Guy or girl with experience Playing Bass Drums Guitar Synth Call 9am - 9pm Email 0435881737 or tazzy_lover@hotmail. com iFlogID: 6962 Sunshine Coast pop/rock Band “Lending Her” are looking for a bass player. Currently finishing our debut album and looking at a tour of Brissy & Sydney in late 2010 to promote our album. For a Demo of the band LendingHer iFlogID: 6846

Female singer/acoustic guitarist between 25 and 35 years of age wanted to start an acoustic pop/alt/rock/hip-hop/RnB covers duo with a 31yo male singer/ guitarist. You must be dedicated, have eclectic musical tastes from 80s through to today, and ready for weekend jam sessions to perfect sets, looking towards gigs at inner city pubs/bars. My song strengths are many and varied, from RHCP and Matchbox 20 through to Jason Mraz and even Eminem. For more information, phone Neil on 0449993290. iFlogID: 6135

Hard-rock / Metalcore band seeks committed, self motivated drummer capable of playing to a Pro standard. Must be available for regular gigs, rehearsal. Must have a great work ethic and be easy to get along with, and share the same passion to pursue music full-time. iFlogID: 6445

We are currently a brisbane based acoustic duo looking to expand our sound by adapting our songs to a band format. Have a listen to our demos on and if you’re interested in having a jam we’d like to hear from you. Ph 0422614579 iFlogID: 6105

FUNKY RYTHYM SECTION WANTED! funky rythym section wanted for dynamic sexy funk/rock/blues hip hop band.influences-the meters,early rhcp,sly stone,james brown,jimi hendrix,parliament/ 0421727864. iFlogID: 4238 Hi I’m after a drummer M/F 25 and under. infl flaming lips, white stripes, pavement. Check out my stuff on unearthed www. and let me know if ur interested and we can have a jam! iFlogID: 7327

I NEED A DRUMMER DAMN IT Hi I need a frigging drummer. Male or female 25 and under and please be into indie alt music like pavement animal collective and the flaming lips. I’m tired of advertising so reply damn it! check out my stuff on myspace www.myspace. com/themhumm iFlogID: 6539 needed for heavy trancendental rock band ready to record. looking for someone who likes to hit hard, joey jordison’s ability is not required contact joel 0435318311 parramatta iFlogID: 7280



KEYBOARD PLAYER NEEDED Keyboard player wanted, backing vocals a plus. Own transport a must. Must have good gear and experience. We are currently a Sydney 3 piece looking at expanding to 5 piece. Think most bands on the creation records and 4AD labels. Contact Sam on 0415292247 and listen to us on iFlogID: 6313

KEYBOARD PLAYER NEEDED Keyboard player wanted, backing vocals a plus. Own transport a must. Must have good gear and experience. We are currently a Sydney 3 piece looking at expanding to 5 piece. Think most bands on the Creation Records and 4AD labels. Contact Sam on 0415292247 and listen to us on iFlogID: 6315


SEEKING KEYBOARD PLAYER/ GUITARIST FOR LONG-TERM COLLABORATION. I CURRENTLY HAVE A SONGWRITER’S CONTRACT FROM NASHVILLE AND HAVE MANY IRONS IN THE FIRE. IF YOU ARE PROFICIENT WITH APPLE, GARAGEBAND IT’S A BONUS. CALL ME TO SET UP AN AUDITION ON 0407-781156 or Email me. iFlogID: 5799 Original singer/songwriter/guitarist creating a new original project is looking for experienced rock keyboard / sound artist. Hoping to find someone using GarageBand to exchange files and collaborate with. Check out: http://www. If interested, pls contact via email “remmosk@gmail. com” iFlogID: 6811

