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GIVEAWAYS Vince Vaughn and Kevin James headline an all-star comedy from director Ron Howard about a man who finds out what you don’t say to a friend is just as important as what you do. Jennifer Connelly, Winona Ryder, Channing Tatum and Queen Latifah join them in The Dilemma, only at the Movies Jan 13. www.thedilemma.com.au. Thanks to Universal Pictures we have ten double in-season passes to give away! Subject Line: THE DILEMMA The Gold Coast Big Day Out may have sold out, but extra tickets have been made available! To coincide with the release of the Big Day Out mobile App we have some very awesome prizes up for grabs! The major prize includes: one double pass to the Gold Coast BDO and a CD pack of various albums by 2011 BDO Artists (approx 20 albums), and four runner’s up will receive double passes to the BDO. The FREE mobile app let’s you create your own schedule for the day, and it’s fully integrated with all your fave social networks. To be in the draw to win tickets to Lollapalooza 2011, all you have to do is download the free app, attend one of the festivals and take photos via the app while logged into Facebook. For more details visit www.bigdayout. com. Subject Line: BIG DAY OUT APP
From Jan 14 – Feb 4, Tribal Theatre present Friday screenings of The Room. Don’t miss this film in all its glory; a piece of cinema so awful it has become a cult phenomenon. Thanks to Kristian Fletcher we have five double passes to the Jan 21 session. Entrants must be 18+. Subject Line: THE ROOM On Friday Jan 21, Kristian Fletcher presents an interactive screening of The Rocky Horror Picture Show at Globe Theatre. The screening will be accompanied by a floorshow by Cards 4 Sorrow. We have one double pass up for grabs! Entrants must be 18+. Subject Line: ROCKY HORROR Showcasing tracks from his masterpiece Heartland, Owen Pallett will be at the Old Museum on Tuesday Jan 25. Thanks to Little Old Me Publicity we have two double passes up for grabs! Entrants must be 18+. Subject Line: OWEN PALLETT The Decemberists’ last record Hazards Of Love ensured expectations for new one The King Is Dead were sky high. Those who doubted Colin Meloy, be shamed. More rustic, more rural, less operatic, the lead single Down By The Water with Gillian Welch is just the tip of this haystack of gems. Because we want you to hear Rox In The Box, Don’t Carry It All and the rest of it, we’ve got five copies to giveaway. All you have to do is jump on Facebook, search Time Off and “like” us, just like we “like” The Decemberists. To hear the album go to www.themusic.com.au
HOW TO ENTER: Email: firstname.lastname@example.org with the designated Subject Line. Entries MUST include your full name, address and contact phone number in Body of Text. Please note our Giveaways policy: Email before Friday 3pm unless stated otherwise. If you have won a prize you will be notified by email. One entry per person/per competition. Prizes must be collected from the Time Off office during business hours with the presentation of ID. Prizes must be collected within 10 working days from email notification unless stated otherwise. Prizes are not transferable, exchangeable or redeemable for cash. Failure to collect the prize within the time specified will result in it being forfeited. Deadlines for entering and collection must be strictly adhered to.
THE LOSS OF GLOSS
The floods that have ravaged SEQ have taken their toll on Time Off this week as well, with our gloss covers that are printed separately to the rest of the magazine lost in transit due to the storm-related transport chaos. In the overall scheme of things this is nothing more than a trivial inconvenience, but we just wanted our readers to know where we stand. We hope that everyone’s families, loved ones and possessions are safe and sound – take care and we’ll all get through this torrid time together. If you’re relatively unscathed and would like to donate money to help those less fortunate who have been affected by this tragedy please head to the Queensland Government Flood Appeal at www.qld.gov.au/floods and dig deep, our fellow Queenslanders need our support desperately.
CONTENTS TIME OFF
Get your industry news from The Front Line 8 Lowdown – news, opinions, tours, 10 The Jim Jones Revue take us back to the roots and make it exciting 14 You never know what to expect from Primal Scream 16 Chris Bailey is planning an enormous 2011 17 Jason Collett tells us what his new, not so broken, buddies have to offer 18 The Beautiful Girls are goin’ on a summer holiday 18 Killing Joke discuss their enduring influence 19 The Greenhornes are back in familiar territory 20 Believe it or not, Gold Panda does occasionally get compared to Panda Bear 20 Los Angelino noisemongers Health are still figuring out plenty of things 20 Guilty Simpson is proud of his achievements thus far, but that doesn’t mean he’s stopping 20 Chase The Sun have a fortuitous arrangement with their latest tour 21 Mr Maps don’t mind what you call them 21 On The Record has the latest, greatest and the not so greatest new musical releases 22
Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 22
Check out GoMA’s A New Tomorrow: Visions Of The Future In Cinema programme 24 Wicked cast member David Harris discusses his stint as Fiyero 25 Tommy Wiseau discusses The Room 26 Zachary Levi lends his voice to Tangled 27
BACK TO TIME OFF!
Our Live section is packed full of tour info, live reviews, local news and more awesome shit than you could imagine 29 Dan Condon gets the dirt on the blues scene from the Roots Down 38 Adam Curley cuts sick with another musical pop culture rant in The Breakdown 38 Lochlan Watt gets brutal in our new metal column Adamantium Wolf 38 Sarah Petchell has enough punk rock to Wake The Dead 38 We take you Behind The Lines 44
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CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Alex Gillies, Richard Alverez, Mark Beresford, Emma Heard, Andrew Haug, Stu Harvey, Adam Curley, Daniel Wynne, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Bill Johnston, Tyler Jones, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Sarah Petchell
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THE DECEMBERISTS NEW ALBUM THE KING IS DEAD STREAMING NOW
The Decemberists’ last album Hazards Of Love ensured that expectations for their latest release The King Is Dead were sky high. Those who doubted Colin Meloy, be shamed. More rustic, more rural, less operatic, the lead single Down By The Water, with guest Gillian Welch, is just the tip of this haystack of gems. Because we want you to hear Rox In The Box, Don’t Carry It All and the rest of it as well, we are offering an exclusive pre-release stream. To listen head to themusic.com.au.
themusic.com.au - powered by Street Press Australia Streaming exclusive album previews… a taste of things to come.
LAUNCHING 2011 THE KING IS DEAD by THE DECEMBERISTS is on sale Friday 14 January.
INDUSTRY NEWS 3.7 million from the previous month, while advertising revenue had dropped 26 percent from the previous year. A representative for MySpace Australia said that they were unable to comment on rumour and speculation.
2010’S TOP SELLING The Australian Recording Industry Association (ARIA) have released their year wrap charts for the highest selling albums and singles of 2010, both of which are dominated by international artists, especially singles (there were 30 Aussies in the top 100 albums, 14 in the singles). P!nk’s Greatest Hits… So Far topped the year with Susan Boyle making two appearances in the top five. After sweeping the ARIA Awards it’s little surprise that Angus & Julia Stone’s album Down The Way was the highest selling Australian album in seventh. Sneaking in to the top 100 albums were Tame Impala’s InnerSpeaker (97) and Parkway Drive’s Deep Blue (100). Eminem and Rihanna’s Love The Way You Lie was the top single, with Yolanda Be Cool & DCup’s We No Speak Americano the leading local release way down in 34th.
GUARD’S DRUG DAY A security guard at Sydney’s Field Day was arrested by police for drug possession and dealing, reports allege that the 51-year-old male had $390 cash and 50 ecstasy tablets on his person. The event’s Director/General Manager Adelle Robinson said in a statement to The Front Line, “A security guard was identified by the police as selling a small amounts of illicit substances, our security company has a strict no tolerance drug policy which all guards are required to sign at the beginning of their shift. “Although regrettable, the incident was handled well by our security company and with professionalism… The company have owned the problem, and set an example, the rules apply equally to all and breaking the law will not be tolerated or swept under the carpet.” The festival, held on New Year’s Day at Sydney’s The Domain in the CBD, made mainstream news bulletins because of the matter.
TOP TEN SELLING ALBUMS OF 2010 1. Greatest Hits… So Far P!NK 2. I Dreamed A Dream SUSAN BOYLE 3. Recovery EMINEM 4. Bon Jovi Greatest Hits BON JOVI 5. The Gift SUSAN BOYLE 6. The Fame Monster LADY GAGA 7. Down The Way ANGUS & JULIA STONE 8. Sigh No More MUMFORD & SONS 9. Crazy Love MICHAEL BUBLE 10. Teenage Dream KATY PERRY
AUSTRALIAN: 7. Down The Way ANGUS & JULIA STONE 19. Altiyan Childs ALTIYAN CHILDS 20. April Uprising JOHN BUTLER TRIO 24. Birds Of Tokyo BIRDS OF TOKYO 27. Twenty Ten GUY SEBASTIAN 28. Conditions THE TEMPER TRAP 32. Golden Rule POWDERFINGER 37. Running On Air BLISS N ESO 43. I Believe You Liar WASHINGTON 44. Iron Man 2 AC/DC
TOP TEN SELLING SINGLES OF 2010 1. Love The Way You Lie (feat. Rihanna) EMINEM 2. OMG (feat. will.i.am) USHER 3. Dynamite TAIO CRUZ 4. Hey, Soul Sister TRAIN 5. California Gurls (feat. Snoop Dog) KATY PERRY 6. Fireflies OWL CITY 7. Only Girl (In The World) RIHANNA 8. Just The Way You Are BRUNO MARS 9. Teenage Dream KATY PERRY 10. DJ Got Us Fallin’ In Love (feat. Pitbull) USHER
AUSTRALIAN: 34. We No Speak Americano YOLANDA BE COOL & DCUP 42. Who’s That Girl (feat. Eve) GUY SEBASTIAN 47. Plans BIRDS OF TOKYO 48. Just Say So (feat. Kevin Rudolf) BRIAN MCFADDEN 56. Sweet Disposition THE TEMPER TRAP 60. Black Box STAN WALKER 67. Freefallin’ ZOE BADWI 69. Big Jet Plane ANGUS & JULIA STONE 73. Saturday Night (feat. Ludacris) JESSICA MAUBOY 78. Planets SHORT STACK
MICK KARN’S QUIET LIFE PARAMORE: THE DRAMA World-beating pop rock outfit Paramore announced late last year that brothers and founding members Josh and Zac Farro would be departing the group. Following the announcement Josh Farro posted an attack on the band to his blog, writing, “I had a statement typed ready to post to you guys but Hayley [Williams, frontgirl] released one without my permission.” He said the band were “a manufactured product of a major label… riding on the coattails of ‘Hayley’s dream’… Hayley’s manager would tell the band to be in the lobby of the hotel at a certain time, but he and Hayley wouldn’t show for hours. We found out that they had been meeting with record label executives all morning without us, which is totally weird given that this wasn’t simply a solo artist, but we were a band.” He also said that Williams signed contracts by herself and her dad threatened to “pull the plug” if they complained. The remaining three members appeared on America’s MTV last week to tell their side of the story where they indicated they’d be moving forward with new material in 2011, despite Williams missing the two departed members. Doubts over the band’s future were raised after they cancelled a tour in 2008 and a recent Blunt interview from their last Australian tour which portrayed tension and divides within the band’s dressing room.
SHAKY HANDS AT EMI After much speculation of the label’s future last year, the situation for UK-based EMI looks no less dire this year. Terra Firma (the private equity firm who own EMI) head honcho Guy Hands reportedly paying himself a £12 million dividend on top of his salary last year even with the company’s continued financial woes, irking clients who have reportedly suffered losses in the millions after the label’s acquisition. Hands spent 2010 in legal battles with Citibank claiming that they’d misrepresented the value of EMI when he bought it, a case he lost. UK paper The Daily Mail suggests he used the £12 million to aid his wife Julia Hands’ hotel business’ debts. Due for a test of their ability to pay their loans in April, the record label are expected to fail that test and will then have until mid-June in order to prove their viability, as they did in 2009 and 2010. However the Financial Times does not expect Hands to put any more of his money into the business this time meaning that barring leniency from Citibank – again unlikely – a buyer will have to be found. Private equity firm Kohlberg Kravis Roberts (and its rights management company BMG) and Warner are expected buyers.
THE GLOBAL RIP-OFF After a reportedly shambolic New Year’s Eve event, Melbourne’s Global Sound Festival cancelled the second half of program, a New Year’s Day event, without warning. Due to feature Steve Lawler, Freestylers, M.A.N.D.Y. and Chris Fortier, attendees were notified of the cancellation via an A4 paper message at the venue. Disgruntled punters took to Facebook and online dance music site InTheMix’s forum to bemoan the developments, with no message from the promoters, a company called Why Wouldnt Ya (sic). Berlin’s electro duo M.A.N.D.Y. posted on their Facebook, “Just arrived in Melbourne, but the festival got canceled :(” (sic). One of the bartenders at the main public bar for the Eve
event, Jesse Ton Gibson, told The Front Line that he hasn’t been paid for his work yet. After finding the job through Gumtree, he said that it seemed the promoters had expected more punters for the event. Despite this, at 11pm drinks started to run low so they were sold one at a time before running out at 1am. He then received a blunt text message near 7am the next morning reading that the event has been cancelled and “please come to the offices on Tuesday to come pick up your pay… I went to the offices on Tuesday… and it was fully shut down.” He has not been able to get in contact with the organisers – who also hold his RSA license and Certificate 3 for hospitality – since then. The only information Why Wouldnt Ya’s landline phone provided punters with was a recorded message, that says “Global Sound Festival New Year’s Day has unfortunately been cancelled, thank you and have a great day,” whilst the company’s Director Tim Egan did not respond to messages The Front Line left on his mobile or email.
NOSPACE FOR STAFF Reports have been flying around that embattled social networking website MySpace plans to shed up to 50 percent of its worldwide staff (1,100 personnel) this month. The company was bought by News Corp at the height of its popularity in 2005 for $USD580 million but has been on a steady decline since then. In October News’ Chief Operating Officer Chase Carey said that MySpace’s “current losses are not acceptable or sustainable,” adding that, “We judge in quarters not years.” Originally reported in a Wall Street Journal blog that cited multiple sources close to the situation, the LA Times fuelled speculating by suggesting that the move would be carried out to allow a quick sale of the company. Zynga – the company behind the viral Facebook game Farmville – are being rumoured as a potential buyer if News Corp are indeed manoeuvring to sell. The Times report stated that the number of monthly visitors in November had dropped to 54 million, down
Wednesday 12th January Corteze & Crow Mt Augustus (solo) Maggie Collins
Thursday 13th January
BOYS AND GIRLS Mary Jane Kelly Infinite thought proceese Brazen $12 tickets on door $10 host list
Friday 14th January
648 Ann Street Fortitude Valley QLD 4006 www.xandybar.com.au
Fushia Payne Rd Van Merit | Danny Cool
Cyprus-born musician Mick Karn died of cancer, age 52, Tuesday Jan 4. A founder of influential glam punkturned-electronic new wave outfit Japan, Karn was born Andonis Michaelides and moved to the UK with his family as a child. Karn formed the band in the early 70s with school friends, including David Batt (later to be frontman David Sylvian). Releasing their New York Dolls-influenced debut Adolescent Sex in 1978, it found little support with an industry and media held hostage by the punk heist of that era. Starting out as Japan’s bass player, as Karn began to explore other instruments the band’s sound evolved and by their third album Quiet Life, he was providing saxophone and flute for a more textured postpunk sound. By album four, Gentlemen Take Polaroids, Japan had reinvented themselves as serious electro exponents, with Karn adding oboe and recorder as well as fretless bass. In the early 80s, Japan shifted from cult obscurity to charting hits and appearing on the cover of teen mags. Their final studio album as Japan, Tin Drum, was both a critical and commercial success but Sylvian not only began to make rumblings of moving on, he also set up house with Karn’s girlfriend Yuka Fujii. As Sylvian pursued a solo career, Karn was already an in-demand session player, working with musical contemporaries like Gary Numan and Kate Bush. Karn dabbled with further band projects over the years – he recorded an album as Dali’s Car with Bauhaus singer Peter Murphy – but he also sculpted, occasionally exhibiting his work. Pre-empting a Japan reunion, Karn created a record label with two ex-members (Steve Jansen and Richard Barbieri) before they hooked up with Sylvian to record an album in 1991. However, past differences surfaced and Sylvian refused to use the Japan name and the album was released as Rain Tree Crow: the project was short-lived. In 2004, Karn moved back to Cyprus and published an autobiography. When it was revealed that he was suffering from cancer, Midge Ure rallied musicians to raise money for Karn to be able to return to the UK for treatment. Karn had hoped to finish off a second Dali’s Car album this year.
INSTRUMENTS DOWN Scottish singer/songwriter Gerry Rafferty died Jan 4, age 63, after a long illness – not only did his band Stealer’s Wheel have a massive hit with Stuck In The Middle With You in 1972, but he also scored another global smash in 1978 with Baker Street. Carribean-born/European-based singer and dancer Bobby Farrell died age 61 on Dec 30 – as a member of Boney M, he appeared on a string of chart hits and is reported to have sold over 100 million records. US singer Gil Garfield died of cancer on Jan 1, age 77 – he sang with 50s ‘teardrop rock’ band The Cheers and later wrote songs for Ronettes and Harry Nilsson. Teena Marie – born Mary Christine Brockert – died Dec 26, aged 54. The 1980s funk star was renowned for being one of the few white musicians to break through in R&B charts with tracks like I Need Your Lovin’.
Saturday 15th January Hello Satelillties Mckisko Toy Balloon Slynk | Charlie Hustle
Sunday 16th january The Androgny Race of Harriden Discount Dj’s
Monday 17th January BAR CLOSED
Tuesday 18th January Howling Rabbits Capital Control Cutloose
PLAYING TO WIN BRYGET CHRISFIELD checks in with ALEX GOW from OH MERCY and discovers his band spent their RED BULL AWARD prize money wisely.
s the Australian Music Prize (AMP) judging panel assembles for a final series of heated discussions to determine who will take home the $30,000 cash prize this year, there is also a decision to be made on who has submitted the Best Debut Album of 2010. Formerly defined as the Red Bull Award for Recognition of Outstanding Potential, this honour was bestowed upon Oh Mercy last year for their debut longplayer Privileged Woes. The band’s frontman Alex Gow, who is also on the AMP judging panel this year, explains, “The prize money that we won went towards recording our second album, which we did about six months ago in LA, and that’s coming out in about six weeks.”
was my album that they were discussing 12 months ago… so that’ll make me feel proud, I guess.”
It wasn’t until Gow found out that Oh Mercy’s album had been shortlisted for the AMP that he realised it had been submitted.
“That was fun,” Gow remembers. “It was at the Art Gallery in Sydney at The Rocks. It was a really cool building and it was looking out onto the harbour. It was at the Museum Of Contemporary Art and we played a couple of songs – us and Perry Keyes played.”
“Our manager would’ve put it forward,” he says. It was also their manager who placed the phone call bearing the good news. “I was excited,” Gow shares, “but the way in which I was told wasn’t very exciting. My manager just called me and told me that we had [won] and it was a really great surprise… There were so many great releases and there are so many great Australian bands and I suppose I’ll find out today how they sort through them all.” Gow is in a cab on route to a hotel where the AMP judges are meeting to whittle the submissions down to a shortlist of finalists. Have any of Gow’s peers attempted to bribe him, hoping that his influence will help fast track their band’s album onto the AMP shortlist? “Yeah, Dean [Noble], the drummer from Love Connection, tried to bribe me with nude romance but I didn’t accept,” Gow chuckles before adding, “It was tempting.” Gow describes his experience on the AMP judging panel as “fun”. “I’ve listened to lots of music I wouldn’t have otherwise heard and, as a musician, listening to my peers and people whose music I really love – to be listening to the music critically is a strange thing to have to do, but I’ve enjoyed it nonetheless.” It must be weird for Gow, listening to AMP contenders while reflecting that this is the same process his album went through last year. “Yeah, you’re certainly right,” he agrees, “and today is gonna be an even stranger experience again. People having this round table discussion, and that
The winner of this year’s Red Bull Award for Best Debut Album will receive $15,000 in flights and accommodation, which covers travel to Los Angeles plus a week in the Red Bull studio in Santa Monica. “I think we did actually buy a celebratory case of beer,” Gow recalls of how his band spent their prize money, “but everything else went straight into the album fund.” Oh Mercy were also invited to perform at the winner’s event in 2010.
On how winning the Red Bull Award affected Oh Mercy’s career trajectory, Gow offers, “There were lots of articles [about the band’s win] that ran, and this and that. And it was really good timing, ‘cause the album had been out for a little while and it kind of reminded everybody about it and there was a bit of a surge of interest in the band. It was really helpful like that. “[The Red Bull Award]’s just a great idea and a great concept and we were lucky enough to be part of that last year and it’s helped us make this second album, otherwise it would’ve been quite difficult for us I think. So I’d definitely encourage anyone to put their record forward.” Previous winners of the Red Bull Award include Gotye (who took out the inaugural nod in 2006), Bluejuice and Jack Ladder. We’re still waiting on follow-up albums from these three former recipients, but Oh Mercy have certainly kept the momentum rolling. “I like to move fast like that, I’m writing a lot,” Gow acknowledges. “I try to churn ‘em out quickly.” Oh Mercy’s upcoming album, titled Great Barrier Grief, is scheduled to drop on Friday Mar 4 and Gow enthuses, “I’m really excited about that. I’ve been sitting on it for a little while and it’ll be great to have it out in the public. Then I suppose we’ll do another couple of tours supporting it and it’ll be good to get back on the road. I think we’ll be working hard again, we’ve had a bit of time off over this last couple of months and I’ve been so bored that it’ll be really great to have an album out. It’ll give us an excuse to tour again.”
IN BRIEF Gerry Rafferty, performer of Stuck In The Middle With You (with his band Stealers Wheel) and Baker St has passed away in his home aged 63. He had dealt with illness for a long time. The new record from garage rock heroes The Dirtbombs, Party Store, is a collection of covers of Detroit techno songs. Yes, really. It is released in the US at the start of next month.
MOS GETS MONCH As if it wasn’t already exciting enough that the masterful Mos Def would be gracing us with his presence at The Tivoli on Thursday Jan 13 and that his local support cast of 2 Dogs and Seven w/ Crate Creeps would be along for the ride – well, things just got a whole lot cooler. A whole lot cooler. Pharoahe Monch, pictured, is one of underground hip hop’s most exciting stars, his complex delivery and multi-syllabic rhyme scheme has seen him to be considered as one of the most respected names in hip hop today. That regard that the former Organized Konfusion member is held in becomes obvious when reading through the rapper’s list of guest appearances – everyone from Mos Def to Busta Rhymes to our own Hilltop Hoods have arranged to have him make guest appearances on their tracks. He brings his vocal driven four-piece live show to Brisbane in support of Mos Def this Thursday night, tickets are still available from Ticketek for $62.30 but you might want to hurry up and grab one quickly! A special after party is taking place at Cloudland following the show and all proceeds from it will be donated to Def’s Red Earth Road Trip, a charitable venture to support Indigenous communities. Tickets for that are available from Moshtix for $64.
WAY OUT EAST The night before Australia Day deserves to be a pretty fucking big one if you ask us. Celebrating your country is best done in full flight and the people at the Treasury Casino are well aware of this, as such they’ve enlisted the talents of James Blundell to perform live at their venue on Tuesday Jan 25 from 9.30pm. The only night bigger than Australia Day Eve is Australia Day itself, and you don’t get much more Australian than Cold Chisel and if you back up for a second night at the Treasury Casino then you’ll be treated to the awesome power of Chisel Revived, who’ll be playing three decades of Chisel hits that will get your arse on the dancefloor, entry to that show is also free. Get amongst it.
The Shins’ Dave Hernandez has announced that he has joined Seattle garage punks The Intelligence and will be making a record and touring with them early in the year. Mick Karn, bassist from 70s synth masters Japan has died at the age of 52 after a battle with cancer.
READY TO TEMPT YOU The Waifs are well and truly back in action, awfully good news for those of us who have discovered this wonderful, quintessentially Australian folk band at any stage over the past 18 years that they have been around. The entire band have wound up living in the USA in recent times through varying circumstances, but eagerly await their ensuing homecoming, which will be celebrated with a tour that will take them to many of their beloved haunts that they have discovered through the tireless approach to touring they’ve adopted since initially coming together. The band will be back in Australia to support their sixth studio album Temptation, which is due for release in March and is their first in over three years and they will play three shows while in our part of the country. Catch them performing live at Byron Bay’s Great Northern Hotel on Tuesday Mar 1, at the Nambour Civic Centre on Wednesday Mar 2 and The Tivoli Thursday Mar 3. Support for all shows comes from Mama Kin.
TV On The Radio’s Dave Sitek is a part of Jane’s Addiction’s ‘creative team’. He will play bass on and write for the band’s new record.
IN BRIEF Courtney Love is being sued by fashion designer Dawn Simorangkir over a series of allegedly defamatory tweets, in which she claimed Simorangkir was a violent, drug pushing prostitute, unfit to be a parent.
The new album from The Strokes is currently being mixed and should be out by the end of March. A new solo album from Robbie Robertson of The Band will be released in April and features guest appearances by Eric Clapton, Trent Reznor, Steve Winwood and Tom Morello. Thirty of the releases in 2010’s ARIA Top 100 album list were Australian.
KING (AND QUEEN) OF THE BEACH Dream popsters Beach House are without a doubt one of the most highly anticipated acts on the bill for the 2011 Laneway Festival and, as such, one of the acts many people around town are saddened about not being able to see at their own club show. Well you ought to pay more attention if you’re in that boat, as the duo are playing a special show in the suitably beachy town of Mullumbimby on the New South Wales north coast next weekend! The band are riding high on the outstanding success of their latest record Teen Dream and those who have seen the band on past visits will move mountains to make it to see the band at the Mullumbimby Civic Hall on Saturday Jan 22. Support comes from incredibly popular locals The Middle East and New Zealand’s Tiny Ruins. Tickets are available from OzTix right now for $45.90.
HEART BEATS AGAIN It has been almost a year since we were last afforded the opportunity to see the oh so infectious I Heart Hiroshima live in concert, given drummer Susie Patten has moved overseas and is currently busy behind the skins with Philadelphia Grand Jury, but seeing as she is back in the country for a little while the band have decided to get together for a super short run of shows down the east coast of the country. The band are a much missed entity in the local live scene at the moment, so you can bet there will be no shortage of punters banging down the door of Woodland come Saturday Jan 29. Stay tuned for information on tickets and supports.
If you’re into jazz fusion then 2011 is already shaping up to be a pretty damn exciting year for you! The latest announcement that ought to be piquing your interest is that of Kamal Musallam’s EastMania, who will be making their way around Australia through March of this year. The group, led by guitarist Musallam, features the talents of legendary jazz drummer Billy Cobham who has played with just about everyone worth their salt in the jazz world (how do names like Miles Davis, Mahavishnu Orchestra and Larry Carlton strike you? And that’s just a start.) The band focus on a diverse blend of oriental and Middle Eastern infused western jazz that is technically stunning and awfully cool. The six-piece ensemble will be at Twin Towns, Tweed Heads on Thursday Mar 17 and The Tivoli Friday Mar 18 with Sean Mackenzie in support.
CELEBRATE THE NATION If you’re stuck for something to do on Australia Day then perhaps a trip to South Bank is in order? If you head along there on Wednesday Jan 26 then you’ll be treated to live performances from Guy Sebastian, Charlie Mayfair and Ball Park Music and it won’t cost you a cent! Of course there will be fireworks and all of that other exciting stuff that you come to expect from a family event such as this. It all kicks off from 5pm, so go along and celebrate our country and the awesome music it produces.
Adam Yauch (aka MCA) of the Beastie Boys has been quick to deny that he is cancer free after a BBC report mistakenly claimed he was clear of the disease last week. Aretha Franklin has said, “The problem has been resolved”, in relation to her mystery illness that required surgery at the end of last year, in an interview with Jet magazine.
THE BEAT GOES ON Everyone likes The Beatles, right? Well if you say you don’t like The Beatles then you’re most likely not to be trusted. Anyway, let’s not digress too much here. The team at Bonefinger Records are putting together a night to pay tribute to the band that many say are the best to have ever existed, all proceeds will go to benefit Medicines Sans Frontier and a whole bunch of fine Brisbane indie pop bands will be getting involved to give their own take on some classics. These bands include Drawn from Bees, Grand Atlantic, Blame Ringo, Inland Sea, Lovers Of Modern Art, Charlie Mayfair, 26, The Slow Push, Daisy May and Oceanics – suitably massive, we think you’ll agree. The show happens at The Zoo on Saturday Feb 5 and, by the looks of things, you will not want to miss a single second of it. Tickets are a very respectable $23.50 from OzTix and available right now.
TIDAL WAVE The Brisbane edition of this year’s Soundwave Festival has completely sold out. If you haven’t got a ticket, then we’re sorry, but with a line-up as big as this one we’re not exactly surprised that there aren’t any tickets left. Brisbane was the second festival to sell out after the Melbourne event had its allocation exhausted a number of weeks ago.
A new LAPD taskforce has been set up to investigate the murder of Notorious B.I.G. in 1997. Primal Scream’s Bobby Gillespie has revealed that Kylie Minogue had approached the band to write a song for her, but the band were struggling to write songs for themselves at the time so it never eventuated. An irate, anonymous weirdo has sent residents of the town Burton Bradstock letters demanding they kick legendary political singersongwriter Billy Bragg out of the village because of his socialist beliefs.
SECOND LINE LEADS TO REBIRTH For close to 30 years Rebirth Brass Band have been one of the most prominent, highly regarded and downright exciting brass bands on the planet. Their blending of traditional New Orleans styles with genres like funk, jazz, soul and hip hop is so incredibly vital and exciting and has given the wider world a taste of the great music that New Orleans has to offer. The band were founded in the early 1980s in the Tremé neighbourhood of The Big Easy and have since gone on to become one of the biggest musical exports from the area; the fact that they were the first band featured in the HBO series Tremé goes some way to explaining how important this band is. They have released a staggering 14 records full of music that ranges from the carefree and danceable to the historic and very serious and now they are coming to Australia for the very first time, dropping by QPAC Concert Hall on Saturday Mar 19. Tickets are available through Qtix now from $85 to $130.
