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GIVEAWAYS A brilliant detective tormented by the darker side of humanity, Luther shines a light where others fear to tread, into the hearts and minds of psychopaths and killers, and the shadowy spaces of his own soul… Starring Idris Elba (The Wire), Luther is a gripping, smart and entertaining psychological thriller driven by an intellectually brilliant but emotionally impulsive cop. Created and written by Neil Cross, an acclaimed suspense novelist and lead writer for two series of the award-winning Spooks, Luther is available on DVD now. Thanks to Roadshow Entertainment we have five copies up for grabs! Subject Line: LUTHER The much anticipated album of newly completed recordings from Michael Jackson Michael has been released by Sony Music in conjunction with the Estate of Michael Jackson. The creative process never stopped for the King of Pop who was always planning for his next album; unbeknownst to many fans Jackson was writing and recording continuously everywhere with a small group of handpicked collaborators. Thanks to Sony Music we have five copies of the album to give away! Subject Line: MICHAEL CD The legendary concert film Ladies & Gentlemen… The Rolling Stones has been fully restored and remastered from the original film print and multitrack audio masters and finally receives its first authorised release on DVD. Filmed in Texas in
1972 over four nights of the Exile On Main Street US tour, Ladies & Gentlemen was premiered at the Ziegfield Theatre in New York on Apr 15 1974 and released into selected cinemas across the USA shortly afterwards. It is considered by many fans to be the finest Rolling Stones performance ever captured on film. Thanks to Shock Records we have five copies of the DVD up for grabs! Subject Line: LADIES & GENTLEMEN Mary Trembles will be playing their first and last show this year on Dec 31 as part of The Beetle Bar’s New Years Eve Party. To celebrate we have an awesome Mary Trembles prize pack up for grabs which includes a VIP double pass to the gig, a black satchel bag with a copy of Mary Trembles’ last record, borrowed ears, borrowed eyes, a copy of Dreaming Mind by Skritch, and a Mary Trembles T-shirt. Entrants must be 18+. Subject Line: MARY TREMBLES No Years! at the Brisbane Powerhouse on Dec 31 is the perfect way for a music lover to see in the new year. There will be over 20 bands playing on two stages for ten hours! Shout Out Louds, Neon Indian, The John Steel Singers, Jonathan Boulet, Seekae, Parades, Seja, Oh Ye Denver Birds, Little Scout, Love Connection, The Honey Month, Rocketsmiths, The Belligerents, Velociraptor, Mitzi, Lion Island, Bleeding Knees Club, Mr Maps, Dead Beat Band, Vasy Mollo, Kate & Max will all be playing on the night. We have a double pass to give away to one lucky winner! Entrants must be 18+. Subject Line: NO YEARS
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Get your music industry news from The Front Line Lowdown – news, opinions, tours, Backlash, Frontlash Indie rock kingpins The National discuss their rising profile We grab a bonus cup and sit down with punk heroes Descendents Rock legend Joan Jett chats about both the past and present of her life in rock’n’roll Colossal rockers My Chemical Romance discuss the influence behind their Danger Days... 3 Inches of Blood like getting drunk and Australian metal. They’ll fit in just fine. The legendary Superchunk are back, though they never really left Sydney’s Straight Arrows wanted to fuck up their debut album as much as possible There are no tigers but plenty of thrills with Almaryse & The Frill Of The Fight The Creepshow are moving away from psychobilly The time for exploration is nigh for Neon Indian El Guincho’s happy accident has borne his new style The future is awfully uncertain for Loomer On The Record has the latest, greatest and the not so greatest new musical releases Chris Yates spotlights the best (and worst) tracks for the week in Singled Out
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This Week In Arts plots your next seven days Take a behind-the-scenes look at music television in Real Wild Child! Tales From The Rage Couch The Looking Glass gets festive with a few Christmas-related artwork gift suggestions Derek Cianfrance explores all facets of love in his Ryan Gosling- and Michelle Williamsstarring film Blue Valentine The Gallery of Modern Art gearss up for the gallery’s massive 21st Century: Art In The First Decade exhibition Cultural Cringe offers Christmas advice to the die-hard gamer
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Our Live section is packed full of tour info, live reviews, local news and more awesome shit than you could imagine 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 Sarah Petchell has enough punk rock to Wake The Dead We take you behind the music Behind The Lines What do you do when you need to get rid of something? iFlog
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INDUSTRY NEWS STACK’S PLAGIARISM SHORTCUTS
WELL SPOKEN Melbourne pop-punk outfi t Way With Words have won the first Australian Red Bull Bedroom Jam competition, and will now head to Los Angeles for a recording session at the Red Bull studios.
Short Stack and Channel [V] have come under fire after it was alleged that the band’s bassist Andrew Clemmensen was credited to a plagiarised review of Kanye West’s new album on the music TV station’s website. Australian journalist Craig Mathieson raised the issue on the message boards of website Mess + Noise, citing a paragraph from his review that ran in the Sydney Morning Herald on Saturday Nov 27, which was identical to one from Clemmensen’s review. “My Beautiful Dark Twisted Fantasy is eclectic but never offhand; it’s hip-hop where every deviation serves the song’s texture, every boast contrasts with slyly lacerating self-appraisal,” read Matheson’s while the one on Channel [V]’s website read, “It’s eclectic but never off-hand. It’s hip-hop where every deviation serves the song’s texture, every boast contrasts with slyly lacerating self-appraisal.” Shortly after the claims the review was taken down and posters on the thread highlighted other aspects of the review that had been lifted from pieces on Pitchfork, amongst other sites. Neither Channel [V] nor Short Stack’s label Universal Music would comment to The Front Line on the matter.
YEAR-WRAP BOOK TO BE RELEASED Heath Media and music blog AU Review have announced that they’ll be issuing the inaugural edition of their Australia’s Year In Music: 2010 Edition print book in January. The hardcover publication will be a limited run, with each copy numbered, and covering the Australian music scene through photos, reviews and quotes. Information on pre-ordering can be found on the AU Review’s website.
FRESHLY INKED Laneous & The Family Yah have announced a partnership with promoter and agency Niche Productions – their current stable includes Fat Freddy’s Drop and The Bamboos. Melbourne based Wagons have signed with American booking company High Road Touring, who include Wilco, Ryan Adams, Patti Smith, The Temper Trap and The Drones on their client sheet.
REPORT SAYS SCALPING OK Following an issues paper and survey launched late May, the Commonwealth Consumer Affairs Advisory Council (CCAAC) has presented its report Consumers And The Ticket Market: Ticket Onselling In The Australian Market. The report outlines that the government won’t be stepping into the debate considering “the broad issue of ticket onselling does not cause significant consumer detriment”. The report found that onselling is less common in Australia than markets in the United States and United Kingdom and that specific consumer concerns can be dealt with by the industry, who are better placed than the CCAAC. It said that scalpers “are not particularly sophisticated in their use of technology” and that developments in technology that cause events to sell out quickly (that is, everyone logging on simultaneously) are frustrating consumers who then blame scalping.
MOBILE BOX OFFICE Moshtix have launched a mobile site which will feature ticket delivery by mobile barcode, meaning that entry into a venue will be obtained by scanning the barcode on a handset. Accessed through moshtix.com.au via any Internet-enabled phone, transactions will be made through PayPal. “We have had this capability for some time now,” general manager Adam McArthur said in a release, “but with the growth of smart phones we are now able to launch a complete mobile ticketing solution.” The barcode will be stored in the user’s Moshtix account.
PAV’S LOOKING VIVID In another move to increase their relevance to contemporary audiences, Modular boss Stephen Pavlovic has been announced as the next curator of the Sydney Opera House’s Vivid Live festival. Pavlovic – commonly known as Pav – follows Brian Eno and Lou Reed/Laurie Anderson as the event’s curator but unlike the influential musicians before him will remain offstage during the event. It is believed that the Opera House hope the appointment will mean the focus is on the artists and events themselves, rather than an individual. With the program to be revealed in March next year, rumours are already circulating. The biggest is Daft Punk and has weight considering that Tron: Legacy, the recent film whose soundtrack the legendary electronic duo provided, will be nearing a release date on DVD and Blu-ray when the festival begins late May. An exclusive live performance of the soundtrack would fit in with the Opera House’s perceived agenda.
TRAVELLERS FINISH Founded in 2007 and funded by the Australia Council’s Music Board, the Sound Travellers program will finish at the end of the year. Providing contemporary improvised music around the nation, by its conclusion the program will have taken 53 tours to 57 destinations throughout the three years. Artists have included PVT, Misinterprotato, Ensemble Offspring, Topology and more.
ARETHA ON THE MEND
THE GLOBE GETS RENT AGREEMENT AND SECOND CHANCE In a rare piece of recent positive news for a Brisbane venue, The Globe has reached an agreement with their landlord and will continue to operate as a venue. The future of the 350-capacity venue was on the rocks at times during the process and the current president of Odyssey Creative Productions, which run The Globe, Michael Leo is relieved at the outcome. “It was looking like that’s it, we’re out of here,” he told The Front Line. “We have come to a new agreement: the good news is that we have come to a new agreement, the bad news is that the rent’s gone up.” The problems weren’t specifically money focused though, there was an element of security involved and the landlord wanted to ensure that the venue maintained its original heritage of being a theatre. Unfortunately running the venue solely as a theatre is not financially viable. Even with the music aspect, things remain tight. “We’ve got a restricted club permit so we’ve only got x amount of hours to trade as live music,” says Leo. “We’re in a tight spot because we’ve only got so many nights a week to trade, and we’re paying rent on a large square metreage, seven days a week, 24 hours a day, just like any other business, but it means we’ve only got four days a week to make all our money.” The rent increase is more than the owners wanted to pay, but Leo describes it as a “reasonable” increase. The unavoidable truth is, though, that unless numbers increase, the price rise will have to be passed on to punters. “The more people that turn up the less we have to worry about the rent increase. “We are a non-profi t club, we’re not your standard business. Because we’re based on volunteers the majority of volunteers that come here love live music and they give their time freely because they want to see a place like this exist. In Brisbane, with the closing of The Troubadour etc., those few medium-sized venues we have left become crucial to those that love seeing live music.” With The Troubadour and The Hangar closed and Burst City looking like it’s also on the way out, the lifeline that The Globe has been handed needs to be embraced with both hands by the city’s community.
AUSSIES GET THEIR MOJO Influential UK music mag Mojo has dropped its yearend issue and Grinderman found themselves ranked #20 album of 2010 with Grinderman 2 (Texan troub John Grant was top of the list, of course). Plus, Innerspeaker by Perth’s Tame Impala was named ‘best thing I’ve heard all year’ by Kasabian’s Serge Pizzorno. Further into their pages, Mojo favourably review Julia Stone’s solo debut In The Memory Machine, comparing her to Bjork and Martha Wainwright.
GREEN WASHED AWAY Heavy rainfall and flooding on the East Coast of Australia forced the cancellation of the Queensland leg of the A Day On The Green concert slated to take place at Sirromet Wines in Mt Cotton. Parts of the winery were still under water when the decision was made in consultation with traffic authorities, safety officers, the winery and promoters. Blondie, The Pretenders, Little Red and Adalita were due to perform.
FLOYD SON’S PROTEST RAGE Continuing in the spirit of his father’s band, Charlie Gilmour, son of Pink Floyd guitarist Dave Gilmour, was arrested on Sunday on suspicion of violent disorder and attempted criminal damage as part of the recent student protests against higher university tuition fees in the UK. A spokesman for the Metropolitan Police said, “On the morning of Sunday Dec 12, a 21-year-old man was arrested at his home address in Sussex... He was arrested by officers from Operation Malone on suspicion of violent disorder, and attempted criminal damage of the Union flag.” Gilmour later apologised, calling his actions a “terrible insult” and saying he’d been “caught up in the moment.”
ROCK WITH NO CAFÉ The Hard Rock Café has returned to Sydney with a retail store, Rock Shop, in Darling Harbour. Selling rock’n’roll themed items, token Hard Rock Café Sydney shirts will also be available.
Wednesday 15th December Boss Moxi Moonfleet Prince of Harlin Bacon
Thursday 16th December
BOYS AND GIRLS Cam body jar (Acoustic) A Farewell Momento (Ep Launch) Chasing wings $12 tickets on door $10 host list
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Friday 17th December Butcher Birds Feathers Butterz | Danny Cool
Soul singer Aretha Franklin is likely to be discharged from hospital this week where she is undergoing treatment for pancreatic cancer. Reportedly doing better than doctors expected, the 68-year-old was given less than a year to live when diagnosed with the disease. Her cousin Brenda Corbett told the Detroit Free Press paper, “Aretha is doing better than doctors expected. She has a long life in front of her and will be back in concert, on stage, late spring or early summer.”
FREE GORILLAZ FOR XMAS Touring Australia at the moment, Gorillaz’ muchmooted, iPad-recorded album, will be available for free this Christmas. Band founder Jamie Hewlett told News Limited, “On Christmas Eve a video for one of the new songs from the iPad album will be released. Then, on Christmas Day fans get the whole album downloaded to their computer for free as a gift.” The record was recorded over a month while on tour in America.
BANDS SHARING THE LOVE Fans in the UK will soon be able to buy ‘shares’ in emerging artists through My Major Company, who will use the funds to kickstart their career but then pay dividends to their investors. The first band to sign up for the program is Ivy Rise, and My Major Company will now act as their label. The company cite an instance in France where an investor made £100,000 after investing £5,000 in an artist called Gregiore who then had a number one album.
BBC RECOGNISE KIWI KIDS New Zealand’s The Naked & Famous have been awarded a spot on the BBC’s Sound Of 2011 list, which highlights promising artists of the past year. The list of 15 features only three acts based outside of the UK – the other two are American – with Warpaint, James Blake and Daley amongst the other artists included.
ISC LAST CHANCE, AGAIN Apparently struggling for entries, the International Songwriting Competition has re-opened submissions until Friday. They’ve also discounted the entry fee to $25. The winners will be announced February 2011 with the judging panel boasting record label executives as well as artists like Peter Gabriel, Rihanna, Kings Of Leon and Tom Waits. The prize purse is also heavy, with over $150,000 USD in cash and prizes being awarded daily and as major prizes.
Saturday 18th December Sceneless ‘A Ghetto X-Mas’ Spacifix Tiger Beams Hunz Time Nelson & the Cub Scouts Aniki | Bacon
Sunday 19th december Dreamtime Udays Tiger Discount DJ’s
Monday 20th December Bar Closed
LEARN TO FLY QANTAS recently made a policy back flip after bowing to public pressure, but there’s a long way to go before musos are given equal treatment in the skies. But with QMUSIC – and now the whole of AMIN – in talks with VIRGIN, it may not be that far off, writes SCOTT FITZSIMONS. Jamie Oehlers
ollowing pressure from the music community late last week Qantas amended their short-lived policy of carry-on luggage that forced music instruments to be checked-in. The move came after jazz saxophonist Jamie Oehlers had started a Facebook campaign against the embattled airline and John Schumann, formerly of Redgum, wrote an editorial for Melbourne newspaper The Age, slamming the move.
high and when likened to the cost of sporting equipment it shows a prejudice on Qantas customers almost.” But Qantas aren’t the only airline in the business and QMusic – Queensland’s peak body for contemporary music and part of the Australian Music Industry Network (AMIN) alongside MusicNSW and Music Victoria amongst others – have been in talks with Virgin for a couple of years thanks to partnerships they’ve developed.
“I’ve been travelling with Qantas for over 20 years and I carry a tenor saxophone pretty much every time I fly,” Oehlers told The Front Line before the amendment. “In 20 years I’ve never had to check it in and maybe three or four months ago for the first time they made me check it, and then they damaged it and caused $12,000 worth of damage.” After calling customer care and attempting to board further flights he was told that there was “no flexibility” with the carry-on baggage size and he’d have to check in his instrument every time.
At Big Sound QMusic and Virgin announced a partnership specifically based on a national indigenous music compilation. During the launch the airline made three commitments. Two focused on the indigenous aspect – an indigenous in-flight music channel (which hits domestic flights in January) and the re-print of 5,000 of the CDs to be passed on to Velocity members for publicity – while the third was to deliver a task force to look at the issues of travel for musicians and excess baggage.
“It really interrupts our ability to travel as musicians,” he said. “I’ve seen at check-in, people are fine with my saxophone case, then when they ask what’s in it and I tell them it’s a saxophone, they make me check it in.” Despite being a Gold frequent flyer and flying fortnightly on average for the last two years he said, “It’s a massive inconvenience and I won’t be doing it.”
AMIN as a whole will be taking up the talks with Virgin, slated for the end of January. “Their commitment is to listen to the industry,” says QMusic’s Executive Office Denise Foley, “listen to what the issues are and how they impact on us. I guess they’ve heard our comments around differences for musos verses sportspeople and sports goods and stuff like that. They’re wanting to understand a what the issues are and how they can help resolve them.”
The Age’s editorial – written as a result of and in support of the Facebook group – was equally as scathing to Qantas, opening with, “In its obsession with profits, the airline is fleecing artists.” “As a result of customer feedback we have revised our policy relating to the carriage of small musical instruments as carry on baggage,” a Qantas spokesperson told The Front Line. “Due to the delicate nature of musical instruments customers who travel on Qantas operated services are no longer required to check in as checked baggage a musical instrument that exceeds the carry on baggage limit of a total of 115cm. They may now carry it as their carry on luggage, provided its dimensions do not exceed a total of 130cm.” This therefore caters primarily to instruments like the saxophone, typically aligned with classical, rather than contemporary music. The music industry stakeholders have long been calling for parity in funding and treatment between the traditional and contemporary spheres. MusicNSW’s Executive Officer Eliza Sarlos is one that believes reverting away from the policy is not enough. “The thing for me is that there are sporting equipment allowances and there’s no rationale for an airline that does put forward that they support the arts through many different things to not support the arts in a really tangible way… obviously carry-on is an issue but also the excess baggage costs for taking instruments are incredibly
Virgin are currently in a similar position to Qantas in their musical instrument allowances. “A big surfboard or bag of golf clubs is fine,” Foley says, “so that’s the exact argument that we’ll be taking to them… why can’t instruments being treated in the same way? Another thing we raised with them was inconsistency. When people are travelling one time they may not be charged anything and the next time they’re flogged really hard. Obviously we don’t want to end up in a situation where they’re consistently bad but it makes it hard for touring artists to plan their budgets.” QMusic – or AMIN as a whole – are yet to have meaningful discussions with Qantas, the hope being that if they could achieve a positive outcome with Virgin it could be used as leverage to take to other airlines, Qantas especially will be looking to every positive public relations outcome they can find at the moment considering they’ve recently come under scrutiny for engine failures and a recent instance when baggage from a Melbourne to Sydney flight went missing following a jam on the baggage conveyor belt – something that would be very problematic and income-hurting for someone whose instruments have been checked in. “We’ve got fantastic competition on the airlines at the moment and you can get great deals,” says Foley, “if you’re then slugged an excess baggage bill it doesn’t keep a cheap flight cheap.”
IN BRIEF Wavves have parted ways with their drummer Billy Hayes. Current Signals and former Mae Shi drummer Jacob Cooper is filling in at the moment. December 7, 2010 has been declared as Gregg Gillis Day in the City of Pittsburgh. Gregg Gillis is, of course, better known as Girl Talk. How bizarre. Tommy Lee has written to Sea World to protest against their practice of Orca masturbation. Current Hate Eternal frontman and former Morbid Angel guitarist Erik Rutan has recorded four of the songs on the forthcoming Mountain Goats album.
THE COLOUR GREEN People love Dallas Green, there’s no denying it. As the frontman for hardcore punk rockers Alexisonfire he has destroyed stages all over the world and influenced many of the new breed of hardcore bands. But he’s not always interested in his musical input being so rambunctious; as such his City And Colour project exhibits the softer side of Green’s musical desires. City And Colour has issued two albums so far and word is the third one isn’t too far away; they’ve both been received with considerable acclaim, selling bucketloads of copies and earning Green a couple of Juno awards and his live shows are just as popular. Hell, he even sold out the Royal Albert Hall in one day earlier this year. Green brings City And Colour out to Australia in April, playing an all ages show at The Tivoli on Friday Apr 8. Tickets are on sale from Ticketek as of Friday morning.
TINIE CONSCRIPTED Are you excited about The Script’s upcoming tour of Australia? The Irish superstars will undoubtedly pull out all the stops when they pay us a visit and if you needed convincing of that then listen up! The band have just announced that they are bringing UK superstar Tinie Tempah along for the ride when they come down here, to play support at all shows. The talented rapper became a breakout success following the release of his debut record Disc-Overy earlier this year and the hit singles from it and now he’s going to show Australian audiences what he can do when it comes to performing live. You can catch him kicking things off at the Brisbane Convention Centre on Sunday Apr 10. Tickets are available from Ticketek for $67.70.
The Roots have written the score for the new film Night Catches Us.
JUST A STONES THROW AWAY For the very first time in history, Australian audiences are going to witness the rock’n’roll spectacle that is the Stone Temple Pilots live and in the flesh next March. Since the band reformed in 2008 Australian fans have been holding onto what, at times, seemed like a slim hope of the band touring, but the news has been confirmed and now all we have to do is wait! The band released their sixth studio album in May of this year and have proven they are still as relevant a rock’n’roll band as they ever have been and that their grunge-tinged brand of classic rock is not likely to go out of fashion any time soon. You will see Scott Weiland and the boys running through the finest moments of their back catalogue at the Brisbane Riverstage on Wednesday Mar 23. But that’s not all, joining them in support is none other than Australia’s own purveyors of fine heavy rock, Grinspoon! Tickets are available from Ticketmaster from 9am Friday. Presented by Time Off.
Four German girls have hidden in a dumpster to in order to meet Justin ‘Beebs’ Bieber.
Elijah Wood, Danny McBride, Seth Rogen, Will Ferrell, John C. Reilly and Jack Black will star in Fight For Your Right Revisited a sequel to the classic Beastie Boys clip, written and directed by MCA. It premieres at Sundance 2011.
Hey Soul Sister by Train was the highest selling song of 2010 on iTunes. Katy Perry will appear on a forthcoming episode of The Simpsons. She plays Moe Szyslak’s love interest in a bizarre live action/puppet scene in the show. Wilco’s Jeff Tweedy, The National, Mission Of Burma, Syl Johnson, the Feelies’ Glenn Mercer and Bonnie ‘Prince’ Billy were Yo La Tengo’s guests at their recent Maxwell’s residency in their hometown of Hoboken, New Jersey.
FAR FROM SHEEPISH Word on the street is that the new record from UK electronic music duo Lamb will be the freshest and most different Lamb record to date. The album, their fifth, is called 5 and will be released at some stage in 2011, but before that the band are embarking on a world tour and kicking the whole thing off in Australia. The duo reformed after a lengthy hiatus back in 2009 and quickly proved that they had lost none of the magic that made them so revered in their glory days and this new record will be their first in eight years. They said that they weren’t willing to release something until they felt they had something new to say and that time has now evidently come. The band will be here in just a couple of months, playing The Hi-Fi on Friday Feb 18. Tickets are available from Moshtix and the venue from Friday morning and they’ll cost you $60 + bf. Presented by Street Press Australia.
NEWEST EDITION For the first time ever Bobby Brown, Johnny Gill and Ralph Tresvant are bringing their Heads Of State tour to Australia to give us the ultimate in R&B goodness live in concert. The three artists – who were all members of New Edition at one time or another – will be performing plenty of New Edition classics as well as their solo hits and will of course be showing off their finest dance moves as well in this massive two hour show. They play The Hi-Fi on Tuesday Dec 21 and tickets are available from the venue, Moshtix and outlets now for $70 + bf.
THE HARDEST OF FOLK
STICKING OUT Legendary Aussie improvised combo The Necks aren’t quite jazz, not really ambient and you couldn’t completely call them minimalist either – in fact most who try and describe exactly what it is this incredible trio do when they’re on a live stage tend to fail; it’s quite inexplicable. It has been well over 20 years since they began pushing their incredible, thought-provoking music onto the world stage and in that time they’ve made a series of friends in high places; luminaries like Nick Cave and Brian Eno are fans just to name a couple. It’s always exciting to hear that the band are making their way back to town for shows; catch them at the Byron Bay Community Centre Friday Feb 18 and the Old Museum Saturday Feb 19.
Are you on a quest to find the purest form of pagan folk metal out there today? Well you need not look any further than Finntroll, direct from the deep woods of Finland. Sinister guitar riffs and evil drums sit perfectly with folkish melodies and elements of traditional Finnish humppa music. To call this band’s style distinctive is a massive understatement. Nifelvind is the name of the band’s latest record and it features plenty of celebration of the folklore and legends that have been so prominent throughout the band’s career. The most exciting news is that the band are making their way to Australia on their Trolling Crusade tour where they will be supported by ale-guzzling Perth-based warriors Claim The Throne. They drop by The Hi-Fi on Thursday Mar 24. Tickets are available from the venue, Moshtix and outlets right now.
Kanye West was denied entry to Sydney’s Ivy Penthouse last week. He was eventually let in (possibly after crying).
WHAT’S IN A NAME We’re not sure whether Ohad Rein and Mike Rosenberg have some kind of identity issues or whether they just don’t want to be known by their real names, but the guys who we know better as Old Man River and Passenger respectively have more in common than just bizarre non de plumes. These two singer-songwriters have really taken hold of the Australian public and rapidly built up a solid profile on the back of plenty of touring and a couple of great records. It really makes sense then that these two gentlemen would hit the road together and that’s precisely what they are doing throughout February, hitting just about every major city and regional area they can as they make their way around the nation. They’re taking young fella Daniel Lee Kendall along for the ride and you can see them at Currumbin’s SoundLounge on Friday Feb 18 and the Old Museum on Saturday Feb 19. Tickets are $17 + bf and available right now.
Darren Middleton has revealed that there may be some unreleased Powderfinger material issued soon. A recording of Bob Marley’s final ever show, which happened in Pittsburgh in September of 1980, will be released on CD in February next year. Jay Z and Beyonce were spotted hanging out at the Gold Coast’s Marina Mirage last week. Good on ‘em. Jim Morrison will receive a posthumous pardon for an indecent exposure offense he was charged with at a show in Miami in 1971. Morrison was challenging the conviction when he died. Paul McCartney has performed Scrambled Eggs, the original version of his classic Yesterday, for the very first time on Late Night With Jimmy Fallon. Nicole Richie and Good Charlotte’s Joel Madden have wed in a ceremony at her old man Lionel’s place.
WARD OF THE STATES M. Ward has been described as one of America’s most unique talents, and between his wonderful guitar playing and gorgeous voice it’s no surprise that he attracts such acclaim. He has taken many varied musical journeys over the years and most of them have been received incredibly well by audiences and critics all over the world. Ward is making his way out to Australia for the first time in far too long early next year; he will perform material from throughout his career in solo mode and support will come from the always wonderful Holly Throsby. This gorgeous night of song will take place at The Tivoli on Saturday Feb 19. Tickets are available from Ticketek right now.
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IN BRIEF Carly Simon has lost her legal battle with Starbucks, after she filed a suit against them for not promoting her 2008 record This Kind Of Love. This year’s R.E.M. Christmas single will be a cover of Darlene Love’s Christmas (Baby Please Come Home). Nick Cave crashed his car into a speed camera in Hove, England last week. On the 20th anniversary of the release of Ride’s Nowhere record, it will be reissued with an accompanying live CD and 40 page booklet. It has been confirmed that Aretha Franklin is suffering from cancer.
RIGHT ON TIME He’s one of the most respected names in trip hop and, with his latest record Mixed Races, Tricky has proven that he is just about in the best form of his career at this point in time. The UK electronic artist began working back in the late-80s and has had a great deal of success over the years with his impressive catalogue of solo work as well as his work with Massive Attack and The Wild Bunch. Tricky’s live shows are always spectacular as well, the last time we saw him out here was in August of 2008 so it is mighty exciting to hear that he will be making a return to our shores early in the New Year. Brisbane audiences will be lucky enough to see the man in action in the intimate environs of The Zoo on Sunday Feb 20. Tickets are available from the venue, OzTix and outlets from Thursday morning. Tickets are set to cost $75 + bf.
Judas Priest have announced their final ever tour. It kicks off in Sweden in June next year. A glove worn by Michael Jackson has attracted $330,000 at auction in the USA.
SONGS FROM THE CITY You’ve probably seen old Keith Urban on the news over the past couple of days chilling with his wife, just doing what celebrity couples do. We’re pretty sure their visit back to the homeland has something to do with Oprah but we’re not really sure because we don’t really care. What we do care about is that Our Keith ™ has just been nominated for the Best Male Country Vocal Performance Grammy award for ‘Til Summer Comes; he’s won a couple of them in the past and he’s a pretty bloody good chance of snagging it again next year. Another thing we care about is the fact that he’s just announced an Australian tour for April of next year and he will drop into the Brisbane Entertainment Centre Friday Apr 15. Support comes from the incredibly popular Lady Antebellum, who scoff at Urban’s nomination as they boast six of the bastards for the upcoming awards. It’ll be a big night of commercial country and will probably sell out in no time so hit up Ticketek on Friday Jan 21 to secure one.
ONE LAST DRINK Due to the enormous demand that has seen tickets for their show fly out the doors, The Whitlams have announced that they will be playing a second Eternal Nightcap show while they’re up here in Brisbane next month. The shows, which happen on Friday Jan 21 and Saturday Jan 22, will see the band play that classic record in full with a little help from the Queensland Symphony Orchestra and tickets for both of them are available from Qtix right now.
A DAY IN THE POND If you had a ticket to the A Day On The Green show featuring Blondie and The Pretenders that was cancelled on Sunday then you can take your ticket to the point of purchase to get yourself a full refund.
STEP RIGHT UP Sydney hardcore legends Toe To Toe have had an enormous 2010, with the release of their brand new record Arturo Gatti, the re-release of their Tao, Consolidated and The Best Defence Is Attack efforts and plenty of shows around the place confirming that they are still a force to be reckoned with. The band are squeezing in one more trip to Brisbane before the year is through, dropping by the Step Inn on Friday night for a big show alongside local masters A.I.M., Driven Fear and Thick Skin. Doors open at 8pm.
DEAD FOR THIRTY YEARS Canadian punk rockers DOA have been at the forefront of the punk movement for 30 years now, in fact next year will mark the 30 year anniversary of the release of their seminal Hardcore 81 album. The band are hugely influential, they are referred to as the Fathers of Hardcore, they are name checked by bands like Green Day, Red Hot Chili Peppers and Rancid to name just a few and December 21 is officially D.O.A. day in their native Vancouver! These guys are celebrating the aforementioned anniversary in a big way and luckily for us that includes a tour to Australia! You can catch them at the Prince of Wales Hotel, Nundah on Saturday Mar 12 and an all ages show at Burleigh’s Shed 5 on Sunday Mar 13. You can grab your tickets from OzTix now; they’re $28.65 for the Brisbane show and $13.30 for the Gold Coast one.
TIME TO GO Whether you’re a fan of her work as lead vocalist of The Go-Gos or her many hit records a solo artist – there is simply no point in resisting the natural attraction you have to Belinda Carlisle. She voiced The Go-Go’s hits like We Got The Beat, Head Over Heels and Our Lips Are Sealed before going on to have smash hits like Mad About You, Leave A Light On and of course the unmistakable Heaven Is A Place On Earth. Australia has always been a particularly supportive territory of Carlisle’s music so it is exciting to hear that she will be returning to these shores for a string of dates in February that will see her play Twin Towns on Friday Feb 18 and Kedron Wavell Services Club Saturday Feb 19. Tickets can be purchased from the respective venues now.
GREEN MACHINE Look we’re not gonna lead you on at all here, all tickets for The Black Keys Brisbane show – which is happening at The Tivoli on Tuesday Jan 25 – have been sold, there are absolutely none available. But if you’re lucky enough to have a ticket then we have some mighty good news for you! Ohio garage rockers The Greenhornes specialise in pure Nuggets-influenced garage rock’n’roll and have been kicking arse the world over for close to 15 years now. They were one of the exciting international acts announced to be hitting next year’s Big Day Out when the second bunch of bands was unleashed and while they’re in the country they’ll appear in support of their fellow Ohioans (and BDO buddies). Don’t expect any snooty posturing from these masters.
SIZE DOESN’T MATTER We’ve seen Lloyd Cole in Australia heaps of times, he seems to quite enjoy it out here and we’re always happy to have him, but next year will see the first Australian visit of his band Lloyd Cole’s Small Ensemble. The all acoustic band have just issued a mail order release that sees them running through plenty of tracks from Cole’s back catalogue and word is that is pretty much exactly what we’ll be getting when the band make their way to Australia in February. Although Cole also has another record out, a full band affair by the name of Broken Record, so we reckon there’s probably a fairly good chance we’ll get a bit of a taste of that as well. Whatever the set list, we’re sure it’ll be a cracking show so get on down to the Old Museum on Thursday Feb 10 to see them in action. Tickets are on sale from Monday onwards.
THE DARKEST THOUGHTS They dropped by for a quick coastal tour not too long ago, but Suicidal Tendencies are heading back to Australia next year to do things a bit more thoroughly, playing shows all over the country this time around. When it comes to punk rock, you don’t get much more legendary than these guys. Their blend of punk, thrash, funk and hardcore always offers up something interesting and their live shows are always incendiary (the band were even banned from performing in Los Angeles for seven years by local authorities). Thankfully the Queensland Police are okay with Cyco and the lads, so we can all catch them at the Coolangatta Hotel on Thursday May 12 and The Hi-Fi on Friday May 13. Tickets are available from the respective venues as of Thursday morning.
People seem surprised that Warney and Liz Hurley were flirting over Twitter – surely that’s the perfect platform for Warney’s ongoing ‘literary’ shenanigans? We’re more concerned about the apparent class gulf between the pair – hope Liz loves footy and baked beans…
Sydney nightclub Ivy Penthouse reportedly refused entrance to music uber-star Kanye West last weekend. Now there is a venue which is either really fucking exclusive or really fucking racist…
Bassist for those Short Stack scallywags was busted bad cheating on his homework for Channel V this week. Pwned on Mess & Noise – is the dream over?
Amanda Palmer’s new online collection Amanda Palmer Goes Down Under and its lead single Map Of Tasmania should be flattering for us as a nation. It’s just so fucking puerile though, and we’re going for that whole bohemian thing now…
POOR HAURY The image of rejected Australian off-spinner Nathan Hauritz sitting in his driveway at a garage sale and giving away all of his Aussie cricket gear is at once both tragic and the funniest thing that has ever happened in Australian sport. Hang in there Haury…
OPRAH Just make it stop. Seriously…. KANYE WEST: NOT IN THOSE SHOES...
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Even US president Barack Obama got in line to meet hot indie property THE NATIONAL. guitarist BRYCE DESSNER tells DANIELLE O’DONOHUE what the leader of the free world was like.
