QUEENSL AND'S HIGHEST CIRCUL ATING STREET PRESS
W E D N E S D AY 19 J A N U A R Y 2 0 11 ~ I S S U E 1 510 ~ F R E E
FLOOD BENEFIT SHOW GUIDE
MELBOURNE SYDNEY BRISBANE
THE BLACK KEYS AMANDA PALMER ROYAL CROWN REVUE OWEN PALLETT
BRISBANE / GOLD COAST / SUNSHINE COAST / BYRON BAY
2007 HOTEL OF THE YEAR - ALIA AWARDS 2007 - QLD JUDGES AWARD FOR BEST OVERALL HOTEL - QHA AWARDS FOR EXCELLENCE
GIVEAWAYS Thanks to Roadshow Entertainment we have five five copies up for grabs of Double Dawn! It’s a Dawn French DVD double pack including French and Saunders: At the Movies – featuring their Silence Of The Lambs, Misery, Aliens and Star Wars sketches. Plus, you also get a copy of Wild West: Series One which stars Dawn French as Mary Tregwednack who lives above her Post Office in the fictitious Cornish village of St Gweep with her neurotic partner Angela (Catherine Tate). Subject Line: DOUBLE DAWN Beyonce’s I Am... World Tour is a full-length concert film DVD lensed during the artist’s record-breaking international concert tour. The DVD puts viewers in front row seats for the most electrifying show on earth. The concert film is an immersive experience, weaving together concert and tour footage from different shows around-the-world. Thanks to Sony Music we have five copies of the DVD to give away! Subject Line: BEYONCE “Life’s not always kind,” a character observes in Another Year and that shopworn but resonant phrase exactly captures the melancholy, but forgiving, message in the newest film from celebrated director Mike Leigh (Secrets and Lies, Vera Drake, Life Is Sweet). In this North Londonset drama, married couple Gerri and Tom have managed to remain blissfully happy into their autumn years but are surrounded, over the course
of the four seasons of one average year, by friends, colleagues, and family - who all seem to suffer some degree of unhappiness. Thanks to Icon Films we have ten double in-season passes up for grabs! Subject Line: ANOTHER YEAR Mikael Blomkvist, crusading publisher of the magazine Millennium, has decided to run a story that will expose an extensive sex trafficking operation. On the eve of its publication, the two reporters responsible for the article are murdered, and the fingerprints found on the murder weapon belong to his friend, the troubled genius hacker Lisbeth Salander.Blomkvist, convinced of Salander’s innocence, plunges into an investigation. Meanwhile, Salander herself is drawn into a murderous game of cat and mouse, which forces her to face her dark past. Thanks to Roadshow Entertainment we have five copies to give away of The Girl Who Played With Fire, the second movie based on Stieg Larsson’s Millennium Trilogy books. Subject Line: PLAYING WITH FIRE US hardcore pioneers (HED)p.e are bringing their eighth album, Truth Rising, to their Australian fans this month. The album showcases (HED)p.e in all their glory – a hybrid mix of metallic punk rock, hardcore and hip hop, and you can catch it live at The Hi-Fi on Friday Jan 28. Thanks to Twenty-Two we have two double passes up for grabs! Entrants must be 18+. Subject Line: (HED)P.E
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.
CONTENTS TIME OFF
Get your music industry news from The Front Line 8 Lowdown – news, opinions, tours, Backlash, Frontlash 10 Legendary rockers Iggy & The Stooges recently reunited with guitarist James Williamson. We quiz him about the band circa 2011 14 Tool have no interest in changing their unique modus operandi 16 We hear all about The Black Keys’ insanely busy schedule ahead of their cancelled tour 16 Baltimore’s Beach House explain what worked when putting together their lauded Teen Dream 18 Sometimes stripping things back is completely natural, as The Decemberists have proved 18 Amanda Palmer figures out why she loves Australia so much 19 It was a busy yet satisfying 2010 for electro-pop princess Robyn 20 Years on, Ben Jorgensen still has no regrets about turning his back on fame 20 Australians think Royal Crown Revue are cool, so they just keep coming back 20 Owen Pallett takes us back to his dark orchestral past 20 Minnesotan blues man Charlie Parr is back for the second time in a couple of weeks, this time for a little longer 21 We examine the working relationship of the heavily hyped Matt & Kim 21
ISSUE 1510 On The Record has the latest, greatest and the not so greatest new musical releases Chris Yates spotlights the best (and worst) tracks for the week in Singled Out
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Cultural Cringe looks at what various fundraisers that are happening in the wake of the Brisbane floods Michel Gondry’s latest film, The Green Hornet, is reviewed The Looking Glass gives a personal recount on the floods Stephen Frost talks about bringing Whose Line Is It Anyway? to Australia for a live tour
24 24 25 25
BACK TO TIME OFF!
We dedicate our Live section to the vast number of upcoming flood related benefit shows 27 Don’t you dare hit the highway without our Big Day Out Map & Times. Don’t you fucking dare 30 Dan Condon gets the dirt on the blues scene from the Roots Down 54 Adam Curley cuts sick with another musical pop culture rant in The Breakdown 54 Lochlan Watt gets brutal in our new metal column Adamantium Wolf 54 Sarah Petchell has enough punk rock to Wake The Dead 54 We take you behind the music Behind The Lines 60 iFlog. Get amongst it 61
CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Front Row Editor: Daniel Crichton-Rouse Editorial Assistant: Dan Condon Contributing Editor: Adam Curley
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EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. ©
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Melbourne-based Staple group have announced the launch of their new entertainment group UNFD (Unified), which will combine the existing Staple MGMT and Boomtown Records arms of Staple. Joining the Staple MGMT bands at UNFD will be the Boundary Sounds roster, meaning that The Getaway Plan, Miami Horror, The Amity Affliction, Philadelphia Grand Jury, Illy, Deez Nuts, Parades and more will be together (Boundary Sounds’ other operations will remain separate). Founder Jaddan Comerford told The Front Line that the launch will not signal in a great change in his processes. “I’m just doing what I always did from when I started, lateral thinking, natural progressions, doing what makes sense, being honest that sort of stuff. I’m still inspired by people like Epitaph and companies like that but this is just a natural progression and it’s much easier for us to make these progressions as a smaller entity… and adapt to the marketplace a lot easier.” The Staple Group name will remain as a corporate brand while Boomtown Records will remain only as catalogue numbers for releases. Recent additions to the personnel include Stu Harvey (from Shock) and Martin Novosel (who brings his acts from Boundary).
What’s the current listening pleasure for the local music industry? A podcast of The Kyle & Jackie O Show from late November where frontdouche Kyle Sandilands ‘interviews’ US R&B diva Mary J Blige without seeming to have a clue who she is. Toward the end of the interview he mentions her appearance on Punk’d. The clearly pissed-off Blige points out that was Missy Elliott and, raising her voice to be heard over Sandilands, she yells at him, “You don’t even know who I am. You don’t even know what my face looks like.” The two hosts can then be heard cackling about the incident seemingly oblivious to all the inferences that came with the mistake.
50 CENT MAKES A DOLLAR OR TWO The controversy surrounding 50 Cent’s Twitter account continued when the rapper posted about struggling company H&H Imports, which 50 aka Curtis Jackson owns a considerable amount of shares in. “You can double your money right now. Just get what you can afford,” he said, the resulting jump in value meaning that Jackson had earned a reported $USD8.7 million from the Tweet. However as soon as he stopped tweeting the prices dropped 36 percent, after the original 290 percent increase. The New York Post reports that H&H hasn’t turned a profit to date. 50 did advice followers to be wary of investing later, though, posting that it would be advisable to “Do ur homework”.
UNIVERSAL DONATE TO LIBRARY Universal Music have announced that they will gift over 200,000 master recordings from the 1920s-1940s to the US Library of Congress. When they do the rare recordings will then become available to the public over the Internet. Featuring original and unreleased recordings from Billie Holiday, Ella Fitzgerald, Louis Armstrong, Bing Crosby and more the Library will digitalise the collection to stop degradation of quality and for many of the takes it will be the first time they have been given this treatment. A study from the Library previously found that only 14 percent of recorded material prior to 1965 was available commercially across all platforms.
After a serious and mysterious illness stopped him from touring America and amounted in him shying away from the music industry, details for Gurrumul Yunupingu’s second album have been announced. Titled Rrakala, it has been confirmed for a release Friday Apr 8 – later in the year internationally. The name Rrakala comes from a sub-group of the Gumatj clan and the songwriting is expected to be reflective of Yunupingu’s strong ties to Aboriginal heritage. His debut album proved something of a revelation, certified double platinum it won ARIA Awards and has sold half a million copies worldwide. He will be performing at Byron Bay’s Bluesfest under his own moniker and with the Saltwater band.
Police in Victoria are searching for two men accused of sexually assaulting a first aid office at the Summadayze festival on New Year’s Day. The Age reports that one man lured the officer asking for aid to a ‘sick’ friend before attacking her.
BIG BAD MAJORS A lawsuit against the four major music labels – Sony, Warner, Universal and EMI – that accused them of price fixing has been allowed to go ahead by the US Supreme Court. The plaintiffs – not named – will argue that the four convened in the early 2000s to keep download prices high and not allow people to burn purchased songs onto discs at a time pre-iTunes and therefore when competition was beginning to develop. The case dates back to 2001 when Warner and EMI supported the MusicNet service whilst Sony and Universal developed Pressplay for themselves in the wake of Napster. CNet quotes the plaintiffs as “[The labels] sold music directly to consumers over the Internet through these joint ventures. Both the joint ventures and the Recording Industry Association of America provided a forum and means through which defendants could communicate about pricing, terms, and use restrictions.”
GOLDEN JAY Amongst a range of Jay Reatard material set to be posthumously released is a 14-song live album recorded at the Golden Plains festival in 2008. A documentary film, greatest hits package and rare 7-inches will also be released, the records and Golden Plains album only available to members of the Shattered Club subscription series that Reatard started. Memberships are still available through his website. Jan 13 marked the first anniversary of the garage rocker’s death.
SNAP THE MAN Nick Cave, Warren Ellis and company in Grinderman are looking for an aspiring photographer to capture their upcoming show as the official house photographer. The band, who are touring as part of Big Day Out, are calling for links to online portfolios to be sent to firstname.lastname@example.org with name, contact number and which show you’d like to attend.
VALE STEVE PRESTWICH Cold Chisel drummer Steve Prestwich has died from a brain tumour, aged 56. Originally born in Liverpool, he moved to Adelaide in 1971 when his family migrated and was a founding member of the band Orange that would eventually become Cold Chisel. He’s credited with writing the tracks When The War Is Over, Best Kept Secret and Forever Now. Following Chisel’s break-up in 1983, Prestwich spent a stint with the Little River Band. Releasing two solo albums – Since You’ve Been Gone (2000) and Every Highway (2009) – in between Cold Chisel reformations, he was part of the Cold Chisel that had reformed and performed last year, and whose new album is expected for this year. The band released a statement on their website saying that the members were “shattered” with the news. During the last decade he had been and on and off regular of the Sydney scene, holding down a Thursday night residency at Rozelle’s Bridge Hotel in 2004. Speaking to Drum Media’s Michael Smith last April ahead of his launch tour for Every Highway he said, “I’d kind of reached the stage where I knew a lot of these songs that had percolated to the surface suggested that they should all be together. There was a kind of a theme running through everything, and I never imagined that that would be the case. So I had the songs but I knew didn’t necessarily just want to go into a studio with a band and record a bunch of songs. I knew I had to try something a little bit different because in a way the songs were saying, ‘we need something a little bit different,’ but what that was I had absolutely no idea at all.”
VALE HARVEY JAMES Sherbet guitarist Harvey James died Saturday Jan 15 after a battle with lung cancer. The news was
confirmed by Harvey’s daughter Alexandra James on a dedicated Facebook support group. “We would to thank everybody for all the wonderful support over the past six months. The love has been overwhelming. Rest in peace my gorgeous, funny, amazing father. We will miss you everyday forever,” read the post. After becoming known on the Australian scene in the early 70s in a range of bands, Harvey joined Sherbet in 1975 after guitarist Clive Shakespeare left. Already a huge band in Australia, their next album Howzat went on to become the band’s most successful record, spending two weeks atop the album chart, the single and title track forever ingrained into Australian pop history. The band changed their name in the following years (Highway and The Sherbs) but never hit the same peaks of Howzat. James left the band in 1982, two years before they disbanded and became a sought-after session guitarist. He was due to play the Gimmie The Guitar concert with Sherbet mid-February and the Facebook page has been inundated with fan tributes since the announcement.
VALE TRISH KEENAN Warp Records posted an announcement on their website over the weekend to report that Broadcast member Trish Keenan had died on Friday, age 42, after contracting pneumonia. According to reports from the BBC and Variety, Keenan is believed to have gotten sick with the H1NI virus during a recent tour of Singapore and Australia.
AMERICA NO SICK O’ PUPPIES Two Sydney artists sit side-by-side in the US Hot 100 this week. At the end of its cycle at 66 is Yolanda Be Cool & D-Cup’s We No Speak Americano while on the up at 65 is Sick Puppies’ Maybe. Sick Puppies are also in the US Heatseekers Chart, Radio Songs, Adult Pop Songs, Rock Songs and Pop Songs charts. Kylie Minogue sits at 21 in US Dance/Club Play chart with Better Than Today.
Wednesday 19th January
Pocket Music Hunz | Dot.Ay | Potato Master Mahal Kita + much much more
Thursday 20th January BOYS AND GIRLS Time Has Come Tomb of Doom Tyrants $12 /$10 on door
In the UK, major labels Sony and Universal have announced plans to release singles the same day as they hit radio in an attempt to curb piracy. Universal’s Chief Executive David Joseph told The Guardian, “Wait is not a word in the vocabulary of the current generation. It’s out of date to think that you can build up demand for a song by playing it for several weeks on radio in advance.”
MISUNDERSTOOD METAL Texas metal outfit Drowning Pool are “devastated” that the killer in the recent Arizona shooting used their song Bodies in a YouTube video he posted shortly before the attack. “We were devastated to learn of the tragic events that occurred in Arizona and that our music has been misinterpreted, again… For someone to put out a video misinterpreting a song about a mosh pit as fuel for a violent act shows just how sick they really are,” a post on the band’s website read.
NO LOVE FOR TWITTER Shortly after being slapped with a defamation case by fashion designer Dawn Simorangkir, Courtney Love’s Twitter account has disappeared. Reports vary as to whether the account was suspended or Love took it down of her own accord, but followers say her last post outlined her intention to shut down all social media.
FEMALE FORCES The first round of speakers for the Women In Music forum, organised by Q Music, have been announced. Artist manager Cathy Oakes, label owner and manager Julia Wilson, manager and radio presenter Maggie Collins, triple j Magazine editor Samantha Clode, Queensland Folk Federation general manager Amanda Jackes and artists Adele Pickvance, Seja and McKisko will offer their insights and experience into the industry. It will be held Tuesday Mar 8 at the Judith Wright Centre Of Contemporary Arts.
Saturday 22nd January The Sunbury’s Charlie Hustle Aniki
Sunday 23rd January Special Ticketed Event Sounds of Detroit: Phat Kat + Guilty Simpson + Special Guests
Monday 24th January BAR CLOSED
648 Ann Street Fortitude Valley QLD 4006 Much thanks to Street Press Australia and their support of flood victims and businesses during this difficult time. 8
Friday 21st January Lunch Tapes Royal Zephyr Van Merit | Dj Bacon
Tuesday 25th January
Ego & Mr Nice 4 deck Audiovisual Smack-down CUTLOOSE
BLANK SPACES With last week’s layoffs and a sale just around the corner, SCOTT FITZSIMONS looks at the state of embattled social networking giant MYSPACE.
onfirming the rumours reported in The Front Line last week, News Corporation-owned MySpace fired nearly half its staff last week, 47 percent to be exact. Five hundred employees were let go, notably international offices – including the Sydney-based Australian one – were part of that 500. It’s a drastic change from when the website was two years old and at the peak of its power, when it was bought by News Corp. for a monumental $USD580 million in a move that was meant to give the media giant a foothold into the social media world. But almost as soon as the sale was made, the website’s decline began. Last year’s figures made difficult reading for MySpace’s executives. In the quarter that was recorded at the end of September, the arm of News Corp that housed MySpace had reported a loss of $USD156 million and advertising revenue down $USD70 million from the year before. Chief Operating Officer Chase Carey was clear about the company’s stand in November when he said, “We’ve been clear that MySpace is a problem… The current losses are not acceptable or sustainable. Our current management did not create these losses but they know we have to address them… it is something we look to address in quarters, not years.” This latest move is that address. A spokesperson for the website told Reuters last week that they “are looking at a number of strategic options for the business, including a sale, merger or spinout.” Late last year the site underwent a makeover to try and simplify the experience and incorporate itself – like every other website – into Facebook’s internet. But while it looks cleaner, loading times haven’t been rectified and it seemed rushed and poorly thought out. It definitely didn’t work in bringing people back. Much will be said and written about how Facebook’s rise is responsible for the demise, but it’s as much MySpace’s fault for letting them steal their base of users. Even though they tried, initially Facebook were never able to capture the music-focus that MySpace did so well and attempts to introduce band pages and stream tracks were met with little to no enthusiasm, partially because MySpace did it so well. But Mark Zuckerberg’s Facebook was able to control how people used Facebook and in time they transferred over to the streamlined and cleaner approach from the creative clutter that MySpace allowed. Originally an exploited bit of coding, it became standard fare for each and every MySpace page to be customised with HTML and then beyond. It wasn’t long before every page took far longer than it should to load and you were usually greeted with pop-ups, moving backgrounds and music of variable quality that would start playing on its own accord every time you opened a page, band-based or otherwise. In not being able to control their millions of users, as they moved away – and have all ended up on Facebook – it was only
the band profiles that were keeping people coming back. As soon as the rest of the internet found a way around to host those services elsewhere (brilliantly quick and simple music streaming website Soundcloud etc.) MySpace was always going to be in trouble. It shouldn’t be forgotten that MySpace had ingrained itself into the music industry and done good things for it. It killed off the need for a band to have their own website, there was no reason to pay for web space and a domain name when MySpace provided everything you needed and fans could want, particularly the ability to stream music which at the time was a difficult thing to do on your own. Forums and discussion boards were replaced by comments and messages, allowing fans to get closer to the artists than the fan-driven online community that came with forums. It gave grass-roots bands a presence – it became the norm to have a slick MySpace page before you had a set’s worth of songs – and helped those scenes develop as bands networked with one another as much as they did with fans. Many emerging – especially younger – promoters used MySpace as a platform to get into the industry. You didn’t have to pay for flyers to be printed and could target and distribute them far more effectively than you could by handing them out at shopping centres or high school lunchtimes. Bands even roped in people to ‘run’ their MySpaces for them by adding friends (usually targeted from lists of similar bands) and promote upcoming shows/releases. The community’s still evident on Facebook and other sites, but it started at MySpace and will never be as strong as it was during the excitement of those initial years. (Being in touch or being able to help out your favourite band was a novelty then, it’s almost an expectation now if you so desire.) So what next? MySpace is not dead just yet and it’s likely that a sale (Google and online game developer Zynga are rumoured to be in the market) and a re-evaluation can ensure the website remains in existence as the entertainment hub the recent re-design is pushing it as. But its relevance to Australian audiences looks to be almost certainly over. When The Front Line contacted MySpace employees for comment following the lay-offs we were immediately directed to the US office and then over the next couple of days bounced around (at last count we’d been in contact with three public relations personnel) as they scrambled for responses to questions that don’t appear to have positive answers yet. It was explained that MySpace International will cease to exist in its current format and the local marketing and advertising branch will be outsourced to a local company. But regarding the editorial aspect, now that the website’s Australian editorial staff has left there are big questions on how and whether local content will be featured at all. Will their support of local events continue and will there be any dialogue with anyone beyond the major labels, if them, at all?
IN BRIEF Cold Chisel drummer Steve Prestwich has passed away just two weeks after being diagnosed with a brain tumour. He passed away on Sunday at the age of 56. Sherbet guitarist Harvey James has lost his battle with cancer, passing away on Saturday at the age of 58. Trish Keenan of UK psychedelic dream pop group Broadcast has passed away from pneumonia at the age of 42. Rumours are circulating that she contracted swine flu while fl ying from Australia to the UK in December.
PEOPLE ARE STRANGE Strange Tourist, the debut solo record from The Drones’ frontman Gareth Liddiard, was one of the most revered records of 2010. It is a stunningly stark piece of work that sees the writer as his lyrical best; his sparse, often bleak songs at a supremely high calibre. The singer-songwriter also impressed greatly when he made his way up to Brisbane on the album’s launch tour towards the end of last year and now he is getting back up north to treat us to another undoubtedly incredible performance at The Zoo on Saturday Mar 26. This time he will have the wonderful Dan Kelly in support, who will likely be worth the price of admission alone. Tickets are available from OzTix and outlets right now for $25 + bf.
BEAUTY NEVER FADES If you were keen to see The Beautiful Girls on Saturday night then you would have been quite upset by the postponement of their show. You need not worry too much though, they will be back before you know it with a show at The Hi-Fi already organised for Friday Mar 18. Hold on to your ticket if you had one for the weekend’s show and you are still keen to go, otherwise you can take it back to where you bought it for a refund.
DISTORTED RHYMES California punk legends Social Distortion are back. With their first album in seven years Hard Times And Nursery Rhymes set to be released on Friday and an upcoming appearance at Soundwave (we’re not letting them bail at the last minute this time) this record proves that there’s plenty of fight left in these guys yet. Catch the record streaming in full on TheMusic.com.au now before it comes out. Gear up for big nights ahead.
Legendary blues singer Etta James has been diagnosed with dementia and leukaemia.