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IN BRIEF Liam Gallagher reckons his brother Noel is using scrapped Oasis songs for his forthcoming solo record. The Beginning, The Struggle, and The Reward, the new album from local troubadour Steve Towson, will be released in March. A digital box set, The Murmur Years 1997-2002, features Jebediah’s first three records and is available on iTunes now. Multiinstrumentalist Brent Knopf has left Portland indie outfit Menomena. He will be replaced by Paul Alcott of Dat’r and the Binary Dolls on their upcoming Australian tour.
YOU’VE GOT A FRIEND IN FOLK This year’s Friends Of Folk festival is taking an enormous leap in 2011 and has decided to take on the ambitious task of making the festival an inner-city version of the Woodford Folk Festival. Well they’ve started things in the right manner, with a line-up already boasting artists like Don Walker, pictured, The Gin Club, Andrew Morris, Asa Broomhall, Emma Dean, Tara Simmons, Hotel Motel, Mardi Lumsden & The Rising Seas, Hannah Macklin, Mark Lowndes, Rachael Brady, Matt Nelson and Plastic Wood with more to come. The festival also hopes to nurture an atmosphere that is family friendly and will feature fine art, short films, visual arts, buskers and markets in addition to this fine display of live music. The 2011 edition of the festival happens at the Old Museum from 11am on Sunday Mar 6 and tickets are available from OzTix right now. Head to friendsoffolkfestival.com for more details.
The much anticipated Kanye West and Jay-Z collaborative album Watch The Throne will be released in the US on Tuesday Mar 1. First single H.A.M. was released on Tuesday. Don’t believe what you’ve heard about an ABBA reunion of late – even if it was on the Nine Network – the quote from the band’s Agnetha Faltskog that seemed to suggest as much was taken completely out of context.
EMMURE DEMURE If you had plans on heading out to catch the mighty Emmure live in action tonight, then you’re going to have to make some different plans, we’re afraid. The band were set to play two shows today, an afternoon all ages set followed by a big one for the adults this evening, but unfortunately they haven’t even made it out of their native New York. The only reason we’re able to find out is that it is due to circumstances completely beyond the band’s control and they have promised that they will make it up to their many fans over here by returning to brutalise us all in May and June of this year. If you had already purchased a ticket then you can obtain a refund from the point of purchase now.
HEALTHY CAST The return to Australia of Los Angeles live tour de force Health is incredibly exciting for many people around town, whether you had a chance to catch them upon their last visit or not. For those who missed out, you’ve no doubt caught wind of the great live show that these guys are capable of delivering and those of you who caught it last time won’t want to miss it again. Well the supports for said performance have just been announced and the quality remains supreme; former Gold Coast, now LA-based frantic rockers The Death Set will be in town as the main support while local party favourites DZ will have you jumping early on in the night. It all happens at Woodland on Saturday Jan 15 and there are still tickets available from Moshtix for $25 + bf.
FRESH SHIT The first instalment of Deadshits – probably the most interesting indie-rock “festival” kicking around Brisbane at the moment – was a riotous success, so the team at Bedroom Suck are ready to do it all again with a fresh bunch of noisy rock’n’roll bands ready to blast. Melbourne’s Boomgates feature members of Eddy Current Suppression Ring, Dick Diver, Teen Archer and The Twerps, so if they’re not amazing then we’ll eat our hat. Sydney’s Circle Pit have been favourites around the indie scene for a couple of years now and we reckon they’re just getting better and better, fellow Sydneysiders Holy Balm reckon they’re “the best band in the world” which automatically makes them worth seeing, while Canberra’s Assassins 88 bring some serious noise to the party. Superstar are a duo whose music will make you want to float while locals Per Purpose are one of our most promising up and coming acts. Basically it’s going to be a hell of a night and you can see it all unfold at Woodland on Friday Jan 28 from 8pm. Tickets are $20 and available from OzTix or the Outpost right now!
SWANNING INTO TOWN Over the years, Unwritten Law have spent an awful lot of time in Australia, countless tours of our country have seen them play to thousands and thousands of people, who really seem to connect with their brand of fiery pop-punk. The band are entering their 20 th year of activity in 2011 and are ready to prove that they still have a hell of a lot to offer as a punk rock band; they’re just about ready to release their sixth studio record – and first since 2005 – Swan, and will be heading back to our country so say hello to their many fans over here in March. In Brisbane you can catch the band playing The Hi-Fi on Saturday Mar 19 and you can grab yourself a ticket from the venue’s website or Moshtix right now for $55 + bf.
PICTURESQUE SUPPORTS The upcoming return of New York’s Ratatat to our shows is incredibly exciting, indeed every time they make their way to Australia is a call for celebration. The band are playing the Big Day Out but also stopping in at The Hi-Fi on Monday Jan 24 to play a rare sideshow for those who either missed out on the festival or just need another dose of the duo’s electro-rocking goodness. The supports for that show have just been announced, with Sydney’s Canyons and Alps being selected as the very well fitting support acts on the night. There are still tickets available from The Hi-Fi website and Moshtix for $40 + bf.
Mike Watt of The Stooges and (formerly) The Minutemen has announced that his third opera Hyphenated-Man, will be available on CD on his new ClenchedWrench label from Tuesday Mar 1. Physical record sales in the USA were down another 12.7% in 2010 according to Nielsen SoundScan.
UNEARTHED IN A LANEWAY The triple j Unearthed Laneway competition has allowed one up-and-coming band from each city that the St Jerome’s Laneway Festival is visiting the opportunity to score themselves a spot on the bill of their hometown festival. With the shows creeping ever closer with what seems to be increasing pace, the lucky acts have been announced and we’re very pleased to hear that local ten-piece ensemble Inland Sea have been given the nod for the Brisbane date. The band play the festival that hits Alexandria St, Fortitude Valley on Friday Feb 4; tickets are still available for $110 from the Laneway website.
MOVING ON Last year saw Katie Noonan return to the spotlight as she released a record and hit the road with her new band The Captains and while she’s looking to stay in the public view throughout 2011, she will be turning her hand to endeavours with classical guitarist Karin Schaupp and her jazz trio Elixir. Before that all takes off, Katie Noonan and The Captains will head out on their last tour of the country for a little while, so don’t miss this opportunity to see them shine in the live environment. They play the Judith Wright Centre on Friday Mar 4; tickets are available from the venue from $40 – $45.
We genuinely hope that everyone is safe in regards the rising flood waters, and our thoughts go to anyone with hurt or missing loved ones or damaged property. We’ll be through this soon, and it can only make us stronger as a community…
Kudos to Michael Gudinski and anyone – musical or otherwise – who helps in setting up flood relief appeals for our ravaged state in coming weeks. We’ll keep you abreast of what is happening as news comes to hand…
ASHES TO ASHES
The notion of sport seems extremely trivial right now, but Australia’s Ashes capitulation certainly didn’t aid an already forgettable summer… We sucked, really well…
Great news with the Byron Shire Council approving an extra day for Bluesfest so that Dylan can play another set. It’s good to see common sense (and sweet music) prevailing over bureaucracy for a change…
ON THE CASE
The Pope’s assertion that God was behind the Big Bang and divinely responsible for all scientific theories in relation to creation reeks of unmitigated fencesitting. Surely it’s a bit late for the church to be having second thoughts now? Recant before it’s too late…
Hot on the heels of Gillian Welch’s awesome efforts on the new album from The Decemberists, news is in that Dodos have recruited Neko Case to sing all over their new record No Color which drops in March. Mmmm, Neko…
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Behind the fire and brimstone fervour of JIM JONES – frontman for exciting UK retro rockers THE JIM JONES REVUE – lies a man who just really loves the historical import of music, as STEVE BELL discovers.
RIDE THE BOTTLED LIGHTNING I
t seems like a while since the mention of a UK rock’n’roll act summoned up visions of anything even vaguely primordial, but in recent times that notion has been threatened by the emergence of elemental London five-piece The Jim Jones Revue. Eponymous frontman Jim Jones has been a staple of the London rock scene for a long time, serving with such acts as Thee Hypnotics and Black Moses, but now his utopian rock vision has coalesced into an outfit which is primed to connect broadly to the world at large. The band convey a somewhat unique but constantly compelling amalgam of honky tonk piano and an early 50s rock’n’roll aesthetic married to the more primal rock of the 60s and beyond, taking in everything from Little Richard and Jerry Lee Lewis to The Sonics and MC5. What makes it work so well is that it’s obvious that they’re not just going through the motions, their music vibrant and authentic in its power and passion, perfectly encapsulated on their recent sophomore long-player Burning Your House Down. “I sort of try to explain it – it’s really hard to try and explain your creative process at the best of times – but one of the ways that I think about it is that it’s almost like a trail of breadcrumbs that if you follow it back goes right back to that original rock’n’roll,” the genial Jones offers of his outfit’s unashamedly retro aesthetic, “where that kind of frenetic, mad bluegrass and country music came down from the mountains and mixed with the jump blues of the Mississippi and stuff and that became rock’n’roll. It was the first time that black music and white music really came together and worked, and worked properly for a while. It was quite a revolution on both sides. “We’re not interested really in the nostalgia and the Pink Cadillac, drive-in movie side of rock’n’roll, worrying about that exact kind of hair grease and how big are the turnups on your exact replica 50s jeans – that isn’t the side of rock’n’roll that’s exciting to us, even though that’s pretty cool. What is exciting is that moment – that collision of musical styles – and that kind of ‘lightning in a bottle’ energy that came out of it. For me there’s two important sides to it: one is the sort of punk rock attack, and the
other side is this sort of amazing sort of swing that keeps the thing moving and rolling over. You need both of those elements, in my opinion, for it to be sort of actual rock’n’roll and not just rock. But that same ‘lightning in a bottle’, you can hear it in so many other kinds of music – for me Bon Scott with early AC/DC definitely has that same ‘lightning in a bottle’. When I’m listening to that I’m using all of the same muscles and parts of my body as I am when I’m listening to Little Richard, I can sort of hear all the same gear changes. “And then again you’ve got the MC5 or ZZ Top, or there’s an element of that in The Birthday Party and stuff that Nick Cave’s done where that ferocity kind of takes off but it’s got that sort of fantastic rock’n’roll colouring to it somehow. Maybe it’s not meant to be there but it’s there anyway. They’re all like these key turning points or breadcrumbs that leave a trail back and forth through the history of music, well the music that I care about at any rate. I can hear it in Charlie Parker and elements of cool jazz music, and I can definitely hear it in parts of country music. It’s just that little ‘genie in a bottle’ or ‘lightning in a bottle’ element that we’re aiming at unlocking, like trying to open an oyster and get to that pearl. It’s the pearl that we’re after, not the shell – not the genre or the coating or the time or the nostalgia, it’s the pearl in the middle, that sort of timeless energy that when you unlock it it kind of just goes directly to the heart and soul of anyone who’s in the room at the time. It almost has magical powers, and I guess it’s that which I’m trying to tap into.” One gets the impression that we’ve only been exposed to one half of The Jim Jones Revue so far, with their live show – which we’re about to see for the first time this month when they hit town with the Big Day Out – being a massively important part of their arsenal. That, and a steadfast commitment to doing everything their own way... “It’s everything really,” Jim bluntly appraises of his band’s stage show. “Everything else is really just something that’s attached to that. The live show is the main meat and potatoes of the matter, and everything else is to just ensure that we can keep doing that. When we put together the first record [2008’s self-titled debut] we
didn’t have any money, and we just wanted to get better shows so we just booked in a rehearsal for two days and had a friend come down with some microphones and we just kind of threw up the mics and recorded it live, and then I took it way and mixed it. I just kept pushing it into the red until I felt that it was cooked enough. “Then to our amazement it got picked up and played on the BBC – I think that was the first place that played it on the radio, of all places! We were quite shocked by that! I mean there’s one particular song, Rock N Roll Psychosis, where during the guitar solo it degrades into pretty much just white noise for a few seconds, and I remember chuckling to myself when I was mixing it, thinking, ‘This has gone past music into just pure noise!’ Then to suddenly hear it on the BBC – which is pretty much still dyed-in-the-wool, it’s still got the unions and a lot of Victorian values at that station – so to hear them of all people lauding this song was surreal. It turns out that what they liked about it was the freshness, that it wasn’t polished like all the other records that they get – that’s the part that they picked up on, which was the part of putting it together which was the most opposite from everything else that we could see that was around at the time.” For Burning Your House Down the band took a bit more time, and tapped into their vision of authenticity by enlisting veteran Bad Seed and Grinderman drummer Jim Sclavunos for production duties. “Working with Jim Sclavunos was great,” Jones recalls. “He was really hands on right from the beginning. He’d been to some of our shows, and when we met him we would talk to him and ask him about this and that – and he’s worked with so many people that we admire. We were talking about acts like The Cramps and Sonic Youth and Panther Burns, these bands that for me definitely had that ‘lightning in a bottle’ element to them. They were also ‘gateway bands’ – you would listen to some of these bands and they were like an exotic sidedoor... When you’re young, a teenager, the thought of the blues or early country or bluegrass seems like dusty, boring history – which you can’t really care about – but then you’ve suddenly got
this exotic sidedoor into it, where at first you enjoy it and it just seems like it goes with the flavour of the band, but then you realise that it’s a gateway into all of this other really important roots music, and it makes it accessible and opens these doors into the pool of inspiration, the original source of everything. It just sort of shows you and gives you the tools to be able to go back and be able to listen to that music without that impediment of thinking, ‘Oh God, it’s boring history’. It opens it up and makes it possible to understand that and feel it in another way.” This blatant love of essential and important music definitely has Jones excited about his band’s impending Australian visit. “I’ve been doing music for a while, and have always heard stories about Australian music and wondered about Australia, and so many of the bands that I like and which informed me and inspired me are from Australia – I’m talking about Beasts Of Bourbon and The Scientists, and obviously AC/DC and the stuff that Nick Cave has worked on, and a myriad of other bands,” he gushes. “There’s just so much good, meaty stuff that has come from there, and as far as I can gather the audiences are pretty switched-on and amazing as well, so it just seems like the perfect place to play. “We’ve been really lucky with this band, everything’s just fallen into place just perfectly really. The chemistry’s been great and these elements which in some ways might not have added up have really come together and become greater than the sum of the parts. We’re just still hanging on to the runaway train and seeing where it’s taking us next – it’s going to Australia now, and we’re all really excited and can’t wait!”
WHO: The Jim Jones Revue WHAT: Burn Your House Down (Punk Rock Blues/Liberation)
WHERE & WHEN: Big Day Out, Gold Coast Parklands Sunday Jan 23
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TELL SOMEONE WHO CARES Over the past 28 years, PRIMAL SCREAM have inhabited almost as many genres. MATT O’NEILL speaks to bassist GARY ‘MANI’ MOUNFIELD about the band’s complete disregard for convention – and everything else.
Each subsequent album, meanwhile, has seen the band explore a similar level of reinvention. 1994’s Give Out But Don’t Give Up saw the band follow Screamadelica’s tribal-house celebration with conventional garage-rock fury, the paranoid electro-dub explored with 1997’s Vanishing Point was merely replaced with scathing techno-punk on 2000’s XTRMN8R while 2008’s Beautiful Future saw the group eschew the blues-rock of 2006’s Riot City Blues in favour of chilly euro-disco-pop. “The beauty of being in Primal Scream is you never have any idea what the fuck’s going to happen next,” Mounfield enthuses. “You come together and there’s never any kind of a mandate. It’s really organic. We just let things fl ow and it’ll go in whatever direction it’ll go. Who knows what the next Primal Scream album will sound like? I’ll tell you right now – we certainly don’t! “The thing is, now, it’s a really diplomatic band. Anyone’s free to do anything. There are no pre-determined roles. Just because I’m the bassplayer, doesn’t mean I just have to play the bass. If I came in and laid out a harmonica or I came in and decided I wanted to play the drums, then I would, because that’s just the way it works these days. There’s a lot of freedom for individual members to do whatever they want in this band.”
here are very few bands like Primal Scream left in the world. There are many bands purporting to share characteristics with the Scottish pioneers (eclecticism, unpredictability) but very few of those bands will ever explore those characteristics to anywhere near the degree Primal Scream has over the past 28 years. They are perhaps the only major touring act in Western popular music still capable of surprising their audiences after over two decades of writing and performing. “Since I’ve joined Primal Scream, I’ve been getting up [frontman] Bobby Gillespie and the others to play some old songs because they just don’t like to look back,” bassist Gary ‘Mani’ Mounfield explains – having joined the group in 1996 following the dissolution of his former act, The Stone Roses. “I mean, that’s what keeps the Scream so fresh. I’ll always be saying to them, though: ‘You’ve got this amazing back-catalogue of songs, why don’t you bloody use it?’” Formed in 1982 by one-time Jesus And Mary Chain drummer Bobby Gillespie, Primal Scream’s earliest efforts, as demonstrated on the band’s 1985 debut single All Fall Down, were little more than the by-the-
numbers jangle-pop of mid-80s indie-rock. Since then, the band’s albums have traversed territories as diverse as garage-rock, dub-reggae, industrial, noise-rock, free jazz, hip hop, pop, new wave, blues, techno and house.
In truth, Primal Scream simply do not appear to care – not like most acts. The standard obligations to continuity, focus and aesthetics that define the development of most rock bands seem to be completely nebulous concepts within the band’s work. The sole motivating ideology you could attribute to the band would be something utterly mindless – ‘do it’, for example – and, if their records weren’t so impeccably constructed, you’d readily describe their work as a complete mess.
If the band’s career were to be given a fulcrum, it would have to coincide with 1991’s Screamadelica. The unarguable foundation of Primal Scream’s entire contemporary reputation, Screamadelica was a zeitgeistdefining record which saw the group transform their shimmering indie-rock aesthetic into an iconoclastic blast of post-rave dance music brilliance – forging a new sound from distended aspects of house, dub, rock, pop, soul, gospel and psychedelia.
Such apathy isn’t even limited to the band’s musical output. While decidedly less chaotic in recent years, frontman Bobby Gillespie has otherwise consistently ensured Primal Scream’s profile has been synonymous with controversy throughout the band’s career by way of countless acts of public rebellion – from drug and alcohol problems to accusations of anti-semiticism to penning politically outspoken tracks like XTRMN8R ’s Swastika Eyes.
“Yeah, I was always a massive fan of that album. Even when I was in with the other lot, I was always conscious of the Scream. We’d fucking bang into each other slobbering drunk and off our nuts in various clubs throughout Glasgow, London and Brighton,” Mounfield reflects. “I’m actually hoping we incorporate some of the dance-y stuff of Screamadelica into some of the new stuff. We haven’t really done anything dance-y in a while.”
“I love that. I really get a kick off people getting pissed off with us – as much as I do from people loving us. It’s a punk-rock attitude about getting right in people’s faces,” Mounfield enthuses. “We could pump out the same old fucking shit like so many bands do from album to album, you don’t challenge yourself, you don’t challenge your audience, you don’t politicise people, you play it safe and you make loads of money. If I wanted
to live like that, I’d have been a fucking merchant banker. “Our mandate is to try to put ourselves in an area where we’re not so familiar with the territory we’re in – and then try and make of that what we will,” the bassist continues. “We’re one of the last pioneers of fucking tightrope walking. There have been a couple of albums that haven’t done so well but that’s just the way we operate. We don’t care. We just want to try new things all the time. I don’t know what genres we’ve got left to plunder – maybe we’ll do a polka album. “I don’t say that with my tongue in my cheek, either,” the bassist laughs. “It could definitely happen. Accordion classics.” To this end, the band’s recent decision to re-release Screamadelica and perform it in its entirety across the globe (Australia included) is simultaneously wildly unpredictable and completely familiar. It was only logical that a band so devoted to exploring new experiences would eventually discover that nostalgia is, in and of itself, a new experience worthy of being explored – even if, in typical Primal Scream fashion, the band have refused to play it completely straight. “We had real problems with the fucking nostalgia thing. Should we do it? Is it cheesy? We were always very conscious of that aspect of it – especially [drummer] Andrew Innes and Bobby Gillespie, because those guys just hate to look back,” Mounfield explains. “But I don’t think we have, really. I don’t think it’s nostalgia. I think we’ve given it a fresh lick of paint. I think we’ve modernised it and done something new with it. “You know, up until recently, they’d never played half the album live. It was originally such a studio production, on account of [producer/collaborator] Andrew Weatherall, but we’ve completely re-worked it and it’s now completely live. We’ve stripped everything back to masters and re-built the entire thing with modern sounds. We’re still keeping loyal to the original but we’ve left no stone un-turned. It was a really mathematical process and it’s taken us months to really get right. “To be honest, I’ve never seen the band work this way before. We’ve been really particular about everything, even down to the lighting,” the bassist laughs. “But, man, the looks on all our faces when it came together. It was fucking amazing, man. Nobody could believe it.”
WHO: Primal Scream WHERE & WHEN: Big Day Out,
Gold Coast Parklands, Sunday Jan 23
BEHIND THE LIES Some 35 years ago, CHRIS BAILEY and The Saints changed the course of Australian music history. MATT O’NEILL catches up with the former lead singer to discuss why 2011 will still be his biggest year yet.
This decision, perhaps more so than any other, gave rise to the misapprehension that the pragmatic Bailey was the truculent Kuepper’s conservative foil – but to simplify matters in such a fashion is to overlook a significant portion of the singer-songwriter’s subsequent output. Rather than embracing predictability, Bailey’s post-1979 work in The Saints would actually see the frontman deviate from the band’s pioneering punk formula in pursuit of much more surprising stylistic directions. “Without being too pompous about it, I think there’s enough formulaic sausage-machine in the world and what the world maybe needs, certainly for my personal taste, is more scumbags to upset the apple cart just for the sake of it,” Bailey reflects. “You know, rather than being safe and going, ‘Okay, if I do a few more Saints tours, we can pay the rent’, I think you should actually be a bit more adventurous. As an artist, the worst possible thing you can ever encounter is stagnation.” Throughout the 80s, Bailey’s work in The Saints gravitated increasingly further away from abrasion and into the more lush realms of classicist pop-rock songwriting on albums like 1984’s A Little Madness To Be Free and 1986’s All Fool’s Day. The band’s later era, meanwhile, encompasses such leftfield stylistic gems as the grungy histrionics of 1996’s Howling and the blues-rock regressions of 2002’s Spit The Blues Out.
n discussing the work of Brisbane legends The Saints, one typically evaluates their output through the lens of one specific relationship – the complex creative partnership of guitarist Ed Kuepper and lead singer Chris Bailey. The band’s innovations are largely considered a product of a simple equation: the explosive chemistry between Kuepper’s adventurous and uncompromising artist and Bailey’s accessible and accommodating entertainer.
“There may be an element of truth in that,” Bailey concedes. “I see no point in dwelling on that, though. In fact, I should probably be celebrating the much more positive fact that after all the nonsense I’ve been through in show business, I can now feel very positive about being able to do what I’ve always wanted to do – which is to essentially say, ‘Fuck you, there is another way to survive’. Yes, we do this because it’s our job, but there’s also the artistic side to consider.”
Like most popular rock narratives, however, such mythology greatly over-simplifies matters. Much in the same way Paul McCartney’s reputation for sentimentality obscured his contribution to some of The Beatles’ most visionary innovations and Lennon’s visceral intelligence overshadowed his penchant for populist songwriting, the legacy of The Saints has frequently misrepresented the complicated creative personalities at the heart of the band’s success.
Bailey, in particular, has rarely been afforded the reputation for creativity integrity and artistic credibility he has so richly deserved throughout his years as a musician – and it’s been the pervasive mythology of The Saints that has often maintained such an injustice. Following the dissolution of the band’s original line-up in 1979, Kuepper went on to form jazz-damaged post-punks Laughing Clowns while Bailey controversially opted to maintain The Saints’ brand with a different line-up of musicians.
“What I live for – pretty much like a junky, I imagine – is that inspiration coming out of the blue and giving way to that perfect marriage of a chord progression, a melody, a lyric and all that comes into that big porridge that is a song. When that happens, that is the most magic feeling in the world,” Bailey enthuses. “Being on stage in front of thousands of people has its joys but, by comparison, they’re very flimsy, passing pleasures. “On a personal level, the acclaim and legacy of The Saints is a bit like winning a macramé competition. You know, you put your macramé into the competition, everyone else’s looks lovely but, for some reason, they choose yours,” the songwriter explains. “But, really, there isn’t a whole lot you can do with it. It’s one of the blandest things I’ll ever say and I hate myself for saying it but, really, it’s all just really nice, isn’t it?” Bailey’s work outside of The Saints, meanwhile, has been anything but conventional. Solo albums like 1994’s 54 Days At Sea make reference to such disparate styles as pop-rock and Bolivian folk music while recent project Chris Bailey and The General Dog contains flavours of blues, soul and world music. Each release is built on the foundation of Bailey’s meticulous songcraft but, aside from that lynchpin, there’s little to no commonality to the troubadour’s numerous releases.
“The really odd thing about my current life is that I feel there’s really a lot more room for me to be bad now. I can be naughty, if you want to use another cute word, or I can be a scumbag,” the songwriter says with relish. “I will take the piss out of myself and everything I do but the one thing I won’t take the piss out of is what I do – because me and a fair few other people put in a fair amount of work into creating and producing this noise. “I don’t care what genre it’s in – I don’t care if it’s punk, folk, junk, fucking tap-dancing, ballroom. I just don’t care,” Bailey continues. “To me, I’ve just re-realised that I’m in it for the song. I’m in it for that magical feeling you get when you put a bunch of people together and they make a noise that wasn’t there the day before. It’s a fucking amazing feeling. If I remember my youth correctly, this was never about being respected so much as it was about making good stuff.” If further proof was needed, one need only look at what the singer-songwriter has planned for 2011. Whereas the past handful of years have seen Bailey somewhat rooted in nostalgia – be it through The Saints reunion tours or exercises like last year’s Kuepper-Bailey residency at The Troubadour – 2011 will find the wilfully unpredictable musician once again pushing forward with solo material, The General Dog and a rumoured collaborative album with Kuepper. “I made a bet with a mate a couple of months ago that this year I’m going to join more bands than I’ve ever been in before in my entire life – to prove once and for all that I am a musical slut and I can fit into a number of musical bordellos,” the singer-songwriter says with a laugh. “I’ve just finished work on this weird Anglo-French General Dog record and, to be honest, I don’t know what to think of it. I’ll be doing a double bill with Judy Collins this month, which is superficially a bit of a weird match. “As to the record with Ed, ‘work-in-progress’ seems to be the best description of it. I haven’t spoken to Ed in a while, because we’ve obviously both been very busy, but I should check back with him on that. I think it could be a worthy piece. I can’t speak for how Ed feels about it but, from my perspective, I think it would be good,” Bailey reflects. “It’s really – much like the Judy Collins support – just part of the whole weird, brilliant miasma that appears to be my life as of 2011.”
WHO: Chris Bailey WHERE & WHEN: QPAC Concert Hall
Saturday Jan 15 (supporting Judy Collins)
SOCIAL NETWORKS Canadian troubadour JASON COLLETT may be best known as a member of Toronto collective Broken Social Scene, but he’s rapidly making an ever bigger name for himself as a songwriter and solo artist. He tells STEVE BELL just what he’s got in store for his inaugural Australian sojourn.
handclap. So it was like I walked into a band that I’d been playing with for years – that’s the kind of relationship we’ve had, it’s been great right out of the gate. I took advantage of their skills and enthusiasm – I’ve been around long enough to know a really good thing when I see it and recognise it for what it is.” This relationship even extended as far as Zeus members Carlin Nicholson and Michael O’Brien producing Collett’s latest album Rat A Tat Tat, the fifth long-player in an increasingly excellent catalogue of solo material. “They’re in their prime as artists – they’re in their 20s, and doing what might be the best work of their lives, in all aspects – producing, writing and being a band unto themselves,” Collett explains. “It made a lot of sense for me to hand over the reins to produce the last record, and I feel like it’s one of the most focused records I’ve ever made, because typically I would write songs and have a revolving door of BSS friends and extended family come by and play on the record – there’s always a large cast of people, which I like – but it was still really nice writing for the first time with a singular band in mind. It just made it a more focused affair, and therefore it’s that much stronger.” Rat A Tat Tat is a typically diverse album from a songwriting perspective, and Collett explains that this is due to his eclectic tastes rather than a conscious decision.
hen Time Off catches up with Jason Collett neither party yet has any inkling of the storm-ravaged devastation that would be awaiting him and his tour mates when they arrive in south-east Queensland, all and sundry expecting the typical sun-drenched weather that the Australian summer is renowned for. “We’re all looking forward to coming down – Zeus and myself,” the amiable Collett offers from his Toronto abode. “For us Canadians cutting short the winter by any means is a worthwhile venture. You’re going to get a bunch of skinny, pasty white boys who won’t look so good on the beach invading your summer.” Beachcombing isn’t going to be an option, but that won’t stop former Broken Social Scene guitarist Collett and his backing band Zeus – the Canadian
outfit who recently put out their own debut album Say Us – from showing us a good time musically. “Those guys are on fire – they’ve just been coming on in leaps and bounds over the last couple of years,” Collett explains of his friends. “I kind of watched this whole thing progress from scratch. These guys all come more or less from the same town, about an hour north of Toronto, and they showed up on my doorstep right after I’d finished making [2005 album] Idols Of Exile, and talked me into checking them out, because they just boldly told me that they should be my backing band. The gall of them, I don’t know... “So I checked them out in a rehearsal space, and not only had they learned my catalogue but they had rehearsed it comprehensively and independently – they had every nuance down, every harmony and every
“It’s partly just due to how the songs come out, but I have a bit of a restless nature as a writer – I like to dabble, perhaps to my own detriment,” he laughs. “I’ve always admired someone like Elvis Costello, and part of what makes him great in my mind is his ability to dabble in so many genres, and do it well. So I like messing around with different styles – it just keeps it more interesting for me. And it’s sort of how I think about making a record; ‘I have this kind of song, so then it will need that kind of song’, and so on. “I work hard at [my songwriting], but I work at it because I love it and it’s what I like to do more than any other aspect of this career. I’m happy as a pig in shit if I can wake up in the morning and have time to write during the day. Part of that is cathartic for sure. but I think that you’ve got to work at it just in order to get lucky. I don’t think that just having craft makes for good songs, but I think spending time being open to the songs floating by – just being present – you’re bound to get lucky. That’s how I think about it, because the good songs seem to be more like visitations than your own creation. The whole thing is a bit of a mystery to me still, and I like that about it – I think that’s what drives me to it continually.”