“WE LIKE TO SAY WE THROW EVERYTHING WE HAVE AT A SONG.”
very year there’s a couple of albums that stand out, that generate such a buzz that even months before the end of the year, you know regardless of what’s to come, they’ll sit at the higher end of the Best Of Year Polls. The National’s High Violet is one of those albums. Though it was a bit too early to call album of the year when High Violet was released in May, the buzz that surrounded the band then hasn’t abated. In fact, the Ohio-raised, New York-based five-piece took just days to sell out two gigs at Sydney’s historic Enmore Theatre, shows announced to accompany their appearances at the Falls, Southbound and Sunset Sounds Festivals over New Year. Bryce Dessner, guitarist for The National (and twin brother of Aaron Dessner, The National’s other guitarist) says it’s a trend they’ve been noticing, not just in Australia, but around the world. “The audience has grown a lot with this last record in most places. Certainly the venues are bigger and people buy tickets faster and we’re psyched to come,” Dessner says.
“I’m not sure if we’re getting mainstream. In America, we’re probably one of the bigger indie bands around. I’m not sure to what degree we’ve made the leap from being considered a big underground band to being considered a small popular band, but when our record came out we certainly had a lot more people paying attention to it. “There’s like a seismic shift going on with music. I think now with the Internet and things like satellite radio in America, they’re definitely helping diversify people’s tastes, so I think people are just more open minded. “When you really start to see how aware people are of you is when you go into little towns, little cities in the centre or in the south or in the south west [of America] and play bigger venues there. We’ve definitely seen this. High Violet is the first record where we’ve been able to do that. Maybe [2007’s] Boxer a little bit, but definitely High Violet we’re playing large venues in places like Raleigh, North Carolina or Tucson, Arizona or in these small towns.” The National are anything but an overnight success. The acclaim they enjoy now has been developed over the last
ten years. Fourth album Boxer, released in 2007, was the breakthrough. The album before, 2005’s Alligator, was critically acclaimed and is a favourite with fans, but with Boxer, songs like Slow Show and Start A War would soundtrack moments on Gossip Girl, Brothers And Sisters and Chuck. Teen drama One Tree Hill even named an episode after Boxer song Racing Like A Pro.
And when Barack Obama’s election campaign released a video featuring footage of average Americans from east coast to west coast and called it Signs Of Hope And Change, The National’s Fake Empire was the soundtrack. “At the time we were doing a lot of fundraising for him as well. That election was historic and it was really important to us,” Dessner explains. Through their fundraising, the band made connections within the Obama camp and in September this year, after the band performed at a Democratic Party rally, Bryce and Aaron Dessner, singer Matt Berninger and brothers, drummer Bryan Devendorf and bassist Scott Devendorf, got to meet the president himself. “Not only is he just the warmest, most kind of open and sincere person but it’s like he walks on water or something,” Dessner says. “You really do feel like you’re in the presence of a great, great person.
Terrible Love or England swell and expand until it feels like they going to burst like a balloon that’s been over-inflated. “We do layer a lot but we do take away a lot in the end,” Dessner says. “We like to say we throw everything we have at a song. Orchestration often has to do with two things – either it’s a supportive thing, gluing the song together, or it’s like a more subversive kind of role but it’s always really fun to work on. Sometimes just having strings or winds or some kind of orchestral, acoustic instruments playing against other, more electric sounds help Matt’s voice sit into a song better. “Then we like our rock songs to have a bit of a subversive quality about them; where there’s something a little off or there’s a harmony or there’s a rhythm or there’s something that’s not quite normal. Or it’s toward the end of a song you can kind of open a new door on the song and sometimes orchestrating can help that.”
Because Berninger doesn’t play an instrument, he takes care of melody and lyrics while it’s often left to one or both of the Dessner twins to write the music. It’s a system that has worked for five albums and will continue to work, though Dessner confesses if Australian fans are itching to hear Karen from the Alligator album, the song’s absence from the live set is his fault.
“We were all like completely blown away by meeting him. He’s something pretty special. To have an American president that you feel that strongly about, I never ever thought that would ever happen. Never. To have an intelligent president? I mean, c’mon. It was a big day for us.”
“There’s songs that people really, really want to hear that either are just not fun for us to play live or we just sonically can’t get,” he admits. “And that’s always a little sad. We’ve become more aware of that as we make records. So we try to only put stuff on the records that we can recreate live, but it’s definitely happened in the past where we’ve had things that we cannot work out.
Now, having met Barack Obama and come home from their biggest European tour yet, the band is spending Christmas with friends and family before heading to Australia. On tour, the band takes a small brass section on the road to help fill in some of the colour that has been painstakingly layered onto High Violet’s bare bones in the studio. The album is an exquisite piece of listening. At once both epic and intimate, the album takes time to really wash over you. Songs that seem barely there in the beginning, like opener
“There’s a famous incident – there’s a song called Karen that was on Alligator. It’s a slow- to mid-tempo rock song, so it’s not like it’s a pretty ballad, but it’s not a rocker and the music is not our favourite music. I wrote the music actually so I’ll blame myself. But the song itself people really love and it has great lyrics, but it’s very tricky to make it sound good live. That’s kind of a specific example of something that over the years we’ve struggled with. It used to get requested all the time, but now people are requesting other things.”
There aren’t a lot of twins in music, even less in bands with containing another set of brothers. It’s an unusual dynamic. And the band have never made a secret of the fact that the atmosphere in the studio can get tense. Though Dessner says that’s less to do with familial factional lines and more do to with regular inter-band creative clashes. “It definitely gets difficult, especially in the mixing stage,” he tells. “But kind of the whole way through I would say for me there’s three huge personalities in the band – the drummer [Bryan], my brother [Aaron] and Matt, so a lot of the battling occurs between those three. And then Scott the bass player and myself we’re more the kind of peace makers. We’re like enablers in some way; we’re helping the process along. “The song Anyone’s Ghost – Matt made me re-write that song six times, even more. You go crazy doing it but it’s all in the service of making a good record. I think my brother in particular believes that there needs to be some really ferocious fights for the record to be good. He’ll do it predictably toward the end. There’ll be some big falling out and it’s almost like he’s staging it because he thinks it has to happen. To this point it hasn’t been band threatening.” After ten years and five albums, it’s surely fair to say that these five musicians are well aware of their collective strengths and weaknesses. Now, if the last four or five years are anything to go by, so to are a lot of the larger music community. No longer just the poster children for indie’s crossover success, The National are also a part of the soundtrack of America’s desire for change.
WHO: The National WHAT: High Violet (Remote Control) WHEN & WHERE: Sunset Sounds,
Brisbane Riverstage and Botanical Gardens Wednesday Jan 5 and Thursday Jan 6
MILO GOES DOWN UNDER There’s rare and then there’s rarer. The chance to catch the DESCENDENTS live falls in the latter category. MARK HEBBLEWHITE corners drummer and punk rock icon BILL STEVENSON for the down low on all things Descendents.
hy has it taken us so long to get down to Australia? I wish I had a real answer for you,” ponders Bill Stevenson when asked why All, a band spawned by the Descendents, has visited so often while the parent organisation has not. “The only way I can explain it is that the Descendents is really a hobby for all of us: it has been since we formed the band back in high school. We never really had an agenda as far as getting a real career out of the band. So tours and records come and go. Also three of us are parents, which meant that the lag time between when we do things gets longer and longer. Every time we play now people think it’s a ‘reunion show’. And of course Milo [Aukerman – vocalist] has his own career outside of music. So when you put all that together it’s easy to see why we don’t get to play a huge amount anywhere, let alone get down to Australia.” Despite the sporadic nature of the band, Stevenson does not rule out a new record. In fact it could happen within the next year. “Now could actually be a good time for a new Descendents record,” he offers. “Over the next 12 months we may have some opportunities because we’ve recently re-bonded as a band. That’s not to say we ever had fallings out or anything, it just means that recently we’ve been focused on the band a bit more. I think all this stems from a few things that have happened lately. First, a couple of years ago Karl [Alvarez – bass] had a heart attack, from which he’s now completely recovered. Also, this last year I had two very serious near death experiences, which required neurosurgery but from which I’ve actually recovered from quadruple fold. I feel like I’m 20-years-old again; it’s amazing.
“Well it varied,” admits Stevenson. “I do remember early on when we did a show supporting The Germs and their fans were just pointing and laughing at us. They didn’t even bother to throw things. At that point we were really poppy and that show gave us the incentive to put a more aggressive edge to our sound, if no other reason than we didn’t want to get beat up at our own shows. “As bands like Black Flag went, there really wasn’t a problem. By the time both of us had got somewhat popular it was the same people coming to both shows. Everyone knew each other and things were really cool, so there were no problems at all.”
WHO: Descendents WHERE & WHEN: No Sleep Til
Brisbane, RNA Showgrounds Sunday Dec 19
“...WE WANTED TO PLAY MUSIC FOR MUSIC’S SAKE – IN PARTICULAR THE ELATION OF MUSICAL DISCOVERY – AND PEOPLE SEEM TO HAVE REACTED TO THAT ETHOS.” “But anyway I guess we’ve all re-bonded over the very simple fact that we’re still here and breathing,” he adds with a laugh. “So you know, we haven’t actually talked about recording yet but we were able to accept the offer of an Australian tour and we’ve been planning more shows in the States next year. So who knows?” Since a Descendents show is something of a punk rock ‘event’, the band is promising a live show in keeping with their ‘virgin’ status as it relates to our fair shores. “We’ve taken a very democratic and I guess very predictable approach to putting together the song list for our first Australian tour,” reveals Stevenson. “You’re going to hear a fair representation of all our albums, every one of them, because that’s the only way to satisfy everyone’s desires. “There’s going to be one interesting aspect to the whole thing though. We’ve never played a song from [2004 album] Cool To Be You live – not once, because we haven’t played a show since the record came out. So whatever songs we play from that album when we’re in Australia will be a real first because they haven’t been played anywhere before.” The Descendents are not only in demand due to their infuriatingly limited schedule. The simple fact is that this band of aging punk rockers is universally beloved in a way few other bands could hope to achieve. So what inspires the fanatical loyalty and dedication that the Descendents have achieved among punk rock fans? “Well, it’s actually hard to judge your own art and why it affects people in certain ways. In fact doing this feels like an act of conceit to try and do so,” answers Stevenson. “But if I was forced to give an answer it’s because we started our band for the right reasons. That is we wanted to play music for music’s sake – in particular the elation of musical discovery – and people seem to have reacted to that ethos. Also the Descendents have never been scared to express honest emotions, no matter how embarrassing that may be. People really relate to the lyrics in particular because they are uncomfortably honest.” The Descendents then could very well be a musical version of Revenge Of The Nerds. “Yeah that wouldn’t be a bad way of putting it at all,” laughs Stevenson, who’s the first to admit that he and his fellow band members were never the ‘cool’ punk rock kids. As nerdy as the Descendents were – and are – the band played a pivotal role in the development of pop punk, or if that term has now become pejorative, melodic hardcore. So does the band relish their O.G. status? “I don’t see us originators as such,” Stevenson muses. “Instead I prefer to see the band as part of a continuum – we were running water that just happened to join the stream. That said we did influence a lot of bands and I personally take great pride in that. “But you’ve also got to remember that we had our influences as well. There were so many bands that were important in shaping us – those from way back when, The Stooges, The Kinks and Eddie Cochran right through to the Ramones, The Germs and some punk rock bands that never gone ‘known’ if I can call it that, but who really influenced us.” And did the melodic approach taken by the Descendents go down well with an early 80s audience used to the uber aggressive strains of Minor Threat and Black Flag?
THE BEAT’S STILL GOING STRONG JOAN JETT has been a rock’n’roll icon since the mid-70s, first with her cult band The Runaways and then as frontwoman for JOAN JETT & THE BLACKHEARTS. She explains to STEVE BELL that her longevity in the game basically stems from the fact that she really does love rock’n’roll.
amazing job, and so did all the cast. It was really a matter of getting the details right in regards all of the things that we would do or not do. Kristen used to always say, ‘Would you do this?’ And I’d be, like, ‘Maybe I’d do it more like this!’ I stayed out of the way, but I was around with a monitor and earphones, but not in eyesight – I didn’t want to be too close to the director or in Kristen’s eyeline. I wanted to stay out of the way and not be a distraction. But she knew that I could see her and hear her. She was totally fine with that – she wanted me to be there in case she was doing something wrong or if she needed to chat about something. It was great.” The entertainment factor of the film aside, it proved a great vehicle to bring some totally warranted attention back to The Runaways themselves, who have been somewhat underrated in the past both for their pioneering role in proving that females can rock with the best of them, plus their music itself – tracks such as Cherry Bomb and Queens Of Noise having a lasting appeal that is now being appreciated by a wider and more eclectic audience.
ome 35 years into her trailblazing career, things are still going strong for pioneering US rocker Joan Jett. A Hollywood biopic of her life in 70s all-girl teenage outfit The Runaways – simply titled The Runaways – premiered earlier this year, and her band that she formed back at the onset of the 1980s, Joan Jett & The Blackhearts, have completed tours with Green Day and Aerosmith, and are now winging down to Australia for her first shows in this continent since she shared a stage with the Divinyls back in 1995. But despite the resilience of her ongoing musical career it’s the blockbuster film that has dragged the songwriter and guitarist back into the spotlight in recent times.
“Definitely,” Jett agrees. “I’m most thrilled about those aspects of it – getting the music back out there, making more people aware of the band. I think, at least here in the States, I’ve seen a real reaction: I’ve seen a lot of young girls at our shows really excited, girls who had seen The Runaways and who love the band now and who hadn’t realised how hard it was. That’s the thing – it’s hard to picture what it was like back then because it was so different than it is now. It’s like young people trying to picture only having three TV channels, or no cell phones – all those things didn’t exist. That’s so hard to contemplate, so you can imagine when everybody wasn’t dressed like a hipster and people were just regular. People didn’t want to get too close to rock’n’roll because it was a little grimy and a little menacing, so it’s just interesting how things change.” Despite Jett having lived most of her adult life as a celebrity, it still must be somewhat strange having a movie made about a slice of your adolescence. Jett was played by Twilight star Kristen Stewart in the film, and used her role as executive producer to try and bring an element of authenticity to both the portrayal and the project. “It was totally surreal, I don’t even know what to think about it,” Jett laughs of the experience. “In a way it’s almost like I’m not looking at myself. I had to make sure that it was authentic and real. Once I met Kristen I was relaxed – she was great. She’s so amazing, and everybody who knows me from back then and all of my family thought that she really nailed it. She did an
One relatively obscure aspect of Jett’s path postThe Runaways – she started a solo career in 1980 following the dissolution of her previous outfit, before forming The Blackhearts in 1981 – is that it’s been staunchly independent from the outset (she began Blackheart Records with her partner Kenny Laguna), an incredible feat given the ubiquity of her 1982 smash I Love Rock N’ Roll. “It was so hard,” she recalls sombrely. “The whole tide was so against us – everybody was against us. I mean, we had help here and there obviously, but it was a real struggle. We wanted to be on a major label but
we got rejected by everybody, and we had no choice but to print it up ourselves if we wanted to put the music out. So we kind of took the idea from the imports that were coming in, and we slapped an import sticker on the records and sold them out of the trunk of our car. Fans loved them, and it really created a groundswell. In the beginning we sold right out, and then they kept selling well and it helped us to take it to the next step. We’re totally independent, we don’t trace back to a big company or anything – we go direct to the stores.” And then came the I Love Rock N’ Roll juggernaut – a cover of an obscure track by UK rock’n’roll footnote The Arrows, Jett’s version of the songs was a worldwide smash and catapulted her into the mainstream. Strangely, the first version she cut of the track had been earlier (in 1979) with Steve Jones and Paul Cook from the Sex Pistols. “I was a big Pistols fan, and was a kind of acquaintance or friend with those guys while they were around,” Jett recalls. “After they broke up in San Francisco, Paul and Steve came to LA and were hanging out for a while. Maybe they played with us at a gig while The Runaways were still together, but after The Runaways broke up I wanted to put down a couple of songs just so I had something to play to people. We recorded I Love Rock N’ Roll and You Don’t Own Me and another song called Don’t Abuse Me, which was a Runaways song. “I always thought it was a hit. I brought the song back from England to the States for The Runaways to do. I’d heard it on a TV show and went into the record store and bought it – it was a b-side to their single. I just thought it was a hit – it sounded like a hit to me, but the other girls didn’t want to do it. I’m assuming it was because we’d done a song called Rock & Roll on our first album – the Lou Reed song – so they didn’t want to do another song with ‘rock’n’roll’ in the title. Maybe they thought it was a little light or something, I don’t know, but I figured, ‘Fuck it, I’ll just hold onto this and do it some other time’. So after the band broke up it was front and centre of the songs that I wanted to try. It was great to see people sort of explode when we started playing it – it was fun. It’s what you do this for, you know?”
WHO: Joan Jett & The Blackhearts WHERE & WHEN: Sunset Sounds, Brisbane Riverstage and Botanic Gardens Wednesday Jan 5 and Thursday Jan 6
MOTOR CITY BLUES Sick of dressing up like vampires, MY CHEMICAL ROMANCE took 18 months to decompress after The Black Parade tour, then turned somewhere completely different for inspiration – Detroit. GERARD WAY, MIKEY WAY and RAY TORO kick out the jams with TOM HAWKING.
what next? It’s a conundrum with which the band struggled for quite some time – as singer Gerard Way says ruefully, “What have I been doing since I got back? Just this [the new album], really. I couldn’t even read a book for four years. I couldn’t do anything.”
first attempt at the record – as Way explains, “There was a lot of things going on under the surface, a lot of me not realising what made the band special to me, a lot of being dishonest with myself and...” He pauses. “Really, at the end of the day, what happened was that we gave it a good try.”
When the group did eventually reconvene to record what would eventually become their fourth album, Danger Days: The True Lives Of The Fabulous Killjoys, the process wasn’t remotely smooth. Gerard noted a while back that each of their previous albums has been a reaction to its predecessor and also a reaction to the reaction to its predecessor. Time Off asks Way if this was the case again.
The answer, he says, came with a change of producer – they returned to working with Rob Cavallo, who also produced The Black Parade. “We called Rob, met up and it was instant [clicks fingers]: this is what we’re supposed to be doing.”
“This [album] was definitely a reaction to The Black Parade and a reaction to ourselves,” he says. “But no, it wasn’t a reaction to the reaction – and [ignoring] the reaction to this one… is an important part of this record. It wouldn’t have the art to it if we were paying attention to what people thought.” As such, they knew what they didn’t want to do, as the singer explains. “We could have made a record where we still dressed up like fucking vampires, but all that would have meant was that we weren’t outsiders anymore. It would have been really easy for us to go and be a part of that Twilight soundtrack. For certain individuals who were pushing us to do that, it was harder for them to hear us say no.” (It turns out that album track Vampire Money – which contains the lines “Give me some of that vampire money/ Everybody party ‘til the taxman comes” – references this particular disagreement with their record company).
t’s been four years since The Black Parade sent My Chemical Romance into the absolutely-not-emo rock stratosphere. The album sold bucketloads of copies the world over and also cemented the band’s image to the world at large as angst-ridden pseudo-goth types with a penchant for making concept albums. The ensuing tour, meanwhile, dragged on for over a year, sending the band to places as far flung as Bratislava and Ho Chi Minh City. You often hear bands talk about how difficult it is to return to normal life after touring, but if you’ve never actually spent a year travelling the world, arriving in a different city every day and sleeping in a different bed every night (if you sleep at all), it’s still difficult to relate to what a grind it must be – a crazy, wonderful grind, but a grind nonetheless – and to how difficult it must be to just... stop.
My Chemical Romance bassist Mikey Way summarises the experience as follows: “It’s like... Say you ran around the block a hundred times and then stood perfectly still. It’s like that.”
But quite what they did want to do proved harder to nail down. They arrived at the studio with only a bare sketch of what it might contain. “This [recording] process was really similar to The Black Parade,” Way continues, “in that there was some stuff going into it that we had written, but a lot of stuff was written [in the studio]. Most of it was not even written in a live room together. We built stuff from the ground up.”
Guitarist Ray Toro nods in agreement. “It’s like, y’know, I wanna keep running! I think it’s weird because you almost convince yourself that you want to sit at home and do nothing, but when it actually comes to it, you’re fucking going nuts. My wife said that I wasn’t the best person because I was at home sitting there and she could tell I wanted to do things, to create and do stuff. It’s definitely a little hard to adjust.”
Notably, there’s also no ongoing lyrical narrative of the type that characterised all three of the band’s previous records. “It was actually a lot harder to write without a narrative,” Way says. “That’s why I think being able to go as far as I wanted visually and thematically – that stuff really helped me. So that was important, to find that – but then to realise that was all I needed. I didn’t need a story. That took a long time to find, but when I did, it made [writing] a lot easier.”
In the end, it took the band a good 18 months to return to normal life. And then came the inevitable question:
Until Gerard Way did find his, um, way, progress was slow. Indeed, the band eventually ended up canning their
The result is certainly a departure from the band’s previous work. It features an unashamedly radio-friendly sheen – ignore Gerard Way’s distinctive nasal vocal tone and there are times when you could be listening to a classic rock record straight out of 70s LA, although, as it turns out, its inspiration stems from a bit further east. Way’s spoken in the press of wanting to tap into “that Detroit sound” on this record and the references are there, alright – never more so than in Party Poison, wherein he hollers gleefully, “Kick out the jams!”. The singer laughs when Time Off mentions this joyously unsubtle piece of MC5 homage. “For me and the guys, The MC5… One of the cool things was that when we first played that song, we got to play it for [MC5 main man] Wayne Kramer – he loved it and he said the spirit was alive and well. I think he’d feel the same if he heard the song today, even though it has a new incarnation. It’s important to put that stuff in your music, recalling old things.” Another Detroit legend with whom Gerard Way recently became acquainted is Iggy Pop – the two did the singerinterviews-singer thing for Spin magazine earlier in the year. Disappointingly, Way says he didn’t actually get to meet the man. “No, I didn’t get to meet him, unfortunately. It was on the phone. But I think he’d be more proud of this record than he would have been of the first attempt. Actually, when I did that interview, we were in the midst of doing the re-attempt. So everything I was saying was very pertinent to this album, not the last one. I think if he’d heard the last one, he’d have thought it was a boring rock record.”
WHO: My Chemical Romance WHAT: Danger Days: The True Lives
Of The Fabulous Killjoys (Warner)
PARTYING HARD, PARTYING WELL JUSTIN HAGBERG of old school Canadian metallers 3 INCHES OF BLOOD sounds like he lives simply to riff out and party. The guitarist chats to LOCHLAN WATT about 2010 in retrospect and Australian death metal.
h man, we’ve done lots of stuff,” responds the animated Vancouver native in regards to the year almost gone. “We’ve been to Europe, we went to Japan just recently which was fucking amazing, we did the Mayhem Fest in the States, which was fucking incredible, and toured with a lot of our friends throughout the States, and we did a tour with Goatwhore in Canada which was totally awesome too. It’s been a rad year!” Initially formed in the year 2000, Hagberg didn’t actually join the ‘New Wave of British Heavy Metal’ inspired 3 Inches Of Blood until shortly after the release of their Roadrunner Records debut Advance And Vanquish in 2004, despite having previously played alongside vocalist Cam Pipes in their previous black metal project, Allfather. Labelling their first trip to Japan a certified “really epic, and very positive” experience, and with their debut Australian appearance right around the corner, one wonders if each year gets busier and better than the last for the band? “Maybe not busier and better...” he pauses for a moment, continuing, “every tour and every year just seems to be a really good one and a really memorable one. More great memories in the bank. This year especially is the first year we’ve ever gone so abroad. This year we haven’t really toured as much as previous years – every year you become a little bit more established, and we’ve done some really big tours this year, but we haven’t done those small DIY tours. Having said that, this is the first time we’ve ever been to Japan and Australia, so for us this is fucking killer. Japan was awesome. Speaking on behalf of everyone in the band, [Australia is] going to be a new thing for us and we love new things. Everything is always a new experience when you tour, no matter what. You always see crazy things happen. This year has been a fucking awesome year for us, and I’ll leave it at that.”
us and the fact that we’re going to do what we do. As far as business goes, they seem to be great. Roadrunner,” he says, pausing for a moment, “it didn’t really work out between them and us, but I can’t really say anything because it’s just business, and every label has its own way of working, so you know, fair enough, that’s just the way it goes. There was no bad blood between us and them, it’s just business, right? Everything, and for me personally, I’d rather just keep playing heavy metal, I don’t even really like thinking about the business end of things. I just want to enjoy playing heavy metal music – the music that I like playing – that’s really my main focus.”
WHO: 3 Inches Of Blood WHERE & WHEN: No Sleep Til
Brisbane, RNA Showgrounds Sunday Dec 19
Quite clearly stoked on their forthcoming Australian shows, Hagberg reveals that it’s something that they’ve been trying to make happen for some time. They’ve had had a few offers prior, but No Sleep Til... reportedly represented the first “truly legit” bid to be put on the table. Of course his favorite band on the bill is Megadeth, but Hagberg is also quick to lament the lack of Australian metal talent on the shows. “I’m a really big fan of Australian death metal. It would have been nice to have seen some Australian death metal bands on this tour, but you win some, you lose some.” Going on to further converse about the Australian death metal scene, he rattles off a list of some of his favorites. Abominator, Vomitor, Portal, Grenade, Gospel Of The Horns, Sadistik Exekution, Bestial Warlust, Destroyer 666, and Spear Of Longinus are all mentioned before he exclaims “what a killer fucking death metal scene you guys got!” Although No Sleep Til... marks the first visit for 3 Inches Of Blood as a band, Hagberg has actually been here before “on leisure”. “I went to Brisbane in 2003 and saw one show,” presumably at the long-closed Her Majesty’s Basement, “that had Reverend Kriss Hades from Sadistik Exekution. Urgrund played, Vomitor, Portal, Stargazer, and this band called Carbon played who were pretty fucking awesome. It was like a bad-ass fucking show. It was like, amazing.” Previously a band with two stand-alone vocalists, 2007 saw the band’s original screamer Jamie Hooper depart because their time on the road had ravaged his vocal chords. With their Ozzfest debut right around the corner, Hagberg had to quickly step up to the plate, and has since settled in as the band’s second vocalist, although the heavier side of things have, on their latest album Here Waits Thy Doom (2009), taken a back seat to Cam Pipes’ melodic, ear-shattering wails. “We didn’t want to get another guy to sing,” Hagberg recalls. “You don’t know if he’ll be a fucking asshole or whatever, so I was like, ‘I’ll do the vocals until you get back and we’ll figure it out from there’.” Of course Hooper ended up never coming back, and the band’s sound subsequently shifted in direction slightly. “We pretty much left all of the vocals to Cam. I had some simple parts, whatever I sung I wrote, but it wasn’t as much as what Jamie contributed back in the early 3 Inches Of Blood stuff. Jamie and Cam were a very 50/50 singing duo, but on the Here Waits Thy Doom album it’s just additional vocals more or less, just me throwing in a couple of little parts. That seemed to work out great in the studio, leaving it up to the one guy. Cam’s taken the role of the frontman brilliantly and I don’t want to be an extra cook in the kitchen.” With a list of ex-members just shy of reaching double digits, Hagberg reveals that their latest live bassist, Steve Erickkson, can now be officially listed within their ranks, unintentionally hinting at the reason some past members may not have withstood the test of time. “He’s our guy. He’s fucking kicking ass on the bass. He’s a rad dude and he likes to party and that’s all that really matters. At the end of the day, can he drink? Yeah. Is he a good drunk, or a bad drunk? He’s a killer guy and he likes to party. He gets along well with all of us. We’re taking him to Australia so that’s pretty much a sign that he’s our dude, you know.” There’s some laughter with a hint of anxious hesitation when quizzed about whether or not they’ve had many bad drunks in the band before, keeping his response short and sweet with, “Yeah, we have. We’ll just leave it at that, but we’ve had some experiences with some bad drunks. We’ll leave that to when we go to Australia and we’ll get drunk and I’ll tell you guys some crazy fucking stories.”
Playground Touring Presents ts
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Hagberg gets ever so slightly fiery when asked about the differences between being on Roadrunner Records to their current label home, Century Media. “Century Media is, from our experiences with them, they are really fucking cool,” he powers. “They let us do our thing. They asked us to be on their label because they like our shit, so they obviously trust
DON’T CALL IT A COMEBACK was a return to their earlier aesthetic after a couple of relatively experimental (though still very strong) releases.
MAC McCAUGHAN, frontman and songwriter for iconic US indie SUPERCHUNK, tells STEVE BELL how his band never really split up, they just took a break that kept on going and going.
“When we made our last record Here’s To Shutting Up we toured the world – everywhere but Australia really – and by the end of that tour we were pretty burned out and just wanted a break,” McCaughan recalls. “After a few years we started talking about doing another record – we were playing a few shows every year, and it was always fun to do a show here and a show there – but making a record is a huge time commitment, and knowing that if you made a record then you probably have to tour to support the record, I think that kind of put us off every year! “But last year before the Merge 20 th Anniversary Festival in Chapel Hill we kind of got our act together to start working on it. The first session we did produced the Crossed Wires single, and I think that was kind of a test to see how it would work – what we did there was basically create a blueprint for how the rest of the record would be made. I wrote some songs and sent demos around, and then we got together and learned them – maybe in like a day or so – and then we went into the studio for a weekend and recorded three or four songs. Essentially the band was done at that point, and I’d take the tracks back to my house and do overdubs and send them back to Scott Solter, who was producing it, and he mixed them. And so that’s kind of how we worked – when that stuff came out good and we liked it and put out that 7”, that kind of let us go, ‘Oh, we could do a whole record like this!’ It didn’t have to be like we’d done it in the past, which was usually going somewhere else and hunkering down in a studio for a couple of weeks. Nobody wants to do that again, so it was like, ‘How can we make a record, but make it in a way that works for everybody now?’ And then once we knew we could it that way, we just did it three or four times over the course of a year until we had an album.
hen US indie legends Superchunk finished the touring cycle for their eighth studio album Here’s To Shutting Up back in 2001 things seemed to grind to a halt for the North Carolina fourpiece. Whilst many fans and pundits (wrongly) assumed that they’d split up, the band was merely stripping back operations, taking a break from the relentless gigging and recording that had seen them stake their claim at the forefront of the indie boom that dominated the musical underground for much of the 90s. And few bands can handle the ‘indie’ tag as comfortably as Superchunk. The band’s creative core of frontman Mac McCaughan and bassist Laura Ballance formed Merge
“The second half [of the process] has been figuring out how we can tour, with the same thing in mind – touring in a way that’s not going to drive us crazy and burn us out all over again. We’ve been breaking it up into chunks – a week here and a week there – and it’s really fun, the shows have been great. I think the record came out really well.”
Records back in 1989 to put out the first Superchunk singles, and over time the intrinsically independent label’s roster grew to include acts such as Neutral Milk Hotel, Lambchop, The Mountain Goats, Conor Oberst, Caribou, M. Ward, The Magnetic Fields and, importantly in recent times, Spoon and Arcade Fire. Superchunk continued to play the odd gig each year, but no new material was forthcoming. Finally, earlier in 2010, news of an impending new release began to spread like wildfire on the net, and Majesty Shredding – the band’s ninth album and first in 11 years – hit shelves not long after. The album’s very existence was exciting for their myriad of fans, but not as much as the news that it
While McCaughan, like many fans, equates the “classic Superchunk sound” to the aesthetic of their earliest material, he agrees that Majesty Shredding is definitely a return to an older Superchunk sound. “I think that I definitely wanted it to be kind of a more ‘punk rock’ record than the last couple of records,” he reflects. “I wanted it to be pretty direct. This was driven by a few things – for one thing, I wanted a record that
would maybe surprise people a little bit. It’s funny to say ‘surprise people’ because it kind of sounds like I think it sounds like what most people think of us as sounding like, but compared to our last couple of records it’s pretty different. And then also we all wanted it to be a record of songs that would be really fun to play live. A lot of the songs on Here’s To Shutting Up required keyboards and acoustic guitars – it was more of an elaborate thing to do live really, and you can say the same thing about a lot of [1999’s]Come Pick Me Up, the record before that. So I think the idea was just making this record one that would be fun to play live, and one that the fans – especially those that had stuck around for nine years without a new record – would be excited to hear. That was the goal, so once we knew that we were definitely going to be making a new record writing songs was pretty easy, especially with that sound in mind.” And given that the new material sounds so great in the live sphere – and Time Off can categorically attest to this fact, having been fortunate enough to have seen them in the States just after the album was released – news that Superchunk are planning to hit Australian shores for the first time since 1996 must surely have indie aficionados in this part of the world foaming at the mouth. “We’ve been talking to some people down there about coming down next year, and we’re just trying to figure out exactly when it will happen and where we’ll play and that kind of thing,” McCaughan reveals. “But we would all love to do it, because it’s been a pretty long time since we’ve been there. We always had great shows there and the atmosphere was great and everybody was really nice – it would be really great to come back.” It’s just a matter of finding time in their hectic schedules, especially for Mac and Laura who have their Merge commitments to fit into the equation. “It’s funny because we’ve been putting off making the Superchunk record, and then it turns out that we’ve decided to put it out in the busiest year that Merge has ever had,” McCaughan laughs. “But I mean if we decided that we’d wait until Merge wasn’t busy then we’d probably just keep putting it off, so finally we just said, ‘Fuck it! We’re going to do it regardless of what else is coming out’, and it ended up hitting shelves the month after the Arcade Fire record came out. Typically impeccable timing!”
WHO: Superchunk WHAT: Majesty Shredding (Merge/Popfrenzy)
with Special Guests
AFTER R THE THE FALL
FRIDAY 31ST DECEMBER 2010
TWIN TOWNS SERVICES CLUB TWEED HEADS, NSW Tickets available from venue box office, Ph 1800 014 014 or visit www.twintowns.com.au Licensed All Ages (conditions apply)
SUNDAY 2ND JANUARY 2011
KINGS BEACH TAVERN CALOUNDRA, QLD Tickets available from Ozrix phonecharge 1300 762 545, www.oztix.com.au and all Oztix outlets or from the venue phone: 07 5491 1366 18+ event, ID required for entry & to drink
STRAIGHT SHOOTING HANGIN’ TOUGH Sydney garage punks STRAIGHT ARROWS have released their debut album and will visit Brisbane again this week to give us a taste of it. Vocalist and guitarist OWEN PENGLIS tells DAN CONDON a little bit about how the record came together.
Flamboyant pop princess and unashamed 80s aficionado ALMARYSE MURPHY tells TYLER McLOUGHLAN about her grand performance plans for new outfit ALMARYSE AND THE FRILL OF THE FIGHT. got the live mix instruments on stage, but all of that doesn’t seem to matter – we’ve got performance, dance and the costumes alone are pretty out there. Lots of accessories and make up – it’s very fun pop stuff.”
Tim’s a bit more traditional in that late-50s/60s style, just like his equipment. So I said to Brent, ‘Do you want to mix this record and help me kind of fuck it up a bit?’ and he said ‘Fuck yeah.’ People are pretty funny about it, ‘Oh, Spod mixed it? Is he going to put beats and synths over it and shit?’”.
Having begun work on an EP scheduled for release in early 2011, Almaryse And The Frill Of The Fight offer the first taste of their debut recording with the launch of single And I at Brisbane’s StageDoor Dinner Theatre. If all goes to plan, they’ll also be unveiling its kooky filmclip on the night. “If you mash up ideas from Dead Or Alive’s You Spin Me Round (Like A Record) and Deee-Lite’s Groove Is In the Heart, it’s going to be something like that!”