OTHER We seek guitar players who are looking to earn money teaching guitar. Training and teaching materials are supplied. Teach from one of our schools or your own location. Limited positions available. Visit for details. iFlogID: 7447 HEY WERE LOOKING FOR A GUITARIST INBETWEEN THE AGES OF 18-25 PLEASE GIVE ME AN E-MAIL OR PHONECALL E-MAIL: PHONE: 0433 028 200 iFlogID: 7050 Hi I’m after a guitar player M/F 25 and under. infl flaming lips, white stripes, pavement. Check out my stuff on unearthed them-humm and let me know if ur interested and we can have a jam! iFlogID: 7329 Looking for a lead guitarist for a regular gigging band. Combination of Rock/ Blues/Folk. No time wasters. Practise weekly. Own gear required. Originals band. iFlogID: 7262 The August Challenge are looking for a groove driven lead guitarist our train . We are looking to get back to gigging ASAP and record new album. Head to our Myspace site and have a listen. Call Rhys on 0404684190. iFlogID: 7074

seeking people to join a band pop punk or alternative band live Roughly around Campbelltown age between 17 - 20 Guy or girl with experience Playing Bass Drums Guitar Synth Call 9am - 9pm Name Email Corey_staples@hotmail. com 0435881737 or iFlogID: 6968 Attention UNSIGNED musos we need your help in song donations and exposure for you to help us with our charity website. Jump on and donate a song and get free exposure and song sale opportunities, its going be big!!! iFlogID: 6977 Hi my names Alice, Im a 24 year old semi professional singer with a love for RnB, Hip Hop music! If you can play bass, guitar, drums, keys and are interested please call me on 0401 645 195. xx iFlogID: 7217 METAL GUITARIST.Looking to form or join band with like minded musos. Experienced, pro equipment, passionate and keen to jam and gig ASAP. Shitload of originals ready most recorded. Influences Pantera, BLS, Children of Bodom. Text or call Rich on 0439873875 iFlogID: 6865


WANNA BE IN MY BAND??!!! Who wants to be in a all girls original pop rock band hav some fun and make some $$$?! Guitar/bass/drummer needed. Must be able to sing passable back up vox and luv performing!Practice 1-2 times per week. Gig asap. All ages welcome. 0435 426 012 iFlogID: 4392 WANTED Guitarist for Metal Band, influences; Lamb of God, Pantera, Devil Driver, Slayer, COB, Amon Amarth, Sepultura, Gojira & more. We are in our early 20’s, have gigs lined up. Practice at a studio in Syd Newtown. Contact me at iFlogID: 7397


Singer/songwriter/guitarist creating a new original project is looking for experienced rock drummer. Must have great sound and ability to play with vibe and groove when using click plus experience with both acoustic and electric kits and seq. BV’s also a huge bonus. Check out sample of new cd release: http://www. If interested, pls contact via email - remmosk@ iFlogID: 6679

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GUITAR PLAYER Hi I need a guitar player male or female 25 and under for my indie/alt band. Influences the flaming lips, white stripes, pixies, animal collective, pavement etc Reply I’m tired of advertising! check out my stuff on themhumm or write me a review www. iFlogID: 6541



Our passion for writing original songs are influenced by decades of different styles of music. We would love to have a good bass player who can enjoy creating with us. contact Veneita on (0408) 232 110 or email iFlogID: 7423

Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play




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COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. We are looking for ages 18 - 35 yrs, and we are playing modern covers. Must have good gear, own transport able to gig most fri / sat

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For a limited time. Free online and print classifieds Book now, visit 68 Funk rock project created to launch a music career. Influences include: RHCP, Rage Against The Machine, Hendrix, John Butler Trio, Faith No More, Beautiful Girls, Bob Marley, Sublime, The Rolling Stones Only those with experience and talent who are easy-going, but driven to work hard on a weekly basis need apply. Send all queries and Myspace/ YouTube, Reverb Nation/website links to: Dan Wilkinson iFlogID: 6274


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Female singer/acoustic guitarist between 25 and 35 years of age wanted to start an acoustic pop/alt/rock/hip-hop/RnB covers duo with a 31yo male singer/ guitarist. You must be dedicated, have eclectic musical tastes from 80s through to today, and ready for weekend jam sessions to perfect sets, looking towards gigs at inner city pubs/bars. My song strengths are many and varied, from RHCP and Radiohead through to Jason Mraz and even Eminem. For more information, phone Neil on 0449993290. iFlogID: 6133 LEAD VOCALIST REQUIRED FOR TINA TURNER TRIBUTE SHOW. SYDNEY BASED PROFESSIONAL BAND LOOKING FOR A NEW TINA TURNER.BAND HAS WORK AND AGENT.FOR FURTHER DETAILS PLEASE CALL DIANNE ON 0418 122 370 iFlogID: 7425