For his first Australian shows Collett is promising – in conjunction with his Zeus cohorts – something a little out of the ordinary. “We’ll be playing a good cross section of stuff, absolutely. Unequivocally,” he chuckles. “I’ll be flying by the seat of my pants, but it will be fun. What Zeus and I typically do is play one set, even though I’m headlining. I’ll walk out early sometimes to start the set and set the tone, let people know that it’s not your typical set-up. We mix it around and go back and forth, backing each other up – an over-the-top kind of revue. We’ve got the history together, and it allows us to fuck with the template a little bit. We like mixing things up that way – I think it elevates the evening for the audience to see artists enjoying themselves that way.” Collett may be as thick as thieves with his Zeus mates now, but that doesn’t stop him from still spending time with his Broken Social Scene alma mater. “Well I do still play with them, but I haven’t toured with them for the last few years,” he offers. “We just do stuff in the studio, and whenever we cross paths –which is often. Sometimes we’re playing two blocks from each other in somewhere like London, England – it’s weird how it happens sometime – but it’s in those instances when I play with them. But I’ve been more busy just doing my solo stuff for the last four or so years.” And despite his increasingly excellent exploits as a solo artist often being overshadowed by this link to his past, Collett has no qualms about the situation whatsoever. “I made my peace with that a long time ago,” he offers. “I’m really proud of everything that BSS has done. We’re all really tight, and most of us live within a few blocks from each other, and we have dinners together still. I saw both Leslie and Kevin just last night at a local bar, we were hanging out. I’m really proud of all that work, and I also realise that many of us from that band were just toiling away in Toronto in relative anonymity before that band blew up, so it’s kicked the door open for us all with our solo work on an international level. I’m very aware of that stroke of luck, so I don’t have a problem giving credit where credit is due.”
WHO: Jason Collett WHAT: Rat A Tat Tat (Arts & Crafts/ABC) WHERE & WHEN: The Zoo Thursday Jan 13
SONS OF BEACHES THE BEAUTIFUL GIRLS have always sounded just that little bit better in the summertime so with the temperature rising, there’s no better time for the band to hit the road. MATT MCHUGH offers plenty to BENNY DOYLE regarding new sounds and where his musical kicks are presently found.
many truly solo shows, so to do it on such a large scale was pretty daunting to begin with but by the end it was still scary but a lot of fun. I think the connection with the crowd felt like it was better than it’s been maybe ever as far as everybody feeling the same thing at the same time. It was amazingly fun and very beneficial to my state of mind. “Probably the next record I’m going to make is going to be another one under my name. I wanted to connect with the acoustic guitar again and really strip things back. I just wanted to simplify the whole thing and regain that feeling of just sitting down with an acoustic guitar and writing a song or playing a song instead of having drum machines and samplers and all kinds of stuff laying around. It’s all just part of an ongoing musical journey for me. The way The Beautiful Girls run is like a singersongwriter thing anyway but under a band name.” The sun-kissed vibe of The Beautiful Girls and McHugh’s vocals have always positioned the band’s music as the perfect summer soundtrack. As such, it’s no surprise to hear that the boys will be making the most of their upcoming adventures around the great brown land. “It’s like a summer tradition that we always just take boards but this time we’re going to take a BBQ on tour also,” McHugh confesses. “We’re going to surf during the day then do a soundcheck and have a BBQ and hang out. Without getting too heavy, all of us might not be around tomorrow so you may as well have as good of a time as you can possibly have and we’re on tour in summer so as far as I’m concerned you throw the boards in, you throw the barbie in, the more the merrier.”
resh back from the States after a month long solo stint supporting John Butler Trio, Matt McHugh could be excused for still swimming in jetlag no man’s land. But on an early morning phone call from Sydney’s northern beaches, a chatty McHugh is all charm as he discusses the positive response he felt from this recent tour. “I reckon it was probably the best tour that I’ve ever been a part of to tell you the truth,” he reflects. “It was just a pleasure to be playing in the venues that we played in, John and the boys are all great and for me, it was 2500, 3000 seaters and you could hear a pin drop every single night. To have that many people in respectful silence, I just didn’t know what to expect so that exceeded every single dream I had for how well it could have gone, for sure.”
The Beautiful Girls is McHugh’s baby but along the ride, the players have changed as the sound has evolved. The present core line-up of Bruce Braybrooke on drums and former George bass player Paul Bromley have really carved an individual sound for themselves that sees a more lively, dub-fuelled vibe being put forward. As such, leaving his present counterparts to go it alone under the spotlight for a month was understandably nervy but undeniably invigorating. “I absolutely felt vulnerable but I think that’s part of it,” McHugh explains. “I think you’ve got to not pretend you’re above that feeling. I think the vulnerability is what keeps it on edge because clearly if something goes wrong, everybody knows about it. At the start of the tour I was freaking out because I don’t do
But as affable as the man is, don’t count on any insight regarding the secret surf spots McHugh has stumbled on during his travels. “Have I found any [secret spots]? Yeah…” he laughs. “That’s as far as that answer’s going to go!” Despite his desire to strip things back down the road, it’s currently a relatively diverse array of sounds that are exciting the songwriter right now and pushing him to pursue new musical avenues. “I’m actually working on a thing at the moment called Chico Delay,” he says. “It’s just a two-piece and it’s kind of like dubstep and really heavy electronic dub and amazing drum’n’bass but it’s made with an old sampler, a bunch of crazy pedals and guitars. There’s guitar solos and stuff but it’s predominantly just really crazy beats. I want to start getting more into that because that’s
pretty much what [2010 album] Spooks was but I kept it in mind that the drums needed to seem pretty real. They are real drums but they had to be played in a way or programmed in a way that a real drummer could play so when we went to play live, we could play the songs and it would be like the record and not a pale version of it.” Lapping the world and taking in multitudes of styles, subgenres and scenes foreign to Australia and it’s musical landscape, McHugh has taken all the learning, listening and experiences onboard to create sounds that are uniquely his own whilst tipping his cap to their origins. “The first few years we toured around America, every reggae night or dub show we could go to we would be at and then we would be up to five in the morning at some club with a guy toasting over a dub DJ,” he recalls. “And the same recently with dubstep and a lot of electronic stuff, I go check that out a lot. In Brazil after every show I was trying to head out to a local samba club or bollyfunk or something. It’s not commercial but it’s so hip y’know, there is just so much good music happening. We’re just a pale white boy imitation of anything we do really so we just try and take all these things and try and make it sound cool and pay respect to them and we always have through our whole career. “Even when we started and we were super mellow and acoustic there’s an element of hip hop in there and an element of all this other stuff that we love, but the way we play it which is the only way we know how is what made it our own,” McHugh reflects. “That’s the beauty of music; you take all these things and make it something else. I’ll never play samba as good as someone who grew up in a favela in Rio who plays it every single night in a tiny dive bar, I never will and it would be foolish to pretend. But I can play it like someone who grew up on the northern beaches and filter through a bunch of other shit which they can’t so I think that’s the beauty of it y’know. You’ve just got to take your influences on board but just remember who you are and where you’re from and come from that place.”
WHO: The Beautiful Girls WHERE & WHEN: Great Northern
Hotel, Byron Bay Wednesday Jan 12 and Thursday Jan 13, Coolangatta hotel Friday Jan 14, The Hi-Fi Saturday Jan 15, Kings Beach Tavern, Sunshine Coast Sunday Jan 16
THE LAST LAUGH UK post-punks KILLING JOKE have been defying categorisation for over 30 years. In celebration of the quartet’s first album in their original incarnation in 22 years, MATT O’NEILL catches up with frontman JAZ COLEMAN to discuss the legendary ensemble’s remarkable legacy.
If one examines the work of the band’s individual members, meanwhile, the group’s influence extends even further. Bassist Martin ‘Youth’ Glover, in addition to having produced seminal albums for acts like The Verve and Crowded House, was also one of the forefathers of psytrance, while Coleman is currently the composerin-residence for the Prague Symphony Orchestra (and is indirectly responsible for the current inclusion of Maori lyrics in the New Zealand national anthem). “The way I perceive Killing Joke is very different to everybody else, of course, because, for me...Killing Joke’s been my entire further education,” Coleman explains. “If you take into consideration that Youth left school at 14, I left school at 15, none of us have got any exams or O-levels or A-levels or anything to our names – yet here we are. There’s three visiting professors in the band...And everybody’s self-taught! “The interesting thing about the band is, when we’re together, we don’t spend a lot of time talking about music. There are so many areas...There are not many people in the world, apart from my colleagues, where I can move very easily from world politics or what’s happening in a particular region to poetry or earth sciences or dancing or history in the way that I can move with these guys,” the frontman continues with a laugh. “They’re all so incredibly well-read.”
t is impossible to overstate the impact Killing Joke has had on popular music over the past 30 years. One could easily contend that there have been no musical outfits over the past three decades that have matched the legendary British post-punks for scope of influence. Consider, for example, Come As You Are – arguably Nirvana’s most enduring anthem outside of Smells Like Teen Spirit – and the fact that it is built on a guitar riff lifted wholesale from Killing Joke’s 1985 Night Time album.
“Influence is so important to me, in one sense,” the band’s 50-year-old frontman, Jaz Coleman, reflects. “Look, if you look at it on paper, God, you can’t compare Killing Joke to monsters like U2 – but if you compare the influence Killing Joke has on genres of music, it’s bigger. The influence is bigger. I mean, I’m pleasantly surprised. Frankly, I don’t spend too much time dwelling on the past. What’s done is done and I’m always thinking of the next project when one is finished.
To discuss the band’s followers is to essentially compile a list of alternative rock and metal’s guiding influences. In addition to Nirvana, one can also find bands such as Metallica, Nine Inch Nails, Godflesh, Ministry, Tool, Faith No More and Korn among the group’s acolytes. Bearing in mind, before the band had even released their 1980 eponymous debut album, Killing Joke were already touring partners of acts like Joy Division and influencing future visionaries like The Cure and U2.
“If there is any great contribution Killing Joke has made, it’s to education more than anything else – the fact that people come and see Killing Joke and think, ‘Well, if those arseholes can do that, then anyone can do anything,” the vocalist laughs. “I really do think it’s that. I call it ‘the mirror effect’. Killing Joke’s had such an incredible effect on so many people...In one sense, if you look at the early gigs, they were where everybody kind of met. Killing Joke was like a forum of discussion.”
The scope of Killing Joke’s influence is such that to attribute it solely to the band’s music would almost be remiss. While the quartet’s focused cacophony of tribal rhythms, funk grooves, dub production and metallic guitar can be heard echoing throughout the central tenets of nu-metal and industrial-rock, the group’s greatest contribution to popular music is less concerned with a specific sound and more related to a specific vision. Formed in 1978, Killing Joke were one of the first acts to consciously advance punk’s primal scream into a more articulate vocabulary. While retaining punk’s anarchist sentiments, early Killing Joke albums were equally concerned with aspects of spirituality, social justice and existential philosophy. The band’s seamless fusion of musical iconoclasm and intellectual vision provided a foundation for a more permanent and considered rebellion than punk’s reactionary contrarianism. “When we started, the whole concept of Killing Joke was built out of a scream of despair – of having no control over your destiny...The idea of a soldier; the whistle’s going to go and he’s just about to go and get his head shot off and he thinks of how his life has been manipulated,” Coleman explains. “It started off with this kind of expression of no control over your
destiny and then it changed over the years to the Killing Joke being the laughter that overcomes all fear.” What’s most impressive about the band’s various accomplishments, however, is that the band managed to achieve them while maintaining the most chaotic and anarchic approach to their work one could possibly imagine. On a purely musical level, the group have evolved and transformed their sound consistently throughout their career – from the unrepentant synth-pop of 1986’s Brighter Than A Thousand Suns to the blitzkrieg noisemetal of 2006’s Hosannas From The Basements of Hell. On a non-musical level, meanwhile, Killing Joke could not have had a more colourful history. From bribing the Egyptian Minister of Culture to record in the Great Pyramid for 1994’s Pandemonium to Youth being arrested for hurling burning money at the customers of a London bank in the early 80s, Killing Joke have effectively sabotaged themselves for over 30 years – Youth even going so far as to claim Coleman did it deliberately whenever the band achieved any measure of success. “There’s an element of truth in it,” the vocalist admits. “Simply because, when I look over the history of Killing Joke, when you look at when wars are breaking out, the popularity of Killing Joke has also increased. I’ve always, to be frank, had mixed feelings about any kind of success for Killing Joke –because what does it mean? The day that Killing Joke’s really successful, God, what does that mean? All out war?” Indeed, what is most surprising about the band’s remarkable new album, Absolute Dissent, is not so much that the band’s original line-up has managed to unite within a studio for the first time since 1982’s Revelations – but that they seem to be quite content and focused with both their work and each other in spite of doing so. This is a band wherein its drummer (‘Big Paul’ Ferguson) was reputedly dismissed on account of karate-chopping its singer’s girlfriend in the face. “That’s right. These are things we’ve had to sort of address and deal with...You know, it’s kind of water under the bridge, really. Now, I don’t even twitch about it, but these are things we’ve had to address and, yeah, they’ve taken a quarter of a century in some cases, in the case of Paul,” Coleman confides. “It’s better than it ever was, actually – the relationships between each other. We’re a lot more tolerant of each other’s idiosyncrasies and funny ways.”
WHO: Killing Joke WHAT: Absolute Dissent (Spinefarm/Shock)
Sat Feb 19 The Zoo
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Best Coast (US) Wed 9 Mar, Woodland - TICKETS ON SALE NOW at Moshtix.com.au 19
Cincinnati garage exponents THE GREENHORNES have finally released their long-awaited fourth album, and prolific bassist JACK LAWRENCE tells STEVE BELL how stoked he is to be back in familiar territory. “I guess we started it about two years ago – after the first Raconteurs record we started working on it,” he recalls. “We went up to Cincinnati and recorded at the same place that we did the other three LPs – Ultrasuede Studios, John Curley’s place. We recorded the tracks in about two weeks, and then we all kind of got busy doing other things, and then when we found time again Craig came down to Nashville and we did some overdubs – mainly vocals. We ended up mixing it down here and mastering it – it took about two years for it to come together, but if you condensed the time to how long we actually worked on it, it was only about three or four weeks.
hichever way you look at things it’s been a crazy few years for bassist Jack Lawrence. Back in 2005 The Greenhornes’ rhythm section (Lawrence and drummer Patrick Keller) were recruited by Jack White to join his new project The Raconteurs (eventually known as The Saboteurs in Australia due to a name clash), and then after that band released two albums and toured prodigiously Lawrence was further co-opted by White into The Dead Weather, who have also pumped out two long-players and become hardened travellers in the space of just two years. But now Lawrence is returning to his roots, as his exalted garage alma mater The Greenhornes – these days stripped back to the trio of Lawrence, Keeler and frontman Craig Fox – have just released their fourth album Four Stars, and are returning to Australian shores to spread the word. “We’ve been pretty busy this whole year. Well, the whole decade would be more accurate really,” Lawrence laughs from his Nashville abode. “It’s great to be back [with The Greenhornes], the break got a little bit too long there. We’ve been working hard travelling again, so we’re all back at it and stoked with how things are going.” Even though the break between releases for The Greenhornes ended up stretching to eight years (their last album being 2002’s Dual Mono), Lawrence explains that they weren’t in any particular hurry to get Four Stars out.
“The difference with this one from the other Greenhornes records was that we didn’t have a lot of material – we had maybe two songs that we’d been playing – so when we got to the studio we kind of wrote everything in there. I guess Craig had a lot of it going around in his head that he’d bring down and then we’d just kind of work through it all together, which was different because with the previous records we’d been playing the songs a lot on the road before we brought them into the studio.” Of course despite this relatively laidback studio approach, Lawrence had a lot of new experience to bring to the table due to his recent spates of recording activity. “I think with anything that you do you have to learn a little bit from it,” he reflects on the skills he’d accrued from his stints in other outfits. “I think it’s more about the knowledge that you pick up in the studio, and what kind of works and what doesn’t and the little tricks that are around. Working with Jack was good, because even though we kind of started at the same time he would probably have different techniques than we would just because we grew up in different studios – I’ve grown up in Cincinnati with John and Ultrasuede, and him in Detroit and other places, so you always learn: hopefully you do anyway. If I wasn’t learning then I wouldn’t be taking advantage of these incredible opportunities and that really would be a shame.”
WHO: The Greenhornes WHAT: Four Stars (Third Man/Liberator) WHERE & WHEN: Big Day Out Sunday Jan 23, The Tivoli Tuesday Jan 25
FROM THE SHADOWS DERWIN ‘GOLD PANDA’ PANDA initially secured renown remixing high-profile indie acts like Bloc Party. MATT O’NEILL speaks to the producer about striking out on his own with debut album Lucky Shiner.
IMPROVING HEALTH Los Angeles-based experimental electro-noise rock/post-punk quartet HEALTH have been undergoing some changes in their body (of work) lately. As they prepare to return to our shores for the second time in a little under a year, MITCH KNOX catches up with vocalist/multiinstrumentalist JAKE DUZSIK to discuss the band’s… differences. saying, ‘Okay, so we wanna be like a jangly, postpunk guitar garage rock band’. So you’ve pretty much got your M.O. and then you write songs and then the degree is which songs are better than others, but it’s usually like the same sort of thing; whereas we didn’t do that as a band, so it’s this continual process. “So the next record will have more electronic elements to it and a few more things that are maybe a little more gratifying melodically, but we still want it to be really intense and aggressive, physical music. We don’t want to make the same record twice; we’re trying to do something new every time.” With this Australian tour representing the end of this particular album/promotion cycle for the band, Duzsik says the majority of this year will be dedicated to crafting their new album – that complex, wonderfully simply goal.
e doesn’t really buy into the whole ‘New Year’s Resolutions’ thing, but Jake Duzsik of LA noise rock wunderkinds Health is pretty crystal clear about what he wants to get done this year. “I think just to write a good record. We didn’t have any expressly stated [resolutions],” he laughs. “I’m not super into New Year’s Resolutions, let alone collective resolutions with a bunch of people. I think we just need to write a new record.” It’s such a simple goal and yet, as Health heads toward the fifth year in their career, an ever more complex and amorphous one. Gone are the days when Duzsik could envision what shape an album would take well in advance – as his experience grew, so too did his and his bandmates’ scope, allowing them to dabble in new and interesting sounds and ideas and consequently evolve as a band. “We’ve definitely been toying with integrating more electronic elements into the band, and more melodic structure,” he explains. “Y’know, our first full-length record is a pretty dense, somewhat cryptic noise/avantgarde record. There’s not a lot of structural repetition, there’s not a lot of tonality all the time; and I think after we did the remix record [2010’s Health::Disco2]… it’s been a process of us figuring out what kind of band we are, and it’s an evolutionary process. It’s not like
erwin Panda is in something of a strange position. Having spent the past handful of years earning considerable renown and respect across the globe for his remarkable indie rock remixes (for acts like Bloc Party, Health, Little Boots and Telepathe) and seven-inch singles, Panda finally managed to establish an equally respectable reputation for his original productions with recently released debut album Lucky Shiner – but the producer is still being defined through the work of other artists. While rightly hailed as an experimental and innovative producer of leftfield dance music, Panda’s work as Gold Panda has been unable to escape being discussed in relation to the work of other artists. Admittedly, this is something every musician must confront at some point in their career but it seems particularly unjust in Panda’s case. The producer’s work is almost exclusively compared to one of three acts – Four Tet, Caribou or, most amusingly, Panda Bear. “I remember some people compared the album to Panda Bear and thought that was completely ridiculous,” Panda says. I don’t know where they get it from – is it simply because they haven’t listened to the album and it has a bear in a title? I actually quite like Four Tet and Caribou though, so I don’t mind those comparisons.” It’s a particularly unfair frame of reference through which to view the producer’s work because, for the most part, it’s defined predominantly through exceptions rather than rules and techniques as opposed to sounds. Four
“I just ended up shopping in sales bins and bargain shops,” the producer elaborates. “I think, for me, sampling grew to be less about liking a record so much and more of a necessity to the way I knew how to make music – because I couldn’t afford to get the good stuff. It’s a goal of mine to keep sampling interesting. Rather than just putting a loop on top of a rhythm, it’s kind of evolved to the point where I want to make a totally new sound out of samples.” One need only look at Panda’s debut album Lucky Shiner to comprehend the differences. Worlds away from Four Tet’s meticulous jazz-damaged explorations or Caribou’s pop song craftsmanship, Lucky Shiner showcases an infinitely stranger and more immediately primal sound. The work of Gold Panda is built primarily on a fundamental love of texture and it’s this appreciation for atmosphere that most defines Gold Panda’s debut album. “I always liked the sound of vinyl crackle. It’s always been a comforting sound to me,” Panda reflects. “It’s a bit like how a kettle boiling always reminds me of my family for some reason. When I started Gold Panda, I really wanted to capture that kind of feel in my music – that kind of romance.”
WHO: Gold Panda WHAT: Lucky Shiner (Spunk/EMI) WHERE & WHEN: Step Inn Thursday Jan 13
WHO: Health WHERE & WHEN:
Woodland Saturday Jan 15
JUSTICE SERVED BYRON ‘GUILTY’ SIMPSON was, at one point, a peer of now-established MCs like Obie Trice and Eminem. MATT O’NEILL speaks to the Detroit MC about finally breaking through to recognition with sophomore album OJ Simpson.
Tet and Gold Panda both employ inventive sampling techniques to craft layered sound worlds and Four Tet, Caribou and Gold Panda are united in that they manage to produce genre-defying, accessible dance music – but the discernible similarities are quite minimal. “I honestly think the main thing that separates me and someone like Four Tet is that I’m actually lot less clued up about music in general. I’ve met Four Tet a couple of times and he’s actually influenced by a lot of South American stuff and a lot of jazz,” Panda laughs. “While being into hip hop when I was younger, I had a friend who was really into seeking out drum breaks and whatever. I could never get into it because you seemed to have to spend a lot of money to get these records. It put me off.
“I feel like we know what we’re going for and I feel like, yeah, we’ve kinda hit that point in our band’s timeline where we have all the tools,” Duzsik says cheerily of the work ahead. “It’s been a development thing, from the very beginning of, like, me having to figure out how the hell to even sing over any of the music we’re making. That was an initial thing. How do we record, and… we were a live band, so it’s just been all these things we’re finding out, and then integrating electronic things and synthesisers along with additional percussion and all that sort of stuff – so I think we have all the tools, but it’s hard to say. Not to sound cheesy or anything but that’s sort of the discovery of writing a new record, is you find all these happy accidents and weird shit that you didn’t know you were going to do, or you end up writing a song that’s different than a song you’ve written before. So I think I know what kind of band we are, but I don’t know what kind of record we’re going to make. I think I’d like to know, but I don’t really know yet. It might come out differently than we thought.”
It’s only been in the past year, however, that Simpson has truly begun to secure a critical and commercial respect befitting of his legacy – sophomore album OJ Simpson breaking the cult MC through to a significantly larger audience. A full-length collaboration with legendary producer Madlib released last year to considerable acclaim, OJ saw Simpson deliver what was unarguably his definitive work as a solo artist.
ntil recently, Guilty Simpson was strictly a cult name among hip hop aficionados. While a veteran of the same fertile Detroit scene which has given the world Eminem, Obie Trice, J Dilla and countless other genre luminaries, it wasn’t until the release of debut album Ode To The Ghetto that Simpson’s name began to secure recognition beyond a small and dedicated following. Released on Stones Throw in 2008, Simpson’s debut elevated the MC from journeyman to potential star. Prior to this turning point, Simpson’s work was defined by a series of respectable (albeit frequently unacknowledged) collaborations. Where Eminem became one of the most notorious figures of modern hip hop, Simpson’s career subsisted for years on his collaborations with acts like J Dilla and Madlib. Granted, such work was never going to allow Simpson complete anonymity but, in contrast with his peers, the MC was a relative also-ran. “My age has made me work that much more,” Simpson explains. “I can really appreciate how far I’ve come. And know enough not to ruin it. Naturally with experience comes wisdom. I’m thinking more of how to secure my way out now. I had no expectations when I started doing this. I don’t predict stuff. I try not to put unfair pressure on my projects by predicting how they’ll be received. I live in the moment. “They’re playing their parts and I’m playing mine,” the MC reflects matter-of-factly. “I’ve worked with J Dilla – one of the greatest producers in the history of hip hop. In fact, I’m the last artist he worked with before he passed. My legacy is in cement just like theirs...I still tour the world doing shows – and I’m signed to two of the most successful independent labels in hip hop: Stones Throw, and Duckdown. People know me.”
“I think 2010 was good. I dropped a well-received album with Madlib and made strong contacts and connections that will show in the near future,” the MC reflects. “I’d say it was a breakthrough year for me. I’m being more recognised amongst my peers and I’ve also noticed my fanbase is really growing as well. I’m also able to travel more and see dope places. I’ve never been to Australia. I’m anxious to get out there and vibe with the people.” There’s nothing particularly novel about Simpson’s rags-to-riches breakthrough, of course, but it is nevertheless an especially affirming narrative – in that the MC transcended his cult status without the remotest compromise of his values or as aesthetics. Currently poised to tour Australia for the first time and release another landmark album in the form of supergroup Random Axe (Sean Price, Simpson and Black Milk)’s debut long-player, Byron ‘Guilty’ Simpson’s thuggish honesty and raw brilliance as an MC is nevertheless as vital and confronting now as it was ten years ago. “I can’t identify with contemporary hip hop. I can listen, but not identify. I’m not contemporary,” the MC states bluntly. “There’s never been a time MCs like me didn’t survive in hip hop. I’m the foundation, skateboards aren’t. Remember crunk music? Snap maybe? Now it’s leaving hipster and going straight pop. Rugged hardcore will weather all these storms because hip hop will always remain the voice of the ghetto. Nothing is pop about the ghetto.”
WHO: Guilty Simpson WHAT: OJ Simpson (Stones Throw) WHERE & WHEN: X&Y Bar Sunday Jan 23
SLOWING THE CHASE WALK LIKE A BAND It’s been a busy three years for Sydney “sort of bluesy” rock outfit CHASE THE SUN, having released two albums, toured relentlessly around the country multiple times, and garnered a dedicated cult following. But now, as drummer JON HOWELL explains to MITCH KNOX, it’s time to put the brakes on slightly and get some real work done.
MR MAPS began as a solo project for post-graduate student CHRIS PERREN. Ahead of the launch of debut album Wire Empire, MATT O’NEILL catches up with the guitarist to discuss the project’s metamorphosis into a fully-fledged band.
of this year getting that rolling and booking other people’s gigs and trying to manage them better,” Howell laughs. The other couple of artists of who he speaks are none other than their current tour-mates Claude Hay and Cass Eager – a move which Howell implies may have had an ulterior motive. “Claude [Hay] and Cass [Eager] are the two artists that me and Ryan book and help manage. So it just came about because they’d actually done a lot of shows with Chase The Sun over the last couple of years, supporting us or guesting with us or whatever. So the idea was to get all the artists we book together on a tour; Cass has just put out an EP and Claude’s put out an album, so they’ve probably got more going on than we do, so we thought we’d just prop ourselves up on them,” he jokes.
t was in around August or so of last year when Jon Howell and his bandmates in Chase The Sun realised that they’d been pushing themselves perhaps a bit too hard for a bit too long. They had been touring their sophomore full-length Rednecks & Gentlemen for roughly three months, off the back of a couple years’ worth of similar activities, and they’d finally had enough. “We put out our second album in May [last year],” Howell recalls. “We put out the album and toured around a lot on that for sort of three months, and then we went, ‘Well, we actually need to just have a break, because we’ve been going really hard for like three years.’ So, I mean, we did Bluesfest, we kept doing all the festival things that we do … [but] we didn’t see each other for months, which was really nice. Not that we don’t like each other, but when you’re in the front of a van together for three years, it’s nice not to have to smell the other guys’ farts for a month. It’s good. “So Ryan [Van Gennip], the bass player, and I – we’ve been managing the band and booking the shows, so we started our own little company to do that properly, and got a couple of other artists on board, so we spent a lot
Although in all honesty, the benefits are likely mutual, as Eager and Hay will be able to learn from Howell’s experienced wisdom on a wide array of subjects, from how to get free drinks – “We try and put it in the contract these days,” he declares – to how to handle hostile crowds. “I like to heckle them a bit. I think that’s always fun, but they never give me a microphone, which I think is good,” Howell reflects. “When I yell at them a lot, I think that wins them over a little bit. It’s almost like sometimes people forget to actually participate in the performance, you know what I mean? Like, you’ll see people, you’re on the bandstand looking out, and you’ll see people with their arms crossed, looking at you, not clapping, not doing anything for the whole gig, and then they’ll come up to you after the gig and be like, ‘Man, that was really good,’ and you’re like, ‘Well, why didn’t you fuckin’ clap?’ Like, come on – give us some love here, dude. I tend to say things like that from the stage. ‘Thank you, clappers. The rest of you can get fucked.’”
WHO: Chase The Sun WHERE & WHEN: The Brewery,
Byron Bay Thursday Jan 20, The Soundlounge, Gold Coast Friday Jan 21, Joe’s Waterhole, Eumundi Saturday Jan 22
Each transformation, meanwhile, has seen the band develop into a more interesting ensemble. The 2009 decision to replace departed guitarist Nick Smethurst with cello player and producer Briony Luttrell, for example, completely altered the dynamic and presentation of the band from an intriguingly clever post-rock ensemble to something considerably less categorical and infinitely more compelling – a strange melange of gorgeous texture and jagged angles.
uperficially, the work of Brisbane’s Mr Maps has rarely surprised. An instrumental rock ensemble imbued with shades of post-rock, math-rock, electronica and chamber music, the band’s output has always consisted of sterling musicianship, gorgeous melodies and dextrous, unpredictable arrangements. From their debut release Mimicry Of Lines And Light in 2009 through their countless live performances over the past two years, Mr Maps have been nothing if not consistent.