When it came to finding inspiration for the album’s overall sound, Penglis found it in some obscure places. In the end his initial thoughts about how he felt the album would sound – given the horde of vintage equipment the band used at Done’s Hanging Tree studios – were wrong.
englis is fresh off the plane from the United States where he has been sitting in behind the drums with fellow Sydneysiders Circle Pit [who also feature Straight Arrows member Angie Bermuda] on their debut Stateside jaunt. This trip meant that these two members of the band were absent when their debut album It’s Happening hit the shelves, though Penglis shows no signs of disappointment at this. “Nah it’s cool!” he enthuses. “You don’t have to worry about anything. You’re not like, ‘I wonder if anyone’s buying it?’. You don’t care, it’s great. You’re a different world away.” So was the record on his mind much while on the road? “Nah, I was more like, ‘Oh man, do I have to sleep on another Mexican punk house floor?’,” he laughs. The sessions for the album took place quite a while ago and the tracking was completed fairly swiftly. But when it came to mixing Penglis took his time. “We did all the main recording and stuff about a year ago. We did all the recording in three days or so but we fucked around a lot with the mixing – I took ages getting a vocal sound I like, I’m really picky about that shit, not that anyone else really notices.” The mixing process ended up being helmed by Brent Griffin, probably best known to most as Spod. It seems an odd choice, but Penglis says his approach was perfect. “He lived around the corner, we’d go skating and stuff,” Penglis tells. “I started mixing it with Tim [Done – engineer] but I wanted it to be a bit weirder.
“I was listening to all these weird 60s pirate press records which all sounded really weird and recorded in the wrong environment so they sounded kinda fucked but kinda charming,” he tells. “My first thought was because we recorded on all this 50s stuff we’d probably sound like a frat band blowing out the tape but it didn’t really end up like that at all.” Penglis has recorded plenty of bands himself over the past couple of years and initially attempted to helm this session too. “I was trying to record it myself but I kinda got the shits with not only putting the songs together but trying to move mics around and stuff as well. “I reckon if I’d recorded it, it would’ve been totally blown out and people would have been a lot weirder about it. People would have been like, ‘I can’t hear it properly! I don’t know what you’re saying’. It came out a lot cleaner than it would have if I recorded it, that’s for sure.” Now that it’s done, it’s time to move on. “It took a bit of time, but it’s fuckin’ sweet to have it out,” he says. “It’s finally out of my life and I can’t start working on new stuff.”
WHO: Straight Arrows WHAT: It’s Happening (Rice
Is Nice/Other Tongues)
WHERE & WHEN: The Zoo Thursday Dec 16, Woodland Friday Dec 17
mpromptu childhood dress-ups and performances have provided hours of questionable entertainment value for families and triggered the imaginations of many a creative type, and for Brisbane performer Almaryse Murphy, this is exactly where it all started. “Way back when I was a kid actually does come into what I do now,’ giggles Murphy. “We used to dress up and do performances for Christmas with my cousins, my sister [Brisbane performer Pascalle Burton] and I. As we got older, we took that into adulthood. We formed Maiden Speech which was pretty much us two dressing up and doing shows.” Moving on from Maiden Speech, her new project Almaryse And The Frill Of The Fight was fittingly named as her young son did his own explorations of 80s pop.
“Oscar was writing out the lyrics to Eye Of The Tiger one day and he wrote ‘the eye of the tiger is frill of the fight’. And I looked at it and went, ‘Oh, it’s actually the thrill, but that’s actually really good!’ So I used it – it really suits what we’re doing,” she says proudly. Still drawing on her love for the era of pop flamboyance, Almaryse And The Frill Of The Fight incorporate elements of cabaret theatre into their uniquely-constructed live show. “I’ve got two bandmates,” Murphy states as she explains the live incarnation of her songwriting efforts. “We’re not really instrumentalists – we perform to the tracks that Peter G from Golden Sound has made for us, and Magoo has mixed them for us. We haven’t
Not one to settle for simply making her own performance grandiose, Murphy has set about assembling an evening of musical surprises in an effort to captivate her audience. “We have some amazing acts,” she gushes. “MC’ing the night we have Barbara Windsor-Woo who is actually Leigh Buchannan who did Brisbane proud in Project Runway. He has a fantastic drag act…He’s hilarious – sorry, she is hilarious! I also have Skye Staniford (We All Want To, Golden Virtues) – she’s a soulful singer and she’s going to do a very rare but fantastic solo set.” Rounding out the line-up is the kooky rap of Tenda McFly and Parker’s band mate Connor Dowling choreographing a Paris Is Burning/Vogue inspired dance break. If the first gig proper of Almaryse And The Frill Of The Fight in September at the Brisbane heat of the Australian Poetry Slam is anything to rate them by, their penchant for theatrics will draw fans of cabaret theatre and those who are simply curious alike. “We wanted to use a smoke machine and obviously we had to get a permit,” Murphy says of the red tape required by the venue, the State Library of Queensland. “They’d never had someone ask for that before in the library – we actually had to get this thing called a hot work permit, which I thought was fantastic!” I think it’s safe to say we can connect with pretty much any audience.”
WHO: Almaryse And The Frill Of The Fight WHAT: And I (Independent) WHERE & WHEN: StageDoor Dinner Theatre Sunday Dec 19
Canadian four-piece THE CREEPSHOW recently released their third full-length, They All Fall Down, and as guitarist/vocalist SARAH “SIN” BLACKWOOD tells DANIEL JOHNSON, the band are happy to be back on the road.
PERFECT SOUND An accidental misreading leads to inspiration of a genre that doesn’t exist for EL GUINCHO, as ANTHONY CAREW discovers. The success of Alegranza! effectively introduced the El Guincho sound as something ripe for biting, but DíazReixa hardly felt as if he’d settled upon his own unique musical identity. “I’m still trying to find my own style,” he says. “That’s what keeps me making music and trying different sounds and buying new equipment. I think everyone’s always trying to find their own style.”
record, being that it’s not all psychobilly and zombies and monsters and stuff like that; we’ve actually been trying to steer away from that since our last release.” The band have been signed to Hellcat outside of Canada since Run For Your Life, and Sarah admits to being a “puck rock kid” in her formative years.
he Creepshow started out in Ontario in 2005 as a psychobilly band led by singer and guitarist Jen “Hellcat” Blackwood and released their debut album, Sell Your Soul, the following year. In 2007, Jen left the band to focus on family and a solo career and her younger sister Sarah stepped in to replace her on what was supposed to be a temporary basis. Sarah has since recorded two full-lengths with the band and spent much of the last three years on the road, and now the new album has finally hit the shelves, Sarah says she is happy to be back where she belongs.
“We started to tour pretty much right when the record came out and we’re excited about it because we had a few months off after recording just to chill out and lay low for a little while,” she explains. ”We’re back on the road and playing shows and doing what we do best – being on tour, playing shows and travelling all over the place – so we’re pretty stoked.” The Creepshow started moving away from the straightforward psychobilly sound that dominated their debut on 2008’s Run For Your Life and have continued to step away from the zombie and horror themes on They All Fall Down. “I think with this record in particular, everybody in the band is really comfortable with each other and there isn’t like a person who’s scared to give ideas or anything like that and I think we’re all just where we really want to be,” Sarah says. “I think that shines through with the
“We’ve kind of taken on more of the punk rock element than we have the psychobilly element on the last few records. I think Jen had a lot to do with making everything psychobilly – plus the zombies and monsters and that whole element of it – and when I took over from her when she got pregnant and decided she didn’t want to come back to the band, we just started doing our own thing and since then it’s kind of been more individual ideas as opposed to one person running the show.” The band once again worked with producer Steve Rizun – who also helmed the band’s first two albums. “We tried a few other people and there’s a couple of reasons why we went with Steve again, one of them being that we like him a lot and he’s one of the only people we’ve ever done any work with who really understands our band,” Sarah reveals. “His studio has been completely revamped and it’s absolutely amazing there, so it was really nice to work with a bunch of different new gear and it’s a busy industry, so if you want to try somebody else out they have to be available at the time that you’re ready and sometimes that doesn’t always happen, and for us working with Steve is really easy because we all know each other, we’re friends and he was available, so it was fate I guess.” The Creepshow were last in Australia for Soundwave earlier this year and Sarah says the band plan to return for their own shows sometime next year, and says if asked, they would have no qualms about accepting an offer to play Soundwave again. “We would absolutely, 100 percent come back and do Soundwave in a second,” she says.
WHO: The Creepshow WHAT: They All Fall Down (Hellcat/Shock)
FORGET ME NOTS
Local lads LOOMER have had a tumultuous few years filled with highs and lows and, with their future uncertain, are proudly unveiling their debut full-length album so those who have made the journey with them will have a little something to remember them by. MITCH KNOX chats to bassist PAT WRIGHT and guitarist HARRY BYRNE before they launch the record in Brisbane.
Thus, for his third El Guincho LP, Pop Negro, Díaz-Reixa set about redefining his own sound. Gone were the layers of fuzzy samples – in their place, drum machines and synthesisers. The global influence was turned in a stranger direction, as he drew from cheesy 80s Spanish pop and even cheesier early 90s US R&B.
he Spanish Embassy wants to show the different things we make in Spain, they don’t just want to book flamenco shows everywhere,” says Pablo Díaz-Reixa, the 25-year-old, Barcelona-based Canary Islander behind El Guincho. So explains why Díaz-Reixa’s been tracked down in Ho Chi Minh City and why his passport has been stamped in Vietnam, Thailand, Hong Kong and Ethiopia in 2010. “It’s really fun, because it’s people who don’t own my records and have maybe only heard a couple of songs,” Díaz-Reixa offers, on his shows in unlikely places. “They’re pretty open to whatever you want to do; they’ve come because they usually don’t get these sort of shows here.” Born on Gran Canaria, schooled in Paris, based in Catalonia and playing polyrhythmic, polyethnic jams influenced by Brazilian tropicalismo, African highlife, French hip hop, Cuban timba and pan-genre heroes The Avalanches and Animal Collective, El Guincho seems a likely posterchild for music’s increasingly globalised rise. Not that, in 2010, Díaz-Reixa thinks that makes him special. “Maybe 50 years ago, [my music] sound more exotic,” he offers. “But, nowadays, everyone has access to all music made all over the world, so the idea of making ‘global’ music doesn’t just apply to me. All music is global music.” El Guincho gained a global profile on the back of 2008’s Alegranza!, his first official LP. Its bright, busy, chaotic, highly-percussive jams – cacophonous waves of ecstatic rhythms overlaid in ever-escalating loops – found a highly-favourable audience, with the Best New Music blessing from web behemoth Pitchfork expediting the El Guincho rise.
“[The tour] was good,” Wright enthuses. “I think Melbourne was really good for us. It was a bit strange, we had some weird shows in Sydney, but I had a really good time down there.” Byrne continues, “Yeah, it was lots of fun. It was weird, because we seemed to get progressively better.” “Yeah, yeah; we can actually play the songs now. It’s very good,” says Wright. This is good news, considering the band recently spent close to a year putting together the debut, lending credence to the idea of doing things well instead of simply doing them out of a sense of obligation. Even after they found out Parker would be departing the city, they soldiered on to release something worthy of their efforts.
“He’d seen our band play live; he knew the kind of thing we were trying to go for so that was really good.” To finish the year – and possibly their tenure together – on a high, Loomer will be pulling out all the stops for the hometown crowds this weekend. “You should bring some earplugs, and you should have a few beers and see what you think. It’s not everyone’s cup of tea, but we’re playing pretty good at the moment so it’s a good time to see us play,” Wright laughs. “We might not even play next year. We’re not really sure. So that’s the other thing, this show might be the last time you get to see us.”
WHO: Loomer WHAT: Ceiling (Bon Voyage) WHERE & WHEN: Woodland Friday Dec 17
WHO: El Guincho WHAT: Pop Negro (Young Turks/
WHERE & WHEN:
Woodland Thursday Dec 16
Putting in some downtime between touring two projects and heading off to record the second Neon Indian album in Finland, Palomo confesses his latest film indulgence.
“Yeah, yeah; at the time we recorded them, which was more than a year ago now.”
“Luke Walsh, who mixed the record, was really great to work with,” beams Byrne. “He’s a mate of ours and stuff, and he kinda had a really good idea of – like, I dunno, not what we wanted, but...”
After mistakenly misreading a Catalonian menu at a Barcelona restaurant and turning Pop (octopus in Catalan) and Arros Nègre into a singular Pop Nègre, Díaz-Reixa liked the combination of words. “I thought it would be interesting to make an album based on that imaginary style, Pop Nègre,” he says, “that it would fun to create the parameters and limits to this genre that didn’t actually exist.”
“Right before you go to sleep, you’re still awake but you’re thinking in dream logic, you’re thinking things that are nonsensical and if you wake up for a second you’re kind of like, ‘That didn’t make sense, go back to sleep.’ And then that moment of logic slowly fades away and is replaced by the nonsense again. I kind of prefer to work on music and retain that state of mind as much as possible.”
“Yeah, so, it did take a long time. Those songs, like, there were two ones that were pretty new, right?”
“It was more challenging, because I was aiming for a more polished sound, more based on hi-fi stereos and radio production,” says Díaz-Reixa. “If you want to get to that high end sound, you have to work really hard. I was trying be a perfectionist with the sound, this time. That felt really different.”
Touching on oddball influences and visits to the Moog factory, TYLER McLOUGHLAN gets the lowdown on ALAN PALOMO’s headspace whilst creating the cerebral, electronic dreamscapes of NEON INDIAN.
“Yeah, lots of mixing sessions,” says Byrne.
or the members of local indie/shoegaze outfit Loomer, the prospect of launching their debut full-length effort Ceiling must be a conflicting one. With each day that passes closer to the gig, they edge closer to the inevitabilities that await them upon their journey’s conclusion, like so many Grovers in The Monster At The End Of This Book. Sure, their drummer (Lee Parker) might be moving to Melbourne, effectively rendering the band inert – but guitarist Harry Byrne and bassist Pat Wright are able to recognise the sweet in amongst all the bitter. Having just returned from an interstate jaunt to preview and support the album, Byrne and Wright sound in good spirits.
After recording wholly at home before this, Diaz-Reixa went in to professional studios, from Planet Roc in Berlin to a friend’s newly built studio in Gran Canaria. Díaz-Reixa’s accompaniments, this time, were a 909, an 808, a “couple of synthesisers” and copies of The Mixing Engineer’s Handbook and Behind The Glass: Top Record Producers Tell How They Craft The Hits.
THE BIG CHILL
“It took a long time,” Wright deadpans.
“But some of those songs we’d been playing since I started in the band, which was 2008, so I guess we really wanted to put out something that was good, y’know? Could’ve probably put out something a bit earlier, but we’re really happy with the result I think. Everyone’s pretty happy with it,” says Wright. “I’m really happy with the way the title track turned out, Ceiling. It’s a bit of a weird song; it works really well live but I wasn’t really sure how it was gonna go – how it was gonna be to record it, but in the mix and stuff it sounds pretty amazing I think, because it was a pretty hard song to record.”
“I wrote Alégranza! when I was 21, 22 and I was touring with this album for years and I got tired of all those settings, all that equipment,” Díaz-Reixa explains. “So, like every other musician, I just got tired of doing the same thing again and again.”
mid the frenzy of touring his debut Neon Indian album Psychic Chasms and re-releasing it with the addition of a remix package as Mind CTRL: Psychic Chasms Possessed, Alan Palomo just wants to relax. Having spread himself across three musical guises with VEGA and Ghosthustler in the past two years, his latest has made him an accidental poster boy for the chilwave genre, and prompted a move to New York. “I’ve finally moved into an apartment up here in the Greenpoint area so I’ve been slowly filling it with books and synths,” explains the Mexico-born Texan. “Pretty soon my room is going to be more electronic equipment rather than anything functional like a bed and dresser.” Ignoring the idea of separating your sleep zone from your work zone in order to do either with any great success, Palomo is following the intermittent moment stealing creation method of his bedroom-crafted debut. “I definitely do enjoy working in separated spaces but there’s also something strange about being able to wake up at four in the morning, lay something down then go back to sleep,” he admits. “I think I lay down ideas better in the morning, but as far as recording or fleshing anything out, it’s maybe something in my brain at being sundown that really allows my thoughts to relax.” Having been gifted tags such as electronic dream pop and bedroom balladry, the output of Neon Indian is perhaps as much due to the physical confines of the bedroom space as to the open realms of its mental counterpart.
“When you’ve been on tour that long all you want to do is watch a movie like Dumb And Dumber and just vegetate,” he declares. “But what I found so mind blowing is that Todd Rundgren did the music for that, which is like one of my favorite artists. It’s really weird that he would have a hand in such a bizarre movie… But it also explains why I actually remember being a kid and really liking the music, just little moments or increments. It’s kind of out of place in a really charming way.” Palomo sampled his Izzat Love? on Psychic Chasms’ track Deadbeat Summer, and a recent promotional activity gave him another Rundgren moment to chuckle at. “I was at the Moog Factory, doing a little demonstration video for one of their new synths,” he explains. “I saw they have this big wall with a picture of Bob Moog that had all these signatures from different artists that had visited the factory. And right on the bottom right corner there was one from Todd Rundgren that said: ‘In heaven there are no presets’, which I thought was pretty perfect!” Neon Indian is making a habit out of visiting Australia; a warming prospect considering that this time he’ll be flying in from Helsinki, and that he has such fond memories of his last visit. “My last experience there was performing on the shore of the beach. I don’t know if that was best for the gear, but it was definitely the best for my state of being.”
WHO: Neon Indian WHAT: Mind CTRL: Psychic
Chasms Possessed (Popfrenzy)
WHERE & WHEN: No Years Festival, Brisbane Powerhouse Friday Dec 31
SINGLES BY CHRIS YATES
…Breaks Bread With The Mono-Brows
THE BRISBANE ALL-STARS
Do They Know It’s Christmas? (D-Star)
Only an idiot would give a bad review to a single that features a bunch of heavy-hitting Brisbane music industry types, including the honeydrenched vocals from the editor of this very publication – (and keeping in mind I would like to keep my job into the new year) here it is – Single Of The Week! Radio personalities from the entire spectrum of the dial chip in – keep your ear out for the normally operatic overtones of 4ZZZ’s own Chris Cobcroft, wonder at the weathered warbling of commercial radio superstar Ian Skippen, soak in the vibe of ABC 612 everyman Spencer Howson and 4BH’s mum next door Loretta Ryan. Music biz luminaries such as the dashing Daryl Bailey from EMI, Q Music’s queen Denise Foley and Mucho Bravado’s buoyant Ben Preece hold their own against the masters of the radio mic. There’s heaps more people involved and it’s all a bit of fun of course, but for a very good cause with all proceeds going to the charity Support Act who do some amazing work for musicians in need.
JONATHAN BOULET You’re A Animal (Modular)
Tribal drums at a million miles an hour smash you in the face as Boulet’s new single kicks in and it doesn’t relent from there. The heartattack pace of the drums is matched with a massive choir that scream the hook with a delicious melody and when it does let up for tiny breaks throughout to give you enough time to catch your breath, before you know it the rack is steamrolling you into the ground for another hammering of delicious pop ferocity, and it’s over before you even really have time to realise what’s happened. It’s impossible not to get swept up in the momentum of this killer track – you have to wonder how it will be maintained over the duration of his second album, due out early next year.
BLOODHOUND GANG Altogether Ooky (Universal)
The musical equivalent of a dirty joke scrawled on the back door of a boys toilet cubicle, Bloodhound Gang have the ability to make you chuckle quietly to yourself while no-one else is looking, but you don’t hang around too long because the smell is just too fucking awful. Altogether Ooky is typical fare from the sniggering jocks, it’s electro-grunge sound now more than instantly familiar and the references to dirty stuff is less than thinly veiled. It’s the only new track on their first greatest hits album (Show Us Your Hits – *chortle*).
Christmas Lights (EMI)
Time for the scramble to be the UK Christmas number one, a concept that is bafflingly pointless in today’s age of actual physical singles not really existing any more. How does someone wrap an iTunes download and put it under the Christmas tree? Maybe you can get a voucher or something. Coldplay’s Christmas Lights is just barely better than Mariah’s All I Want For Christmas Is You, but nowhere near as good as Run DMC’s Christmas In Hollis (“this IS Christmas music! ”) or Merry Christmas (I Don’t Want To Fight Tonight) by the Ramones. Still has that amazingly annoying Coldplay attribute of getting stuck in your head despite your best efforts to forget about it as soon as you’ve heard it.
In the Australian rock and punk underground, the Hard-Ons have no less than legendary status. For more than 25 years vocalist/guitarist Peter ‘Blackie’ Black has flailed, wailed and pummelled hundreds of songs into dust, his scathing wit evident and musical dexterity always polarising. Well, with possibly nothing left to prove, Blackie has set about capturing all those melodies that were never destined to be Hard-Ons songs and written an indie-pop album. From the opening tune you find yourself asking… “Why the hell didn’t you do this earlier, Blackie?” It’s hard to separate the irony from the sweetened sentiment, but that doesn’t negate the surprisingly disarming nature of these 12 tunes. Coming from a combination of acoustic and electric guitars, strings that surface at various points and a really subtle use of instrumentation, many of the songs here sound as if they’re building towards some crushing epoch when, truth be told, it’s the drama and the candid nature of Spanish Movies, Depression Ditty and Break My Bones that draw you back into this album. Even the occasional bold move (Me And My Head Are In A Spin) are executed with an unresolved restraint, which makes the boppier moments like I’m Sorry Julie sound like 60s jukebox classics. The flipside is the curious nature of Blackie’s established fanbase. Let’s hope they’re open enough to understand how great this album is because were he a young, new thing, chances are folks would scramble to be a part of this. There’s a matured perspective and obvious years of songwriting that set these songs apart from their gentrified ilk and even beyond the fact that sometimes a hushed tone can speak louder than a scream, it’s when you dig inside these songs that you come to understand how heavy they really are. ★★★★
Talk about a tough act to follow. A chart topping album, winner of a Grammy award and with sales of six million plus worldwide for ’08 release Rockferry, Endlessly was always going to be a pressure cooker for Duffy, the tender-voiced 26-year-old from Wales. But this second release is more than up to the task of picking up where her successful debut left off. Immediately from the crowd noise, programming and driving rhythm of opener My Boy, the production shows itself to be lush, textured and full of curious turns and ideas that make this not just your typical British lass release. This fact has been helped along no end by the songwriting contributions of legend musician and producer Albert Hammond and the drumming of Questlove, the mastermind of hip hop royalty The Roots.
It’s difficult to not approach the latest Michael Jackson release with trepidation, considering the quality of the late legend’s output when he was alive, let alone now that he’s six feet under and his estate is in control of these releases. This is the first of a reported ten posthumous releases and, to put it quite simply, it’s not near the horrendous train wreck expected. The compilation appears to grab various MJ recordings from various eras and attempts to string them all together for one cohesive listen and, for the most part, succeeds. It begins with Hold My Hand, the latest single and a duet with R&B’s Akon that holds up its end of the deal as a killer, modern pop single, laced with MJ sentiment and one of those uplifting choruses he’s known for. Similarly with Keep Your Head Up which falls under the inspirational power ballad category much in the same vein as You Are Not Alone, complete with choir – it’s akin to Jackson aiming for an international anthem.
A New is a memorable opener, heralding its beginning with a gentle siren of electro pulses before coaxing each member into the mix. The interplay between the four members is at its most fascinating here, perhaps as one of the album’s few dour moments, ending with the same siren call which raises more questions than answers. It’s here that Yukimi Nagano’s voice declares its robust fragility as she bemoans someone who “kept me kept and wanting more” – exactly the feeling that comes with the end of this track. Nagano possesses a versatility that enables the high hooks of playful romp Runabout to resonate as much as the husky tones of Feather, showing off a bag full of power girl tricks worthy of Santigold, Gwen and Roisin. Famously, Nagano’s hissy fits in the studio earned her, and the band, the name Little Dragon, so it’s fun to imagine that at any moment she might erupt, though mostly the threat arrives without the follow through. Singing mostly in rambling prose, rather than telling stories or poeticising, adds to her intrigue.
The Welsh songstress definitely has a voice of acquired taste. With your first spins, at its best it sounds sexy, womanly and sassy in equal measures but at its worst, it sounds not unlike a dog’s chew toy being squeezed. But work on the album more and more and the humane fragility of her vocals begin to resonate, the intricacies of the production and songwriting become more obvious and all of a sudden, Duffy has got you in the palm of her petite hands.
Musically Machine Dreams is very clean and vivid – certainly not in a manner that denotes drear, rather in the method that a kaleidoscope communicates its loveliness. Signposts to influences are evident – a touch of video game synth here, a nod to Portishead or Pet Shop Boys there – though Little Dragon are entirely a new prospect. They are bright and colourful amongst a Nordic electro-pop landscape littered with prettily blurred lines and brooding ambiguity.
DUBMARINE Depth Of Sound (Sugar Rush/Vitamin)
As a general rule, albums with a lengthy gestation period rarely deliver on the promise of the time invested by their creators. Dubmarine’s Depth Of Sound, though, is the exception that proves the rule. Constructed over the course of nearly two years of writing and recording, the band’s debut album defies expectations in actually being worth the wait – providing an eclectic and adventurous listen that is as innovative and accomplished as it is kinetic and enjoyable. Of particular note is Andrew Stephens’ astonishing production work. Recorded and mixed locally by Stephens, Depth Of Sound has the kind of world-class sound job many international reggae acts would envy. Opener International Sound Movement unfolds with a sonic grace one could easily describe as beautiful – synths, bass, drums, brass, vocals and guitar all blossoming simultaneously into a lush, echoing soundscape.
Hollywood Tonight and Monster could well be from the Dangerous era or even a left-over from HIStory. They’re both bangers, the latter features a rap from 50 Cent inserted in the classic late 90s fashion, while the former contains a sublime Jackson beatbox and a chorus that pops amongst some of the best moments on the whole set.
Of course, such finesse would all be for naught if it weren’t for the band’s remarkable songwriting. Throughout Depth Of Sound, Dubmarine manage to consistently deliver remarkably memorable tunes of surprising eclecticism. Point The Bone is modern reggae, Signals is a spacious take on contemporary dubstep, Pon The Dancefloor is, perhaps unsurprisingly, aggressive dancehall while tracks like Chip blend all the aforementioned styles into their own messy formula.
Overall, Michael is a tidy assortment of posthumous material that was clearly compiled with love and not simply thrown into the world in the greedy fashion one would expect. It’s not without its cheesy moments, but neither was Jackson as a living recording artist. Hopefully, the remaining releases maintain this level of respect and unveil some real gems.
It should be said – Depth Of Sound is by no stretch of the imagination a crossover record. Those with an aversion to reggae and its related styles are unlikely to be converted by Dubmarine’s debut album. Those with an appreciation for such styles, however, will find a great deal to adore on Depth Of Sound. One only hopes the band can deliver their sophomore release on a slightly tighter schedule.
Following its release in Europe and elsewhere back in 2009, Little Dragon’s sophomore album Machine Dreams has finally been given a local release now that the Swedish band’s guest duties on Gorillaz’ Plastic Beach and subsequent addition to their Australian tour has made them purportedly relevant.
Keeping My Baby is poignant with some serious lyrical topic matter, but washed over with bubblegum vocals and flowing production the track leaps from the speakers. Well Well Well and its R&B-tinged ‘man done me wrong’ flavour sounds full of honest emotion while Breath Away is dreamy and doused in soul. Hard For the Heart caps off the wistful journey at a little over 30 minutes but this lack of epic tone works perfectly for this collection of short, punchy numbers.
As swarms of shoppers descend upon our department stores during the busy holiday season, it’s important not to forget about the true meaning of Christmas: a chance to celebrate stupid music. Enter Fred Schneider of B-52’s fame (who is no stranger to this cause) and his current band The Superions, who have decided to release a Christmas album like no other. With a voice that sounds alarmingly like South Park’s Mr. Garrison, and a sense of humour that switches between sleazy, cynical and surreal, Schneider and his cronies bring us a collection of novelty songs about drunken elves, being hit in the head with fruitcake and having sex with Santa Claus. These decidedly adult themes are balanced with cheerful, catchy melodies that wouldn’t be out of place in a Play School jingle. The cheesy synth music that accompanies these tracks sounds like it could’ve come from one of those old keyboards with pre-programmed drum beats like Bossa Nova and Samba. Many of the lyrics are so damn juvenile your 12-year-old brother could have written them. But Destination…Christmas! isn’t just bad. It’s so bad it’s good! Like a flamboyant schlock movie, it has a zany entertainment value that makes up for its one-dimensional nature. Christmas Conga (Jungle Bells) is a story about Santa’s journey through the Amazon which fittingly comes with a conga beat. Jingle Those Bells is a semi-pornographic Christmas carol with appropriate trumpet noises. Santa Je T’aime features a woman moaning Santa’s name as he repeatedly chuckles “Ho ho ho!” over some light techno that makes Bloodhound Gang look like Mozart. It almost transcends parody and becomes a work of surreal, indefinable genius. Destination… Christmas! is probably the most alarming Christmas album you’re likely to hear this year, and for that reason alone it’s completely worth listening to. ★★★
DEAR TIME’S WASTE
(Speak N Spell)
Live At The Tote Brisbane post-rock purveyors Nikko said in a recent interview that the best way to listen to their music is inside your bedroom with the volume cranked to stupefying levels. It’s such an apt instruction because it reveals the burgeoning layers of sounds the group employs. When they released The Warm Side earlier this year it made critics spurt out hyperbolic praise all across the country – this was the type of album that ground mountains into grains of sand; a depiction of a band truly on the road to something special. On a recent tour, the band set out to record an intimate and ethereal show at iconic Melbourne venue The Tote. A brilliant live album is characterised by two points of interest: sound quality and the capturing of the moment. Nikko have managed to hit two holes in one. The sound is almost unspoiled, with only a few blemishes to remind listeners that this was a living, breathing experience. You can almost smell the fermenting beer, and feel the foundations of the room vibrating as the walls of distortion reverberate off them. The music broods and lingers patiently; then it erupts. Sparse fretwork and ambient passages are peppered with violin melodies that crescendo up into a state of violent delirium. If this album has one Achilles heel moment it would be the crowd reaction – audience participation is almost non-existent. A performance like this should be welcomed with a 40.000 strong roar. Perhaps at the time they were too busy trying to pull themselves from their state of bewilderment. After listening to this album, you’ll struggle to do the same. One of the most accomplished bands in the genre at the height of their power. ★★★★ ½ Scott Thompson
New Zealand’s Dear Time’s Waste have released an album that is as perplexing as it is at times rewarding. It’s a disjointed affair – placid acoustic numbers are interrupted by jangly 80s pop pieces and the album sits as a collection of ten separate songs rather than an album. However Spells does reconnect the overly morose histrionics of goth with chiming indie pop that recalls the tonalities of Dead Can Dance and The Cure, yet it’s the vocals of sole member and songwriter Claire Duncan that define the record. Whilst vocally indebted to Bjork or even the wistful poetics of Life Without Buildings’ Sue Tompkins, Duncan succeeds in traversing the bounds of absolute imitation and instead wallows and howls in her own calloused emotions. The dense balladry of Brains opens proceedings and its meandering, slow burning nature hints at the nature of the record. The pop hooks throughout are layered and textured affairs, revealed only on repeated listens. It’s truly an album which forces the listener to engage. The new romantic pop of Alice and These Words Sticks Me to You are imbued with melodious guitar work and keyboards, while the delicate folk of Swallowed is truly beautiful and recalls 70s folk icon Sibylle Baier in its beautiful fragility and the soundscape experimentation of Up Comes A Monster is revelatory in its defiant pop mastery and as a song is truly the album’s masterpiece. Dear Time’s Waste prodigy Duncan truly has her own stories and mythology to create and whilst the overarching influence of some pop icons haunt her, one gets the feeling that her next record will be an equally haunting and memorable work, one which lets the world hear her own unique voice and vision. ★★★½
Between The Colours A long time coming, the debut album from Liam Griffin doesn’t exactly pick up where his long-flogged Pictures EP left off, more so it forges a further path for the talented Brisbane singer-songwriter. It’s not exactly ground-breaking listening by any means but it is a damn solid effort from an artist clearly with his finger on the commercial pop/rock pulse. Lyrically, Griffin stands tall, holding his heart in hand proudly for the world to see, while sonically he falls somewhere between Jeff Buckley and Eskimo Joe – a nightmarish analogy on paper, but in theory, it works. Certainly the opening three numbers mirror different aspects of the aforementioned Perth trio – The Shutters sways about perfectly introducing Griffin’s trademark trumpet into the mix nice and early while A Distant Memory is a radio-ready slice of pop/rock that could slip effortlessly into general programming tomorrow, and I Started Saying It Too laces strings with a heartfelt lyric of longing. I Want You might be somewhat of a misstep in the fact that it’s dangerously close to Buckley/Shudder To Think’s I Want Someone Badly, however, the execution is flawless and shows off Griffin’s more soulful side. Between The Colours is a fine debut displaying Griffin’s prowess when not only making his way around a song but also helming a confident production that strings the whole bundle together into a tidy, comfortable package. As a debut, it presents the first big step in quite a promising career, providing Griffin with the ammunition required to truly find his own voice. You have to wonder how far he could take this with a little label push. ★★★½ Ben Preece
Basic Instinct Despite her showing so much promise in the early stages of her career, Ciara’s fourth album is a disappointing and shallow rehash of tired modern R&B ideas that really doesn’t do anything to show off her apparently dormant talent. It starts off promising enough, with Basic Instinct (You Got Me) being basically an apology for resting on her laurels and letting the perks of stardom get in the way of her creativity. “I was on the red carpet when I should have been in the studio laying down hot shit” she laments over an Eye Of The Tiger-style guitar stab which is tough enough to sound like she means business again. Ludacris shows up as usual to chip in his goingthrough-the-motions 16 bar rap on Ride which is the highlight of the record – with slightly dark overtones over a low-tempo synth riff, but already her lack of lyrical scope lets her down. The club tracks are a real weak point, Gimme Dat promises bass and fails to deliver. Even Usher helping out on Turn It Up does little to drag it out of uninspired mediocrity. Girls Get Your Money is a seriously clichéd call out to gold diggers imploring them to make sure they get their money from their broke ass men – the female equivalent of men rapping about treating women like prostitutes that does not discourage men to do exactly that. Her pop leanings are mildly successful only because of her excellent voice, but with lame choruses like “Turn it up all night long” there’s not enough depth to give it any real value. The album’s not without some charm thanks to Ciara’s warm vocals and (perhaps undeserved) confidence, but the whole thing seems rough and hastily thrown together, with no real stand-outs or coherence. ★★
THE JIM ROCKFORDS
Moving At The Speed Of Sound Originally a side project for local musicians, The Jim Rockfords has now gathered a sturdy live reputation for blistering sets and chaotic stage presence, but now they’ve rolled into the studio to emerge with Moving At The Speed Of Sound, and thankfully it hasn’t stepped out too far from the filthy southern sound that you’ve seen in the live sphere. Starting with Love You To Death, the speakers are a rage with boogie woogie beats set in a garage punk vibe – it’s the sort of thing you could picture playing when you walk into a southern bar where the stage is covered in chicken wire. The energy continually rises throughout in Tail Lights, the pace picks up to the Motörhead sounds and rapid shot drumming, however Junior Hickey’s vocals begin to distract slightly as he seems to switch between Australian outback and southern US pronunciation, which just comes off as strange. Bassist Kylie Lovejoy is notably impressive in the thick and heavy drop lines of Dead Man’s Boots and the circling Postcard. While the rough rock swings are a tasty morsel on their own, when the sound drives into realm of classic rock and country rhythms things kick up another notch, which Have You Seen My Baby can attest to; it’s just enough to break up the norm and allow each track to be enjoyed individually. Moving At The Speed Of Sound has successfully done what the band probably had in mind in trying to capture their live vigour for a permanent listen – the sweet riffs that make you want to swing your hips or get in a bar fight, the shaking tub work and a firestarting energy all make it an enjoyable listen. ★★★½ Mark Beresford
Secondhand Family What is with Brisbane’s obsession with the 90s? Do we thank the mighty Violent Soho for this mini-revival? Or is it something deeper than that? What prompts bands to recapture the glory days of grunge, stoner and alternative music with such authenticity? There’s sure to be a concrete reason and whatever it is Shellfin has tapped into it. Secondhand Family, their debut album, embodies everything that is instantly loveable about stoner rock: it’s bottom heavy, crushing and punishing. Shelfin’s love for the early 90s stoner movement is obvious, but rather than resort to pale imitation, the group has twisted and contorted the sound enough where it isn’t blatantly obvious. In this day and age it’s more than likely noses will turn up at the words “lo-fi”, but in Shellfin’s case it complements the music perfectly. At only eight tracks, Secondhand Family looks as if it has sold the band short – not the case. Each track is a solid slab of demolishing stoner riffs. Shellfin doesn’t need a click track; Shellfin doesn’t need their songs to be over-compressed and pro-tooled to death; it’s raw, gritty and devastating. Short Spew and The Extent Of It cascade up into pummelling breakdowns of fuzz which pulverise everything in their path. The vocal wails are enough to make Robert Plant turn his head. Perhaps they can’t match the sustain or pitch at times (there are seldom few who can) but there’s still that sense of spirit. This album is a mere blip on the radar but it’s going to unleash a wave of success for the burgeoning trio. Might want to call your chiropractor and book an appointment, you’ll be headbanging so gloriously that neck-cracking will be a given. Another thing that is a must – this album. For fans of the relentless and heavy it’s a welcome addition. ★★★★
Sunken Chambers Of Nephilim Extreme metal is an acquired taste to say the least. It takes a certain level of accomplishment to pull it off as well; a certain level of accomplishment which Disentomb have overlooked for their debut. The quartet have certainly cemented themselves in Brisbane’s metal scene with confidence, and their recent support slot with Dying Fetus and legends Napalm Death can certainly attest to their ability. Yet their album Sunken Chambers Of Nephilim comes up short when it comes to reflecting the bands true prowess. One thing is certainly true, their foot is well and truly on the gas – and that’s the problem. It seems rather inane and contradictory to critique a metal band for being too brutal, but that’s the problem with Sunken Chambers of Nephilim. Even the most relentless and uncompromising grindcore acts have moments of clarity to enhance the impact of their music. Disentomb simply have no breathing room. The relentless shredding is suffocating and turns what should be brain-obliterating death metal into a monotonous wave of sludge. It’s a relatively simple burden to overcome as well. A section of ambience or a pronounced tempo change would have done the trick. Extreme metal drumming also requires diligence and stamina, which is lacking in sections. The incessant blastbeats and ceaseless doublekicking simply isn’t tight enough to warrant full impact. Whilst Sunken Chambers Of Nephilim will unquestionably establish the group as hard hitters in Brisbane’s extreme metal scene, there’s a certain unfulfillment upon listening. However there is something worth mentioning – this band is barely a year old, and given what they’ve accomplished already, there’s definitely something huge around the corner for Disentomb. This time round, however, they haven’t realised their full potential, which is a shame because they’ve got the chops to go the whole distance.