TAKE IT TO THE BANK The tragedy that befell upon our state last week is not to be understated. Lives were lost, livelihoods ruined and an unspeakable amount of damage was done not only to our property but to our spirits at times as well. But we are banding together and our resolve will not falter in these trying times. A huge number of benefit shows have already been hastily organised down south, but there are a few in the works up here as well, including the sensational Brisbane Music Community Presents ‘Flood Bank’: Brisbane Music Benefit Gig for 2011 Queensland Flood Victims. Bands like Violent Soho, pictured, Spiral Stairs (DJ set), Evil Eddie, Ball Park Music, Inland Sea, Texas Tea, The Baby Seal Club, Bang Bang Boss Kelly, Grand Atlantic, The Medics and Blonde On Blonde will be appearing at this massive show that will take place at the Old Museum on Thursday Feb 3 from 5.30pm. Tickets are available for $30 + bf from OzTix right now, though you can choose to pay $50 or $100 if you wish to, and all proceeds from these ticket sales as well as money raised over the bar will go to the Premiers Relief Fund. There is no better way to show your support and band together.
Aretha Franklin has adamantly told Access Hollywood that she does not and did not have cancer, following plenty of speculation about her mystery illness. Will Ferrell and John C. Riley are making a hip hop album, assuming their characters for 2008’s Step Brothers. Gorillaz have added new creature The Evangelist to their line-up. The character was created by fans on the band’s website. Michael Jackson’s doctor Conrad Murray will stand trial for the King of Pop’s involuntary manslaughter.
The Dire Straits classic Money For Nothing has been banned from Canadian radio for breaching the human rights clauses of the Canadian Association of Broadcasters’ Code of Ethic.
SILVER SIDE Another Brisbane Soundwave sideshow has been announced in the past few days and, true to form, it’s absolutely massive. Canadian five-piece Silverstein, pictured, have been flying the flag for good, honest, working class hardcore punk rock for the best part of a decade now and they’re just as popular as they ever have been. The band have always done particularly well in our country, something about their vicious but melodic musical attacks just seems to connect with us. They head up a massive triple bill while they’re in Brisbane, with the unique post-hardcore/screamo sounds of Blessthefall and the wild electronic, synth-fuelled punk rock of I See Stars completing this mammoth bill. It all goes down at The Hi-Fi on Wednesday Mar 2, tickets can be purchased from the venue, Moshtix and retail outlets from Thursday morning.
A NEW LOVE
SONGS FROM THE YARD We bet you’d never think you’d say that you once saw You Am I, pictured, at Ric’s Bar. Well have we got news for you. The first ever Ric’s Big Backyard Festival is taking place in Autumn of 2011 and the first announcement is an absolute blinder! The aforementioned gods of Australian rock’n’roll You Am I are headlining the first instalment of what will hopefully become a regular fixture on the Brisbane rock calendar. Along with them is the first show in 12 years of Brisbane legends Pangaea (the group that features Regurgitator’s Ben Ely, Resin Dogs/Wolfmother drummer Dave Atkins and Elevation’s Jimi Sinclair), Kiwi dynamos Die! Die! Die!, local legends (and Ric’s regulars) SixFtHick, hyped-up fresh faces Guineafowl, Big Scary and King Cannons as well as local wonders The Cairos, We All Want To, Mosman Alder and The Mercy Beat, with plenty more acts to be announced. There are a limited number of tickets for this festival, which takes place over three stages in the courtyard behind RG, as well as both upstairs and downstairs at Ric’s Bar, they are available from OzTix for $75 + bf. It all happens on Saturday Mar 26 and is proudly presented by Street Press Australia.
Gympie’s favourite son Darren Hanlon released his latest record I Will Love You At All just late last year, but he has decided to issue another release hot on its heels, with the Butterfly Bones EP the latest addition to his expanding list of releases. The digital EP will of course feature the title track, the third single to be lifted from the aforementioned record, as well as a couple of new tracks and some stripped-back versions of the great Scenes From A Separation. Hanlon is just back from a US tour that saw him support acts like Billy Bragg, Tim Kasher, Sean Lennon and Corin Tucker over three months, so he is welland-truly in form when it comes to performing and you can see this for yourself when he plays The Zoo Saturday Feb 26 and the Lismore City Bowling Club Sunday Feb 27. Tickets for The Zoo show are available from OzTix now for $21.95 and Lismore tickets from flippinyeah.com for $17.
SWINGING INTO... You’ve probably not seen local noise maker AXXONN around town all that much of late; fact is, he’s been laying low as he prepares to head overseas for an indefinite period of time, fulfilling the touring commitments that have been put upon him by his international record labels. But he’s not the kind of person to leave the country without saying goodbye, so he has arranged to head off around the country for one last time before he heads off for goodness knows how long. When he’s back up here you can catch him doing what he does at Toowoomba’s Spotted Cow on Friday Feb 18 and then in Brisbane at Woodland on Saturday Feb 19. Joining in on the action at both shows are locals Ambrose Chapel and Die On Planes. Presented by Street Press Australia.
JUST WHAT THE DOC ORDERED They were named the Canadian Country Music Group of the Year in 2010 and now they are coming to Australia to show us exactly what it is that makes the Canucks go wild over Doc Walker. The band are in Australia for the Tamworth Country Music Festival and to launch their brand new DVD Doc Walker’s Doc Party: Live In Kelowna and while they are in the general vicinity of us they have decided to head up to Brisbane and play a special side show at the Pioneer Village Country Music Club in Petrie on Sunday Jan 23. Busby Marou support.
Blood Pressures, the fourth album from The Kills, will be released on Friday Apr 8. Jay Reatard’s record label Shattered Records will issue two posthumous releases in the coming weeks; a 7-inch single featuring two unreleased tracks and a live recording of his Golden Plains set in 2008. A documentary film, reissues and a ‘Greatest Hits’ record are also set to be released in 2011. Powderfinger have said that would politely decline any offers to reform for a Flood Benefi t concert. The band will issue a previouslyunreleased single to raise funds for the Premier’s Flood Appeal. The Barnes family will issue an album to raise money for fl ood victims. Songs from Jimmy Barnes, Mahalia Barnes, EJ Barnes, David Campbell, Diesel, John “Swanee” Swan and Ben Rodgers will feature. AJ McLean of the Backstreet Boys has checked into rehab.
COHEED TAKE A SLASH When it comes to bona fide guitar gods, surely no one is game enough to question the presence of the legendary Slash, pictured, on that list. His tenure with Guns N’ Roses placed him up there with some of the most iconic guitarists of all time, his signature riffs soundtracking the youth of many a hard rock fan. But since his departure from that group some 15 years ago he has kept himself busy with a huge number of projects, from Velvet Revolver to Slash’s Snakepit and now his completely eponymous solo project, under which he released a self-titled solo record in 2010. Slash is one of the headline acts at this year’s Soundwave festival, but has now announced he’ll also play a massive Sidewave show while in town as well. Along for the ride are the enormously successful progressive punk rockers Coheed And Cambria, whose science fiction-themed brand of epic post-hardcore and highly energetic live shows have earned them considerable praise all over the world. Opening things up are Las Vegas glam revivalists Taking Dawn. Tickets are on sale from Ticketek as of Friday morning and considering how quickly Slash’s last show at the venue (without these amazing supports) sold out last time, you will want to hurry!
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IN BRIEF The next season of The Celebrity Apprentice will feature musicians Meat Loaf, Dionne Warwick, David Cassidy, La Toya Jackson, Lil Jon, John Rich and Sugar Ray (lol) singer Mark McGrath. Rumours abound that Muse’s Matt Bellamy and celebrity girlfriend Kate Hudson are expecting a child. They have been together nine months. Dan Deacon will score the latest Francis Ford Coppola film Twixt Now And Sunrise.
THE HEAVIEST WAVE With the Soundwave Festival all sold out for 2011, organisers have taken it upon themselves to announce the first of the Sidewave events to hit Brisbane in just over a month’s time. Suffice to say, they’ve got us pretty excited. If you have any interest in good quality heavy metal then the names High On Fire, pictured, and Kylesa will be awfully familiar; both bands are considered very close to the absolute top of the game when it comes to heavy, sludgy, beautifully punishing heavy metal. Likewise if you’re a fan of hardcore/powerviolence/d-beat/crust, the name Trash Talk will likely make your ears prick up; their energy is infectious and if you think their records are good then you oughta see them play live. We are awfully excited to announce that all three of these bands will be dropping by Brisbane’s The Hi-Fi on Tuesday Mar 1; tickets are available from the venue, Moshtix and outlets from Thursday morning.
Trent Reznor and Atticus Ross have won the Best Original Score – Motion Picture Golden Globe award for their soundtrack to The Social Network.
LOST YOUR KEYS There were undoubtedly thousands upon thousands of people who were very excited about seeing The Black Keys on their upcoming Australian tour, both at their Big Day Out shows and their sold out show set to hit The Tivoli on Monday night. Well, they’re tired – exhausted even – and as such they have decided to pull out of the entire tour. Not all is lost though, Paul Dempsey has been added to the massive festival line-up, reforming his band for the occasion. We will let you know when we know more regarding refunds for The Tivoli show.
REFUNDS! Obviously a few shows have been cancelled due to the tragic floods that hit our city last week. If you had tickets to see the Jon Spencer Blues Explosion at The Zoo or Thee Oh Sees at Woodland on Tuesday then you can get a refund from the point of purchase, likewise if you had a ticket to see Jason Collett, Dead Letter Chorus and Zeus at The Zoo on Thursday night.
DEF STILL ON Mos Def was another victim of show cancellations last week but he has rescheduled his gig and will now play at The Hi-Fi on Wednesday Jan 26 with support from 2 Dogs and Seven w/ Crate Creeps – all tickets for his show at The Tivoli are still valid or you can grab a refund from point of purchase.
LAST LANEWAY LOVE There has been one more announcement for the upcoming St Jerome’s Laneway Festival line-up, with some weird and wonderful action set to go down on the Red Bull 9 Lives Stage all day and night, courtesy of local promoters Happy Endings. Levins, Canyons, Nile Delta, Mitzi (DJ set), Magic Happens, Spiral Stairs (DJ set), Dot.Ay, Woodland DJs and Lobotomy will all deliver what they do best at the festival that happens on Alexandria Street, Fortitude Valley on Friday Feb 4. Tickets are still available from lanewayfestival.com.au for $110. Maps and timetables are also up there now, should you feel like a glance.
Trent Reznor has announced that he and Atticus Ross will score the forthcoming film adaptation of The Girl With The Dragon Tattoo. There will be a video released for every song on PJ Harvey’s upcoming album Let England Shake. Björk has partaken in a three day karaoke marathon as a publicity stunt to protest against Canadian energy company Magma Energy, who are looking to take over Iceland’s local energy company. After tweeting his followers to invest in H&H Imports, 50 Cent made their price soar 39 cents. With 30 million shares, he could’ve pocketed almost $9 million if the value hand’t dropped 48 hours later.
SOMETIMES LIFE’S OKAY Tragedies such as this can really bring a community together and it is very important to accentuate the positive things that such disasters can bring. The showing of supporting from the Brisbane music community has been nothing short of inspirational (the huge number benefit shows listed at the back of this magazine is proof of that) and one of the biggest benefit shows is Float On... A Brisbane Flood Relief Benefit. This mammoth show features performances from stalwarts of the scene such as the legendary indie-pop heroes of Brisbane Custard, pictured, the always amazing genre defying Regurgitator, indie-rock mainstays Screamfeeder as well as newer (but still insanely impressive) names Kate Miller-Heidke, Hungry Kids Of Hungary, Gentle Ben & His Sensitive Side and Little Scout and will take place at The Hi-Fi on Sunday Feb 6. Tickets are $35 + bf and available right now from The Hi-Fi website, Moshtix and outlets.
NOTHING WORKING AGAINST THEM NOW When Against Me! cancelled their Australian tour that was set for late last year, they made a lot of people very unhappy and prompted a large number of questions as to why they would pull the pin at such a late stage, some even questioning whether the band would live on. Well anyone thinking it was a sign of the band’s death ought to shut up right now as the band have rescheduled the tour and will be hitting our shores come May. The band are out here on the back of their Butch Vig-produced White Crosses, a record that saw them take a further leap into the ears of the mainstream and one which has caused a lot of discussion about the band’s latest direction. Despite their musical changes, we hear they’re still electrifying on the live stage and you can find out just how so when they play The Hi-Fi on Thursday May 5 with support from very special guests, Minneapolis punks Off With Their Heads. Tickets are available from the venue’s website, Moshtix and outlets from Friday morning for $37 + bf.
BARRY IS BACK
STRING ‘EM UP
When The Revival Tour came through Brisbane last year, each of the singer-songwriters on show impressed greatly, but there was one hidden gem that surprised quite a few people who were not familiar with his work previously. Tim Barry turned in a sensational performance at the show in question and while he wasn’t the biggest name on the bill his was certainly the one that was on everyone’s lips after all was said and done. Barry must have enjoyed himself while he was here because he’s on his way back in April for a series of intimate solo shows that ought to please fans both of his former band Avail and his solo material, as he’ll no doubt be delving into plenty of material from both. To make things just that much sweeter, joining him on the tour will be Hot Water Music’s Chris Wollard and his Ship Thieves partner in crime Addison Burns. You can catch them upstairs at Rosie’s on Saturday Apr 2.
People caught looting during a time of emergency like this should just be handed over to the people to vent our frustrations. To steal from people already hammered by tragedy is fucked up beyond belief…
The outpouring of community spirit as we begin to rebuild after the floods has been absolutely unbelievable. They say every cloud has a silver lining, and these testing times have definitely brought us closer together as a city…
The people attempting to put the floods and ensuing carnage down to some form of divine retribution can take a long walk off an extremely short pier, hopefully one floating down the river. This sucks, but it sucks because of science…
We’re very quick to jump on Anna Bligh’s back when she makes a meal of something – which has been often – but kudos where kudos are due, the way she handled herself and her leadership during this disaster has been quite inspirational. Yes, that hurt…
VALES Tragedy also struck the Australian music industry this week with the sad passing of both Cold Chisel drummer Steve Prestwich and former Sherbert guitarist Harvey James. Bothe were shining lights of our scene in their time and will be sorely missed….
NO BULL STEPHEN PRESTWICH
The fact that an adult bull shark was spotted swimming down the main street of Goodna is beyond awesome. There should be more of it in all urban areas, bring that shit on…
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More than 35 years after the original dissolution of IGGY & THE STOOGES, guitarist JAMES WILLIAMSON was tapped on the shoulder to leave his lucrative day job and get the band back together. He tells STEVE BELL how his initial trepidation quickly turned to exaltation.
GIMME DANGER A
brief overview, if you will. In 1971, four years and two albums into their turbulent career, notorious Michigan-bred rockers The Stooges underwent a tumultuous transformation that eventually saw them rebranded as Iggy & The Stooges. Original bassist Dave Alexander had been fired the year before after one riotous indiscretion too many (the thought of anyone being kicked out of The Stooges for hedonism at the time beggars belief), so – after a string of temporary line-up changes – original guitarist Ron Asheton (unhappily) moved to bass and recently-added second axe-grinder James Williamson took over main guitar duties. The band was rounded out by drummer Scott Asheton (Ron’s younger brother) and, of course, frontman Jim Osterberg, better known to all and sundry as Iggy Pop.
This new incarnation of the seminal outfit released one album – co-written by Pop and the theninexperienced Williamson – which dropped in 1973 and was titled Raw Power. Mixed by David Bowie and marred by controversy from the outset, the record was a commercial flop at the time – despite containing such incendiary numbers as Gimme Danger, Search & Destroy and the title track – and the band eventually hit the wall, disbanding for good in 1974. History, however, was kind to The Stooges. Ignored or even reviled during their original tenure, over the years their powerful and innovative music gradually began to receive the recognition that it so richly deserved. The band’s burgeoning legacy eventually warranted – nay, demanded – a reunion and, in 2003, the original line-up (minus the long-deceased Alexander, replaced on bass by Minutemen legend Mike Watt) reformed and began touring the globe, introducing new generations of fans to the music of their first two albums (1969’s self-titled debut and 1970’s Fun House). Then more tragedy struck in January 2009, when Ron Asheton passed away suddenly from a heart attack. The Stooges could be no longer, but in a move that mirrored history, Pop once more looked to its offshoot Iggy & The Stooges as the vehicle to continue expressing his nihilistic vision. Williamson – who post-Stooges worked sporadically on a couple of other projects with Pop including the pair’s 1974 Kill City album – had left the music industry completely, forging an incredible career in the field of electronics, which eventually found him holding down the role of Vice President of Technology Standards at Sony. When the inevitable call came through, however, it wasn’t long before he found himself dusting off his electric guitar and preparing to take a step back into his own, long-forgotten past.
THE STOOGES LIVE IN THE UK, MAY 2010
“I’m having a ball, you know,” the laidback Williamson tells of his rejuvenated rock’n’roll career. “We’re playing good and we’re having fun, everything’s good. We’re not young guys anymore and we had a lot of water under that bridge, but I think we’re over all that now and it’s just kinda fun to be hanging out and playing with your old buddies from when you’re in your twenties.” Williamson admits that despite enjoying having the band back together, it initially wasn’t a clear-cut decision to revisit his past, with the primary reason for reconnecting with his former bandmates merely to mourn the passing of a long-term friend and ally. “No, it wasn’t easy actually. It was series of things that enabled it to actually happen at all,” he recalls. “At first we weren’t even talking about [getting back together], we were just talking about the funeral arrangements and all that kind of stuff. And then a couple of phone calls after that Jim started talking about whether I’d be interested in playing – at the time I was still working for Sony, so despite being flattered by the offer I wasn’t available. Then in a kind of strange alignment of the planets, I guess, with Sony not being immune to the economy they started handing out early retirement packages – they were voluntary but it was a sweet package, so I just said, ‘Okay, I’ll take it’. Then I called Jim back up and said, ‘You know what, I’m available’. So there you go.” And of course there was the small issue of Williamson not having played guitar for a couple of decades. Fortunately, it came back easily, almost – but not quite – like riding a bike. “It’s a little tougher than that,” he laughs. “Luckily I had the luxury of having several months to get back in shape, and I had some help – I had a local band here where I live that offered to rehearse with me, because it’s different rehearsing with a band than by yourself. So we got all of that going, and then The Stooges started rehearsing and we kind of had a target – our first job was San Paulo, Brazil in September of 2009, so we had to kind of whip everything into shape for that. You know, by the time we did it we were rolling.
“In my career back in the day I never played for more than maybe 2,000 or 2,500 people. I actually did a live show – a warm up show – in September 2009 with this other band and there were probably only 300 people there, because it was a really small place, and then my next show jumped to 40,000! It was kind of like whiplash, but it was fine – when you’re playing in The Stooges you don’t have time to think about the crowd, there’s too much going on. You’ve got to pay attention to what you’re doing.” But it’s not only the size of the crowds that must have seemed surreal for Williamson, but also their attitude towards the band themselves. One only need listen to Metallic K.O. – the live album that documents their last show in the ‘70s – to know that their crowds at the time were often openly hostile to The Stooges, with no sign whatsoever of the love that they find emanating from the adoring throngs before them now. “It really is quite bizarre,” Williamson marvels. “Sometimes we would get a good audience back in the day, but we got bored very easily and we always played our latest songs as much as we could, and that would make it so that the audience didn’t usually know the music that they were hearing on any given night. As entertainers we left a lot to be desired. That’s on top of the fact that we were unusual and unfamiliar too; it was very different back then. Now everybody has had 30 years to get familiar with the music and they’re also familiar with the sound. I think
so many people have imitated The Stooges that it’s a kind of familiar sound now and we kind of sound contemporary really. It’s very strange but it’s true.” Equally strange for Williamson must be the gradual canonisation of Raw Power, which stiffed at the time but has since been gifted legendary status. He maintains that while he was always proud of the record, he had no idea that it would become such a template for heavy rock. “Well, it was very difficult for me because I didn’t have any context,” he mulls. “That was my first album ever, so I hadn’t been in a studio before except to record a couple of demos and stuff. I always believed in all of our songwriting and we believed in ourselves – that was an important part of being able to sustain all of that ridicule for all those years – but I couldn’t have known the impact of what we were doing would still resonate all this time later. But like I say, we always believed in what we were doing, so it’s fortunate for us that people agree with us all these years later. “We got dropped by our label after the album’s release, although it took them a while. We had come back to the US [from a stint in the UK] and actually split up with our management team and we were out touring – we had actually gone through two other management teams by then and CBS did try to host part of the tour and tried to get something going, but ultimately they passed on the next album. I can’t blame them for that – they didn’t make any money on Raw Power; at the time the sales were terrible. These days when they’ve re-issued the
album I think they’re doing okay with it, so finally it became a success. We got a gold album in the UK and a platinum album in France and blah, blah, blah, but it took all these years for all that stuff to happen.” Now, amazingly, Iggy & The Stooges are looking to re-establish themselves as something more than just a nostalgia act, although anyone who has seen their powerful shows over the last 12 months will attest that there is nothing at all lacking from their current persona. “I’ve been writing a lot of riffs – I’m about to head back into the studio to mix some more of them,” Williamson reveals. “Our basic agreement between the three of us – myself, Jim and Scott – is that we want to record some stuff, but unless all three of us agree that it’s up to par with the things that we’ve done in the past then we’re not going to release them. So we’re just going to try and see if we can’t come up with a song or two. Albums are sort of meaningless in this day and age, so we want to start out just with a single – a song or two – and release that and take it from there. We’ll see what happens; we’re trying hard and if we can come up with something we like then we’ll definitely put it out.”
WHO: Iggy & The Stooges WHERE & WHEN: Big Day Out, Gold Coast Parklands Sunday Jan 23
Sounds Like Summer
Fill your summer with critically acclaimed music, out now through Inertia.
“Hits harder than a SCUD missile” Vogue
We Are Born
Delusions of Adequacy
effervescent and confounding… a true pop superstar”
“The best thing to happen to roots music since Gillian Welch”
“A startling, astonishing work of genius… one beautiful piece of art”
“So many great things about this album it's nearly impossible to list them”
“Awash with luscious four-part harmonies and catchy melodies”
“Grunge music hasn’t sounded so real for a very long time”
Justin Townes Earle
“The best thing the band has done. They’ve cracked this one into the stratosphere”
Harlem River Blues
King Of The Beach
WE ARE BUT MEN TOOL’s dense, miasmic art-metal has now been confounding audiences for over two decades. Ahead of the band’s latest run of Australian dates, MATT O’NEILL attempts to breach the band’s inner sanctum with guitarist ADAM JONES and bassist JUSTIN CHANCELLOR.