“We’re not bothered by the post-rock tag but we’ve definitely tried to steer clear of it. It doesn’t bother me if people call Mr Maps post-rock, it’s just not what we choose to call it,” Perren says of the band’s sound. “I don’t know what we call it. I guess we’re calling it ‘instrumental rock’ because that’s pretty vague and vague is good. I occasional refer to us as ‘instrumental math-rock’ but I don’t think that’s very helpful because nobody really knows what it means.”
“The aim with Mr Maps, from the beginning, has been to have a band that is pushing forward and creating interesting, challenging music – but in a way that anyone can enjoy it,” guitarist and band-leader Chris Perren explains. “You know, you don’t have to be a musician or have listened to hundreds and hundreds of experimental records to get it. The aim has always been for anyone to be able to get it, so to speak.”
The ultimate example of the band’s subtle evolution is found in the contrast between Mimicry Of Lines And Light and forthcoming debut album Wire Empire. Over the past two years, Mr Maps have developed their craft so naturally as to almost obscure their alterations – but one listen to their remarkable debut album illustrates their considerable transformation almost immediately. Where ...Lines And Light was lush, beautiful and formal, Wire Empire is volatile, explosive and iconoclastic.
Yet, beneath the group’s immediate aesthetic, the band’s three-year career has played host to a myriad of remarkable transformations. Most significantly, the group actually began as the de facto solo project of Perren. While currently regarded as one of Brisbane’s pre-eminent live bands, Mr Maps was originally merely a moniker applied to the results of a 2007 post-graduate project Perren undertook investigating specific aspects of electro-acoustic composition. “Back then, I was doing solo electronic stuff. I had no intention of being in a band whatsoever. I think composing was always the goal,” the guitarist reflects. “It wasn’t until I started playing around with Mr Maps’ old drummer Sangdae [Yang] that I realised it was actually fun to play in a room full of musicians and be loud. I kind of realised at that time how much more energy it creates and how much more energy there is in that kind of situation.”
“The whole process took roughly a year. We had lots of conversations at the beginning about what we wanted the album to sound like and the recurring theme was that the strength of Mr Maps is in the live show,” Perren explains. “We really wanted to capture the energy between the musicians. I couldn’t even tell you how I feel about it now, though. Sometimes I think we’ve created the greatest body of work to grace the earth – and then I listen to it again and think, ‘What have I done?!’”
WHO: Mr Maps WHAT: Wire Empire (Lofly Recordings) WHERE & WHEN: The Alley Saturday Jan 15
The New Album
Features Peter Buck from REM and Gillian Welch An folk band from Portland, Oregon. The band’s songs range from upbeat pop to instrumentally lush ballads, and often employ instruments like the accordion, Hammond organ, Wurlitzer organ, and upright bass. In its lyrics, the band eschews the angst and introspection common to modern rock, instead favoring a storytelling approach.
OUT 14 JANUARY CD • CD/DVD • DIGITAL
www.thedecemberists.com • www.theinsoundfromwayout.com
SINGLES BY CHRIS YATES
THE DUKE & THE KING
THE GO! TEAM
Long Live The Duke & The King
THE BUG Infected
Experimental genius Kevin Martin buries himself deep in slow-dub grooves on his latest EP Infected, the first release as The Bug since his 2008 album London Zoo. Guest vocalist Hitomi (who previously appeared on his King Midas Sound record) whispers lyrics that are sublime, yet disturbingly menacing and prophetic. Roots Manuva contributes his distinctive voice on Tune In, with the same sense of impending doom deliciously intact. The other side of the 12-inch features two remixes from London Zoo – Autechre’s version of Skeng is surprisingly listenable, bass heavy and crunchy, Scratcha DVA’s reworking of Poison Dart featuring Warrior Queen is the most upbeat selection, but it still maintains the air of foreboding danger. When the end of the world is finally knocking on the door, there’d be worse ways to go than stoned out of your brain with this EP cranked on the biggest sound system you can find.
JOSH GROBIN Hidden Away (Warner)
According to Sweet Dee from It’s Always Sunny In Philadelphia, Grobin’s hardcore fanbase are known as Grobanites, and she proudly proclaims that she is one. She loves the shit out of that guy, but much like her taste in men, her taste in music is just as dubious – Grobin’s a tragic middle of the road AOR artiste of such biblically profanic proportions that he makes even the worst Elton John weep-fest seem cool and edgy, and makes Bryan Adams look like Perry Farrell. Hidden Away is the kind of song I would play at my worst enemy’s funeral, if I was lucky enough to be given the task of playlisting such an awesome event.
Do It Like A Dude (Universal)
Jessie J has written songs for all today’s big pop stars, you name them she’s given them hits. Christina Aguilera, Justin Timberlake and Chris Brown have all benefi ted from her edgy pop sensibilities. This track is no doubt going to be a massive smash – it was originally intended to be recorded by Rihanna but JJ decided to keep it for herself. It’s about how she can be just as tough and gangsta as dudes can and how she grabs her crotch and shit. Clearly she’s no bad ass and it’s all front, but that never stopped any of the gangsta rappers so there’s no reason to hold it against her.
Carry It (Featuring RZA, Raekwon and Tom Morello) (Universal)
The world’s gone crazy when the drummer from Blink-182 gets to make his own album. It’s even more nuts when he gets genuine Wu-Tang royalty RZA and Raekwon to drop verses on it, like it’s the most natural thing in the world. Tom Morello plays the only guitar riff he knows over the top of Barker’s mediocre drumming and the whole thing is disturbing evidence that it is possible to make Wu-Tang suck. The complete opposite of the excellent Blakroc record where the The Black Keys laid down a heap of beds for awesome rappers, or even the Black Lips collaboration with GZA. It’s not quite as bad as when Ol’ Dirty hooked up with the Insane Clown Posse, but at least he got a clean 30K of crack money out of those jokers. Let’s pretend this one didn’t happen, and everything will be alright.
The Duke & The King’s acclaimed 2009 debut Nothing Gold Can Stay mixed contemporary folk and soul with stunning results, and now they’ve expanded upon this template with Long Live The Duke & The King. Formerly based almost entirely around Simone Felice (of The Felice Brothers fame) and Robert ‘Chicken’ Burke, the band has now been compounded by the presence of drummer Nowell ‘The Deacon’ Haskins and violinist Simi Stone, both of whom contribute gorgeous vocals throughout and expand the band’s palette considerably.
The third album from Brighton group The Go! Team kicks in with the same high-energy, chanting rap indie that made them instantly stand out from pretty much everybody when their early singles Junior Kickstart and Ladyflash exploded from their 2004 debut Thunder, Lightning, Strike. T.O.R.N.A.D.O is everything you want from them all smooshed into one song, with female rapper Ninja sparkling in the spotlight. Unfortunately, we have to wait until the last song on the record Back Like 8 Track before we get to these excitement levels again.
The album was self-produced deep in the woods of Bearsville, New York and, much like its predecessor, is sonically pristine. Shine On You is the first standout, its gorgeous harmonies floating atop subtle instrumentation, before Shaky marries loose narratives on US foreign policy with beautifully cruisy music to make either the most beautiful protest song or the most politicised chill out tune in recent memory. The authentic, souldrenched Hudson River mixes male and female vocals to stunning effect, before Stone takes the reins on the aching No Easy Way Out, clearly one of the album’s highlights. From here there’s little deviation in quality right through to the album’s end, with relatively raucous closer finally bringing out some crashing electric guitars to end proceedings on a high note.
Secretary Song is a collaboration with Satomi Matsuzaki from Deerhunter and as the second song on the album, it’s a definitive and immediate tangent into much more pop friendly territory. The album continues along on this path with Ready To Go Steady – which is so extremely naïve and cute it could easily be a long lost song by The Ronettes. Blogosphere ‘it-girl’ Best Coast shows up for one of the most pop moments on the record Buy Nothing Day, her voice sounding frail and exposed when not swimming in layers of unnecessary delay and distortion.
Felice’s voice purrs like smooth velvet throughout, the main vocal protagonist perfectly abetting the laidback vibe of his musical brethren. This is music to be filed alongside the best easygoing rock of the late-60s and early-70s – simple, spirit-lifting and soothing, it’s a stunning album from a fantastic fledgling outfit seemingly intent on doing their own thing with scant regard for prevailing trends. Long may they live indeed... ★★★★½ Steve Bell
The eclecticism is admirable and occasionally successful, but it can be distracting and at points seems to be at the expense of ‘proper’ songs – Super Triangle is two minutes of dull folk nothingness, Yosemite Theme is an instrumental jingle that is so cornball it borders on the ridiculous, and Lazy Poltergeist is an uninspired hack at a piano interlude with nothing else going on. When listened to as an album, the whole thing flows pretty well, and there are enough melodic hooks to hum along to, but it just seems like such a shame that they couldn’t make an album full of T.O.R.N.A.D.Os, which would be nothing short of mind-melting. ★★★½ Chris Yates
We’re All In This Together (Gift Of The Gab/Other Tongues)
Charismatic young Londoner Gabby Young is taking you to Kit Kat Cabaret night on a foggy fall evening. She is smoking cigarettes with you in a dimly lit Parisian bar. She is harking back to all things beautifully vintage, glamorous and transforming your world into hers, aptly as according to herself and her band of ‘Other Animals’, We’re All In This Together. The seductiveness of Young’s vocals wraps around you with an alluring sense of erotica that never veers toward crass or pornographic. With ample room to dance on her chords, her voice controls the compass on the ship, Umm… and Ladies Of The Lake setting the bar high early with a whiff of perfume and an air of class rarely seen in today’s current market of dumb songs and dumber songstresses. And with the Other Animals, Young has definitely discovered a musical kinship that seems naturally bound together to create these folk gypsy numbers. Banjos pluck, accordions moan, trombones groan and the double bass never stops as her seven deep band of merry musicians pick up Young’s voice and not so much carry it as juggle it around like moonshine drunk carnival folk. To go from the restrained ethereal title track to the sheer lunacy and contained chaos of Ask You A Question never feels unnatural, the tracks linking together to create a scrapbook of ideas, thoughts and emotions. Consistently showing intelligence through individuality, We’re All In This Together offers undiscovered highlights with every spin while retaining that original heart-warming vibe with its overtly charming tones and textures. Not as in-your-face as Florence nor as reflective as Tori Amos, Young is a joyous individual and it’s this positive beauty that shines iridescently and continually across the album. ★★★½
(Someone Good Records)
Lawrence English’s subsidiary imprint Someone Good serves an outlet for English’s interest in the realm of experimental pop and thus far has proven itself a label to rival his critically heralded primary institution Room 40. Miko is Tokyo-based artist Rie Mitsutake, who on her sophomore LP has sought to create an exploratory pop album which seeks to pronounce her sonic adventures through creating a world of her own which coalesces the experimental realm of field recordings with traditional pop melody. Whilst Mitsutake on her second LP has created a record that is as complex as it is haunting and mesmerising, its most rewarding feature is that it sits as an entirely unique statement that separates her from Japanese and global contemporaries. The wistful pop of Sea House is textured in organic layers that are enveloped in shimmering field recordings. The quasi music concrete of New Town harnesses the full spectrum of the pop composition Miko is capable of and serves to highlight Miko’s proclivity for transforming archaic yet rudimentary pop structures into elongated pieces of music which transport the listener into Miko’s own beautiful world, a realm which perfectly melds experimentation with tradition. Miko on her second album has truly crafted a collection which surpasses the bounds and structures of experimental pop, and in doing so it paints some of her western contemporaries as rather rigid and boorish. Like Miko’s Japanese contemporaries My Pal Foot Foot and Maher Shalal Hash Baz, Miko has crafted a fragile world of pop that is entirely of her own imagining and invokes in the listener a sense of innocence and possibility. Chandelier is a truly remarkable piece that only hints at the future work and experimentation that Miko is capable of. ★★★★½
Degeneration Street (Dangerbird/Albert Music)
Check out the list of past and present Dears and it’s easy to get the impression that they are a group of like-minded musicians that come and go as schedules permit, much in the same way that fellow Canadian band Broken Social Scene exists. Though this is attributed simply to Dears departed rather than allusions of supergroup status, making fifth album Degeneration Street a welcome if surprising bonus. The turmoil of Murray Lightburn’s most uncertain moments as frontman and founder of The Dears (alongside wife and keyboardist Natalia Yanchak) left a smear of dreamy uncertainty on 2008’s Missiles, making grimy Degeneration Street opener Omega Dog a sure-footed sign that the current six-strong line-up is a solid collaborative force. Re-recruiting three previous members plus a fresh drummer, Lightfoot is almost cocky with his use of falsetto and look-at-me-I’mSlash 90s guitar indulgence on the lead single as he works amongst the familiarity of the band’s orchestral pop stylings with new vigour. Blood further highlights the clarity of the album, the slick fuzz-rock enhancing rather than displacing choppy harpsichord keys and sweet female vocals as Lightburn chooses the oddest emphasis points for his voice to beautiful effect. Throughout Degeneration Street the frontman serves up vocals dry and neat, sweet and screaming, with drama and with authority – sometimes within the one song, though always with the utmost consideration for their surroundings. As the moody title-track closes the album and spreads lazily across reference points of simple percussion, Lightburn wails “Get me through the night, get me through the winter”. Hell, you’ll get through winter The Dears – and you’ll probably keep on cruising right through to the best of album lists of 2011, provided it’s a year that remembers early moments of brilliance from career musicians over strategically timed throwaway albums. ★★★★½ Tyler McLoughlan
GABBY YOUNG & OTHER ANIMALS
(Arts And Crafts/ABC)
Up until recently, Zeus existed as the backup band of Canadian singer-songwriter Jason Collett, polishing their craft as a complement to another artist. With last year’s EP Sounds Like Zeus they came into their own and now, with their debut album, they’re truly ready to show the world what they’re all about. Unfortunately the problem is that they’re a little too confident, claiming to write songs equal to the canon of ‘the four Bs’ – Big Star, The Beatles, The Beach Boys and The Band. This is a decent record, but let’s not go crazy, boys. On Say Us, Zeus has recycled three songs from the EP and added nine extra. There are definitely big hints of their influences to be found song to song – the harmonies and instrumental arrangements hark back to the glory days of sunny 60s pop, with vocals floating loftily over the top. Hazy cuts like Fever Of The Time employ such techniques, while there are downbeat tracks like Greater Times On The Wayside that draw doubtless parallels to the drug-fuelled heydays of the past. The start of I Know is a very obvious nod to The Chordettes’ Mr Sandman – while it is fine to draw inspiration from influences, there is a point where it feels more like a blatant rip off. Zeus tread carefully on this line, and because of their wide palette of inspiration it feels like they’ve hardly carved out a niche of their own. Say Us is a pretty solid record but it also doesn’t stand on its own two feet that well, relying on “oh this sounds like that!” comparisons to really make an impact. With more soul-searching they might hit the mark next time. ★★★
THE AVETT BROTHERS
Umbrella may have been two albums ago now, but that song is the benchmark that Rihanna is inevitably judged by. It was one of those monster, all-consuming hits that has people singing along whether they be pop fans, punk kids or dance heads. Born in Barbados and still only 22, Rihanna has just released her third album in three years and is again enjoying playing around with the Caribbean rhythms from her childhood, but the only thing that comes close to the sheer pop power of Umbrella is Only Girl (In The World). Though the verses sound like a young woman hoping her love is reciprocated, in the chorus this young, hesitant lover suddenly turns into a strong, domineering vixen, almost daring her lover to turn away. Songs like the playful Cheers (I’ll Drink To That) and S&M give the album a forward momentum that is almost overturned by the dour California King Bed, but just when a misstep threatens to derail things, there’s a What’s My Name or Skin, a slow and almost understated display of sensuality that reminds the listener just who they’re dealing with. Then of course, there’s Love The Way You Lie (Part II), the continuation of the duet with Eminem that is dark and violent and all the more gripping because unlike a lot of Rihanna’s other songs, it feels a little personal. Even if Rihanna had released no other single besides Umbrella, she would be worthy of the title pop star, but the young singer has moved on in thrilling fashion. And you get the feeling that there’s plenty more monster hits to come. ★★★★
Our Horse Is Dead
Live, Volume 3
You might not be able to name check a single song from Christian band Skillet, though the touring company they’ve kept since their formation provides an instant understanding of their place in America’s rock scene; Three Days Grace, Flyleaf, Seether and Breaking Benjamin are key genre-mates that give away much of what to expect. Skillet’s seventh album Awake has only recently been given a local release in preparation for Australian tour dates this month – and boy are their loyal followers, a.k.a Panheads, stoked about that.
When it comes to pop-punk, distinguishing yourself from the drivel that exists is the difference between success and destitution. Is trying to succeed in a heavily-saturated genre as pointless as flogging a dead horse? It’s a predicament Heartbreak Club has questioned – literally. The cover art of their not-so-subtly-titled debut Our Horse Is Dead depicts a jockey tearing strips of flesh from an undead My Lil Pony. But fear not, there are no equines being tortured here. Heartbreak Club have elevated themselves above their run-of-the-mill counterparts.
Facts aside, Awake makes for a compact melodic hard rock listen that certainly has a fanbase (largely the same middle America audience that contribute to the success of the likes of Creed and Limp Bizkit), though it is shockingly apparent in the record’s opening seconds that there is nothing new here. At the outset, Hero is so similar to Linkin Park’s Papercut that when the male/female vocal interplay is mistaken as guest appearances from Adam Gontier (Three Days Grace) and Lacey Mosley (Flyleaf), it almost makes you forget that the song is entirely about Jesus Christ – let’s hope JC digs rehashed nu-metal.
“Chin up, chin up, we’re hardly that bad” deadpans vocalist Teddy Hernandez three tracks in, and it’s this selfdepreciative tone which defines this long-player. It’s an apt description; the album won’t move mountains, but still makes an enjoyable listen. A guilty pleasure, if you will. Although, if fair warning is to be given, it’s unashamedly corny. The keyboard parts on the album draw parallels with Motion City Soundtrack as they stumble around the waltzing Like The Weather or provide heart-warming counter melody through the lazy acoustic romp Jeepers!. Unlike so many other acts, this actually sounds like a band that has some genuine apathy. Although in tracks like Lost it can come across like a stage-musical outtake, the thematic intent is still clear. Perhaps it doesn’t have that spit and polish that other recordings have, but it’s still up-beat and nimble enough to capture attention.
Frontman John Cooper’s husky shout-growl delivery continues through cross-over single Monster, though why it appears in exact length as a bonus track minus only a three second distorted, staccato monster growl is a head scratcher. Drummer Jen Ledger’s vocal heights breaks up the Cooper monotony nicely particularly during symphonic rock offering Awake And Alive, though it is another puzzling moment considering it follows Nickleback ballad wannabe Don’t Wake Me. Are Skillet awake, asleep or oblivious? Who the fuck knows. ★★ Tyler McLoughlan
Our Horse is Dead is for anyone who has ever hated life; anyone who has ever been spat in the face and called a nerd. This is music for off days, heartbreak, and those who consider themselves a bit socially inept. Instead of turning to self-harm or that 4L tub of ice cream – put this on for a spin. You’ll be so much better for it. ★★★
This is the third release in The Avett Brother’s ongoing official bootleg series, recorded before an adoring hometown crowd at Bojangles’ Coliseum in Charlotte, North Carolina back in August 2009, just before the release of their first major label effort I And Love And You. The band had, however, existed in the independent realm for nearly a decade before making the leap, and it’s this older music which makes up most of Live, Volume 3. The Avett Brothers deliver consistently beautiful country and bluegrass-tinged music offset by the poetic, lovelorn imagery of their never-less-than exceptional lyrics. This DVD captures the excess of their live show perfectly, and also allows a glimpse into the behind-the-scenes chemistry which makes this act so effortlessly special. Opener Pretty Girl From Matthews is an older tune but showcases their divine harmonies and use of authentic instrumentation, leading into the honky stomp of Swept Away and the rocking machine-gun duet of Talk On Indolence. More recent fare like the aching The Ballad Of Love And Hate, Shame, and I And Love And You slot in seamlessly, and you can see the huge crowd singing along to every syllable uttered by their local heroes. For over an hour The Avett Brothers deliver a pristine performance which shows beyond doubt why their stocks have risen so rapidly in recent times, and as they finish with the rousing harmonies of the affirming Salvation Song one can’t help but wonder why this amazing band is yet to connect with the people of Australia when a slew of clearly inferior bands are headlining festivals in the same marketplace. Hopefully this will be rectified in time so that this amazing band keeps visiting our shores. Extras: fan interviews ★★★★½ Steve Bell
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NEWS BREAKING: HOW THE FLOODS AFFECT ARTS VENUES The Queensland Art Gallery, Gallery of Modern Art, and State Library of QLD have announced, via Twitter, that they will be closed until at least Friday 14 January. At time of print QPAC is closed until Friday with all shows – such as Wicked – on hold until then. Brisbane Powerhouse is closed today. Follow @frontrowSPA for more updates throughout the upcoming days.
ZINE FAIR TO HELP PHILIPPINES SPACE A zine fair is being held at Burst City (South Brisbane) this Saturday to raise money to renovate Dasmarinas Infoshop & Library, a space in the Philippines capital dedicated to stocking alternative media and zines as well as providing a space for alternative culture. To book a table or donate zines contact inneztulloch@gmail. com. To browse stock and help a good cause, the zine fair kicks off 2pm, Saturday 16 January.
Playhouse, QPAC The problem with children’s theatre - or even all ages theatre - is that it’s made by adults who seriously underestimate children and drastically overestimate the capacity of their parents to endure the unbearably patronising nonsense being put forth as ‘entertainment’. Wolfe Bowart - the one man physical theatre juggernaut behind Letter’s End - is no such adult. Combining physical theatre, mime, clownery, film, magic, and puppetry Bowart’s Letter’s End is a whimsical journey through nearly forgotten and almost destroyed - memories as they’re literally - in Bowart’s world memories come in brown paperwrapped packages - unwrapped and re-experienced. Over the 80 minutes of the production an entire life is wrested from boxes bound for destruction and played out with the pathos and nuance expected
from a performer for whom the term ‘consummate’ is thoroughly inadequate. Bowart is as endearing as he is imaginative; it’s a one-man show but the stage is alive with characters that Bowart has plucked from his imagination and given form. His world is intoxicating, its magic utterly irresistible: a mop becomes a barking dog; a plastic cooked turkey and a toaster serve as puppet heads; a piece of paper is brought to life as a canary. No prop on stage is safe from being re-imagined and reanimated as some corporeal facet of a fading life. The comedy and physicality find the rare balance between being child-accessible but not adultalienating. Certainly the narrative might fly straight over the younger audience’s head, but the beauty of a life rediscovered in boxes is a direct hit to the adult heart. Until 15 January HELEN STRINGER
VISIONS OF A NEAR FUTURE
IF YOU’RE INTERESTED IN SCIENCE FICTION OR CUTTING EDGE CINEMA, RIGHT NOW AT GOMA THERE’S A WEALTH OF VIEWING ON OFFER THANKS TO THE 21ST CENTURY STRANDS. SAM FELL TALKS TO CURATOR JOSÉ DA SILVA.
BURLESQUE This film should come with a two-drink minimum. Seriously, anyone who can sit sober through this garish and ridiculously long (119 minutes) train wreck must have taken leave from their wits. Even with a couple of beers under your belt, it’s highly likely Christina Aguilera’s acting will have you eyeing the exits. As Ali, an insipid small-towngirl-with-stars-in-her-eyes, Aguilera resolutely proves that she shouldn’t quit her day job, but then again the girl certainly has stage-presence and no one can say she doesn’t have a gob smacking set of pipes. Moving to La La Land, Ali tries in vain to peddle her singing talents, before ending up waiting tables again, though this time in Tess’ (Cher) cavernous and financially strapped club. There she lusts to be on stage, learning all the routines and appealing
There are plenty of names that spring to mind when you mention classic British comedy troupes – Monty Python, Fry & Laurie, The Mighty Boosh, Dudley Moore and Peter Cook, et al. – but perhaps the most famous is The Goodies, A.K.A. Bill Oddie, Tim Brooke-Taylor, and Graeme Garden. If anything their TV series of the same name has the greatest intro theme ever, and their slapstick’n’surreal satire humour made them some of the most recognisible names in the UK. The new BBC collection, The Goodies: …At Last …Back For More, Again! brings together eight of their finest episodes, involving the likes of rescuing kidnapped musicians, defending Camelot against town planners, and creating ‘honest advertising’, and is complimented by a 36-page booklet with lots of archived goodiness. We’ve got five copies of the DVD to giveaway. For your chance to win one email firstname.lastname@example.org with ‘GOODIES’ in the subject line.
MEMORABLE “MOLLS”: THE GRAND DAMES OF AMERICAN FILM NOIR By John Eagle 1. Joan Bennet in Scarlet Street (1946) 2. Ann Savage in Detour (1945) 3. Rita Hayworth in The Lady From Shanghai (1948) 4. Ava Gardner in The Killers (1946) 5. Lana Turner in The Postman Always Rings Twice (2003) 6. Peggy Cummins in Gun Crazy (1949) 7. Jean Simmons in Angel Face (1952)
to Tess and her partner in crime Sean (Stanley Tucci) every chance she gets. Of course she ends up in the spotlight, which sets up a lukewarm love triangle between her engaged roommate Jack (The OC bad boy Cam Gigandet) and Marcus (Eric Dane), who essentially plays a richer version of his Grey’s Anatomy McSteamy. At it’s best, Burlesque plays like an extended version of Moulin Rouge!’s Lady Marmalade music video, except the latter was better directed. And it probably had more to do with actual burlesque than the watered down Pussycat Dolls routines this film offers. In fact, despite Aguilera’s voice and the mildly diverting girls mincing around in tiny, sparkly outfits, Burlesque’s entire routine is remarkably forgettable. WHERE & WHEN: Screening in cinemas from 13 January ALICE TYNAN
or me science fiction is a way of thinking, a way of logic that bypasses a lot of nonsense. It allows people to look directly at important subjects.” So mused Star Trek creator, Gene Roddenberry, on a genre of writing almost as old as time itself, a genre based on writing “rationally about alternative possibilities”. Science fiction, whether it be written or on screen, has for many years given people a means of escape, a means to explore other realities through the medium of their choice, a way to imagine what form future civilisations will take, a way to explore new worlds. A rich history science fiction has then, particularly in film, and it’s this history which is currently being showcased in A New Tomorrow: Visions Of The Future In Cinema, the cinema strand of the Gallery of Modern Art’s 21st Century: Art In The First Decade exhibition. “I was looking, in an exhibition where artists imagine the present day and imagine the future, how that might relate to the world of cinema and that science fiction is the key example of cinema that thinks about the future,” says curator José Da Silva. He is, of course, correct – what better genre of film to utilise to explore
the idea of ‘a new tomorrow’, than science fiction? Over the course of three months, A New Tomorrow will feature 57 films from the genre (and many of its sub-genres), from as far back as 1927 (Metropolis) all the way through to now with 2012, from 2009. Of course, the usual suspects get a run – War Of The Worlds (1953), 2001: A Space Odyssey (1968), A Clockwork Orange (1971), as well as some more obscure titles; Delicatessen (1991), Dark City (1998), and Code 46 (2003). “It did take a long time to go back and revisit things,” Da Silva says on how it was putting together such a list, and a list which fulfilled the brief he’d set for himself. “And also trying to get a really broad sweep, starting in 1927 with Metropolis and going up until the present day, and trying within that to not just do American film,” he goes on. “Unfortunately, American cinema is dominant in this genre, but there are classics like Solaris from Russia and the kinda ad nauseum anime from Japan that deals with future visions. So yeah, it was a lot of watching, a lot of thinking about particular stories which still, I think, hold up. It’s really a once in a lifetime opportunity to really think about the whole genre of cinema in a really
detailed way…it’s a great way to revisit films and think about them in relation to other films…and to think about them in a new way.” If nothing else, A New Tomorrow is a fine way to just revisit some old favourites, whether you’re interested in comparing them or not. And coupled with the two other cinema strands on offer as part of the 21st Century exhibition (Unseen: Cinema In The 21st Century and Video Witness: New From The World), A New Tomorrow rounds out a true look at how cinema has evolved from back in 1927, to now, and indeed, beyond. In addition to the science fiction run then, Da Silva is also responsible for another part of the exhibition, that of the meme. A meme, in this instance an internet meme, is an idea that is propagated through the web virally, and is something that has really only come to the fore in a big way, in the past decade. “As you walk into the GoMA building, there’s this kinda convivial, social space, somewhere where you can have a coffee and hang out, and in the lounge there’s a display of a bit over 260 screens, each one running an internet meme,” Da Silva explains. “So this is looking at how it affects our understanding of visual culture. And I’ve been kinda adamant, that for a younger generation who have grown up using the internet for more than two or three hours on a daily basis, we have to imagine that they look at art in a different way,” he goes on. “So they understand the way images are made, how they’re remixed, how you can hack images.