N CO IO
N CO IO
The Waterfront Years 1991 – 1993 The early 1990s is a key part of Australian rock’n’roll history and enough time has passed that it seems appropriate to look back and appreciate what was around, where it sat and what influence it had on the music of the future. Tumbleweed are still adored, both critically and by those who devoted themselves to that rock’n’roll with the stink of the garage seemingly embedded within its heavy stoner grooves and psychedelic flourishes. This monstrous two-disc collection shines a light on the band’s earliest material. There’s an exuberance and a charming naivety on Captains Log, the first Tumbleweed single, its b-side Space Friends possibly a better indication of the direction the band would head in the next couple of years. The original version of Healer, has a great energy while Stoned sees the band approach their pop sensibilities with more confidence – it’s a corker. Carousel is tender and sweet without losing the all-important volume, Come and Get It is vicious in its powerful, jammy execution, while Chocolate Watch Band’s Sweet Young Thing turns the garage psych notch to stun. The first disc is packed to its brim, but the great thing is it doesn’t need to be listened to as a whole, its disjointedness works to its favour given the nature in which the tracks were initially released. On the flip side, the second disc – the complete and fully remastered 1992 debut LP – benefits from being played go to whoa. The Daddy Long Legs single that caps off the disc a fantastic bonus that slots in well. The record sounds as relevant now as ever and the remaster gives it a kick in the guts to bring the recorded quality up to scratch by modern standards. All in all a fitting tribute to a band that oughtn’t be forgotten. Barry Kobarma
★★ Scott Thompson
THE BONNIWELLS Unprofitable Servant (Z-Man)
Comprising members of Melbourne bands The Frowning Clouds, Bleach and Last Gypsys, The Bonniwells’ threepiece sound is a wish-wash of psychedelic garage trips with punches of a raspy 90s grunge that has just enough flavour and individuality to set itself apart from the pack. While the obvious influences are there in Daniel Johnston, Brian Jonestown Massacre, The Cramps and Syd Barrett era Pink Floyd, the band have set an aggressive tone for the record in the first two displays with I Don’t Need You Know More and Bad Seeds, it’s a whirling chaos of jangling guitar rips, a steady pulsing drum beat with hard crashing cymbals, and semi-conscious lyrics that roll from a murmured line to tortured scream. The sound doesn’t steer far off course from there though, with the exception of a bluegrass sweep on Soda Pressing and a slap happy cover of The Kingsmen’s version of Richard Berry’s Louie Louie, strangely renamed to Louie Lou-aah. What is captured in the recording though is a grimy lo-fi energy of the rough guitar scrapes, powderkeg lyrics and a live drum sound that transforms the record into something worthy of giving a full play. A full play isn’t very much however, as the eight tracks touch in at just over 20 minutes, which means it could probably be classified as a crammed EP rather than an actual LP. Unprofitable Servant will grab the attention of a few, but its lack of variance is detrimental. The most exciting part of this release is the potential of the band themselves – what was obviously a quick writing/recording session for a group that consider this to be a side project, could quickly take its own legs given enough time, we’ll just have to wait for the next album to find out. ★★½
(Torn & Frayed)
Like Melbourne cult bands of old The Powdermonkeys, God and Bored, Gruntbucket are archetypical booze and blues soaked rock’n’roll degenerates. They sound like they’ve been trawling the stages of Melbourne institutions like The Tote and Cherry Bar for years and their debut reflects a group coming to grips with their own sense of innovation and personality whilst still paying homage and feeling indebted to their heroes. The caveman thud rock of opening track Seven sets the tone for proceedings. Receiving as an album at times harnesses the boogie stomp of Coloured Balls and The Aztecs and melds it into a record of stoned-out riffs that reawaken the haze of the Sunbury Festival, and this is where Gruntbucket truly shine. And whilst The Groundhogs-inspired blues rock of B People has flourishes of the hard psych caterwauling which made the aforementioned band truly great, the song’s monotonous trudge riff fails to truly climax and this is where Receiving begins to become merely a subpar recreation of earlier sounds. All is nearly forgiven with She’s A Drag, a song clearly indebted to The Stooges’ TV Eye, but unfortunately from here on in, the LP delves into predictable grunge histrionics (Places You Go) or even modern ballad rock (Again & Again). It seems Gruntbucket are at their most captivating and unhinged when they resort to the 70s hard rock blues that they kick out with bar rock swagger and Beasts Of Bourbon-styled violence especially on the songs Dark Is Coming and On The Rise. Gruntbucket have released an album that would have been more suited as an EP, which would have ensured every song was as cutthroat and captivating as the five hits on the album – songs that make Gruntbucket’s debut still a record worth seeking out. ★★½
BRODERICK SMITH’S BIG COMBO
Broderick Smith’s Big Combo (Aztec Music)
Broderick Smith’s Big Combo is one of the definitive yet unheralded Australian bands of the 1980s. Whilst in the wake of Bruce Springsteen’s rise to fame this record was derided as merely the Australian replica of The Boss’s working class rock sound, there is a passion and quality of song captured on this record that rivals Darkness On The Edge Of Town. Having done time with The Dingoes and Carson, Broderick Smith formed the Big Combo and whilst there’s an AOR ‘golden age of radio rock’ piano undertone to their 1981 debut, there are some genuine moments of uninhibited and passionate songcraft. The hits of the record Faded Roses and My Father’s Hands are significant moments in Australian rock folklore and are emblematic of Smith’s ability to craft soaring melodies that whilst firmly in the Springsteen mould do represent the Australian and his own personal experience. Even the rare B-side included on this re-issue, Mr. B Is Leaving Town, is R’n’B that remains undated and a highpoint in Australian rock’n’roll history. As the album progresses the hard rock of The Devil Drives is interspersed with the balladry of Ruby In The Snow and it’s at this point in the album that Broderick Smith’s Big Combo strikes the listener as one of the great albeit unheralded acts Australia has produced. The album rivals The Big Combo’s contemporaries of the time; Midnight Oil, Cold Chisel, Aztecs and The Coloured balls in its unbridled cynicism, songwriting and the fervour in which the songs are delivered. This 1981 album is a landmark record for it truly indicates that Australia was beginning to produce a new generation of pub rock bands that could rival any act on the world stage. ★★★½
STEVIE RAY VAUGHAN AND DOUBLE TROUBLE
Live At Montreux 1982 and 1985 (Epic/Sony)
In the beginning of the 80s, Stevie Ray Vaughn rode in like the proverbial cowboy, holstering a gusty blend of electric blues and southern rock that when planted into somewhere such as the acoustic night at the iconic Montreux Jazz Festival, could really only end in tragedy; and it did, to an extent. While the crowd took to him with increasing boos and jeers, Stevie put on what would later become known as the greatest show of his life, weaving wildly between Pride And Joy, Love Struck Baby and the echoing Texas Flood. It is Ray Vaughan at his finest, playing to his worst. However as the band were unsigned at the time, they were signed soon after that performance and invited back to play the same festival again three years later, this time in a headline slot, and while the band are obviously deep into their heavy drug use period, the magic of Vaughan’s performance is still there with the bone-chilling guitar mastery of Look At Little Sister and Couldn’t Stand The Weather highlighting a man battling demons but still at his peak. While Double Trouble may be slightly off note from its original performance, it is rounded off by the rich keys of Reese Wynans and a lovely trio of songs featuring heroic blues man Johnny Copeland, including the previously unreleased Cold Shot. This double DVD package captures both of these performances in their entirety, and is a perfect representation of the type of passionate and masterful Fender work that led Stevie Ray Vaughan to be so well renowned, and quoted by many as an inspiration for songwriting and playing. A welcome addition to any DVD collection. Extras: Success In Disguise – retrospective documentary ★★★★½
DANNY BHOY IS BACK The ever popular Danny Bhoy returns to Australia in 2011 with a brand new show, having spent the better part of his time this year touring North America, hosting his own Comedy Central special, and appearing on The David Letterman Show. His new show, Messenger (Please Do Not Shoot), has been written specifically for his Australian fans, which is nice of him. You can catch the Scotsman at Jupiter’s Casino, Gold Coast Sunday 6 March, Brisbane Powerhouse Tuesday 8 to Sunday 13, and Empire Theatre, Toowoomba Saturday 19.
NEXT TOP MODEL, CLOUDSTREET FOR FOXTEL IN 2011 Foxtel have announced its 2011 slate of programming, which is headlined by the seventh season of Australia’s Next Top Model – with Sarah Murdoch returning as host despite announcing the wrong winner this year – and the Elle Macpherson hosted Britain’s Next Top Model. Project Runway Australia also returns, continuing the fashion-focussed influx of television, whilst the latest imported concept will be a localised version of the British dance show, Got To Dance, which will run alongside the UK and US versions. Reality shows continue to dominate the line-up, with Cricket Superstar and Dating In The Dark also planned for later in the year. The Comedy Channel will premiere three new series, You Have Been Watching with Peter Berner, Balls Of Steel with The Chaser’s Craig Reucassel, and an as-yet untitled stand-up series. However, the most-anticipated event in Foxtel’s 2011 calendar would have to be the adaptation of Tim Winton’s novel Cloudstreet, premiering on Showcase amidst the good stuff like Dexter and True Blood. Meanwhile, The Weather Channel will continue to do what it does best.
FOXTEL (THE CHASER)
THIS WEEK IN
The Arcadia Project – installation exhibition by Sean Rafferty featuring a landscape of fruit, vegetables, and bizarre characters cut from hundreds of Australian produce boxes. Opening day. Judith Wright Centre Shopfront until 14 January. Moonlight Cinema – annual season of outdoor films, featuring an array of blockbuster titles, arthouse gems, world cinema, cult favourites, and kids’ films. Opening night, 7pm. New Farm Park until 27 February.
Robbins, Stilson, and Molloy – ninety minutes of comedy gold from three very familiar Australian standups: Mick Molloy, Glenn Robbins, and Jeff Stilson. Closing night. Powerhouse Theatre.
Enter The Dragon – Bruce Lee’s most famous film, showing at an exclusive season. Opening night. Tribal Theatre.
The Burlesque Hour – show combining circus, sideshow, showgirl, striptease, cartoon strip, boho, butoh, music hall, Gothic, and performance art, starring Mistress of Grand Guignol Moira Finucane, Japanese shock cabaret artiste Yumi Umiumare, Azaria Universe, Maude Davey, and local legend Brian Lucas. Opening night, 7.30pm. Powerhouse Theatre, Brisbane Powerhouse until 23 December.
21st Century: Art In The First Decade – massive retrospective exhibition showcasing the best contemporary art from around the world created during the past ten years, featuring names such as Louise Bourgeois, Céleste BoursierMougenot, Bill Henson, Damien Hirst, Ryan McGinley, Tracey Moffatt, Julian Opie, Ricky Swallow, and lots more. Opening day. Gallery of Modern Art until 26 April.
Branch Out Part II – twenty Brisbane artists, architects, and designers create tree concepts challenging the traditional Christmas tree. Brisbane Powerhouse until 23 December. Scott Redford: Introducing Reinhardt Dammn – exhibition of works – surfboard sculptures, videos, and paintings, suites of fibreglass objects and acrylic surfaces – by Gold Coast artist Scott Redford. QLD Art Gallery until 13 March 2011.
ENTER THE DRAGON
WITH HELEN STRINGER Christmas is upon us again. Being a Godless atheist, I approach the day with a healthy dose of cynicism, each year declaring this one to be my last, only to be sucked back in 364 days later by shiny tinsel and liberal applications of guilt. This year I’ve decided to demonstrate my discontentment with education rather than recalcitrance. This year my loved ones will not be receiving shaving kits and socks wrapped in plastic bags, but Christmas-themed art. I intend on telling the story of Jesus with prints of the most controversial religious art I can find. Starting with the Immaculate Conception, Tania Kovats’ Virgin in a Condom is a worthy contender for inclusion on the gift list. Kovats’ original piece doesn’t really exist anymore - it was stolen in Sydney but it was, unsurprisingly, a plastic statue of the Virgin Mary wrapped in a condom. Not only is the Virgin In A Condom a topical gift idea, with the Pope having recently conceded that condom use might be the lesser of many evils, but Mary’s immaculate impregnation is the beginning of Jesus’ story which is, after all, what Christmas is all about. Moving on to the birth of Christ, Caravaggio’s Madonna di Loreto is heresy in disguise and therefore the perfect gift for the more conservative amongst us. This classical piece is not terribly shocking for today’s hardened viewers but when Caravaggio painted it in 1604 rendering the holy mother as a bare-footed pauper was condemned as the act of a heretic. Indeed, the baroque master was eventually run out of town, although that probably had as much to do with his tendency to get drunk and stab people as it
LILY TOMLIN TO TOUR AUSTRALIA
ANDRES SERRANO PISS CHRIST (1987)
did his controversial interpretations of Catholicism. For the sake of brevity it’s necessary to bypass the disciple gathering, the parables, miracles, sermons, and temptations. It’s necessary, in fact, to go directly to Jesus’ final days, straight to the final feed. Naked Jesus we’re used to, but Jesus as a naked lady surrounded by black men at the table of the last supper? That’s outright blasphemy. Thankfully photo-artist Renee Cox wasn’t too concerned with being labelled a blasphemer when she created Yo Mama’s Last Supper. But consider yourselves warned: the photograph contains a full-frontal nude portrait of the lovely artist herself and is thus not the best gift idea for dear old Dad. No gift list of controversial religious art would be complete without
including Andres Serrano’s Piss Christ. An atheist I might be, but even I am able to understand why a photograph of crucified Christ submerged in a glass of the artist’s own urine was deemed offensive enough to warrant an attack by outraged, axe-wielding Christians. That said, in the spirit of subversion Serrano’s piece cannot be overlooked. Moreover if you can fabricate momentary ignorance Piss Christ is actually quite a beautiful photograph: Jesus appears finally at peace as he gently floats in deep amber tones. In all likelihood 2010 will be the last family Christmas I’m invited to attend, but it’s a price I’m willing to pay to remind my nearest and dearest of the immutable power of art and the true meaning of Christmas.
Lily Tomlin is one of those actors that has never put a foot wrong, from Robert Altman’s 1975 musical Nashville to the two postMillennium David O’Russell films Flirting With Disaster and I Heart Huckabees (the latter probably her last ever with the director, if the evidence on YouTube is anything to go by), and an amazing stint on The West Wing. Tomlin’s also got quite the history in the sketch comedy and stand-ups fields, too, with her telephone operator Ernestine character from Laugh-In one of her most recognisable routines, whilst regular appearances on Saturday Night Live and her own “specials”, called Lily, cementing her names in the annals of television comedy. Now Tomlin – a recipient of the Mark Twain Prize for American Humour (other winners include Richard Pryor, Whoopi Goldberg, Steve Martin, and most recently Tina Fey) – is heading to Australia for a national stand-up tour, presenting her most memorable characters live on stage. She will play Brisbane Powerhouse Wednesday 2 March. Tickets go on sale Friday 17 December through the venue.
BEHIND THE RAGE RAGE PRODUCER NARELLE GEE TALKS TO LIZ GIUFFRE ABOUT HER NEW BOOK, REAL WILD CHILD! TALES FROM THE RAGE COUCH.
arelle Gee is the lady many of us have to thank for our musical education. As the producer of Rage for over a decade she handed musicians the keys to the Rage kingdom and let them reign supreme. Now that she’s out in the real world again she’s put pen to paper to share with us mere mortals some of what went on behind the scenes. The resulting book, Real Wild Child! Tales From The Rage Couch is an insider’s view, but also a fan’s notebook. “I did say how nice it is to meet your idols so that they can make fun of you as well,” she says. “It’s great when you get to meet bands you’ve loved forever and then you meet them and they’re really lovely and then you love them even more.” While we watch Rage usually late on a Friday or Saturday night, that musical television awesomeness comes at a cost to producers like Gee. The beauty of Rage is that there’s no host to guide the musicians, no one to prompt or ‘coerce’ the right response. But the bad side of that is often musicians, given that much freedom, are a little
unsure of what to do. “I have had people freak out,” Gee says. “I remember Wayne Coyne from the Flaming Lips, who was doing a wonderful job of hosting, a fantastic job, and then he sort of stopped half way and said, ‘Am I doing okay, is this what you want?’, and I said, ‘Are you kidding? This you can do this every Saturday night, you’re doing a great job.’ But lots of people are a little unsure. I remember David Byrne was particularly thrown by the concept. He was like, ‘Oh, I’m a TV host. Oh, how do I do that?’ And other people just love it. “Australian bands you know, have
grown up with Rage and dream of the opportunity to do it one day, to get their spot on the couch,” Gee says. Pausing, she adds the other beauty of Rage, how it lets musicians show their own fandom. “Yeah, we get people [who come on Rage] who walk around with lists of what they would choose if they got to go on one day, you know, lists in their wallets, these tattered little lists - it’s fantastic when you encounter that.” As you’d expect the book is a mixture of tales of ‘tired and emotional’ artists (told lovingly, but hilariously), as well as those who give those titbits that you wouldn’t have expected.
“I love the clowns [who muck about and don’t take it too seriously], but I also love the people who did get quite deep and meaningful on the couch and who talk about, I think Trent Reznor was one who talked about the difficulty of making music and told this wonderful story about being in this lonely beach house and trying to write songs and struggling, and how he would jump up and dance to hip hop tracks and was such a bizarre and unexpected insight into writing a Nine Inch Nails album.” WHAT: Real Wild Child! Tales From The Rage Couch (Harper Collins)
alf sublime sonnet, half gut-wrenching elegy, Blue Valentine is a film that inhabits your soul. The second feature from writer-director Derek Cianfrance, this critical and film festival favourite stars Michelle Williams (Wendy & Lucy) and Ryan Gosling (Half Nelson) as young couple Cindy and Dean, who fall desperately in love, before their bridal waltz becomes a danse macabre as the relationship unravels six years later. Moving between the glorious glow of their courtship and their last ditch effort to patch things up in a tacky motel (in a wry conceit, Cianfrance literally places them in a ‘future room’), the filmmaker allows his two characters, just like the two distinct halves of the film, to perfectly, and poignantly, play off each other. “I’ve always seen the film as a duet, or a duel, between opposites,” shares Cianfrance. “Between a man and a woman; between their past and their present; between love and hate; between their long-term memory and their short term memory; between the aesthetics of film and video. I was inspired by The Godfather Part II; the idea of the rise of the father cross-cut with the fall of the son. “In [the] 12 years I had to think about the movie, I would spend so much time just meditating on a magnet. How it’s the positive and the negative in one thing, [and] that [it] exists in nature, without any explanations.” In truth, Blue Valentine has been gestating for far longer than 12 years. Cianfrance admits the story stems from his childhood fear that his parents would divorce. And they eventually did, when he was 20, the same age as Cindy and Dean when they first meet. “To me it’s really the child’s perspective in the movie,” Cianfrance reveals. “The movie isn’t about my parents, at all, it’s about me, and people of my generation who are trying to deal [by] not repeating what we saw our parents do. It’s about us trying to avoid our destiny. “There is this erosive power of time that often comes [into a marriage], and it’s the same power that can turn a mountain into a pebble.” In battling with the spectre of divorce, Blue Valentine is certainly confronting. It’s a film that provokes as much deep self-reflection as it does heated discussion about the characters’ foibles and the recipient of your sympathies. And while Cianfrance describes his film as ‘a cautionary tale,’ and suggests discussion is ‘healthy,’ especially for couples brave enough to see the film together, he does admit, “I do know some friends who split up [after watching the film].
ALICE TYNAN SPEAKS TO WRITER/ DIRECTOR DEREK CIANFRANCE ABOUT HIS NEW FILM BLUE VALENTINE, A RAW PORTRAYAL OF LOVE STARRING MICHELLE WILLIAMS AND RYAN GOSLING. “That’s always been my dilemma in relationships: you can be 100 per cent of a person, then you meet someone else who is 100 per cent of a person… What happens when you start living as a pair and you become half of a whole? What happens to the other half of you?” Such questioning ripples through Blue Valentine, and at times boldly bursts to the surface as Dean openly questions ideas of success, masculinity, and love. The filmmaker, however, is perfectly happy leaving these complex and potentially polarising questions unanswered. “I feel like movies can be very arrogant,” he says. “So many movies have perfect people up on the screen, they speak perfect sentences, they know what they want, they have inciting incidences in their lives, and [at the] end of the second act they’re about ready to have their catharsis. But I don’t know people like that, you know? I know people who are yearning and bewildered and confused and who don’t have the answers. “With Blue Valentine, there is no AY RSD THU S RT STA
message, there [are] questions. And I don’t pretend to have any answers to any of these questions. I was inspired for so many years by that song by The Supremes, Where Did Our Love Go. That became a perennial hit, so I thought I could do the same with Blue Valentine!” The question mark hovering over Cindy and Dean’s love gradually becomes glaring as the film bounds between the six years of their relationship. Visually, Cianfrance achieves this distinction by shooting the past handheld on super 16mm with lots of warm, saturating reds, while the present is conveyed in stark blues with the sharp focus of the HD RED camera. For Williams and Gosling, the years show through weight gain and hair loss, as well as the requisite shift in the emotional landscape. Cianfrance admits this transformation was by no means an easy one. “Shooting the past of Blue Valentine was such a vacation for all of us; it was like making a documentary of two people falling in love, of two beautiful people, Ryan and Michelle,
getting to know each other on screen. None of us actually wanted to shoot the present, we just wanted to call the film ‘Valentine’ and forget about the present part! “It was just incredibly difficult to get them to start fighting,” he admits. “[Then] I looked at my son, Walker, who would make these incredible block houses and then at the end of the night he would have to tear them down, and it was so painful to him. So I told Ryan and Michelle, “We can’t be so precious about this. We have to destroy it.” And they did. They lit their wedding picture on fire and from that moment forward they were good, they could start arguing.” For Cianfrance’s duel, his duet, everything hinges on the actors’ transition. It’s a raw and exquisite dichotomy that Williams and Gosling masterfully embody. “They’re beautiful, magical people, and they showed that they could go to the heavens and to the basement.” WHERE & WHEN: Screening in cinemas from 26 December
TRON:LEGACY THURSDAY, 16 DECEMBER 2010
SUNDAY, 19 DECEMBER 2010
FRIDAY, 17 DECEMBER 2010
MONDAY, 20 DECEMBER 2010
10:00 AM, 12:30 PM, 3:30 PM, 6:30 PM, 9:00 PM 10:00 AM, 12:30 PM, 3:30 PM, 6:30 PM, 9:00 PM
SATURDAY, 18 DECEMBER 2010 10:00 AM,12:30 PM, 3:30 PM, 6:00 PM, 8:30 PM
LEVEL 1, 151 BAROONA ROAD, ROSALIE, PH: 3876 4566, WWW.BLUEROOMCINEBAR.COM
GIVEAWAY! One of the great TV shows from the 1990s, American Gothic is notorious partly due to the fact CBS, who broadcast the series, decided to show the episodes out of order, as well as, well, it being the weirdest show since Twin Peaks. A horror tale, it told the story of the seriously twisted Sheriff Lucas Buck (played by Gary Cole) and orphan Caleb Temple, and the creepy shit that happens in the ton of Trinity. Thanks to Madman Entertainment, Via Vision, and Universal we’ve got five copies of the complete American Gothic (it lasted one season) to giveaway. For your chance to win a copy, email email@example.com with ‘AMERICAN GOTHIC’ in the subject line.
AY RSD THU S T R STA
G WIN HO WS O N
PURCHASE THE BLUE CINEBAR PACKAGROOM WHICH INCLUD E ES: ADMISSION, IN MEAL, BEER/WIN-CINEMA HOT E/SPARKLING AND MINI CHOC ALL FOR $39 AD -TOP $35 STUDENTS ULTS, AN $30 TUESDAYS D
10:00 AM,12:30 PM, 3:30 PM, 6:00 PM, 8:30 PM 6:30 PM, 9:00 PM
TUESDAY, 21 DECEMBER 2010 10:00 AM, 12:30 PM, 3:30 PM, 6:30 PM, 9:00 PM
WEDNESDAY, 22 DECEMBER 2010 12:30 PM, 3:30 PM, 9:00 PM
BARRACKS 07 3367 1954 61 PETRIE TCE, TOP OF CAXTON ST CENTRO 07 3852 4488 39 JAMES STREET, THE VALLEY
LOVE & OTHER DRUGS
FAIR GAME (M)
ADVANCE SCREENINGS (M) (NO FREE TIX)
(MA15+) (NO FREE TIX)
FRI 1.30, 4.15, 6.30, 8.45PM SAT/SUN 11.45, 3.40, 6.30, 8.45PM
THU 11.30, 2.00, 4.15, 9.00PM FRI 12.10, 4.30, 6.45, 9.00PM SAT 12.45, 5.05, 7.15, 9.30PM SUN 11.35, 1.45, 6.45, 9.00PM MON/TUE 12.10, 4.30, 7.00, 9.15PM
WED 11.00, 1.30, 3.45, 7.00(SOLD OUT), 9.20PM THU 10.00, 2.30, 9.30PM FRI 10.00, 2.25, 9.30PM SAT 10.30, 3.00, 9.30PM SUN 9.30AM, 9.30PM MON/TUE 10.00, 2.35, 7.15, 9.30PM
WED 9.45, 3.25, 9.30PM THU/MON/TUE 10.00, 2.30, 6.15PM FRI 10.00, 2.30, 7.15PM SAT/SUN 10.00, 2.30, 7.45PM
THE KING’S SPEECH: ADVANCE SCREENINGS (M) (NO FREE TIX)
FRI/SAT 2.00, 4.15, 6.30PM SUN 2.15, 6.40PM
BLUE VALENTINE: ADVANCE SCREENING (CTC) (NO FREE TIX)
THURSDAY 15TH DECEMBER TO 21ST DECEMBER 2010
LOVE AND OTHER DRUGS @ CENTRO FRIDAY DEC 17 9PM
TRON: LEGACY 3D (PG) (NO FREE TIX)
STARTS DECEMBER 16TH
THU 10.30(SOLD OUT), 3.15, 6.45PM FRI/SAT 12.00, 4.40, 7.05PM SUN 9.30, 4.40, 7.05, 9.30PM MON/TUE 10.30, 1.00, 3.30, 6.45PM
THE CHRONICLES OF NARNIA: VOYAGE OF THE DAWN TREADER 2D (PG) WED 11.40, 4.00PM THU 1.00, 4.00, 6.30PM FRI 9.45, 2.30, 6.50PM SAT 9.45, 2.30, 7.00PM SUN 9.45, 1.00, 7.00PM MON/TUE 10.00, 2.20, 7.00PM
HARRY POTTER & THE DEATHLY HALLOWS: PART 1 (M) WED 12.00, 3.00, 6.00, 9.00PM THU 10.00, 1.00, 8.45PM FRI 11.00, 4.00, 9.05PM SAT 1.00, 4.00, 9.15PM SUN 10.15, 4.00, 9.15PM MON-TUE 10.10, 1.00, 4.00, 9.15PM
CULT CINEMA RETURNS:THE WHO: THE KIDS ARE ALRIGHT (M) (NO FREE TIX) FRI 9PM
BLUE VALENTINE (CTC) (NO FREE TIX) SPECIAL ADVANCED SCREENING
MONSTERS (M) WED 11.25, 3.05, 9.00PM THU/MON/TUE 11.45, 3.30, 7.15PM FRI 11.45, 9.00PM SAT/SUN 1.55, 9.30PM
GASLAND (PG) WED 11.30AM THU/MON/TUE 12.30, 4.15, 8.00PM FRI 12.30PM SAT/SUN 12.30, 4.15PM
THE KIDS ARE ALRIGHT CULT CINEMA @ CENTRO FRIDAY DEC 17 9PM
07 3852 4488
THE KING’S SPEECH (M) (NO FREE TIX) ADVANCED SCREENINGS
FRI- SUN 2.20, 4.30, 6.45PM
SOMEWHERE (M) (NO FREE TIX) ADVANCED SCREENINGS FRI 10.20, 8.50PM SAT 10.00, 8.50PM SUN 2.00, 9.00PM
HEARTBREAKER (M) (NO FREE TIX) ADVANCED SCREENINGS
FRI/ SAT 2.50, 9.10PM SUN 10.00, 8.40PM
SARAH’S KEY (M) (NO FREE TIX) ADVANCED SCREENINGS CHLOE (MA15+) FRI- SUN 2.00, 8.45PM
I’M STILL HERE (MA15+) WED 12.30, 4.50, 9.10PM THU/ MON 12.20, 4.40, 9.00PM FRI- SUN 4.20PM TUE 12.20, 4.40, 8.50PM
AGORA (MA15+) WED 10.15, 1.00, 6.20, 8.50PM THU/ MON 10.15, 1.00, 3.45, 9.10PM FRI/ SAT 10.30, 1.00, 3.30, 6.20PM SUN 10.10, 1.30, 6.30, 9.00PM TUE 10.15, 1.00, 3.45, 6.30, 9.00PM
FAIR GAME (M) WED 2.30, 4.40, 6.50, 9.00PM THU/ MON/TUE 10.30, 12.45, 6.20, 8.40PM FRI/SAT 12.50, 4.50, 6.50PM SUN 12.00, 4.15, 6.20PM
WED 10.00, 1.40, 6.40PM THU 1.40, 3.50, 6.50, 8.50PM FRI 10.00, 12.20, 6.30PM SAT 6.30, 9.00PM SUN 10.00, 12.30, 6.30PM MON/TUE 12.50, 2.50, 4.50, 6.45, 8.45PM
HARRY POTTER & THE DEATHLY HALLOWS (M) WED 10.40, 3.40, 8.40PM THU 10.40AM FRI/ SAT/ MON/TUE 10.00AM SUN 10.30AM
WINTERS BONE (MA15+) WED 10.20, 2.45, 7.00PM THU/ MON 10.10, 2.30PM FRI- SUN 12.00PM TUE 10.10, 2.30, 6.50PM
BRAVE NEW ART WORLD THE GALLERY OF MODERN ART IS GEARING UP FOR ITS NEXT SHOW, A MASSIVE RETROSPECTIVE OF ART FROM THE FIRST DECADE OF THE 21ST CENTURY. HELEN STRINGER SPEAKS TO GOMA’S CURATOR OF CONTEMPORARY INTERNATIONAL ART NICHOLAS CHAMBERS.
risbane’s Gallery of Modern Art has had an impressive year, playing host to the Asia Pacific Triennial Of Contemporary Art, the moody Unnerved: The New Zealand Project, and the immensely popular Valentino Retrospective. The gallery’s latest exhibition Art In The First Decade is an opportunity to showcase GoMA’s ever growing acquisitions and provide a timely forum for a discussion of contemporary art in the closing days of the 21st Century’s first decade. Describing such an undertaking as ambitious seems rather inadequate, all things considered. As GoMA’s curator of contemporary international art Nicholas Chambers is quick to explain, the exhibition is but one part of Art In The First Decade; the project also includes a blog, an extensive children’s programme of interactive works, two publications, and two major cinema programmes. The exhibition, however, is not so much an attempt at creating a definitive retrospective of the decade’s art but a demonstration of the increasingly amorphous nature of contemporary art. Art has always been a nebulous beast, but as Chambers explains, with the rise of social media and commensurate softening of social borders art is now defined more fluidly. The first decade can be more accurately categorised by its inclusivity rather than its exclusivity; in the 21st Century art defies traditional boundaries. And seeing the immense range of works on display - GoMA has amassed over 220 works by artists from 42 different countries - it’s easy to believe that the global era has truly arrived. In light of this, the very title of the exhibition becomes provocative: what constitutes art in the first decade? What distinguishes this decade from
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those that came before? They’re undoubtedly big questions, but provoking a discussion on the very nature of contemporary art is precisely the point of taking on a project so bold. “We’re all very mindful of that,” says Chambers. “It’s in no way an attempt to present an encyclopaedic view of contemporary practice. The gallery is very much thinking of this exhibition as a collection exhibition; it’s a way of looking at art practice in the last decade, but very much through the lens of a particular collection. “There is no single trend or defining characteristic of art in the past decade… what the exhibition is trying to do is look at a number of developments in terms of the kinds of themes that artists have been interested in investigating and also the approach they’ve [taken].” The opening piece, an installation by Stockholm-based artist Carsten Höller consisting of two spiral-shaped slides that will propel participating viewers from the gallery’s third floor to its ground level, is an apt representation of the querulous, provocative and multidimensional nature of contemporary art. The modern viewer expects contemporary art to be experiential, participatory, even entertaining: stepping inside an art gallery to watch grown men and women being hurtled down three floors in semi-transparent slipperydips therefore seems a perfectly fitting introduction. “I think art can be both playful and serious at the same time,” says Chambers. “The question of how we experience art is a very important one for many works in the exhibition. Artists such as Martin Creed, Carsten Höller, and Rirkrit Tirvanija have created works which implicate the viewer in different ways. We might think of their works as catalysts for
different types of physical encounters, not only with the art work but also with other viewers in the gallery.” Indeed, many of the exhibition’s major international commissions demonstrate precisely this modern tendency towards art as an experience rather than a passive activity. Turner Prize winner Creed’s Half the air in a given space sees a room half filled with balloons- which collectively hold precisely half the volume of air of the space - is as demonstrative of this tendency as are Höller’s spiral slides. Likewise Leandro Erlich’s Swimming Pool an installation that plays on both participation and perception - is as playful as it is evocative. “This idea of artists working with experience as a kind of material is an idea that’s been developing for a number of decades,” explains Chambers. “This idea of participation has been really central… but it’s
also reflecting on the way that museums have changed… and the different expectations we have from visitors. There’s this idea of the viewer becoming a performer in the gallery so artists are creating these performative situations.” Art In The First Decade, however, is not simply an art playground. The project is equally an exploration of artistic responses to global change. The gallery’s new acquisitions - being shown here for the first time - come from artists from all over the world: sculptures from Benin; drawings from Côte d’Ivoire; photographs from Iran, South Africa, and Switzerland; all artists with their own peculiar responses to global change in the 21st Century. Says Chambers of the gallery’s international collection, “We have a very broad scope in terms of the parts of the world we collect from. But once again, we don’t
and enlivens the mind’s eye of the player people will still think you’re weird and that will make you want to knock them out and search their person for weaponry and boots. There will be at least one person into salsa dancing. Don’t outwardly cringe, you love salsa dancing, too bad you put your back out mowing gran’s lawn.
probably started playing Pac-Man around the same time you did; just because she chose not to go on to experience the glory and power of being a successful gangsta or a cybernetically enhanced supersoldier does not make her simple. It’s just a life choice, like the Amish. She wants something personal but where you fail at that money will substitute. Buy something expensive but returnable and leave the receipt where she can find it. Sit back, relax, and wait for her coy confession that your gift has been returned but for that thing she really wanted but you were too busy nodding your head and combining a chainsaw with a bucket to take out the undead to hear what she said.
