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68 INTERNATIONAL BANDS, + 800 BANDS AND CREW ON THE ROAD, 10 DAYS, 5 FESTIVALS, 48 SIDESHOWS takes you backstage at Soundwave (Brisbane) to catch up with your favorite artists Check out now to see backstage interviews with Primus, Slayer, Pennywise, Bring Me The Horizon, The Bronx and more all from Saturdays epic Brisbane Soundwave Festival SATURDAY S ATURDAY 26 26 BRISBANE, BRISBAN NE E, R RNA NA A SH S SHOWGROUNDS HOWGROUNDS - SOLD OUT! SUNDAY 27 27 SYDNEY, SYDNEY, SYDNEY SYDNEY SHOWGROUND SHOWGROUND - Sydney Sydney Olympic Olympic P Park ark SUNDAY FRIDAY SHOWGROUNDS FRIDAY 4 MELBOURNE, MELBOURNE, S HOWGROUNDS - SOLD OUT! SATURDAY S ATURDAY 5 ADELAIDE, ADELAIDE, BONYTHON BONYTHON P PARK ARK M ONDAY 7 PERTH, PERTH, C LAREMONT SHOWGROUND SHOWGROUND MONDAY CLAREMONT




Iconic rock’n’roll band Social Distortion are back, better then ever, with their first studio album in six years, Hard Times And Nursery Rhymes. Catch them live, touring Australia for the first time as part of the Soundwave Festival in Feb/March 2011.

The is also giving you the chance to win a signed Epiphone 56 Goldtop from the band. Simply go to the and ‘like’ the page for your chance to win. - powered by Street Press Australia Streaming exclusive album previews… a taste of things to come.

HARD TIMES AND NURSERY RHYMES by SOCIAL DISTORTION is on sale Friday 21 January. You can also see the band live at Soundwave 2011 or at one of their many sideshows. Go to for more details.


For information on sideshow tickets go to



GIVEAWAYS The Eleventh Doctor (Matt Smith) returns with his companion Amy Pond (Karen Gillan) and her new husband Rory Williams (Arthur Darvill) in a clever twist on the much loved A Christmas Carol. Thanks to Roadshow Entertainment we have five copies up for grabs of Doctor Who: A Christmas Carol, the 2010 Christmas Special. Subject Line: DR WHO CHRISTMAS In the sleepy town of Riverton, legend tells of a serial killer who swore he would return to murder the seven children born the night he died. Now, 16 years later, people are disappearing again. Has the psychopath been reincarnated as one of the seven teens, or did he survive the night he was left for dead? Only one of the kids knows the answer. Thanks to Roadshow Entertainment we have five copies of the My Soul to Take on DVD to give away! Subject Line: MY SOUL TO TAKE The Company Men brings together a group of this generation’s greatest actors – all who’ve been previous Academy® Award winners. Bobby Walker (Ben Affleck) is living the American dream: great job, beautiful family, shiny Porsche in the garage. When corporate downsizing leaves him and co-workers Phil Woodward (Chris Cooper) and Gene McClary (Tommy Lee Jones) jobless, the three men are forced to re-define their lives as men, husbands, and fathers. www. Thanks to Madman Entertainment we have ten double in-season passes to give away! In cinemas Thursday Mar 10. Subject Line: COMPANY MEN

In-demand fight fight director and movement specialist Nigel Poulton (The Metropolitan Opera, New York City Ballet) teams up with Tim Dashwood (FAME: The Musical, QTC’s Rabbit Hole) to conjure Dead Cargo, a highly physical new production, invoking the vision of theatre revolutionary Vseveold Meyerhold. Four strangers are locked in an off-kilter limbo. They search for forgiveness, for the end, for liberation from the depths of the past and escape from their claustrophobic confines. Dead Cargo kick starts Metro Arts’ flagship performing arts program The Independents for 2011. Thanks to Metro Arts we have two double passes up for grabs to the Wed Mar 16 performance which includes entry to Backchat – the Artist Q&A session after the show. Subject Line: DEAD CARGO PRIMAL SCREAM SIGNED BLOCKMOUNT To celebrate the release of the Screamadelica 20th Anniversary Edition on Friday Mar 18, Sony Music and SPA are giving you the chance to win an autographed and blockmounted Screamadelica poster and a copy of the Screamadelica reissue. There will be two formats of Screamadelica released – a 2CD edition with the remastered album on disc one and the rare Dixie Narco EP on disc two – and a super-deluxe limited edition box-set containing four CD’s, two LP’s, a DVD, T-shirt, turntable slip-mat, art cards all in a pill shaped box. To be in the running to win this awesome piece of memorabilia, head over to our Facebook page php#!/pages/Time-Off/111012688946269. Entries close 5pm Friday 18th March. Runners up will win a copy of the 2CD Screamadelica reissue.

Email: 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.

Get your music industry news from The Front Line Lowdown – news, opinions, tours, Backlash, Frontlash Joanna Newsom reveals that these Australian shows will be her last performances for a while We find out what makes Belle and Sebastian in 2011 such a different proposition The Clean discuss what keeps them going after so long Imelda May will be steering clear of the fruit cart before her upcoming Aussie jaunt The legendary Don Walker checks in about his latest writing endeavours France’s Monarch are just a rock’n’roll band Sydonia discuss perecption After a little breathing space, Katie Noonan reflects on her album with The Captains All said and done, The Art are pretty damn proud of what they’ve achieved Rocketsmiths tell us why they’re calling it a day We get the word on how Silent Feature Era c ame to be discuss their modus operandi 30 They mightn’t be in the USA, but If I Lie don’t let much get them down





ISSUE 1516


On The Record has the latest, greatest and the not so greatest new musical releases 14 16 20 22 23 24 26 27 27 28 28 28 28 30









This Week In Arts plans your next seven days 34 The Looking Glass goes crazy 34 Josh Thomas keeps things simple 34 Get behind the latest incarnation of the Friends of Folk Festival 35 We get the scoop about the heavily physical and absurd Metro Arts production Dead Cargo 36 Cultural Cringe gets grouchy at the Oscars before talking Bourne 36 New Aussie film Wasted On the Young is making teens and parents uncomfortable in the best way possible 37


Get the drum on all the coolest happenings in local music last week, this week and beyond in Live Dan Condon gets the dirt on the blues scene from the Roots Down Adam Curley cuts sick with another musical pop culture rant in The Breakdown Lochlan Watt gets brutal in our new metal column Adamantium Wolf Sarah Petchell has enough punk rock to Wake The Dead We take you behind the music Behind The Lines iFlog: Funny name, seriously good classifieds




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CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Front Row Editor: Daniel Crichton-Rouse Editorial Assistant: Dan Condon Contributing Editor: Adam Curley

Front Row: Mandy Kohler Kohler, Lauren Dillon Dillon, Adam Brunes, Matt O’Neill, Mitch Knox, Jessica Mansour, Guy Davis, Rowena Grant-Frost, Danielle O’Donohue, Helen Stringer, Alice Muhling Photography: Stephen Booth, Kane Hibberd, Alex Gillies, Silvana Macarone, Brad Marsellos

ADVERTISING Advertising Account Executives: Melissa Tickle, Adam Reilly

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. ©

DESIGN & LAYOUT Designers: Stuart Teague, Matt Davis Cover Design: Matt Davis ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Alex Gillies, Richard Alverez, Mark Beresford, Emma Heard, Adam Curley, Daniel Wynne, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Sarah Petchell, Helen Stringer, Brendan Telford


PUBLISHER: Street Press Australia Pty Ltd Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 POSTAL: Locked Bag 4300 Fortitude Valley QLD 4006 Phone: 07 3252 9666 Email: PRINTED BY: Rural Press






Katie Noonan and Sony Music have announced that they will no longer be working together after three years, due to the direction of Noonan’s upcoming material. In their time together Noonan (frontwoman of george) released the Lennon/McCartney covers record Blackbird and Emperor’s Box with her band The Captains and, while both received a positive response, neither charted within the Top 20 or sold particularly well. The Front Line believes that there was one more album written into the deal but that neither party decided to take up the option. In a statement Noonan said, “My creative musings have always been fairly left of centre and we just felt that, moving forward, this may be better housed in an independent environment.” Noonan is currently working on material with her trio Elixir, particularly an album inspired by Australian poet Thomas Shapcott and featuring her husband Zac Hurren and Stephen Magnusson. They hope to be recording in April with a view to an August release.