From those inauspicious beginnings, however, Tool would grow increasingly more complex and enigmatic with each passing release. 1996 sophomore album Aenima would see the band simultaneously develop in two seemingly contradictory directions – fusing black humour, cynicism and an interrogation of social authorities with labyrinthine, jazz-tinged prog-rock structures, afro-Indian polyrhythm and superficially sincere spiritual contemplation. “The idea has always basically been that the things we’ve done before have largely spoken for themselves and what we do next should also speak for itself,” Chancellor explains. “We never want our latest album to ride on the coat-tails of the last one, so to speak. We only have one record left on our deal at the moment and it’s certainly tempting to just churn something out but the only reason we keep going is to keep furthering our strange little chemistry experiment.” This dichotomy is largely why it’s so difficult to fully grasp the implications of both Tool’s work and their identity as a band. Each aspect of their work seems to either extend from the mundane and secular realms of urban living into the transcendental and abstract territories of high art or vice versa. 1999’s Lateralus, for example, was a considered meditation on themes of spirituality and existence but 2005 follow-up 10,000 Days returned to the socio-political inquisitions of Aenima.
ystique has played a considerable role in the development of Tool’s career. For the better part of their 20-year lifecycle, the Los Angeles four-piece has revelled in some form of ambiguity – be that ambiguity of intention, identity, process, aesthetic or even simple ambiguity of genre. Having sold somewhere in the region of 15 million albums worldwide, Tool are unarguably one of the most popular acts in contemporary rock music – but, as yet, no-one has really figured them out. “Oh, I do think we get misunderstood, but, personally, I’m not really worried about it,” guitarist Adam Jones reflects. “I don’t know about the rest of the band but I’ve never cared about that. We’ve never had our lyrics printed with our albums and we’ve really fought to stick with our own ideas. If people get it, great, if people don’t, that’s fine too. There is a tonne of music from when I was a kid that I never had any idea about when I was growing up. I formed my own conclusions.” “It almost feels like the people that like our music give us the patience and respect to really take the time to do something special,” bassist Justin Chancellor elaborates.
“When we make an album, there’s a pressure to do something that we’re all proud of but I don’t think we’ve ever thought about what other people will think of it. The way it’s always worked has always been – if we’re proud of what we’ve done, it seems to translate on some level.” In the beginning, the band were little more than a conventional hard rock band. Formed in 1990, Tool’s early work was very much representative of the developing alternative-metal lexicon of the period – densely rhythmic slabs of viscous metal tempered by deep introspection, scathing intellect and thinly-veiled anxiety. Debut album Undertow, following its 1993 release, resembled nothing more complicated than a more obtuse and troubled revision of Soundgarden’s Badmotorfinger. “There was no specific plan. The very loose set of objectives was to have fun, write music together and play live,” Jones laughs. “You know, it was just a bunch of friends. You know, your buddies – ‘Hey, let’s jam’, ‘Hey, let’s watch TV’, ‘Hey, let’s hang by the pool’ – it was that kind of thing. I still enjoy the ride and try not to take it for granted. I’m very much surprised it’s made it to 20 years. I just hope it keeps going.”
“You know, there are four different guys in this band and they all have their own direction and influences and, you know, it’s work. We all get together and we have to work. It’s not like some natural thing that just happens,” Jones points out. “The thing that’s really nice about it is that is when all those different personalities, perspectives, pros, cons and so on click – when they all come together. I mean, that’s ultimately what’s most important – the end result.” As an individual, Jones is almost emblematic of the group’s curious division. A classically-trained violinist with a background in cinematic special effects, Jones nevertheless embraces the comparatively primitive electric guitar while overseeing Tool’s elaborate, multi-layered visual aesthetics (including experimental multimedia, light shows and animation) – opting for the everyday in place of the virtuosic in instrumentation and vice versa in regards to visual presentation. “When we first started out, all four members – including our original bass player Paul D’amour [whom Chancellor replaced in 1995] – were doing some kind of creative work,” the guitarist explains. “We all had the big influences, like Pink Floyd, of bands who went over-
the-top with their own ideas and artistic vision. I know, if I asked, most of the members in this band would be able to tell you what their influences looked like – what their artwork was like and what were their visuals.” The best example of the band’s uniquely mysterious dichotomy, however, comes in the form of their writing processes. A topic of much discussion among fans and detractors alike, the gestation of Tool’s dense and impenetrable albums frequently spans multiple years of writing and development and is often viewed as an almost mystical process by those outside the band – but, in truth, such time is often just a result of the band struggling to overcome their own limitations as musicians. “It just doesn’t really work like that with us,” Chancellor says matter-of-factly. “Maynard [James Keenan – vocals] is an amazing vocalist and Danny [Carey – drums] is an amazing drummer but, together as a band, we’re pretty much fumbling around – we’re not like these professional dudes that actually know how to put together something remarkable. We’re more about the chemistry that happens between us – we really have to be true to that and it gets harder each time. “You know, we’ve been together a long time, but I think the worst thing to do would be to throw something together and presume it was going to be fantastic – because I really don’t think it would be,” the bassist laughs. “What we do really thrives on a very drawn-out, patient experience. You know, there’s not really any reason for us to come up with something throwaway. If we’re going to do another album, it really needs to be exceptional and we’ve been bombarding each other with ideas for months for this next one.” “We’re kind of taking it slow,” Jones adds. “Just writing on our own, coming in and jamming parts out. Every record we’ve ever done has been like this – just starting off slow and waiting for things to click and come together. I guess sometimes I wish it could be quicker but, really, it is what it is. It’s not something that really needs to be scrutinised. We’ve always worked very gradually and casually on each of our records. I get told all the time that people don’t understand how Tool works and, to be honest, neither do I – but it does.”
WHO: Tool WHERE & WHEN: Big Day Out, Gold
Coast Parklands Sunday Jan 23, Brisbane Entertainment Centre Monday Jan 24
HIT IT AND QUIT IT Blues/rock duo THE BLACK KEYS may have indulged in somewhat of a hiatus prior to the release of their sixth album Brothers, but it seems the pair kept themselves busy enough. Vocalist/guitarist DAN AUERBACH talks to BEN PREECE.
interested. He was like, ‘I want you guys to be the band and write the songs for Ike’. So that’s how we started working, long distance on that project. And then Ike passed away before we really got to do anything but we developed a relationship with him and we really got along so when it came time to make a new record, he kind of let us know that if we ever wanted to use him as a producer he’d be open to it. So we booked the studio time and that’s how we made Attack & Release together. “So this time around, with Brothers, we only used him on one song,” he continues. “We wanted to do a record on our own and we pretty much did that and then we had two months before we needed to turn the record in – we had all finished – and we just decided to get in the studio with Brian. We had a weekend when we were all going to be in New York City, we figured why not and just booked it and went in to the studio and Tighten Up was what came out of it.” Songs come naturally to the prolific Auerbach and his lyrics are something brimming with mystery and connotations that could be fictional or could be gleaned from real life. From Sinister Kid and Ten Cent Pistol to Everlasting Light and Next Girl, his lyrics don’t necessarily speak for themselves.
hen Time Off makes the call to Dan Auerbach, frontman, guitarist and songwriter for bluesrock heroes The Black Keys, you could say the man is enjoying one of the more glamorous aspects of his work. It’s right before Christmas and he’s hanging backstage with producer-superstar Danger Mouse, amongst others for a rather special Christmas show. “Today we’re playing with Broken Bells, Phoenix, My Chemical Romance, Smashing Pumpkins,” he remarks rather casually. “It’s actually a tiny arena show. Over here we do these end of year radio station shows, a holiday show.” Of course, Auerbach and Danger Mouse are old friends, forming a firm bond in 2008 when the producer lent a hand to The Black Keys’ Attack & Release album.
Danger Mouse – or Brian Burton to his nearest and dearest – only handled one song on the duo’s latest record Brothers, a record that was arguably The Black Keys’ most anticipated following the success of its predecessor as well as their collaborative Blakroc project. The band was now being watched closely, the game had changed and there was an expectation that they would release something that would raise the bar. “I’m a little disappointed by it honestly,” Auerbach states dryly. “Nah, I’m just playing – I don’t know... Yeah, we’re happy with it, it’s all gravy and is responsible for all this nice stuff that’s been happening lately. It was great to work with Danger Mouse once again, he is now a great friend. He was friends with Ike Turner and he wanted to do an Ike Turner record, he called us up out of the blue – we had never met him – and asked us if we were
“I had some fun on this one, making up some stories and kind of getting in that mode a little bit,” he offers. “But it’s all mixed in with real life experiences, so that made it a little easier to talk about personal things – when I knew the audience wouldn’t know whether it was just a story or not. But I had fun, I talked about murder and sex and guns and love and all of that good stuff. It all comes from experiences – anything can inspire a story or a song to come out. It’s all creative fun really, there are no rules and that’s why it’s fun! “But you know, it’s all the luck of the draw really,” he continues. “All these records we make are snapshots of a moment in time for us because we make the records so quickly and we don’t do any pre-production or anything like that. So this record is a picture of us, of the week-and-a-half that we spent making the album. When I listen to it, I remember all the things we were doing, where we were, experiences we had, you know? It’s not like we’re some fucking Guns N’ Roses and take, like, 13 years on eight different continents you know? We like to hit it and quit it.” Upon the conclusion of obligatory promo duties for Attack & Release, it seemed The Black Keys and Auerbach specifically might actually have some down time. Not so,
he dropped a solo album called Keep It Hid and indulged in the Blakroc project with the likes of Q-Tip, Mos Def, RZA and Ludacris amongst other fine hip hop artists. In all of this The Black Keys didn’t seem to skip a beat, still contributing a track to the soundtrack of The Twilight Saga’s Eclipse and, of course, releasing Brothers. “Yeah!” Auerbach contemplates. “I’ve been working a lot the last couple years, that’s for sure. It’s been non-stop. The solo album was a great exercise, really cool. I got to tour with a full band – I really love those guys – and we got to go all over the world with that; all over Europe, all over Australia, all over America – it was great fun!” And the procedure repeats once a new record has dropped and the release of Brothers has seen Auerbach and his drummer/producer bandmate Patrick Carney busier than ever, in greater demand and indulging in more promo opportunities than usual. “Yeah, we’ve been touring a tonne since the release of the record,” Auerbach explains. “We’ve been all over Europe, America, Canada – it’s been non-stop honestly. No matter how much you do it though, it’s still a pain in the ass really. There is so much travelling and bullshit besides the hour you get to play your music. It can definitely be fatiguing but, you know, we love playing music so it’s all right. What was fun about it though was, the guys who played on my solo tour are in a band called Hacienda and they are on tour right now on the west coast. We pulled over at like a rest stop in the bus just two days ago and we ran into them at this rest stop. We were both getting lunch at the same place in America and we hadn’t spoken to each other at all, we were just there – totally random.” Next stop for The Black Keys was to be Australia, the Big Day Out run specifically, a festival tour the duo have never played before. With the likes of Iggy & The Stooges, Rammstein, Tool, Deftones and Die Antwood adorning the bill, Auerbach expected shenanigans. “I have no idea at all what to expect,” Auerbach laughs. “I’ve heard about it and I hear it’s crazy but I honestly have no clue what’s going to happen. I don’t even know who’s playing honestly, no clue, I am absolutely in the dark. I like to jump in the dark so that everything is a surprise.”
WHO: The Black Keys WHERE & WHEN: Tour cancelled due to exhaustion.
“It sounds like the music people heard in their parents’ car growing up.” Sam Beam
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ASTRAL PROJECTIONS ALEX SCALLY of Baltimore darlings BEACH HOUSE tells GISELLE NGUYEN how their teen-dwelling breakthrough album differs from their own “nerdy, church-tutored” adolescence.
tour, as well as a special show in Mullumbimby alongside The Middle East and Tiny Ruins. However, despite their climb to widespread success and the pressures you’d think would come with that, Scally and Victoria Legrand, the other half of Beach House, haven’t changed a thing about how they write. “Our writing process is that we start very simply. Everything starts with a very small idea and we always work together,” Scally admits. “The pieces slowly accumulate, and sometimes it happens quickly and sometimes it happens over a long time, but we’ve done it the same way since we started working together. The key to our music is the way we write together – the process has always been the same but what we write is changing because we keep touring and evolving and ideas keep changing, but the way we relate to one another and the way we artistically mesh is the same.” The pair has often stressed to the media that they’re not a romantic couple and, hearing Scally talk about Legrand, it’s easy to see why that clarification might be needed. “Victoria writes all of the lyrics… She’s the lyricist and it’s better that way because she’s a great lyricist, I don’t think I’m ever going to want to try really,” he laughs. “If you ever see a solo album by me come out, don’t get it! “I think that’s part of the reason why we’re so lucky to have each other, because I think whatever her aesthetic is and whatever my aesthetic is, they never bump into each other; they mesh perfectly.”
and enthusiasm and wildness that you feel at that time in your life,” says Scally from his hometown Baltimore. “It’s more an abstract thing that works as a feeling and in a certain way it felt really classic.”
“Rather than going into your memory and your past kind of vibe it’s more like a call to the future, to get reinvigorated with those feelings you used to have – not necessarily some kind of dumb high school relationship that was really dramatic, but more just like the kind of unbridled excitement and passion
It’s been a whirlwind few years for the dream-pop pair. Their track Apple Orchard was included on a Pitchfork mixtape before they’d even released their eponymous debut album in 2006 and now, with their third record, they have well and truly cemented themselves as champions of the indie scene. In 2010 they supported big names like Vampire Weekend and Grizzly Bear, also performing on Conan just before Christmas. Having first visited Australia in 2008 with a spot on the Mistletone Summer Tones bill, their upcoming shows will see them playing the larger-scale Laneway
hile Katy Perry spent 2010 chasing her Teenage Dream in a pastel-coloured haze involving megababes and an endless highway, Beach House’s dreams were a little different. They, too, unleashed a Teen Dream on the music world (their third album, released last January), but rather than a fanciful picture of puppy love, theirs explored the way in which the thrills of adolescence can permeate adulthood – a perpetual continuation of that original fantasy.
The lo-fi beauty of Teen Dream recalls misty-eyed reveries of faraway lands captured in Polaroids, showing carefree girls swinging from high-up trees while the boys who love them stare from below. It’s whimsical, ethereal, the stuff that daydreams are made of – and, surprisingly, a totally different world from the band’s own teenage years. “I think we both were both similar – nerdy, church-tutored a little bit, we both played music, both tried to follow the rules… We weren’t very exciting, I can say that,” Scally laughs. The difference in the making of this record – and the real motivational force behind it – was that for once, the pair had time off touring and was able to focus exclusively on writing. Being at home meant that everyday things – watching films, reading books, getting really immersed in other people’s art – came to be a bigger part of Scally’s life and subtly infilitrated his own art.
“I think the feeling of inspiration, the feeling of watching something and really having it hit you, transfers through you,” he muses. “I can’t even remember what I was into when we were writing the album at all, but I just remember that I felt very alive and very excited.” Ever the perfectionists, the band chose to re-record an early single, Used To Be, for Teen Dream. “When we first released that song it was kind of like we’d just released a demo and we wanted to give a full version of it that was fully fleshed out and, when we came to do it, it no longer made sense with where we were artistically, like it didn’t feel right doing it the way we had done it,” Scally offers. “We wanted to bring the same colour and life and passion that all the rest of the songs had to it, so that it was part of the album – so that’s why we made it flowery and golden and not like icy the way the original one was, really icy and dry. We tried to make it really explosive and rhythmic.” Having released a new song, I Do Not Care For The Winter Sun, for free online over the holiday period, Beach House is already working on the next record. Though Scally is uncertain as to exactly what direction they’re headed, he’s sure at least that the only ingredient that’s essential is confidence. “We’ve always tried really hard to not care too much what people think and we’ve been really, really lucky that people have liked what we’ve done and we’re going to try and do the same thing again; we’re just going to try to work hard. We think that if we believe and are passionate about it, then hopefully other people will be as well, so we’re going to try and do that again and not think too much about it, and hopefully we’ll be lucky again.” If you’re heading along to Laneway next month, scan the crowds for Scally’s face – though he’s looking forward to being on stage, he’s equally stoked about watching the other acts on the bill. “There’s some bands I’m really excited to see,” he gushes. “I’m a really massive fan of Ariel Pink and his band is playing, they’re really good. And isn’t Deerhunter playing, too? I really like them. Blonde Redhead, too, who I’ve been a fan of forever. I think they’re completely amazing.”
WHO: Beach House WHERE & WHEN: Mullumbimby Civic Hall Saturday Jan 22, Laneway Festival Friday Feb 4
A NATURAL PROGRESSION To casual observers THE DECEMBERISTS’ new album is a world apart from its predecessor, but as songwriter and frontman COLIN MELOY tells STEVE BELL, sounds can sometimes be deceiving.
[2006 album] The Crane Wife, something a little bit more grounded, in a way. And as the songs came it became clear that my head was in that direction. Often times I feel like I make some bold proclamation like, ‘I’m going to make this record like this!’, but then you start working and nothing is coming, so you kind of have to follow your own impulses. Thankfully this time my impulses lined up with what I wanted to do, so the songs were coming out in kind of a quieter and prettier way.” The issue of alienating fans with this seismic sonic shift wasn’t a consideration, because in Meloy’s mind it was actually the previous record where he’d taken that risk. “I think I was maybe thinking about that more during The Hazards Of Love, not really being sure whether people were going to follow along, and that may have happened – I can see why people may have been turned off by that decision,” he concedes. “But with this one I feel like there’s precedents for this in everything that we’ve done, and it’s just like a kind of honing in. Part of me recognises that it’s a more accessible record – I don’t want people to think that we’re somehow trying to placate or pander to a wider audience – I really do think that this is the kind of music that we’ve been doing from the outset, it’s just maybe a little more concentrated in one place.” Anyone following The Decemberists’ trajectory will know that in recent times Meloy has been particularly enamoured with British artists, but his real passion for music started with the American bands of his youth and it’s this that he turned to for inspiration for The King Is Dead.
There would be few instances in recent history where the sonic gulf between a band’s consecutive albums is as vast as that between Portland indie-folk outfit The Decemberists’ last two efforts. 2009’s The Hazards Of Love – their fifth long-player – was an ambitious, semi-operatic song cycle which incorporated heavy prog elements and favoured long, drawn-out and fantastical narratives, while its newly-released follow-up the King Is Dead is far more traditional in scope and structure, with the band’s playmaker Colin Meloy seemingly reverting to singer-songwriter mode. The more sparse songs are fleshed out subtly-but-superbly (as always) by his accomplished band, favouring a slightly country inclination which serves the batch of songs wonderfully. Fortunately long-term fans of the band won’t be overly shell-shocked, for if anything The King Is Dead represents a return to familiar territory for the idiosyncratic fivepiece. It’s doesn’t wholly hark to the more whimsical
bent that characterised their earliest work, but the banks of electric guitars have made way for the more languid sounds of pedal steel and harmonica, and lyrically the record is firmly grounded in the here and now rather than some grandiose, faraway realm. It’s a massive change but one which works for the perfectly, and one which to chief architect Meloy was completely natural. “It sort of felt like a natural progression,” he offers amiably. “A bunch of these songs had been sort of laying around while I was working on Hazards..., so as soon as I had the idea and the concept and the narrative for Hazards... inevitably some of these songs were just not going to fit in. There were a few hanging around that I really liked and that I didn’t want to just let go by the wayside, so that was kind of the springboard. “It became clear then that I wanted to do something a little quieter – a little prettier – than Hazards... or even
“You know, I’d come out of this British folk revival k-hole that I’d been in for the last four or five years,” Meloy recalls. “We recorded [2005 album] Picaresque when I first picked up a Fairport Convention record – I was just suddenly enamoured by this music which seemed fairly obscure to me, and I felt like for myself that I was unearthing something special which was leading me to all of these different artists and different sounds. It took a while, and I felt like I really wanted include it in the music that I was making, and I think The Hazards Of Love was sort of the apotheosis of that. After finishing The Hazards Of Love I kind of was able to step away and be like, ‘Okay, I think I’d like to reconnect with the music that’s been with me for longer’ – the music that I grew up listening to, and the music which helped me define my own tastes in music. That was certainly a lot of American bands, you know the heyday of college rock in the 80s and early 90s, so I was focusing on that and trying to channel that a little bit more.”
To do so he even went as far as getting REM guitarist Peter Buck to guest on a number of tracks. “I think that REM is a band whose sound – and particularly Peter Buck’s guitar playing – is something that has influenced my playing and my writing from the moment that I picked up a guitar. So I think every one of my songs is sort of a fake REM song, but on this record I sort of just focused on it a little bit more and really wanted to channel that into it,” Meloy chuckles. “Then it occurred to me that, ‘Well, if you’re going to go that way you might as well go all the way’, and I asked Peter if he wanted to play on the record and he was into it – I think he was flattered.” With no narrative theme to the album except for an internal discourse about nature, it was an obvious step for the band to decamp to a converted barn in rural Oregon for the recording process. “I think if it’s anything it’s a lot of meditations of sort of the natural world,” Meloy muses.”I think there’s a lot of interior monologue happening – a lot of the songs were written at a time when I was feeling sort of insular and connecting with just being at home and being with my immediate family. We just bought a house which is kind of out in the woods a little bit, so there was kind of a lot of learning about the area – learning where the sun is at any given point of the day depending on the month, and where we should put our garden plots and things like that. So it was sort of like trying to divine a simpler approach to expressing myself, I guess. “The album’s sound was already established, but I think we wanted to go somewhere neutral to record – that was my headspace anyway. Particularly somewhere where we’d be out in the country a little bit, just because I felt that the songs themselves had a lot to do with one’s immediate surroundings and the natural world – the environment of the Pacific Northwest and changes of seasons and things like that – so I thought it would serve the songs if we were sort of submerged ourselves in that environment. So getting away into rural surrounds and finding a neutral space – finding a barn – seemed to be kind of a no-brainer, and it just kind of fell together that way.”