RED DEAD REDEMPTION
GUEST EDITION WITH COLIN HANLON So this is Christmas? Yep. What have you done? Well, I’ve unlocked 43 achievements in Red Dead Redemption, I’ve traversed the apocalypse scorched Earth in Fallout: New Vegas, I’ve even busted a few ghosts. It’s been a rather productive year. Year-round my gaming consoles bring me joy but now is the time to embrace family, friends, food, and festivities and put away my avatars and actually show my face in public.
CÉLESTE BOURSIER-MOUGENOT / FROM HERE TO EAR (VERSION 3), 2002 / INSTALLATION VIEW, PARCOURS SAINT-GERMAIN, ÉCOLE DES BEAUX-ARTS DE PARIS, FRANCE, 2002 / PHOTOGRAPH: HERVÉ ABBADIE / © CÉLESTE BOURSIER-MOUGENOT / IMAGE COURTESY: GALERIE XIPPAS
It’s not going to be easy. Christmas is always a strain on relationships, even without a serious Xbox addiction. With this in mind I bring you the gamer’s guide to the holidays and how not to be alone at the end of them. Over the holidays you will not be able to avoid social interaction with your girlfriend’s friends. When at your girlfriend’s work Christmas party, unless there’s at least one chubby dude in a zombie referencing novelty T-shirt do not talk about games. No matter how passionately you argue that gameplay engages the senses
Your girlfriend may want to throw a Christmas party. Review your relationship. Do you really like her? Will the day of the party coincide with you completing one of the more awesome games that have been on offer this year? There’s a lot to consider and frankly you might be better off throwing a couple of hundred bucks for a venue, leaving early clutching your stomach, mumbling about a bug all the while assuring your girlfriend that you can make it home by yourself, you don’t want her to miss out on the party just because you have a little boo-boo. Presents. Very important, do not fuck this bit up. Do not buy your girlfriend a game you think she will like just because she keeps saying you two should do more things together. She
If at all possible don’t be seen by your girlfriend playing games on Christmas day. Sneak out of the bedroom in the small hours clutching a roll of wrapping paper in case you wake her, get your fix, and go back to bed. If you can at least be seen to hold great regard for the binging, bad joke telling ritual of Christmas you’ll give her the best present of all, hope.
try to do that in an encyclopaedic way. It’s about looking at different conversations and intersections between artists from quite disparate parts of the world.” The result is a collection that’s varied in both scope and theme. As Chambers explains, “On the one hand there’s a group of artists in the exhibition whose work is very much about dealing with the various issues that have confronted us as communities and individuals over the last decade…[but] there are other works in the exhibition that are dealing with more longstanding aesthetic and philosophical concerns.” The beauty of contemporary art,
and an exhibition such as this, is in its immediacy, in its relevance and perhaps even in the very lack of history that allows the individual to attribute value as - and indeed if - they choose. Fittingly then, GoMA’s Art In The First Decade is less a retrospective of art in the past ten years and more a celebration of its increasing universality and a recognition of art as the one language interpretable by all. WHAT: Art In The First Decade WHERE & WHEN: Gallery of Modern Art Saturday 18 December to 26 April, 2011
GIVEAWAYS! Bringing together two of the finest actors of their generation in Michael Fassbender (Hunger, Inglourious Basterds) and Dominic West (The Wire), plus ex-Bond girl Olga Kurylenko, and directed by Neil Marshall, he of The Descent fame, Centurion is set in Britain during the reign of the Romans and follows an army as they come face-to-face with a tribe who’s not too keen to let their land fall to a bunch of men in fancy clothes. Thanks to Hopscotch Entertainment we’ve five copies of Centurion to giveaway. For your chance to win one email give@timeoff. com.au with ‘CENTURION’ in the subject line. The IT Crowd, after starting out fairly low key, has grown into one of the most consistantly hilarious shows on television. Now in its fourth season, you can expect Italian for beginners, bomb scares, game shows, and divorce. Thanks to Roadshow we’ve five copies of the fourth season on DVD to giveaway. For your chance to win one email firstname.lastname@example.org with ‘IT CROWD’ in the subject line.
MUSIC COURSES PLAYTIME’S OVER – TIME TO PLAY! Do you want to build a future with your love of music, or take it to the next level? Jazzworx! Music Institute is the ultimate starting point for serious musicians.
Train with the best. Study under Jazzworx!’s talented music teachers who have world experience, across many disciplines. Jazzworx! will equip you with skills relevant to all styles of music – including rock, pop, folk, modern dance and classical. Apply today • No OP required • Entry by audition Course options include: • Bachelor of Music in Jazz Performance • Diploma of Music (Jazz Performance) Apply today! www.jazz.qld.edu.au 07 3216 1110
The Whitlams perform LIVE their quadruple platinum ARIA breakthrough album, ETERNAL NIGHTCAP.
SECOND SHOW NOW ON SALE 21 & 22 JANUARY CONCERT HALL, QPAC BOOK | QPAC.COM.AU | 136 246
Queensland Symphony Orchestra Featuring best-selling hits NO APHRODISIAC, CHARLIE NO. 2 and YOU SOUND LIKE LOUIS BURDETT. 35
ISSUE 1506 - WEDNESDAY 15 DE
SULPHUR LIGHTS NAME AND ROLE IN BAND: Daniel – guitarist
HOW LONG HAVE YOU BEEN TOGETHER?
WHICH PUB OR BAR IN BRISBANE ARE WE MOST LIKELY TO FIND YOU FREQUENTING AS A GROUP?
I’m not sure, it would have been The Troubadour which is sadly now closed, maybe The Step Inn.
HOW DID YOU ALL MEET?
WHAT REALITY TV SHOW WOULD YOU ENTER AS A BAND AND WHY?
YOU’RE ON TOUR IN THE VAN – WHICH BAND OR ARTIST IS GOING TO KEEP THE MOST PEOPLE HAPPY IF WE THROW THEM ON THE STEREO? Hasil Adkins for a while and then probably Dick Dale.
IF YOUR BAND HAD TO PLAY A TEAM SPORT INSTEAD OF BEING MUSICIANS WHICH SPORT WOULD IT BE AND WHY WOULD YOU BE TRIUMPHANT?
IF YOU COULD CHOOSE THE BAND’S DESTINY HOW BIG WOULD YOU GET – WOULD YOU CONQUER THE WORLD OR BE HAPPY TO BE A BIG FISH IN A SMALL POND?
WHAT’S IN THE PIPELINE FOR THE BAND IN THE SHORT TERM?
Around two years.
Living in a small town and inevitably meeting the people you share interests with.
I have no real ambition, I’m pretty happy where I am.
WHICH BRISBANE BANDS BEFORE YOU HAVE BEEN AN INSPIRATION (MUSICALLY OR OTHERWISE)? The Saints, Young Identities, Just Urbain
The only one that I can think of at the moment is Survivor so I guess that. We could survive in the wilderness.
Dodgeball – we can all throw really hard.
We’re releasing a split 7” with Geese in the not too distant future, and although nothing’s planned yet we’d like to play more interstate shows in the New Year. Sulphur Lights play Woodland on Tuesday Jan 11. Photo by BRAD MARSELLOS
GIG OF THEWEEK
BUILT TO SPILL: The Zoo Jan 2 FUTURE OF THE LEFT: The Zoo Jan 3
EL GUINCHO: Woodland Dec 16 JOHN CHANTLER: Step Inn Dec 16 LITTLE DRAGON: Woodland Dec 18 GORILLAZ: BEC Dec 19 BOBBY BROWN, JOHNNY GILL, RALPH TRESVANT: The Hi-Fi Dec 21 BUILT TO SPILL: The Zoo Jan 2 FLYING LOTUS: The Tivoli Jan 2 FUTURE OF THE LEFT: The Zoo Jan 3 DARKEST HOUR: The Hi-Fi Jan 4 SHIHAD: Great Northern Jan 5, Surfers Paradise Beer Garden Jan 6, Villa Noosa Jan 7, The Zoo Jan 8 DAN MANGAN: Buddha Bar Jan 6, Old QLD Museum Jan 7, The Loft Jan 8 EARTHLESS: The Zoo Jan 6 MYSTERY JETS: The Hi-Fi Jan 6 THE JON SPENCER BLUES EXPLOSION: The Zoo Jan 9 EMMURE: The Fort Jan 12, Club 299 Jan 12 JASON COLLETT: The Zoo Jan 13, Joe’s Waterhole Jan 14, The Loft Jan 15, Great Northern Jan 16 MOS DEF: The Tivoli Jan 13 HEALTH: Woodland Jan 15 JUDY COLLINS: QPAC Jan 15, The Events Ctr Jan 16 BEN JORGENSEN: Rosie’s Jan 20 ROYAL CROWN REVUE: The Hi-Fi Jan 20 BEACH HOUSE: Mullumbimby Civic Hall Jan 22 CHARLIE PARR: Buddha Bar Jan 22, Old QLD Museum Jan 23 GUILTY SIMPSON, PHAT KAT: X & Y Jan 23 RATATAT: The Hi-Fi Jan 24 TOOL: BEC Jan 24 LA DISPUTE: The Zoo Jan 25, Burst City Jan 26 OWEN PALLETT: Old QLD Museum Jan 25 THE BLACK KEYS: The Tivoli Jan 25 NO TRIGGER: YAC Jan 26, Step Inn Jan 27 SKILLET: The Tivoli Jan 26 BROOKE FRASER: The Tivoli Jan 27 & 28 CAT POWER: Brisbane Powerhouse Jan 28, Coolangatta Hotel Jan 29 (HED).p.e.: The Hi-Fi Jan 28 TRAIN: Sirromet Wines Jan 30 SUFJAN STEVENS: The Tivoli Jan 30 KENNY ROGERS: Brisbane Convention Ctr Feb 1 THE UNTHANKS: Brisbane Powerhouse Feb 1 FOALS: Great Northern Feb 2 TWO DOOR CINEMA CLUB: Great Northern Feb 3 JOE COCKER: BEC Feb 4 MISFITS: The Hi-Fi Feb 6 STING: Riverstage Feb 7 ANDREW MCMAHON: The Hi-Fi Feb 10 LLOYD COLE’S SMALL ENSEMBLE: Old QLD Museum Feb 10 CARIBOU, FOUR TET: The Zoo Feb 15 DOVES: The Hi-Fi Feb 15 SWERVEDRIVER: The Zoo Feb 16 BLACK MOUNTAIN: The Zoo Feb 17 BELINDA CARLISLE: Twin Towns Feb 18, Kedron Wavell Services Club Feb 19 LAMB: The Hi-Fi Feb 18 THE LIKE: The Zoo Feb 18 KATE NASH: The Hi-Fi Feb 19 M. WARD: The Tivoli Feb 19 THE BOOKS: The Zoo Feb 19 TRICKY: The Zoo Feb 20 TORO Y MOI: Woodland Feb 24 GANG OF FOUR: The Hi-Fi Feb 25 RIHANNA: BEC Feb 25 MARTHA WAINWRIGHT: A & I Hall Feb 26, The Tivoli Mar 1 ROXY MUSIC: Riverstage Mar 1 IMELDA MAY: Great Northern Mar 2, The Hi-Fi Mar 3 KE$HA: Riverstage Mar 3 JOANNA NEWSOM: The Tivoli Mar 4 THE CHEMICAL BROTHERS: Riverstage Mar 4 KINGS OF LEON: QSAC Mar 6
THE JON SPENCER BLUES EXPLOSION: The Zoo Jan 11 OWEN PALLETT: Old Museum Jan 25 FOALS: Great Northern Hotel Feb 2 TWO DOOR CINEMA CLUB: Great Northern Hotel Feb 3 CARIBOU & FOUR TET: The Zoo Feb 15 DOVES: The Hi-Fi Feb 15 SWERVEDRIVER: The Zoo Feb 16 LAMB: The Hi-Fi Feb 18 KATE NASH: The Hi-Fi Feb 19
THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4
BRISBANE ENTERTAINMENT CENTRE SUNDAY DEC 19 The planet’s foremost ‘virtual band’ Gorillaz is ﬁnally dragging its Plastic Beach Tour to Brisbane this weekend, and if the hype from down south is to be believed, it’s a show not to be missed. Mainman Damon Albarn has a list of collaborators as long as your arm helping him out in this massive extravaganza, most excitingly including legendary ex-members of The Clash Mick Jones and Paul Simonon – rock’n’roll royalty indeed. If that’s not enough, then they’ve also bought out the big guns for support acts: none other than legendary hip hop exponents De La Soul and emerging Scandinavian quartet Little Dragon. What more do you want? Catch this outstanding international trio at BEC this Sunday evening, it’s bound to be out of this world...
WAV VES: The Zoo Mar 8 THE HOLD STEADY: The Zoo Mar 9 THE CLEAN: The Zoo Mar 10 STONE TEMPLE PILOTS: Brisbane Riverstage Mar 23 BLUESFEST 2011: Byron Bay Apr 21-25 KYUSS LIVES: Coolangatta Hotel May 4, The Tivoli May 6
U2 @ Suncorp Stadium by Stephen Booth
SUNCORP STADIUM: 08.12.10 & 09.12.10
Like a countdown to lift-oﬀ, people start queuing two days before the show. They surge into the stadium four hours early – even a clock running fast can’t keep up with the anticipation of a full house ready for the most state-of-the-art rock show in the world.
the stadium. Those of us on the ﬂoor bask in the instant mobility of the band walking, running and at times disappearing along the endless catwalk. Being up close used to be special – the prized place at a rock concert – but even here where the front row is everywhere, it’s still the traditional rock paradigm. It’s only when we leave the inner circle and go way up into the bleachers that songs like New Year’s Day, Magniﬁcent and Mysterious Ways take on the life that the band obviously envisaged. During Elevation and Until Th e End Of Th e World, you realise the masterstroke of the 360 Tour: it’s the ﬁ rst stadium show where it’s better at the back!
It must be weird for Jay-Z to be the support act, but you don’t become hip hop heavyweight champion of the world without being a consummate entertainer. With a ten-piece band in tow (brass section and all), plenty of swagger and a trunk of tunes bursting with bounce, On To Th e Next One, 99 Problems, the gangstered-up Forever Young and Big Pimpin’ are just some of the big-name cuts unloaded by Jay-Z and sidekick Memphis Bleek. He convincingly wins over plenty who didn’t come to hear a rapper.
It’s a close encounter of the interstellar kind as new song Mercy and the sprawling Bad pull us into the band’s direct gaze with hundreds of lights and a video screen that encapsulates everyone. On this 30th anniversary of John Lennon’s death, his music slips regularly in and out of the set as well as multiple dedications, such as Pride.
Taller than the actual stadium, the gargantuan and futuristic 360-degree stage transforms with military and mesmerising precision and it’s from under the echoes of Bowie that the four members of U2 casually stroll out of 35 years of rock music lore and onto their latest creation. Opener Beautiful Day is a light switch as the mammoth visual arcadia engulfs
The bedazzling tech does subside once you focus on the action: the sweet serenade between Bono and an audience member during In A Little While and Miss Sarajevo, the interplay as one band member crosses paths with another, and I’ ll Go Crazy… when even Larry Mullen Jr gets mobile and leaves the stage completely empty – it’s now simply an accessory.
When the mammoth screen expands and drops for City Of Blinding Lights and Vertigo, you simply don’t know where to focus and everything around you seems so close. Re-invention is nothing new for this band – the streets of Tehran sharpen the focus towards a new Sunday Bloody Sunday. While politics doesn’t overtake the night (even K.Rudd strolls barely noticed through the crowd), set closer Walk On becomes an Amnesty International advertisement and a few words from Desmond Tutu ask us to think outside of these four walls. It’s not an encore anymore – it’s just the subtle preparation that the show is coming to a close except for those most timeless of songs. One, Where Th e Streets Have No Name, With Or Without You and Moment Of Surrender swell in the chests of everyone when there’s 70,000-odd people singing with you – even the old man beside me stands and raises his arms as high as his body will still let him. U2 aren’t about reality – tonight it’s the suspension of the mundane. They still sing their songs about possibility and when a stadium-sized audience joins in, it’s enough to make you wonder if people can still change the world, one song at a time. ALEX GILLIES
Almaryse Almaryse &
THE FRILL OF THE FIGHT
FIRST EVA SINGLE UNLEASH
Featuring Skye Staniford (Sensual Solo Set)
Tenda McFly (Fresh Hip Hop) Connor Dowling
(Dance break VOGUE Extravaganza)
The Chart Of Truth (ANTmusic)
Mistress of Ceremonies Barbra Windsor-Woo (Dressed by Leigh Buchanan)
SUNDAY DEC 19TH ~ 5:30PM
Tickets $20 Bookings PH 3216 1115
Hills StageDoor Dinner Theatre 4 Cintra Road Bowen (underneath Twelfth Night Theatre)
&$-$1 3(.- ).-$2 The stars of Brisbane Festival’s Cantina show off their skills for free in King George Square In the week leading up to Christmas see Lady Torpedo and the Big Swing Brothers perform heart-stopping circus with a nod to vaudeville and a wink to the future, supported by Australia’s hottest swing band, Miguel.
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Brisbane’s favourite youth circus, Flipside circus, kick start the evening with an energetic mix of traditional and contemporary circus. DATE
Mon 20 – Thu 23 Dec
Flipside Circus 6pm Lady Torpedo and the Big Swing Brothers 7.30pm Miguel 8.30pm
King George Square
For more information visit www.ourbrisbane.com/christmas
playing next at:
The BEETLE BAR (Upper Roma Street - Backpackers Central)
Friday 17th December with special Guests
Mick Medew and The Rumours Proudly supported by
The Prehistorics (sydney) The Dustbin Hoffmans CD available at Gig 39
TOUR GUIDE BELLE & SEBASTIAN: The Tivoli Mar 7 WAVVES: The Zoo Mar 8 THE HOLD STEADY: The Zoo Mar 9 ALAN JACKSON: BEC Mar 10 – 12 BEST COAST: Woodland Mar 10 EDDIE VEDDER: QPAC Mar 10 & 12 D.O.A.: Prince of Wales Mar 12, Shed 5 Mar 13 JUSTIN TOWNES EARLE: Step Inn Mar 10, Joe’s Waterhole Mar 11 THE CLEAN: The Zoo Mar 10 SWANS: The Hi-Fi Mar 11 THE BESNARD LAKES: The Zoo Mar 11 WEIRD AL YANKOVIC: Jupiters GC Mar 14, QPAC Mar 15 NEIL DIAMOND: BEC Mar 21 & 23 STONE TEMPLE PILOTS: Riverstage Mar 23 FINNTROLL: The Hi-Fi Mar 24 SANTANA: BEC Mar 24 LIONEL RICHIE: BEC Mar 25 URIAH HEEP: The Tivoli Mar 31 LUKA BLOOM: The Tivoli Apr 1, Joe’s Waterhole Apr 2 CITY AND COLOUR: The Tivoli Apr 8 GOOD CHARLOTTE: BEC Apr 8 JIMMY EAT WORLD: The Tivoli Apr 9 THE SCRIPT: Brisbane Convention Ctr Apr 10 KEITH URBAN: BEC Apr 15 INDIGO GIRLS: QPAC Apr 26 JUSTIN BIEBER: BEC Apr 26 DISTURBED: BEC Apr 30 KYUSS: Coolangatta Hotel May 4, The Tivoli May 6 KATY PERRY: BEC May 5 & 15 SUICIDAL TENDENCIES: Coolangatta Hotel May 12, The Hi-Fi May 13 BEN FOLDS: QPAC May 17 JOE BONAMASSA: The Tivoli May 21 RANDY NEWMAN: QPAC Jul 22
HUMAN NATURE: Brisbane Convention Ctr Dec 15 STRAIGHT ARROWS: The Zoo Dec 16, Woodland Dec 17 THE FUMES: Coolangatta Hotel Dec 16, Joe’s Waterhole Dec 17, Great Northern Dec 18 TOE TO TOE: Step Inn Dec 17 GRINSPOON: Great Northern Dec 26, Yamba Bowling Club Dec 27 BRITISH INDIA: Suncorp Piazza Dec 31 THE BUTTERFLY EFFECT: Twin Towns Dec 31, Kings Beach Tavern Jan 2 BLUEJUICE, PHILADELPHIA GRAND JURY: Kings Beach Tavern Jan 5, Coolangatta Hotel Jan 6, Great Northern Jan 7 TUMBLEWEED: Great Northern Jan 9 THE BEAUTIFUL GIRLS: Great Northern Jan 12 & 13, Coolangatta Hotel Jan 14, The HiFi Jan 15, Kings Beach Tavern Jan 16 THE WHITLAMS: QPAC Jan 21 & 22 INXS, THE BABY ANIMALS: Sirromet Wines Jan 30 THE GETAWAY PLAN: The Hi-Fi Feb 12 – 13 OLD MAN RIVER, PASSENGER: Soundlounge Feb 18, Old QLD Museum Feb 19 THE NECKS: Byron Bay Community Centre Feb 18, Old QLD Museum Feb 19 SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8
NO SLEEP TIL BRISBANE: RNA Showgrounds Dec 19 WOODFORD FOLK FESTIVAL: Woodfordia Dec 27 – Jan 1 NO YEARS FESTIVAL: Brisbane Powerhouse Dec 31 THE BLU EXPERIENCE: Warner Street, Fortitude Valley Dec 31 SUNSET SOUNDS: Botanic Gardens and Riverstage Jan 5 and 6 BIG DAY OUT: Gold Coast Parklands Jan 23 LANEWAY FESTIVAL: Alexandria St Fortitude Valley Feb 4 GOOD VIBRATIONS: Gold Coast Parklands Feb 19 SOUNDWAVE: RNA Showgrounds Feb 26
and muddied by various conversations of countless indiﬀerent patrons. Even when backing musician Tim Byron swaps keys for bass guitar for the set’s noisy conclusion, it’s ultimately too little, too late.
Jebediah @ The Zoo by Silvana Macarone
The Fall, by contrast, are awarded complete attentiveness from their audience. Th is actually proves to be somewhat of an ironic reaction, though. The last thing the band’s sole permanent member (frontman Mark E Smith) seems concerned about is his audience. The band’s set begins with a 15-minute VJ performance of questionable skill and, following the appearance of each instrumentalist, Mark E Smith ﬁ nally appears – only to spend the next hour confusing his fans. Over the course of the band’s set, audiences observe Smith haphazardly dropping microphones on the ﬂoor, unrepentantly fucking with the set-up of any and every member on stage (including partially dismantling the kit of drummer Keiron Melling, turning oﬀ guitarist Peter Greenway and randomly bashing Elena Poulou’s keyboard with his microphone), reading lyrics oﬀ crumpled sheets of paper, disappearing from stage altogether and partially attacking a sound engineer attempting to ﬁ x a microphone mid-song. There has never been a performance quite like it – predominantly because any other band in the world would have lost their shit over such treatment and The Fall never do. On the contrary, they present perhaps the tightest and most visceral performance conceivable under the circumstances and barely so much as ﬂ inch when their fearless leader decides to make things more interesting. Each song in the band’s repertoire is, of course, largely of a piece – almost every number comprised of brutally simplistic dance rhythms, jagged postpunk guitar textures and Smith’s iconic yowling – but the band should still be considered heroes for being able to deliver such material under Smith’s unique tyranny. Amazing, to say the least.
JEBEDIAH, THE NOVOCAINES, DAN PARSONS THE ZOO: 10.12.10
Dan Parsons rings in the evening perfectly, his grizzled up folk rock blending seamlessly the ideals of Jebediah from the old school and Bob Evans of the new school. Warm textures and his accommodating voice make his songs feel instantly accessible and homely while recent single Firestarter shows the songwriting talent this local lad holds in heavy abundance. Three years since they last hit The Zoo stage, West Aussie kids The Novocaines come out swinging from the outset and put many punters quickly on the canvas with a red hot set of pure rock venom. Karlin Courtney puts a technical spine through rough, grunge songs while bred singer and born frontman Corey Marriott gives it as good as the greats, prancing around like vintage Mick Jagger with the same ability to hold an emotionally ﬁlthy note. Radio friendly numbers like Adhere To go down well but are far outshone by their more hectic numbers like Lovers Teeth. The whole band barely catch a breath for their 40 minute slot and almost melt in the process but with a crowd well-and-truly won by the end, the sticky slog is more than worth it. Sure Jebediah have released a couple of records since their commercial peak but it’s a journey down memory lane that the sold out crowd tonight is yearning for and the loved Perth four-piece deliver a set that elates those present. Kicking oﬀ with Fall Down, Kevin Mitchell’s vocals still sound awkward and unique while bass player Vanessa Thornton smiles with the joy of someone playing her ﬁrst ever headline show. Tracks like Puckdefender, Teﬂ on and Please Leave sound as fresh and ﬁt as ever while a far more clean cut and, ‘gasp’, adult Chris Daymond is tight and versatile with his guitar playing, locking in plenty of nice solos that ﬂow through the chunk riﬃ ng. A batch of the band’s more recent output slows the momentum midset but the screeching of Animal regains the direction of the ship and begins the home sail through the classics. A frantic take on Jerks Of Attention sees shit being lost everywhere while Feet Touch The Ground and new single Lost My Nerve close the main set with a blissed out air. An encore was always on the cards; Benedict tears into the crowd, Leaving Home enjoys the backing vocals of the whole room while Star Machine leaves the sweetest of tastes in the mouth. For a generation of music fans, it’s great to see some heroes very much back in the game. BENNY DOYLE
HOODOO GURUS, THE BREAK THE HI-FI: 11.12.10
Tonight The Hi-Fi contains some diﬀerent shades of punters, from couples celebrating their high school jams, to vintage rock nuts and the odd bunch of younger kids who’ve picked up these bands’ records of their own accord – it’s certainly a mixed bag.
MATT O’NEILL Kicking oﬀ the night is The Break, consisting of Rob Hirst, Martin Rotsey and Jim Moginie of Midnight Oil fame, but also featuring Brian Ritchie of Violent Femmes on bass. The Break oﬀer a tasty slice of raw, psychedelic surf rock, the type that doesn’t get oﬀered up too much anymore. With scrolling projections of surf imagery behind them on the backdrop, the four soon draw a crowd to the front of stage. While the sounds of Massacres and Five Rocks may be a far cry from their original groups, the synchronicity between them is undeniable, Hirst’s thumping shotgun snare hits and Ritchie’s psychotic bass breakdowns for Oysters Stomp create a wonderful new form of its own merit. As if the crowd wasn’t won over enough already, at the tail end they oﬀ the Oils’ Wedding Cake Island and a grab of Dick Dale’s Miserlou. It doesn’t take long soon for pub rock icons Hoodoo Gurus to appear and instantly burn their way into What’s In It For Me? and Tojo. For a group that’s been around for nearly 30 years, their energy is irresistibly infectious – guitarist Brad Shepherd powers away with the stamina of someone half his age while Dave Faulkner’s vocals are as sharp as ever throughout Quicksand. Being one of the country’s most cherished beer drinking acts, it’s inevitable that their set swings to a fully-ﬂedged greatest hits aﬀ air, and the crowd is absolutely delighted by the trio of Bittersweet, Come Anytime and 1000 Miles Away. While the band are in a brilliant form, it’s also been a long year on the road for them, and it’s not a popular moment when Faulkner announces the band will be taking an extended break after this tour is over, this however only seems to lead to the room savouring the moment evenmore, and with a pure fucking amazing rendition of Like Wow – Wipeout! closing their main set, they soon sprint back onto the stage to thank the adoring room once more with Poison Pen. Seeing Richard Grossman sweat over his bass, Mark Kingsmill still powering his kit, Shepherd spraying beer in the air as he drops his guitar for the harmonica and Dave slashing away at his telecaster, it makes you hope that it won’t be too long of a wait before we get another show like this from the Gurus. MARK BERESFORD
THE FALL, DAVE GRANEY THE HI-FI: 9.11.10
An Australian music legend, no-one would ever question Dave Graney’s right to support an act as visionary and inﬂuential as tonight’s headliners. The logic behind such a pairing, however, is not so unassailable. While the Melbourne troubadour delivers a more than respectable set to the gathered Fall devotees, his work is largely undone by an overly-loud mix, an indiﬀerent crowd and an inappropriate venue. A songwriter and guitarist of considerable ﬁ nesse and remarkable subtlety, Graney works like Let’s Kill God Again, Th e Royal Troll and All Our Friends Were Stars are simply too detail-driven to ever be sincerely appreciated blasted through a massive sound system
THE BOUNCING SOULS, HOT WATER MUSIC, DAVE HAUSE, HEADACHES THE ZOO: 11.12.10
The bond between Hot Water Music and The Bouncing Souls runs deeper than the surface, and tonight their aﬀection for one another certainly has translated to the fans. The Zoo is sold out and the audience is awash with fans from all demographics, but united by one common element: an intense love for punk rock. Openers Headaches are suﬀering from a bout of ﬁ rst act nerves but their performance could hardly be called a disappointment. The quartet ﬁ ll the void which Bodyjar left behind almost a year ago; pop punk with balls, played at lightning speed. One thing is for sure, blink and you missed it. Dave Hause is accompanied only by an acoustic guitar and a powerful voice; not just in terms of projection and pitch but an ability to well up an intense emotion deep within the soul. Only one song in and the audience are completely in awe of his blend of folk-punk. On this bill he sticks out like a sore thumb, yet strangely feels perfect for the mood. Co-headliners Hot Water Music appear to have somehow caught the audience oﬀ guard – most embrace a contemplative lean rather than deﬁ ant ﬁ sts. The veterans purvey a brand of post-hardcore that so many modern bands have tried to emulate, and failed miserably in the process. There’s a level of formulaic staleness which creeps in from time to time, but when frontman Chuck Ragan strums furiously with a youthful vigour, such faults are seldom bothering. The Bouncing Souls’ explosive energy is unrelenting, hammering out manically-fast melodic punk rock like they woke up the wrong side of ‘94. Curiously, singer Greg Attonito is the antithesis of a stereotypical punk with his immaculately preened shirt and tie. Although he looks like he’s drugged up on sedatives, the guy’s voice is unparalleled in power, barely even needing a microphone. Material from Ghosts On Th e Boardwalk is omitted from the set bar a few exceptions, but the audience members are clearly there for the classics with the rabble-rousing choruses blossoming into anthems. Tonight’s encore is where the magic really lies – Dave Hause and members from both bands all unite to share renditions of Hot Water Music’s Trusty Chords and Bouncing Souls’ True Believers. By this point, the camaraderie between the artists is all too clear. They all embrace each other as the mayhem unfolds beneath them, and even a few lucky audience members get to share this moment with their idols. “Th is is the best show of the best tour we’ve ever played” – it couldn’t have been said better. SCOTT THOMPSON
ROBBIE G GETS SHICKERED
They fancy themselves as Western Australia’s favourite drunk rockers and with a new EP by the name of 12 Months Wasted we can deﬁnitely get behind that. The Bob Gordons are packing up their bottles of booze and traipsing across the Nullarbor to pay us a visit on the weekend, aiming to show us why people over West have been raving about their relentless live show. The band pride themselves on working hard and adopting a DIY attitude (functioning alcoholics, you see) and delivering an honest brand of rock’n’roll that will make you want to go nuts. The band will drop by Fat Louie’s on Saturday night with local punks Prophet Margin. Entry is free and doors are at 8pm.