Both a documentary and musical on the life of late INXS frontman Michael Hutchence are in the works after the APA talent agency exclusively acquired the ‘significant assets’ of Hutchence’s life works. A spokesperson from the agency said, “We’re currently in conversations with internationally acclaimed producers/directors about the making of a documentary/film about Michael. Too many people’s memories of Michael are coloured by the tabloid circus that surrounded his final days. We are aiming to make the film about his life rather than his death and to tell the story of this last true rock star from a personal perspective, capturing his magnetism both on and off stage, allowing people to connect to the man behind the celebrity image.” Speaking to The Age, Hutchence’s former manager Martha Troupe confirmed the plans. “A documentary is going to be made. I will make sure, no matter what, and I hope it is with everybody’s blessing,” she said, referencing the legal battles currently being fought between the band existing and Hutchence’s estate. Troupe – who signed the deal with APA – also indicated that there was “more than an album’s worth” of unreleased material.

ONE MOVEMENT IN PARLIAMENTARY STRUGGLE Perth’s One Movement conference and showcase festival will become the target of a parliamentary enquiry from the West Australian state government regarding its viability and financial structure. Labor member and shadow culture and arts minister John Hyde blasted the event, saying: “One Movement has been a disaster for the Government from go to whoa and Tourism Minister Kim Hames must say enough is enough”. Hyde claims the festival has been under-attended and not worth the $3 million of public money it receives in funding. Last year’s hearings with the Tourism Commission had not satisfied certain members of the review committee, as certain information was not divulged due to ‘commercial sensitivity’, hence the call for an inquiry into Tourism WA’s involvement with the festival. In retaliation, Hames has defended his involvement in a statement that he is “happy for the review to be conducted and am confident it will find Tourism WA acted appropriately.”

SLAM’S NATIONAL AMBITIONS Last Wednesday on the one-year anniversary of the SLAM [Save Live Australia’s Music] rally the organisation launched their intentions to turn the event into a national day. “As of next year we’ve asked venues to register their interest in holding a SLAM event,” Helen Macrou, co-founder of SLAM told newsletter Daily SPA. “The idea is for people to get to small venues and experience something special… the mayhem, sweat and intimacy of a small venue.” The anniversary night was held at the Tote and featured local favourites like Dan Sultan, Dallas Crane, Kim Salmon and more in a range of collaborations, including Rob McComb of The Triffids joining Oh Mercy to perform a range of covers including Wide Open Road and a rare X appearance with ex-Cosmic Psycho Bill Walsh on drums.

FIRST BIDS FOR WARNER OFFERED The bidding war for up-for-sale major label Warner has begun, with the expected parties – including private investors, equity firms and other music labels – all showing their interest in the early stages. Reuters reported that varying bids for the whole or part of the label have come from the likes of equity firm KKR through BMG Music Rights (a joint venture with Bertlesmann) and Russian billionaire Len Blavatnik (already a two percent owner in the company, who almost bought into the US MGM last year) while both the Universal Music Group and Sony Music Entertainment have stepped up their interest. The opening bids for Warner mean the label’s beaten EMI to the market. EMI is under the control of Citibank as of last month and the bank are expected to sell the business. Some industry analysts are suggesting that one possibility is that Warner and EMI end up merged by a buyer of both, resulting in just three major labels.

FLOOD FUNDRAISER EARNS $50K One of the biggest Queensland Flood Appeal Fundraisers, Float On, has announced that the two-night event raised $51,052.68 for flood and cyclone victims. Regurgitator played both nights with Custard, Kate Miller-Heidke, Hungry Kids Of Hungry, Screamfeeder, The John Steel Singers were amongst the other acts performing. Time was donated not only by the artists but stage hands, guitar techs, Brisbane Backline while street press publications Rave and Time Off donated free advertising, Valley Edge and Deanster Draws provided posters, Jim Beam donated alcohol and The Hi-Fi use of the room and both nights’ profits.

SCRIPT SLAM PULP PLANS Bringing out questions of ‘Who?’ from Pulp fans, Danny O’Donoghue, frontman of Irish pop rock outfit The Script, has slammed Jarvis Cocker and Pulp’s decision to reform after the two bands were announced on the T In The Park line-up. Talking to Scotland’s Daily Record, O’Donoghue revealed, “I am not a big Pulp fan. Jarvis Cocky. I’m not into him at all. I don’t like his style. I don’t like his music. I won’t be steering clear of him, but he should be steering clear of me.” In some good publicity for the festival, which is often overshadowed by England’s Glastonbury internationally, he also said, “I have watched his career. I’d like to think Pulp are coming out with a new album or that he wants to really do a job in the music industry, but I am sure they will release a single, do a tour, make their money and go home… The audacity of Jarvis Cocker to think he is important enough for people to give a damn what he thinks.” The Scottish festival in July will be headlined by Arctic Monkeys, Coldplay, Foo Fighters and Blink-182.

YOU WORKING? Warner have two full-time Sydney-based jobs going at the moment. The first is Alternative Radio & Online Manager, part of the marketing and promotions team and will publicise new Australian and international signings through community radio, blogs and social media and the second is Press Manager, a similar role but with a focus on wider media and press releases. Head to warnermusic. before Thursday to get the full details.

IS ITUNES OVERCHARGING AUSTRALIANS? Despite relative parity with the Australian and American dollar, it seems that we’re paying far more for our iTunes purchases than Americans are. A report on the website Macstories compares prices for the Bruno Mars track Grenade and found that while it will cost you $1.29 in the States, it’ll put you back $2.18 here, a 69 percent inflation. Upon iTunes’ launch, prices were comparable to the local market but with physical sales in freefall and the growing dependence on digital distribution channels, comparisons to international markets are becoming more relevant. Previously the exchange rate has been blamed for the discrepancies but the dramatic strengthening of the Australian dollar last year has not affected the retail prices as yet.

ARCADE FIRE DEFEND GRAMMY WIN Arcade Fire have hit back at criticism of their winning the Album Of The Year Grammy, through their ever vocal manager Scott Rodger. In an email obtained by The Front Line to blogger Bob Lefsetz, who was reporting on a full page ad in the New York Times taken by music and advertising executive Steve Stoute slamming the relevance of the event Rodger wrote, “Arcade Fire deserved the win this year. They made the best album. If the award was named Album Sales Of The Year award, there would be no discussion. Stoutes’ letter was nice piece of self publicity… It’s not all about record sales. It’s about making great records and it’s about building a loyal fan base. The band make great albums, they’re not a radio driven singles band. On top of that, they own their own masters and copyrights and are in complete control of their own destiny. Things couldn’t be better.” Rodger was also the band’s spokesperson earlier this year when video director Vincent Moon described them as not being very fun to work with.

FRESHLY INKED Kate Ceberano has joined Sony’s roster and will begin work on her 24th album soon. Victorian based heavy metal booking agency Kiss Or Kill have announced promoter Rob Whitfield has joined their ranks.

Wednesday 2nd March

Fire Tree | Pensive Penguin Duo Maggie Collins

Thursday 3rd March

BOYS & GIRLS Window The Sea Northlane (NSW) | In The Walls 2 for 1 entry for students

Friday 4th March

648 Ann Street Fortitude Valley QLD 4006


Special Ticketed event FEVER 54 Mitiz (Live) DJ Katch | Rock Pop & Ju Vs Jung Hearts Youth | Royal

ARAYA IN HOSPITAL WITH EAR INFECTION Slayer were a surprise and late cancellation at Sydney’s Soundwave on Sunday after frontman Tom Araya was admitted to hospital earlier in the day. Despite eyewitness reports to The Front Line of the legendary metal band appearing in good spirits as they departed Brisbane airport, after consultations with doctors at the venue Araya was ordered to remain for observation by doctors in what is believed to be an ear infection. According to Soundwave’s promoter AJ Maddah’s Twitter account, it “Sound[s] like it’s a severe ear infection which will clear in a couple of days” and he is confident that Slayer will be able to perform at the next date in Melbourne this weekend. Fans were notified by organisers five minutes before the band were due on stage. Araya had a rough time on his last Australian visit as well, when he suffered from losing his voice and fans had hoped that this would make up for that disappointment. The band were already without guitarist Jeff Hanneman who is recovering from surgery after her contracted the tissuedepleting disease necrotizing fasciitis from a spider bite. Exodus’ Gary Holt is filling in for the Australian tour.