WHO: The Decemberists WHAT: The King Is Dead (Capitol/EMI)
DOWN AND DIRTY Dresden Doll and solo darling AMANDA PALMER is back in Australia, this time with a dedicated show for us. It’s complete with gratuitous local references, puns on the map of Tassie and a love/hate relationship with Vegemite. By LIZ GIUFFRE.
manda Fucking Palmer, as she often labels herself, is in good spirits despite only recently recovering from jet lag, a crappy flu and being separated from her brand new hubby (sci-fi author and general legend Neil Gaiman). But she’s here and ready to devote herself to this wide brown land, humbly, brashly and with glorious good humour. Her new album, Amanda Palmer Goes Down Under, is an example of the artist on tour in a strange land, with half recorded live in front of a bunch of local ratbags (complete with a singalong of We’re Happy Little Vegemites ) and the rest in a studio, hastily but with love. The result is personal, grubby and insightful – and a pleasure to have in your ears. “I love Neil, Neil loves me, Neil loves Australia, I love Australia – it’s going to be a big sloppy threeway,” Palmer begins of the current tour. Alongside her onstage will be new hubby, as well as a rotating roster including our own Mikelangelo (of the Black Sea Gentleman; a total cabaret darling and silkilythroated charm machine), as well as Meow Meow, The Jane Austin Argument and a few other surprises. “It’s going to be the Amanda Palmer crazy fun fair. It’s going to be great.” She adds to this too that fans should keep an eye on her Twitter as well for more updates, secret shows and surprises as she goes.
To add to the ceremony Palmer is playing around the country on and around Australia Day, with a highlight of the tour being a massive show at the Sydney Opera House on January 26. While she’s aware of the political significance of the day and its mixed history, her link has been the celebration of the triple j Hottest 100 countdown, something the Dresden Dolls have triumphed in over recent years. “Actually if I can find out what has come first with enough time before I go on stage, I might do a cover of it on the night,” she says, perhaps only half joking.
WHO: Amanda Palmer WHAT: Amanda Palmer Goes
Down Under (Liberator)
WHERE & WHEN: Great
Northern Hotel, Byron Bay Thursday Feb 10, Old Museum Saturday Feb 12
Was Palmer ever worried about writing and making a record so charged with local references – while we’ll love it, what about her international audience? “You know I’ve never even thought of that,” she admits. “If you follow the story of Amanda Palmer, especially solo, then you’ll know that it just works on impulsive actions. I don’t strategise very well. But I found that if you work completely on impulse then things tend to just magically work out and that’s the way I wound up doing my Radiohead record [Amanda Palmer Performs The Hits Of Radiohead On Her Magical Ukulele ], it’s the way I wound up the way everything lately has happened. “And the Australia record happened because I was coming here so often and I loved it so much, that I sort of woke up one day and noticed that I had enough songs for an EP. I had written Map Of Tasmania and Australia and a song called The Vegemite Song and I thought, ‘You know, that’s enough to put on an EP and I’m coming and touring here often enough, why don’t I just put it out?’ And then as often happens with me, the idea just snowballed because I can’t ever just do things simply. “But honestly over this past summer I got cold feet for a couple of days, right before I was going into the preparations for Cabaret and I almost didn’t put it out because I found myself thinking, ‘I’ve got to do two straight months of a musical with no break, literally get on the road with the Dresden Dolls and then get on a plane to Australia – how am I going to finish this album, ever? You’re a mad woman, just don’t do it, give yourself a break’. But then I knew I wanted to do it anyway and the idea of coming here empty-handed but with all the songs, having recorded them too, just seemed even crazier. So you can kind of tell that it’s a very slapped up, kind of messy record, but I actually think that makes it even cooler.” Amanda Palmer Goes Down Under certainly is without the gloss of some of her previous recordings, however that is certainly what gives it its charm. In addition to local shout outs like the Vegemite battles (she is anti, the audience is pro), she also performs an amazing cover of national treasure Nick Cave’s The Ship Song, as well as acknowledging our long suffering neighbours with a track dedicated to New Zealand. “The song New Zealand was written hastily backstage and I never do that,” Palmer concedes. “I’ve never put out a record where I’ve included hastily written, silly songs, but then there’s something about that song that’s so brutally honest. It was written at the end of not only a world tour, but I was at the end of having travelled the world then gone to Australia and lost all of my crew and New Zealand was like the bitter, bitter end, but I can hear it – I’ve got this sense of humour about it even though I was completely falling apart inside,” she laughs. Spending significant time in Australia and its surrounds has given Palmer a local’s love and compassion for the place (“I feel so sorry for places like New Zealand and Tasmania”, she laughs again in response to this writer’s tasteless joke about being at the arse end of the world), but you do get the absolute sense that she’s here because she’s found a kinship. “I think you might have just nailed why I love Australia so much and why we’re such a good match. It’s your love of the unkempt – I fi t right in here.” Lots of Palmer’s connections to Australia and local performers were actually made overseas, particularly during festival time at Edinburgh. “I met a lot of my Australian friends at the Edinburgh Fringe, because a lot of Australians hang out there and it’s how I met Tom Dickins from the Jane Austen Argument and how I met Mikelangelo and Meow Meow. So I met a bunch of them there while they and I were doing the Speigeltent.” Talking about Mikelangelo in particular, Palmer lights up (“We really hit it off and he’s a genius performer”). One of his songs is also featured on the new album as a duet, the wickedly naughty and delicious A Formidable Marinade. “We wound up doing that song kind of impromptu,” she purrs. “We did it during soundcheck one night and then we did it two nights in a row in the show and it was so funny I thought, ‘Why not put it on the album?’” The effect is wicked and gorgeous, with double the theatrics and absurdity that Palmer normally brings, but also coming from a completely different side of punk cabaret awesomeness. “He sounds like a king; he’s got a really rare voice,” Palmer says, a smile audible in her voice.
DANCE ‘N’MEANINGFUL HE’S LEFT, HE’S RIGHT Taking stock after having released three records in 2010, Swedish pop machine ROBYN tells DANIELLE O’DONOHUE how the ambitious Body Talk project has changed her life.
Armor For Sleep’s BEN JORGENSEN has no regrets about walking out on the celebrated emo rockers, he tells JEREMY WILLIAMS.
such a strong reaction to what we were all doing. I feel like the whole city has burned down but I still think there is merit in playing songs and doing music in a genuine way and that is kind of what I am going back to.”
each feature a beautifully arranged, stripped-back version of the following album’s big-ticket, über-slick single. On Pt 1 it’s Hang With Me and on Pt 2, Indestructible.
With his independently-released solo EP aptly titled There Is Nowhere Left To Go, Jorgensen is keen to make it clear that the title is not a direct reference to his departure from Armor For Sleep.
“It’s been nice, because I’ve been able to talk about the albums in interviews while I’ve been recording them,” she continues. “It’s been a more natural process. Making interviews has been easier because I actually do have things to talk about.
“The EP is pretty stripped down and it’s just about facing yourself,” he continues. “I guess the title There Is Nowhere Left To Go is more about looking at yourself and where you stand. So I guess in my situation Armor For Sleep is a part of that, but it is not specifically pointing at that. There have been a million things that have happened in my life between now and then.”
“The first two albums affected the third album a little because you see a reaction from the audience when you’re touring and you see what they like. But also because people really got into the four-to-the-floor and the dancey stuff made us do more of that on the second album but then by the third, even though we wanted to do more of the club stuff we had more pop songs in us. So that’s kind of what the third album became. It is like the pop finale you could almost say.”
t’s been a pretty busy year for Swedish pop singer Robyn. While some artists take years to get around to writing, recording and releasing their next album, Robyn has spent the past 12 months writing, recording and releasing not one, not two, but three albums, Body Talk Pt 1, Body Talk Pt 2 and just recently the final instalment in the series, Body Talk, which is a compile of the best songs off Pts. 1 and 2 and five brand new tracks. But what’s even more surprising than the volume of music Robyn has released this year is the quality. These three albums are the best music of Robyn’s career and, while they’re probably not enough for the Swede to push Lady Gaga off the top of the pop ladder, the singer is finding herself cropping up on shows like Gossip Girl, singing at the Nobel Peace Prize Concert and being championed by everyone from NME to New York Magazine. “I’ve finally begun to record and tour at the same time, which is something I’ve wanted to do for a long time,” she reflects. “I’ve been really happy how it’s gone. People get the idea but also I’ve been able to work in a little bit more of an organic way when it comes to recording and touring.” Rather than write a stockpile of songs and record them all at once, then trickle their release out over the course of 12 months, Robyn continued to work on each album right up until it went to the pressers. And the first two albums
Very European in its approach to dance music, Robyn’s sound is all shimmering beats but with a heart-breakingly emotional core. Songs like Dancing On My Own, Time Machine and Hang With Me are some of the singer’s most intimate songs to date. “I always make music that way. I never know how to write songs in any other way. On these albums maybe it became clearer. I think it’s something I realised about the way I like to write on the last album when I did With Every Heartbeat.” Robyn also had a moment performing at Sweden’s The Polar Music Prize ceremony in August. The song she sang was Hyperballad, and the song’s original artist, Björk, was sitting in the front row – a pretty scary moment for any performer. “For sure, for sure,” Robyn chuckles. “It’s like doing a pastiche of a Picasso painting in front of him – ‘I know you made a great piece of music but let’s do it again.’ I don’t know why I said yes to that but I did and it went well. She really liked it. She came up to me afterwards and thanked me. So it was great. I’m happy I did it now but when I was walking onstage I was definitely scared.”
WHO: Robyn WHAT: Body Talk (Modular/Universal)
While the EP may not be a calculated attack on his former situation, it marks a departure from emo pop and moves into acoustic singer-songwriter territory. Yet for Jorgensen relatively little has changed. Many people dream of mainstream super-stardom but only a few really achieve it. So when Ben Jorgensen walked away from celebrated emo pop stars Armor For Sleep – after a support slot for Linkin Park and a commercially successful second album – many were surprised. But for Jorgensen the decision was easy, as his dream had been taken out of his own hands and transformed into someone else’s vision. “I think that Armor For Sleep existed in a time when emo was about to explode,” he recalls. “When we started the band we were touring with bands like Fall Out Boy and My Chemical Romance before they were on MTV and they were these massive things. We were in this whole pool of bands and there was just so much cash that people at record labels were throwing around. I just watched the whole thing go under so fast that it was ugly.” Rather than basking in the glory that came with acclaim, Jorgensen suffered a stifling feeling of entrapment. What had started out as a fun project with his friends had developed into his worst nightmare. Yet just two years after walking away from it all, Jorgensen realised that songwriting and performance would not be so easy to leave behind. “I still remember that feeling at the beginning when we were playing songs that meant something to us,” he says. “In the end that is what destroyed it because people had
“I think those songs just had to come out that way,” he offers. “Honestly, even with Armor For Sleep songs, they all started with me writing them on an acoustic guitar. But when you are in a band and everyone has their own take, then those songs get taken into the factory and turned into what they are.” Jorgensen appears to be enjoying holding the reins to his new career path, yet what of his old fans – how would he entice them to his new material? “I think I would just tell that person to give it a chance and take everything with a grain of salt,” he tells. “I think back to when I was younger and my favourite band At The Drive-In broke up and it felt like I was actually upset with them as I loved the band so much. But then they did Mars Volta and they’ve each done a tonne of stuff I am a big fan of. There’s no reason why somebody has to be so uptight with one thing then refuse to listen to anything else after. I’d just try impart the knowledge that life goes on and gets better.”
WHO: Ben Jorgensen WHAT: There Is Nowhere Left To Go (Independent)
WHERE & WHEN:
Rosie’s Thursday Jan 20
DON’T REVIVE, SURVIVE STRINGS ATTACHED Usually the music industry is not terribly kind to bands associated with “revival” genres, but LA-based swing legends ROYAL CROWN REVUE have spent the past two decades proving themselves an exception. On the eve of their 11th tour to Australia, drummer DANIEL GLASS explains to HELEN STRINGER the band’s unlikely endurance and how the Land Down Under has become their perennial favourite tour destination.
Canadian string composer extraordinaire OWEN PALLETT tells BRYGET CHRISFIELD about dark orchestral directors and how not being able to sing can be an advantage.
“Um, I don’t know,” he considers. “I think he was actually just abusive [laughs]… The thing is, I didn’t grow up in Toronto and so I wasn’t studying in the big schools or with really good teachers. I mean, my teacher was wonderful in my town, but when I came I felt very much an outsider because, in the symphony, I was playing with a lot of students who were actually studying with the orchestral director and I felt ostracised just because I felt he was picking on me. The thing is, since I’ve moved to Toronto and remain friends with all these people who I used to play in symphony with, I’ve found as an adult that actually everyone was rather traumatised by him. I’m not even sure whether he’s alive or dead now, but he was a very, very dark person.”
really the band that everybody modelled themselves after. We’re all real students of history. Everyone in the band is really serious about really understanding what they’re bringing to the table. Whether we’re working with someone like Gene Simmons or Bette Midler we have kind of an authenticity with what we do.”
ustralian fans are the best,” Glass enthuses, “I think they really appreciate a band that can put on a great live show, and that’s something that’s always been our speciality; I think they get that down there. But what’s really interesting with the career we’ve had in Australia for the last decade-plus is that there wasn’t really a swing revival to speak of in Australia. “We originally came down on the Warped Tour in early 1999 and played with a lot of punk and ska bands – bands like Bodyjar and The Living End, Grinspoon – bands that you wouldn’t really think would sit with us. But we really made our name in Australia on the Warped Tour. We’re actually quite happy with that,” he laughs, “because people see us in Australia as just kind of as a cool band that they like to go see as opposed to a swing band that was part of a trend that just came and went…People [in Australia] just love the music and performance and that’s what it should be about.” With the band having formed in 1989 – Glass has been manning the kit for the past 17 years – RCR have had to exercise particular tenacity to avoid the almost inevitable pitfalls of being associated with what’s popularly considered a brief musical fad. “In a way we weren’t really part of that revival,” says Glass of brief resurgence of swing music’s popularity in the late 1990s, “I mean, we were doing our thing long before that whole ‘revival’ thing came along, so we’re
That unerring dedication to musical authenticity has taken the band to unexpected places: opening for KISS on a leg of their US tour; playing with the tongue-happy Gene Simmons; recording holiday album Don’t Be A Grinch This Year; and heeding the call of the US government to go spread their own brand of cheer in the Middle East. “The US government hired us as goodwill ambassadors,” tells Glass of how the band found themselves playing swing tunes on Egyptian daytime television, “It’s similar to the kind of things that Louis Armstrong or Dizzy Gillespie used to do back in the 40s and 50s… I really think a band like ours is a great representation of the positive things that America has to offer to the world. “In the Arab world the press is so anti-American – and perhaps for many good reasons – but at the same time America is not all bad…And swing music is just so disarming – it makes you feel good and it’s not a bunch of guys wearing hockey masks spitting blood on the stage. It’s positive music, how can you not like that?” Despite a two decade run Glass insists that the band have no intention of resting on their laurels just yet. “We still feel like we’ve got a lot further to go. We always feel like the underdog. I think that’s one of the things that keeps us going: we’re just like we still have a lot to prove. But I’m amazed,” he says, laughing, “I always say that this is the band I expected to fall apart every day for the last 21 years and yet we just keep going, so I feel very blessed.”
WHO: Royal Crown Revue WHERE & WHEN: The Hi-Fi Thursday Jan 20
escribing his “weird apartment” in Toronto, Owen Pallett (née Final Fantasy) confesses, “It’s kinda like a converted loft. It’s actually – I think it’s illegal [laughs]. I don’t think we’re meant to be living here. I’ve got three pianos in the place so it’s got enough room for all my stuff.” How are the acoustics? “Oh, they’re terrible. I don’t actually do any recording, I just sometimes do tracking, the demos and writing and stuff.” It was a much more compact instrument on which Pallett commenced his musical studies. “I started playing [violin] very young, when I was three,” he recalls. “And I played it really actively as a pre-teen and then ‘round about when I was 13- or 14-years-old I started to grow a little disenchanted with it, which was less a problem with the instrument and more just that I had… well, I was playing in the symphony and I had a bad experience from there. So, you know, I started to focus more on piano and guitar and other things and I only really came back to [violin] in my early 20s when I went to college.” Regarding Pallett’s “bad experience”, which lead to him neglecting his chosen instrument for a spell, does he think the symphony’s orchestral director was giving him tough love?
Although Pallett has been singing since he was a youngster (“I’ve always sung and did sing in choir and stuff like that when I was a kid”), it’s on his A Swedish Love Story EP – a continuation of Heartland, which was the first record he released under his own name – that he finally feels “confident about [his] vocal delivery”. “But I’m not trying to make apologies for it, because most of my favourite records are made by crap singers, you know?” he laughs. “I was just at the Domino offices and I got the Orange Juice compilation and it’s so amazing, but nobody could really say that Edwyn Collins is a brilliant singer, you know what I mean? There’s so much emotion, and such a wonderful delivery and I really just love it so much. “And, I mean, there’s a lot of music by really brilliant singers that I really love but I feel as if it’s actually easier to make music and sing if you’re not a good singer. If you are a good singer then you can have tendencies towards vanity and you have tendencies towards trying to make songs that will maybe take advantage of your abilities as a vocalist. It’s something that I try to kick against with my violin playing, because I don’t want to have any sort of virtuosic moments where I’m just, you know, flying away with crazy double stops and stuff like that. I try and kind of keep it in check and try and create something that’s more interesting than hearing training or talent.”
WHO: Owen Pallett WHERE & WHEN: Old Museum
Tuesday Jan 25
DISSING CALIFORNIA, PUSHING HARDER Making his second journey to the Queensland capital in three weeks, Minnesota folk troubadour CHARLIE PARR is looking forward to at least getting a day to relax after his show this time round. The bearded one charms the hell out of BENNY DOYLE.
MATT JOHNSON, one half of the incredibly upbeat MATT & KIM, tells KATIE BENSON that sometimes, Kim isn’t always right. we had more financial backing so we could work with people who knew what the hell they were doing and Kim and I could concentrate on the music more.”
I end up going out alone. Usually though, I try and organise my life so we can be together more often.”
Part of their graduation into the studio included the implementation of a producer, the pair finally settling on Ben Allen. Originally a studio assistant for Puff Daddy at Bad Boy Records, Allen’s diverse work as a producer (Animal Collective, Gnarls Barkley) is what attracted Matt & Kim. Though they both respected his work and skills as a producer, Johnson reveals handing over control was not as easy task for the DIY duo.
But as for the idea of permanently relocating from the presently freezing Amercian state, the thought hasn’t even made a blip on Parr’s radar. “I’m Minnesota down to my core,” he gushes. “Now, I go to so many places that I love and Australia is just amazing, I really love it here, but home is home. I dearly love Minnesota, I was born and raised there and I can’t ever see myself actually moving away. I already feel like I spend enough time away from home.” Parr’s recent output has been both a continuation and a departure from his previous work. Through working with director Patrick Hughes on a Vodafone commercial, their relationship has led to Parr assisting the soundtrack to Hughes’ debut feature-length film, the gutsy Australian neo-western Red Hill.
t was really nice,” Parr begins, discussing his recent well-received set at Sunset Sounds. “I had a great time but unfortunately I didn’t get to stay for very long. I flew up from Melbourne, I played my set then they drove me back to the airport. But the set was fun and the festival was beautiful, I really like that park [Botanical Gardens], it’s just gorgeous. I got a chance when I first got there to walk around and explore which was nice. This time round we have a full day off after the show so hopefully y’know we can spend a little bit of time and see the sights.” Charlie Parr is making old guitar sounds new again and with a style entirely his own, his quick fingerpicking and warm, relatable upper-Midwest style of storytelling is garnering a growing worldwide fanbase. Parr talks about the challenge of balancing a stable home life with his wife and children and getting them all out on the road with him. “They didn’t get to make the trip in September but we’re all here now, we’ve really been enjoying ourselves. As much as we can, we try and get out on the road together,” he explains. “With the kids, we don’t want to uproot them too much. If they have a natural break in their schedule then we definitely go out together but if that’s not the case and I can’t rearrange then
“I’ve always been a fan of westerns and it’s kind of a modern day version so I did some stuff, Patrick listened to it, liked it and it worked out really well,” he informs. “It’s different in that when you’re writing a record, you’re writing for yourself, y’know. But when you’re writing for a soundtrack, you’ve got to keep in mind the guy that asked you to do it. It’s nice in that it makes you pay a little more attention to the process.” But as for any clues into the movie’s plot, Parr can’t help. “I haven’t seen the film yet,” he regrets. “I read the screenplay a couple of times but hopefully I’ll get a chance to see the movie. I was just out in Los Angeles playing shows and I didn’t get to see Patrick then. He’s living in Los Angeles for some horrible reason. Of all the places in the United States I’d wanna live, it’s not one of them. I don’t know about the folks who live there, they must have a good reason for being there y’know. California is an amazing place and I really love almost all of it, except for that bit there,” he concludes with a chuckle.
WHO: Charlie Parr WHERE & WHEN: Buddha Bar, Byron Bay Saturday Jan 22, Old Museum Sunday Jan 23
hen Kim Schifino cornered Matt Johnson at college for his number, he was reluctant. She was older, hot and had tattoos. Luckily, another one of her features was persistence and not long after, a partnership began that blossomed into the happy punk dance duo, Matt & Kim. Beginning with visual arts and film, the pair branched their creativity out into music and after releasing a strong self-titled debut in 2006, the couple from Brooklyn have been making the world dance ever since. Their second album, Grand, recorded entirely in their bedroom and released in 2009, became a cult smash, with the single Daylight being picked up for several commercials and TV shows and selling over half a million copies in the States alone. With this success came the financial ability to get out of the bedroom and into the studio for their next project, the result being their third album Sidewalks. Though some of the process had changed between the two albums, Johnson insists Sidewalks began with the same aim as the last. “We had a very similar goal in mind for Sidewalks as we did for Grand – we just wanted to make music that we would want to hear in this world,” says Johnson. “But with Grand, we recorded it in a bedroom and just figured it out as we went along. We had a lot of success with it and we’re very proud of it, but going into Sidewalks,
“Kim and I are so used to working together, on different stuff, for years and years, so to have another mind come in, we just weren’t used to it,” says Johnson. “In the end we were really happy with what we came out with; it was nice to have some challenges and also someone there to break ties. If Kim and I disagree on something, what do you do? I mean it’s a case of one versus one. You need a tiebreaker in there. But definitely in the beginning it was very difficult to work with a creative mind.” Before Allen entered as the “tiebreaker”, creative disagreements between the two sometimes compared to a war of attrition for Johnson. For their 2009 film clip Lessons Learned, Matt & Kim strip down naked in Times Square and incur the attention of passing police officers. After the pair told the police they were shooting a mayonnaise commercial, they were given permission to continue filming. The end result went on to garner the band an MTV Award for Best Breakthrough Video and introduced their music and cheeky style to a much wider audience. According to Johnson, however, the award winning video only came into being due to his persistence. “I came up with idea of getting naked for Lessons Learned, but I had to convince Kim to do it for months before she agreed. It came out well and we won that breakthrough video thing,” says Johnson. “Now I tell Kim that we have to do whatever stupid idea I come up with, even though we have a saying, ‘Kim’s always right’. You can tell who made that saying up.”