So this is kind of a different way of thinking about, not necessarily art, but of thinking about visual culture, and I think it’s a really good introduction on your way in to the rest of the exhibition.” What Da Silva is looking to do here, whether it be via a simple meme or a classic old science fiction film, is to get people thinking, thinking about alternative scenarios for civilisations to come, the exploration of new worlds and possibilities, the progress of cinema itself and the way these chosen films and ideas compliment each other, both from a visual aspect, and from a conceptual aspect. It’s something you’ll come away from thinking. “I guess you always want people to be entertained,” Da Silva muses on what he’d like people to come away from this exhibition with. “But you also want people to come away feeling like they understand the world a little better,” he adds. “And I think that’s really true of all the film programmes, and especially the film programmes that maybe give you access to stories and information from other parts of the world.” And, indeed, from the future, for science fiction is a way of thinking, a way of logic that bypasses a lot of nonsense and allows people to look directly at important subjects, and there’s plenty of that to come. WHAT: A New Tomorrow: Visions Of The Future In Cinema, Unseen: Cinema In The 21st Century, Video Witness: New From The World WHERE & WHEN: Australian Cinémathèque, GoMA until 26 April
THE PHENOMENALLY SUCCESSFUL BROADWAY MUSICAL WICKED HAS LANDED IN BRISBANE, AFTER TWO YEAR-LONG STINTS IN MELBOURNE AND SYDNEY. HELEN STRINGER TALKS TO PRINCIPAL CAST MEMBER DAVID HARRIS.
pparently the Land of Oz was a much more politically complicated place than the unsuspecting Dorothy and her tiny dog Toto could ever have imagined. Had the doe-eyed country girl been aware of the despotic leadership of her much sought-after Wizard and the less-than-altruistic motivations of the Good Witch Glinda she may have decided to eschew the yellow brick road altogether and high-tail it out of Oz before she became an unwitting participant in both a political coup and a love triangle involving two witches and a prince. Or so, at least, the story goes in the re-imagined telling of the Land of Oz in the internationally successful musical Wicked, which is gracing Brisbane’s QPAC for the first time in a brief season this month. Since opening in 2003 Wicked has become a musical theatre phenomenon akin to The Phantom Of The Opera in its heyday, wheedling its way into popular culture and spawning a fervent following of green-painted fans. That considered, one could be forgiven for thinking that a performer coming into the production might feel slightly intimidated, but Australian musical theatre star David Harris - who plays the witches’ paramour Fiyero - has found himself surprisingly undaunted by the Wicked legacy. “I, funnily enough, have not been worried about it,” explains Harris of taking over the role of Fiyero for the production’s Australian tour. “I thought I would be more conscious of that and compare myself with other people, but nup. This whole process I haven’t at all ever thought about who else has played it. It’s literally: what’s the text, what’s the character, what’s my role, and not actually [being] worried about or comparing myself with anyone else. If there are differences then they’re the differences I make; if there are similarities then they’re the similarities I make… I’m surprised about it; I thought I would be more self-conscious. “I think if it was five years ago I would have really been concerned about it,” Harris continues. “But I think the last several years I’ve gained more confidence about my abilities and my choices as an actor so that doesn’t way on my shoulders at this point. It doesn’t hinder me; I’m quite excited to have a different take
of it and make my version of it.” In fact Harris, whose musical theatre résumé includes Miss Saigon, The Boy From Oz, and Mamma Mia!, is more inclined to look at the many positives of joining an already successful show. “It’s an assured success really,” he says, “It’s a worldwide megaproduct now. In one way there’s that expectation [for] this big beast of a show, but at the same time it feels very safe… because it’s a proven success and proven around the world and it continues to thrive. So it’s a wonderful opportunity to step into that kind of show. “Sometimes when you’re rehearsing a show,” he continues, “you’re like ‘I don’t know how this show is going to go; how’s the public going to receive it, how long are we contracted.’ So generally you’ve got that kind of thing, that worry when you’re rehearsing: you believe in the product and the work and the cast and the team behind it whether or not the audience comes and sees it. But stepping into Wicked it’s pretty much a sure thing which is a comforting thing to know.” Despite the enormity of Wicked’s success - the franchise’s cumulative revenue reaches figures more commonly associated with Hollywood movies - its popularity is as attributable to its reputation as a musical with brains and not merely its blockbuster status. For Harris it’s this element that makes the production so appealing. “It comes down to the story that it is and the text,” he explains. “You could easily sugar coat any musical and gloss it over and turn it into a big spectacular and that’d be it but as a performer that would get really boring really quickly. This character [Fiyero] has a nice journey to go on…actually following his morals and then going on this new journey. As an actor I love that aspect that he’s got that great journey to go on.” Harris is no stranger to more emotionally draining roles, having played the principal role in the Australian production of hard-hitting musical Miss Saigon. “I have been attracted to shows that have a deep story and emotional content. But with Miss Saigon it was a big emotional drain every show - physically and psychologically;
[performing] eight times a week… month after month after month, and as much as you can separate David Harris the person when you step off stage and then come on and play quite a heavy character - doing that eight times a week it has an effect on your body and on you as a person. “You don’t realise but it kind of creeps in after several months of doing it I become quite a dark person, where I’m not. I’m really quite light hearted. You underestimate that. But as an actor you want to feel those emotions and get into that. If there’s
AY RSD HU T RTS STA
no investment in a show I couldn’t do it beyond a week.” Despite a potentially serendipitous meeting with Wicked’s lyricist and music writer Stephen Schwartz at the Adelaide Cabaret Festival - Harris shared the stage with Schwartz and other artists, but insists he never learnt the art of “schmoozing” - his opportunity to join the cast didn’t come until Australia’s original Fiyero, Idol alumni Rob Mills, left the production. The Brisbane shows are his first performances with the existing cast which includes
G WIN HO S W NO
Once upon a time, long, long ago, when computer-generated animation was in its infancy, hair was a huge problem for animators. Try as they might, they just couldn’t get individual strands of hair to behave properly. Fast forward to 2011, and Disney’s Tangled could indeed stand up as a celebration of the sole fact that they finally got it spot-on. Thankfully, it has heaps more to stand on than that. Tangled is a retelling of the Rapunzel fairytale, with Mandy Moore voicing the big-eyed, pert-nosed petite princess in the tower. Abducted and imprisoned by her ‘mother’ (a real presence with echoes of Ursula from The Little Mermaid, superbly voiced by theatre actress Donna Murphy) she wants to get out and see the world – and when flamboyant ruffian Flynn Rider (Zachary Levi from TV’s Chuck) climbs her tower on the run, she seizes the opportunity to, erm, let her heir down a little. Tangled is stupendous fun from start to finish, with a nice, meaty story and a script that respects the genre and never goes for cheap laughs. Moore makes for a spunky, feisty, memorable heroine and every shot in the film looks gorgeous, echoing the traditional hand-drawn feel of the Disney films of old. This is reportedly the second most expensive movie ever made, at $260 million – and it looks every cent. WHERE & WHEN: Screening in cinemas now BAZ McALISTER
Australian television legend Bert Newton, whom Harris gleefully describes as “a gem”. Having seen the show during its preview season in New York Harris was determined to be involved should it make its way to Australia. “When I saw it,” he says, “I thought, ‘I definitely have to be in that show when it comes to Australia,’ so lucky I get that chance now.” WHAT: Wicked WHERE & WHEN: Lyric Theatre, QPAC until 6 March
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THU/ SAT/ SUN 10.10, 2.30, 6.50, 9.10PM FRI 10.10, 12.20, 4.40, 6.50PM
THU 10.00, 4.30, 6.45, 9.00PM FRI 10.00, 2.20, 6.45, 9.00PM SAT/ SUN 10.40, 2.30, 7.00, 9.15PM MON- WED 10.40, 1.10, 3.40, 6.30, 8.45PM
THU 12.15, 9.15PM FRI 12.30, 2.30, 9.15PM SAT/ SUN 10.15, 4.45, 9.30PM MON- WED 10.00, 2.30, 7.00PM
THE KING’S SPEECH (M) (NO FREE TIX)
SARAH’S KEY (M)
NT LIVE: HAMLET (G) (NO FREE TIX)
THU/ FRI/ MON- WED 10.30, 1.00, 3.30, 6.20, 8.50PM SAT/ SUN 10.30, 1.10, 3.40, 6.20, 8.50PM
THU 2.20, 4.40PM FRI 12.10, 4.30PM SAT/ SUN 12.30, 5.10PM MON- WED 12.10, 4.40, 9.10PM
NY MET OPERA: DON CARLO (G) (NO FREE TIX)
SARAH’S KEY (M) THU-WED 10.00, 12.05, 2.10, 6.25PM
TRON: LEGACY 3D (PG) MON-WED 10.00AM
SAT/ SUN 1.00PM
CULT CINEMA CLASSICS IMAGINE: JOHN LENNON (M) (NO FREE TIX) FRI 9.00PM
HEARTBREAKER (M) THU 12.20, 4.45, 7.00PM FRI 10.20, 2.40, 4.45, 7.00PM SAT/ SUN 12.20, 4.45, 7.20PM MON- WED 10.20, 12.30, 2.40, 4.45, 6.50, 9.00PM
WITH HELEN STRINGER I love the smell of moral righteousness in the morning. Watching angry mobs of outraged housewives or red-faced delegates from Christian Morality Protection Leagues spit out nonsensical diatribes against whatever it is that’s threatening their tenuous grasp on moral superiority this week is a joy to behold. It’s particularly entertaining when said mobs and leagues unleash their ire on art, applying the standards of morality they’ve learnt from indisputable experts - Dr Phil - to a practice that’s impossible to standardise against any criteria. Whilst censorship in art is rife internationally Australia’s guardians of virtue seem particularly fixated on child pornography. On the one hand this is perfectly understandable: children are vulnerable to exploitation; as adults and as a community we should be jointly and
individually responsible for protecting our youngest members from those - usually family members, but we like to keep that statistic in the dark who choose the prey on them. On the other hand, pandering to the fear of paedophiles lurking in the brightly lit corners of art galleries by denouncing exhibitions as perverted artefacts of paedophilia is a diversion of attention and resources so inexcusable it should be legislatively prohibited. We’re all familiar with the Bill Henson controversy when the celebrated photographer’s exhibition was raided by police and handed to Hetty Johnston and the Bravehearts on a silver platter. The bearded hero was the fish chump to Hetty’s feeding frenzy: Henson’s photographs are a visual exploration of the fleeting pubescent years, the twilight zone between child and adulthood, and Henson, just like Hetty, has zero control over the fact that teenagers are obsessed with sex.
Hetty articulated her disgust with a well thought out argument which can be summed up as such: naked kids = kiddie porn. According to the logic of her argument my family gatherings are also pornographic: children are regularly naked and generally attended to by Speedo-clad men and bikini-wearing women. Sometimes we even photograph it. Admittedly, Henson’s honest photographs are confronting enough that one can understand how they’d make the more prudish amongst us a tad bit uncomfortable, but our own discomfort is no excuse for taking an illogical argument and treating it as fact. The Sydney Children’s Hospital last week pulled a charity exhibition ironically titled Out Of The Comfort Zone - which could have raised close to $200,000, because one of the works failed to meet its strict guidelines on images of children. The
image in question was by Archibald Prize winner Del Kathryn Barton and pictured her son naked from the waist up, his torso covered in stick-on googly eyes. It’s absolutely, undeniably innocent; there is nothing about the image that could be remotely construed as sexual, provocative, exploitative or inappropriate. In fact it’s so innocuous it’s the kind of image that would be right at home in a Woman’s Day calendar. But apparently, just like Hetty, the hospital agrees that naked kids = kiddie porn. Certainly, this is bureaucratic censorship gone completely mad. In that regard it’s simply laughable. But art is a litmus test for the society that produces it; if Australia is languishing in a place and time that panders so willingly to the fear-mongering of philistines then we have a much bigger problem than the possibility that innocent art might be misused.
THE MOUTH OF MADNESS
SOMEWHERE Sofia Coppola’s Somewhere begins with an image that emblemises the film’s strengths and weaknesses right off the bat. For roughly a minute, we’re presented with a static shot observing a segment of a racing circuit, occupied by a Ferrari zooming in and out of frame. It’s an image that’s both strange and bold in its duration, as well as thuddingly obvious as a metaphor for its central character’s stasis. Likewise, Coppola’s film alternates between grace and crassness throughout, unfortunately edging more toward the latter. Stephen Dorff plays Johnny Marco, owner of the aforementioned Ferrari and a vacuous party boy actor, seen spending much of his time moping about LA’s Chateau Marmont hotel, picking up loose women, and doing press junkets for movies that look like real Stephen Dorff projects. Immediate comparisons will be made with Bill Murray’s burnout actor from Lost In Translation, and when Elle Fanning arrives on the scene as Dorff’s estranged daughter Cleo, Somewhere evokes the tentative connection that Murray and Scarlett Johansson made in the prior film. In that light, Somewhere might be its spiritual prequel, albeit one that no one asked for. For all that formal risks that Coppola takes, Somewhere is ultimately undone by straying outside the ‘less is more’ parameters she sets up. As soon as you’re on the film’s patient, uninflected wavelength, there’s misjudged gags involved Johnny being served by a naked male masseuse, or falling asleep during cunnilingis to snap you out. And the final bids for emotional catharsis feel awfully strained compared to what’s come before. Finally, that Ferrari going in circles seems less
a metaphor for Johnny’s stasis than Coppola’s own. WHERE & WHEN: Screening in cinemas now IAN BARR
UNSTOPPABLE Tony Scott is a director who could film a man eating crisps for two hours and somehow, make it edgeof-the-seat exciting. First, add a bombastic score. Get plenty of shaky, stop-go shots of crisp crumbs falling from the dude’s lips. Amp up the decibel level of his munching. Throw in about thirty screeching, wailing cop cars and make sure you have at least three helicopters doing borderline dangerous shit in every shot. Call it something masculine and punchy, like Crunch. Box office gold. Unstoppable is everything Tony Scott does well. The scene is the grimy trainyards and wooded sidings of working man’s Pennsylvania: Denzel Washington is a disgruntled but capable veteran train-driver, Chris Pine a young upstart distracted by a failing marriage – and on their first day on the job together, someone lets a freight train loaded with combustible chemicals run away without brakes, headed for derailment in a thriving town. Of course it’s our heroes (and their attendant B-plots) to the rescue – and while all they do is get in another loco and power down the straight track in pursuit, Scott’s visual style and pacing makes this ten times as exciting as many car chases. Great support comes from level-headed Rosario Dawson in the train control room, and Kevin Dunn as an odious company exec more concerned with losing money than lives. A rail-y engaging thriller. WHERE & WHEN: Screening in cinemas now BAZ McALISTER
IF YOU’VE GOT EVEN A PASSING INTEREST IN CULT CINEMA YOU WILL HAVE HEARD OF THE ROOM, TOMMY WISEAU’S CAR-CRASH CINEMATIC DISASTERPIECE. ANTHONY CAREW CHATS TO THE FILMMAKER.
nterviewing Tommy Wiseau, you get a pretty good idea how he made what’s possibly the worst film in cinema’s history, The Room. Wiseau can barely complete a coherent sentence and seems confused by every question, yet he’s utterly delusional, possessed of a defiant ego, and somehow sure that his movie – which has earned an enduring cult following due to its colossal crapness – is a work of artistic resonance. “It seems to me The Room connects all people in the world,” Wiseau says, earnestly. Later, he offers, apropos of nothing much: “I’m an actor, I’m an American, I’m writer, producer, director, so I’m very busy.” Normally, in a story like this, you’d quote blocks of text from subjects, but a Q&A transcription finds ‘answers’ that’re jumbles of disconnected sentences. Interviewing Wiseau is less like an exchange of ideas, more like suffering through 35 minutes of mish-mashed monologue
from a man whose voice is like a weird cross between Inspector Clouseau and Borat, only delivered as if he has a mouthful of sand. Listening to the filmmaker – a figure whose real name, age (50+, probably, even though tries to imply he’s in his late-20s(!)), background (he tells me he grew up in France and New Orleans, but be dubious), and means of financing remain, thus far, mysterious – ramble, he returns to a bunch of key phrases repeatedly: “for your information”; “long story short”; “I don’t know if you know”; “I don’t know how it is in your country”; and the immortal “The Room is The Room”. After slurring through haphazard thoughts for minutes on end, he’ll suddenly bark out “next question!” as if we’re running a military operation. Wiseau routinely throws in the command to visit his website or sign up to his mailing list as some bizarre non-sequitur. His grasp on the English language seems tenuous, and confusion often reigns. When I
ask what he thinks of the rumour that his film was financed by organised criminals laundering money, he doesn’t know what laundering means, nor does he seem to understand when I explain it (which suggests that, no, The Room wasn’t bankrolled by some cartel looking to make Producers-style cash). It’s a car-crash ‘conversation’ befitting a car-crash motion-picture. For those new to the cult: The Room is a 2003, no-budget picture – starring, produced, written, and directed by Wiseau – that would’ve sunk into instantaneous oblivion were it not for ironic Los Angelino hipsters. Soon, monthly midnight screenings sprung up, audience participation (plastic spoons thrown at the screen, footballs tossed, costumes worn, skits performed) became part of the experience, and piles of comedians – like Paul Rudd, Jonah Hill, David Cross – began singing its ‘praises’. Adult Swim broadcast it on April Fool’s Day. Kristen Bell demanded Veronica Mars writers drop Room references. The Room has been screening in LA for over seven years. It’s a perverse phenomenon: celebrating a picture in which plot lines are introduced then forgotten about, characters randomly pop up and disappear, one actor is swapped
out for another, continuity is nonexistent, focus is inconsistent, the audio is rarely in synch, and switches from digital to celluloid-shot footage happen with neither rhyme nor reason. Which is to say nothing of the idiotic dialogue, brain-dead acting, and hysterical soap-opera. The question to ask Wiseau, of course, is: doesn’t he feel as much shame as pride? Doesn’t it hurt, on some level, that people are laughing at The Room – are laughing at him, essentially – in an act of pure schadenfreude? “I’m very proud of my project. Extremely, actually, proud,” Wiseau says, before plugging the film’s website at length. “It’s something, let me say, actually, this way, for your readers and for you: The Room means life, The Room means connection. I always say you can laugh, you can cry, you can express yourself, but please don’t hurt each other. In America, people interact with The Room... and I encourage this, actually, I want people, actually, to go deep into The Room, be part of The Room. Because, Anthony, this is the fact: The Room is The Room.” WHAT: The Room WHERE & WHEN: Exclusively at Tribal Theatre from 14 January
C U LT U R A L
WITH MANDY KOHLER When I was a kid in primary school the teachers would always ask the class where we thought we’d be in the year 2000. My first thought was, “It doesn’t matter. I’ll be 22. So old, it’ll be awful.” Looking back I think this may have been an adult way of trying to get children to plan for the future by dressing it up as a futuristic journey; but there was something in the frequency of their asking that suggests that they were looking to the turn of the millennium with some genuine enthusiasm. With that in mind GoMA have put together 21st Century: Art In The First Decade, an exhibition bursting with over 200 works produced in the last ten years, including Stockholm-based artist Carsten Höller’s installation of two spiral slides in GoMA’s foyer. An interactive affair, the slides send punters hurtling from the gallery’s third floor to ground level. It’s not jet packs but it’s still pretty cool. To accompany the exhibition the clever cultured clogs have put together A New Tomorrow: Visions Of The Future In Cinema, a film programme set to have us reflecting on the myriad answers filmmakers have had when they’ve asked themselves what does the future look like? According to Gallery Director Tony Ellwood, “The 56 films in the programme chart alternative scenarios for civilisations to come and extraordinary explorations of new spaces, dimensions, and
frontiers in cinema. They explore the consequences of environmental and biological change, anxieties over surveillance and the collapse of social orders, and also demonstrate humanity’s capacity to adapt, reinvent itself and find new solutions.” Well said, methinks. Though they may have missed a trick with the exclusion of 1995’s Waterworld, however, they have picked up a good’un including Roland Emmerich’s The Day After Tomorrow. Its depiction of extreme weather is starting to look like a documentary. The programme includes such genre standouts like Children Of Men, Mad Max, and Blade Runner, alongside films that are largely gone and forgotten like Michael Winterbottom’s intriguing Code 46, Terry Gilliam’s Twelve Monkeys, and old gems like The Day The Earth Stood Still (1951). The oldest gem of them all, a restored version of Metropolis (1927) will be screened with an additional 25 minutes of lost film discovered in Buenos Aires in 2009. If Cringe could urge you to see one film it would be Andrei Tarkovsky’s Solaris. The source material for Steven Soderbergh’s (very good) 2002 film, the 1972 original plods at an even slower pace than the remake but is ultimately far more rewarding. Relive the future with those visions you should revisit or discover a new gem. Browsing the titles in the online programme is bound to give you goosebumps.
LETTING THE HAIR DOWN GUY DAVIS TALKS TO CHUCK STAR ZACHARY LEVI ABOUT TANGLED, DISNEY’S TAKE ON THE RAPUNZEL STORY.
hen it comes to animated movies, you can’t always believe your ears. After all, one of the wonders of making a bigscreen cartoon is that the character appearing on the screen doesn’t have to resemble the performer providing their voice. There are times, though, when character and actor are pretty much peas in a pod. Take the sometimes dashing, sometimes smarmy but generally good-hearted Flynn Rider, the roguish hero of the new animated Disney musical Tangled. He’s a strapping, handsome chap with a winning smile and a slightly selfdeprecating streak. Now take Zachary Levi, the actor who gives Flynn his speaking and singing voice. While he’s best known for playing the heroic but nerdy Chuck Bartkowski on the popular TV series Chuck, Levi in real life is... well, a handsome, strapping chap with a winning smile and a slightly self-deprecating streak. In Australia recently with co-star Mandy Moore to promote Tangled, an utterly charming musical-romancecomedy makeover of the Rapunzel fairy tale, Levi could barely contain his happiness at being part of Disney’s 50th animated movie. After all, the man is a self-confessed “Dis-nerd”.
“Being part of this was a dream come true to begin with, growing up loving all things Disney and dreaming of being a voice in a Disney animated musical,” he said. “Then you get to fly halfway around the world to talk about it!” Levi beat out some 300 other actors to voice the role of Flynn, a charming thief who crosses paths with Rapunzel, a princess kidnapped at birth by an evil witch and kept locked away in a tower. Helping her escape, the two embark on an adventure that involves song, swordplay, the coolest cartoon horse ever and, naturally, a touch of true love. Given the sparkling chemistry Levi and Moore share, it’s surprising to learn that the two spent very little time working together during the year-long process of recording their dialogue and songs. “Before this press tour, we’d worked together for a total of two days – we did our duet and that was it,” laughed Levi. “So the tour is the most time we’ve spent together. And she’s a sweetheart, man, and a consummate professional. You can actually learn a lot about someone doing a press tour with them because it’s a very interesting process – you get the same questions over and over, and some people could get a raging attitude because of that. But from day one, she’s been incredibly kind and
incredibly generous.” A videogame buff, Levi had spent a day or two putting words into the mouths of characters in games like Halo: Reach and Fallout: New Vegas prior to taking on his Tangled job. But nothing could have prepared him for the process of bringing Flynn to life using only his voice. “Every six weeks or so, I’d go in for a recording session that would last five hours or so,” he said. “It’s very odd because you’re by yourself in the booth – you’ve got the directors, the writer and the technicians on the other side of the glass – and you’re not performing with anyone. I mean, I thought given the nature of some of the scenes Mandy and I have together that we’d be together for at least some of them. But they’ve done it this way for a while so they clearly know what they’re doing!” And while he’s performed in amateur musical-theatre productions, Tangled was also the first time in his professional career that Levi has been asked to sing. “I’ve sung my whole life, done a lot of amateur musical theatre, so I know I can do it but the real test is whether people will actually pay you to do it,” he laughed. Consider that test passed, because the Levi-Moore duet I See the Light has been nominated for a Golden Globe, and there’s already talk of a
Oscar nod...which would mean the pair would probably perform the song live at the Academy Awards ceremony. “That’s a possibility,” he admits with a smile. “One I don’t wanna think about too much!” WHAT: Tangled WHERE & WHEN: Screening in cinemas now
The Whitlams perform LIVE their quadruple platinum ARIA breakthrough album, ETERNAL NIGHTCAP.
SELLING FAST! 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. 27
ISSUE 1509 - WEDNESDAY 12 JA
BONFIRE NIGHTS NAME AND ROLE IN BAND: Ruth Nitkiewicz (drums)
HOW LONG HAVE YOU BEEN TOGETHER? One year.
HOW DID YOU ALL MEET?
Nicole and Steve met at a uni party, and I met them a few years later at an O Week concert.
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? David Bowie. Then Nicole and I will endlessly discuss his ‘costume’ in Labyrinth.
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? Ideally, we’d like to be able to quit our day jobs and tour the world. Not much to ask for, really.
WHICH BRISBANE BANDS BEFORE YOU HAVE BEEN AN INSPIRATION (MUSICALLY OR OTHERWISE)? Screamfeeder, cause they were the ﬁrst band I saw live. We’re playing with Tim Steward’s current band We All Want To at Ric’s this Saturday, which is very exciting for me.
WHICH PUB OR BAR IN BRISBANE ARE WE MOST LIKELY TO FIND YOU FREQUENTING AS A GROUP?
The Troubadour, if it still existed. Now we resort to drinking tallies in New Farm Park.
WHAT REALITY TV SHOW WOULD YOU ENTER AS A BAND AND WHY?
Junior Masterchef, because we’d beat those kids. And I make killer ‘chocolate brownies’ too, which Matt Preston would love.
IF YOUR BAND HAD TO PLAY A TEAM SPORT INSTEAD OF BEING MUSICIANS WHICH SPORT WOULD IT BE AND WHY WOULD YOU BE TRIUMPHANT?
Lawn bowls. We have no sporting ability so we’d probably just cheat.
WHAT’S IN THE PIPELINE FOR THE BAND IN THE SHORT TERM?
We’re releasing our ﬁrst video clip very soon and recording material for a follow-up EP. We also hope to tour overseas sometime this year. Bonfi re Nights play Ric’s Bar on Saturday Jan 15. Photo by BRAD MARSELLOS
GIG OF THEWEEK
OWEN PALLETT: Old Museum Jan 25 FOALS: Great Northern Hotel Feb 2
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 THE THING: Judith Wright Ctr Jan 27 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 AMANDA PALMER: Great Northern Feb 10, Old QLD Museum Feb 12 ANDREW MCMAHON: The Hi-Fi Feb 10 LLOYD COLE’S SMALL ENSEMBLE: Old QLD Museum Feb 10 MARK SULTAN: Step Inn Feb 11 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 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 GERRY AND THE PACEMAKERS: Jupiters
TWO DOOR CINEMA CLUB: Great Northern Hotel Feb 3 FOSTER THE PEOPLE: The Zoo Feb 13 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 WAIFS: Great Northern Hotel Mar 1, Nambour Civic Centre Mar 2, The Tivoli Mar 3 THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4 WAVVES: The Zoo Mar 8 THE HOLD STEADY: The Zoo Mar 9
THE CLEAN: The Zoo Mar 10
THE TIVOLI THURSDAY JAN 13 Anyone who caught his sets at Splendour In The Grass or supporting DJ Shadow a couple of years ago will quickly attest to the live genius of the Grammy-nominated rapper Mos Def. Now the talented uber-talented musician – and established actor and poet – is returning for his ﬁrst ever headlining tour, which he’s named The Ecstatic Tour in honour of his 2009 fourth album The Ecstatic. To make things even more enticing he’s bringing American hip hop legend Pharoahe Monch along for the ride, and they’ll be joined by local luminaries 2 Dogs and Seven w/ Crate Creeps, making it a great bill of all things hip-shaking – dig out those dancing shoes and get amongst it!
Future Of The Left @ The Zoo by Stephen Booth
STONE TEMPLE PILOTS: Brisbane Riverstage Mar 23 BLUESFEST 2011: Byron Bay Apr 21-25 KYUSS LIVES: Coolangatta Hotel May 4, The Tivoli May 6
BUILT TO SPILL, NOVA SCOTIA THE ZOO: 02.01.11
Tonight local indie ﬁve-piece Nova Scotia prove to be the perfect opening foil for the headliners, and it’s not just because they share the same tripleguitar conﬁguration. The opening ten-minute gambit shows that they’re clearly coming from the same place musically, their shambolic and aching melodies cohesive in the most endearingly rambling way. Frontman Scotty Brique is enigmatic under his dark hoody (which he leaves on despite the sweltering conditions) and deals out hooks like nobody’s business, while the rest of the band unite to show that preparation for the release of their debut long-player has put them in a ﬁne position to take things to the next level. Their brooding, lurching set degenerates into a massive jam outro, carried by swirling guitars and propulsive drumming, all-in-all an excellent start to tonight’s proceedings.
FUTURE OF THE LEFT, FURTHER
Chin Music follows fast, less impressively, before an unspeakably heavy Plague Of Onces sends a shock down the spine of anyone who doubted the pure force of this new line-up.
Another big year of rock’n’roll is beckoning, funnily, in much the same way as it did in 2010. It made sense that Future Of The Left would be touring this time last year – a new record and hefty enough absence made it so – but this year is diﬀerent. No new material, in fact barely any performances to speak of at all following their 2010 visit, and a brand new line-up just a couple of months and a couple of shows old.
Notable by its absence is frontman Andy Falkous’ trademark stage banter, though this cheeky charm surfaces as he blames the audience for the fudged beginning of Small Bones Small Bodies, likewise a keyboard failure in crowd favourite Manchasm causes Falkous to shoot a stinging barb back to a noisy audience member. A couple of songs set for the band’s forthcoming third record are aired, they make solid use of the band’s new formation and Home Taping Is Killing Susan and I Am The Least Of Your Problems are deﬁnitely the two standouts of what is a very impressive bunch.
THE ZOO: 03.01.11
Sydney’s Further are a splendid choice of support; it has been years since their last Brisbane show, so it’s refreshing to see they haven’t faltered in that time, their noisy and atmospheric indie rock possessing all of the excitement of post rock without the yawn factor. They’re tight but nowhere near slick and with songs as good as Bitter ‘n’ Rough and Tactics and presence to match, it’s just frustrating that this band isn’t 50 times bigger than they are. The new look Future Of The Left hit the stage unassumingly and when Arming Eritrea kicks in it become immediately evident that they are now inﬁnitely louder and more powerful than ever. The addition of Jimmy Watkins on second guitar makes such a marked diﬀerence to their sound and the sheer power with which Aussie ex-pat Julia Ruzicka slams into her driving bass grooves is extraordinary.