JOEY BURN-OUT FEARED Murderdolls cancelled their Sydney Soundwave sideshow late last week, with the festival not wanting Joey Jordison – a member of Murderdolls and fellow Soundwave act Rob Zombie’s band – to burn out. “[The] performance and travel schedule is quite intense if you are in one participating band. Joey Jordison is pulling a mighty double shift with two of the festival’s most dynamic bands,” a statement from the festival read. “As such we are going to provide him with a much needed day off in order to ensure he is in top shape for the festivals and the massive Rob Zombie show in Melbourne.” Monster Magnet and Dommin were also due to play the Big Top show, with refunds now available.

INDUSTRY LISTINGS CLOSING Listings for the 46th Australasian Music Industry Directory close this Friday. The directory will be sporting a new look after its purchase by Street Press Australia (publishers of Time Off ) and features new free listing sections (designers, freelance journalists, music video directors and producers, photographers and more). Head to forms/amid-category/ to submit a listing or email for more information.

CHART WATCH This week’s leading ARIA Albums Chart debuts were PJ Harvey with Let England Shake checking in at six while Soundwave’s DevilDriver slotted in at nine with their record Beast. The highest Australian debut was Holly Throsby, whose new album Team reached 41. Touring Michael Buble retained top spot with Crazy Love. Elsewhere, Empire Of The Sun’s international charge continues. Their single We Are The People has just gone Gold in Austria and Switzerland.

SESSIONS AVAILABLE US-based drummer Matt Johnson and bassist Rob Calder will have two weeks off from the Angus & Julia Stone commitments in the second half of March (14 to 30) and are open to session work during the time. Johnson was in Jeff Buckley’s original band and currently plays from Martha and Rufus Wainwright while Calder has worked with Mitchell Froom, Kanye West and Phil Ramone. Email for more info.

MANAGER ILLUMINATED This year’s Lighthouse Award has been awarded to Bonnie Dalton, Melbourne-based manager of Little Red and The Vasco Era. The annual award is presented to a Victorian based manager who supports and embraces the Australian music scene and is sponsored by APRA|AMCOS. The award is in memory of Linda Gebar and named after her love of lighthouses.

Saturday 5th MArch

The Art Album Launch (SYD) “Here comes the war” Blonde on Blonde Alba Varden Rolando | Danny Cool

Sunday 6th MArch This Dog Bites SexyPie

Wednesday 9th March Holly Terrance Bec Plath Phil Hancock Maggie Collins

STRONG, INVINCIBLE, MUSICAL The 100th Anniversary of International Women’s Day is being celebrated by the Brisbane music scene in a very special way, as the exciting one day WOMEN IN MUSIC forum descends upon The Judith Wright Centre. Revered local ladies KATE JACOBSON and SUSIE PATTEN give DAN CONDON some thoughts on the event’s importance. KATE JACOBSON









ntil recently, the music industry has always been seen as almost completely male dominated. While some of the most successful recording artists of all time are female, the sheer number of men who have operated as either musicians or within the industry’s more business-focused realm has always ensured an uneven balance between the sexes. But this is changing; one look at the impressive list of speakers assembled for the upcoming Women In Music forum is proof of that on a local level. Member of Seja’s band and one half of Texas Tea Kate Jacobson has seen female involvement in the industry explode in recent years. “I definitely think in recent years there’s been so many more women popping up in the music scene in general in Brisbane and it seems to be way more acceptable for women to play music and promote music and do management and get involved and be hands on,” she says. “It’s even starting to even out across the board, I think. There were only a small percentage of women doing that five years ago but now all of a sudden there’s been this explosion of women that are doing it.” While Jacobson has seen the change, she can offer little explanation as to why it has occurred. “I think it’s perhaps a cultural shift across the board, I don’t know!” she says. “Maybe it’s more acceptable? Maybe there’s not a stigma anymore? Maybe it’s just not a big deal anymore? I think it’s just normality, women can do anything and you don’t have to prove it, you just do it. It’s like a total cultural shift – I think it’s probably not just in the music industry, across broader career aspects I think women are more confident to do whatever they want to. “It’s definitely not unusual to see two or three or four female members in bands these days. It’s not like ‘Woo, yeah there’s a chick in that band!’.” Susie Patten has toured Australia incessantly with her band I Heart Hiroshima for over half a decade now, but 2010 saw her step well away from Brisbane to pursue some exciting overseas adventures. In this time she experienced a number of events that celebrated female involvement in artistic endeavours. “I met Sia through her partner JD Samson at some art show and within five minutes she was like, ‘Do you want to play drums with me at the Michigan Women’s Music Festival’?” she tells. “I didn’t know much about it but I did some research and saw that it was really intense, it’s for women only – women born women – it was a festival full of 5000 people and they’re all women. It’s really weird but it was the most beautiful experience of my life. There was never a bad word or bad vibe felt throughout the three days and playing the show was phenomenal. I

would recommend any woman go there at some stage of their life if they want to have their mind blown. “Peaches was lending me her rehearsal room while I was practicing for the Sia show because she had hurt her leg. She’s the kind of person who has to be doing things all the time and decided to do a little workshop at the Berlin Girls’ Rock Camp so she called me the day before and was like, ‘Do you want to play drums with me at Girls’ Rock Camp?’. So we caught a train – I had to carry her on and off because of her leg – and played this show at this weird camp full of 13 and under German girls. There have been lots of weird, sporadic experiences like that in the last year that have all been really cool eye openers.” While Jacobson says she hasn’t experienced any discrimination against her in the industry due to gender Patten says that some areas are more progressive than others in their embracement of female musicians, while some areas close to home are still well behind the times. “In Australia it’s unusual for there to be a girl drummer but there was no raised eyebrows if you were a girl drummer in Portland, it was just the norm. I’ve just done a tour in regional coastal Australia with Philadelphia Grand Jury and Bluejuice and that was hard. I was the only girl in an 18-strong tour party. You’re playing in some rough areas and some stuff happens. The way people talk to you when they realise you’re a woman... their attitudes change. In the cities it’s not unusual at all that women make music, I think Australia is still a little bit behind the eight-ball, but it’s on its way.” When it comes to what she hopes people will get out of these sessions, Patten says that the forum will provide a great opportunity for likeminded young women to form bonds to hopefully go on and start their own creative pursuits, if nothing else. “If you’re passionate about it then you should just do it and not feel scared about it. Hopefully people will be able to meet likeminded people at these things and to see that there is a really supportive community around then that can help and not to be daunted by these ‘rock’ stereotypes. Or classical stereotypes or hip hop stereotypes or whatever.” Jacobson feels similarly. “It’s really good to give that opportunity to young women to be able to talk to other women who are successful in the male-dominated industry that it is.” Women In Music takes place at the Judith Wright Centre for Contemporary Arts on Tuesday Mar 8.























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


IN BRIEF The Float On shows at The Hi-Fi in February raised $51,052.68 for the Premier’s Disaster Relief Fund. Katie Noonan has left Sony Music to pursue her recording career independently. Bon Jovi guitarist Richie Sambora is working on a women’s clothing line by the name of White Trash Beautiful. Walls, the new record from Brisbane’s An Horse, has been given a Tuesday Apr 26 release date in the US. Trent Reznor and Atticus Ross have won the Best Original Score Oscar for The Social Network.

TURN, TURN, TURN The British punk rock troubadour Frank Turner has been one of the most critically revered indie punk singer-songwriters over the past couple of years and Australian audiences have lapped up the material he has released thus far. His last visit to Australia was as a part of The Revival Tour – and a very wellreceived one at that – but he is coming back in 2011 to play some headline shows for all of you bearded punks who like to get drunk and sing your guts out (that is not a diss, by the way). He has a new album called England Keep My Bones in the can and we’ll be able to get our hands on a copy of it at the start of June, but before that he will be in Australia treating us to a sneak preview of the material as well as all the old favourites, we’ve no doubt. Turner will drop by Rosie’s on Saturday Apr 16, tickets are available from OzTix and outlets as of Friday morning.

SEE YOU AT THE CROSSROADS For 20 years now, Bone Thugs-n-Harmony have been at the forefront of quality hip hop and gangsta soul music and in 2011 they’re coming back to Australia to celebrate two decades in the game and to prove that they are not slowing down at this point in their career. They’ve sold over 30 million records in their time together, they’ve recorded with the biggest names in urban music, they’ve won Grammy awards and most importantly they put on one hell of a show every time they come to Australia, so it’s always a pleasure to have them back. Be at Fitzy’s in Loganholme on Friday Apr 15 or at Shooters Nightclub on the Gold Coast on Tuesday Apr 19 to pay respect to one of the most vital hip hop groups still kicking around in the scene.