WHO: Matt & Kim WHAT: Sidewalks (Liberator) WHERE & WHEN: Big Day Out,
Gold Coast Parklands Sunday Jan 23
R ! R FIRST EVE U O T AN
A I L A R T S AU
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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
COMING SOON SOON: : MÚM (SEPTEMBER S ) ALSOTOURING : FOSTER THE PEOPLE THE ZOO, SUNDAY 13 FEBRUARY
SINGLES BY CHRIS YATES
TIMES OF GRACE
KANYE WEST AND JAY-Z H*A*M
Not content with releasing the best album of last year, Kanye threatens to take over 2011 before it’s barely begun with the release of Ham! Hard As A Motherfucker! – a preview from a forthcoming collaboration record with Jay-Z. It was originally intended to be an EP, but all reports now point to a full-length album called Watch The Throne and really, it was always bound to happen. The phrase ‘highly anticipated’ doesn’t even start to cover the degree of excitement that is already bubbling away with this bad ass number, complete with all the elements that make Kanye’s best tracks smash it. He raps tough without overdoing it and Jigga brings his A game. There’s ominous sounding choirs, subtle crunchy beats thanks to production by Lex Luger – it’s the shit. I’m calling album of the year early, everyone else might as well take a 12-month break.
LCD SOUNDSYSTEM You Wanted A Hit (EMI)
Even though they claim they don’t really do hits, James Murphy is savvy enough to know how to chuck a catchy disco tune together – LCD Soundsystem have effortlessly filled up three albums worth of them in their illustrious career and You Wanted A Hit from last year’s This Is Happening is one of the catchiest of all. Although it’s not one of their cleverest or most inventive tracks, it does use the formula that they have honed to satisfying effect and provides some nice singalong bits for the crowds at their always captivating live shows.
Since their inception three years ago, Mr Maps have been one of the easier bands to enjoy on the Brisbane indie/experimental scene. The quintet’s exceptional musicianship, melodically fluid compositions and energetic live performances have ensured their dexterous instrumental rock has been embraced with fervour by audiences throughout the city. To this end, there is a perverse satisfaction to be gained from the somewhat surprising direction of the group’s debut album Wire Empire. While not constituting a significant departure from the ensemble’s idiosyncratic blend of math-rock, post-rock and electronica, Wire Empire still represents enough of a revision of the sound of the group’s previous releases to come as something of a shock. The most notable difference would have to be the jettisoning of the band’s more overt concessions to post-rock. Still instrumental, dynamic and rife with heart-bursting melodies, exhilarating works like opener Step Step or previously released single Nice Fights otherwise owe nothing to the genre. Surprisingly, the band’s math-rock affiliations have also been similarly streamlined. While multi-faceted numbers like the aptly soaring Fly You Monumental Mistake or the jagged Creature Crumpets do hinge on the ensemble’s considerable musical skills, the band’s collective focus seems to be on melodic sophistication as opposed to the spiky polyrhythmia typical of mathrock. Consider, for example, the simple acoustic lyricism of mid-album highlight Nostalgia Is Crippling. In truth, though, such surprises largely end up as secondary concerns – especially when compared with the album’s true accomplishment: the effective realisation of a unique and compelling sound. Mr Maps’ previous efforts, even at their best, could largely be characterised as well-executed pastiches of identifiable influences (65DaysofStatic, Battles). The fluid beauty and mercurial aggression of Wire Empire, by contrast, is almost impossible to definitively categorise. All one can authoritatively state is that it is very good.
The Hymn Of A Broken Man Re-teaming former Killswitch Engage vocalist Jesse Leach – featured on 2002’s genre-defining Alive Or Just Breathing – with current KSE axeman/ drummer/producer/nutter Adam Dutkiewicz is likely to get those who feel said band never fully recovered from Leach’s departure mighty excitable. Their debut takes the hook-laden base of Alive… but ultimately expands to other avenues. Many cuts (Live In Love, the title track) are rooted in the caustic yet deeply melodic output of the pair’s KSE days, but aren’t restricted by it. The selective, yet inspired infusion of low-key moments, splashes of punk aggression, almost post-metal dynamics akin to the act which inspired their moniker (Neurosis) and Leach’s soulful melodies ensure this isn’t merely another metalcore record. Infectious opener Strength In Numbers summates much of the appeal – incisive riffing and bipolar vocals contrasting abrasiveness with soaring choruses (pleading “There is a strength in numbers / We must unite mankind” – a typically positive Leach message corny in many vocalist’s hands, but brimming with conviction), but retaining a few tricks for later. Closer Fall From Grace drips with ambience and tasteful harmonics, while the contemplative southern rock of The Forgotten One adds another flavour, sounding like it was conceived via jamming on acoustic guitars on a back porch, rather than manufactured in a Massachusetts metalcore laboratory. Like much of the material, it’s also too focused for Dutkiewicz to leap around like a madman pulling faces when played live.
Hard Times And Nursery Rhymes Hard Times And Nursery Rhymes is Social Distortion’s first album since 2004’s Sex, Love And Rock ‘n’ Roll and it’s a decidedly more straight-up rock‘n’roll affair than the punk/country drenched sound of previous outings. The band has curiously chosen to open with instrumental Road Zombie, which keeps begging for the vocals to kick in, but they never do. California (Hustle And Flow) is an old fashioned rhythm and blues number while Gimme The Sweet and Lowdown – arguably the album’s standout – harks back to the more up-tempo Social Distortion fans are used to hearing. The band speeds things up with Machine Gun Blues, which was released as a single a couple of months ago, before stepping into unfamiliar territory with Bakersfield. In terms of Social Distortion’s songbook, this uncharacteristically long (six-and-a-half minutes), bluesy track almost qualifies as a ballad, but despite its length, it manages to not outstay its welcome. Far Side Of Nowhere is a pleasant but instantly forgettable jaunt that is followed by a passionate and idiosyncratic rendition of Alone And Forsaken, a Hank Williams cover that has lost none of its power in the decades since it was written. The piano and cello accompanied Americana of Writing On The Wall is another slow-burner, which precedes the dirty rock stomp of Can’t Take It With You, which neatly juxtaposes Ness’ gruff vocals and blues riffs with dual-tracked female backing vocals.
Alive… drastically altered the heavy music landscape – understandably this doesn’t, but fans now have a worthwhile “sequel” to clutch close to their (broken) hearts.
Still Alive is a perfect closer and, as the title suggests, it consists of Ness reflecting on his decades of hard living, with a catchy singalong chorus. While not as instantly infectious as some of the band’s other offerings, Hard Times And Nursery Rhymes is evidence Social Distortion are still going strong after more than 30 years.
★★★★ Brendan Crabb
★★★1/2 Daniel Johnson
★★★★ Matt O’Neill
THE TWILIGHT SINGERS Blackbird And The Fox (feat. Ani DiFranco) (Sub Pop/Inertia)
Greg Dulli’s Twilight Singers continue to release material of such a high calibre that they may be in danger of eclipsing the reputation of the band that made him his name, the much celebrated 90s group Afghan Whigs. Their last full-length Powder Burns was an underrated epic which revelled in his dark pop sensibilities to perfection, managing to be bombastic-yet-subtle, powerful-yet-subdued and many other contradictions all at once. Ani DiFranco’s presence on this quiet track helps build the soundscape without interfering with Dulli’s own voice and vision. It builds while it ebbs and flows, the guitar parts repeat and loop on top of each other, and it’s over much sooner than it should be.
Under Your Bed (Dew Process/Universal)
A two-minute high energy track that flirts with punk rock might not be what you would expect from a Jebediah comeback, if you were expecting a comeback at all. With references to the communist fear mongering of ‘reds under your bed’ in its lyrics, Kevin Mitchell wails like he remembers what it was like when everyone wanted to sing like Kurt Cobain. When the world of independent music was a fun, new and exciting place, before middle-of-the-road pop bands with a tiny amount of distortion ruined it for everyone. It will be interesting to see if they are back for real or if it’s just an excuse to jump onto festival bills, but either way there will be a lot of punters happy to hear some new Jebs both on record and at their favourite once yearly gig outings, as long as they can find good babysitters.
Through Low Light And Trees
KEITH URBAN Get Closer (Capitol/EMI)
Urban is an incredibly gifted guitarist and perfect pop frontman, who is stuck in the conservative country music format. The fact that his music barely resembles anything country is becoming irrelevant to his success. The only country part of his music is in his lyrical themes, which are at best mundane. If it weren’t for the country themed lyrics, Urban would be a great rock artist in his own right. Listening to the single Put You In A Song is more like listening to a glee club performing Jessie’s Girl than hearing a charting country singer at work. This is very slick pop that is cleverly thought out and marketed to middle America. All For You, the ballad on the album, showcases the irony of country music. Get Closer does have some gorgeous moments including the interesting Georgia Woods, which goes beyond the pop veneer of his usual recording techniques. Without You also highlights his wonderful guitar technique and his relationship with that famous spouse. Urban’s use of banjos in You Gonna Fly is the closest we get to country on this heavily edited and punchy recording. Urban is incredibly prolific and this album release was perfect for the pre Christmas lead up. This is the kind of music that suits the drivers of large vehicles and the radio pluggers who love an easy sell. In truth, Urban is incredibly talented and if only some of those lyrics weren’t rooted in the country narrative, he might have a wider scope of appeal. ★★ ½ Sebastian Skeet
English bluesy-folk duo Smoke Fairies do a commendable job of communicating their style of whimsical, fingerplucked guitar compositions with just a quick glance at the artwork of their debut album Through Low Light And Trees. Dressed in white and caught in headlights, two ethereal figures cut lonely shapes against the harshness of the dark bush, a fitting pictorial metaphor for the sweet (occasionally annoyingly so) shared vocals of Katherine Blamire and Jessica Davies against often dirty guitar strums and slide. And then there’s the name, implying an innocent mischief – yep, tick all the boxes of fitting image with music. Summer Fades introduces the Sussex pair as a husky, morose prospect with a penchant for building atmosphere. Piano ballad Dragon, whilst a well-constructed listen, just stinks of the type of ‘modern’ hymn a buxom, middle-aged church pianist would sit down to belt out mid service and detracts from the unexpectedly welcome exploration of Americana influences on Erie Lackawanna and Strange Moon Rising that follow. Here the duo are most comfortable with their guitars, lending a new confidence to the vocal interaction which at last discards the big, fat layer of cotton wool that cocoons the true lie of their shared voice across much of the album. Through Low Light And Trees is an autumnal album that feels content to mildly slip away into the coldest season of the year without the need to assert itself with the sure voice of snow or storms. One-dimensional in pace and tone, Smoke Fairies write prettily moody ditties that would add just the right hit of artistic dour to a sunny café corner, though on the flipside would struggle to sparkle in the darkness of an evening headline show. With time, the duo shows promise of maturing well. ★★★ Tyler McLoughlan
Dye It Blonde
For a group purporting to belong to the proud lineage of garage bands, Chicago’s Smith Westerns sure have high production values. Whereas their self-titled debut probably was recorded in a basement, for Dye It Blonde the boys have been handed a record deal, plucked from the underground recesses of their parents’ houses and made a studio recording, which sounds exactly like a basement recording, just with more cash. Opener Weekend is fairly indicative of what’s to come: fuzzy, oft-layered guitars, muted drums and vocals so airy liner notes are required to decipher what vocalist Cullen Omori’s youthful heart is pining for. Luckily by second track Still New the mystery is solved and we discover that the fey-voiced Omori really wants a girlfriend. So much so it seems that Smith Westerns have essentially dedicated an entire album to getting him a date. Dye It Blonde drags last year’s nostalgia trend into 2011: echoes of post-Ziggy Bowie abound on the spacious guitars of All Die Young; Lennon gets a nod on Imagine Pt. 3; and a ‘90s Britpop homage permeates pretty much the whole record. What saves Dye It Blonde from being another well- – or in this case over- – produced but ultimately forgettable nostalgia-driven throwback album is the sincerity of the content. Smith Westerns aren’t old enough to attempt irony; they are a bunch of kids writing songs that end up sounding like a cross between surf rock and early ‘70s glam. That these tunes are almost invariably about girls is indicative of their age, not their ability. All things considered – youth and a reverb happy producer included – it’s a promising enough release to believe that Smith Westerns are roughly one irreparably broken heart, the Black Sabbath back-catalogue and a trip back to the basement away from being a damn fine band. ★★★ Helen Stringer
VD GHOSTFACE KILLAH
AMIA VENERA LANDSCAPE
EVERY TIME I DIE
Superstar is the kind of quirky disco number that Ghost is regularly fond of; aided by a Busta Rhymes verse it gets out of novelty value territory. Disco beats come back on Starkology, but both tracks are a sidestep away from what the core of the album sounds like.
Still, these are ideological quibbles as opposed to criticism of the actual record, which is hard to fault as a work in itself – there are too many quality tracks. The album hammers the point home with Troublemakers, which starts with a solid Raekwon verse, Ghost following on with a violent outburst, rounded out with rhymes from Redman and Method Man. Pretty hard to top that really. ★★★★ Chris Yates
The initial fraught and aurally confronting moments of Empire, the opening track on Italian newcomers Amia Venera Landscape’s debut album The Long Procession, are immediately gripping to the ears of one long-since jaded by the apparent stagnation of the metalcore genre. The biting guitars, the muscular roar of the vocals and the pummelling syncopation of the drums spearhead an evolutionary step beyond stylistic trappings. Well before the track’s seventh minute is over, it becomes clear that any typical and disappointing moments are not forthcoming and that this band has used their influences not as templates, but as the basis of a propellant towards a whole new level.
American metalcore band Every Time I Die have released a 12 episode documentary of the band essentially ‘bro-ing down’ and engaging in juvenile antics while on tour. The viewer gets an insight into the band talking about their genitals and excrement, gate crashing an American Idol party, playing Warped tour and touring Europe. It is remarkably dull and moronic insight into the band and accordingly the footage serves only to portray the band as middle aged teenagers so inflated on their own self importance and in jokes that, by the end of the DVD, one is left only to consider how Every Time I Die duped adolescents across the globe into buying into their authentic brand of mall punk.
The album descends to deep moments of ambient rumbling and classical instrumentation with Ascending, stylishly tackles the notion of typical sing/scream trade-offs in Glances and triumphantly displays a 14 minute instrumental evolution from minimalistic shoegaze to scorching, time-bending tech-metal with Marasm. Throughout the course of its 66 minutes, the vocals of screamer Alessandro Brun intertwine with the tasteful singing of guitarist Marco Berton, providing diversity but not straying from their roots.
Whilst the trite sentiment of “for die-hard fans of the band only,” would usually suffice, this DVD is so ill-considered and self serving in its idiocy, in jokes and failed attempts at humour that one feels like it would be even undermining the intelligence of fans of the band to recommend this documentary. Regardless this DVD is imbued with rare moments of interest, particularly basketball legend Charles Barkley talking about how the music business is corrupt.
One could draw comparisons of specific elements to Misery Signals, Cult Of Luna, Dillinger Escape Plan, Mogwai and Underoath to the makeup of their sound. Thankfully, the band’s approach doesn’t leave their output a random mash of the ‘post’ genres – the music carries a consistency in tone and feeling and an effortless flow. Painstakingly accurate and organically methodical, The Long Procession pushes the envelope of creativity and stands to place Amia Venera Landscape on the map.
As the DVD continues members of the band lose their inhibitions and succumb to dares to eat a bucket of skittles and catch a box of popcorn in their mouth. This documentary is a tedious insight into frat boy punk; a culture where idiocy and redundant musical ideas are rewarded. Extras: Deleted Scenes, Promotional Videos and music videos.
Live At Austin TX ‘84 He might have been the hot new kid on the block when he took to the venerable Austin City Limits stage back in 1984, but the yet to break out of Texas wunderkind guitarist Eric Johnson was still human enough to be pushing a little too hard against the head of the beat here and there on this outing. Still it’s obvious his subtly versatile and sublimely fluid technique, on both electric and acoustic guitar, is what counts and it’s way ahead of his ability to write anything but fairly banal lyrics. His instrumentals are by far his strongest suit.
Vocally he sounds a lot like Englishman John Waite and, for that matter, Johnson’s songs are closer to that mid-Atlantic mid-tempo rock of Waite’s original band The Babys, though his Bristol Shores has a distinct Police feel. His choice of covers is pretty diverse – Paul Simon’s April Comes She Will, Hendrix’s Spanish Castle Magic and Wes Montgomery’s take on the Lalo Schifrin composition, Down Here On The Ground.
The fast pace of Black Tequila matches Ghostface’s own lyrical delivery speed and features the only appearance of Theodore Unit’s Trife on the album, one of the most underrated bit part players in the massive Wu-Tang family. Wu-Tang’s classic sound is back on 2Getha Baby, producer Yacob doing his best RZA production impersonation. Still suffering the aftershocks of the rest of Clan’s disapproval of RZA’s compiling of 8 Diagrams, there’s no production or rapping from RZA himself on the album (Raekwon’s upcoming Shaolin vs. Wu-Tang also neglects to include the Wu mastermind). His presence, while not necessary, is definitely missed from the album, especially when his style is being copied so blatantly by the producers.
Shit Happens: The Series?
Purified Thoughts, the first song on Ghostface Killah’s ninth solo album, is such a pure dose of Wu-Tang goodness that when GZA joins in for his (much too short) verse following on from Killah Priest and Ghost himself, it seems ridiculous that people look fondly back on the first few years of Wu-Tang Clan as the golden era, when this sort of bomb is dropping on a very regular basis.
The Long Procession
The performance was, of course, part of the ongoing series filmed at the Texan venue, so that’s what you get on the accompanying DVD and, visually, it’s obvious Johnson is no showman – it’s all about the playing. So while guitarists will enjoy getting close to the fret action, it’s not something you’ll necessarily play more than once, unlike the audio CD. Johnson might have been 29 but he looks 16, while his bass player Rob Alexander looks disconcertingly like a member of the Osmond family! Still, he’s got a stronger though still angelic voice than Johnson has. ★★★ ½ Michael Smith
★ ½ Cam Ford
★★★★1/2 Lochlan Watt
THE FLOOD’S IMPACT ON THE ARTS
C U LT U R A L
HELEN STRINGER LOOKS AT THE EFFECT THE RECENT QUEENSLAND FLOODS HAVE HAD ON BRISBANE’S ARTS COMMUNITY, AND WHAT IS HAPPENING IN THEIR WAKE.
WITH MANDY KOHLER
risbane was built - and rebuilt on the banks of a largely placid river. Our State Parliament sits virtually flanked by water; our cultural precinct - Queensland Art Gallery and GoMA, the State Library, and QPAC - just over its banks. Had the waters of last week’s floods risen to the catastrophic levels originally projected Brisbane’s arts community would have endured a nigh-on insufferable blow. While the river-hugging Powerhouse emerged surprisingly unscathed, as it currently stands QPAC remains closed with most of its early season shows postponed; QAG and GoMA have suffered damage - although their collections were thankfully saved. Queensland Theatre Company too was inundated, and numerous private arts organisations found themselves underwater. For Harvest Rain Theatre Company’s CEO and artistic director Tim O’Connor, whose company’s major productions are staged at QPAC - including the now postponed Aladdin & The Mysterious Magical Lamp - watching the flood waters rise while his own offices remained unthreatened was a difficult experience. “We felt so helpless,” he says, echoing a common sentiment amongst those unaffected. “We could see what was happening at QPAC and QTC. We were watching it on the television and just thought we need to do something for all of those places.” Rather than watch Brisbane arts being swiftly submerged the team at Harvest Rain took to the internet, rallying volunteers for the impending clean-up. In two days the online register had over 800 names. To put the response in perspective, as O’Connor explains, “When we put a call out for auditions we have maybe 400 people reply. To have 800 people in two days; it was just so fast. When we were looking at the list today, it’s people I don’t know; they’re not friends; they’re not people I know are directly involved with our company or with any other company; it’s just patrons, ticket buyers, people who are not necessarily performers or anything else but just care about the arts industry and want to see it up on its feet as quickly as possible.”
QTC too, had an overwhelming response to its Facebook request for volunteers. In the space of 24 hours Queensland’s largest theatre company was turning away eager arts supporters. Smaller organisations haven’t been neglected either; Raw Dance Company’s studios were almost entirely submerged but as the water levels dropped they too found themselves with a surplus of willing helpers. It seems, then, that in the immediate future the Brisbane arts community will be well tended to. The longerterm impact of the floods, however, is less certain. Queensland now faces a rebuilding that will likely cost billions of dollars. Those who were not directly affected by the floods will no doubt feel the repercussions of such a devastating event for months, perhaps even years, to come. Unfortunately, the arts do not traditionally fair well in times of even moderate economic hardship. While the larger, government-funded organisations might be able to struggle to their feet, those that are private are facing a very difficult and uncertain time. “We’re going to see the effects of the flood for months and years to come,” O’Connor agrees. “The financial hit that so many of these companies have taken will affect Brisbane and Queensland for such a long time to come. But everyone is so determined to just get along with it. Everyone’s determined to just go ‘it happened, let’s just deal with it and move on’.