ONCE WAS LOST
THREE OF THE BEST Th ree of the most promising names in Australian blues and roots music are joining forces over summer to deliver to audiences what is be amongst the most exciting live music experiences to happen at the beginning of next year. Chase The Sun, pictured, have had a massive 2010 with the release of their new record Rednecks And Gentlemen and their hugely dynamic live show getting them rave reviews all over the country. Cass Eager and The Velvet Rope haven’t exactly been sleeping either with the release of a new EP and plenty of touring of their own. Capping oﬀ this big triple-bill is the rapidly rising Claude Hay who has been experiencing a great deal of success Stateside of late and will be showing you precisely why when he brings his awesome one man show to the party. You can see all of these acts at the Byron Bay Brewery Thursday Jan 20, The SoundLounge, Currumbin on Friday Jan 21 and Joe’s Waterhole, Eumundi Saturday Jan 22. The venues are who you’ll need to contact should you wish to reserve a ticket.
SUPPORTS STEP OUT OF THE LIGHT
Modern death metal veterans Darkest Hour are going to be in town awfully soon and the lucky bands who will line up in support have been announced. Lynchmada and Signal The Firing Squad have been given the nod for this show, making it a fantastic bill of heavy metal goodness from go to whoa. You’ll want to get to The Hi-Fi mighty early on Tuesday Jan 4 so as to not miss any of it. You can still grab tickets from Moshtix and the venue for $45 + bf.
BLAH BLAH BLAH BILLED AS THE ULTIMATE COVERS ROCK BAND, BLAH BLAH BLAH ARE FINALLY CALLING IT A DAY AFTER NEARLY TWO DECADES IN THE GAME. TONY MCMAHON CHATS TO EXBASSIST AND NOW MANAGER LEROY BATH FOR AN ANSWER TO THE OBVIOUS QUESTION OF WHY?
Sunshine Coast six-piece Founds have had a pretty exciting year thus far, with a bit of triple j attention, a slot conﬁrmed on the Big Day Out bill and a couple of nice little support gigs to boot. They are capping oﬀ the successful beginning to their life as a band with one ﬁnal show for 2010, which occurs this very Thursday night at The Zoo. The band’s eclectic brand of folk-pop will sit alongside a diverse range of acts performing on the night as a part of the Black Xmas extravaganza, including Sydney’s Straight Arrows and locals Black Vacation, Paang!, Keep On Dancin’s and Rio Lobotomy. Entry is free if you get there before 9pm (which you should because the band are on at 7.45pm) or $5 after that.
And what about songs Blah Blah Blah might pull out to mark the occasion? Any surprises? Bath says they’ll be sticking to a good thing. “Over the years one of the biggest songs the band has played is still Killing In The Name Of, so I think that might be the last one we play.” What was it like for Bath making the transition from original bass player to manager? It seems there was some pain initially, but he’s getting over it now.
BUSTIN’ A MOVE
The Funk’n Soul’d Out nights have been a real favourite Sunday night event for many people around Brisbane over the past 18 months, but that is all set to change. The night is shifting itself back 48 hours and will now hit The Globe Theatre on Friday nights from 2011, which will give it even more prominence on the local scene. The event has one last Sunday left in it though and electro-acoustic-hip hop collective Desmond Cheese will close it out with support from Scripted Dialects, and Blues Association performers of the year the Dillion James Band. Doors open at 7pm and entry will set you back ten bucks.
“18 years is quite a long time for any band, original or covers, and I think most of it is due to the age of the players now: we’re getting older and I guess are looking for other avenues to express our musical passions.” Naturally enough, Bath says that for their ﬁnal ever show, the band are looking to create something of a party atmosphere. “We’re aiming to have as many as possible of all past members of Blah Blah Blah at the last show. I’m sure there will be some serious upstaging of each other, so it’ll be a wild night with some very loud rock’n’roll being played.”
ONE LAST SUNSET
Local singer-songwriter Alison St Ledger has been conﬁrmed as the headline act for the latest instalment of QPAC’s Sunset Sessions, set to happen this Saturday evening. St Ledger has just come back from a tour of regional Queensland, getting along to all sorts of places performing the Brisbane Cabaret Festival show Tom Waits For No Man. Her adept touch at play a diverse range of genres will no doubt impress you greatly and get your Saturday night started with a bang. That’s not all you’ll get, though, with the fantastic Alesa Lajana also appearing on the night. It promises to be a very special night of song, it’s open to all ages and entry is completely free, so get yourself down to the Melbourne Street Green and see it for yourself. Th is is the ﬁnal Saturday night session in the series so don’t say we didn’t warn you!
ONOMATOPOEIA IS NOT DEAD
DON’T BE CONFUSED Sydney post-hardcore punks Caulﬁeld are all set to release their debut album Clarity In A Sea Of Confusion and to give the record the push that it deserves they are taking their high energy live show on the road to ensure that people get a feel for what this dynamic and exciting band are all about. They reckon the record is the perfect introduction to the band, who have been mighty busy since forming last year, and leadoﬀ single Bring Sunday is a considered piece of rock’n’roll that has some strong emotional pull. The band will take no prisoners when they stop by Rosie’s Thursday Jan 6, The Fort on Friday Jan 7 and Miami Shark Bar Saturday Jan 8 so get along to witness the rock for yourself.
Boom! Bap! Pow! With a name like that, we’re not entirely sure we’ll be able to do this band any semblance of justice. But hell, here goes. The group are a ﬁve-piece doo-wop soul band from Perth. They take their inﬂuence from the music of yesteryear but deliver it with a fresh spin, which makes them the perfect choice of support for legendary American swing group Royal Crown Revue on their upcoming Australian tour. You can catch both of these groups bringing back some of this golden era music when they drop by The Hi-Fi on Thursday Jan 20. Tickets are available from Moshtix and the venue right now for $49.50 + bf.
DICK GETS THEATRICAL
As they prepare to take this big new show to the Woodford Folk Festival, Dick Desert will be heading to the Step Inn this Friday night to give an encore performance of their new ‘radio play’ The Truck Driver’s Missus. Desert himself plays the truck driver, who goes by the name of Oedipus Desert, while burlesque performer Diamond Dahlia takes the role of his missus Methyl Ethol. There are plenty more exciting developments but we’ll leave them for you to discover for yourself. Entry is free and support will come from The OK Cowboys.
“It really hurt to put down the bass as in my mind I was always going to play till I was 90-years-old, but, you know, as you get older you just need to move on and now I’m running a production business called Superb Sound Hire, which I ﬁnd very rewarding as we supply production to many great Australian artists.” In closing, Bath acknowledges the people who really matter. “I would like to say a huge thank you to all the fans out there in Queensland that have come and ﬁlled out the venues and given The Blahs so much support.” WHO: Blah Blah Blah WHERE & WHEN: The Elephant & Wheelbarrow Saturday Dec 18
READY TO BOUNCE
If you’re into art, but with a diﬀerence, then the Oﬀ The Wall series that is happening at Gold Coast nightspot Elsewhere might be right up your alley. Each month the venue will host Oﬀ The Wall, a series that showcases a graﬃti artist, a more traditional visual artist, a local band and DJs, giving the up and coming creatives in and around the coast a bit of a chance to gain some exposure. The ﬁ rst of these events is happening on Sunday night and the band providing the live music is none other than Nine Sons Of Dan. If you’re more into the DJ side of things then you won’t want to miss Hey Arnold spinning up a storm alongside Elsewhere residents Stretch and Giv. Entry is free and the fun begins from 7pm.
The team at Fretfest are throwing a big old party upstairs at the Chalk Hotel from 7pm tonight (Wednesday), showcasing artists from as young as 14 and giving everyone a chance to show oﬀ their best material (the list of acts is far too long to be published here...). There’ll also be plenty of Christmas tunes sung on the night and an opportunity to take a look at their new compilation CD and maybe even pick one up for yourself. Entry is $10 and a portion of proceeds go to St Vincent de Paul.
SIX PACK GENERATION JONES WITH ALMOST A CENTURY OF COMBINED EXPERIENCE BEHIND THEM, NEW LOCAL OUTFIT GENERATION JONES WERE NEVER GOING TO BE ANYTHING BUT EXTRAORDINARILY TIGHT. TONY MCMAHON FINDS THIS IS EXACTLY THE CASE WHEN LISTENING TO THEIR EXCITING DEBUT CD, SAMPLES, AND CHATTING WITH VOCALIST AND GUITARIST JOHN MCQUEEN.
BACK ON THE RUN “We all have diﬀerent tastes, diﬀerent ways of writing,” says McQueen. “We’ve been around alright, but I think at heart we still do this the same way we did when we were 17-year-old punks: there’s still bucket loads of enthusiasm and the excitement is still there. We must either love it or need medication.” On the question of how well Samples captures Generation Jones’ live sound, McQueen is big enough to admit that it probably doesn’t. “It was recorded in the infancy of the band, we’re tighter now and have more of an understanding of what we sound like. We hadn’t been playing live much when Samples was recorded. The songs evolved so that when we play those songs now we reinterpret them to a degree, but it’s a good document of a year ago.” Of all the aforementioned experiences, the one that captures Time Oﬀ ’s imagination
LIVE AND LOUD
Luke Escombe and The Corporation aren’t mucking around when it comes to naming their latest release; Live In The Studio is pretty much exactly as it sounds, a snapshot of this tight group of musos kicking out their ﬁnest jams completely live with the mics plugged in and the tape running. They invited 50 guests along to enjoy the show, treating them to their ﬁnest rootsy grooves, funky, literate pop and ﬂippant hip hop. The band are a live force to be reckoned with and as such you’ll want to see them when they tour the new record up north at the beginning of 2011. They play The Loft, Gold Coast Friday Jan 7, The Royal Mail Hotel, Goodna (afternoon) and Lock n Load (evening) Saturday Jan 8, The Joynt Sunday Jan 9 and The Rails, Byron Bay Wednesday Jan 12.
The Gold Coast Arts Centre’s Thursday night Live at the Basement series has been incredibly successful over the past 12 months and to celebrate this fact they are throwing one last big party for 2010 before taking a couple of well-deserved weeks oﬀ. The ﬁnal show for the year will be a big one, with four of the coast’s
most strongly is that certain members of Generation Jones once supported The Clash. “It was like a military operation, their manager was shouting orders, we were young, scared shitless, and huge fans, but after the gig we got to hang around backstage and they were great, we got to party with The Clash. No sex, but total rock’n’roll. I remember an unsteady looking Joe Strummer hanging oﬀ our bass player. We got to talk football, the recordings they were doing, some drinks and that was it. Two hours with royalty.”
WHO: Generation Jones WHAT: Samples (Independent) WHERE & WHEN: Beetle Bar Friday Dec 17
hottest up-and-coming acts all lining up to show oﬀ their tunes to what is bound to be an enraptured audience. Taylor, Frankie and The Moon, Oceanics and Mattie Barker and Rylie Comrie are the acts who have been selected to perform, it all happens this Thursday night from 7.30pm and entry will cost you $10 at the door.
Sydney’s stunning Dead Letter Chorus have just come oﬀ the road, touring on the back of their brand new single Run, Wild, the latest taste of their forthcoming sophomore album. The new material has been very well-received both in its recorded form and on the live stage, so it’s exciting to hear that the band are going to be back up in our area early next year as the very suitable support for the great Jason Collett and Zeus. Th is caps oﬀ what now looks to be a great triple bill of folk-infused indie rock and it’s bound to be a hit with those with the most discerning of musical tastes. Catch them at The Zoo Thursday Jan 13, Joe’s Waterhole, Eumundi Friday Jan 14, The Loft, Gold Coast Saturday Jan 15 and the Great Northern Hotel, Byron Bay Sunday Jan 16.
HYH HAVE YOU HEARD?
Cheap Fakes play The Brewery, Byron Bay on Friday Dec 17 and Lock’n’Load Saturday Dec 18 (both free entry) How did you get together? Hayden Andrews (vocals/guitar): “I had written a heap of songs and wanted to be able to play them live. I met Damo through a chance meeting when I phoned Billy Hyde about a drum workshop. The rest of the band members fell in to place after that.” Sum up your musical sound in four words. “High energy party music!” If you could support any band in the world – past or present – who would it be? “The Beatles.”
WHAT IS JAZZ? If you are interested in classical, traditional jazz, and experimental music then you would be wise to go along and check out new Brisbane act The Quadratic Contingency. The band are a new name on the local scene but they have been turning heads with their post jazz songs, which are heavily inﬂuenced by the likes of the Cinematic Orchestra and The Necks. The band will be recording a live album early in the New Year and you can witness the performance that will be captured by heading along to the Brisbane Jazz Club on Friday Jan 7. If you can’t make that then the band back up with a free show at Ric’s Bar on Thursday Jan 13.
With their new single Heartbeat Fast As A Rabbit tucked ﬁrmly under their little arms, Melbourne’s Hello Satellites are heading out on the road, taking their kick arse live show to audiences all across this great nation of ours. The new single is the second to be lifted from the band’s self-titled debut long-player and another example of their skilful songcraft and powerful performing abilities. When the band are up here they will play a couple of shows with our own Mckisko, who is settling back into Brisbane life after a successful trip abroad thanks to her winning the Grant McLennan Fellowship. You can catch both of these great acts performing their beautiful tunes live at Currumbin’s SoundLounge Friday Jan 14 and then at X&Y Bar on Saturday Jan 15.
OPPORTUNITY FOR AN INDIGENOUS ARTIST TO PLAY AT GOOD VIBRATIONS Local Indigenous artists – this is your chance to step onto a Good Vibrations stage in 2011. Jam Music and APRA are oﬀering an Indigenous act the opportunity to perform at the 2011 Good Vibrations Festivals in QLD opening the Roots stage. Go to www.apra-amcos.com.au/gvr to submit your application by Friday Jan 7.
EXPRESSIONS OF INTEREST WANTED FOR INHABIT FIESTA Inhabit Fiesta is a festival that celebrates the possibilities that our city’s hidden nooks and crannies have to oﬀer. Brisbane City Council is calling for expressions of interest from producers, collectives and arts organisations to execute projects over a series of weekends in May and June 2011. If your EOI is successful you will be provided ﬁ nancial support to deliver your event/installation.
Q MUSIC ANNOUNCE THE WOMEN IN MUSIC FORUM Q Music is pleased to announce a special one day forum for 2011 called Women In Music (WiM). Coinciding with the 100th Anniversary of International Women’s Day on Tuesday Mar 8, 2011 the day will provide a combination of informative panels and practical workshops designed to inspire, educate and engage emerging and aspiring female artists and music industry workers. More info available at www. womeninmusic.com.au
WALKING ON THE SUN
Summer Sun – the new EP from southern singersongwriter Benny Walker – is, as its name suggests, perfect for this time of year. Walker has cobbled together a release that features ﬁve memorable tracks that mine the depths of soul, reggae and acoustic folk music. Walker has been hard at it developing his sound of late, reﬁning his songwriting and live performing skills and growing his fanbase as he goes. His self-titled debut released back in 2008 was a ﬁne piece of work, but this new release kicks things up to the next level. Walker is making his way up north over New Years to show us his skills; you can catch him at the Woodford Folk Festival from Monday Dec 27 through to Saturday Jan 1 and at the Music Kafe on Monday Jan 3.
Q MUSIC IS A NOT FOR PROFIT ORGANISATION 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.
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? “The Beatles – White Album.” Greatest rock’n’roll moment of your career to date? “Pulling out my guitar for a photo shoot last weekend to ﬁnd it splattered in blood from a cut ﬁnger I didn’t even know about... blood splattered guitars – that’s rock’n’roll!” Why should people come and see your band? “Because we know how to get the party started. Our music is full of positive energy, we don’t sound like anyone you’ve heard before and everyone will ﬁnd something about us that they like.”
MANAGE ME PROGRAM LOOKING FOR EXPRESSIONS OF INTEREST The Manage Me workshop and mentoring program is designed to assist young musicians and bands in the Moreton Bay region get organised through learning the skills, processes and networks necessary in self managing their acts. Kicking oﬀ in March 2011, ﬁve local musicians and bands will take part in the six-month program, facilitated by renowned music management expert and advocate Leanne de Souza from Buzz Oﬃce. Expressions of interest for Manage Me are now open and close Friday Jan 28, 2011. To receive a copy of the expression of interest form contact A-Venue project oﬃcer Cassey Russell on cassey.russell@ moretonbay.qld.gov.au or phone 5433 2445.
CUSTOMER SERVICE OFFICER POSITION AVAILABLE AT JUDITH WRIGHT CENTRE The Judith Wright Centre of Contemporary Arts supports Queensland’s arts culture by generating a unique blend of contemporary dance and music, visual arts, physical theatre, multimedia, indigenous theatre, youth arts and screen culture. The centre are looking for a Customer Service Oﬃcer. Details on the position and how to apply can be found at www.jobs.qld.gov.au. Applications close Monday Dec 20, 2010.
WANT TO KNOW MORE? For these stories and more, go to www.qmusic.com.au.
WANT TO BECOME A Q MUSIC MEMBER? For membership details and application forms, go to www.qmusic.com.au.
Hardcore and punk with Sarah Petchell First oﬀ, SUICIDAL TENDENCIES ARE TOURING! In what is probably one of the most exciting announcements this year, it was announced last week that Suicidal Tendencies are going to be touring Australia in May next year. These guys created skate punk, and their blend of punk, thrash, funk and hardcore has seen them become one of the most inﬂuential bands in the modern era. ST will kick oﬀ the tour at the Coolangatta Hotel on May 12 and then hit The Hi-Fi on Friday May 13, with tickets going on sale this Thursday Dec 16. Since City And Colour ﬁrst played in Australia on the Soundwave tour a few years back, Dallas Green’s fans have been positively itching for him to come back and play his mellow, honest and emotion-ﬁlled acoustic tracks to live audiences. I know that I was lucky enough to catch him at Soundwave and it was deﬁnitely one of the highlights of my day. That man knows how to hold an audience! City And Colour will be playing The Tivoli on Friday Apr 8 2011, with tickets going on sale Dec 17 (that’s this Friday, kids!). I mentioned a couple of weeks ago that Canberra’s I Exist and Sydney’s Phantoms were doing a split 7-inch together. Well, this week they have announced a national tour in support of the release for February 2011 – on Thursday Feb 10 they hit up the Step Inn. Both bands are killing it at the moment, so this is going to be a tour hardcore kids should not miss. With 2010 drawing to a close, a lot of bands are wrapping up their touring schedule for the year. Sydney’s Toe To Toe are no exception, playing their ﬁnal show for the year in Brisbane this Friday. This hardcore juggernaut is playing the Step Inn, with doors at 8pm. The band are being supported by A.I.M., Driven Fear and Thick Skin. 2010 was a big year for Toe To Toe – they played Hardcore 2010 for their ﬁrst show in years, as well as re-releasing Tao, Consolidated and The Best Defence Is Attack. They also released a new album – Arturo Gatti. Every year I enjoy checking out the line-ups for the Vans Warped Tour for a few reasons. First, sometimes it’s a good way to ﬁnd new music.
Blues ‘n’ roots with Dan Condon email@example.com Secondly, there is always some controversy, like a couple of years ago when a lot of bands on the bill talked crap on the likes of Brokencyde (reasonably so, I would say). Anyway, the ﬁrst acts for the 2011 line up have been announced: Every Avenue, Dance Gavin Dance, Go Radio, We Came As Romans and Word Alive will all be performing on this mammoth of a summer festival tour. This is one for the audiophiles! Almost 13 years after its initial release, the classic Mid Youth Crisis album, Happiness & Authority, is getting the vinyl treatment. Midnight Funeral Records will be releasing the record, which will see a one-time only release of 500 pieces, on 165-gram vinyl. Mid Youth Crisis are one of the most important punk bands Australia has ever produced, so this is sure to be a release that will have punk aﬁcionados salivating. Set for a Feb 14 2011 release, pre-orders are available now through the Midnight Funeral webstore. The last thing I want to mention this week (and it might not be punk or hardcore news, but I’m mentioning it anyway because I’m psyched on this tour!) is that supports were announced for the Darkest Hour and Carnifex tour that’s happening at the beginning of January. Brisbane, your show is Tuesday Jan 4 at The Hi-Fi, with supports announced as being Lynchmada and Signal The Firing Squad. Tickets are on sale now.
GIG OF THE WEEK This week’s Gig Of The Week is an amazing hardcore lineup that is also a beneﬁt show for Mental Health, will all money going towards Roma House (a Mission Australia service for homeless people in Queensland). The most important thing in terms of the line-up is that it will be a Just Say Go! reunion show, but on top of that you have Dick Nasty, Fires Of Waco, Marathon, Headaches, Thickskin, Nuclear Summer and Waiting Room. That’s some of Brisbane’s best hardcore and punk bands right there, so it’s deﬁnitely well worth the $15 cover charge. It is this Saturday Dec 18 at Burst City. Doors are at 5pm and the venue has a 200-person capacity, so make sure you get down there early so you don’t miss out!
US noise/metal/spazz/whatever-core maniacs Heavy Heavy Low Low hit Brisbane this week as part of their last-ever tour, with support from Wollongong group Totally Unicorn, the guys responsible for making this run happen. You can catch the touring duo at The Jubilee Hotel on Thursday night with The Matador and Ironhide, and again on Friday at Burst City with with Hesperus (playing their ﬁnal gig), Quiet Steps and Only Sleeping. Entry for both shows is $12. Seminal Brisbane hardcore act Dreamkillers will headline this Friday’s installment of the typically very-metal Monstrothic, with support from heavy stoners Shellﬁn and punk rockers Spitﬁreliar, as well as seeing the return show of The Poisoners. Upstairs will see sets from Acorea, As Paradise Falls and Rob Stanley. $10 will gain you entry to both levels from 8pm. Don’t forget about No Sleep Til Festival this Sunday at The RNA Showgrounds – you’ll be able to see bands like Megadeth, Katatonia, Suicide Silence, Parkway Drive, 3 Inches Of Blood, August Burns Red, Gwar, and a whole pile of other bands that aren’t metal. Tickets will be available on the door for around $140.
Carlos Santana remains one of the biggest names in the guitar world these days, just as he has been since the release of the ﬁrst Santana album back in 1969. He’s still hard at it, his latest record Guitar Heaven matching him up with some of the world’s most famous vocalists to run through some of the most iconic guitar tunes of all time – an intriguing concept but one that his legion of dedicated fans have lapped up. It has been a couple of years since he last visited us, so you can bet there are plenty of people very excited to hear of his return early next year. He will drop by the Brisbane Entertainment Centre Thursday Mar 24 to dazzle all and sundry and tickets are available from Ticketek right now from $104 up to $164. You’d be hard pressed to ﬁnd any international artist who has fallen in love with Australia quite as much as Justin Townes Earle. His aﬃnity with the country, coupled with his tireless dedication to spending as much time on the road as he can, has meant that he has visited us three times in the past two years and has already scheduled visit number four. He’s fresh from the release of his latest LP Harlem River Blues, another release of supreme quality, but anyone who has seen him live in the past will attest to the fact that it is on the live stage that this artist really shines. You can catch him at the Step Inn on Thursday Mar 10 and Joe’s Waterhole, Eumundi Friday Mar 11. Tickets are available from lovepolice. com.au/tours right now for $30 + bf for the Brisbane show and $36 + bf for Eumundi. Minnesotan bluesman Charlie Parr is no stranger to Australian audiences, that’s for sure. Ever since his ﬁrst visit here a couple of years ago we simply
haven’t been able to keep him away from the place and we’re certainly not complaining about that. His latest record When The Devil Goes Blind really is his ﬁnest release to date and as well as that record, he’s also recently completed the soundtrack to the much anticipated Australian feature ﬁlm Red Hill. Parr’s ﬁngerpicking, storytelling and his rich bluesy voice have fast become favourites of Aussie audiences and you’ll be able to see him doing his thing live in the ﬂesh when he plays a couple of sideshows following his appearance at next year’s Sunset Sounds festival. He plays Byron Bay’s Buddha Bar on Saturday Jan 22 and The Old Museum Sunday Jan 23. He also plays the Sunset Sounds festival at the Brisbane Riverstage and Botanic Gardens on Wednesday Jan 5. The Blues On Broadbeach festival is one of the bigger events on our local blues calendar, the event always attracting the cream of Australian blues talent over a big weekend in May. The list of artists who will be playing the 2011 edition of the festival has just been announced. To be honest there aren’t a great number of surprises in there, but that doesn’t mean it’s not a very strong bill. Here’s the list (in alphabetical order) The Adam Hole & Marji Curran Band, Ali Penney and The Money Makers, Andrew Baxter, Austin “Walkin’ Cane”, Billy Tk Jnr Band, Blind Lemon, Bluesville Station, Bondi Cigars, Chain, Chase The Sun, Dai Pritchard Band, Dallas Frasca, Darren Jack, The Dillion James Band, Doc Span, The Gail Page Band, Grant Walmsley & The Agents Of Peace, Hamilton Loomis, The Hipshooters, James Southwell, Jan Preston, Jimi Beavis, Jimi Hocking’s Blues Machine, Jon Stevens, Jonno Zilber, Kevin Borich Express, Kim Churchill, KNiKi & Mike Beale, Lily White and The Sunshine Boys, Marshall & The Fro, The Mason Rack Band, The Mojo Webb Band, Pete Cornelius & The DeVilles, Phil Emmanuel, Phil Manning, Ray Beadle, Ross Williams, Shaun Kirk, Slim Pickens & Dr Baz, Stevie Paige Band, The Sure Shot Hunters, Tom Richardson Project and Wiley Reed. The whole event is completely free and much of it is open to all ages. Hit bluesonbroadbeach.com for more info.
Pop culture therapy with Adam Curley
Metal with Lochlan Watt This week the Adamanitum Wolf types out the last of his three Japan-written columns from the country’s former capital – the beautiful, templeriddled city of Kyoto. On Friday night stoner rock inﬂuenced modern metal demolishers Palm destroyed a tiny club in Osaka in support of US metalcore group Stick To Your Guns, along with a whole bunch of local bands that proved that ‘crabcore’ (you know, cheesy keyboards, synchronised poo-squatting to breakdowns, perfect hair and v-neck t-shirts) is unfortunately quite alive and well in this country. Check out S.M.D Records – www.kaguraenterprise.jp/ smd. It’s a tidy little underground label ran out of Osaka by one of the guys from Birushana, a doom-riddled, avant-garde metal group who toured Australia earlier this year with Melborne’s Whitehorse. They released Palm’s ﬁrst album, as well as full-lengths from killer Japanese metal bands like Cyberne and Kill My Bleeding Smile.
I Exist, almost deﬁnitely Canberra’s most talked band of late, are set to release a split-7” with Sydney’s Phantoms in February. Playing a style of hardcore that’s hugely inﬂuenced by various seminal stoner and doom acts (Pod People guitarist Josh Nixon is in the band after all), both contributions to the split are conceptually based oﬀ shared experiences at Wet’n’Wild Waterworld. Bad Romance is currently available for pre-order from the Resist Records website. South Australian melodic death metal group Universum have uploaded a new track from their forthcoming album to multiple locations, all which can be viewed at universum.com.au. The track is entitled Sum Of The Universe and features guest guitar solos from Olof Morck and Marios Iliopoulos of Swedish group Nightrage, as well as guest vocals from Scar Symmetry vocalist Christian Alvestam, also from Sweden. Mortuus Machina is available in stores this week and can also be ordered from the aforementioned website. High Plains Drifter have announced that they will soon be calling it a day, at least in their current form. Two members of the local hard rockers, namely vocalist Nath and guitarist Luke, are relocating to Canada to “spread the gospel of Pure Aussie Booze Rock throughout North America” with their new band Dead Gone, though replacement members and a continuation of High Plains Drifter is also on the cards. You can catch their ﬁnal show at Monstrothic on Friday Jan 7 with Humality, The Fevered, and Schiamachy. An up-and-coming folk metal group from Sydney by the name of Ironwood has released their debut album Storm Over Sea. You can download it for free or order a physical copy from www.ironwoodsound.com.au.
Oprah’s “excited”, “super excited” and “just really excited” freeloaders are on their way out of the country, leaving in their wake only that hollow feeling that comes from having watched too much ‘motivational’ daytime TV and an ongoing debate about the true value of the government’s expenditure on their visit. All the talk of Oprah’s potential tourism draw, however, seems to have kept everyone from noticing the other American institutions our government has clearly been courting to try to get a nation of people in recession to drop by over summer. Last week’s US-screened episode of Gossip Girl saw Chuck Bass on his way here for a holiday, while the new Chronicles Of Narnia ﬁlm, shot entirely in Queensland, opened here and in the States a few days later. It’s not just sexy teens and Christians they’re out for, though. It’s the ‘rap game’, too. First, last month, came Kid CuDi’s new album, Man On The Moon II: The Legend Of Mr Rager, the opening track of which has him boasting about being “oﬀ to Australia”. Then came Queens’ answer to Brooklyn’s Lil’ Kim, rapper/kinda singer Nicki Minaj, and her Pink Friday album, the opening song of which boasts about being in “Australia, Sydney/Might run up in Disney/In LA with Lindsay” – great brand alliance there. If you don’t believe those tax dollars were put to good use, take solace in the fact that Minaj’s album debuted at #2 on the Billboard 200 – behind her recent collaborator Kanye West – clocking up US sales of 376,000 in its ﬁrst week. Those stats saw Billboard (and Minaj) claiming a record of the highest debut from a female in the ‘rap’ genre, which, giving Billboard the beneﬁt of the doubt, is a pretty loose use of the word ‘rap’ and is less impressive for being helped along by a unit sale price of US$3.99 on Amazon.com, the new method currently employed to increase ﬁrst-week sales by many record companies (including Kanye’s). The album’s sales were also no doubt helped by Minaj’s much publicised ‘beef ’ with Lil’ Kim, which began earlier this year when Minaj, who has appropriated Kim’s use of colourful wigs as
well as her “black Barbie” (their words) persona, started dropping ‘disses’ into her raps about ‘beating’ Kim in ‘the game’. That beef resulted in a ‘diss track’ on Pink Friday, titled Roman’s Revenge (featuring misogynistic/homophobic douchebag Eminem), which in turn led to Kim last week releasing a response via her Black Friday track. Everyone seems to have weighed in on the ‘beef ’ at this point, from Drake to Fat Joe to 50 Cent to the fence-sitting Diddy, who of course signed Lil Kim’s old mentor/posthumous biopic co-star Biggie Smalls and went on to produce for Kim, as well as tour and collaborate with her, and was Minaj’s manager until October, when Minaj dropped him. Back when Kim was ‘blowing up’ Minaj in the media for ‘dissing’ her “subliminally” in her raps, she was also ‘blowing up’ Diddy for openly defending Minaj. All Kim wants, she says, is for Minaj to acknowledge her as the rightful ‘Queen Bee’, but Minaj, in song, wants everyone to know she’s “the best bitch doing it”. It’s a conundrum. Meanwhile, also in the States, moves are being taken to remove narcissistic personality disorder from the list of psychiatric disorders in the next edition of the Diagnostic And Statistical Manual Of Mental Disorders. The elimination of the title has copped criticism and column inches from ﬁeld psychiatrists who believe there’s value in the ﬂat diagnosis as opposed to the proposed malleable diagnosis of personality disorder with narcissistic traits. The old diagnosis outline can’t be that eﬀective, though, if neither Kim nor Minaj are getting the help they need, and Kanye West is claiming every ﬁve minutes to be God (biggest narcissist ever and inspiration for CS Lewis’s Narnia series) and releasing tracks like Power, which played in an October episode of Gossip Girl, all the characters on which could easily be diagnosed with narcissistic disorder. Their cases, however, would pale in comparison to that of Oprah, who has just planted her name brand on an entire nation of 22 million people. But hey, it was all good marketing, right?
PERSONAL BEST RECORDS JOANNA NILSON from BUTCHER BIRDS
THE BOB GORDONS PERTH-BASED “DRUNK ROCK” OUTFIT THE BOB GORDONS ARE DROPPING BRAND NEW EP 12 MONTHS WASTED AND ARE MAKING THE LONG HAUL ACROSS THE COUNTRY TO MAKE IT EASILY AVAILABLE FOR THE LOVELY FOLK OF QUEENSLAND. MITCH KNOX CHATS TO LACHLAN CROTHERS BEFORE THE BAND’S TRANSCOASTAL ADVENTURE. they are renowned around the neighbourhood back home. Crothers seems pleased with the results regardless of what obstacles they may have come up against along the way.
“Making 12 Months Wasted was awesome,” Crothers enthuses of the EP’s incubation. “We were looking at recording an EP in early 2009 and I had just bought a heap of recording gear so we ﬁgured we were going to have more time to make it how we wanted if we did it ourselves. So it’s basically a collection of late night recording sessions which mainly involved having some beers, hanging out and making music – which is a pretty good way to spend your spare time. It was completely engineered and produced by the members of the band which kind of makes it a bit more of an achievement for us also.” The sense of achievement is heightened once more as the band faced the challenge of encapsulating on record the live energy for which
“It’s always hard to capture live energy when recording but this was our main focus,” he explains. “I think the CD is a pretty good representation of where we were at when we ﬁnished tracking. I just picked up the ﬁrst run of CDs today and had a listen to it a couple of times on the way home and felt it had alot of positive energy. I feel really good about how well it turned out having basically done the whole thing ourselves.” When they hit the streets of Brisbane, they’ll be joined by fellow do-everything-yourselfers Prophet Margin, who Crothers is “really looking forward to playing with.” “It seems they’re doing some really positive things for the punk scene in Brissie and Queensland in general so it’ll be great to play with such a hard-working band.” WHO: The Bob Gordons WHAT: 12 Months Wasted (Independent) WHERE & WHEN: Fat Louie’s Saturday Dec 18
Best record you stole from your folks’ collection? My parents actually met because they both worked at a radio station, funnily enough. Their eyes locked when my mum brought in Sherbet for an interview. My house was a pretty music-free place when I was growing up except for Simply Red and Miami Sound Machine. I remember my mum having too many champagnes and dancing to Gloria Estefan records. I did manage to sneak oﬀ with some rare Billie Holiday. I’ve been getting my dad into Bill Evans and Chet Baker now. First record you bought? Thriller was the ﬁrst record I owned and Beastie Boys, Green Day and Bikini Kill were the ﬁrst records I bought with my own dough. All three at Flex Yr Head Records in Maroochydore, sadly missed. Record you put on when you’re really miserable?
Probably Cat Power I guess. Good Woman. If I want to wallow. Record you put on when you bring someone home? The Young Liberals’ Dick Wolf. Or HITS. Deﬁnitely make-out music. Most surprising record in your collection? Probably Jeﬀ Buckley, is that really that surprising though? I was a teenage girl once. I think that record is great. Lots of awesome guitars. I really love Justin Timberlake and some of MGMT’s songs. Last thing you bought/downloaded? Best of The Triﬃds and the remastered Raw Power by the Stooges. I got given X’s Aspirations recently which I’ve been enjoying. Butcher Birds play X&Y Bar this Friday night.
HAVE YOU HEARD?
THE WOOHOO REVUE MELBURNIAN GYPSY COLLECTIVE THE WOOHOO REVUE HAVE HAD A MASSIVE LAST 12 MONTHS, CULMINATING IN THEIR INCLUSION IN THE WOODFORD FOLK FESTIVAL’S LINE-UP EARLY NEXT YEAR. GUITARIST DANNIE MCKENZIE FILLS IN MITCH KNOX BEFORE THEY CHARM BRISBANE AGAIN ALONG THE WAY. “apart from the raucous, adrenalin-fuelled dance party we’ll be hosting every night, getting to perform alongside many of our favourite bands in the country and spending a week at Australia’s greatest festival with thousands of wonderful people,” he laughs.