The new Steve Earle record will go by the awesome title of I’ll Never Get Out Of This World Alive and will be out in April. Epilepsy awareness and assistance group Epilepsy Action had the video for Kanye West’s All Of The Lights removed from YouTube last week. It is back up, but now carries a warning that it could “potentially trigger seizures for people with photosensitive epilepsy.” Kiss guitarist Paul Stanley is set to become a father for the fourth time. He will be 59 when the child is born. Sydney rockers MM9 have split up, stating that “as individuals, we’re heading in different directions.” The debut album from The Middle East, I Want That You Are Always Happy, will be released on Friday Apr 8.

SUCCESS IS BLISS Bliss N Eso are the hottest thing in Aussie hip hop at this point in time, there’s no doubt about it. The past 12 months has seen their latest record Running On Air debut in the number one position on the ARIA charts, that same record hitting platinum sales here in Australia and a whole bunch of tours across the country selling out in no time. They have now announced their latest tour and it is far bigger than anything they have ever done before, hitting more areas and bigger venues than ever with a much bigger show than you’ll have seen from them in the past. Around these parts they will be putting in performances at the Brisbane Riverstage on Friday Jun 10 before heading up to the Lake Kawana Community Centre on the Sunshine Coast Saturday Jun 11. Both of these dates will have Sydney’s hotter than hell Horrorshow and, direct from the USA, Big B in support, both shows are open to all ages and tickets are available from Monday morning onwards and while we don’t have a price, the band have promised it will be under $50 per ticket. Proudly presented by Street Press Australia.

IN BRIEF A Ronnie James Dio tribute album is in the works and is said to so far feature Dave Grohl, Rob Halford, Glenn Hughes and Lemmy.

BIRD IS THE WORD They like to come up with ridiculous reasons as to why they are getting back on the road pretty much every time they do it, and this time around the great Frenzal Rhomb are claiming it is something to do with increasing awareness of ‘bird attack’. Frankly we don’t really care about all of that hoo-ha, we’re just glad to hear that they’re going to be getting back on the road and delivering one of their incendiary live shows for us once again. The band have been awfully quiet of late as they continue on their weird not-quitehiatus, but anyone who caught them at the No Sleep Til festival will attest to the fact that they are still an incredibly vital part of the Australian punk rock scene and are well worth seeing at any opportunity. Such opportunities present themselves at the Coolangatta Hotel on Friday May 6 and The Hi-Fi on Saturday May 7. Tickets are the very awesome price of $20 + bf and available through the venues and OzTix/Moshtix respectively.

STERN WORDS Chilean folk singer Nano Stern has really taken a shining to life in Australia by the looks of things; he’s been a regular visitor to our shores for quite some time now and has just announced that he’ll be back in the country next month for a series of shows with his four-piece band. This will be the first time that Stern has brought the band with him, so even if you’ve seen him before this promises to be a completely different experience and if reviews of their performances abroad are anything to go by it looks like we’re in for a treat. Stern and friends will be bringing their blend of Latin American and European folk music with flourishes of modern rock, folk and jazz to the Mullumbimby Civic Hall Thursday Mar 10 and the Judith Wright Centre Saturday Mar 19. Get in contact with the respective venues for ticketing information.


DINOSAURS GET PRETTY Local lads Last Dinosaurs, pictured, and Sydney boys Papa Vs Pretty are coming together for a quick but very special co-headline tour of the east coast of the country this month as they both show off their new material to the many fans they have been busy accumulating in recent times. Last Dinosaurs have just released a new single by the name of Time & Place, which is available for purchase online right now and will be at the shows on a swish 7” record, while Papa Vs Pretty have their Heavy Harm EP causing trouble on airwaves around the nation at present. Both of these young bands absolutely kill it live too, so make sure you hit Toowoomba’s Spotted Cow on Friday Mar 18 with support from Doctorteef, Woodland on Saturday Mar 19 and Joe’s Waterhole, Eumundi Sunday Mar 20 (with Glass Towers). Tickets are available for purchase through OzTix and outlets right now for $15.30.


There’s no doubt that this week’s cover star Joanna Newsom is a majestic performer responsible for some incredible records over the past few years. But when she’s in Australia this week, she is also bringing a hot shot band with her that features some incredible musicians who are renowned for thinking somewhat outside the square with their playing. One of these gentlemen is Ryan Francesconi, and while he’s in Brisbane he has decided to treat us to a solo show of his own. It promises to be a special night of music as joining him in support is frequent (and very welcome) visitor Mike Cooper, who will once again treat us to his brand of post-exotica music and opening act, Perth instrumentalist Stina. This all happens as a part of the latest Syncretism show at the Judith Wright Centre this Saturday night from 8pm. Tickets are available through the venue right now for $18.

A range of Motörhead skis are now available. Bassist Geezer Butler has made a definitive statement on his website saying there will definitely be no Black Sabbath reunion.

KIDS GO NUTS The kids sure do love clubs these days and no-one knows that better than hardcore party rap dudes Deez Nuts. The guys have just returned from another very successful run around Europe and the UK where they headlined some crazy shows and now they’re back to bring the maximum party to audiences in their home country once more. Even though the kids love clubs, some of the kids can’t go to actual clubs because they’re too young, so the Kids & Clubs tour looks to hit both the clubs and the all ages venues to ensure no-one misses out. You can catch them hitting The Fort for an all ages show on Friday Mar 18 before hitting Rosie’s for a club show at Thriller on Saturday Mar 19. With support coming from the awesome Shinto Katana and Dream On, Dreamer, surely there’s nowhere else you’d rather be?

In an American TV interview, Michael Jackson’s children have said they want to “continue what our dad was doing” and pursue careers in the entertainment business. One of the girls on the Smashing Pumpkins’ Siamese Dream cover has said there is no way new bassist Nicole Fiorentino is the other girl pictured. U2, Coldplay and Beyonce will headline the 2011 Glastonbury Festival. A recent WikiLeaks document has revealed that Beyonce, Mariah Carey, Lionel Richie and Usher, among others, all performed for Libyan dictator Muammar al-Qaddafi and his family. X Factor winner Altiyan Childs has been bashed following a performance in Hobart. Gary Numan, Boredoms leader Yamantaka Eye, Blonde Redhead singer Kazu Makino and modern disco maestro Matias Aguayo will all appear on the new Battles album Gloss Drop, which will be released early June.

TRAVELLING TROUBADOUR Contemporary acoustic blues artists don’t get much better than the incredible Eric Bibb. This masterful guitarist, singer and songwriter has a huge number of awesome records to his name and his live performances – that he thankfully treats us Aussies to every couple of years – are truly stunning. The fresh-faced 59-year-old is heading back for Bluesfest as well as a couple of special sideshows on the back of his latest studio album Booker’s Guitar and brand new live record Troubadour Live! and joining him on this tour, as well as on the aforementioned live record, is Swedish guitarist Staffan Astner, whose playing acts as a great counterpoint to Bibb’s fluid fingerstyle and soulful voice. Bibb and Astner will drop by the Brisbane Powerhouse on Tuesday May 10, Noosa’s J Theatre Wednesday May 11, Bangalow’s A&I Hall Thursday May 12 and the Sound Lounge, Currumbin Friday May 13. Tickets are available now from the venues right about now.














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IN BRIEF Jay-Z has won the latest round of a half-decade long legal battle with UK chef Terry Miller, whose Rockafella catering business is, according to Jay-Z, going to confuse people and make them think the hip hop star is involved. Justin ‘Beebs’ Bieber got a haircut and apparently lots of people cared. Locks of his hair will be auctioned off for charity, which is gross.

A NEW SHAPE You know him as the dude from Gomez, but were you aware that Ben Ottewell is also a captivating solo artist? Well you should be, he has a record by the name of Shapes & Shadows which just hit shelves around the nation a couple of weeks ago and he is heading out to Australia to support its release with a tour of some nice intimate venues all across the country this April. The record is starting to generate a bit of buzz, critics quick to give praise to the man with the big husky voice and it seems as if being a solo artist suits Ottewell pretty well. The record has been five years in the making, but we don’t have to wait that long to see the songs live, with the singer-songwriter hitting The Zoo on Saturday Apr 9 with support from Sam Cromack and Founds. Tickets are available from OzTix now for $31.15.