Rather than wallow there’s a real resilient spirit that’s come up in everybody. We [at Harvest Rain] are committed to rallying volunteers for as long as they’re needed.” O’Connor is maintaining his good humour in spite of the difficulties that no doubt lie ahead. “The arts industry will struggle on,” he says with a laugh. “It always does. We’ll find a way through. It will be a big, difficult road ahead financially for sure, but I feel very confident that the arts community will get around it. “[But] certainly speaking from our company’s perspective alone,” he concedes. “It’s a lot of money that’s rolled up in this. For instance if Aladdin can’t open in time - if the Cremorne [at QPAC] can’t open in time - the amount of money we will lose is up near the hundreds of thousands; it’s a lot of money. But to be honest I feel really bad saying that… no one died, we still have our staff; we still have our actors. A bit of money lost doesn’t even equate when people have lost their entire homes and people have died. I’m not going to complain.” Despite O’Connor’s stoicism even the temporary closure of QPAC is potentially devastating. While QPAC is keeping patrons and associates thoroughly updated via Twitter and Facebook, O’Connor concedes that there are still, as he puts it, “question marks” as to when it will be fully operational. With another Harvest Rain show - Jesus Christ Superstar - due to start at the venue’s Playhouse Theatre in February the next few weeks will
likely be as trying as the last. That said, the overwhelming response from the public and the network that immediately emerged as the floods hit are a reassuring sign that Brisbane’s arts community is generously supported. “All the barriers have come down,” insists O’Connor, “Everybody’s just decided that we all love our industry so much and we just want to see it back on its feet. I mean, the flood has hit QTC and QPAC, two of the biggest arts organisations in the state. It’s indiscriminate. It can be a big organisation like that, or a small organisation… I think that’s the point: we’re all in it together. It’s bridged some gaps; it’s connected people who wouldn’t normally be connected. I think that’s the best thing that’s come out of it: there’s a real sense of unity.” Certainly there’s nothing that can nor indeed should - detract from the human toll of this disaster. But in the immediate aftermath, as an unbidden army of broom-toting strangers descend upon the streets and into the arts community to continue the arduous task of cleaning the mess, living in the River City still seems like a mighty fine idea. Representatives from QAG/GoMA, and QPAC were unavailable for comment.
By now you would have hooked on to the fact that there’s been a bit more water around than there should be at this time of year. Though coverage of the floods is at (ahem) saturation point it’s significant to a column called Cultural Cringe that the cultural precinct is currently shut down. With the State Library, Qld Art Gallery and GoMA, and QPAC closed “until further notice” it feels like Brisbane is in a cultural limbo. In limbo because it’s important to get these giants of the arts operational again, but then again the damage to these facilities is dwarfed by grief for human life and communities hobbled by loss. However, if, as Shakespeare once wrote, all the world’s a stage and the men and women are merely players, the show must go on. In a literal and metaphorical mash-up of this ethos, many concert fundraisers are being staged to raise money for flood relief and recovery. As Brisbane cleans up, benefit gigs galore being held around the country from Magnetic Island to Melbourne. The big one is likely to be an event promoter Michael Gudinski is organising akin to 2009’s Sound Relief concert. Artists rumoured to perform include Rihanna, Katy Perry, and Michael Bublé. Locally, Mucho Bravado have an event the works, a flood relief concert is to be held at QPAC in March, and as central venues reopen expect more benefit gigs in Brisbane. Meanwhile, fundraisers are popping up in suburban precincts with organisations and businesses coming up with brilliant fundraisers, some a testament to their desire to help using any means at their disposal. For instance, Sink Or Swim Tattoo, on Fifth Avenue, Sandgate, have organised an Anchor and Cupcake day. On Sunday 23 January from 9am you can get an anchor tattoo inked
on your person for $50, and give a gold coin donation for a delicious little cake as well. Set designs available, no appointments taken, first in best dressed, see Facebook for details. Another intriguing initiative is 100 Stories For Queensland, an anthology being collated for digital and print with sales being donated to the Premier’s Flood Relief Appeal. Submissions of 500-1,000 words are invited from writers around the world until midnight on Friday 28 January. Go to 100storiesforqueensland. submishmash.com. Based in the State Library, QWC is currently closed but still doing their bit to raise funds with Writers On Rafts, an initiative with over 60 writers, publishers, and agents donating their skills. For a small fee you, your writing group, or school could win prizes including a oneon-one writing mentoring session, a character named after you in an author’s next novel, a high tea with some of Australia’s best loved female writers, and a manuscript assessment from a literary agent or publisher. See QWC on Facebook for details. If you’re looking for something a tad sportier, the Northern Brisbane Rollers roller derby team are hosting a social skate night at Albany Creek Skateaway on Saturday 29 January with the $10 entry fee going to the Premier’s Flood Relief Appeal, and monies made from raffles going to derby community flood victims such as Bundamba SkateAway at Ipswich, which was completely inundated. As people sort their lives into chuck and keep piles, and volunteers cleaning up bridge the gap between seeing and believing, there are many places where we can build community spirit while the literal rebuilding begins. The list of events will grow but cold hard cash is also appreciated.
To volunteer to help Brisbane’s arts community in the wake of the recent floods, please head to harvestrain.wufoo.com/forms/artscommunity-flood-cleanup-crew.
THE GREEN HORNET
THE GREEN HORNET The writing team of Seth Rogen and Evan Goldberg, teamed with the wacky directorial style of Michel Gondry, taking on the property of a legendary crime-fighting duo – it was either going to be a recipe for box office gold, or disaster. Tragically, it comes closer to the latter, but it’s not without its charms. The setup is well-handled. Britt Reid (Rogen) is the dissolute scion of a newspaper empire, and when his draconian father mysteriously dies, he inherits the lot. Meeting his father’s mechanic-cum-barista
Kato (Jay Chou), both men bond over defacing the elder Reid’s tombstone – but foil a mugging in the process. Elated by this, Britt takes on a masked identity and together, in their tricked-out car, they vow to fight crime while staying ahead of the cops. Christoph Waltz has about a tenth of the presence or menace he showed in Inglourious Basterds as the villain of the piece, mobster ‘Bloodnofsky’ – in the opening scene he’s outdone by a crazy cameo from James Franco. Cameron Diaz is similarly weak as Britt’s secretary Lenore. Rogen is a bit more madcap and high-energy than usual and his dynamic with Chou moves from
touching to grating. That said, there are a couple of great slo-mo fights, but later in the film, the action does swing over to the silly side (half a car in an elevator, anyone?). Oh, and the 3D – unless it’s stunning, why
bother? Guaranteed, you’ll barely notice it here. You’ll just get irritated by the weight of the silly glasses. WHERE & WHEN: Screening in cinemas 20 January BAZ McALISTER
For their latest film True Grit, the Coen Brothers (Fargo, No Country For Old Men) have committed to celluloid the second cinema adaptation of the Charles Portis novel of the same name, following the 1969 version starring John Wayne. The 2010 True Grit (releasing in Australia on 20 January) features Jeff Bridges (as last seen in a Coen Brothers film as The Dude in The Big Lebowski) as the US Marshall Rooster Cogburn, hired by a young girl (Hailee Steinfeld) to track down her father’s killer (Josh Brolin). Whilst any film that stars Oscar-winner Bridges alongside Brolin and Matt Damon should be worthy of a look regardless, critics have been raving over Steinfeld in this breakout performance - and judging by the trailer alone it’s easy to see why. Released in cinemas 26 January, thanks to Paramount Pictures we’ve five in-season double passes to the film to giveaway. For your chance to win one email email@example.com with ‘TRUE GRIT’ in the subject line.
be with because when you’re onstage doing this it’s not like being in a play or even doing stand-up where even if you’re having a bad night or having a row with someone you have to be professional and just carry on – doing this, you have to get on with each other and you have to be in synch.”
WHOSE LINE IS IT ANYWAY IS ONE OF THE PIONEERS OF THE IMPROV COMEDY FORM, BEGINNING IN THE 1980S WITH A UK RADIO SERIAL AND TV SHOW BEFORE A US VERSION BROUGHT WIDER APPEAL. ON THE EVE OF THE AUSTRALIAN LIVE TOUR OF ORIGINAL BRITISH CAST MEMBERS GUY DAVIS SPEAKS TO ITS MOST MEMORABLE FACE, STEPHEN FROST.
tand-up comedians are a breed apart, sure, but even when they’re bombing they’ve usually got prepared material they can rely on to get them through to the end of their set. But improvisational stand-up comedians, the people who get up onstage and wing it with only their own wits and a suggestion or two from the crowd? They’re comedy kamikaze pilots. They’re something else. “It takes a special person,” agrees Stephen Frost. “And I’m one of those special people.” He says it with a self-deprecating laugh, but actually he’s right on the money. The English actor and comedian has been doing improv comedy for decades, both in live venues and on the television series Whose Line Is It Anyway? (kind of a spiritual cousin to our own Thank God You’re Here), and now he’s bringing his act – and a few of his like-minded friends and colleagues – to Australia for a national improvisational-comedy tour. Along with Ian Coppinger, Steve Steen, and Andy Smart, Frost will be performing around the country in January and February, and audiences can rest assured of all-new material every night. That’s mainly because, according to Frost, it’s pretty difficult to recall what gags were cracked the
Even after doing this together for years, the banter between the four flows freely. “We all have the same sort of sense of humour, we all like the same films and such, and we all follow the same sports so it works out,” says Frost. “We have common reference points as far as all that is concerned.”
night before. “If you memorise or write down material, it’s then in your brain and you can fall back on it,” explains Frost. “But if you go out onstage and someone shouts out ‘A monkey and a taxi!’ and you’re then at the bar an hour or two later when someone comes up and goes ‘I loved that one about the monkey and the taxi’, you’ll often go ‘I’m not sure I remember that one...’ You just made it up, and because it’s so spontaneous it’s not something you really hold in your brain.
And just as acting is reacting, as the old saying goes, the key to good improvisational comedy is listening to your fellow comedians, taking what they offer, running with it, and giving something back. “One of the rules of improvisation is ‘Agree and add’,” says Frost. “So if someone says ‘I’ve got a bag of tomatoes’, you have to say something like, ‘I can see that. How much were those tomatoes?’ ‘Well, they were $3.50 but you can’t have any.’ ‘Why can’t I have any?’
“So if you hear the suggestion ‘monkey’ two months later, it’s not like you’re going to drag out that bit about the monkey. You don’t fall back into old routines because you don’t have any!” Frost and his comedy colleagues (dubbed the Stephen Frost All-Stars) are all actors as well as stand-up comedians, which he feels holds them in good stead when using their imaginations and thinking on their feet. Of course, it also helps that they’re all great mates. “I can ring around this group of friends in the comedy community and say, ‘Okay, I’m going to Australia, who wants to come?’” he says. “But I only call the people who are fun to
Chris Morris is one of the finest comedians and satirists of his generation. The brains (and face) behind such brilliant TV series as The Day Today and Brass Eye, he is also co-creator of Nathan Barley and a regular guest in The IT Crowd. Making his feature film directorial debut (and remaining firmly behind camera) with Four Lions, his acerbic wit and social commentary genius is out in full force as he takes on the most controversial topic of the era: terrorism. An hilarious farce that’s surprisingly human. Shock! Horror! Thanks to Hopscotch Entertainment we’ve five copies of Four Lions on DVD to giveaway. For your chance to win a copy, email firstname.lastname@example.org with ‘FOUR LIONS’ in the subject line.
DAY ING X O B NS OPE
Of course, in addition to the “gags, puns, wind-ups and slapstick – everything you’d want from a comedy show”, Frost admits that there’s always the possibility of a foul-up or two. And he’s well aware that the audience is sometimes happy to see a performer
“By the way, that’s not necessarily a good example of improvisational comedy! If I had another improviser here with me, you’d probably be rolling around laughing at our wonderful ‘bag of tomatoes’ bit.”
In the wake of Queensland’s worst natural disaster, with the death toll inexorably rising and the damage currently incalculable, it seems a little frivolous, perhaps even heartless to write about art. In the face of such a calamity what value does such a thing have? I’d personally track down and destroy every Picasso in existence in return for one of the many who remain missing to be found safe and unharmed. The universe, however, is impervious to such futile bargaining. It would be remiss of me anyway to claim now that art did not feature in my own preparation for the floods. As the water pummelled its way through Toowoomba, the Lockyer Valley, and Ipswich, my family began
a rescue mission of its own: to move my grandmother and her art to higher ground. To put this dual evacuation in context this is a woman who proudly informs admiring visitors - in her best Australian matriarch voice; one that could be plucked from the pages of a Tim Winton novel - that “there are no prints here”. In fact, the very little I know about art was gleaned from the walls of my grandmother’s house. She was a formidable protector of her collection: small hands were slapped away from irresistibly raised oil paintings; pens and crayons banished within a generous radius of the down-lit frames. Unsurprisingly, I learnt early on that one does not touch the art. Removing her and her collection to safety I was permitted - for the
THE FIGHTER (MA) 15+ THURSDAY, 20 JANUARY 2011
MONDAY, 24 JANUARY 2011
FRIDAY, 21 JANUARY 2011
TUESDAY, 25 JANUARY 2011
SATURDAY, 22 JANUARY 2011
WEDNESDAY, 26 JANUARY 2011
12:30 PM, 3:30 PM, 6:30 PM, 8:45 PM 12:30 PM, 3:30 PM, 6:00 PM, 8:15 PM
WHAT: Whose Line Is It Anyway? WHERE & WHEN: Albion Comedy Club & Restaurant Thursday 27 January
WITH HELEN STRINGER
12:30 PM, 3:30 PM, 6:30 PM, 8:45 PM
fall on their face, so to speak. “They do want you to do well but they’re also waiting for that car crash!” he says, with a laugh. “That’s the nature of the beast, really. Failure is funny, and if it’s funny it’s in the show. But there are four of us and we’re all professionals, so if I find myself going off on a tangent that’s heading nowhere I’ll stop and tell the audience – they’ll know I’m not trying to hide! – and one of my mates will come in and rescue me. That’s what makes the show so enjoyable, the fact that the audience can see that you’re making it up as you go. It has that element of danger.” While it’s mainly going to be the four comedians showing their stuff during their Australian tour, there is the chance that some local comedians might join in the fun at some stage. (Adam Hills, who performed with the All-Stars in Edinburgh, has been mentioned as a possibility.) But it’s also up to the audience to make a memorable comedic experience. “The thing is, whatever suggestion anyone yells out, we take it,” says Frost. “If they give you a suggestion you had last night, that’s no reason to turn it down – they weren’t there last night, were they? You take what you’re given and you make something new out of it. “But the great thing about the show is that a lot of it is down to the audience... and the better their suggestions, the better the show.”
first time - to handle the frames. Some I simply could not bring myself to carry, not because they’re particularly valuable, but because to me these paintings are an indivisible part of my grandmother. In each and every brushstroke I can find a memory from our 26-year history; when she was seriously ill it was in these paintings that I found her and when she is gone it will be to these paintings that I look again. A public art gallery is not merely a depository of beautiful things. It is a community collection of memories; a reminder of the beauty we are able to create and privileged enough to value. The act of creating, the process of recording is distinctly human and we value it instinctively as a result. Indeed, the moment the water began
G WIN HO S W NO
N SOO ING COM
to recede we strapped buckets to our backs and carried our brooms above our heads and through stinking mud and silt we started to clean up the mess left by something we had no power to stop. But we also photographed our efforts and began a communal catalogue of the days we had withstood. We began to write and share the stories of the people who had been lost and those who had been found. We did these things without questioning why or if they should be done. We did these things because the ability, will and desire to create and the compulsion to record are what makes us human. It was not a frivolous mistake to protect my Grandmother’s art; by protecting the objects of beauty we have made sure we are protecting ourselves.
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12:30 PM, 3:30 PM, 6:30 PM, 8:45 PM 12:30 PM, 3:30 PM, 6:30 PM, 8:45 PM 12:30 PM, 3:30 PM, 6:30 PM, 8:45 PM
SUNDAY, 23 JANUARY 2011
12:30 PM, 3:30 PM, 6:00 PM, 8:15 PM
LEVEL 1, 151 BAROONA ROAD, ROSALIE, PH: 3876 4566, WWW.BLUEROOMCINEBAR.COM
BARRACKS 07 3367 1954 61 PETRIE TCE, TOP OF CAXTON ST
ADVANCED PREVIEWS FRI/SAT/SUN OF CATFISH AT PALACE CENTRO
CENTRO 07 3852 4488 39 JAMES STREET, THE VALLEY
(M) (NO FREE TIX)
(MA15+) (NO FREE TIX)
(M) (NO FREE TIX)
FRI-SUN 12.45, 3.30, 6.15PM WED 10.00, 2.30, 7.05, 8.30PM
THU-TUE 12.00, 2.15, 6.50, 9.15PM WED 12.15, 2.30, 7.15, 9.30PM
THU/MON/TUE 11.00, 1.15, 3.30, 6.30, 8.40PM FRI-SUN 10.30, 12.10, 4.20, 6.25, 8.40PM WED 9:50, 12.25, 2.05, 4.55, 6.15PM
THU-TUE 12.10, 4.30, 9.30PM WED 11.55, 4.15, 9.25PM
TRUE GRIT (M) (NO FREE TIX)
WED 10.00, 12.10, 4.30, 9.00 PM
THE KING’S SPEECH THU-WED 10.00, 2.35, 4.50, 7.10PM
TANGLED 2D THU-TUE 10.00AM
THU-TUE 10.00, 2.20, 6.40PM WED 9.45, 2.05, 6.25PM
(MA15+) (NO FREE TIX)
THU-TUE 10.30, 12.50, 3.15, 6.30, 8.50PM WED 10.00, 2.20, 6.45PM
WINNER 2 GOLDEN GLOBE AWARDS
BURLESQUE (M) (NO FREE TIX)
THU-TUE 12.15, 4.30, 9.00PM WED 12.15, 4.45, 8.35PM
NY MET OPERA: DON CARLO (G) (NO FREE TIX)
BLACK SWAN (MA15+) (NO FREE TIX)
BLUE VALENTINE (MA15+)
THU 11.30AM (SCREENING FROM 13/01)
THU/ MON- WED 10.30, 1.00, 3.30, 6.30, 8.50PM FRI- SUN 12.30, 2.40, 4.50, 7.00, 9.15PM
THU 4.30, 6.45, 9.00PM FRI- SUN 10.20, 2.30, 4.45, 7.15PM MON/ TUE 10.10, 12.30, 7.00, 9.15PM WED 11.50, 3.50PM
PARIS OPERA & BALLET: SWAN LAKE SAT 11.30AM SUN 1.00PM
CULT CINEMA CLASSICS THE COMMITMENTS (M) (NO FREE TIX)
THE FIGHTER (MA15+) (NO FREE TIX) THU/ FRI/ MON/ TUE 12.00, 2.15, 4.30, 6.50, 9.10PM SAT 12.00, 2.20, 4.40, 6.50, 9.10PM SUN 10.00, 12.15, 2.30, 6.30, 8.50PM WED 12.00, 2.15, 4.30, 6.45, 9.10PM
THURSDAY 20TH JANUARY TO 27TH JANUARY 2011
ADVANCED PREVIEWS FRI/SAT/SUN OF CATFISH AT PALACE CENTRO
07 3852 4488
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SARAH’S KEY (M)
THU/MON/TUE 11.15, 1.30, 3.40, 6.25, 8.35PM FRI-SUN 10.00, 2.15, 8.30PM WED 12.00, 4.10, 9.30PM
CATFISH (PG) (NO FREE TIX) ADVANCED SCREENINGS FRI- SUN 12.40, 9.30PM WED 10.10, 2.00, 6.00, 7.45PM
THU/ FRI/ MON- WED 10.00AM SAT 9.50AM SUN 4.00PM
TRUE GRIT (M) (NO FREE TIX)
WED 2.30, 4.40, 6.50, 9.00PM
THU 9.40AM FRI- SUN 10.30AM MON/ TUE 2.50PM
THE KING’S SPEECH (M) (NO FREE TIX) THU 12.40, 3.10, 6.20, 8.45PM FRI 12.10, 2.20, 4.30, 6.45PM SAT 2.15, 4.30, 6.45, 9.00PM SUN 10.40, 4.45, 7.10, 9.20PM MON 10.15, 12.40, 3.10, 6.20, 8.45PM TUE 11.00, 1.20, 3.45, 6.45, 9.00PM WED 10.00, 12.15, 9.30PM
SARAH’S KEY (M) THU 10.15AM FRI 10.00AM SAT 9.30AM MON/ TUE 4.45PM
ISSUE 1510 - WEDNESDAY 19TH JA
KING WALLY, READY TO GO UNDER Time Oﬀ photographer BRAD MARSELLOS became an online sensation during the ﬂood crisis last week when his photograph of Wally Lewis’ statue outside Suncorp Stadium became a viral hit, in the process introducing a bit of levity to an otherwise somber occasion. He takes us through the experience… There was no way I was going to miss documenting the eﬀects this ﬂood was going to have on my hometown, but I did try to minimise the impact my presence would have on anybody suﬀering what was occurring, so I went and did photos mainly between 11pm and 3am. Tuesday night when I walked around the streets of the western suburbs it was like a post apocalyptic zombie ﬁ lm, sirens screaming, total darkness, nobody anywhere, I actually was scared. Freaky. The water came up high that night, and it was said it was going to get higher. All day Wednesday we watched news and listened to radio, so intense. Helicopters were ﬂying over our Bardon house, grabbing footage of nearby Rosalie. We were shell-shocked. Got a text from a pal saying they were at the XXXX Brewery and we should come
have a look, it wasn’t very far and we could walk so we set oﬀ just before dusk.
worldwide. Lots of comments are ﬂying around and I think a lot of other shell-shocked media are also having a laugh, and it is striking a chord.
We walked around Lang Park because it was high and dry and there we saw the Wally Lewis bronze statue ﬁtted out with a snorkel and kids ﬂoaties and, for the ﬁrst time in 24 hours, we laughed.
All the comments were awesome and I’m stoked to have maybe helped people have a laugh when we all needed it.