“It’s been a big year,” McKenzie reﬂects. “We’ve hosted shows in most states of the country at various times and have done some amazing festivals including Bellingen Global Carnival, West End Carnival, Falls, Peats Ridge, Cygnet, Adelaide Fringe, Alice Springs, Folk Rhythm and Life, and even shared the stage with one of our greatest inspirations, Hungarian neo-gypsies Besh o droM at the Melbourne Gypsy Festival. Comparable to that was being thrown about in the bowels of the moshpit watching gypsy-punks Gogol Bordello.” The busy times are really only beginning though, with The Woohoo Revue scheduled for a high-intensity string of shows – 22 in 25 days – in the lead-up to appearing at Woodford, which McKenzie says the band have nothing to look forward to about. Well,
Whether you plan to catch them at Woodford or at one of the many shows before, the promise remains the same, according to McKenzie: “‘A Balkan brass band, wild-west ﬁddle contest, roaring 20s swing band, and a soundtrack to Looney Tunes, all rolled into one’ is my favourite and I believe the most appropriate quote to describe the sound of the band, but that is only one aspect of The Woohoo Revue live experience,” he says. “‘Dancing, drinking and ignoring tomorrow’ is a phrase that has been used to describe a night with us. It is music for celebration and although on stage it’s all about adrenalinpumping speed and virtuosity; it translates to getting loose on the danceﬂoor.”
SASS UP YOUR FRIDAY Currumbin’s ﬁnest live music haunt The SoundLounge is continuing to program a powerhouse summer of funky music to get your good self onto the dance ﬂoor, with Stringmansassy taking on performing duties at the beachy venue this weekend. The band play a folky brand of jazz and have been doing so for the best part of 15 years now. They started life specialising in background cafe music but soon realised that simply wasn’t for them and began taking centre stage as a performance duo, if you’ve not seen them then there’s no better time to rectify that. The ever-hardworking Andrea Soler has been enlisted as the support act for the show that happens this Friday night. Tickets are available from the venue’s website right now for $12 + bf or on the night for $15.
WHO: The Woohoo Revue WHERE & WHEN: The Joynt, West End Wednesday Dec 22, The Loft, Gold Coast Sunday Dec 26, Woodford Folk Festival Monday Dec 27 – Saturday Jan 1, 2011
Punxie & The Poison Pens play the Step Inn on Saturday Dec 18 How did you get together? Punxie: “It started when I asked Matt to write some music for my comedy MySpace, people weren’t so keen on my comedy but liked the music so much for its own sake that we ended up collaborating some more and eventually took it into a practice room so we could play live. We met Brad in the actual hallway outside the practice room and Punxie & The Poison Pens was basically formed. The rest of the band keeps evolving, we’ve just added a second guitarist and it sounds huge.” Sum up your musical sound in four words: “Full throttle runaway locomotive.” If you could support any band in the world – past or present – who would it be? “The Sex Pistols.” 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? “Urgh! A Music War.” Greatest rock’n’roll moment of your career to date? “I get a buzz every time I hear myself on the radio, but probably being asked by Brit Punk legends The Anti-Nowhere League to play as supports for their whole national tour after we did the SEQ leg with them. Unfortunately we had to decline.” Why should people come and see your band? “Because we fucking rock!”
ON THE TIME OFF STEREO Long Live The Duke & The King THE DUKE & THE KING Red Barked Tree WIRE Signals, Calls And Marches MISSION OF BURMA Say Us ZEUS God Don’t Make No Junk THE HALO BENDERS Play All Night NIC DALTON & HIS GLOOMCHASERS Starlite Walker SILVER JEWS The Waterfront Years 1991-1993 TUMBLEWEED Body Talk ROBYN Tres Hombres ZZ TOP
IT’S THE WORD...
A MAZE ZING
Do you like birds? We mean avian birds, not women. Actually, hold on, we guess we mean women too. Hmmm. Feathers, pictured, and Butcher Birds are two local acts who feature predominantly female members and have bird related names, so it only makes sense that the two of them play a show together, right? Th is promises to be loud, festive, awesome and drunken, what more can you ask for? It is Butcher Birds ﬁrst show in forever after injury has kept them on the sidelines for a while, while Feathers have been impressing just about everyone of late with their live performances. The show happens at X&Y Bar on Friday night, missing it would be stupid.
The April Maze (haha, just got it, very clever) are still riding high on the back of the release of their latest album Recycled Soul and are looking forward to continuing their hard touring ways to play the material from it to their fans in all diﬀerent parts of the country. They will be in our neck of the woods very soon, with a couple of coastal shows and one in the big smoke for those who can’t get enough to their folky ways. They’re up here with the wonderful Faye Blais, who joins us all the way from Canada and you can see them turning in performances at The Caf, Coolum on Thursday Jan 6, Maleny’s Upfront Club Friday Jan 7 and The Danish Club in Newstead on Saturday Jan 8.
4ZzZ FM NOW PLAYING 1. Unreel Unravel TAPE:OFF 2. Depth Of Sound DUBMARINE 3. Found Things LANEOUS AND THE FAMILY YAH 4. Tangalooma THE JOHN STEEL SINGERS 5. Blur The Line/Tomorrow Afternoon GENTLE BEN AND HIS SENSITIVE SIDE 6. Traitor INLAND SEA 7. Sacriﬁce OH YE DENVER BIRDS 8. Bonﬁre Nights BONFIRE NIGHTS 9. Moving At The Speed Of Sound THE JIM ROCKFORDS 10. Live at the Tote NIKKO
TOXIC GARDEN GNOMES
SINCE THEIR FIRST SHOWS IN BRISBANE IN THE EARLY 80s, TOXIC GARDEN GNOMES HAVE BEEN THROUGH MYRIAD INCARNATIONS AND INCIDENTS, INCLUDING THE INTERSTATE RESIDENT STATUS OF FOUNDING MEMBER DAVE RULE. BUT, AS DRUMMER/VOCALIST JOHN EDWARDS TELLS MITCH KNOX, 25 -EAR-LONG FRIENDSHIPS ARE WORTH CELEBRATING – AND MAINTAINING.
UPANDCOMING LOCAL SPAGHETTI WESTERN/SWAMPGOTHBLUES TWO PIECE TEENAGE WOLVES ARE THRILLING BRISBANE AUDIENCES WITH THEIR UNIQUE SOUNDS. TONY MCMAHON CATCHES UP WITH JASMINE DUNN FOR A QUICK CHAT ABOUT SHARING RIDERS AND SALIVA. Interestingly for such a young band, Teenage Wolves are renowned for being able to pull a crowd. Dunn says it’s all down to the drinks.
released and unreleased tracks from their quarter century of history. “I guess it gives a bit of a retrospective glance into where we’ve come from and to create something for both people who’ve kept track of the band and for those who haven’t,” Edwards says. “A couple of newies, some stuﬀ oﬀ an EP we released and probably some stuﬀ that we should have released but couldn’t get it together to do so until now.” When the teenage founders of Toxic Garden Gnomes ﬁrst jammed together, it’s unlikely they thought they’d be doing things like playing together at each others’ 40th birthday celebrations and releasing retrospective albums. Still, despite not really being an active band for a little while now, skinsman John Edwards conﬁrms that’s exactly what they’ve been doing to keep the Toxic dream alive. “I guess there’s a sense that since we’ve always kept in touch regularly and enjoyed playing together, circumstance seems to have provided yet another opportunity for us to do our thing,” he reﬂects. “Besides that most of the music community in the country knows what we’re like to work with and won’t play in bands with us anymore.” So instead, the band have put together Toxic Assets, a collection of previously
Despite fellow member Dave Rule living in Melbourne, Edwards says further reunions are not yet oﬀ the table. “As long as people want to come and see us do our thing and enjoy having their jocks and socks rocked oﬀ there will always be a market for the stink that we provide,” he laughs. “We’ve been hanging together for 27 years, line-up pretty much unchanged, had a lot laughs and still do; so why not? If we get enough money together we’re planning on starting a retirement village for aged musos.” WHO: Toxic Garden Gnomes WHAT: Toxic Assets (Independent) WHERE & WHEN: The Step Inn Saturday Dec 18
AUSTIN DICKINSON from RISE TO REMAIN
The best record I stole from my folks’ collection was… Rage Against The Machine – Rage Against The Machine The ﬁ rst record I bought with my own money was… Toxicity – System Of A Down
“Well there’s only two of us so we like to share around our rider with friends. The potential of free drinks could be alluring to some. We also like to invite others to join us in predrinks in the band van before most shows, which can be quite indulgent. Other than that we couldn’t say what our drawcard is, in fact we get heckled at most shows. Maybe some people get their kicks out of that.” And as far as their live shows are concerned, Dunn says that they have deﬁnitely matured, kind of…
“We’re not interested in doing the same thing as anyone else, even if it is the new black,” says Dunn, commendably, when Time Oﬀ asks her about the melting pot of her band’s sound. “Writing songs in the style of what we’ve coined spaghetti western/swamp-goth-blues came very naturally, so we had to give it a name and that’s what stuck. The spaghetti western side is inﬂuenced by the likes of Ennio Morricone and to a degree older surf instrumentals, which kind of go hand-in-hand. The swamp goth blues is darker and slower and a little bit moodier and probably pays homage to those that enjoy the darker things in life.”
“If you’d witnessed an earlier show you may have found it a little tame, but lately they’ve been very fun. Microphones have borne the brunt of most of it, sticks and masks have been thrown, red wine stolen, strangers have rushed the stage and licked faces mid-song and plenty of near misses for all sorts of other casualties have occurred. In a sentence though the show is full of teenage kids, living it up and doing things they can never live down.” WHO: Teenage Wolves WHERE & WHEN: The Zoo Saturday Dec 18
MATT KELLY from DROPKICK MURPHYS
The record I put on when I’m really miserable is… The Message Is Love – Barry White
The record I put on when I’m really miserable is... Slave – Infest
The record I put on when I bring someone home is… The Message Is Love – Barry White
The record I put on when I bring someone home is... Bloodbrothers – The Dictators
The most surprising record in my collection is… Spaced Out: The Very Best of Leonard Nimoy and William Shatner The last thing I bought/downloaded was… The Powerless Rise – As I Lay Dying Rise To Remain play Soundwave at RNA Showgrounds on Saturday Deb 26
ON THE DOWNLOAD We love Future Of The Left here at Time Oﬀ and we’re really bloody excited about them coming back to Australia. So imagine how bloody pumped we were when we heard that the band had recorded a bunch of new demos and put them online for the world to hear! Yep, pretty bloody pumped. They have three tunes up on their oﬃcial.fm page; I Am The Least Of Your Problems is up there with the ﬁnest work they’ve done in ages, the lengthy Notes On Achieving Orbit opens with a classic Andy Falkous line:“Where were you when Russell Brand discovered ﬁre?” and My Wife Is Unhappy is a really cool, kind of laid back but still creepily intense tune that has us all too excited for their new record. [futureoftheleft75.oﬃcial.fm] Did you know it was J Mascis’ birthday last Friday? Well it was; old mate turned 45. Anyway, he has a new record called Several Shades Of Why coming out early next year on Sub Pop and said label are giving away a track from the record as a bit of a taste of what to expect. The track, which is called Not Enough, is a quiet and unassuming little country/southern rock style tune, certainly much quieter than what we’re used to from Mascis’ most well-known project Dinosaur Jr. It’s excellent and proves that Mascis is still an incredibly talented songwriter. [subpop.com] We just found out that Nels Cline (AKA one of the greatest guitarists in the world) has teamed up with Low for their latest studio album C’mon, which is due for release early next year. Now we like Low, but this news has made us far more excited about their new record than we probably would be otherwise. But what we really want to tell you about is that the band have released an EP called Live At Eindhoven, recorded at a church in the Netherlands’ city early last year. The band were joined by a choir for the performance and, unsurprisingly, it’s gorgeous. Excitingly, it’s free! It also features Monkey and Silver Rider, the two songs that Robert Plant covered on his Grammy nominated Band of Joy LP. [chairkickers.com] Locally there are a couple of opportunities to check out some new tunes for nix: Perth’s The Scotch of St James have their new single 3 From The Exit up for download on their MySpace [myspace.com/thescotchofsaintjames], local ne’er-do-well Edward Guglielmino has an album he recorded live in a backyard up on his Bandcamp page [edwardguglielmino.bandcamp. com] and Ball Park Music are celebrating their upcoming festival slots by making their Sad Rude Future Dude available for free as well [mucho-bravado.bandcamp.com].
The best record I stole from my folks collection was... Are You Experienced? – The Jimi Hendrix Experience The ﬁrst record I bought with my own money was... Led Zeppelin II in 1980
The most surprising record in my collection is... Pretzel Logic – Steely Dan The last thing I bought/downloaded was... Twilight Of The Gods – Bathory Dropkick Murphys play No Sleep Til Brisbane this Sunday
TIME WARP DIDYOU KNOW...
Dec 15, 1988 – James Brown is
sentenced to a six-year jail term for leading police on a late-night, two-state car chase. He is released on Feb 27, 1991. Dec 16, 1907 – Eugenia H. Farrar becomes the ﬁrst singer to broadcast on radio, performing from the USS Dolphin docked at Brooklyn Navy Yard. Dec 17, 1986 – Paul & Linda McCartney’s limo catches ﬁre en route to a TV taping in Newcastle, England. They are both unharmed. Dec 18, 1971 – Jerry Lee Lewis and his cousin Myra Brown are divorced. They were married when she was 13-yearsold. Who would have thunk it? Dec 19, 2000 – English singer-songwriter Kirsty MacColl is killed while vacationing in Mexico at the age of 41, after being hit by a speedboat while scuba diving with her two sons. Dec 20, 1957 – Elvis Presley receives his US Army draft notice. Dec 21, 1970 – Elvis Presley goes to the White House to volunteer his services to US President Nixon on ﬁghting the nation’s drug problems (*chortle*). He gives Nixon a chromeplated Colt .45 and Tricky Dick gives Elvis a Narcotics Bureau badge. Greatest day ever...
Joan Jett starred alongside Gena Rowlands and Michael J. Fox in the 1987 ﬁlm Light Of Day?
ROCKINGHORSE RECORDS TOP 10 1. Tangalooma THE JOHN STEEL SINGERS 2. He Will Have His Way: The Songs Of Tim & Neil Finn VARIOUS ARTISTS 3. Triple J’s Like A Version Six VARIOUS ARTISTS 4. Guitar Heaven SANTANA 5. Memory Machine JULIA STONE 6. Come Around Sundown KINGS OF LEON 7. Small Craft On A Milk Sea BRIAN ENO 8. Annual 2011HOOK N SLING AND TOMMY TRASH 9. Glimjack GLENN RICHARDS 10. Giant Steps BIGFOOT
Abby Skye The Tempo Hotel Bounce Victory Hotel Despotic Ruin, The Secrecy, Th rough Plagues, A Witness To The Slaughter Step Inn Forget The Hurricane, Columbia Buﬀet, Hack Club 299 Human Nature Brisbane Convention and Exhibition Centre Iretro Elephant & Wheelbarrow Jam Night The Joynt Liam Griﬃ n, Inland Sea, Jac Stone The Zoo Mark Sheils Royal George Soula’ Flare Glass Bar & Restaurant The Bowery Hot Five With Mal Wood The Bowery Tiny Migrants, Tiny Spiders Ric’s Tyson Faulkner Fiddlers Green Weekend Warriors Hamilton Hotel
7th Avenue with Claire and Nick Cloudland Adrian Keys Tinbilly Travellers Angela Fabian The Joynt Ballad Boy Loving Hut Black Xmas: Straight Arrows, Black Vacation, The Keep On Dancin’s, Paang!, Founds, Rio Lobotomy The Zoo Blackboard Night The Bug Blues Jam Broadbeach Tavern Bon Voyage Label Party: No Anchor, John Chantler, Xnobbqx, Amss Step Inn, Upstairs Casey Fogg Story Bridge Hotel Chi’ca Chi’ca Limes Hotel Chris Mallory, Kim Sheehy, Marc Bicer, Kate Bergman The Loft Chevron Island Dave Ritter Logan Diggers Club El Guincho, Toy Balloon, DJ Charlie Why Woodland Era Bowler Bar Horseﬁght, The Ride Alhambra Lounge Irene Bartlett, Melissa Western, Karen Anderson Jazz At The Hangar Livewire Royal Exchange Hotel Marialy Pacheco Trio, Froy Aagre The Judith Wright Centre
Mark Bono Fibber Magee’s, Toowoomba Mark Bono Hamilton Hotel Nik Phillips Victory Hotel Rob Black Ryan’s Bar, Treasury Casino Rock Into Summer: Adventure Land, Finabah, Starlight Theatre The Tempo Hotel Sharon Friel & Band, Erin Harrington, Arty, Jonathan Robinson, Scott Walker, Rich Curtis, Jer Ric’s Sweet Dreams, Leftwaﬀe, The Chokes The Beetle Bar The Fumes, Carmen Townsend Coolangatta Hotel The Satellites The Bowery Tim Jackman, Open Mic Verve Café Unplugged In The Basement: Taylor, Frankie and The Moon, Oceanics, Mattie Barker, Rylie Comrie Gold Coast Arts Centre Woody Elephant & Wheelbarrow Xavier Rudd Magnums Hotel
2 Much Redbank Plains Tavern 2 Not Out Rocky Glen Hotel A Little Province, Olivers Army, The Dawn Chorus Ric’s Adrian Keys The International Hotel Afterglow Burleigh Heads Hotel Akasa Sherwood Services Club Big Bang Theory Logan Diggers Club Blindchase Kitty O’Shea’s Bone Lazy Benowa Tavern Bud (The Band) Nerang Community Sports Club Butcher Birds, Feathers X & Y Bar Byron Short Rochedale Rovers C4 Miami Tavern Cheap Fakes The Brewery Christmas Songbook: Australian Girls Choir, Andrews Sisters Tribute Show Queen Street Mall Coverdrive Fusion Villa Noosa Daniel Dow Story Bridge Hotel Double Dose Jimboomba Country Tavern Duck Duck Goose, Love Fingers, Magic Happens Bowler Bar
Fuzzy Polaroid, Tigers and Emperors Inspire Gallery Bar Generation Jones, Mick Medew & The Rumours, Dustbin Hoﬀ mans, Prehistorics The Beetle Bar Geoﬀ Rayner Racehourse Hotel Green Jam, Wendy Murray Trio QPAC, Melbourne St Green Greg Wall Dublin Docks Tavern Hat Fitz, Cara Robinson Great Northern Hotel Byron Bay Hemi Kingi Trio The Morrison Hotel Honey Live Wire Bar, Treasury Casino Jan Lennardz J’z Jazz Crew Vida Amor Restaurant Jeﬀ Carter Victory Hotel Jezza Q Bar Holiday Inn Joel Turner Envy Hotel Livewire Newmarket Hotel Lloyd Banks The Hi-Fi Locky, Berst Elephant & Wheelbarrow Macka Spring Lake Hotel Mad World Blues Band The Music Kafe Majesty Palmwoods Hotel Mark MacGuire Ferny Grove Tavern Mark Sheils, Who Killed Kenny Edinburgh Castle Hotel Michelle Brown Duo Moreton Bay Trailer Boat Club Mike Barber Ryan’s Bar, Treasury Casino Monkey Business Hinterland Hotel No Standing Albany Creek Tavern Oka The Joynt Osmium, The Passenger, Sending Artax, A Bid Farewell, The Cilikis Progression Project Miami Tavern Shark Bar Outrageus Chatswood Hills Tavern Paul Clarke Grand Central Hotel PJ Hooker Cannon Hill Tavern Powerplay CBX Pulp Friction Beerwah Hotel Ramjet Surfers Paradise Beer Garden Rob Reeves and His Virtual Guitar Orchestra Samford Homestead Restaurant Rockabilly Xmas Party, West Texas Crude, The Sugarshakers, The Vampers, DJ Lori Lee Holland Park Bowls Club
Scott Sullivan Centenary Tavern Solar Rush Hamilton Hotel Spaciﬁ x Locknload West End Steve Trubble Horse & Jockey Warwick Straight Arrows, Loomer Woodland Stringmansassy, Andrea Soler Soundlounge Currumbin The Bollocks, Underwood Mayne, Goldstool, Deputy Dipshit, Prophet Margin Prince Of Wales Hotel The Book Club Boutique Tuntable Community Hall, Nimbin The Decoys Royal Exchange Hotel The Fabulous Sounds of The Sixties Show Kedron Wavell Services Club The Febs Fibber Magee’s, Toowoomba The Front Kedron Park Hotel The Fumes, Carmen Townsend Joe’s Water Hole Eumundi The Geoﬀ Green Trio The Point Restaurant The Green Sinatras Alderley Arms Hotel The John Steel Singers, Deep Sea Arcade, Fishing The Zoo The Kate Mackie Trio Gertie’s Restaurant And Bar The Legitimates, DJ Sin-Fidelity The Tempo Hotel The Roger Gonzalez & Rohan Somasekaran Trio Cuvee Lounge Bar, Soﬁtel Toe To Toe, AIM, Driven Fear, Th ick Skin, Dick Desert, Ok Cowboys Step Inn Treva Scobie Southern Hotel Toowoomba Tuﬀ y Wharf Tavern Two Way Active Varsity Lakes Tavern Up The River Jazz Brisbane Jazz Club Viper Room Broadbeach Tavern Well Hungarians Murrumba Downs Tavern
A Ghetto Xmas: Spaciﬁ x, Tim Nelson & The Cub Scouts, Tiger Beams, Hunz, Arab Israeli Crisis DJs X & Y Bar
Adrenaline - Rise Of The Arena The Hi-Fi Adrian Keys Waves Bar, Nth Stradbroke Andrea Soler Upfront Club Maleny Blah Blah Blah Elephant & Wheelbarrow Bob Mouat, Mace Southern Hotel Toowoomba Bowler Bar With, Magic Happens Bowler Bar Brisbane Sounds Xmas Party: My Fiction, Blonde On Blonde, The Winnie Coopers, The Mercy Beat, Teenage Wolves, Trash Queen The Zoo Bud Titanium Bar Callum Taylor Ipswich Jets Cheap Fakes Locknload West End Christmas Songbook, Starz Queen Street Mall Dan England Arundel Tavern Dean Watkin Spring Lake Hotel Fast Lane Redland Bay Hotel Glenn Esmond Blue Paciﬁc Hotel Hat Fitz, Cara Robinson The Joynt Hemi & 2 Stroke The Music Kafe Herb Armstrong and The Royal Street Krewe Brisbane Jazz Club James Brennan Beerwah Hotel K2 Duo Miami Tavern Little Dragon Woodland Livewire Newmarket Hotel Lynchmada, Humality, Howling Steel, The Secrecy, A Witness To The Slaughter Billy’s Beach House Michelle Brown Duo Alexandra Headlands Surf Club Mirror World, Stewart Fairhurst Hamilton Hotel Mojo Webb & Band, Asa Broomhall, J B Lewis Palmwoods Hotel My Self Destruction, Averice, Flanelette Springwood Hotel Nick Muir Alderley Arms Hotel Novacain Story Bridge Hotel Oz Hornz Live Wire Bar, Treasury Casino Pineapples From The Dawn Of Time, Vaginabillies, Prehistorics, Screamin’ Stevie’s Australia, Wayne Keys Show The Beetle Bar PJ Hooker The Palace Hotel Powerplay Brothers Ipswich
Punkfest Christmas Party: Flangipanis, El Guano Loco, The Jim Rockfords, Fun With Explosives Prince Of Wales Hotel Remedy Fibber Magee’s, Toowoomba Roby Lakatos QPAC Secret Agents Paciﬁc Pines Tavern Silver Ocean Storm, Azreal, Shifting The Paradigm, Howling Steel Swell Tavern Stairway Victory Hotel Stonemason, Jacks Harlot, Jenova Birth Epic Skate Rink Stu Fisher Quartet Gold Coast Arts Centre Sue Bond Jazz Quartet Woombye Pub Sunset Sessions: Alison St Ledger, Alesa Lajana QPAC, Melbourne St Green Superjuke Norfolk Hotel The Big Duo, Plan B The Tempo Hotel The Bob Gordons Fat Louie’s The Book Club Boutique Cocktails Bar & Niteclub, Lismore The Febs Narangba Valley Tavern The Fumes, Carmen Townsend Great Northern Hotel Byron Bay The Moniters Ric’s The Secret Silence, New Manic Spree, Nuts, Racoons and Dragons, End Of The Race Miami Tavern Shark Bar Thereafter Alexandra Headlands Blue Bar TLD Wharf Tavern Todd Burns Centenary Tavern Tom Foolery Full Moon Hotel Sandgate Toxic Garden Gnomes Step Inn Turbine Jazz, Elly Hoyt Brisbane Powerhouse Turbine Platform Venus Envy Surfers Paradise Beer Garden Vertigo Broadbeach Tavern Weekend Warriors Hinterland Hotel Whitey Dublin Docks Tavern
EEN JAM 5-8PM SESSION S5 BAL GR OOVE 2 -9PM -5PM
No Sleep Til Brisbane: Megadeth, NOFX, Dropkick Murphys, Parkway Drive, Descendents, A Day to Remember, GWAR, Katatonia, Alkaline Trio, Atreyu, Frenzal Romb, 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 RNA Showgrounds Pat Tierney, Young Smith, The Lyrical Broadwater Parklands Paul Clarke Our Haus Café Peter Cupples Albion Hotel Razz Newmarket Hotel Red Couch Redland Bay Hotel Roby Lakatos QPAC Stadler & Waldorf Oxford 152 Sunday Session, David Flower The Tempo Hotel Swing Th ing Live Wire Bar, Treasury Casino The Darren J Ray Duo Kawana Surf Club The Herd Of Turtles, Kye Cole, The Lemon Chilli Project, Bic Benedict, John’s Diary, Big Fella Inc, Panacea, Anthony J Cox, Knights & Cavaliers The Music Kafe The Scouts Coolangatta Hotel Tyson Faulkner Burleigh Heads Hotel Up The River Jazz Story Bridge Hotel Vaughan Ney Cleveland Sands Hotel
MON 20 Andrea Soler The Cavern Bar & Café
Amber Williams Elephant & Wheelbarrow Bobby Brown, Johnny Gill, Ralph Tresvant The Hi-Fi Lauren Lucille Locknload West End Pure Escalate: Nikki & Alan, Jezelle, Dream State, Calais, Sativa Sun The Tempo The Book Club Boutique Belongil Treehouse, Byron Bay
2 Not Out Rocky Glen Hotel Adrian Keys The Breakfast Creek Hotel Andrea Soler Peregian Originals Andrew Morris The Sky Room Bec Laughton Premier’s Bar, Treasury Casino
FINAL W EEKEND FRIDAY ORIGIN AL GR
SATURD AY SUN SET SUNDA Y GLO
Block Party Elephant & Wheelbarrow Bob Mouat Fernvale Hotel Bud Shearers Arms Hotel Chris Webb Beerwah Hotel Christmas Songbook: Australian Girls Choir, Qld University Musical Society Queen Street Mall Clark Brick Waterfront Hotel Dan England Blue Paciﬁc Hotel Dave Ritter, Chris Ramsay Fibber Magee’s, Toowoomba Don’t Come Monday: Ball Park Music, DJs Over The Pool Birdee Num Num Dreamtime, Udays Tiger X & Y Bar Funk’n Soul’d Out: Scripted Dialects, Dillion James Band, Desmond Cheese Globe Theatre Geoﬀ Rayner Chatswood Hills Tavern Glenn Esmond Rum Jungle, Brackenridge Global Grooves: Kooii, Oka, Spaciﬁ x QPAC, Melbourne St Green Gorillaz, De La Soul, Little Dragon Brisbane Entertainment Centre Hat Fitz, Cara Robinson Joe’s Water Hole Eumundi Hippopotamus Miami Tavern Hodads Broadbeach Tavern Jess Preston Benowa Tavern Jimi Beavis The Joynt Juo Palmwoods Hotel Karma, Nik Phillips Victory Hotel Kindread Locknload West End Lachlan Bell, Megan Crocombe, Brisbane Contemporary Jazz Orchestra Brisbane Jazz Club Livewire Dublin Docks Tavern Mad World Blues Band Caxton Hotel Mason Rack Band Hotel Brunswick Michelle Brown Duo Sunshine Beach SLSC
M. O C . PAC
FRI 17TH DEC
PLANET FICTION +VAN DIEMEN +YOUNGSMITH +THE RED LETTERS $12 DOOR SAT18TH DEC
THE GLOBE AND CHERRY RED CHRISTMAS EXTRAVAGANZA
W/ BEATRONICA + RIVER.STONE.HAZE +THE BOYDETTES + HOWLING RABBITS $9+BF PRESALE, $12 DOOR
SIGN UP NOW!
MAHLI ARTZ + BIG BOOK FANTASY + HELLO HOKKAIDO +THE RUM CORP $12 DOOR
THU 23 DEC
FEAR THE SETTING SUN + THE VIOLET ALIBI + MYSELF DESTRUCTION $12 DOOR FRI 7 JAN
KIM CHURCHILL + ASHLIEGH MANNIX + JUSTIN CARTER $10+BF PRESALE, $15 DOOR SAT 8 JAN
BASKERY + JUNGAL + CHEAP FAKES + DJ SARAH HOWELL $15 DOOR
321 BRUNSWICK STREET MALL, FORTITUDE VALLEY WEDNESDAY 15 DEC LE PARTI SOUL TINY MIGRANTS (9.30PM) + TINY SPIDERS (8.30PM)
FRIDAY 17 DEC DOWNSTAIRS:
THURSDAY 16 DEC SHARON FRIEL & BAND (9.30PM) + ERIN HARRINGTON (8.30PM) + DJ VALDIS (8PM)
SATURDAY 18 NOV DOWNSTAIRS:
A LITTLE PROVINCE (9PM) + OLIVER’S ARMY (8PM) + DJ VALDIS (8PM)
THE MONITERS (9PM) + DESCHANELS (8PM) + DJ VALDIS (8PM)
DJ BENJAMIN BOUNCE (8PM)
DJ CUTTS (8PM-LATE)
SUNDAY 19 DEC HIS MERRY MEN (2 X SETS) (9PM)
TUESDAY 21 DEC LANEWAY (9.30PM) + SURFACE PARADISE (8.30PM)
MONDAY 20 DEC THE BIG EMPTY (9.30PM) + THE RUM CORPS (8.30PM)
FREE LIVE MUSIC AND INDIE DJS
WANT TO PLAY? EMAIL
FUSION VILLA NOOSA
Thursday Horseﬁght, The Ride
BIRDEE NUM NUM Sunday Don’t Come Monday: Ball Park Music, DJs Over The Pool
BOWLER BAR Thursday Era Friday Duck Duck Goose, Love Fingers, Magic Happens Saturday Bowler Bar With, Magic Happens
BRISBANE CONVENTION AND EXHIBITION CENTRE Wednesday Human Nature
BRISBANE ENTERTAINMENT CENTRE Sunday Gorillaz, De La Soul, Little Dragon
BRISBANE POWERHOUSE TURBINE PLATFORM Saturday Turbine Jazz: Elly Hoyt
COOLANGATTA HOTEL Thursday The Fumes, Carmen Townsend Sunday The Scouts
ELEPHANT & WHEELBARROW Wednesday Iretro Thursday Woody Friday Locky, Berst Saturday Blah Blah Blah Sunday Block Party Tuesday Amber Williams
GLOBE THEATRE Sunday Funk’n Soul’d Out: Scripted Dialects, Dillion James Band, Desmond Cheese
GREAT NORTHERN HOTEL BYRON BAY Friday Hat Fitz, Cara Robinson Saturday The Fumes, Carmen Townsend
MIAMI TAVERN Friday C4 Saturday K2 Duo Sunday Hippopotamus
MIAMI TAVERN SHARK BAR Friday Osmium, The Passenger, Sending Artax, A Bid Farewell, The Cilikis Progressio Project Saturday The Secret Silence, New Manic Spree, Nuts, Racoons And Dragons, End Of The Race
QPAC Saturday Roby Lakatos Sunday Roby Lakatos
RIC’S Wednesday Tiny Migrants, Tiny Spiders Thursday Sharon Friel & Band, Erin Harrington, Arty, Jonathan Robinson, Scott Walker, Rich Curtis, Jer Friday A Little Province, Olivers Army, The Dawn Chorus Saturday The Moniters
STEP INN Wednesday Despotic Ruin, The Secrecy, Th rough Plagues, A Witness To The Slaughter Friday Toe To Toe, Aim, Driven Fear, Th ick Skin, Dick Desert, Ok Cowboys Saturday Toxic Garden Gnomes
SURFERS PARADISE BEER GARDEN Friday Ramjet Saturday Venus Envy
THE BEETLE BAR Thursday Sweet Dreams, Leftwaﬀe, The Chokes Friday Generation Jones, Mick Medew & The Rumours, Dustbin Hoﬀ mans, Prehistorics Saturday Pineapples From The Dawn Of Time, Vaginabillies, Prehistorics, Screamin’ Stevie’s Australia, Wayne Keys Show
THE HI-FI Friday Lloyd Banks Saturday Adrenaline - Rise of The Arena Tuesday Bobby Brown, Johnny Gill, Ralph Tresvant
THE JUDITH WRIGHT CENTRE Thursday Marialy Pacheco Trio, Froy Aagre
THE TEMPO HOTEL Wednesday Abby Skye Thursday Rock Into Summer, Adventure Land, Finabah, Starlight Theatre
Friday The Legitimates, DJ Sin-Fidelity Saturday The Big Duo, Plan B Sunday Sunday Session: David Flower Tuesday Pure Escalate: Nikki & Alan, Jezelle, Dream State, Calais, Sativa Sun
THE ZOO Wednesday Liam Griﬃn, Inland Sea, Jac Stone Thursday Black Xmas: Straight Arrows, Black Vacation, The Keep On Dancin’s, Paang!, Founds, Rio Lobotomy Friday The John Steel Singers, Deep Sea Arcade, Fishing Saturday Brisbane Sounds Xmas Party: My Fiction, Blonde On Blonde, The Winnie Coopers, The Mercy Beat, Teenage Wolves, Trash Queen
VERVE CAFÉ Thursday Tim Jackman, Open Mic
WOODLAND Thursday El Guincho, Toy Balloon, DJ Charlie Why Friday Straight Arrows, Loomer Saturday Little Dragon
X & Y BAR Friday Butcher Birds, Feathers Saturday A Ghetto Xmas, Spaciﬁ x, Tim Nelson & The Cub Scouts, Tiger Beams, Hunz, Arab Israeli Crisis DJs Sunday Dreamtime, Udays Tiger
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iFlog.com.au MELBOURNE SYDNEY BRISBANE
HOT 1OO Vote for your favourite songs from 2010! Get online and vote through our online system, email us your picks or even post them in. To be counted entries must be received by Christmas Day. The 2010 Hot 100 will be broadcast from midday on 1/1/2011.