Britney Spears might be in a bit of shit due to her new single Hold It Against Me sounding a bit too much like the Bellamy Brothers’ 1979 hit If I Said You Had A Beautiful Body, Would You Hold It Against Me? Kylie Minogue has become the first artist to hold down two spots in the top three on Billboard’s dance/club play chart this week. Slayer’s Tom Araya was hospitalised on the weekend, forcing the band to cancel their Sydney Soundwave date.

STORIES TO TELL Sydney’s Parades are one of Australia’s most promising up-and-coming indie ensembles, their debut album Foreign Tapes might not have set the world on fire, but it was critically adored and many people are still discovering its charms many months after its release. The band have a real knack for songcraft as well as live performance and when they finally get back on the road in support of their new single Water Stories we’re sure that there are going to be a lot of people incredibly happy to see them again. Up in this part of the world the band will be dropping by Woodland for one show only on Saturday Apr 9 with support from locals Little Scout. Tickets are available through Moshtix right now.

RETURN OF THE WATERMELON MAN He is one of jazz music’s most influential figures, he’s one of the most talented and innovative keyboard players in the history of contemporary music and he’s still making great music 50 years since he released his first record. Herbie Hancock found both popularity and his own musical voice as a member of Miles Davis’ band through the 1960s but really broke ground in the 70s as he released some game changing records in the jazz and funk sphere. Hancock will turn 71 just two weeks before he comes back to Australia for a very special theatre tour which Brisbane audiences can see at the QPAC Concert Hall on Thursday Apr 28 and he will have his hotshot backing band along for the ride. You can grab your tickets from Qtix from 9am Monday morning.

FREE OMAR There have been a few changes to the upcoming Omar Souleyman show at The Hi-Fi next Wednesday night. Firstly, it will no longer be in the main room of The Hi-Fi, it has moved to the more intimate Vinyl Bar out the front. And secondly, entry to this show is now free of charge! This is one truly innovative musician on the world music scene and he is simply not to be missed. He has just recently finished up a collaborative record with Bjork so, popular as he is now, we have no doubt people will go nuts for him once they realise what a talent this Syrian master really is. You can be the tastemaker by getting along on the night and checking it out for yourself, you really have nothing to lose!

MESSY LITTLE MACHINES Possibly the most successful husband and wife duo in Australian music Kasey Chambers and Shane Nicolson are getting back out on the road for the Little Birds & Bad Machines tour. The tour is in support of both Chambers’ and Nicholson’s new records, Little Bird and Bad Machines respectively. Chambers has just issued Beautiful Mess as the second single from her record and will be out on the road in support of that, while Nicholson is yet to release his record (it’s out at the end of the month) so that’s what he’ll be pushing when he’s out there. As per usual it is going to be a family affair on the road with the awesome Bill Chambers taking on support duties while opening things up will be Tamworth’s first lady of fiddle Ashleigh Dallas. Together they play the Boonah Cultural Centre Thursday May 5, Twin Towns Friday May 6, Caloundra RSL Saturday May 7 and the Redcliffe Cultural Centre Sunday May 8. Tickets for all these shows are available through the venues right now.

RATTLE THE ROOFTOPS French doom-mongers Monarch are in town to play The Hi-Fi this weekend, but they couldn’t leave Brisbane without stopping in at Tym Guitars and they have even decided to do an instore performance at the store while they’re at it. After the first show at the Winn St store went off without a hitch, the amps are being well-and-truly cranked up and the building will no doubt be shaking like a leaf when the Frenchies bring their deep, heavy brand of sludge to the venue on a lazy Saturday afternoon from 1pm. Entry is free and it’s open to people of all ages!

THE BOYS ARE BACK IN TOWN The recent success of Sydney folk rock ensemble Boy & Bear is really quite astonishing; they’ve just returned from a tour of the UK where they sold out a number of their shows, following on from their work over there wowing crowds in massive theatres alongside Laura Marling. Their most recent tour of Australia was a completely sold out affair and a very special one for the band, so you can bet they cannot wait to get back on the road in their home country to play more shows to more people and bring more joy than ever before. The band have been busy writing new material lately and are about to head over to the US to record as well as show off their considerable skills to audiences at the South By Southwest showcase series in Austin. But when they return they’ll be keeping audiences enraptured, in Brisbane this will be at The Hi-Fi on Saturday Jun 4. Tickets are available from Thursday morning. Proudly presented by Street Press Australia.

STAYING SHARP They were the commercial rock success story of 2010 and Amy Meredith are looking to build on this solid foundation by expanding their fanbase any which way they can. They won’t have time to tour Australia much this year, in fact they can only fit in one run of dates, but they’re going to make it count with their massive Higher Education tour taking in plenty of dates around the country. The band’s debut album Restless is still earning them plenty of new fans around the place, so you’ll want to rush in and grab your tickets to catch them at The Zoo on Friday Jun 3 and the Princess Theatre Saturday Jun 4 (all ages). The band will be joined by fellow rockers Tonight Alive and tickets are on sale now for $20 + bf.




Are the Academy Awards good for anything other than curing insomnia? If anyone actually managed to stay awake for more than five minutes please drop us a line, what a borefest…

You have to hand it to Soundwave, an incredible line-up of diverse (albeit mainly heavy) bands certainly bore fruit on the weekend. Too many highlights, although Gang Of Four, Social Distortion, Fucked Up and The Bronx deserve special mention…



It’s not just sports people feeling the wrath of social media, with Pommy Christian Dior designer John Galliano being arrested after some Frenchies filmed him banging on about how much he loves Hitler. You can’t say anything controversial these days without being busted…

Tym Guitars held their first instore on the weekend to help locals Nova Scotia launch their brand new self-titled album. It was heaps of fun, here’s hoping that it’s but the first of many…


BLACK BOOKS First the Interweb killed our record stores and now it’s killing our bookshops – what’s next? We’ll have to order booze online? Leave us some shops to browse in for fuck’s sake…

Less than a week until The Hold Steady play their very first ever headlining show in Brisbane! Let me hear you say ‘Fuck yeah!’, hoodrats! Get amongst it, it’s bound to be amazing… THE HOLD STEADY

SILVERSTEIN (CAN) WED 2 MARCH w/ Blessthefall (USA), I See Stars (USA)

IMELDA MAY (IRE) THU 3 MARCH w/ Special Guests

KARAVAN! FT. GIPSY.CZ (CZ) & HAREM’DE (TR) FRI 4 MARCH w/ Lolo Lovina and more




SAT 5 MARCH w/ Unearthly Trance (USA), Eagle Twin (USA) Free show in

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SWANS (USA) FRI 11 MARCH w/ The Necks



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Presented by Michael Coppel I I I








JOANNA NEWSOM is still on the road touring her gorgeous Have One On Me triple-set after the best part of a year because she loves sharing her music with her fans, but as she explains to STEVE BELL it’s her unabashed love of artistic creation which still gets her of bed in the morning.


hen US chanteuse Joanna Newsom first burst onto the global music scene via the blogosphere back near the start of the millennium – her auspicious beginning compounded by the 2004 release of her acclaimed debut The Milk-Eyed Mender – much of the attention she garnered was focused on the inherent originality of her unique musical style. Let’s face it, back then not many people had encountered an ingénue playing a harp – usually considered an antiquated instrument and oft-associated with classical music or medieval fantasy – and singing folk songs in an utterly distinctive (read, polarising) voice before. These elements which differentiated Newsom from her peers were handy in building up her profile, but also tended to initially overshadow her even-then considerable talents.

FOR THE LOVE OF MUSIC worker – I’m not terribly prolific, but that’s what I like doing best. Every step of it is fun, except for the part of it where you just are frustrated because the idea isn’t coming – the waiting for an idea to take shape can be really frustrating for me, but everything else I love. “I work very hard on lyrics. Usually I’ll kind of sketch a song out lyrically and have a play through the early lyrics, then I’ll edit and edit and edit until I get it to the point where I think that the lyrics are saying what I want them to say in as musical a way as possible – in a way that has a relationship to the structure of the music. But even that side comes naturally in the sense that I’ve always loved writing, and always as important

to me as writing music has been writing words. Since I was young those have been the two things that have really excited me, but it takes a long time.”