So I snapped a few frames of it, we had a chat to our pals and went home, I had just started using Twitter and thought my 20 friends that follow me might dig the photo and get a laugh so I posted it up with “KING WALLY, ready to go under.” King Wally is the name of a Boondall Boys song I love, that’s why I wrote that.
Nah, I didn’t whack the gear on him, I guess we will never know for sure who did. Genius.
So I post it up and 30 minutes later it’s getting 200 views a minute, another 30 and it’s all over TV, KING WALLY is trending on Twitter
No money changed hands, every positive comment made me a lot happier than money ever could.
Sometimes humans surprise me by how cool they can be; every person I have talked to in the last few days has been generous, kind and humble.
GIG OF THEWEEK
FOALS: Great Northern Hotel Feb 2 TWO DOOR CINEMA CLUB: Great Northern Hotel Feb 3
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 MOS DEF: The Hi-Fi Jan 26 NO TRIGGER: YAC Jan 26, Step Inn Jan 27 SKILLET: The Tivoli Jan 26 BROOKE FRASER: The Tivoli Jan 27 & 28 THE THING, YAN JUN: Judith Wright Ctr Jan 27 CAT POWER: Brisbane Powerhouse Jan 28, Coolangatta Hotel Jan 29 (HED).p.e.: The Hi-Fi Jan 28 NEEDFUL THINGS: Rosie’s 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 HIGH ON FIRE: The Hi-Fi Mar 1 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 SILVERSTEIN, BLESSTHEFALL: The Hi-Fi Mar 2 SLASH: The Tivoli Mar 2 KE$HA: Riverstage Mar 3 JOANNA NEWSOM: The Tivoli Mar 4 THE CHEMICAL BROTHERS: Riverstage Mar 4 MONARCH: The Hi-Fi Mar 5 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
OWEN PALLETT: Old Museum Jan 25
FLOOD BANK BENEFIT CONCERT: Old Museum Feb 3 FLOAT ON… BRISBANE FLOOD RELIEF BENEFIT: The Hi-Fi Feb 6 FOSTER THE PEOPLE: The Zoo Feb 13 DOVES: The Hi-Fi Feb 15 SWERVEDRIVER: The Zoo Feb 16 LAMB: The Hi-Fi Feb 18 AXXONN: Spotted Cow, Toowoomba Feb 18, Woodlands Feb 19 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 STONE TEMPLE PILOTS: Brisbane Riverstage Mar 23 RIC’S BIG BACKYARD FESTIVAL: Ric’s Mar 26 BLUESFEST 2011: Byron Bay Apr 21-25 KYUSS LIVES: Coolangatta Hotel May 4, The Tivoli May 6
TINIAN’S BOY, MONTPELIER, DESERT GHOST
THE ZOO: 15.01.11
THE TIVOLI MONDAY JAN 24 We don’t get too many Big Day Out sideshows as a rule, but at least when we do they’re usually righteous and this one is no exception. Nick Cave’s awesomely visceral Grinderman project last year released their second long-player Grinderman 2, and ﬁnally we’re going to get the chance to see incredible tracks like Worm Tamer and Heather Child in the live setting that they were seemingly made for. The last time that Grinderman played The Tivoli they tore the place a new one, and there’s no reason to think that this time the results will be any diﬀerent. The support for a gig is a massive surprise, in that we have no idea who it is, but don’t let that put you oﬀ because any goodness that’s thrown on top of the already awesome G-man performance will be a complete and utter bonus... After an incredibly shithouse week we really deserve to let our hair down a bit. Let’s party!
THE WEEKEND THE MUSIC DIED The Brisbane music scene also took a massive hit due to the ﬂoods which have ravaged our state for the last week, with – for the ﬁrst time in living memory – nearly all of the shows that were scheduled to be played in Brisbane during the week cancelled amidst the chaos. Th is obviously played havoc with this week’s Feedback section, as most of the shows that we’d arranged to cover in this issue never eventuated for a myriad of disaster-related reasons. Fortunately some brave musicians managed to wave the ﬂag for entertainment during the time of crisis, and a couple of our more intrepid reviewers managed to make it along to get their ﬁ x of live music amidst the carnage that rocked Brisbane and surrounds...
HEALTH, THE DEATH SET, DZ WOODLAND: 15.01.11
DZ are the perfect opening for tonight’s show without question. With a brash sound of trash and blues inﬂuenced minimal rock numbers, their solid local following and reputation for an energetic live show sees plenty of bodies making the early entry to Woodland to get their loose on. The comparisons to former Canadian heroes Death From Above 1979 are justiﬁed but the band are less showy and hung up on aesthetic and fashion elements and more focused on a fuck oﬀ wall of noise, guitarist and vocalist Shane Parsons especially on song tonight with a guitar tone nothing short of six-string armageddon. As a band that relocated to the American east coast on the base of their musical grand plans, you would be right to expect a lot more out of a Queensland homecoming show for Gold Coast-birthed The Death
Set. But as an average band with average songs played in a below average manner, the short set is messy, dull and loses it’s mildly novel appeal at speed. There is obvious chemistry between Johnny Siera and fellow guitarist Dan Walker, no better shown than on closer Slap Slap Slap Pound Up Down Snap, but on its own it’s not enough to save a pedestrian support slot. The Death Set’s performance shortcomings are made even more glaring when LA art noise crew Health hit the stage and destroy from the outset. Chaotic with a clean sheen, their sound is a mathematic, metallic and completely pulverising display of tech hardcore and psychedelic noise rock. To describe the percussion skills of BJ Miller in any manner is to do the bearded one an injustice – his frantic stick work during tracks like Triceratops is indescribable and tiring just to watch, while the ﬂuid nature in which he seamlessly changes the tempo of the songs never feels as jarring as the industrial samples and distorted glitches that bass player John Famiglietti and guitarist Jupiter Keyes pump relentlessly through the speakers. With the suspicious, aquatic vocals of Jake Duzsik providing a calming element to the jungle of sounds, We Are Water sees all four band members at the height of their powers and is a revelation but it’s obvious from the frustration on Duzsik’s face that something isn’t right in his ears. Whatever it is, the tensions boil over, the set stops and after a few choice words are thrown in Famiglietti’s direction things become somewhat normal. The deformed, angelic Die Slow allows the crowd to forgive the indiscretion but the Health boys don’t seem to be able to forget and after the dummy spit, the show, although still technically magniﬁcent, is ﬁnished in an icy cold manner, the Californians exiting the stage without even a hint of warmth. BENNY DOYLE
After a few sad and anxious nights of closure due to the unforgiving ﬂood that tore through our fair city, The Zoo once again opens their doors to the masses for Tinian’s Boy’s EP launch. Kicking things oﬀ early are four-piece Desert Ghost. Coming from a diverse range of established Brisbane bands, they’ve got the skills down pat instrument-wise and you can see they’ve got the potential for an interesting sound, but at the moment their set tends to lack a bit of light and shade. Considering they’ve only played three shows in two years, it’ll be fascinating to see what they can achieve once they knuckle down and iron out the kinks. Montpelier are next to hit the stage, starting oﬀ with a song new to their repertoire. Dual frontmen – or should that be duelling frontmen? – Greg Chiapello and Dave Butler cheerfully battle it out harmony after harmony in a set scattered with crowd favourites. Taking a break from the stage and stepping down into the crowd, armed only with an accordion, a guitar and some shakers, Montpelier bring the community spirit we’ve seen in the past week to the fore, becoming as intimate as they’ve ever been amongst the tightly huddled mass of people craning to hear. Back on stage, Hannah Shepherd of Charlie Mayfair fame soon joins the boys for Harder Times, which sees Chiapello put down his bass and step over to the keys. Th is song is by far one of their best of the night, being trumped only by their latest single Last Boat. After the resounding “ooohh-ohh”s of Montpelier’s ﬁ nal song Th e Rafters slowing disappear, the room is suddenly abuzz with anticipation. Friends, fans and family ﬂock to the stage for Tinian’s Boy, with parents not afraid to get amongst the action. From the ﬁ rst note, Adam Stonehouse proves to be the ever-entertaining frontman, dancing across the stage in what can only be described as sporadic bursts of pleasure and excitement. Performing songs from their EP and aptly debuting new song Brisbane, the fans of gritty rock give it their all in a well-rehearsed yet endearing set. Shepherd once again takes to the stage along with a small brass section, this time to tackle Tusk by Fleetwood Mac. The party times have clearly begun with the energy onstage becoming explosive as Stonehouse smashes a tambourine before joining Owen Tilbury on a second drumkit that went previously unnoticed. After a brief moment oﬀ stage, the boys return admitting they hadn’t actually thought far enough ahead as to plan for an encore but what the hell, they’ll do one anyway. Playing one of the ﬁ rst songs they wrote, Tinian’s Boy ﬁ nish the night sweaty, shirtless and with their mums dancing in the crowd. RACHEL TINNEY
KILL TWO BIRDS WITH ONE STONE: ATTEND A BENEFIT GIG AND SUPPORT QUEENSLAND MUSIC AND VENUES WHILE RAISING MUCH-NEEDED MONEY FOR FLOOD RELIEF
PROCEEDS WILL BE DONATED TO THE PREMIERS FLOOD APPEAL
THE MUSIC FIGHTS BACK With a bit of luck the worst of the ﬂood disaster that has decimated south-east Queensland has passed. Every one of us has been impacted – some of us far more seriously than others – but now it’s time to rebuild. Together. A lot of our neighbours and Brisbane brethren have been battered beyond belief ﬁnancially and emotionally, and it’s these ill-fated people that we need to remember as our lives get back to normal and our memories of the trauma fade, and it’s these people that we need to continue to help in the coming weeks, months and even years. The outpouring of love and support provided by the people of our community for those less fortunate has been phenomenal – we’ve been put through hell but held our heads up high, and I for one have never been so proud to call Brisbane home, a city I’ve always loved unconditionally – but the real work is only beginning...
So where does music ﬁt into all of this? To many of us music is more than mere entertainment, it’s the cornerstone of our lives, so it’s natural in a time of crisis to turn to music ﬁrstly for support and then, eventually, for solace and respite. The music industry of SEQ – and the rest of Australia judging from the beneﬁts that have been quickly arranged and gestures of support we’ve received from concerned compatriots from other parts of our country – has been quick to follow the lead of the broader community, and has rallied by promptly organising a string of money-raising beneﬁts that we’ve outlined over the next few pages (obviously there will be more announced and we’ll continue to bring you up to speed with these). We still need to relax and enjoy our hardearned leisure time so there’s no guilt whatsoever to be felt in going out now that things are getting
back to normal, but we implore you when you’re choosing how to drop your disposable income in coming weeks to consider supporting these ﬁne, altruistic artists who have put the greater good above their own and committed to donating their time and skills to raise money for the victims of this horrendous catastrophe. Obviously this isn’t meant to take the place of donating to other established relief funds, but you can kill two birds with one stone and support both the Queensland music industry and those aﬀected by the ﬂoods by getting along to as many of these beneﬁt gigs as possible and spending your money in the knowledge that it will be helping Queenslanders worse oﬀ than yourself. We’ll get through this and may even end up stronger for the experience, but there’s a lot of hard work yet to be done – let’s make sure we make every cent count... STEVE BELL Time Oﬀ editor
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 TIM BARRY: Rosie’s Apr 2 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 NATURALLY 7: QPAC Apr 27 & 28 DISTURBED: BEC Apr 30 KYUSS LIVES: Coolangatta Hotel May 4, The Tivoli May 6 AGAINST ME!: The Hi-Fi May 5 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
STANTON WARRIORS: Great Northern Jan 20, Barsoma Jan 29 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 NICK BATTERHAM: Treehouse Byron Bay Feb 5, X & Y Feb 6 JON STEVENS: The Tempo Hotel Feb 4, Lone Star Tavern Feb 5, Noosa Tewantin RSL Feb 6 CHOIRBOYS: Twin Towns Feb 5 I EXIST, PHANTOM: Step Inn Feb 10 THE GETAWAY PLAN: The Hi-Fi Feb 12 – 13 OVER-REACTOR: Fitzy’s Loganholme Feb 16, Club Envy Feb 17, Step Inn Feb 18, Runaway Bay Hotel Feb 19 AXXONN: The Spotted Cow Feb 18, Woodland Feb 19 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 DARREN HANLON: The Zoo Feb 26, Lismore City Bowling Club Feb 27 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 THE BEAUTIFUL GIRLS: The Hi-Fi Mar 18 GARETH LIDDIARD: The Zoo Mar 26 SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8
BIG DAY OUT: Gold Coast Parklands Jan 23 REGGAE FOR RECOVERY – FLOOD RELIEF BENEFIT CONCERT: Riverstage Jan 30 LANEWAY FESTIVAL: Alexandria St Fortitude Valley Feb 4 FLOAT ON...A BRISBANE RELIEF BENEFIT: The Hi-Fi Feb 6 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 RICS BIG BACKYARD FESTIVAL: Fortitude Valley Mar 26 SUPAFEST 2011: RNA Showgrounds Apr 16
KILL TWO BIRDS WITH ONE STONE: ATTEND A BENEFIT GIG AND SUPPORT QUEENSLAND MUSIC AND VENUES WHILE RAISING MUCH-NEEDED MONEY FOR FLOOD RELIEF
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THE VINES 11.00 - 11.45
DEAD LETTER CIRCUS 12.30 - 1.20
LUPE FIASCO 2.10 - 3.00
DEFTONES 3.50 - 4.40
JOHN BUTLER TRIO 5.30 - 6.30
RAMMSTEIN 7.30 - 8.30
LITTLE RED 11.45 - 12.30
AIRBOURNE 1.20 - 2.10
BLISS N ESO 3.00 - 3.50
BIRDS OF TOKYO 4.40 - 5.30
IGGY and the STOOGES 6.30 - 7.30
TOOL 8.45 - 10.00 ‘Le Chant de Sirènes’
ORANGE STAGE BLUE STAGE
PNAU 8.30 - 9.30
BOOKA SHADE 9.00 - 10.00
MIA 10.00 - 11.00 VITALIC 9.00 - 10.00
PRIMAL SCREAM Screamadelica 7.30 - 8.30
TUNE IN TURN ON & DROP OUT! 8.30 - 10.00
JAY JAY’S PRESENT SILENT DISCO
RED BACTERIA VACUUM LYNCHMADA 7.45 - 8.30 7.20 - 8.00 SUPERSTAR DJ ELECTRIC HORSE 7.00 - 7.45 6.30 - 7.00 REGGIE WATTS 6.15 - 7.00 THE DELTA RIGGS THE HAIRY PRANKSTERS 5.40 - 6.10 6.00 - 6.15 THE KIDNEY MATT AND KIM THIEVES 5.15 - 6.00 4.50 - 5.20 THE BALLOONATIC THE MODERNS 5.00 - 5.15 4.00 - 4.30 ANDREW W.K. 4.30 - 5.00
SILENT DISCO DJs 8.00 - 10.00 JUAN DEGHO and SILENT DISCO 7.00 - 8.00 DNO and SILENT DISCO 6.00 - 7.00 JAMES CANNING and SILENT DISCO 5.00 - 6.00 LIL’ BLACK SAMBA and SILENT DISCO 4.00 - 5.00 WILL STYLES OZ G SKULLING WORKOUT and SILENT DISCO OCEANICS 3.00 - 4.00 4.00 - 4.30 3.10 - 3.40 QUEEN ADELAIDE DEAD BEAT BAND UV RACE and SILENT DISCO 3.15 - 4.00 2.20 - 2.50 2.00 - 3.00 NINE SONS OF DAN ARSE PAINTING 2.45 - 3.15 1.30 -2.00 THE CITY SHAKE UP WUNMI 2.00 - 2.45 12.40 - 1.10 ILONA HARKER & BOGANS ON ACID SILENT DISCO DJs THE DAUGHTERS OF 1.30 - 2.00 12.00 - 2.00 THE RUM REBELLION LOCAL FREAK OUT 1.00 - 1.30 11.50 - 12.20 PSYCHEDELIC SUNRISE THE FOUNDS 11.00 - 1.00 11.00 - 11.30
BOILER ROOM HOT PRODUCE LOCAL STAGE
LCD SOUNDSYSTEM 8.00 - 9.00 RATATAT KID KENOBI + 7.45 - 8.30 MC SHURESHOCK SIA 7.00 - 8.00 7.00 - 7.50 BLACK MILK EDWARD SHARPE 6.30 - 7.15 WOLFMOTHER and the Magnetic BLOODY BEETROOTS Zeros 6.00 - 7.00 6.10 - 7.00 5.45 - 6.30 WILL STYLES BLUE KING BROWN 5.15- 6.00 5.15 - 6.00 CRYSTAL CASTLES THE BLACK KEYS ANGUS & JULIA 4.30 - 5.15 STONE 4.50 - 5.40 SURECUT KIDS 4.15 - 5.00 LOWRIDER 4.00 - 4.30 PLAN B 4.00 - 4.45 DIE ANTWOORD 3.30 - 4.15 3.15 - 4.00 GYROSCOPE THE GREENHORNES ANNA LUNOE 3.00 - 3.45 3.00 - 3.40 2.30 - 3.15 ANDREW W.K. LANEOUS & 2.15 - 3.00 THE FAMILY YAH 2.00 - 2.40 CSS WASHINGTON 1.45 - 2.30 1.45 - 2.30 GYPSY & THE CAT SAMPOLOGY JIM JONES REVUE 1.00 - 1.45 1.00 - 1.40 CHILDREN COLLIDE 1.00 - 1.45 12.30 - 1.15 KIDS OF 88 OPERATOR PLEASE BLONDE ON BLONDE 12.15 - 1.00 THE NAKED AND FANS DJs 12.00 - 12.40 12.00 - 12.40 triple j unearthed winner FAMOUS 11.30 - 12.15 11.30 - 12.10 HALFWAY BLEEDING KNEES CLUB BALL PARK MUSIC 11.00 - 11.40 11.00 - 11.40 11.00 - 11.30
GRINDERMAN 9.00 - 10.00
BIG DAY ART WINNER
TRAVIS from COHEED AND CAMBRIA
Time Oﬀ would like to congratulate the third annual Big Day Art winner Samantha King, whose excellent Picasso-esque portrait of the one-and-onlyy Iggy Pop adorns our front cover this week (you can check out more of samantha’s work at www. samanthakingportraits.com.au);
The best record I stole from my folks’ collection was… Black Sabbath’s ﬁrst album. Funnily enough it was my mom’s and if you met her you would never think she would have that record. But she did and she even saw them live around the time that record was released. As a kid I would always be freaked out by the witchy chick on cover and one day I decided to stop staring at the cover and pop it on the turntable. I was hooked. The ﬁ rst record I bought with my own money was… Iron Maiden Somewhere In Time. The record I put on when I’m really miserable is… I tend to become more creative with my own music when I am feeling misery or any other emotion at extreme levels. As for listening to someone else, I don’t tend to listen to music when I’m miserable. I just stew in it. The record I put on when I bring someone home is… Bring someone home? First oﬀ I’m married and before that I was no Casanova but either
way I never had any sex records. I don’t need a soundtrack for fuckin’... The most surprising record in my collection is… Bob and Doug McKenzie’s Great White North. Actually if you knew me it would be no surprise at all, but if anyone puts my iPod on shuﬄe they are up for some surprises. The last thing I bought/downloaded was… Cee-Lo Green The Lady Killer.
Once again we were inundated with some brilliant entries from Time Oﬀ readers who submitted their vision of the whole gamut of BDO artists, and we’d like to profusely thank each and every person who took the time to submit their artistic endeavours for our scrutiny. The work was once again of a uniformly high standard, and we look forward to running this competition again next year and once again oﬀering some fantastic prizes for artisticallyinclined Queensland music fans. We should also take this opportunity to thank the sponsors Big Day Out and CATC Design School for making the Big Day Art competition possible. Some other entries that caught our eye this year – for various reasons – from amongst the slew of entries were:
MIA by Erin Nicole Evanochko Pig Day Out by Kerry Rogers Die Antwoord by Dean Woodward
LENDING A HEAVY HAND
Some bright young heavy rock’n’roll bands are coming together to put on a killer show to raise some funds for the Queensland Flood Relief appeal this weekend at the Jubilee Hotel. In The Walls take the headlining position for the veritable feast of heavy rockin’ good time music, while wonderful hardcore newcomers The Last Outlaw and special guests Decades Away, The Irrits and The Violet Alibi will also be there to ensure maximum enjoyment for all and sundry. It happens at the Jubilee Hotel on Saturday night and best of all, entry will set you back a mere gold coin donation and all funds raised go direct to the ﬂood appeal.
The Kawana Surf Life Saving Club will host the Flooded Festival this Sunday, a quick reaction to the tragic events that have taken us over in the past week. There will be live music, a jumping castle and, most importantly, an auction. All proceeds from this auction are going to the Premier’s Flood Relief appeal and organisers are asking any businesses who might have goods or services they are willing to donate to get in touch with the team at Honky’s Events and Design, who are putting together this whole shebang. Call Dave on 0458 117 698 or email him on email@example.com.
Entry to West End venue The Music Kafe might be free, but they are still doing what they can to raise plenty of cash for the Salvation Army in this time of great need. Steve Case, pictured, Herd Of Turtles, Kye Cole Band, Anthony J Cox, Triplickit, Lemonchilli Project, John’s Diary, Knights and Cavaliers and Bigfella Linc are all playing a massive show at the venue on Sunday afternoon and the venue are donating 10% of their takings from food and drink sales to the charity. The show kicks oﬀ at 3pm and goes all the way through til quite late in the evening. There will also be special compilation CDs featuring the artists playing for sale for $10 and half of that money will be donated to the aforementioned charity.
ALL WE NEED
The All You Need Is Beatles tribute night being organised by the team at Boneﬁnger Records was already a charity event supporting one hell of a cause. But, like many people around our state and nation, they have realised that they might be best oﬀ supporting those closer to home at this particular time of great need and as such, all proceeds from the show will now be donated to the Premier’s Flood Relief Appeal. The show happens at The Zoo on Saturday Feb 5 and features performances from Drawn From Bees, Grand Atlantic, pictured, Blame Ringo, Inland Sea, Lovers Of Modern Art, Charlie Mayfair, 26, The Slow Push, Daisy May and Oceanics. Tickets are available from OzTix now for $23.50.