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THURS 16TH DECEMBER
EWAN MACKENZIE & TIM JACKMAN
•••••••• EWAN’S SOLOING IS WARM, CREATIVE AND SPONTANEOUS •••••••• • Ewan joins Tim to put his polish on Tim’s rough diamonds. • • From 8.30 in the laundry bar free entry •
FRI 17TH DECEMBER
LIVE IN THE LAUNDRY BAR DJ MOSES • Music for big kids! From 5.30pm till late •
TUES 21ST DECEMBER
• Last Trivia Of The Year • TWISTED TRIVIA FROM ABOUT 7PM SHARP!
• Trivia is played at Verve every second Tuesday Free to play! •
THURS 23RD DECEMBER
FRIENDS OF VERVE JAM SESSION TIM JACKMAN (FORMALLY OF THE NAKED APES) • & many special guests • Brisbane musicians Christmas party • • Contact Verve if we have not contacted you and you would like to play ~ From 8.30pm till late •
To Play at Verve email firstname.lastname@example.org Verve Cafe Basement Metro Arts building 109 Edward St Brisbane City
BEHIND THE LINES ORIGINAL SIN
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IBANEZ DELIVERS TSA
One of the most popular pedals from Ibanez is the Tubescreamer overdrive, and now Ibanez has come up with the TSA 15H tube amp that features the tubescreamer circuit and the TSA112C speaker cabinet designed to match it, complete with a Celestion Seventy 80 speaker, so you can create natural clean sounds, heavy crunchy tones and warm smooth overdrive tones courtesy the modified inbuilt TS9 circuit. They’ve got to be worth checking out next time you’re in your favourite stockist.
MEET HELIPORT STUDIOS
Australian publishing mogul and bestselling relationship author Allan Pease has fulfilled a life-long dream and built a state-of-the-art luxury, recording studio overlooking the Pacific Ocean on his 56-acre Buderim property on the Sunshine Coast. Heliport Recording Studios features the first commercially available Solid State Logic (SSL) Duality deck in Australia, which means the studio can be used to record on any scale right up to full broadcast music recordings and 5.1 movie soundtracks. The console is tied to a ProTools 8 HD3 system running on an Apple MacPro with 48-channel I/O via Lynx Aurora converters, and monitored via Focal twins and Avantone cubes. Resident sound engineer is Angus Woodhead. For details and to book the studio, phone (07) 5456 2063 or email email@example.com.
WANT THE PIANO SOUND OF ALICIA KEYS?
It’s been available for a little while now but for those of you who might have missed it, Native Instruments have created a meticulously multi-sampled piano instrument based on the C3 Neo Grand as played by Alicia Keys – in fact it delivers so much realism that she used it exclusively on her latest album, The Element Of Freedom, and is being marketed as The True Piano Sound Of Alicia Keys – created by the combined talents of Thomas Skarbye, impulse response expert Ernest Cholakis, and Keys’ own audio engineer, Ann Mincieli, complete with 12 velocity layers (3000 sounds, 17Gb uncompressed), mechanical release noises, and a new sympathetic resonance/release system. Native Instruments products are distributed in Australia by the Hitech Products Division of CMI Music & Audio.
PALM-SIZED RECORDING STUDIO
This’ll make bootlegging concerts so much easier! Sony Australia have come up with a lightweight, palm-sized Linear PCM Recorder, available in two versions, the PCM-M10 and the professional version, the PCM-M10P, that offers high-fidelity 96kHz/24bit audio recording capability, built-in speakers and highly sensitive omni-directional electret condenser stereo microphones that provide natural tonal reproduction regardless of setting. Compatible with both Windows and Mac, the PCM-M10 simplifies editing and sharing of recordings, while the supplied Sound Forge Audio Studio Recorder Edition software allows users to edit their audio tracks easily.
April this year saw Seattle’s Fleet Foxes headed into Dreamland Studios in New York to begin recording their new album, the band’s Robin Pecknold producing with Phil Ek. The recording continued at Reciprocal Recording, Bear Creek and Avast Studios in Seattle.
There’s both new and old with HELLOWEEN, from different tunings to the same studio as they create their new album. MICHAEL SMITH talks to bassist MARKUS GROSSKOPF.
ogether 26 years, with more than five million albums sold, German melodic speed metal band Helloween are showing no signs of slowing down any time soon. In fact, they recently released their 13th album, 7 Sinners. It’s not quite a concept album, but certainly one with a unifying theme of sorts based on the old seven deadly sins concept. Recorded once again with long time producer/engineer Charlie Bauerfeind (Blind Guardian, Primal Fear, Saxon), the band headed down to singer Andi Deris’ Mi Sueno Studios in Tenarife in The Canary Islands. They worked on the album – the fifth they’ve recorded in the studio – between April to August this year and tuned everything to chamber pitch 432 hertz, instead of the regular A440 because, it seems, it’s “the more natural frequency for the human ear and therefore radiates a relaxing effect”. Odd, you might imagine, the idea of creating a relaxing effect when you’re cutting a speed metal album. So that seemed a good place to start in discussing the making of 7 Sinners with bass player Markus Grosskopf. “Sascha [Gerstner, guitarist, the other Helloween guitarist being Michael Weikath] was interested in finding out that when they measured frequencies, which are everywhere actually you know, one of the normal frequencies that’s always around you, on the globe and also in space, is the frequency we used. So we thought why not use this frequency because it can affect your feeling and your body and all that. We thought it funny to use this frequency because it’s more common than the one on the guitar actually. Then on the other hand, it’s not that we take it too seriously. It’s just another idea to try to do things different.” The band also chose not to work with a click track, something that has become de rigueur for bands the past 30 years or so. “That idea came because we’re playing with a hell of a drummer [Dani Löble] and he has such good timing he actually is a click track,” Grosskopf continues. “We thought if we have a better click track than every machine can give you, why not use him like a human click track? If you didn’t know, you probably wouldn’t realise, but it feels just better we thought. If he plays this part a tiny little bit faster or this chorus line a tiny little bit slower or whatever way he feels, we took as like the reference and it’s working. It just feels good.” While the album might have been put together in Mi Sueno, Grosskopf actually recorded many of his bass parts at his own Shockhouse Studio in Hamburg, “which is a tiny little one” he laughs, “and then I’m sending files over to the headquarters, so to say, and then I
APPLEWOOD LANE STUDIOS MAGOO, OWNER
Bauerfeind’s job as producer is essentially to pull it together from the parts “flown in” and recorded
need some work and then hopefully we can work through things in the band room, before the studio!
WHICH NOTABLE ARTISTS HAVE WORKED AT THE STUDIO? Recently, we’ve had Tex Perkins’ Dark Horses, Art Vs Science and The Panda Band. Previously I’ve done Intercooler, The Oyster Murders, My Fiction, Mardi Lumsden, The Gin Club, and Rocketsmiths. I’ve also been working with local band Wherewolves.
WHO DO YOU HAVE ON STAFF AND WHAT’S THEIR BACKGROUND IN THE INDUSTRY? At the moment, Sean Cook from Yves Klein Blue has been my intern. It’s early days, but seems to be working out well.
Gomez guitarist Ben Ottewell took himself off to The Chalet in LA to record his debut solo album, Shapes And Shadows, coproducing it with Will Golden, the results mixed by Tom Biller. Expect the album in February.
Sydneysiders Stormcellar are another band that have opted to utilise a different kind of space to record an album, in their case on a 100-year-old porch in Cumnock in country NSW earlier this year. They’re currently in Goose Studio in Leichhardt mixing the acoustic album with engineer and studio owner Pete Doherty and then go to Shoehorse Sound to get it mastered by Michael Lynch.
Grosskopf isn’t really the most technical member of the band, but explained that it’s generally all ProTools and hard disk recording and “all that general good old studio stuff you know. We have a wealth of machines there, which bring a bit of warmth into the signal before it goes on the hard disk. And it’s working – as you can hear!”
Grabbing an opportunity that the members have available between working on their own various projects, d.i.g. (directions in groove) lobbed into Linear Recording in Sydney for four days last week to work on their first full studio album since 1998’s Curvystrasse, the band reuniting in June 2008.
Tasmanian five-piece The Stoics have been mixing tracks they recorded for an album earlier in the year at Damien Gerard’s in Sydney’s Balmain with engineer/ producer Andrew Beck, though both owner/operator Marshall Cullen and the other inhouse producer Russell Pilling have also mixed the odd track.
go there for a week or two and do little bits here, little parts there. This way we can leave the drums where they are at Andi’s house and work on different songs, different guitar ideas and then six weeks later go in and change parts with the drums if we have different ideas, because it’s all there and once you have it set up you can keep it for, like, three months. This is not possible if you go to a rented studio of course.”
ANALOGUE VS DIGITAL – DISCUSS.
WHAT’S THE STUDIO SET UP YOU HAVE THERE EQUIPMENT-WISE?
I have a 16 ch TAC Scorpion that JLM audio has supped up for me. I’ve also got some Neve pre’s, Focusrite, Avalon, AMEK etc…. I have a pair of NS 10’s with a sub and a pair of Dynaudio BM6’s. I have some Vintage Neumann, and AKG mics, as well as some ribbons.
ANY TIPS FOR ARTISTS ENTERING A STUDIO FOR THE FIRST TIME? Pre-production. I like to hear demos of the songs. They don’t have to be super quality. Actually even a laptop in the room can be enough. It helps for the band to hear things back as well as people like me. I go through the demos and point out any bits I feel
Well there’s no argument anymore. When digital was first finding its way, there were a lot of complaints about its unnatural sound, but over time the converters have gotten better, software emulation has come along and I think people are used to the sound now. I love both worlds, but digital makes more sense economically.
CAN BANDS BRING IN THEIR OWN ENGINEER OR DO THEY HAVE TO SOLELY USE A HOUSE ENGINEER? At the moment it’s basically me, unless I go away on holidays. The studio is my family house, so at the moment, that’s the way it has to be.
IS THE STUDIO CAPABLE OF HOLDING A FULL BAND AT ONCE FOR RECORDING? Applewood was once a church. The recording space is 16m x 8m. A full band is no worries.
inhouse, “which is not easy with Helloween,” Grosskopf suggests, “because you cannot make one setup for the mix and then rush in all songs through the same setup because a lot of the songs are very, very different from each other. That means each and every song needs its individual love – each song has a different mixing setup – and that’s what he’s very, very good at.” Grosskopf personally plays German-made Sandberg basses, both four and five-string models, plus for the latest round of European touring, which began in November, had just ordered the latest Marshall cabinets, the MB Series 400 watt beasties. “They’re full of valves and tubes and stuff – that’s a sound I do like,” he states. Helloween’s 7 Sinners is out through Sony Music
WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATION? Well who isn’t? That’s the way the industry is now. In fact I haven’t worked with a signed band since 2007 and I’ve been plenty busy. If I like the music I will try and fit the recording to the budget, but it does depend on how busy I am.
DO YOU HAVE ANY IN-HOUSE INSTRUMENTS AT THE STUDIO ACTS CAN USE, OR IS IT TOTALLY BYO? We’ve got heaps of instruments lying around. Drums, bass, guitars, amps, keyboards, piano, and whatever other toys I’ve collected over the years. There’s usually enough stuff to complement what the band has, and to offer a bit of variety and colour.
WHAT’S THE ACCESS TO THE STUDIO LIKE WITH REGARDS TO PARKING, FLAT LOAD, ETC? The load is relatively flat. There’s a few stairs, but not many. We’re on acerage, so there’s no worries about parking.
WORKING IN THE STUDIO CAN BE ARDUOUS AND WE’LL NEED A BREAK – WHAT ARE THE AMENITIES IN THE LOCAL AREA?
I think that’s the best bit about this place. We’ve got ten acres, so you can always have a look around the block. We’ve got a pool and most people find the place pretty relaxing. We’re also only a minute or two from the town, which has cafés, bakery, two pubs and a Woolworths.
WHAT ARE YOUR CONTACT DETAILS?
TRADES & SERVICES
EMPLOYMENT ADMINISTRATION Guitarist, wanted to join established Brisbane based band playing original electro groove rock, pop and soul type tunes.. CD in production with recording available, video shot and mixes by US and European and Oz producers. Band has management and gigs. iFlogID: 9710
NOT AVAILABLE FOR FREE ADS. CL Bass Player needed for originals electro rock, pop and soul established AV band. Recording in production and southern management. Share stage with dynamic diva, swampy guitar synth and power drums/mc. Email links for links. Great tunes. iFlogID: 9969
NOT AVAILABLE FOR FREE ADS. CL Keys Player/Composer to join established band, good original repertoire recorded & in production. Can contribute to that & next album. Electro rock/pop/soulful sound, dynamic diva & emcee. Video shot & a track mixed US due out soon plus gigs & management iFlogID: 9846
URBAN HUMM STUDIO, WEST END. Rehearsal Rooms, Recording Studio & P.A. Hire.Off street undercover parking, flat loading, aircond., P.A. provided. Open 6.00pm to 11.00pm. Weekend and day slots available.Permanent weekly spots available.Phone Andy. 0411632023 iFlogID: 9153
In January 2011 Pine Rivers Park hosts the annual ‘Raggamuffin’ Festival. This new venue allows an area exclusively for stall holders to sell their products. The capcity of 20,000 opens a great opportunity to expand clientele. More information info@ qlive.com.au iFlogID: 9540
FOR SALE AMPS David Eden 4x10 XLT, 700 watt 8 ohm version. In good condition, sounds amazing never pushed as it was so loud $900 0402265768 iFlogID: 9984
Fender Super Reverb. 1969 Vintage 4 x 12” combo. Minor cosmetic damage. Great amp. $2895 or near offer. Call Frank 0434 686 755 or 02 9740 8333.
Trace Elliot Speed Twin all valve 100w head/guitar amp - boutique top of the line, triple channel, pentode/triode switchable, high gain, footswitchable, effects loop, speaker dampening - the British mesa boogie! Super versatile. Excellent cond. Paid $2000, sell $950! iFlogID: 9560
Trace Elliot V8 Bass Amp, very rare made in the UK edition, 400 watt all tube bass head. In perfect condition, only ever used in half power, and not used in 2 years, $3000 0402267568 iFlogID: 9982
BASS Ernieball Musicman Stingray 4 Blue Dawn (LTD Colour), PC, 1 owner since new, used as backup, played maybe 100 times, $2000, 0402265768 iFlogID: 9980
Line 6 Flextone 2 combo. 2 x 12” speakers. Good condition with full pedal board. sell $795 or near offer. Call Frank on 0434 686 755 or 02 9740 8333. iFlogID: 9805
Markbass Studio Pre500 amp. Top of the line unit, used on 3 sessions, still under Warranty. Retail $4395... Sell $2500 o.n.o. Call Frank 0434 686 755 or 02 9740 8333 iFlogID: 9803
Marshall 2x12 cab up for sale! 2x 65watt celestion speakers both brand new, 4 screw in wheels carry handles , great quality , $350 or best offer,so if your interested call us on 0435510600 iFlogID: 9915
Australia’s leading online employment and news website dedicated to backstage. The website is free to search and join with out any hassles of membership fees. www.backstagejobs.com.au
the box. Regretfully selling all my recording gear. My pain is your gain. Paid $400, sell $275!
PEAVEY BANDIT 11 80 watt 12” combo guitar amp.USA made.2 channel footswitchable.reverb,saturation etc. great fat tones.VGC.$350 Ph. 0428744963.cooroy. iFlogID: 9913
RNC 1773 Really Nice Compressor. Amazing little stereo compressor. Awesome for home recording. Bought it & never used it, it’s as new, still in
Gibson Thunderbird IV 2004 Sunburst, GC, has been gigged however, well taken care of. Hasn’t been played since 2008. iFlogID: 9976
Warwick Streamer II 5 String Bass Guitar. As made famous by Dirk Lance of Incubus. As new condition. iFlogID: 9774
DRUMS 8,10,12,14,16” rack toms, 4x13 snare, 22” bass. Electric Blue. PLUS six Dixon double braced stands. PLUS Janus hihat/dble bass pedal. Everything powder coated black! PLUS cases for all drums. Everything in excellent cond. $5950 iFlogID: 9929
NOT AVAILABLE FOR FREE ADS. CL Roland TD9 Electronic drumkit. All mesh pads, Pearl pedal and stool, active coaxial monitor speaker, headphones. Hardly used in excellent condition. Over $5k worth gear, sell for $3,200. iFlogID: 9960
Win a Pearl Forum drum kit with cymbals. Drummers Paradise are celebrating their 21st birthday by giving away a Pearl Black Forum 5 piece kit with cymbals. Just go to www.drummersparadise.com.au to enter. Prize is Drawn Dec 21st a noon. iFlogID: 9939
GUITARS Brand new Maton M225 acoustic guitar in unopened plastic wrapping. Outer cardbox packaging opened for inspection. Year manufactured: 2009. $550 Pickup location: Brisbane CBD iFlogID: 10026
Electric guitar and amp package perfect for beginner to intermediate players. Squire Bullet Stratocaster & Fender Frontman amp $250 with lead and strings included call or text 0421162665 for photos. iFlogID: 10106
Epiphone LP Special (Vintage Sunburst)plus Epiphone 10 watt practise amp - both in as new condition.Top beginner kit - $385.00 iFlogID: 9974
FENDER SRATOCASTER. PINK PAISLEY. genuine early 80’s.with hardcase.all origional.plays great. beautiful tone and sustain.very rare. suit collector. exellent condition. $2500. Ph 0428744963 iFlogID: 9815
FENDER STRATOCASTER DAN SMITH 1982. RARE MOCHA BROWN. ORIGINAL BODY AND PARTS. IN FENDER CASE. EXCELLENT CONDITION. CALL 0432 224 799. FOR MORE INFO.
MATON accoustic steel string 3/4 guitar.model F 11.dated 10/73.no 1591. all australian timbers.good origional condition.suit collector.$500. Ph 0428744963. Cooroy
Mackie Onyx 1620 analog mixer w/ SKB Mighty Gig Rig on wheels (Complete mobile PA / recording system can be racked in this rig). 8 preamps w/ direct recording out. iFlogID: 9850
Sell Control Surface Digidesign Control 24 (Focusrite) in excellent condition, $5000. Selling because moving overseas. Please don’t hesitate to contact me if you have any questions and in order to discuss the price. iFlogID: 9736
OTHER Avalon 737SP micpre/compressor/ equaliser Amazing Class A professional quality recording strip, used by studios everywhere. Hardly used! Very regretful sale. Perfect cond. RRP $3400, selling $1800! iFlogID: 9562
Joe Meek Twin Q recording strip. Mic pre/compressor/limiter/equaliser stereo/twin channel recording strip, barely used, perfect condition. Adds awesome vintage mojo to recordings. Sounds fantastic. I’m selling all my recording gear. I paid $1450, sell $750! iFlogID: 9566
Quested F11.. 2 way active near field monitors. Pro grade quality. Good Condition. $1395 or near offer. Call Frank 0434 686 755 or 02 9740 833. iFlogID: 9813
Vintage 1960’s “Optro” 305 compressor limiter. Vintage & classic 2RU broadcast transformer balanced opto compressor/limiter, in great working condition. Great vintage mojo. As used by Festival, ABC and Metropolis studios. Bargain! Sell for $675!
TASCAM 8 track digital studio recorder. 2 mike and line inputs, record 8 tracks mix down professionally and burn to cd in one unit. Perfect condition used only a handful of times $750.00 call on 0419 705 169
XIO NOVATION SYNTH FOR SALE NEVER LEFT BEDROOM STILL GOT BOX $300 NO LESS A SYNTH/SOUNDCARD/AND/MIDI CONTROLLER CITY LOCATION 0404221049/MARK iFlogID: 9777
BSSound PA & Lights SALE Grays Online Auction: 2 to 8 December. Inspection day Tuesday 7 December. 150 Lots of brand-name microphones, speakers, effects, amps, mixers, road-cases and lights. www. bssound.com.au/sale.htm www. graysonline.com/sale/67713 Mark Barry on 0419 993 966 iFlogID: 9651
PA speakers - EAW KF-550 powerful and large PA speakers (2x). 2x15” 1x12” 1xhorn horizontally oriented. Three-way. Includes stands. Make an offer! Call or email for specs, or visit http://bit.ly/kf-550. firstname.lastname@example.org or 0400 404 919. iFlogID: 9936
MUSIC SERVICES BAND MERCHANDISE NOT AVAILABLE FOR FREE ADS. CL - PRO QUALITY BACKING TRACKS! - MIDI or MP3 - Any song you want - Send me the song today, Get the MIDI file the next day! - $25 for MIDI / $35 for mp3 - EMAIL: vangelis2133@ yahoo.com PHONE: 0449672435 iFlogID: 9706
BOOKING AGENTS Gig Launch is Australia’s first online booking agency. Gig on a Japanese Boat for 6 months at AU$3000 per month, Submit your music to feature films, Play at any of the Scorcherfest festivals and Apollo Bay! Just head to www.giglaunch.com.au iFlogID: 10004
SnakeEyeProductions offers EPK’s also know as electronic press kits, they work as a bio/show reel, to promote your band to bookers/ promoters/labels and venues. PH0416120639 iFlogID: 9588
DUPLICATION/ MASTERING Deluxe Mastering: Melbourne’s premier mastering specialists for CD, vinyl and online release. Service-focused, relaxed atmosphere, decades of experience in all genres, custom analogue signal path. No-obligation quotes & mix evaluations. See website for credits. w: www.deluxemastering.com.au e: email@example.com iFlogID: 9854
EP RELEASE EVERY SONG - RADIO READY! SPECIAL PRICE avail for singer/songwriters until end of January 2011...Have 5 songs produced, mixed & mastered for ONLY $499 per track!!! Email info@ nathaneshman.com for more details as conditions apply. Visit www.nathaneshman.com for audio examples iFlogID: 9963
OTHER free iphone and nokia apps Radio Bondi iFlogID: 9548
Heavy Metal Community
Heavy Metal Music Community. Upload And Promote Your Metal Music Online Free. Create your own band page. Heavy Metal, Black, Thrash, Death Metal, Hardcore, Gothic, Grindcore and many more. Australian owned. Join now! www. onlyheavymetal.com iFlogID: 10031
www.ozjam.com.au is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 9941
HIRE SERVICES For as low as $100, you get a professional PA system with a sound mixer with operator. Suitable for weddings, pub/club band gigs, private parties etc. firstname.lastname@example.org Contact Chris 0419 272 196 iFlogID: 9834
INTERNATIONALLY RECOGNISED PRODUCER! Credits include: Marcia Hines, Candice Alley, Ex-Toto frontman Fergie Frederikson. Have every song produced at radio standard... under every budget. Visit www. nathaneshman.com, email info@ nathaneshman.com or call 0403 498 103 for package prices...from demos, to singles and full albums. iFlogID: 9965
MANAGEMENT MINSTREL MANAGEMENT Need help with your music career? We provide the best in Recording, Mastering, Tours, Promotion, Publicity, Solicitation, Merchandise, Music Video’s, Photography, International Licensing, Direct to fan Marketing campaigns. WANT TO TAKE YOUR ACT TO THE NEXT LEVEL? www. minstrelmanagement.com
PA / AUDIO / ENGINEERING PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. Contact Chris 0419 272 196. iFlogID: 7415
RECORDING STUDIOS Bedlam’s intimate two room studio is fully equipped with the latest in pro audio and provides a landscape for creative brilliance. Bedlam offers a wide variety of tracking, production and mixing solutions to cater from demos to complete releases iFlogID: 10010
SINGER/SONGWRITERS have a home studio and require a producer to help polish your tracks? High-end recording studio with the convenience and universal application of the Internet. World class session musicians work with you every step of the way- more information www.rockethouseproductions.com
SIGN UP NOW! THE DEFINITIVE BOOK ON AUSTRALIAN MUSIC OUT NOW IN GOOD BOOKSHOPS EVERYWHERE
100AUSSIE - streetpress.indd 1
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For a limited time. Free online and print classifieds Book now, visit iflog.com.au 53
Studio Recording and musician services. iFlogID: 9862
award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace.com / mazvocalstudio - Contact Maz: email@example.com iFlogID: 9795
Via Studios ph:32521127 10 high class, spacious, airconditioned studios built with the musicians needs in mind! Flat Load, Backline for hire and lockable storage. Come see what the fuss is all about www.viastudios. com 50 Abbotsford rd Bowenhills Ph:32521127 iFlogID: 9440
VIDEO / PRODUCTION MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 20 artists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email firstname.lastname@example.org iFlogID: 10054
REPAIRS MIKES GUITAR GARAGE GUITAR REPAIRS & SETUPS www.mikesguitargarage.com (02)95862486. We are passionate about Guitar Repairs. From simple restrings, complete setups, repairing broken headstocks or installing pickups, we can do ANYTHING! We can get your favourite axe sounding and playing better! iFlogID: 9578
ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 email@example.com www.rockinrepairs.com iFlogID: 9342
TUITION GUITAR LESSONS! Luke has been at the forefront of the Australian Music Industry for the past 10 years. Signing to 4 record labels, sharing management with Matchbox 20, playing National arena’s, and writing songs with Eskimo Joe. Call: 0400077901 iFlogID: 9679
SAX TUITION--------------Easy way to learn saxophone for students of different ages (from kids to adults) and different levels (from beginners to advanced). $35/hour Lorenzo 0410041979 iFlogID: 9911
SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy
SnakeEyeProductions specializes in live gig film clips for your website or myspace. Filming in HD with broadcast quality equipment, we edit clips and provide DVD transfers/authoring and uploads. Great way to make your music stand out from the rest. ph-0416120639 iFlogID: 9584
MUSICIANS AVAILABLE DRUMMER I am looking to join a funk/R&B/ soul cover or originals band. I’m 33, played for 20 years, and have own equipment. Tony 0437 725 521 iFlogID: 9643
Pro level drummer with good vocal ability available for gigs, sessions, tours etc. Good gear, good attitude, own transport. Can play many styles, specialising in Rock and Funk. Based on the Sunshine Coast. Call Paolo on 0404054743 iFlogID: 10012
GUITARIST Pro guitarist / singer available
17 yr/o guitarist been playing 5yrs keen to join a hard rock/ metal band, no scremo, death core bullshit, real metal, influences megadeth,maiden,priest,guns n roses etc... interested? call 0435510600 iFlogID: 9645
Credits: Marcia Hines, Candice Alley
& Fergie Frederikson (ex-Toto)... Nathan Eshman is available for online guitar sessions. Email him your guide tracks & you’ll receive tracks recorded in a pro studio without leaving home. Contact firstname.lastname@example.org or visit www.nathaneshman.com ANY BUDGET!
tion and can write lyrics.I believe that the right band will find me. iFlogID: 9882
MUSICIANS WANTED BASS PLAYER
Experienced Guitarist looking for good Sydney Cover Band. At 23 I have been playing for over 10 years, have 4 years professional touring experience, Pro Gear (Fender, Gibson, endorsed by Mesa/Boogie). Email anthony at email@example.com No Time wasters please. iFlogID: 9720
Lead guitarist looking to form/ join a heavy metal band,on the central coast. Influences: Mercyful Fate, Judas Priest, Metallica,Iron maiden,Kalmah,Dethklok - Blake 0403138542 iFlogID: 9836
SESSION GUITARIST available to play on your next track remotely via the internet. Great quality tracks without the expenses of studio time and travel. Perfect for producers/ songwriters Excellent equipment,tone and touch, 20 years experience. For examples further information- www. rockethouseproductions.com iFlogID: 9844
OTHER SAXOPHONIST AVAILABLE----Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae, latin, rock, folk. If interested contact Lorenzo at 0410041979 or firstname.lastname@example.org Cheers. iFlogID: 9909
Specialising in High Energy Funk and Afro- Cuban styles. If you want fire and professional energy to your performance, then call Simon 0415 138 589. Paid gigs only iFlogID: 9614
SINGER Guy (26) with singing in his blood. Need music in my life.I’ll give my all and be myself.Definitely a performer/ frontman. Got lots of energy, inspira-
Bass player , experienced for original trio
Double Bass to play swing, blues, rock n roll. Vocal ability a plus. Regular work. Vini & The Moonlighters vatm.com.au iFlogID: 9542
Female bass player wanted for Brisbane rock dance band. Must be 18 - 35 years, photogenic, reliable. Inf: RHCP, RATM, P!nk, Suzi Quatro, Alanis Morrissette and more. Ph: 0437 428 859 or 3267 6789. iFlogID: 9932
Next Exit are looking for a Bass player that can drive any bass-line. We are a rock coverband. Professional attitude a must. Call Peter 0412669292 iFlogID: 9893
NTL. TOURING GRP WITH AGENCY & UK/US DEAL W/AU DISTRO NEEDING BASSIST NOW! ‘ROCK N ROLL/INDIE/ NEW WAVE’ - MUSICALLY PROFICIENT, MANY GENRES AS BONUS. DO NOT CONTACT IF U NO PLAYING WEB (must have myspace etc.) - email@example.com iFlogID: 9880
Wanted: bass player/vocalist 25-35 for working 60s-00s covers band. Some experience and good song repertoire preferred. Shows booked early 2011. iFlogID: 9612
DRUMMER 8 piece soul, reggae and funk style band in Marrickville, Sydney looking for a drummer who can be ready to gig in 8 weeks! Rehearsals 11-3pm every Sunday in St Peters, please contact us if you are interested, jon@ low-gear.com iFlogID: 9631
Drummer experience required
Drummer needed for indie rock band. Influences: early KOL, Bloc Party, Radiohead. myspace/tierraoutlaws. Contact Andrew 0408255644
GUITARIST WANTED TO TEACH
Drummer wanted for original music project, currently an acoustic solo act but I want to develop it into new sound with a new band; www.jamesdonnelly.com or call James 0400 342 852 (South Sydney Area) iFlogID: 9480
Drummer wanted. solo act wanting a drummer to finish off trio. check out www.myspace.com/arrywilson for current release iFlogID: 10101
Female drummer wanted for Brisbane rock dance band. Inf: RATM, RHCP, P!nk, Suzi Quatro, Alanis Morrissette. Must be 18 - 35 y.o., photogenic and be ambitious. Ph 0437 428 859 or 3267 6789. iFlogID: 9934
Mature dynamic metal band based in Hills/Blacktown,Sydney. Infl: Rock, Grunge, Black, Death, Hardcore, Groove, Doom...etc Looking for like-minded drummer, own gear & car. Practice weekly. Gig monthly. myspace.com/cursedwithsanity. PLEASE NO TIME WASTERS! iFlogID: 9616
Sydney contemporary rock band is looking for a young vibrant 22-30-yr drummer to join now!!! Songs ready to go, gigs waiting for us and we are ready to record our first album early 2011. iFlogID: 9661
GUITARIST GUITARIST WANTED FOR SYDNEY ROCK BAND. PREFERABLY AGED BETWEEN 18-25. WE ARE SUPPORTING CHOIRBOYS IN MELBOURNE IN JANUARY AND WE ARE LINING UP MORE GIGS IF YOU WANT MORE INFO THEN CONTACT US... 0404 166 433 firstname.lastname@example.org iFlogID: 10029
SERVICES GRAPHIC DESIGN
Drummer wanted for weekly jams with view for fun improv, song writing, strange rhythms, gigs, money. Reference points include: Phish, Gojira, Tom Waits, Fishbone, Primus. email@example.com
Recording soon. Some back up singing required. Age 25-39 Ph Chris 0407 620 744
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 www.g4guitar.com.au for details. iFlogID: 7447
CAUSTIC ATTACK are a Sydney based Grindcore band in search of a vocalist. This vocalist must listen to: Napalm Death Carcass Morbid Angel Repulsion Celtic Frost Discharge Doom Crass If you’re interested contact us via myspace. www.myspace. com/causticattack iFlogID: 9870
Indie/electronica/dance producer looking for singers/songwriters to collaborate. Looking for vocal style like Passion pit, MGMT, The Empire of the sun, DOM, Wolfgang. For more info mail to firstname.lastname@example.org
National touring band require professional guitarist. Age 18 -25. Must be proficient in all forms of Rock, Blues, Roots.Involves backing high profile artists. Show operates out of Queensland. For further details email email@example.com or phone 0408 010 789
Require a strong professional female singer with cover band experience for high end Corporate and private Functions Party Covers Band and agency backed! Send CV/bio to info@ techwebdevelopers.com on receipt I will send applicable band website, setlists, songs etc
Working covers band seeks lead guitarist. Any age, but thinking late 20s to late 30s). MUST be: professional, reliable, flexible, rehearsable, a clown(good harmony vox a bonus). MUST NOT be: a primadonna or a thief. Call 0414-369-286.
Require a strong professional female singer with cover band experience for high end Corporate and Private Functions Party Covers Band and agency backed! Send CV/bio to info@ techwebdevelopers.com on receipt I will send applicable band website, setlists, songs etc
KEYBOARD National shows, recording and management backed. Need versatile keyboard/synth. From vintage B3 and Rhodes to giant arpeggiator and melodic synth. We have a keyboard, you need to a basic knowledge of chords and willingness to learn songs. firstname.lastname@example.org iFlogID: 9884
Piano/Keyboard Player needed to join folk/rock outfit. Gigs booked.
Professional Band and Business Websites: Videos, audio clips/jukebox, Photogallery, Gig Dates, About Us, Contact Us and much more from $399 fully hosted. See www. bizwebsites.com.au or contact info@ bizwebsites.com.au today! iFlogID: 9840
Hi, I’m looking for a great male vocalist. To sing only one dance song. Thanks
I am a good singer with quality studio lookin for guitarist who likes radiohead jeff buckley damien rice style stuff to write with I have good contacts,i do pop as well/covers
Offering a range of design services www.melissahowarddesign.com
Seeking Singer /sunshine coast cover band mod rock ,free rehersal, gear provided . Bands - Franz ferdinand RHCP Incubus Foo Fighters Queens o stoneage fall out boy .gigs in new year! Call dave for auditions 0432448878 iFlogID: 9659
OTHER Do you have an Iphone? If yes, please download my free app, radio bondi, cheers iFlogID: 9653
Is your life a cluttered mess? Unsure of where you are headed? Unsure how to identify your strengths, your values? Visit www.tisi.me and find out how a life coach can help you. Free DVD. Xmas gift vouchers iFlogID: 10124
Want to capture a live performance? Professional live recording 24 tracks, mixed and mastered my experienced audio engineer. Can also record and band mix tracks themselves.Done on budget.0406456364 iFlogID: 9504
WANTED OTHER to matt damon.. and the 7foot something guy from the yha.. does anyone know you?? i keep trying to ring the places where i think you’d be to no avail..i know its been years.. please call.. iFlogID: 9741
to the guy from the sydney central yha.. please send me a message.. ill take you out for christmas dinner.. love, maxine
Singer/keyboardist to form 80stoday covers duo on GC. Must be available to rehearse, pref age 25-40, keen to gig regularly.0422 642 933 iFlogID: 9576
Online mastering. Upload your mix to our secure servers, we’ll master the audio, then you can download the finished master. matthewgraymastering.com
For a limited time. Free online and print classifieds Book now, visit iflog.com.au 54
Published on Dec 14, 2010
Published on Dec 14, 2010
Time Off is Australia’s longest-running street press publication, and has positioned itself as an iconic Queensland brand. For past 18 years...