On the eve of bringing her intricate song cycles back to Australia, Newsom explains that while she enjoys performing and sharing her music with her growing legions of acolytes, it’s the act of creating music which is her real raison d’être.

“Well when I write I’m not baring my soul to strangers. It’s only afterwards, and I think that’s the key thing, that when I write I’m not thinking about anybody else,” she tells. “I’m not thinking about an audience. But the other thing I would say is that while I would certainly not deny that there is a lot of autobiography and a lot of myself in my songs, I think that there’s a lot of assumptions

Although for Newsom writing is the aspect of her vocation which gives her the most pleasure, she doesn’t find that the process comes all that easily. “It doesn’t come easily and it takes me a long time, but I’d say that it comes naturally. You know, like it’s natural for me to enjoy the extremely long and difficult process of trying to write,” she considers with a stifled giggle. “But it’s not like every time I sit down at the harp an idea will just come to me – often I have to improvise for a long time and it will take me months and months to write one song. I’m a slow


It’s put to the singer that this is in essence the beauty of art, how the beholder is able to bring their own perspective into play. “Absolutely,” Newsom agrees. “I think that once you make a piece of work and it’s out in the world then

“When I write I’m not baring my soul to strangers.”

Fortunately over time this obsession with form fell away to reveal a fascination with Newsom’s substance, as her next two albums – 2006’s Ys, which featured lush orchestral arrangements courtesy of Van Dyke Parks, and 2010’s Have One On Me, an epic and ambitious self-produced triple album – divulged an immensely talented composer and songstress, one unfettered by conventional structures and willing to follow her idiosyncratic polyrhythmic muse wherever it took her.

“Well I wouldn’t say that I enjoy playing music as much as I do creating it, because for me that’s the thing I love the most, but I definitely really enjoy playing live,” she offers thoughtfully. “It’s something that’s really grown on me over the years – I’ve realised how much I do really love that part of things. But to me all of the touring and the performing and even the recording aspects are all components which feed into the chief joy which is the writing – that’s why I do all of that. All of those facets enable the thing that I like best, which is being able to write music.”

made by people that certain songs are about certain things and I’m baring my soul about something – people will be like, ‘Oh this song is so obviously about this!’, but often the song is about something completely different – so in some ways the songs are less exposed than one might think, because the true meaning of the song is apparently not evident to anybody else.”

Indeed while much is made of Newsom’s musical attributes, this is often at the expense of her evocative and often plain beautiful lyrics. Her words seem intensely personal on the surface, but as is often the case such superficial perceptions can be deceiving.

there is no one correct interpretation of the song, and my belief of what the song is about is no more valid than anyone else’s belief of what the song is about. But it does create a level of protection in a way, in that none of the songs are literal and none of them are completely accessible to every person.” Her professed love of semantics becomes obvious when Newsom divulges that she finds pleasure in creativity rather than excitement. “I wouldn’t say ‘exciting’ exactly because that implies the element of surprise,” she reflects. “It takes so long to actually do anything that it’s not really surprising by the time that it’s done, do you know what I mean? It certainly was surprising in the beginning that anyone else wanted to

hear it, but in terms of the process of making an album it’s so slow... it certainly makes me happy to do what I love.” The three albums that she’s released thus far have been distinctly different in sound and tone, but Newsom denies any quest or need for evolution between projects. “It is important to me to continually explore new things,” she muses. “I think of it a little bit less as ‘evolution’ than breaking something down and starting over. Evolution to me feels like a cumulative sort of progression from Point A to Point B, and then from Point B to Point C. I think of what I do as more just constantly having a new Point A. Or at least that’s the hope – I’m not saying that I would manage to do that forever, or that my Point A is somehow unique in all of the world over anybody else’s Point A – I’m just saying that when I start to write I kind of try to create a self-contained universe for that set of songs that survey or relate to each other in very specific ways, but it’s not a reaction to the album that came before in any way.” And these musical voyages must be fascinating even for Newsom herself, given that she’s admitted in the past that the sprawling and majestic Have One On Me was initially conceived as a set of short songs utilising only voice and harp. “Yeah, it’s interesting. I’m sort of at that point again where I have the seed of an idea of the next project in my head, and I think I know better to make any big claims about what it’s going to be because apparently it’s not up to me entirely,” she laughs. “For me it’s less about dictating the spirit of the record and more about trying to discover it and be true to it. I don’t know what the next thing will be. I just hope it’s something and I’m not scratching my head for the next 20 years.” Given Newsom’s well-publicised lifelong love affair with music – she grew up surrounded by it and began playing at a precociously early age – she still feels that she’s able to retain this appreciation of the form even when her career requires her to constantly tread the fine line between art and commerce. “It’s not as easy, but it’s still absolutely there,” she tells of her ongoing musical passion. “But sometimes I need to make space for it to be there. For example sometimes when I come off of a tour I’m often really burned out about harp and don’t want to touch a harp and don’t want to sing for a few weeks, and I just want to try and shake off that sense of it being my job. I have to wait a little while to renew the sense of it being the thing that I do just because it’s what I love most. That’s still there, and often I think the only thing that threatens that sort of undiluted, uncontaminated love is not the fact that music is my job, I think it’s the fact that going on tour requires you to approach the music very similarly every day. Like I think having music be my job is incredible and such a privilege, and really fun, but I get a little tired of playing the same songs every night for a month in a row, six months of the year on and off. It doesn’t get old immediately, but there’s a point where I start realising that I’m having a little less of a heart connection to it, and that’s when I have to step back a little bit and start writing again. I’m there now – this Australian tour is going to be the last proper tour I do for a while. I might do a date here or a date there or like a short little run somewhere, but basically my hope is to not do another full tour until I have some new ideas and some new music.”

WHO: Joanna Newsom WHERE & WHEN: The Tivoli Friday Mar 4


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NOTHING WRONG WITH LOVE Keyboardist CHRIS GEDDES tells GISELLE NGUYEN about all the changes happening in BELLE & SEBASTIAN’s twee little world.


ove has never been a foreign topic for Glasgow’s best-known indie popsters. Since their very inception Belle & Sebastian have waxed lyrical about its triumphs and pitfalls, from starry-eyed happiness to bitter cynicism. Fifteen years on, there’s a new kind of love in their lives that has brought on big changes, with guitarist/bassist Bobby Kildea and trumpeter/bassist Mick Cooke becoming fathers in the four years between 2006’s The Life Pursuit and latest album Belle & Sebastian Write About Love, which came out in late 2010. “Mick’s not going to be touring anymore because he found it quite hard last year being away from his family,” explains Geddes. “He’s still going to be working with us when we start working on new music… There’s a guy Dave who’s going to step in, it’s going to be a bit different. Dave’s not a trumpet player but he’s going to cover Mick’s guitar and bass. He’s someone who’s been our friend for a long time, we’ve all played with him in various different projects over the years so I think it’s going to work out fine. We haven’t even had a practice

together yet with Dave playing because he’s been away on tour… There’ll be a difference but I can’t say yet what it’s going to be.” In the years between albums, frontman Stuart Murdoch was working on God Help The Girl, his film/music project, to which the rest of the band also contributed. “It was different to doing a Belle & Sebastian record,” Geddes offers, “because it was definitely more of a case of just turning up and playing your part and not getting involved in arguments of what it should be and what’s better. It was Stuart’s thing.” One of the most surprising changes with the newest album is the band’s increased creative promotion, having previously done next to nothing in regards to publicity. Recently they ran a competition in which fans obeyed the album’s title, submitting essays about love, to win the chance to meet Murdoch and have a song written especially for them. The winner was 15-year-old Nebraskan John Ficenec, and though the meeting hasn’t yet happened, the song will appear on a 7-inch later this year with other new material. They also launched the first episode of Belle & Sebastian TV, a mixture of live and behindthe-scenes snippets of the band in an old-school talk show format. “The idea behind all of it is to kind of have more direct unmediated communication with the people who are listening to the music,” says Geddes of the band’s heightened promotional activity. “After being around for long and seeing the business has changed a lot in the time between the records, I guess we felt we might not get as much conventional exposure in the media and everyone isn’t necessarily interested in going after that, so I guess it was time to come up with things that are interesting for us and hopefully interesting for fans of the band as well.”