KILL TWO BIRDS WITH ONE STONE: ATTEND A BENEFIT GIG AND SUPPORT QUEENSLAND MUSIC AND VENUES WHILE RAISING MUCH-NEEDED MONEY FOR FLOOD RELIEF
GOD GOD DAMMIT DAMMIT FLOOD RELIEF Our hearts go out to all our 4ZZZ friends, family and listeners who have been aﬀected by ﬂooding over this past devastating week, many of our very loyal followers and volunteers live in West End, New Farm and other suburbs that went under so our community has been actively supporting these people. The 4ZZZ studio was high and dry enough to be spared, however the abundance of rain over the past month has destroyed our toilet roof and wall. We are lucky and have great support from our volunteers and passionate supporters, however we still need some funds to buy materials for repairs. 4ZZZ is supporting as many ﬂood fundraisers as we can, partnering with the music community to promote Flood Bank (Thursday Feb 3 at The Old Museum) and also the many other smaller gigs being put on by the community. We are also hosting a Zed Community Relief Day on Saturday Jan 29 to take donations and raise funds for the ﬂood appeal. On the day we will be accepting clothing, toys, household goods, everything that is needed by those that lost all their personal items and we will be organizing volunteers to take these goods to the appropriate centers. We will also be having a bake sale and record sale, any funds raised on the day will be evenly donated to 4ZZZ for water damage building repairs and to the Premier’s Flood Appeal. There will be live music and generally a chance for people to come together and share their experiences or give back to others. Zed Community Relief Day from 2pm to 6pm on Saturday Jan 29 at Station Headquarters, 291 St Pauls Tce, Fortitude Valley. Visit our website www.4zzzfm.org.au to ﬁ nd out more info and how to donate.
AIRPLAY TOURS 4ZZZ’s motto is Agitiate, Educate, Organise and we oﬀer specialised Airplay Tours for students and their teachers looking for a hands-on, practical insight into the media industry. During 4ZZZ’s Airplay Tours Students are taken on a two-hour tour of our historic Fortitude Valley premises where they observe our announcers live on-air, explore our extensive music library and get behind the microphone to produce their very own radio program. Experienced trainers and staﬀ share their knowledge of the community radio sector and oﬀer a behind-the-scenes understanding of the local music industry. Plus, all students are given the chance to volunteer at the station and become part of the 4ZZZ family. 4ZZZ’s educational and training programs have received national recognition from the Community Broadcasting Association of Australia and the station oﬀers longer-term tailored programs to interested educational facilities. To book a tour call the station on 07 3252 1555 or email firstname.lastname@example.org.
4ZZZ is also looking for people to join our Digital Radio Committee. Digital Radio is fast approaching and we have a whole grand scheme of ideas for our Digital channel but need people who can show initiative and who are eager to be involved in the future of radio! If you have an interest in new and emerging broadcast technologies, developing new programming ideas and knowledge of the Community Broadcasting sector and codes then get in touch! We are looking for creative and innovative volunteers who like to be hands-on. If you are interested in a volunteer position on the Committee, please email email@example.com
NETWORKING Join the 4ZZZ Twitter for great updates and station news, also our Facebook proﬁ le has maxed out the allowed friend limit so go and like the 4ZZZ 102.1fm Brisbane page so you still get those juicy bits of info.
HYH HAVE YOU HEARD?
ADELAIDE 12PIECE GRUNGE FUNKSTERS GOD GOD DAMMIT DAMMIT ARE RELEASING THEIR DEBUT ALBUM, THE VERY FIRST DAY OF THE SUNSHINE, AND CELEBRATING WITH A VERY CROWDED ROAD TRIP TO QUEENSLAND. TONY MCMAHON CATCHES UP WITH MATTHEW K AND RYAN GARDE FOR A DISCUSSION ON ALL THINGS BIG. Harry is the ﬁrst single from the new record, and K is glad it didn’t become Sweet Talkin’ Woman. “We tend to straddle many genres at any one time. We ﬁrmly believe in playing whatever you wanna play, and sometimes that gets you Harry and sometimes you get ELO undergoing shock therapy with a banjo. No rules.” For those who’ve never seen a 12-piece before, what’s the experience like? “A handsome forum,” K says. “For those who dare to free their arses and shake their shit while brieﬂy laughing in the face or mortality and showing contempt for a universe full of squares by triumphantly ﬂying your dork ﬂag high. Also, crowded.” “It’s the lucky number of our cult,” says K, referring to taking 12 people on the road. “The main trick is making sure there is enough cordial to go around.” Even in the studio? It seems that the making of The Very First Day Of The Sunshine went pretty smoothly as well. “It was sweet,” says Garde. “12 people, an hour’s worth of material, we didn’t stress out or ﬁght once.” “We worked on it for 24 hours a day, for two weeks in an attempt to avoid Nickelback-ian mediocrity.”
PASSING THE TIN
Local genre benders Tin Can Radio have had their single launch all set for a really long time now. Don’t worry, it’s still going ahead, but now 20 percent of sales will be donated to the Premier’s Flood Relief Fund. The band launch the Days To Dust single at The Zoo on Thursday night with support coming from Le’Suits and Oceanics. If you want to hear the track, head on over to triplejunearthed.com/tincanradio to see what you reckon.
The dance music community are well-and-truly getting behind the eﬀorts to raise funds for Flood Relief, one event that looks to raise a shitload of cash is going down at the much loved Gold Coast nightspot of Platinum this Thursday night. The Platinum Dance Aid show will feature the all star line-up of TV Rock, The Staﬀord Brothers, James Curd (Greenskeepers), Timmy Trumpet, Goodwill, Nordeanm, Tommy Trash, Chris Kaye, Baby Gee, Klaus Hill, Minx, Zoe Badwi, Jamie Lee Wilson, Danny T, Gemstar, Joey Mojo, Craig Roberts, Guido, Paul Dluxx, Rowan Panozzo, Pease & Carrots, Stu Lister, Vinyl Assassins, Sam Rockwell, DJ Tommy, Patrick Sweeney, Davoka Dae, Flynnsane and Discrow as well as celebrity guest DJs Matt Rogers, Chloe Maxwell, Mark Occhilupo, Joel Parkinson, Greg Bird and Brooke Evers. Entry is $40 and doors open at 8pm.
K imparts some words of wisdom for their fans. “End the NT intervention, quit your jobs, eat plenty of vegetables and treat your fellow meat-monkeys with nothin’ but kindness. Thanks for having us!” WHO: God God Dammit Dammit WHAT: The Very First Day Of The Sunshine (Capitalgames Records) WHERE & WHEN: Fat Louie’s Saturday Jan 22, Sun Distortion Studios Sunday Jan 23
Just last week we mentioned that, for their third instalment, the Friends Of Folk Festival have really stepped things up and secured by far the biggest bill they have managed to get their hands on to date. Well this week the organisers have announced that they will donate all proﬁts from the festival to the Premier’s Flood Relief Appeal, though they have also assured that they will continue to donate one dollar from every ticket sold to the Brisbane Royal Children’s Hospital Foundation. It happens at the Old Museum on Sunday Mar 6 and features Don Walker, The Gin Club, Andrew Morris, Asa Broomhall, Emma Dean, Tara Simmons, Hotel Motel, Mardi Lumsden & The Rising Seas, Hannah Macklin & The Maxwells, Mark Lowndes, Rachael Brady, Matt Nelson and Plastic Wood, with some big names still to be announced.
SUPPORT FROM THE SOUTH
Byron Bay’s LaLaLand are another dance music leaning venue who are putting up their hand to raise funds for the Flood Relief cause, hosting a belter of a line-up of electronic goodness at their venue on Thursday night. Their instalment of Dance Aid will feature performances by Grant Smillie (TV Rock), Mark Brown (MYNC) and Chris Kaye as well as a full local contingent of DJs who are all donating their time for the event. If you’re down that way, be sure to show your support for this worthy cause.
ON THE DOWNLOAD: FLOOD EDITION Did you know that the RSPCA is exempt from human disaster relief funds and as such completely reliant on individual donations at times of crisis such as what we’ve seen in the past week or so? The lads from re:enactment do, so they want to help out our furry little pals as much as they possibly can. They’ve just released a new song by the name of Scraps and they have put it up on their Bandcamp site for download, with all funds raised going directly to the RSPCA, who have been hitting very hard by the ﬂoods. The minimum donation to get the song is only 50 cents, but you can do better than that! [re-e.bandcamp.com/track/scraps] We’ve done a lot of talking about rock and dance acts getting involved in raising some funds for those hit hard by the ﬂoods, but a bunch of Australia’s most prominent and much loved country music stars are coming together to raise some cash by way of a special digital album available online now. Country Music Supports Flood Victims features some great songs from Lee Kernaghan, Adam Brand & Steve Forde, Sara Storer, Jasmine Rae, McAlister Kemp, Catherine Britt, Doc Walker, Peter McWhirter, Steve Forde, Warren H Williams, Emerson Drive, Corey Colum, Dean Brody and Shea Fisher and is available for just $10 from the Bigpond Music website. [bigpondmusic.com] He was a Top 12 ﬁnalist on Australian Idol and ever since then Casey Barnes has been a much loved part of the Gold Coast music scene. He recently wrote and recorded a song called Never Break You, was pretty pleased with how it turned out and decided that he would get it ready for release sometime later in the year. But after being devastated by the images he saw of the Queensland ﬂoods, he decided to rush its release and get it up on iTunes immediately, given its subject matter of facing adversity. While he had made a cash donation, he felt he needed to do more, so has decided to donate all proceeds from the song to the Premier’s Flood Relief Appeal. Search for the song at the iTunes store, or follow the link from his website and you can download it for just $1.69. [caseybarnes.com.au]
BlindChase play Beenleigh Tavern on Friday Jan 28 How did you get together? Levi Hendy (vocals): “I met Nathan through my sister. He was doing sound at some gigs I was doing solo on my acoustic guitar. He liked my singing and asked me to join the band. That was on a Tuesday and I played my ﬁrst show with them on the Friday. I actually learnt about 40 cover songs before that show, but we did alright.” Sum up your musical sound in four words. “Good Aussie pub rock.” If you could support any band in the world – past or present – who would it be? “How to pick just one? Probably Metallica.” 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? “Cold Chisel Greatest Hits... The double album version.” Greatest rock’n’roll moment of your career to date? “We played at The Beer Garden on the Gold Coast one Australia Day. I partied a little too hard and made myself sick, so I dove oﬀ the stage during the guitar solo, went and had a quick spew and made it back before the next verse... I think that was pretty rock’n’roll!” Why should people come and see your band? “We all love the music that we play and we put a lot of energy into our shows which creates a fun atmosphere. It’s a good, loud, ugly rock show.”
CASH IN THE LANE
The St Jerome’s Laneway Festival will be going ahead as planned, check Lowdown for the latest announcement. But the organisers have informed us that there will be cash donation areas at bars all over the festival grounds, so don’t be shy to ﬂing a couple of bucks in there while you’re grabbing a beer. It happens at Alexandria Street in Fortitude Valley on Friday Feb 4 and there are still a few tickets available from the Laneway website.
SMELLS LIKE DANK SPIRIT
The Dank Morass team are not to be outdone, their Us Vs Them event that they have had organised for next Wednesday Jan 26 has now turned into a beneﬁt event, looking to scrape together some extra dough for ﬂood victims. Walrii (Dank Morass), Big Dead, Arku (White Rhino), The Royal Artillery, Science Project (Dub Temple Records) plus more still to come. It takes over The Balcony (153 Elizabeth St, Brisbane City) on our national public holiday, there will be a good old fashioned BBQ happening in the afternoon, doors open at 2pm and entry is $15.
RUDEBOYS NOT THAT RUDE AFTER ALL
The generosity of music promoters at a time like this is truly astounding. Another fantastic piece of news has come out of the Raggamuﬃ n Festival camp this week, with promoters conﬁrming they will be donate all proceeds from the festival, which happens at the Brisbane Riverstage on Sunday Jan 30, to the Premier’s Flood Relief appeal. Bravo. The line-up features Mary J. Blige, Jimmy Cliﬀ, Maxi Priest, Sean Paul, The Original Wailers, The Black Seeds, Ky-Mani Marley and The Red Eyes and tickets are available from Ticketmaster for $99.
PROUDLY SUPPORTED BY TIME OFF
QLD FLOOD REPAIRS Tym Guitars is offering free quotes and cheaper repairs on guitars, amps and effects that were damaged by the recent Queensland ямВoods. 5E Winn Street, Fortitude Valley
THE BIG CLEAN UP IN THE WAKE OF THE BIGGEST DISASTER TO HIT OUR CITY IN DECADES, DAN CONDON WALKS THE STREETS WITH A SHOVEL AND FINDS THAT COMMUNITY SPIRIT IS THICKER THAN MUD AND WATER. You couldn’t have asked for weather more pleasant than what was oﬀered up on Saturday morning; all the beauty of a Brisbane summer day without the sting of oppressive heat and humidity. A perfect day for outdoor activity; and goodness knows there was plenty of that to be done.
we know and love became invisible due to the turgid waters that had taken over. But on Saturday morning it glistened. No doubt the damage inside will take eons to repair, but the face of the suburb was saved. “Thank You Brisbane!!!” one shop owner had scrawled on their window.
Upon reaching the top of the street of a friend’s sister’s house in Milton, I couldn’t believe my eyes. Not 48 hours ago an ocean of murky brown water had overtaken it, the quaint Queenslanders that line the hilly road were then completely submerged and anything inside these abodes destroyed forever. Photos from Friday, the day the water subsided, showed an overwhelmingly sickly type of mud dumped all over these usually pristine streets. Today the stench remains and enormous piles of rubbish line the sidewalks – but if this were a battle between the ﬂoods and the people, there are at least a hundred members of the community here who would claim an overwhelming victory. Indeed arriving at my destination, I was thanked but told there was no use for me there.
A trip over the Go Between Bridge into West End revealed much of the same, a suburb fraught by disaster but quickly being repaired. I begin, along with a team of ten or so others, to shovel debris and waterlogged stock from outside an Asian importer’s warehouse into a garbage compactor; within half an hour we’ve ﬁ lled two of them, the owners’ faces ﬂash quickly between sincere gratitude and utter disbelief at the tragedy they have faced. Tens of thousands of dollars worth of ruined material is gone forever – their livelihoods impacted to an unspeakable degree.
A quick walk to Rosalie, a suburb that had become the unoﬃcial face of the disaster, was surreal. Residents in high lying areas trimmed their hedges, mowed their lawns and worked on their cars – one might think they were oblivious to the disaster that had unfolded less than a kilometre from their doors just two days prior. But upon reaching Rosalie, it is soon obvious that their help simply wasn’t needed. The heart of Rosalie Village was the focus of much news coverage over the past few days, shopfronts
At 7am on Sunday I’m standing at the back of a line that stretches hundreds of metres up the hill at the Mt Coot-tha Botanic Gardens. The oﬃcial Brisbane City Council volunteer centre is buzzing with activity, but within an hour I’m walking down the driveway of a ravaged home in the suburb of Bellbowrie in Brisbane’s far west. When the home’s owners see a 20-strong team of volunteers hiking towards them they are overcome with shock, thankfully we’re passed on to a friend of the family who begins to direct us to the most tasks in need of urgent attention. A quick chat with this friend reveals the true devastation of the ﬂood; the family had only
DONATE AND DANCE
Barsoma are pretty pleased to have made it through the ﬂoods unscathed and they’re more than keen to show their support for the Flood Relief fund by putting together a bill of local talent that will blow your mind and get your body moving simultaneously. DJs like Rikki Newton, Alex James, Jason Rouse, Scott Walker, Damien Wheeler, Kieron C, Lone Pariah, Arku, Elliot Clarke, Leo Hede, Baax, Adam Swain, Dan Abbott, Fuzion, Dave Worth and special guest Kazu Kimura are getting onboard for this fundraiser being held at the venue on Friday Jan 28. Entry is just $10 and 100% of the proceeds will be directed straight to the cause. Doors open at 9pm and will stay that way until late.
GET NAKED FOR FLOODS
The highly anticipated Let’s Get Naked?! club night will be going ahead as per the initial plan at Club 299 on Wednesday night with free entry and such, but organisers will have collection tins littered around the venue and strongly hope that you will dig deep and make a donation to assist victims of ﬂoods across the state. The Ninjas, Boss Level Monster and Flash Cobra will be there in force from 8pm as well as plenty of DJs enticing you to the venue’s completely unmissable dance ﬂoor.
moved to the area a couple of years prior and when the ﬂood hit, they were unable to salvage anything but one solitary photograph. The water had risen to well above their ceiling, which would now need to be knocked out, they had no insurance and frankly no idea how they would rebuild not only their home but their lives in the wake of this tragedy. It immediately made the few hours we spent clearing their entire property of rotten debris, fallen trees and destroyed household items seem practically inconsequential. With the help of some Australian Defence Force troops, a bobcat driver and a veritable army of people and garbage trucks, the heavy work of cleaning up ﬁve or so houses is done in one solitary morning – and it’s done with an abundance of smiles. Those who aren’t on the frontline aren’t far behind, teams of kind folk set up stations with all manner of food and drink to supply to the workers. It’s hard to describe the community spirit without rattling oﬀ clichés, but it really is inspiring. Yes, our city has been fucked, but the people of Brisbane have thus far turned the tables on this disaster, accentuated the positives that can only come from such a horrid experience and shown the kind of community spirit that, frankly, I never thought could possibly manifest under any circumstances. But the job is not done, far from it in fact. The hype surrounding repairing our city will die down soon and the numbers of volunteers will heavily dwindle but fact is people will be rebuilding their lives for months and years to come.
PUTTING COMMUNITY BACK IN RADIO
There is a community event being organised by the always amazing team at 4ZzZ to assist those who need a hand after having dealt with the horrid force of this ﬂood. The day will look to take raise money for those aﬀected by taking cash donations as well as hopefully distributing goods to those who need them. If you do have goods to donate, please email giordana@4zzzfm. org.au and let her know what you have so that something can be co-ordinated. The community event happens at the station (264 Barry Pde, Fortitude Valley) on Saturday Jan 29.
CARTEL FOR CHARITY
A few local DJs are donating their time at Caxton Street’s latest hip haunt Cartel over the weekend, with a Sunday Session that we can certainly get right behind. Ten bucks – all of which is being donated to Flood Relief – will get you into the venue where Carlos Spicywiener, DJ Shif-T, Jingkohn and Butterz will be behind the decks making sure that only the ﬁnest tunes are selected. On top of that, the bar are donating 20% of their takings to the cause as well. It kicks oﬀ from 3pm so why not get down there for a couple of lazy beers?
THE JOYNT SWINGS AGAIN The ﬁrst show of the year for local savvy pop ensemble Hannah Macklin and The Maxwells is set to happen at their favourite little alcove of South Brisbane, The Joynt, on Saturday night. Macklin and co had an enormous 2010 and hope to make 2011 even bigger as they keep kicking around town playing to their growing fanbase and undoubtedly earning themselves plenty of new followers along the way. The band are getting into that charitable spirit that is seemingly omnipresent at the moment and donating half of the proceeds from the show to the Premier’s Flood Appeal. So get along to see some intriguing pop music and drink up for a good cause. Golden Sound Live/Sampler Goodness will be there in support, it kicks oﬀ at 8.30pm and entry will cost you just $5.
GET BACK ON THE STAGE
Legendary local guitar nerd Tim Brennan has stepped in and put up his hand to help anyone who might have lost instruments in the ﬂoods last week. His store and workshop Tym Guitars are oﬀering to help in absolutely any way they can; he’s oﬀering cut price repairs, free quotes and insurance appraisals to guitars, amps and eﬀects that were aﬀected in the ﬂoods and is even oﬀering up use of his rehearsal studio, with gear included, if you have had equipment damaged in the disaster and have upcoming shows. Visit him at tymguitars.com.au or drop by 5E Winn St, Fortitude Valley to check it out.
RETAINING SOME BLISS
The Mid Summer Bliss show that was set to happen at The Zoo tonight is taking on an extra special purpose now, with all bands deciding to donate their time and talents to the show in order to try and raise some fund for the Premier’s Flood Relief Appeal. Everything else about the show is the same; with electro masters Beatronica still headlining, launching their brand new single Train on the night, and support acts The Videomatics, Edge Of Colour (who will be using the show to launch their Glimmer Remixed EP) and Elah all along for the ride as well. Doors open at 7.30pm and $12 will get you through them ($10 if you’re a 4ZzZ subscriber).
GET HUMMING AGAIN West End’s Urban Humm rehearsal room was horridly impacted upon by the ﬂoods that caned through their part of town and are now preparing for what looks to be close to a full rebuild of their facilities. The Beetle Bar are hosting a beneﬁt show for the studio on Australia Day with all of the money raised from the $10 entry fee being directed to the operators of the rehearsal room that hosts so many great local bands. On the night you’ll be treated to performances from the likes of Numbers Radio, Lords Of Wong, Bonﬁ re Nights, pictured, Galapagos, Traansval Diamond Syndicate, Rob Davidson, Shrewms and Sabrina Lawrie – certainly a bill any local music lover can get behind. Add to that a good old Aussie BBQ and plenty of cold beer and you’re onto a winner. Wednesday Jan 26 is the date it happens and kickoﬀ is at the very public holiday friendly time of 12pm!
DIG DEEP, PRINCESS
NONE MORE AUSSIE
The launch of the brand new video clip from local pop-rock purveyors Princess Rodeo, pictured, has taken on a whole new importance in recent times, with the show being held in its honour now a beneﬁt for the Premier’s Flood Relief Appeal. The band has assembled a hell of a line-up of likeminded acts for the night with Joel Myles Band, Bart Th rupp and Uke & The Leles all getting involved for what ought to be a hell of a night for fans of live and local tunes. The clip, which has been made for the song Alternate Colours, will be premiered at the show that happens at Barsoma on Sunday Jan 30 from 5.30pm. Entry is free but a sizable donation is most certainly recommended.
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