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GRAPHIC DESIGN Singer needed for hard rock band. We’re looking for a singer, male or female, for our all original hard rock band. The guitarist and I (bass) have been playing together for over 8 years now and over 3 years with our drummer. We have been writing new songs the last 2 years and continue to work on fresh original material. We have also been playing gigs all over Melbourne for the last year getting some stage experience up but we are really dying to get a frontperson with a voice that works with our music. We’re willing to give anyone a listen, we’re all easy going and in it for the fun above all else, but also been keen to take the next step and make it a serious commitment. Have a listen at our myspace link upon application. http://www.myspace. com/psyecho Please note the myspace recordings are over 2 years old now and we have progressed in style and skill greatly since then. iFlogID: 5131



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SHARE ACCOMMODATION AVAILABLE Large doubled size room for rent in a house with 3bathrooms. house has tv’s, lounges,fridges, microwave, furnished and wireless internet available. 0405398888 or email vivsue@gmail. com iFlogID: 7211

Looking for an Esp Horizon black. New or used. Email For more info. wtf_juice@ iFlogID: 5875 JOBS, JOBS, JOBS! Ever found yourself putting on a tour and don’t know how to get a sound engineer or someone to sell merchandise on the other side of the country? Well, that is how came about... The website enables anyone offering a service that can be used by touring artists to browse for work, and for touring artists to find the people they need to make their tour work anywhere in Australia. By visiting, anyone who is putting on an event is able to source all types of crew from tour managers, sound engineers, and lighting technicians to merchandisers, photographers and poster distributors in areas where they wouldn’t normally know where to start looking. Anyone working in the industry can look for work, and also list their details so that they don’t miss out on that next ‘big job’! Registering and browsing for jobs on is absolutely free, you only pay when you want to apply. For further info please contact the team at info@coveryourartz. com or visit our website at iFlogID: 5308


Aley is currently also engaging in Social Media, utilising Facebook as a way to engage with the public, increase my fan base, and raise awareness for local charities to protect the environment. The page will be custom designed, and is offering a sponsor to completely brand her Facebook page. You will also have the opportunity to run competitions on my page, as well as offer discounts, and engage with my audience. Working with a top global marketing company based in Australia, the Facebook fan page will have 10,000 fans by the end of August 2010. These fans are highly targeted towards your demographic, and will be a great way to engage with them. Please see Aley’s blog for more info about her and we look so forward to hearing back from you http://aleygreenblo.blogspot. com/ Facbook: Aley Greenblo Email: iFlogID: 5560


NOT AVAILABLE FOR FREE ADS. CL People Wanted. We are offering a business opportunity like no other. Multiple Income stream based. Online based. Income earned from offering the world unbeatable value in goods, services & entertainment streaming. Low cost start up. Evolving, expanding, growing rapidly. 0423831660 iFlogID: 7454

ALEY GREENBLO has been selected to represent SYDNEY and attend the NATIONAL FINAL OF MISS BIKINI WORLD AUSTRALIA IN DARWIN. Aley will be competing against 34 other girls and the winner will represent Australia at the international final. Aley is currently MISS GLOBAL AUSTRALIA, MISS SUPRANATIONAL AUSTRALIA and a MISS EARTH finalist and is in search for a sponsor. Diesel Promotions will be filming the 11 day Miss Bikini World competition for a reality TV show which will provide great exposure. Aley will also be photographed during the competition and these photo’s will be circulated through the press and gain major publicity. In return, Aley has allowed her pictures for advertisement purposes for your own business. Additionally your logo and website link will be put on the official MISS BIKINI WORLD AUSTRALIA website as well as on Aley’s blog and other social networking pages.

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Time Off Issue #1490  

Time Off is Australia’s longest-running street press publication, and has positioned itself as an iconic Queensland brand. For past 18 years...

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