From the very new to the very old, the band play more songs from Falkous’ and drummer Jack Egglestone’s old band mclusky than ever before. To Hell With Good Intentions and Without MSG I Am Nothing are welcome additions to the main set, while an almost demure Fuck This Band is driven home by follow up Lightsabre Cocksucking Blues in the encore; gloriously dichotomous. But if we thought things couldn’t get more intense, a gloriously raucous Lapsed Catholics ends tonight’s set and by its completion it feels like we’ve all been hit by a train, such is the sheer sonic power of this latest incarnation of the band. Bring on 2012. DAN CONDON
Soon the ﬁve laidback members of US legends Built To Spill amble onto stage and kick of with the equally unassuming Traces, before lurching into old chestnut Nowhere Nothing Fuckup which has evolved over the years from a simple ditty into a powerful live behemoth. Awesomely bearded frontman Doug Martsch is the clear leader of this gang, taking songs like Strange down weird and wonderful by-roads, each hypnotically lysergic twist and turn taking the entranced throng before them on a compelling ride, sonic voyages which never reaching a boring or unfulﬁ lling destination. The rest of the band are behind him completely, and as a unit they build up to massive guitar crescendos which are routinely pulled back from the brink of chaos to reveal gorgeous melodies swimming underneath, songs like the jaunty Dystopian Dream Girl and the epic Untrustable taking on a whole new dimension in the live realm. They seamlessly segue Twin Falls into its album counterpart Some, before the railing Planting Seeds takes the audience on yet another thrilling aural expedition. There’s little in the way of audience interaction but none is required, the coy veterans letting their music do the talking as they follow with the yearning The Wait and the interminably cruisy Life’s A Dream, which slowly builds to yet another stunning climax. They end the set with Wherever You Go and the gorgeous Carry The Zero, the band transformed into one unit with a stunningly singular vision, dragging all before them into a new realm which pulses with light and beauty. After a quick return to normality the band are coaxed back for an encore, the gorgeously melodic Liar lurching into the relatively shambolic crowd pleaser Big Dipper. Built To Spill are almost guileless in their lack of pretension, and as they ﬁnish with the pulsing Broken Chairs the beauty of their indeﬁnable symmetry is spellbinding, their ability to bend notes, build crescendos and align them with gorgeous structures proving captivating and uplifting in equal measure. Come back soon, please... STEVE BELL
TOUR GUIDE Mar 16, Kedron Wavell Services Club Mar 18 NEIL DIAMOND: BEC Mar 21 & 23 STONE TEMPLE PILOTS: Riverstage Mar 23 FINNTROLL: The Hi-Fi Mar 24 SANTANA: BEC Mar 24 THE DOOBIE BROTHERS: Brisbane Convention Ctr Mar 24 LIONEL RICHIE: BEC Mar 25 URIAH HEEP: The Tivoli Mar 31 LUKA BLOOM: The Tivoli Apr 1, Joe’s Waterhole Apr 2 MOTORHEAD: Gold Coast Convention Ctr Apr 1 CHERRY POPPIN’ DADDIES: The Hi-Fi Apr 6 DRAGON: Toowoomba City Golf Club Apr 7, Southport Sharks Apr 8, Bramble Bay Bowls Club Apr 9 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 JAMES BLUNT: Brisbane Convention Ctr May 14 BEN FOLDS: QPAC May 17 JOE BONAMASSA: The Tivoli May 21 RANDY NEWMAN: QPAC Jul 22
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 GRINDERMAN: The Tivoli Jan 24 COLA WARS: Lifeboat Cruise Jan 25, Tewantin Noosa RSL Jan 27, Beenleigh Tavern Jan 28, Runaway Bay Tavern Jan 29 INXS, THE BABY ANIMALS: Sirromet Wines Jan 30 JON STEVENS: The Tempo Hotel Feb 4, Lone Star Tavern Feb 5, Noosa Tewantin RSL Feb 6 CHOIRBOYS: Twin Towns Feb 5 I EXIST, PHANTOMS: Step Inn Feb 10 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 GUINEAFOWL: Alhambra Feb 24 THE WAIFS: Great Northern Mar 1, Nambour Civic Ctr Mar 2, The Tivoli Mar 3 KATIE NOONAN AND THE CAPTAINS: Judith Wright Ctr Mar 4 SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8
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 KARAVAN INTERNATIONAL GYPSY MUSIC FESTIVAL: The Hi-Fi Mar 4 FUTURE MUSIC FESTIVAL: Doomben Racecourse Mar 5 FRIENDS OF FOLK FESTIVAL: Old Museum Mar 6 SUPAFEST 2011: RNA Showgrounds Apr 16 BLUESFEST 2011: Byron Bay Apr 21 – 25 VALLEY JAZZ FESTIVAL: Fortitude Valley May 25 - 29
more ways than one as Townsville indie-folk prodigies The Middle East start their set – unfortunately, one marred by constant mic feedback issues, a poor mix, and evident discomfort among the band members as a result of both. Blood and The Darkest Side appear but despite the die-hards’ enthusiasm overall it’s like watching Van Gogh draw stick ﬁgures: they’re capable of way better than this.
Public Enemy @ Sunset Sounds by Stephen Booth
The early crowd for The Soft Pack is sparse but as their brand of catchy power pop ﬂoats through the thick air a number of punters catch on. C’mon and More Or Less impress early, and while their staid stage presence doesn’t do much visually, they sound fantastic. Matty McLoughlan’s laid back guitar motif on Pull Out suits the afternoon slot, while Bright Side is so breezy that no one ought to worry about the inclement weather. A ﬁnal salvo of Answer To Yourself concludes a ﬁne set. With ﬁve vocals that eﬀortlessly blend, the gingerly vibrant folk numbers Sydney lads Boy & Bear create are always well-received. When the riﬃng gets rollicking and the boots start knocking the stage, tracks like Mexican Mavis and the thumping, percussive Rabbit Song warm souls early. The teeming rain separates the brave from the cautious as Senegal’s Daara J Family encourage everyone to jump. When they blast out Exodus a human landslide threatens, but the people remain surefooted and the group’s energetic hip hop has hands waving and smiles widening throughout their inspiring set.
BRISBANE RIVERSTAGE AND BOTANIC GARDENS: 05.01.11 & 06.01.11
To say the weather Gods weren’t kind to the 2011 instalment of Sunset Sounds would be an understatement of gargantuan proportions, but this didn’t stop hordes from descending upon the inner-city venue for two days of quality tunes and good times.
WEDNESDAY Ball Park Music open up to the streams of punters with zesty pop attitudes and a barrage of tight tunes in Sad Rude Future Dude and iFly. Infectious energy, charismatic members and a bubbling dancing crowd all merge into one for their cover of Custard’s Apartment. With a large early turn out, Cloud Control open with a ripping Meditation Song #2, while their popular Kid CuDi cover Pursuit Of Happiness is raw and beautiful without dipping too deep either way. Vocals are layered to enhance There’s Nothing In The Water We Can’t Fight while the closing combo of Gold Canary and Butthole Surfers’ Pepper is devastatingly eﬀective. The screech and thump of pre-recorded beats, Derek E. Miller’s guitar blaring out of eight quad boxes and the strut of vocalist Alexis Krauss make Sleigh Bells an interesting proposition on the main stage. The crowd enjoy it, particularly when Krauss gets amongst them, but the novelty fades fast and one wonders whether the duo have life left in them after this initial success. Coming in from Minnesota, Charlie Parr sits alone on stage with only his guitar, but with one instrument he does what many can’t do with a full orchestra, in completely capturing the audience. Shaky-handed strums bring out Last Pay Day At Coal Creek and on Rope Stretching Blues, with his weary tone waltzing alongside, Parr creates a perfect moment. Bandages gets Hot Hot Heat fans pumped early before the band airs JFK’s LSD from last year’s Future Breeds. They’re are awfully tight and their tunes are accompanied by much posturing from frontman Steve Bays. It’s all a bit sickly, but plenty lap up Get In Or Get Out, Oh, Goddamnit and Talk To Me, Dance With Me. Full palmed keys hits, dropping guitar slashes and wailing vocal rhythm all ensnare Cold War Kids’ performance. They’re in form and have a strong knowledge of how to structure a set, marching through Mexican Dogs and Hospital Beds, but nothing beats rain battering the surroundings with vocalist Nathan Willett sprinting the stage for Hang Me Out To Dry. Unfortunately for Tijuana Cartel, the rain holds the entire atmosphere, as without it the band are pretty uninspiring. Certain moments hold some ﬂair but the overall package appears laboured, the band members struggling to get out of second gear. When pitted against world class acts, Tijuana Cartel stand out like the proverbial mutt’s nuts. With a pulsing, hypnotic techno warble, Magic kicks oﬀ proceedings for Ladyhawke in ﬁne style. The sloppy mix is soon sorted for crowd favourites like Dusk Till Dawn, Another Runaway and Better Than Sunday. Finding a nice medium between stadium rock and loose electro, Paris Is Burning and My Delirium end a huge, hit heavy set in spectacular style. After a blistering 12 months, Tame Impala launch straight into It’s Not Meant To Be. Whipping licks of overdriven fuzz and a seductive 70s psychedelic sound engulf all as a barefooted Kevin Parker stands stonefaced to the crowd, but his lack of movement means nothing as Solitude Is Bliss and Glass Half Full Of Wine do more than he could anyway.
Kitty, Daisy and Lewis don’t quite click tonight. The siblings play reasonably, but honestly it looks like dad in the corner is the one having the most fun out of all of them. Their capable, cutesy blues oﬀers little excitement but manages to get a few dancing in the rain. The rain brieﬂy clears as the dapper The National take to the Gardens Stage, frontman Matt Berninger looking incongruous in his suit but still delivering the goods as the rips through Mistaken For Strangers and Blood Buzz Ohio. The ﬁve-piece’s music is sedate and stately, yet somehow works superbly in the beautiful garden surrounds despite the return of the rain. They build the intensity gradually, the sight of Berninger standing in silhouette on the foldback during Squalor Victoria capturing the zeitgeist of their set perfectly. The torrential downpour will not stop Public Enemy from standing and delivering. While they do play Brothers Gonna Work It Out and 911 Is A Joke early on, and they do talk about their 1990 classic Fear Of A Black Planet, it’s immediately obvious that the group aren’t playing the record in full as advertised. But when tracks like Bring The Noise and Don’t Believe The Hype are aired, few care. Chuck D and Flava Flav are bursting with energy; shadowboxing, threatening misbehaving crowd members and preaching kind virtues (Chuck) and reality TV (Flava). The Bamboos are red hot, and the funk is reigning supreme. It’s only a few minutes in, however, and the band are forced to leave the stage, as the rain soaks everything the plug is pulled much to the disappointment of many including the band members themselves (this also means that impending set by The Cool Kids on the same stage is also called oﬀ ). A low-key entrance brings Interpol to the Riverstage, ﬁve men standing together, nicely suited, and going through the motions to a soaked and broken crowd. It’s at this point something special is needed, but Interpol aren’t in the business of lifting spirits, and with the exception of guitarist Daniel Kessler’s fast feet, it’s a statue-esque appearance from the band with the only energy coming from hits C’Mere, Slow Hands and Evil in what is a largely disappointing set. Angus & Julia Stone eventually take to the Gardens Stage and take everyone’s heart in the process. Between clouds and hot air balloons, the wistfulness of For You and Black Crow are par for the course, their superb musicianship and chemistry showing why they were the highest selling local act of 2010.
THURSDAY Heavy foot traﬃc has turned much of the venue into a forlorn and muddy vista, but today’s crowd is better prepared and seem determined to have a good time. Laneous & The Family Yah are the ﬁrst to grace the Hibiscus Stage today, and do so in polarising style, as they funk their way through their genre-clashing, indiosyncratic set. By the time they work up to closer I Am Dog, all guns are at the ready. Its unexpected to hear one of the loudest acts of the day being Charlie Mayfair, but the blistering drum hits and rattling bass is thunderous. While Dave Di Marco’s vocals are more than enough to drive their show forward in Run and Valley Of The Sunshine, the band deliver a fantastic full force production of instrument changes and strong drum regimes to ﬁnish as one of the surprise hits for the festival. When Ash Grunwald walks onstage, you expect to be eased into the gig with some mellow acoustic numbers, but today Ash has gone straight for the full band and belting out tunes on his electric six-string. With dreadlocks ﬂying he lifts up Walking, Breakout and The Devil Called Me A Liar and delivers an enticing set. There are dark clouds hanging over the Riverstage in
Children Collide never take any prisoners with their live shows, and today is no diﬀerent – two songs in and already the crowd is frenzied as the play into Jellylegs. Johnny Mackay constantly turfS his guitar around, only pausing when he accidently knocks the lead out, but with My Eagle, Social Currency and Skeleton Dance all rolling alongside, nobody seems to mind. Peaches takes to the wheels of steel in a constant battle of dance beats and sexual theatrics, donning a gown of breasts as she mixes Girl Talk and The Gossip while a Lady Gaga and Russell Brand-looking couple strip on the foldbacks. Peaches creates a 50-minute window where thinking isn’t necessary – simply enjoy the moment. Festival favourites The Living End appear as eager as ever, a freshly groomed Scott Owen whirls the double bass while Chris Cheney’s lightning fast ﬁngertips whip through the solo to Roll On and Who’s Gonna Save Us. It’s a greatest hits set, but snuck in is a preview of upcoming material in a stronger Joe Strummer mould with The End Is Just The Beginning Repeated. The awkward posturing of fresh-faced The Morning Benders is as legitimate as their elegantly-crafted pop gems that buzz and drift like dragonﬂies. The band provide warm, coastal melodies that recall the early work of The Thrills whilst bringing a rough indie element that only the the big apple could provide. During her set, as the crowd ﬁnishes the last line to Happy Birthday in honour of Washington’s 25th, her reaction is one of gratitude mixed with awkwardness; after all, she was about to start an intimate song detailing her ﬁnal wishes – her musical will. It’s kind of dark, but kind of beautiful, and demonstrates her stylish deﬁance of convention – which oozes from songs like Clementine, Teenage Fury, Rich Kids and Cement. The iconic Bad Reputation blasts out as Joan Jett and The Blackhearts prove that they have lost no vivacity as the years roll on. The large crowd dance and pump their ﬁsts to classics like Cherry Bomb and I Love Rock and Roll and Jett relishes the spotlight, stripping oﬀ her clothes and pulling rock moves like the best of them. With Junip allowing Jose Gonzalez’ melancholic voice a larger foundation to feed from, Always and Rope & Summit feel warmer than a sole man and his guitar. However without that man Junip would be nothing. There’s little room to move – less to breathe – and the bass in these speakers is so deep the ground shakes and the sheer punch blow-dries away the eﬀects of today’s multiple downpours. Klaxons have arrived. The on-form Brits deliver powerful renditions of Magick, Echoes, Golden Skans, Same Space, Two Receivers and It’s Not Over Yet, alternating between frantic synth rock and bassy grooves with aplomb. Totally worth it. Paul Kelly might tell you he’s not an icon, but you’d have to disagree after the set he puts forth tonight. Beginning with From Little Things Big Things Grow, Kelly and band make their way through a cavalcade of hits. Dumb Things, Careless, Before Too Long and Sweet Guy have people dancing, while Vika and Linda Bull make Be Careful What You Pray For and Everything’s Turning To White gorgeously sombre. No one holds back through To Her Door and How To Make Gravy and many don’t stop singing along the whole way home. While Gaz seems to be trying his hardest to spark some life into Yacht Club DJs closing set, partner in crime Guy seems completely disinterested. Perhaps it is the thinning congregation, but even with some party anthems dropped, the pair are far from their best. So there you have it – a rain-marred but enjoyable two days in the Gardens. Let’s hope that for 2012 the ‘sun’ part of the Sunset Sounds brand is more prominent... MARK BERESFORD, DAN CONDON, BEN DOYLE, SAM GILBERT, MITCH KNOX
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21-22-23 JANUARY 2011
SIX PACK BOOMGATES BILLED AS MUSIC THAT MAKES YOU WANT TO GET OUT OF THE HOUSE MORE AND BE A LESS SHITTY PERSON, AS WELL AS BOASTING MEMBERS OF EDDY CURRENT SUPPRESSION RING, THE TWERPS, DICK DIVER AND TEEN ARCHER, MELBOURNE OUTFIT BOOMGATES WERE ALWAYS GOING TO BE MUCH MORE THAN JUST A SIDE PROJECT BAND. TONY MCMAHON CATCHES UP WITH BRENDAN SUPPRESSION AHEAD OF BOOMGATES’ INAUGURAL BRISBANE SHOWS AND THE RELEASE OF THEIR DEBUT, SELFTITLED 7INCH SINGLE. “Boomgates have never been to Brisbane, we’re looking forward to playing our songs as a group, on the stage in front of the audience.” Time Oﬀ imagines it must be tough for Boomgates to ﬁnd a balance between wanting to tap into the ECSR fanbase and doing their own thing. But Suppression has an extraordinarily laidback philosophy on the matter. “We’re just enjoying jamming together, writing songs, playing the odd shows and recording the songs we make. Whoever wants to enjoy the music is welcome to it.” Okay, what’s the etiquette here? Shall we get the ECSR question out of the way right up front? Time Oﬀ would like to know if being in another band is like a holiday for Suppression? Or is it simply twice as much work? In answering, the man himself mentions holidays twice, and work not at all, which probably speaks volumes. “It’s like going on a holiday with a few of your closest friends straight after going on a holiday with some of your other closest friends. We take each other to diﬀerent places. It’s nice.” On the subject of Boomgates playing Brisbane for the ﬁrst time, Suppression is brief but to the point.
COASTAL DRIVE The one special hometown reformation show for defunct pop rockers Avalon Drive, pictured, is rapidly approaching and the band have now ﬁrmed up the support cast for the evening’s proceedings. There is going to be no shortage of great music when this show hits The Hi-Fi on Saturday Feb 5 as Awaken I Am, Nine Sons Of Dan and The City Shake Up have all been announced as the lucky bands who will be hitting the stage before the headline act bring back the memories to their many dedicated fans. Get your dancing shoes and singing voices ready and grab yourself a ticket from The Hi-Fi’s website or Moshtix for $15 + bf.
Talking of enjoyment, Suppression is again brief when it comes to describing a Boomgates live show, but in doing so, seems to place emphasis on the not inconsiderable idea of live music being primarily fun. “The last shows we’ve played have been fun so it should be a good time.” WHO: Boomgates
BRISBANE’S BOLDEST If you have any interest in classic Brisbane punk rock, then this Saturday night there is simply one place that you need to be and that is the Prince Of Wales Hotel in picturesque Nundah. Who will be there, you ask? Blowhard, pictured, are packing the full band up and heading out to the venue for their ﬁrst show since the launch of their wonderful Best Of compilation a few weeks back, JJ Speedball is making a rare dash over to the Northside of town – we’re hoping his staunch love of the Southside doesn’t cause too much trouble – A.I.M. will be blasting their distinctive brand of hardcore like only they know how, The Stunt Pegs will make a rare appearance and Harming Monica will drop by for their third ever show. Public bar prices, crazy locals, great food and some awesome local bands are all promised, so why wouldn’t you show up?
WHAT: Boomgates (RIP Society)
WHERE & WHEN: Deadshits Minifestival, Woodland Friday Jan 28
Jan 12, 1959 – Berry Gordy borrows
Glitch pop is alive and well in Brisbane thanks to the tireless dedication of acts like Mahal Kita. Borne from the ashes of Ambitious Lovers and Joel Saunders’ Crazy Hearse, who both parted ways in recent times, Mahal Kita are still in the early stages of their life as an operating live act so you can be one of the ﬁrst to catch the duo doing what they do when they play a couple of very cool shows in the next couple of weeks. Firstly they’ll be playing at West End’s Browning Street Studios on Saturday Jan 15 with Winternationale, Ghost Notes and Sunshine State, they will then hit the stage of X&Y Bar on Wednesday Jan 19 with an all star electronic line-up of Hunz, Dot.AY, Potato Masta and DJs. Glitch on, glitchers.
There’s a good chance, if you’re a close follower of local music, that you’ve seen re:enactment live in concert before, but we’re willing to bet you’ve never seen them the way they are going to play this Friday night. A new Guerrilla Gigs initiative has started up in Brisbane and re:enactment are going to be performing in a very exciting manner that we have been told to keep completely secret. What we can tell you is that you deﬁnitely want to see it and you can do that by heading to South Brisbane train station on the corner of Grey and Melbourne Streets at 7pm this Friday. You won’t be able to miss them.
NEVER FELT SO ALIVE
If you ﬁnd yourself in Bangalow next weekend looking for a good time then you simply can’t go past the awesomeness that is Tallulah Rendall. This promising up-and-coming British singer-songwriter is performing live at the Bangalow Bowling Club on the back of her ﬁrst album Libellus, which has just picked up an Australian release. Rendall was here early last year and her performances were so well-received that she couldn’t wait to get back; exciting news is that she has just completed her second album Alive, which critics are saying is even better than her debut, and we’ll no doubt be hearing plenty from it at this show. Support comes from M Jack Bee, entry is $15 and the doors open at 7pm.
A WILD RELEASE
Wet ‘N’ Wild is a much loved destination for tourists and locals of all persuasions. It seems that no one can resist the allure of a good old fashioned waterslide, not even if you’re the member of one of the country’s most punishing sludgey hardcore punk rock bands. When Canberra’s I Exist and Sydney’s Phantoms were last in our part of the country, they made their way down to the park and were so inspired that they both wrote songs about the experience. The resulting four tracks have been pressed up to a split 7” and the two bands are hitting the road in support of it. You can catch them hitting the Step Inn Thursday Feb 10, presumably following a return visit to the theme park.
YOU’LL REMEMBER ME
Ballarat’s Gold Fields, pictured, must still be dizzy from what was a serious whirlwind of a year for them in 2010. The band were just kicking around their hometown, playing shows, doing their thing and then, the next thing they knew, they were in the UK celebrating the release of their single Treehouse on the Young & Lost label. Now they’ve stepped up their game a heap, destroying audiences at a bunch of festivals around the place as well as at their own club shows and they intend on picking things up even further throughout 2011. The Gold Coast’s Bleeding Knees Club have had a pretty mental 12 months as well, their brand of poppy garage rock earning them praise all over the place and securing them a bunch of cool support slots. These two bands are hooking up and hitting the road, you can catch them at Alhambra Lounge for Lambda Lambda Lambda on Thursday Feb 10 and Coolangatta’s Never Land Bar Friday Feb 11.
$800 to found the Motown record empire. Not too shabby an investment... Jan 13, 2003 – Pete Townshend of The Who is arrested on suspicion of possessing indecent images of children. Townshend claims that his use of an Internet website advertising child pornography is for research for an autobiography. Jan 14, 1966 – David Jones changes his last name to Bowie to avoid confusion with Davy Jones from The Monkees. Jan 15, 1967 – The Rolling Stones perform on US TV’s Ed Sullivan Show and are forced to change their lyrics of Let’s Spend The Night Together to “Let’s spend some time together”. Far more wholesome... Jan 16, 1980 – Paul McCartney is jailed in Tokyo for possession of a half pound of marijuana. He spends ten days behind bars before being kicked-out of the country by Japanese authorities. The remainder of his tour is cancelled. Jan 17, 1972 – Highway 51 South in Memphis, Tennessee is renamed Elvis Presley Blvd. Jan 18, 1991 – Three people are crushed to death at an AC/DC concert in Salt Lake City when fans rush the stage.
THE DEFINITIVE BOOK ON AUSTRALIAN MUSIC OUT NOW IN GOOD BOOKSHOPS EVERYWHERE
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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.
HAVE YOUR SAY ABOUT AIRLINE BAGGAGE IN THE AMIN SURVEY In late January AMIN will be meeting as part of a taskforce initiated by airline V Australia to develop strategies to address the problems artists face dealing with excess baggage fees and limitations when touring with musical equipment. AMIN has launched an online survey looking at this issue. Responses to the brief survey will play a major role in ﬁnding a solution to this ongoing problem. Visit www.amin.org.au to get involved.
HILLTOP HOODS & APRA SUPPORT HIP HOP WITH A $10,000 GRANT One emerging Australian Hip Hop artist will have the opportunity to fast track their career with the 2011 Hilltop Hoods Initiative. Valued at $10,000, the grant is open to up and coming hip hop artists who have not released an album professionally. Applications close Tuesday Feb 22. For more information visit www.apra-amcos.com.au
LORD MAYOR’S MICROGRANTS The Lord Mayor’s Creative City Initiative MicroGrants help young people aged 17 to 26 showcase their particular art form or creative cultural activity in Brisbane. The grants of up to $1,000 can be used for activities, events, materials, accessing facilities and developing arts activities in your community. Visit www.brisbane.qld.gov.au for more information.
APPLICATIONS OPEN FOR UNDER THE RADAR 2011
BOY OR ANIMAL?
The Animal, the debut EP from local ﬁve-piece Tinian’s Boy, is all ﬁnished up and ready to go and the band want to celebrate this exciting development in their musical career by having a big old party with you. After all, what good is an EP without a kick arse EP launch? The band have booked out The Zoo this Saturday night and will be playing their brand of thoughtful indie rock to all and sundry with a little help from like minded locals Montpelier and Desert Ghost, who will be appearing in support. The headliners have been receiving a bit of buzz online of late and we’re sure they’re intending on pulling out all the stops for this show, so get involved. Tickets are available from OzTix for $10 + bf or you can grab one on the door for $12.50.
Fight Lights Up The Skies is the name of the new album from hard rockers Miramar and the lads are jumping in the van and getting out to show us what it is all about. They will hit our part of the country early next month, stopping by for a number of shows that will undoubtedly prove why the band are starting to be held in such high regard by many who see them. If you’re interested in catching these Central Coast rockers live in action, all you need to do is head along to X&Y Bar Wednesday Feb 9, the Noosa Hotel Thursday Feb 10, Rosie’s Friday Feb 11 (with Kyser Soze and The Dawn Addicts) and Club Envy, Maroochydore Saturday Feb 12 (with The Last Outlaw, Violet Alibi, We Live Forever). Grab tickets on the door for all shows.
HYH HAVE YOU HEARD?
Under The Radar is a curated collection of multiform, performance based works presented as part of Brisbane Festival. The programme celebrates new works by emerging, mid-career, independent and experimental artists. Under The Radar provides a supportive environment for artists to create and present adventurous artistic concepts. This support includes a venue, technical staﬀ and equipment, ticket management and box oﬃce takings. Applications close Wednesday Feb 16. For more information visit www.brisbanefestival.com.au.
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 learn the skills, processes and networks necessary in self-managing their acts. Beginning in March 2011, ﬁve local musicians and bands will take part in the six-month program. Expressions of interest are now open and close Friday Jan 28. To receive a copy of the expression of interest form contact Cassey Russell on email@example.com or phone 5433 2445.
WANT TO KNOW MORE? For these stories and more, go to www.qmusic. com.au.
WANT TO BECOME A MEMBER? For membership details and application forms, go to www.qmusic.com.au.
Th ings aren’t looking too good for a lot of residents of Rockhampton at present, the city is one of many that has been aﬀected quite badly by the recent ﬂoods in our state. But a bunch of musicians from the area aren’t going to let that get them down and will be invading the great south east of the state over the next few nights to show us the calibre of the music coming out of the city. Rob Robot bring their anthemic indie rock to the stage while fellow indie kids Pseudo Promise, pictured, will have you bouncing along to tracks from their recently released debut EP. They play Fitzy’s, Loganholme on Wednesday night with help from Without A Witness, they will stop by BarSoma on Friday night with Tourism and then wrap up their little run at Maroochydore’s Club Envy with a little help from their friends The Marsden Lees. Get along and show your support to our northern buddies! [STOP PRESS: Due to the ﬂoods Rob Robot have not been able to make these shows. All other bands still playing]
THERE’S SOMETHING ABOUT NUDITY
We must be honest, this week isn’t the ﬁrst time we’ve heard the phrase Let’s Get Naked!? bandied around the Time Oﬀ oﬃce, however it is the ﬁrst time we’ve heard it in relation to a musical event. We’ve made the necessary enquiries and are happy to report that, despite the name, people will be wearing clothes at the event. And while they wear these clothes, they’ll be blasting out some killer tunes, both live and from behind the decks. The night looks to bring some of our city’s ﬁnest indie bands together with some party loving DJs for some unmissable midweek party action. The show will take place at Club 299 every Wednesday, with the ﬁrst instalment set for Wednesday Jan 19 and featuring Flash Cobra, Boss Level Monster and The Ninjas; even more exciting is that entry for this opening night is completely free! Stay tuned for details on future line-ups.
IF IT’S NICE, SAY IT TWICE Adelaide party band God God Dammit Dammit are making their way up to Brisbane for the very ﬁrst time this month and we’re a little concerned that Brisbane simply isn’t ready to handle the pure force of what they have to oﬀer. The 12-piece punk/funk collective have amassed a Turbojugend style following in their home city, people quick to show their dedication to the group that boasts members from some of Adelaide’s most renowned heavy acts. The band’s debut album The Very First Day Of The Sunshine is set for release in February but before that drops the band will show oﬀ their crazy live show with a couple of dates up here, hitting Fat Louie’s on Saturday Jan 22 with Headaches, Ironhide and The Poisoners, before dropping by Sun Distortion Studios on Sunday Jan 23 with Connections, The Blasted Heath, Th ick Skin and Kelsey (all ages).
KICK UP YOUR HEELS
Denmark power-pop rockers De Høje Hæle (it means The High Heels) are making their ﬁrst visit to Australia and they’re looking forward to plying you with copious amounts of infectious, raucous rock’n’roll this weekend. The ﬁrst of these takes place at the wonderful Burst City, in what is one of the venue’s ﬁnal ever shows, with a fantastic support cast that includes Newcastle’s Spew Your Guts Up and locals Undead Apes, The Sips and Pastel Blaze; the show is open to people of all ages and will kick oﬀ some time around 8pm. On Saturday afternoon the band make their way into Fortitude Valley where they will perform at the 4ZzZ car park with Spew Your Guts Up, Stag and Sweet Dreams – this show kicks oﬀ at 1pm and entry will set you back a gold coin donation to the station.
SIX PACK MAHAL KITA LOCAL GLITCH POP DUO MAHAL KITA ARE MAKING QUITE A NAME FOR THEMSELVES BY CREATING MUSIC WITH OLD COMPUTERS AND FOUND OBJECTS. TONY MCMAHON CATCHES UP WITH JOEL SAUNDERS FOR A LESSON IN NEW AND INTERESTING WAYS TO MAKE MUSIC.
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.
FLOOD OF ROCK
“Playing with only two people works really well. There’s more space in duos, less people to organise to rehearse, less egos to get hurt. Duos also can be more collaborative. That said, many of my favourite bands are really just a single artist who surrounds themselves with people depending on the project.”
Hotel Motel play the Beetle Bar on Friday Jan 14 How did you get together? Brant Ward (vocals/guitar): “Th ree of us played in Palladium then found a new guitarist and keyboardist.”
And for punters thinking about catching Mahal Kita at Almost Invisible or X & Y, Saunders says to expect lots of booze and careful dance moves.