“I guess it was time to come up with things that are interesting for us and hopefully interesting for fans of the band as well.” With each record, Belle & Sebastian have consistently developed the scope of their sound – while their early work was timid and sparse, nowadays their huge instrumentations make them one of the slickest indie-pop bands around and recently they’ve played shows with symphony orchestras. “It’s just a case of not wanting to make the same record twice,” Geddes reasons. “From about 2001 to 2005, there was kind of a natural thing of starting to play live a bit more and the concerts getting a bit bigger and getting more confident playing in front of people, and I think that was kind of reflected in the sound of the records.” Geddes’ keyboardist role has also expanded, with synthesised sounds becoming more common. “It’s odd because it’s something that we have done a bit in the past, right from the start – even on [1996 debut album] Tigermilk we had Electronic Renaissance,” he says, naming an early synth-driven track. “It seemed like there was a period when we used lots of synthesisers and drum machines and it would end up not quite working so we thought we’d go back to more a conventional band layout doing a song. “Tony [Hoffer – producer] helped in that he had a clearer idea of how to integrate the synthesisers and drum machine stuff into the sound of the band, just because of the way the technology’s changed over the last few years it’s a lot easier to make a drum machine and a live band work together then it maybe was. You can move things around and the stuff you can do on the computer makes it easier because it doesn’t need to be written into the music as a drum machine there. For me it was good just because I was doing something different to what I’ve done on previous records… On previous records I’ve played the piano on 60 or 70 percent of the songs, and I haven’t played a real piano at all on the last record.” Belle & Sebastian Write About Love marks a first for the band in that it includes guest performances, something they’ve never even dabbled in previously. The names of the featured vocalists might ring a bell – jazz songstress Norah Jones and actress Carey Mulligan lend their voices on Little Lou, Ugly Jack, Prophet John and Write About Love respectively. “I think Stuart, with those two songs, he always heard them as duets and I think with …Write About Love it probably came out of the God Help The Girl thing…,” Geddes muses. “And obviously Little Lou is just a kind of classic duet style of people singing to each other. I guess it was just as simple as that, really, that he heard the songs as having a different voice on them.” Belle & Sebastian have also quietly made history – Bowlie Weekender, a one-time festival they created in 1999, was the predecessor of All Tomorrow’s Parties. For ATP’s 10-year anniversary last year, the band curated “Bowlie 2”, inviting some of their favourite musicians to play including former member Isobel Campbell, who departed to pursue a solo career in 2002. “I still played on the odd song on most of her records,” Geddes explains. “She’s been touring a lot lately so we don’t run into each other that often, but we all get on really well. We’re all really big fans of what she’s doing with Mark [Lanegan]. Since she left the band she’s been doing an amazing body of work and it was really great to have her play, and I’m sure it meant a lot to fans of the band.”

WHO: Belle & Sebastian WHAT: Belle & Sebastian Write About Love (Rough Trade/Remote Control)

WHERE & WHEN: The Tivoli Monday Mar 7 22

LIFE IS GOOD On the eve of their first shows across the Tasman in over 20 years, DAVID KILGOUR from New Zealand indie icons THE CLEAN tells STEVE BELL how the band’s laissez faire approach to their craft has kept them both invigorated and interested for the duration of their fascinating journey.


t’s difficult to believe that one of the most influential bands to have emerged from Australasia in the past 30 years hasn’t actually played a show in Australia since the late-80s, but that’s exactly what’s happened in the case of New Zealand post-punk legends The Clean. Granted, they haven’t been together the whole time since their inception in Dunedin back in 1978 – back when they were integral in the creation of the ‘Dunedin Sound’ which typified seminal Kiwi indie label Flying Nun – but they have been together enough in the intervening years that a quick trip across the Tasman should have taken place at some point during the last two decades. This, don’t forget, is a band who became revered around the globe for their peculiar and distinctive brand of noise, becoming a major influence on a generation of foreign followers such as Pavement, Yo La Tengo, Silkworm and Camper Van Beethoven, far transcending their humble beginnings without ever having to compromise their vision. Now, finally, they’re returning to Australian shores to rectify this major omission in their touring schedules, and hopefully in the process they’ll educate new generations of people as to why this trio from the southern hemisphere became so globally lauded just for being themselves.

And does Kilgour have any specific highlights from this incredible musical voyage? “Shit, there’s been so many adventures,” he mulls. “All the touring’s been wonderful. And the actual making of the music’s been wonderful too – I look back and survey what we made and that’s really gratifying, like, ‘Shit, we did alright, you know, here and there!’ There were some peaks and some troughs, but all the travel has been wonderful and all of the friends we’ve made around the world are great as well. We’ve been lucky to live a really interesting life, I’d have to say, and I still pinch myself to this day and thank my lucky stars: ‘Shit, life is good!’”

WHO: The Clean WHERE & WHEN: The Zoo Thursday Mar 10

“Yeah, I know it’s been a while – we never really planned it that way, it just sort of worked out that way,” affable guitarist, vocalist and founding member David Kilgour recounts of The Clean’s lack of Australian presence since their last visit in 1989. “We’ve come close to going over there quite a bit. In the last few years the Laneway people have been trying to get us over there, but it just hasn’t worked out. Hamish [Kilgour – drums] lives in New York, and Hamish and Bob [Scott – bass] have kids and jobs, so it’s just never worked out over the years. There’s no hidden agendas or anything, we just never plan anything properly.

There’s no hidden agendas or anything, we just never plan anything properly. “I think every couple of years – every two or three years – we make another record and tour. We’ve toured America quite a bit since [2002 collection] Anthology came out over there and the Getaway album [in 2001], so we have been busy but it’s been off and on. And that’s kind of what keeps it fresh for us really, that we have long breaks.” Despite going through one actual spilt in the early 80s, it’s this current habit of taking a regular hiatus which keeps The Clean a positive and ongoing experience for the three band members. “We split in ’82 and thought it was for good, but then in the late-80s we got back together and did a tour of America and to Europe and discovered that there was a lot of interest still in the band – which was a great surprise to us,” Kilgour recalls. “Then on that tour Geoff Travis from Rough Trade came and saw us play in London and offered us a record deal, because we’d been playing new material. That’s sort of what spearheaded the whole thing again – we just thought, ‘Okay, let’s keep this alive as a creative project’. Whenever we’d get back together we’d always write new music and record, so that’s where the idea sort of came from really. And obviously Hamish and I are brothers and are pretty close, and it’s just good fun whenever we get together.” Their influence on a whole generation of American indie bands never went to their head – Time Off was lucky enough to see The Clean twice last year, once at the Pavement-curated ATP festival in the UK and again at the Matador Records birthday bash in Las Vegas, where they played alongside more of their successors such as Pavement, Guided By Voices and Superchunk, but this celebrity fandom hasn’t affected them one iota. “It’s endearing, of course, and also very surprising initially when all of those rumours of our supposed impact started coming in,” Kilgour muses. “We never really believed most of them until we started meeting all of those people really. But you can’t complain can you? It’s nice when anyone likes your music, so to be encouraging other people a world away to be picking up guitars and play music is wonderful.” The fact that the band’s members were geographically isolated from the rest of the music world in the early days definitely impacted both their own sound and that of the incredibly verdant scene that grew around them at the same time – think bands like The Chills, The Verlaines and The 3Ds, to name but a few. “The ‘tyranny of isolation’ as [founding member of The Verlaines] Graham Downes calls it,” Kilgour chuckles. “Especially being down here in Dunedin, it was back in the time with no Internet, no college radio – it was very difficult to get your hands on any new releases coming out of America. You’d have to put in the time, especially to track down the punk stuff which we were interested in. There was New Musical Express which we all read avidly at the time, but we didn’t get those until three months after they’d come out in Europe. But luckily we did have a friend who ran a record store here called Eureka Records, and he used to import stuff and he’d get it only a week or two after it came out in England, so we were getting stuff like the Sex Pistols’ Pretty Vacant single and a lot of the unusual stuff out of New York. So I think it was good and bad the fact that it was so difficult to find out what was going on in the world at the time, because we kind of made our own sound in some ways and made our own music. But we were certainly all avid record collectors before punk came along, and it all just kind of mashed together to create us, I suppose. “Some people do think that there was some kind of cultural shift here in New Zealand in the late-70s and early-80s – there was a shift away from the rugby, racing and beer mentality – and we also had the Springbok tour protests at the time due to the racial situation over there, so there was some kind of shift at the time. Perhaps we were pulled along by it or became part of it – there was some kind of awakening around that period, the post-punk period, and not just musically. It was culturally across the board.”