Sum up your musical sound in four words. “Melodic, Rock, Soulful and Roots.” If you could support any band in the world – past or present – who would it be? “Justin Bieber.” 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? “True Blood soundtrack.” Greatest rock’n’roll moment of your career to date? “Working with Tim Rogers on the Dirty Deeds soundtrack.” Why should people come and see your band? “Arrr… because Brisbane needs to get oﬀ the couch and go out and see more live music.”
“In Mahal Kita we use a few simple and cheap keyboards,” says Saunders. “A Casio and a Commodore 64 computer, as well as found objects. Most of the sounds are processed through a program by Melbourne electronic noise musician Ross Bencina called Audiomulch. It’s not really designed for ‘pop’ music, so it challenges us to think about our songs in not just linear ways. Using small and cheap instruments means we have to push ourselves to make interesting sounds and songs from a limited palette.” Duos, to coin a phrase, are so hot right now, and Saunders has a theory involving less bruised egos to explain why this is.
“The two shows are going to be quite diﬀerent I imagine. Almost Invisible is all about sound and space. Compared to all the other groups on the bill, we are the most ‘party’ band. It’ll be really fun. Almost Invisibles always are. Cameron Smith who organises them ensures they are relaxing for the audience and bands. Plus it’s BYO. Super Pocket Music at X&Y will be much more of a fun club gig. I’m really excited to see Dot.AY smash beats with his Gameboys on a good PA, and to see Hunz’s full band. With DJs and crunchy electronic bands, it is sure to cause a few cautious kids even to dance.” WHO: Mahal Kita WHERE & WHEN: Almost Invisible (Browning St Studios) Saturday Jan 15, X&Y Bar Wednesday Jan 19
PASTEL BLAZE LOCAL ALL GIRL GARAGE GLITTER PUNK BAND PASTEL BLAZE DON’T CARE ALL THAT MUCH ABOUT GLITTER, ACCORDING TO BASS GUITARIST ILI TULLOCH. WHAT THEY DO CARE ABOUT IS RUSS MEYER AND TAKING A BESOTTED TONY MCMAHON OUT FOR A RIDE ON THEIR MOTORCYCLES.
The Jim Jones Revue recorded their debut album in their rehearsal room in just 48 hours?
FRIENDS OF MAPS
We will be riding hogs, but would be a thousand times more likely take you along for the ride than run you down.” Talking of touring, Pastel Blaze are heading south to Sydney and Melbourne in the coming weeks, and – given they’ve been called the most bodacious babes in Australian punk – this begs the question of what they’ll be getting up to while they’re away from home? Perhaps surprisingly, Tulloch’s answer indicates that there will be a lot of work and some decidedly innocent-sounding networking. Let’s be clear about this, though, a Pastel Blaze show does involve lots of glitter, but Tulloch says this doesn’t mean they’re reinventing the wheel. “We’re not spearheading a new genre, just rocking out with glitter on. I don’t actually personally give a fuck about glitter. It’s the punters who care, and our singer Lisa who is an amazing artist and glitter bower bird.” Besides glitter, Pastel Blaze have also made use of images from Russ Meyer’s seminal girl power ﬁlm Faster, Pussycat! Kill! Kill! on their tour posters. Does this say anything about the band’s aesthetic or worldview? Does it mean you they’ll run me over on a motorcycle if I come and see them? “Pastel Blaze’s worldview is ﬁltered by hypercolours, glitter and leather jackets.
“We have a busy schedule of shows coming up, hitting Newcastle, Sydney, Melbourne and Canberra from January 19-27. In between playing we plan to catch up with our friends interstate and have a good time.” Finally, in describing a Pastel Blaze live show; Tulloch invokes the name of one of the great Oz rock icons “Punk rock shimmering with glitter, fuzzed out good times, and a singer who can only be described as Bon Scott’s daughter.” WHO: Pastel Blaze WHERE & WHEN: Burst City Friday Jan 14 Boat cruise, Brisbane River, Friday Jan 28
TREAT ‘EM MEAN The boys of End To Chivalry might still be riding high on the release of their Magooproduced debut EP Post Monogamy but things are moving ahead mighty quickly for them, this is no more evident than with the news that they’ve been selected as the support act for the Brisbane date on the upcoming (həd) p.e. tour. The band have noticed their popularity growing with just about each show they play and this high proﬁ le slot will most likely convert even more to the world of ETC. You can ﬁnd out for yourself when they hit The Hi-Fi Friday Jan 28, tickets are still available from the venue’s website and Moshtix for $39 + bf.
Before the end of last year we let you know about the launch of the new Mr Maps record which is happening at The Alley this Saturday night. Well the support acts for the launch have just been announced and we’re pleased to report that you will be treated to an entire evening of exciting music that crosses all sorts of boundaries and takes us to all manner of interesting areas of what could be considered pop music. Skinny Jean, pictured, will deliver their always supremely executed avant-pop, while ex-Ponyloaf synth masters Doom Doom will undoubtedly fuck things up in a glorious way, while the beautifully glitchy Grids/Units/Planes open proceedings. Entry is just $18, which includes a limited edition copy of Mr Maps’ Wire Empire record. Doors open at 8pm and the venue is located at 77 Elizabeth St in Brisbane City.
DIDYOU KNOW... Chris Bailey was born in Nanyuki, Kenya?
R ! R FIRST EVE U O T AN
A I L A R T S U A
v Genius” o r p m I y d e “Com ntrol” “Out of Co “Hysterical”
Finally! The hit TV show Live on stage. Featuring the legendary comic talents of the UK’s:
Andy Smart, Stephen Frost, Steven Steen, Ian Coppinger BRISBANE
THE ALBION COMDEY CLUB AND RESTAURANT
THURSDAY 27th JANUARY
281 Sandgate Rd Albion, Brisbane. Tickets www.moshtix.com.au Venue info www.brisbanecomedy.com.au
Hardcore and punk with Sarah Petchell. Email punk news to firstname.lastname@example.org Mary Jane Kelly
Hey everyone and welcome to 2011. I hope Santa was good to you all and your New Years’ were suﬃciently messy. Anyway, on with the show… So what does 2011 look like it’s going to bring? In the ﬁrst place there are records from some of my favourite artists due out. First up, Thursday is set to release a new one and there are one or two new tracks from recent live shows trawling around the net. Architects are also set to release their fourth album, The Here & Now, on Jan 28 via Century Media/EMI. There’s also the highly anticipated Blink-182, a new one from Every Time I Die and maybe we’ll even see the often-rumoured appearance of the third Glassjaw album. With the news that they’ve released those tracks that have periodically been released for the last six months as a single digital download, this is perhaps looking all the more likely. I could wet my pants with excitement. Strike Hard Bookings announced last week that the planned tour of New York’s most notorious live metal band, Emmure, has had to be postponed. Citing “circumstances beyond the band’s control,” the tour was meant to commence this week but has had to be pushed back until May/June. The band last toured with Machine Head, Hatebreed and Bleeding Through in early 2010, and will return with a new album under their belts at the time of the new dates. Updated dates and venues are yet to be conﬁrmed, and refunds for current ticket holders are available at the point of purchase.
Don’t forget that the I Exist/Phantoms Bad Romance split 7-inch hits stores this Friday. This Wet ‘N’ Wild waterpark themed release is deﬁnitely one to pick up, if only for the hilarious cover art! Both bands will also tour during February in support; so stay tuned for more details as the dates draw closer. Agnostic Front has just ﬁnished up recording a new full-length that will see the light of day in March. The yet-to-be-titled album is the follow up to 2007’s Warriors and features 13 songs that were laid down with Erik Rutan and Madball’s Freddy Cricien. While a local release date has not yet been announced, the album will be released in the US on Mar 4, so hopefully we will follow shortly thereafter. Roger Miret said of the new material, “After all is said and done we are amazed on how great our new record turned out! It’s by far our catchiest record to date and it’s going to make everyone want to sing along for sure. Freddy killed it on the production end, just capturing that hardcore vibe that only he can get out of Agnostic Front.” While we’re talking about new material, Epitaph Records have posted yet another track from the forthcoming Social Distortion album, Hard Times & Nursery Rhymes. The track is called California (Hustle & Flow) and can be streamed through the band’s MySpace. The album is set for release on Jan 21, and you can (of course) catch the band on the Soundwave Festival circuit next month. This is deﬁnitely a band not to be missed if you’re a fan of hardcore and punk, as Social D have never actually performed in Australia! Just a bit of trivia there for you…
GIG OF THE WEEK Alright Brisbane, you have one of my favourite local bands heading your way this week so you should get out and check them out! Mary Jane Kelly are playing two shows so you really have no excuse to miss out on checking them out. First oﬀ, they are playing Boys & Girls on Thursday Jan 13 at X&Y Bar. Then, the next night, MJK are playing The Fort in Fortitude Valley (all ages).
Bane Of Isildur will be bringing their Vikinginspired melodic death metal all the up from Sydney to south-east Queensland this weekend. The occasion? The launching of their debut album Black Wings. You can catch them alongside Victorian death metallers Order Of Orias on Friday at Monstrothic with Defamer (who just may or may not be debuting a new guitarist), and black thrashers Southern Crossﬁre. They will also play an all ages gig at Musician’s Lair in Toowoomba on the Saturday, again with Defamer and also locals Konskriptor and Catharsis. Both shows are going for $12, or $15 with a copy of Black Wings. On the topic of Monstrothic, it’s going to be a big month forthcoming at Brisbane’s premier weekly metal club. Friday Jan 21 will see Melbourne doom duo Agonhymn destroy the Rosies stage once more, with the night in question also bearing witness to the debut set from The Nihilist – a new symphonic metal band featuring ex-members of Empyrean, Phalanx, and Aeternitas – the debut EP from whom can be sampled at myspace.com/thenihilistband. Post-rock acts Fear The Setting Sun and Echotide will also be featured on the bill. The month will be rounded out on Friday Jan 28 as the tour from Czech Republic grindcore group Needful Things rolls into town, with support from the thrashing d-beat of Sydney’s Burning Servant (ex-Rookwood), who have replaced original support act Beyond Terror Beyond Grace. Nu-mosh metal New Yorkers Emmure have been forced to cancel their Australian tour, which was set to commence in Brisbane this week, due to “circumanstances beyond the band’s control”. Replacement dates for May/June are expected to be announced by promoters Strike Hard Bookings in the coming
Word of Bluesfest extending this year’s event to six days has been circulating for quite a while now and after many ups and downs, twists and turns and most likely tense days of waiting, the event organisers have been given the green light and Tuesday Apr 26 will see the Tyagarah Tea Tree Farm host the ﬁrst ever sixth day of Bluesfest! The show will be a standalone event and we can conﬁrm that Bob Dylan will be performing; we’re not quite sure as to, well, anything else at this stage. Given that the show has only just been approved to go ahead the details are understandably sketchy. We can almost certainly guarantee you that you’ll have to purchase a ticket for the sixth day separately, regardless of whether or not you already have a ticket, and rest assured we’ll let you know all ticketing and line-up details as soon as we know anything. It’s high time for congratulations to a number of great local blues and roots acts who have scored nominations in this year’s Australian Blues Music Awards. Particularly huge congratulations go out to Chase The Sun, Claude Hay and Cass Eager who have picked up a whopping three nominations apiece. Read more about them a bit later on in this column. While their eﬀorts are nothing to scoﬀ at, they couldn’t quite pip the great Collard Greens And Gravy, fellow Melburnian Jules Boult and Tasmanian singer Shani Saint-Aulbins, all of whom picked themselves up four nominations each. It’s sure to be a tight tussle given the calibre of the majority of this year’s nominations so if you have half a chance, make sure you’re at the Australian Blues Music Festival at Goulburn on Thursday Feb 10 to ﬁnd out who takes out the gongs. Speaking of that festival, the line-up of artists performing at it has surfaced over the break and,
true to form, it’s a stunning collection of kick arse blues acts from all over the nation, with a couple of cool headliners and plenty of good quality up-and-coming blues as well. On the bill for 2011 is Doc Neeson Blues Band with special guest Mal Eastick, Jan Preston, Ray Beadle, Pugsley Buzzard, Blind Lemon, Luke Dickens and Matt Ross, Cath Butler’s Joynt Venture, Asa Broomhall, Emily Spiller, Diana Wolfe & the Black Sheep, Lemon Squeezin’ Daddies, 19 Twenty, Morningside Fats, Shaun Kirk, Eli Wolfe, Halfway To Forth, Matt Southon, Richard Perso, Dillon James Band, Luke Watt, Dreamboogie, Claude Hay, Mama’s Blooz House, Kathryn Hartnett, The Blue Ruins, Adam Miller, Troublekarmaﬂow and Liza Ohlback. As you can see there’s a little something there for everyone and the best thing is that the majority of the performances – aside from a couple of the headliners – won’t cost you a cent to witness. It happens in and around Goulburn from Thursday Feb 10 through to Sunday Feb 13. Hit austbluesfestival. laing-entertainment.com.au for more info. Three 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 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.
Pop culture therapy with Adam Curley
Metal with Lochlan Watt Sunny Coast metalcore group Inﬁnite Thought Process hit up X&Y Bar in the Valley this Thursday to play a little gig with Mary Jane Kelly and locals Brazen. $12 will gain you entry from 9pm.
Blues ‘n’ roots with Dan Condon email@example.com
weeks, with the band set to release their third album Speaker Of The Dead on Feb 15. A couple of Brisbane metal releases from last year got notable props in some ‘Best of 2010’ lists. The brutal death slams of Disentomb made the top 30 in The Black Dahlia Murder frontman Trevor Strnad’s column for webzine Gun Shy Assassin, with their debut album Sunken Chambers Of Nephilim. Shellﬁn also pulled rank with their smokey riﬀs, making lists on many international websites, such as globaldomination. se and thenumberoftheblog.com. Bendigo deathcore act Three Faces West recently changed their name to Her Majesty and released their obliterating debut EP Odious. The band is currently blazing a trail up the east coast in support of the eﬀort, and will reach Queensland by the end of the month. Catch the group with support from fellow Victorians Crown Us Thieves and Gold Coast melodic death metallers Widow The Sea at Rosies on Thursday Jan 27, The Price Street Hall in Nambour on Friday Jan 28, at The Fort in Brisbane for an all ages show on Saturday Jan 29, and ﬁnally at Shed 5 on The Gold Coast on Sunday Jan 30. The 1994 demo release of Sydney black metal group Nazxul, and their 1998 Black Seed EP, have recently been re-released as a single package. With bonus live tracks, an eight-page booklet, and complete lyrics, the release can be ordered through the Seance Records website – seancerecords.com. Local technical deathcore group Aversions Crown uploaded two new pre-production tracks, No Salvation and Deﬁler, to their Facebook page last month – just search the band’s name. The songs are the ﬁrst recordings to feature new vocalist Colin Jeﬀs (also of Widow The Sea), and can be expected to be oﬃcially released in mid-2011 as part of a full-length album, the tracking of which is scheduled to begin next month with producer Adam Merker, a man who has previously recorded with bands such as Sakkuth, From These Wounds, Empyrean, and Wish For Wings.
We’re already two weeks into the year and still there’s plenty of scrutinising of the musics of 2010 going on – whether extended listening of Kanye’s MBTF has revealed further beauty or ﬂaws; of the late, widespread gloriﬁcation of Janelle Monae and Ariel Pink’s Haunted Graﬃti; etc – which might not seem ridiculous except that in recent years, by this time, every journalist and her mangy dog would be neck deep in ‘next big thing’ lists, desperately waging on which act is most likely to make them the most ‘right’ come this time next year. Those lists are still out there in numbers, but in 2011 it would seem we’re all too aware of the lack of skill involved in betting on the success of the few bands with major promotional pushes imminent (if not the crassness of it), and the futility in trying to pick ‘commercially viable’ standouts from the millions of others. Even writer Kitty Empire in The Guardian, which is usually pitting itself as the less ﬁckle NME at this time, has used the paper’s ‘hot list’ commission to decry the sheer volume of acts being pushed as the next ‘winners’ by other publications.
Scotland’s Broken Records have been plastered all over US-based blogs, and talk of London band The Vaccines as ‘the next Libertines’ continues, helped by the post-hype naming of their upcoming debut album, What Did You Expect From The Vaccines?.
If blatantly clinging to the potential ‘success’ of speciﬁc acts rather than just waiting and ‘evaluating’ their music is vomit-worthy, then what’s to talk about of the year to come? Well, a few things – all broader than the limitations of a calendar year allows but, hell, why have a calendar if you can’t use it (besides the nudie pictures above the grids)?
Will the international touring bubble burst or expand? With our dollar doing well, we’re more than paying our keep when it comes to being on the receiving end of international tours: we’re getting more tours by more (and lesser known) bands because the price of tickets hasn’t dropped to match the dollar value. Whether we can keep it up is another matter. The situation may level out as foreign economies recover, but already 2011 looks to be one of the biggest for international tours we’ve (ever?) seen.
Will the collective obsession with America’s coastal ‘scenes’ come to an end? First we might have to admit to having one, but the last couple of years have undoubtedly drawn focus to, initially, Brooklyn as an ‘indie’ cultural leader and then LA as its slightly ironic counter. At some point, the two landmarks warped into one giant ‘psych/garage/chillwave’ beam that overtook – in Australia, at least – any attention being given to anything else, particularly anything from the UK, which might also have been because most of it was pretty shit. Scandinavia got a bit of a lookin, but calculated electronic pop is just as likely to see its demise this year. Already this month,
Will 2011 see independent record stores ﬁlling the niche of selling physical ‘indie’ releases as the large chains continue to struggle? In the US, Borders has delayed payments to book publishers in order to reword its ﬁnances, while HMV has announced the closure of 60 stores in the UK. In Australia, JB Hi-Fi reported in August 2010 that it expects continued sales growth in 2011, but much of that has to do with new technologies in smartphones and televisions – the CD departments of JB (and Borders) stores have been visibly decreasing for some time. It’s possible, then, that 2011 will be the year independent music stores further discover a market of those seeking out small-run, ‘indie’ or rare releases – particularly if the (excellent) trend of vinyl-withdigital-download packages continues to grow.
All right, and without commenting on their potential ‘success’, there are heaps of Australian releases to look forward to, including the debut album by Sydney soul punk crew Royal Headache, a likely album (according to the band) by new act Divorce, featuring members of Beaches and Scott & Charlene’s Wedding, a potentially blinding record by scunge-rock duo Pets With Pets, and the ﬁrst label-associated release from Melbourne production genius CRUMBS via Sensory Projects.
HAVE YOU HEARD?
FLASH COBRA LOCAL UP-AND-COMING DANCE/INDIE ROCK OUTFIT FLASH COBRA ARE HELPING CLUB 299 UNLEASH A NEW NIGHT OF LIVE MUSIC AIMING TO SHOWCASE OUR CITY’S FINE ELECTRO/INDIE SCENE. MITCH KNOX GETS THE LOWDOWN FROM BASSIST DAVID “BIRTHDAY” WHITE. and building on Brisbane’s burgeoning live scene,” White says. “Let’s Get Naked is a new club night showcasing indie/electro rock groups from Brisbane. It’s a great opportunity for up and coming bands to show their stuﬀ, and Flash Cobra jumped at the chance to support the launch night.”
LEND A HAND, LEND YOUR EARS Miss Teresa & her Rhythmaires play the Twilight Hotrod Show at Rocklea Showgrounds on Saturday Jan 22 (2pm) How did you get together? Miss Teresa (vocals): “I started performing about 13 years ago when a good friend of mine volunteered me to play in a local rockabilly band that was starting up called The Moonshine Runners. If it wasn’t for him I probably never would have even started singing even although I’d always loved rockabilly music, the culture and lifestyle and of course I’d always secretly loved to sing. Soon realised I wanted to play a more traditional style of rockabilly, so I started a new band called The Starlite Ramblers. A few big changes in the line-up over the years saw the band name change to Miss Teresa and Her Rhythmaires. The current line-up has been playing together now for the last seven years or so we intend to keep playing for a long time yet!”
The Dasmarinas Infoshop and Library in the Philippines is in serious need of some funds, so a group of Brisbane folk have come together to hold a zine fair in order to raise some of this much needed ﬁnancial aid. Th is infoshop and library will stock alternative media and zines for the local community in Dasmarinas and will provide a space for alternative culture and practice. At Burst City this Sunday afternoon from 2pm, zine makers can book a table for just ten dollars and show oﬀ their wares; there’ll be plenty of likeminded folk doing the same and social activist Steve Towson will be there to perform his tunes charged with political and social commentary. If you’d like to book a table or perhaps donate some zines, email firstname.lastname@example.org.
“Club 299 have always been a great supporter of local bands, showcasing original live acts
Why should people come and see your band? “We play great music and when we play we have such a great time. For me it’s a chance to get together with some of my best pals and play some of our favourite songs, both old favourites and our own original, and have a ball with the audience. I love to see the crowd dancing and having a great time with us.”
“It’s been really important to us to create an interactive and explosive live show,” White explains. “It’s always been about putting on an encompassing show from start to ﬁnish, not just a series of songs. We are a fun band, and deﬁnitely don’t take ourselves too seriously. If you’re not having fun, go home! “No-one likes the rain but the only feasible option is to get out there and embrace the sweaty trance of a Flash Cobra live show. Just remember your umbrella!” WHO: Flash Cobra WHERE & WHEN: Let’s Get Naked, Club 299 Wednesday Jan 19
ON THE DOWNLOAD
If you could support any band in the world – past or present – who would it be? “There are so many really, but I guess I’d love to support The Collins Kids. I met them a in 2005, they were really lovely people. They started out in the 50s and they’re still playing today.”
Greatest rock’n’roll moment of your career to date? “Supporting Wanda Jackson in 2008. She’s been rockin’ since the 50s and she’s still going strong. She’s deﬁnitely been a great inﬂuence for me.”
“Formed back in early 2009, [we] based [ourselves] around a collaboration of various tastes and styles,” White muses of the Flash Cobra philosophy. “As a group we like to combine music of all genres and eras, throwing it together like a schizophrenic blender. After 18 months of jamming together we have begun to unleash our sound onto the Brisbane scene. We’ve played a handful of gigs and have garnered a reputation for an energetic and exciting live performance.” Enough of a reputation, it would seem, so as to perk the interest of Club 299 to the point of having the band appear at their inaugural Let’s Get Naked club night.
Sum up your musical sound in four words. “Hot Rockin’ Boppin’ Rockabilly!”
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? “Charline Arthur – Welcome To The Club. I always love singing along to it!”
With that in mind, you should jump at the chance to support Flash Cobra alongside the other acts that will be appearing at the launch. After all, it sounds like they put a tonne of eﬀort into their performances – rain, hail or shine.
As a special Christmas gift to their many fans around the world, Brooklyn’s indie kings Yeasayer have released a digital live album on their oﬃcial website. The album is a recording of a single show they played in Brussels’ Ancienne Belgique on Thursday Oct 28, 2010 and it is unsurprisingly a stunning piece of work capturing this brilliant live band in ﬁne form. It will serve as a lovely way to get prepared for the ensuing tour of our country the band will be undertaking as a part of this year’s Laneway Festival in March and the best thing is that you can name your price for the download – yes, that includes free. [yeasayer.net]
HELLO CURRUMBIN Down Currumbin way you can always count on The Sound Lounge to deliver when you have a hankering for a bit of quality live music and this Friday is no exception. Hello Satellites is a duo hailing from Melbourne featuring songwriter Eva Popov and producer Nick Huggins who have found themselves being embraced by radio all over the country of late. They’re currently on the road and will stop in to the aforementioned venue to treat the Coast to a dose of what they’ve got. On the local front, the majestic mckisko will be there in support as well, showing all in attendance why she was so deserving of her recent nod for the Grant McLennan Fellowship and what it was she learnt while on her creative visit to Berlin. Tickets are $12 + bf from the venue’s website now, or you can grab a ticket on the door for $15.
If you were one of the many who braved the rain last week and caught the electric performance from UK nu-rave ensemble Klaxons then you’re probably still ﬂoating from the experience. The lads capped oﬀ a wet couple of days with a pretty amazing performance that conﬁrmed that they have lost none of their vital energy and general ability in the gap between the release of their ﬁrst and second records. The band have just unleashed a brand new EP called Landmarks Of Lunacy and it is available from their oﬃcial website for nix! The band say they love the songs on it and feel it’s some of their best work, but it was too sombre to go on their latest record Surﬁng The Void. Check it for yourself! [klaxons.net] Following their visit to Australia at the end of last year, it seemed as if Gorillaz were everywhere we looked. Secret shows, special guests, plenty of public appearances and plenty of interesting interviews in the music press meant that they didn’t waste any time while down here. One of the big things that came from their visit was the word that, sometime over Christmas, they would be releasing an album that was made on Damon Albarn’s iPad. Well that album is The Fall and it is available to the public for free right now from the band’s website. There are plenty of liner notes as well including a list of all the applications used to make the record. [thefall.gorillaz.com] San Franciscan garage rock master Ty Segall has been given plenty of praise for both his recorded material and live shows over the past couple of years and while we can certainly enjoy the former, the fact that he’s yet to visit us means we have missed out on the latter. But we can hear what all the fuss is about as of next month when he releases a live album called Live In Aisle Five. It’s coming out on the Southpaw label and they have been good enough to throw a couple of tracks from it up on their SoundCloud page. It’s noisy but has that pop sensibility that makes him stand out so, and gosh it makes us wish we were there. If you have a spare two minutes and 52 seconds then we can’t think of a better way to spend it then by listening to these two tracks. [soundcloud.com/southpaw1]
Iretro Elephant & Wheelbarrow Luke Escombe & The Corporation Railway Bar, Byron Bay Mace Fibber Magee’s, Toowoomba Mark Sheils Royal George Open Mic The Music Kafe Rich Latimer, Damien Robertson, Sam Goudie, Chloe Turner, Tom Carty The Tempo Hotel Rob Robot, Pseudo Promise, Without A Witness Fitzy’s Loganholme Soula’ Flare Glass Bar & Restaurant The Beautiful Girls, The Chemist Great Northern Hotel Byron Bay The Bowery Hot Five With Mal Wood The Bowery The Last Outlaw, The Violet Alibi, The Ovaries, Hack, Gathered Below Club 299 The Quest For Glory, Tip Toes Ric’s Tyson Faulkner Fiddlers Green Venus Envy Victory Hotel Wiley Reed The Loft Chevron Island
Alter Egos, The Wind Up Dolls The Tempo Hotel Ballad Boy Loving Hut Cartoon Physics The Music Kafe Chester Fibber Magee’s, Toowoomba Geoﬀ Rayner Logan Diggers Club Glenn Esmond Coolangatta Hotel Ingrid James Limes Hotel Jason Collett, Dead Letter Chorus, Zeus The Zoo Luke Escombe & The Corporation Paciﬁc Hotel Yamba Mos Def, Seven, Crate Creeps The Tivoli Mos Def Afterparty Cloudland Rob Cini Elephant & Wheelbarrow
Shug Monkey, The Louie Louies, Ash Kerley The Beetle Bar Steve Poltz The Loft Chevron Island The Beautiful Girls, The Chemist Great Northern Hotel Byron Bay The Ninth Chapter The Beach Hotel, Byron Bay The Quadratic Contingency, Feet Teeth Ric’s The Satellites The Bowery
22 Hotels Alexandra Headlands Blue Bar Blindchase Transcontinental Hotel Casey Fogg, Space Cadets Jubilee Hotel Claude Hay Masonic Hall, Stradbroke Is De Hoje Haele, Spew Your Guts Up, Undead Apes, Pastel Blaze, The Sips Burst City DJ Quintrixx Narangba Valley Tavern DJ Toxic Beerwah Hotel Duck Duck Goose Bowler Bar Glenn Esmond Brothers Ipswich Hello Satellites, Mckisko Soundlounge Currumbin Hemi Kingi Trio The Morrison Hotel Hippopotamus Hinterland Hotel Hotel Motel, Lovers Of Modern Art, Woodville House The Beetle Bar House Party Neverland Jan Lennardz J’z Jazz Crew Vida Amor Restaurant Jason Collett, Zeus, Dead Letter Chorus Joe’s Water Hole Eumundi Karma Duo Crown Hotel Lutwyche Lobster Prophet, The Money, Mainstreet Brats, Bmx Ray, The Chokes Step Inn Locky, The Replicants Elephant & Wheelbarrow Melissa Baker The Palace Hotel Michelle Brown Duo Alexandra Headlands Surf Club Mick Danby, Mission X The Tempo Hotel
PJ Hooker Rochedale Rovers QSM Live Dub & Reggae Weekend: Felicity Lawless, Cheap Fakes Queen Street Mall Ramjet Broadbeach Tavern Rob Robot, Pseudo Promise, Tourism Barsoma Samuel Jared Criterion Dalby Second Gear Fibber Magee’s, Toowoomba Shag Duo Maroochydore SLSC Solar Rush Royal Exchange Hotel Stairway Diamonds Bar, Miami Waters Steve Poltz Tatt’s Lismore Stevenson St Palmwoods Hotel Sunday Sons, Missing Jade, Triplickit The Music Kafe The Beautiful Girls, The Chemist Coolangatta Hotel The Chutes, The Royal Artillery, Simone Elias The Zoo The Decoys Cleveland Sands Hotel The Febs Logan Diggers Club The Geoﬀ Green Trio The Point Restaurant The Jenni Cocking Sextet Brisbane Jazz Club The Kate Mackie Quartet Gertie’s Restaurant And Bar The Moderns, Kennigo, Holly Terrens, The Shy Musicians The Loft Chevron Island The Ninth Chapter The Joynt The Ride Locknload West End The Stick Its, Lee Griﬃ n & The Triple B Ric’s Treva Scobie Southern Hotel Toowoomba Venus Envy Surfers Paradise Beer Garden
Akasa Sherwood Services Club Almost Invisible: Mahal Kita, Wintercoats, Ghost Notes, Sunshine State Browning Street Studios Bob Mouat Southern Hotel Toowoomba
Colin’s Class Fibber Magee’s, Toowoomba Dan England Rum Jungle, Brackenridge Dave Kemp Gertie’s Restaurant And Bar DJ Fish Jubilee Hotel Downlode Surfers Paradise Beer Garden Family Of Strangers Tewantin Noosa RSL Gaﬀ a, Galapogos The Beetle Bar Health Woodford Hotel Health, The Death Set, Dz Woodland Hello Satellites, Mckisko X & Y Bar Hippopotamus Broadbeach Tavern Jason Collett, Zeus, Dead Letter Chorus The Loft Chevron Island Jeﬀ Usher With A Love Supreme Superband Brisbane Jazz Club Joel Turner Cbd Hotel Judy Collins, Chris Bailey QPAC Light Year Bowler Bar Macka Narangba Valley Tavern Mark Bono Manly Hotel Matty B, Rukus Crew, Azov + Recon Miami Tavern Shark Bar Michelle Brown Duo River Lounge Noosa Miss Teresa & Her Rhythmaires Clem Jones Sports Ctr Mr Maps, Grids/Units/ Planes, Doom Doom, Skinny Jean The Alley, Elizabeth St Native Aliens, Parafanailya Country Life Hotel Kin Kin Owl Mutual Friend, Tom’s Gate, Hemi & 2 Stroke, The Vampers, Sled The Music Kafe Palmwoods Got The Blues: Apollo In Peril, Claude Hay, Wiley Reed Palmwoods Hotel Party In The Paddock: Ramjet, Casey Barnes, Alison Wonderland, Surecut Kids, Charlie Hustle, Vinyl Assassins Gold Coast Turf Club Powerplay The Crown Hotel Punkfest: Blowhard, JJ Speedball, Aim, The Stunt Pegs, Harming Monica Prince Of Wales Hotel
QSM Live Dub & Reggae Weekend: Isaac Paddon, Ruby Blue Queen Street Mall Rob Robot, Pseudo Promise, The Marsden Lee’s Club Envy Solar Rush Victory Hotel Steve Poltz Old Qld Museum Stewart Fairhurst Hamilton Hotel Sue Bond Jazz Quartet Woombye Pub Surecut Kids Neverland The Beautiful Girls, The Chemist The Hi-Fi The Big Duo, Rokeby Venus The Tempo Hotel The Febs Cleveland Sands Hotel The Quickening, Army Of Champions, Ringpull, The Ordinarys Fat Louie’s The Summer Of Sound Youth Band Comp Maleny Community Centre Thereafter The Palace Hotel Th ree Blind Mice Beerwah Hotel Timbah Locknload West End Tinian’s Boy, Montpelier, Desert Ghost The Zoo Transvaal Diamond Syndicate, Claude Hay Royal Mail Hotel Goodna Venus Envy Elephant & Wheelbarrow We All Want To, Bonﬁ re Nights Ric’s
Fuzzy Polaroid, Leggless, Jam Night The Music Kafe Glenn Esmond Blue Paciﬁc Hotel Hodads Broadbeach Tavern Jabba, Solar Rush Royal Exchange Hotel Jason Collett, Zeus, Dead Letter Chorus Great Northern Hotel Byron Bay Judy Collins, Chris Bailey The Events Centre Caloundra Juo Palmwoods Hotel Luna Junction Locknload West End Mark Bono Southern Hotel Toowoomba Michelle Brown Duo Rococos Noosa QSM Live Dub & Reggae Weekend: Kindling Duo, The Rooftops Queen Street Mall Sophisticat Alexandra Headlands Surf Club Steve Poltz Joe’s Water Hole Eumundi Stu Barry, Tnee Era Bistro Sunday Solo Session, Tom Carty The Tempo Hotel The Beautiful Girls, The Chemist Kings Beach Tavern Tyson Faulkner Burleigh Heads Hotel Venus Envy Oxford 152 Zine Fair Fundraiser Burst City
MON 17 Amber Williams Elephant & Wheelbarrow
The most well-liked piano man since Geoﬀ Harvey (we won’t go there) has had hit songs, high selling records and has collaborated with a bunch of people, including Nick Hornby on his Lonely Avenue album of last year. He loves Australia, hell he even lived in fucking Adelaide for a while, so it’s not entirely surprising that Kate Miller-Heidke was enlisted as guest on that latest record.
Andrews & Bing Christmas Swing Tribute Kedron Wavell Services Club Annie Jeﬀ s Beerwah Hotel Ben Jam, The Con Men Jubilee Hotel Block Party Elephant & Wheelbarrow Brass Roots Live, Craig Martin Brisbane Jazz Club Chris Ramsay, Treva Scobie Fibber Magee’s, Toowoomba
Escalate The Tempo Hotel Glenn Esmond Wharf Tavern Peter Hunt & Band Locknload West End Spot The Dog, The Westerlies The Bug Who Are You Lutra Lutra, Connor Cleary The Music Kafe
OF SEPARATION SLAYER TO GREYSON CHANCE SLAYER Metal bands simply get no cooler than Slayer. The band are also one of the most controversial going around, with censorship groups constantly attacking the band for any number of strange reasons. One of the strangest controversies came when the band covered Minor Threat’s classic Guilty Of Being White, changed the words to “guilty of being right” and pissed oﬀ frontman Ian MacKaye.
MINOR THREAT Deﬁnitely not the happiest chaps in punk rock, but possibly the most inﬂuential; Minor Threat’s time together was very short and their recorded output a mere 26 songs in 47 minutes. Following the band’s split in 1983 its members went on to all manner of diﬀerent projects; perhaps most interesting was guitarist Lyle Preslar, who went on to run Caroline Records and sign artists like Peter Gabriel, Fatboy Slim and Ben Folds.
KATE MILLER-HEIDKE This Brisbane lass has become one of our most promising musical exports of late following a very successful response to her album Curiouser. That album was produced by Mickey Petralia, who has produced a large number of records, including Electric Honey, the 1999 eﬀort from Luscious Jackson.
LUSCIOUS JACKSON Luscious Jackson released three studio albums through the 1990s. The band are now defunct, but members have gone on to a number of projects. Drummer Kate Schellenbach works as a producer on The Ellen DeGeneres Show.
ELLEN DEGENERES DeGeneres announced last year that she is starting a record label, eleveneleven, and that her ﬁrst signing was to be Greyson Chance.
GREYSON CHANCE Who the fuck is Greyson Chance? He’s 13 and became a YouTube hit after a video of him performing Lady GaGa’s Paparazzi went viral. We ﬁgure he’ll be 15 when Slayer put out a new record and will hate Lady GaGa, his family, DeGeneres and everything he has become and he’ll hook up with the thrash gods and contribute some sick Halford style histrionics to the record.
THUR 13TH JAN
NOXIOUS + THE IRRITS + THE CILIKIS PROGRESSIO + PROJECT $12 TICKETS FRI 14TH JAN
THANK F**K IT’S FRIDAY W/ F1 ELEVENS + SONS OF THE SOIL + HOMELESS YELLOW + STONECHIMP $12 TICKETS SAT 15TH JAN
SPOOK HILL + JAK + THE BUZZBEES + DIRTY LIARS $12 TICKETS
THUR 20TH JAN
FOLKEN ROCK W/ THE MOULDY LOVERS + ORPHAN ANN + LILLY ROUGE + BREMEN TOWN MUSICIAN (SOLO) $12 TICKETS FRI 21ST JAN
ROCKY HORROR PICTURE SHOW $15 TICKETS SAT 22ND JAN
FUNK’D$12N TICKETS SOUL’D OUT
321 BRUNSWICK STREET MALL, FORTITUDE VALLEY WEDNESDAY 12 JAN
THURSDAY 13 JAN
LE PARTI SOUL WITH DJ REDBEARD (8PM) + THE QUEST FOR GLORY (9.30PM) + TIPTOES (8.30PM)
THE QUADRATIC CONTINGENCY (9.30PM)
FRIDAY 14 JAN DOWNSTAIRS: THE
STICK ITS (9PM) + LEE GRIFFIN AND THE TRIPLE B (8PM) + DJ VALDIS (8PM) UPSTAIRS:
DJ BENJAMIN BOUNCE (8PM)
SUNDAY 16 JAN CUCA SHOP (TWO SETS) (9PM)
TUESDAY 18 JAN THE BUZZBEES (9.30PM) + FEATHERJACK (8.30PM)
+ FEET TEETH (8.30PM) + DJ VALDIS (8PM)
SATURDAY 15 JAN DOWNSTAIRS:
DOWN - WE ALL WANT TO (9PM) + BONFIRE NIGHTS (8PM) + DJ VALDIS (8PM) UPSTAIRS:
DJ CUTTS (8PM)
MONDAY 17 JAN CLOSED FOR FILM SHOOT
FREE LIVE MUSIC AND INDIE DJS
WANT TO PLAY? EMAIL
Free online and print classifieds 41
Friday Duck Duck Goose Saturday Light Year
Saturday Judy Collins, Chris Bailey
Wednesday The Quest For Glory, Tip Toes Thursday The Quadratic Contingency, Feet Teeth Friday The Stick Its, Lee Griﬃn & The Triple B Saturday We All Want To, Bonﬁre Nights Sunday Cuca Shop
The King Is Dead THE DECEMBERISTS
Live In Texas RADIO BIRDMAN
Friday Lobster Prophet, The Money, Mainstreet Brats, BMX Ray, The Chokes
King Of The Beach WAVVES
Thursday Glenn Esmond Friday The Beautiful Girls, The Chemist
ELEPHANT & WHEELBARROW Wednesday Iretro Thursday Rob Cini Friday Locky, The Replicants Saturday Venus Envy Sunday Block Party Monday Amber Williams
GREAT NORTHERN HOTEL BYRON BAY Wednesday The Beautiful Girls, The Chemist Thursday The Beautiful Girls, The Chemist Sunday Jason Collett, Zeus, Dead Letter Chorus
JUBILEE HOTEL Friday Casey Fogg, Space Cadets Saturday DJ Fish Sunday Ben Jam, The Con Men
MIAMI TAVERN SHARK BAR Saturday Matty B, Rukus Crew, Azov + Recon
SURFERS PARADISE BEER GARDEN Friday Venus Envy Saturday Downlode
THE BEETLE BAR Thursday Shug Monkey, The Louie Louies, Ash Kerley Friday Hotel Motel, Lovers Of Modern Art, Woodville House Saturday Gaﬀa, Galapogos
THE HI-FI Saturday The Beautiful Girls, The Chemist
THE TEMPO HOTEL Wednesday Rich Latimer, Damien Robertson, Sam Goudie, Chloe Turner, Tom Carty
with THERE FOR TOMORROW Answered by: Maika Maile (aka The Wordsmith aka The Forward Thinker aka Lead Singer aka That Deep Kid)
ON THE TIME OFF STEREO Red Barked Tree WIRE We Got All Things That Are Good SOLE STICKERS Head Oﬀ THE HELLACOPTERS Pink Friday NICKI MINAJ
The best record I stole from my folks’ collection was… Boston – self-titled. The ﬁrst record I bought with my own money was… Metallica – Black Album on cassette! The record I put on when I’m really miserable is… Alice In Chains – Dirt. The record I put on when I bring someone home is… Sade – Soldier Of Love.
The last thing I bought/downloaded was… Royksopp – Junior.
The most surprising record in my collection is… Jaco Pastorius – self-titled.
There For Tomorrow play Soundwave @ RNA Showgrounds on Saturday Feb 26.
I See A Darkness BONNIE ‘PRINCE’ BILLY The Meanie Of Life THE MEANIES My Beautiful Dark Twisted Fantasy KANYE WEST Thursday Alter Egos, The Wind Up Dolls Friday Mick Danby, Mission X Saturday The Big Duo, Rokeby Venus Sunday Sunday Solo Session, Tom Carty Tuesday Escalate
THE TIVOLI Thursday Mos Def, Seven, Crate Creeps
THE ZOO Thursday Jason Collett, Dead Letter Chorus, Zeus Friday The Chutes, The Royal Artillery, Simone Elias Saturday Tinian’s Boy, Montpelier, Desert Ghost
WOODLAND Saturday Health, The Death Set, Dz
X & Y BAR
BILLBOARD HEATSEEKERS TOP 10 1. Habits NEON TREES
1. Ceiling LOOMER
2. All I Want Is You MIGUEL
2. Unreel Unravel TAPE:OFF
3. Deal Or No Deal WIZ KHALIFA
3. Diamonds and Dust TRANSVAAL DIAMOND SYNDICATE
4. Stand Up And Scream ASKING ALEXANDRIA 5. Halfway To Heaven BRANTLEY GILBERT 6. Life Gone Wild ASKING ALEXANDRIA 7. Conditions THE TEMPER TRAP 8. I’m Alive, I’m Dreaming THE READY SET 9. Gorilla Manor LOCAL NATIVES 10. Winter Wonderland MANDY BARNETT
Saturday Hello Satellites, Mckisko
4. Heil Progress PER PURPOSE 5. Grave Consequences UNDEAD APES 6. Tangalooma THE JOHN STEEL SINGERS 7. Highwire THE MAPLE TRAIL 8. Go Home DEAD FARMERS 9. Grouplove GROUPLOVE 10. Mind CTRL: Psychic Chasms Possessed NEON INDIAN
ECLECTIC LOCAL ROCK QUINTET TINIAN’S BOY HAVE FINISHED THEIR DEBUT EP THE ANIMAL AND ARE GEARING UP FOR LAUNCH ALONGSIDE THE RELEASE OF THEIR CLIP FOR SINGLE THE SEA ORCHIDS. VOCALIST ADAM STONEHOUSE AND GUITARISTS JEREMY BELLIS AND SHANNON L RIDLEY CHAT TO MITCH KNOX.
LOCAL INDIE POP/ROCK QUARTET TOURISM MIGHT BE A RELATIVELY NEW NAME AROUND THESE PARTS, BUT THEY PLAN TO CHANGE THAT WITH THEIR UPCOMING EP AND A DEDICATION TO LIVE PERFORMANCE THAT PROMISES TO TREAT ANYONE WISE ENOUGH TO CHECK THEM OUT. MITCH KNOX GETS TO KNOW THE BAND WITH JOZEF WISNIEWSKI.
“Listening back to it I feel very lucky to have had the opportunity to do this EP,” Stonehouse reﬂects. “The whole experience has felt so natural and it doesn’t feel like we are trying to be cool or complex. Hopefully that will come across when people listen to the songs; if it does, I think we have something special, a true snapshot of where we are at this point in time.”
Not bad for a band that’s less than half a year old, but Wisniewski hints that things are really still just getting started for the foursome, who are also currently recording their debut EP. “We hope 2011 is a busy year for [us]; hope to be playing most weeks/weekends to get our name out there in Brisbane,” he says determinedly. “Australia has such an amazing music scene and for Tourism to be a part would be a dream; hopefully a few tours also in 2011 – that would be great!”
For less still-frame and more livemotion, however, attendance at a Tinian’s Boy live show is suggested in order to truly capture the whole scene.
“2011 is going to be huge for us,” exclaims Bellis of the year’s prospects once they kick things oﬀ with the launch. “We have big plans and are all ready to kick it up a gear. We’re going to hit up some bigger shows, more clips and possibly more recording later on in the year.” For now, though, fans will have to make do with the band’s debut EP The Animal on the recording front, and the band sound pretty proud of the results. “It is a great feeling to have your life’s passion unleashed on the world as tangible product: these are songs we love to play, love to listen to and want everyone to hear,” Ridley says.
4ZzZ FM NOW PLAYING
“An evening with Tinian’s Boy (oﬀ stage) will generally end up with some sort of nudity but at our shows we usually keep at least half our clothes on, although sometimes things have got a bit crazy,” Stonehouse laughs. “But seriously, our EP launch is something special, we have spent a lot of time getting our shit together and we wanted to do something special for all the people who have been supporting us from the beginning. Expect a few surprises.” WHO: Tinian’s Boy WHAT: The Animal (Rare Finds) WHERE & WHEN: The Zoo Saturday Jan 15
They’re fresh faces on the local scene and incredibly hard to Google, but luckily Wisniewski is around to help explain just who Tourism are and where they’ve come from. “Tourism is a four-piece band, [with myself ] on lead vocals and guitar, Adrian Brown on guitar and keyboard, Ben Fothergill on drums and James Wisniewski providing bass and vocals,” Wisniewski explains. “[We] are a new band to Brisbane, forming around ﬁve months ago; we have prior experience playing with each other in a previous band, but, writing new material, we have been playing the “Escalate” competition for the last few months at the Tempo and are in the ﬁnals.”
Drawing inﬂuence from acts ranging from Hungry Kids Of Hungary to Foals, Tourism understandably pride themselves on their ability to put on a show that gets people moving, and they’re certainly no strangers to their next venue. “We regularly go to Barsoma for a drink and to watch a band on the weekend,” Wisniewski says jovially. “We love to have fun on stage; performance is a big part of Tourism and should be for most bands. We love to see people up and dancing, having a groove with Tourism!” WHO: Tourism WHERE & WHEN: Barsoma Friday Jan 14, Tempo Hotel Tuesday Jan 25
BEHIND THE LINES IN THE STUDIO
BROUGHT TO YOU BY
BEHIND THE LINES WITH MICHAEL SMITH BTL@STREETPRESS.COM.AU
PARKER GOES DRAGONFLY
The Chicago, Illinois-based Parker Guitars is still pretty pleased about their most recent expansion of their Dragonfly series through the addition of a bolt-on neck with exclusive radial neck joint, which further stabilises the guitar’s neck, enhancing tone and allowing easier access to the upper frets. Because of the radiused neck, the joint has no flat, sliding surfaces that might allow the alignment to go off centre. The Bolt-On Dragonfly comes in three models: the satin finish DF524, gloss finish DF624 and flame top DF724. All three models feature an alder wood body, maple neck, ebony fingerboard and stainless steel frets, along with Seymour Duncan SSL6 single and TB14 humbucker pickups. Distributed in Australia by Central Musical Instruments, there are bound to be a couple in your favourite instrument retailer to test drive.
CHRIS BAILEY ON SONGWRITING
Currently touring the country opening for folk diva Judy Collins, I took the opportunity to ask expat Australian frontman from The Saints, Chris Bailey, about how he distinguished, what with at least three recording projects on the go, whether a song he’d written was a Saints song, a solo Bailey song or something for his Anglo-French project, The General Dog. “Years ago when I was asked this question I had a pretty good pat answer but to be honest with you, these days I don’t know. One side of me knows how to write a song in a Tin Pan Alley sort of way – I know if you put a melody to a bunch of chords and use a certain key you’ll achieve a certain result. Okay, I know how to do that a bit, but I still rely very, very heavily on my old fallback – you just make this shit up – you lock yourself in a space, you approach an instrument, you hum a melody, you get a progression you like, you think about some orchestration you’d like to use and then you just apply yourself. I’m sure any songwriter will tell you, nine times out of ten it’s dross, but every once in a while you get visited by something that’s a good tune. Then you take it to a bunch of musicians and you have that other element of magic, which I still love about rock’n’roll, that a tune can be altered rather dramatically by people misunderstanding directions. The best thing that can happen in a recording is the fantastic accident, that unplanned thing.”
R.E.M. reunited with producer Jacknife Lee, who produced their previous album, Accelerate, for the recording of their new album, Collapse Into Now, due for release in March, utilising The Music Shed in New Orleans and Berlin’s legendary Hansa Studios, with additional recording and mixing at Blackbird Studios in Nashville. Bernard Butler, best remembered for his years playing guitar with Suede but a respected producer who has worked on projects by artists as diverse as Aimee Mann, Neneh Cherry and Bert Jansch, oversaw the recording of the forthcoming six-song EP, Trouble Of The Brain, from London band The Veils, recorded at lead singer-songwriter Finn Andrews’ home studio. Due for release end of February, Different Gear, Still Speeding is the debut album from Beady Eye, the new band fronted by Liam Gallagher and including fellow former Oasis members guitarists Gem Archer and Andy Bell, and live drummer Chris Sharrock, recorded at RAK Studios in London and produced by Steve Lillywhite (Peter Gabriel, U2, The Pogues, The Smiths). RAK was of course originally set up by legendary record producer Mickie Most in 1976, and its Studios 1 and 2 have the only fully-functional working API desks in Great Britain, while Studio 3 has a Never 51 series 48-channel desk. Recent clients have included KT Tunstall, La Roux and Mumford & Sons.
Antipodean legend TIM FINN speaks to MICHAEL SMITH about his new solo effort.
e’re just finishing up today, so we’re getting all nostalgic and emotional,” Tim Finn explains, on the line from his brother Neil’s Roundhead Studios in Auckland, New Zealand, where he has been recording his ninth solo album.
Melbourne four-piece Voltera recorded their debut album, The Birth Of The End Of The World, at the “Neve-powered” Hothouse Studios in St. Kilda, producing it themselves and mixing it with Finn Keane and Craig Harnath, then taking it to engineer Jack The Bear at Deluxe Mastering, which features rooms designed by internationally acclaimed acoustic designer George Augspurger of Perception Inc. in Los Angeles. Rose Tattoo drummer Paul Demarco invited Hawkesbury, NSW-based band Ruby Amore into his home studio early last year and the resulting EP will be released early this year.
Time Off wondered if there was a particular vocal sound Finn was after for the new album.
On board this time to produce the album is American Jacquire King, whose star really took off through his work with the Kings Of Leon on their album Only By The Night, for which he won a Grammy with the track Use Somebody, awarded Record Of The Year. He also produced their latest album, Come Around Sundown, but has also worked with Tom Waits, Norah Jones, Cold War Kids and Modest Mouse among others. “I really like the Kings Of Leon,” Finn admits. “They have always seemed to be a band that you can believe in. So I received a generic mailout one day from GPS [the Santa Monica-based Global Positioning Services, a management company that represents a number of producers, engineers, mixers, songwriters and artists] about all their artists. Somehow I’ve ended up on their mailing list, amongst 30,000 people apparently – and I guess I was scrolling down through all the talent they represent and saw Jacquire’s name there as having done the Kings Of Leon, so I thought I’d send them an email. I went to his website and put a note in saying did he want to come to New Zealand and make a record and got an instant reply from Jacquire saying he was interested in hearing what I was into.” King, who brought along his regular engineer Brad Bivens for the recording, is particularly fond of recording with vintage gear, of which Roundhead is filled, what with Studio A featuring a 1974 Neve 8088 Inline console that originally came from Bearsville Studios in Woodstock in upstate New York, though it’s been upgraded and now features Martinsound Flying Faders across its 40 channels. “We started making contact over a year ago, sort of to’d and fro’d for quite a few months with songs and just general ideas. Joe Chiccarelli had been here working with Augie March, so he told Jacquire that the studio was definitely to his taste and it has proved to be – he’s really enjoyed working here. What we’ve been doing has been very live – we’ve had six people playing together in a room with separation, though we haven’t worried about it too much so there’s just
“There’s a microphone here that the house engineer Jordan [Stone] has a strong opinion about, the microphone that suits both mine and Neil’s voices – a Shure SM7 – and that’s what I use mostly,” he offers. “And this is not like a super expensive microphone. Neil has a very beautiful Telefunken, which is probably worth $20,000 and we did use that for backing vocals and various things, but lead vocals, we went with the aforementioned.” Tim Finn had his own studio for a while, Periscope, which he ran with engineer Paul Kosky when he was still living in Melbourne before deciding to return to live in New Zealand in 1999.
been a ‘band’ sound and that suits him and his style certainly suits me. It was very organic, every day.” Finn’s career spans right across from the old analogue recording to two-inch tape through to today’s purely digital recording techniques, so how does he feel the two worlds compare? “With this record we recorded straight into the computer, but what Jacquire does when he mixes is he puts some of it back on tape at a point,” Finn continues. “Years ago, [producer] Mitchell Froom, who I worked a lot with – and Neil has as well – said to me that he can’t tell the difference anymore, so I’ve taken that as read because Mitchell’s got good ears. If he said he couldn’t tell the difference, then I certainly couldn’t. “The scariest part of using tape back in the day I guess was the potential loss of everything [when tape was cut for edits], although ‘slave’ tapes, slave reels were made to prevent that. Engineers in those
“We recorded a lot of [1991 Crowded House album] Woodface there but I sold the house eventually. It was a bedroom with a sun porch, which sort of doubled as an effective recording space. I eventually sold all the equipment on to Neil, because in the end I knew it wasn’t something that I wanted to do, collect gear. So just the other night actually I went through the studio here pointing at things and the house engineer told me that, ‘Yes that was yours’. There’s a power supply that still has the gaffa tape on it which spells p-e-r-i, from Periscope, there now on the floor in Roundhead, which is kinda nice.” As well as Finn’s regular bass player and guitarist, Australian Tony Buchen and Kiwi Brett Adams respectively, the recording band featured fellow Kiwi, guitarist Mara TK and two Americans, keyboard player Zac Rae and drummer Joey Waronker. With the recording done, King has taken the tapes back to Blackbird Studios in Nashville to mix, based on discussion “in terms of overall principals and tendencies” with Finn, with the recordings expected to be ready by the end January, after which they’ll go to New York where Greg Calbi, the senior mastering engineer at Sterling Sound, will do the honours. Tim Finn’s next, as-yet-untitled, album is due for release mid-year.
STUDIO PROFILE CORE STUDIOS NIK CARPENTER PRODUCER/DIRECTOR OF CORE AUDIO GROUP PTY LTD.
WHICH NOTABLE ARTISTS HAVE WORKED AT THE STUDIO? We had Amandah from Operator Please in a few weeks back to record vocals for a Japanese pop band. Peter Mengede of Helmet came in with his new band Kunst. Bigger Than The Sky from LA came over for a month. We are currently in the middle of the new Lynchmada record. Everything from hip hop to death metal. .
WHO DO YOU HAVE ON STAFF AND WHAT’S THEIR BACKGROUND IN THE INDUSTRY?
Myself in the studio full time. I’ve worked and toured through the UK, Europe, US, Australia and NZ over the last 15 years. Core has been established for eight years now. Liz in administration. And we are bringing in another producer this year who I’ve worked with a lot in the past.
The recording of the new Oh Mercy album, Great Barrier Grief, due for release in March, took place over two months at the home studio – literally in his backyard in Santa Monica, California – of producer Mitchell Froom (Crowded House, Richard Thompson). Sydney gypsy punk quartet The Crooked Fiddle Band head off to Chicago in February to record their debut album with Steve Albini at Electric Audio Studios. Albini has, of course, worked with The Pixies, Nirvana, Manic Street Preachers and P.J. Harvey among many.
days were like artists or surgeons as they moved on the tape and made the incision. I’m sure there was a bit of leeway, within a millimetre or something.”
ANALOGUE VS DIGITAL – DISCUSS.
WHAT’S THE STUDIO SET UP YOU HAVE THERE EQUIPMENT-WISE? Monitoring – Lenahan ML1s, AKG 701’s. Mics – AKG C214’s, Audio Technica 37R’s, Rode NT3’s, EV CO4’s, CAD 411/412’s, MK 319, C01, Shure SM57’s and 58’s. Digi console. Avalon, Joe Meek, Focusfite, Pre Sonus, Pre’s, EQ’s Compressors etc.
ANY TIPS FOR ARTISTS ENTERING A STUDIO FOR THE FIRST TIME?
Rehearse! We have three rehearsal rooms here also, good for bands to come in and get comfortable. Demo your songs so you can listen back and pick them apart and make sure everything is working.
Pro’s and con’s. I started out all analogue, riding faders, splicing tape etc. To edit and automate as we can now is great. As long as you have good converters, and the emulation is getting so good. You need a good blend of both.
CAN BANDS BRING IN THEIR OWN ENGINEER OR DO THEY HAVE TO SOLELY USE A HOUSE ENGINEER? I am generally in the studio all the time. I’ve had bands/artists in the past bring in their own ‘producer’ or ‘engineer’ and if everything is running smoothly I’ll leave them to it.
IS THE STUDIO CAPABLE OF HOLDING A FULL BAND AT ONCE FOR RECORDING? Yeah, I’ve done plenty of live recordings in the past, no problem.
WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATION? The studio is definitely set up with bands in your situation in mind. We have kept the rates as low as possible for eight years now, it’s great to be able to offer bands what they need at a price they can afford.
DO YOU HAVE ANY IN-HOUSE INSTRUMENTS AT THE STUDIO ACTS CAN USE, OR IS IT TOTALLY BYO? We have ‘The Wayne’s World Strat’! I won it many years ago off MTV. A few different guitars electric and acoustic, keys with all the sounds you can think of. Generally I get bands to send me their gear list and from there work out what they need or don’t need to bring in.
WHAT’S THE ACCESS TO THE STUDIO LIKE WITH REGARDS TO PARKING, FLAT LOAD, ETC? Plenty of parking straight outside, flat load straight in.
WORKING IN THE STUDIO CAN BE ARDUOUS AND WE’LL NEED A BREAK – WHAT ARE THE AMENITIES IN THE LOCAL AREA? Mall with everything you need, café’s, pubs, beach, everything just down the road. The rehearsal rooms double as lounges too, complete with bean bags, Playstation etc.
WHAT ARE YOUR CONTACT DETAILS? www.corestudios.com.au www.myspace.com/corestudios www.facebook.com/corestudios.com.au
mixes by US and European and Oz producers. Band has management and gigs.
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NEW YEAR, NEW BEGINNINGS Start 2011 with some new beginnings. Learn how to run a music business or your own career at MSIT. 2011 will see the implementation of brand new courses, especially designed to teach students about the music industry in 2011 and beyond. Music Business students will learn how to run a music related business by assisting with the administration of the class business Urchin Entertainment. Students will gain hands on experience in the management of real music artists, how to start and manage their own business, effectively market music using e-marketing and other tools, manage music events, benefit from important copyright and contract information and participate in exciting class projects such as the management of regular gigs, the making of annual CD Original Allsorts and a new DVD project that celebrates QLD music, Verse Chorus Bridge. The Cert IV course has pathways to Diploma and beyond. Courses commence in late January and are filling fast. If it is your New Years resolution to make something of your music career visit the MSIT website: http://www.
BASS PLAYER NOT AVAILABLE FOR FREE ADS. CL looking for keen and creative drummer to start playing live and wanting to make it big. Must want to make originals and be dedicated. Please get in contact if interested, Sam, 0431953894 iFlogID: 10252
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Bass guitarist needed for Gold Coast based rock cover band with private & club gigs. See nextexit.com.au for songs. ACDC, Gunners, JET, RHCP & U2 to name a few artists covered. Call 0412669292 for audition (Professional Attitude a Must!!!!) iFlogID: 10384
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Time Off is Australia’s longest-running street press publication, and has positioned itself as an iconic Queensland brand. For past 18 years...