MAYHEM IN THE STREETS Disarming Irish songstress IMELDA MAY will be gracing our shores with her engaging live performances this month, riding high on the wave of success that followed last year’s third full-length studio album Mayhem and, surprisingly, the slow-burn triumph of predecessor Love Tattoo. MITCH KNOX abstains from impersonating a leprechaun for their entire chat.


here is something about the Irish. There’s an enigmatic charm there that automatically makes their comedians slightly funnier than most, a defiance and fighting spirit that can inspire even the most beleaguered of underdogs, an optimism that refuses to die. They drink hard, they laugh hard, they work and they play hard – they’re Australians with a better accent. It should come as no surprise, then, that like Australia, Ireland is home to some of the world’s most fantastic and under-appreciated music. Sometimes, though, an act breaks through that catches the attention of the world at large, and once eyes are fixated upon them, it’s unfeasible to imagine them ever shifting away again. Imelda May is one such performer. These days, she’s a busy lady – so busy, in fact, she’s slotting in this interview at “half 12 at night”, as she so Irishly describes it, having just finished a gig and

while preparing to hit the road for another the next night. In fact, she says, she’s pumping out almost a gig a day right through until April on a tour that sees her traverse Germany, Ireland, Australia, back for more of Europe, and finally the United States. Her 2010 release Mayhem has performed admirably around the world, and her most recent single Inside Out is certainly continuing the trend – but it is second album (and May’s first completely original release) Love Tattoo (2008) which has surprised the songstress the most. “Love Tattoo was my first – well, I did an album before that, but Love Tattoo was my first album of my own songs, and that did very, very well; that’s doing really well at the moment still,” she says contemplatively. “They’re using a lot of the songs off that for things all over the world – movies and adverts and in America for HBO for all these weird shows. It’s strange how that album took off without any kind of push, and because I made that before being signed to a record company, so there was no big push on that. This album is doing terrific; it came in at number one in Ireland, and the other album got moved quickly up behind, and we’ve had two albums in the top five for a while now, which has been great. In England, Mayhem went in and then disappeared, and then because of this new single – Inside Out, the remix – it’s, like, in the top ten for the last two weeks, so it’s just a huge whirlwind. It’s gone triple platinum in Ireland, and Love Tattoo’s gone five times platinum in Ireland, and I never expected that really at all. It’s great though – all the hard work is paying off. I’m a big believer in working hard and, especially if you love what you do, it’s great to do that.” This sentiment is obviously not just for show – May clearly possesses an incredibly strong work ethic, one which saw her dominate international festivals last year. With our own summer festival season near its end, one would assume her standalone shows with her band would surely make for a refreshing change.

“I nearly got arrested in the airport because I had an orange in my bag!” “I like both,” she says of playing in such different contexts. “I like both for different reasons. I love the gigs because, y’know, people have come to see me and the band, and they have an idea of what you do and they’ve heard a song on the radio and they have an idea, so you have a great time from the beginning to the end. It’s perfect. I love that, and I love people singing songs back to me. That’s an amazing feeling, when people sing your own songs back to you. But when I’m doing the festivals, they’re great for other reasons in that there’s loads of people who come to see you that would never have come to see you before and don’t know who you are or what you do, and I love the challenge of doing your thing as best as you can and maybe winning some new people over; I like to go to festivals too, for the same reason – in that you find bands that you probably wouldn’t have listened to before, and you still come across bands that you’ve never heard of, so I think festivals are terrific for that.” Despite her relatively far-flung home address, May seems to have something of an affinity for her hard-drinking/laughing/working/ playing cousins in this hemisphere, having recently completed a tour here only last year. It’s a rare event for a European act to make two visits here in as many years; not that anyone’s complaining. “We did a tour in Australia last year, at the end of last year, and it went really well,” she recounts. “We just did tiny, tiny venues – I think they’re a little bit bigger this year; not much. I like to take things slowly and naturally; hopefully people who went the last time might have enjoyed themselves and bring their friends the next time. I’ve been gigging for 20 years, so it’s nice to let things take their natural course and just bit by bit get a venue a little bit bigger if it’s going well, and then it’s more fun that way if you pack them out and let them get really hot and sweaty rather than everybody rattling around a big venue. So yeah, I’m looking forward to going back. I really enjoyed it the last time.” Of course, no trip abroad is complete without some kind of mishap, but May seems to find the humour even in clashes with our famed wildlife. “I did see a fruit bat fly over me at on my balcony at the hotel in Coolangatta,” she laughs. “So that was a moment. Me and me husband ran out like lunatics with a torch and ran around looking for it, and we found it up in a tree and just stared at it, because I’d never seen one before. I thought there was a squirrel coming down the tree, but it was a lizard. A giant lizard. That freaked me out a little bit.” But this was not where May’s troubles ended. Rather, they had pretty much begun the second she tried to set foot into the country – and the experience has left her wiser and more wary about the way she tries to go about crossing our borders this year. “I nearly got arrested in the airport because I had an orange in my bag!” she remarks incredulously. “The dog came running over and sniffed me bag and sat down and I nearly passed out. I thought, ‘Oh my god, someone’s put something weird in my bag,’ and they took me out and went through me bag and it was an orange. So that scared me. That was intense. ‘If you try and bring the orange in, we have to arrest you.’ I thought, ‘God – this is a serious country.’ … I’m never bringing anything into Australia ever again; it scared the life out of me!”

WHO: Imelda May WHERE & WHEN: Great Northern Hotel, Byron Bay Wednesday Mar 2, The Hi-Fi Thursday Mar 3


Formidable… energising … magnificent.

R&B beat box a cappella sensations Currently touring with Michael Bublé, experience Naturally 7 as they blend hip hop, rap, drum and bass, beatboxing, gospel, Motown and soulful R&B in their national VocalPlay tour.


DRIFTIN’ NORTH DON WALKER is best known as the songwriting tour de force behind one of Australia’s most iconic rock bands. But after over three decades in music he’s still striving for something new. He talks to DAN CONDON about what keeps him going in 2011.


is songs with Cold Chisel have cemented his place in the Australian mainstream as a bona fide musical legend whose legacy will undoubtedly live on for many decades to come. Between Khe Sanh, Cheap Wine, Saturday Night and Flame Trees alone, his music has been ingrained into Australian culture for decades. But this is just one element of Don Walker’s lengthy and varied career. When that band threw in the towel in 1983, Walker took a five year sabbatical, travelling the world and gaining inspiration for his next albums, which would be released under the Catfish moniker. These songs showed an artist stretching his songwriting talents to incorporate new, somewhat more exotic musical elements into his work. A collaboration with Tex Perkins and Charlie Owen resulted in the acclaimed Tex, Don and Charlie trio, which began in the early 90s and continues – albeit sporadically – to this day

and Walker began releasing material under his own name (taking away the soundtrack he wrote for the 1982 film Freedom) with 1995’s We’re All Gunna Die and his latest record, 2006’s Cutting Back. Quality output, for sure, but hardly bountiful in its quantity. It‘s encouraging then, to get a call from Don Walker from a Balmain recording studio, where he is demoing new material. “The first stage is just to see whether they’re any good or not,” the quietly spoken pianist chuckles when asked whether these songs are for a new record. “I follow the song. They morph and evolve over the years. We did one yesterday that I’ve been mucking around with in my head and on paper for 15 years and finally got it to a stage where I think it’s together now. The mistake is to go ahead and either play a song or demo it when it’s only half formed. You know when it’s not fully there and if it’s not fully there there’s no pressure to finish it off.” After such a lengthy career in the industry and a bucketload of songs written for other artists, Walker says he still doesn’t get writer’s block, for him it’s just a matter of fitting songwriting into his schedule to ensure the cogs keep turning. “I go through long periods where I get busy on other things and I don’t get back to it, but in the past year I’ve been doing a lot of it,” he says. “There was a period where I was looking to finish the book Shots [released in 2009] and that was soaking up whatever time I had for writing. Since Shots has been finished and put to bed and released I’ve been coming back to songs with a little bit of freshness. “I’ve been writing pretty constantly, when [a song] was particularly applicable to [Walker’s backing band] the Suave Fucks I’d teach it to the Suave Fucks in rehearsal and so we’ve got a lot of new songs in the repertoire by that process, but there’s also a lot of other things I’ve had finished on the backburner there that aren’t really songs for the Suave Fucks so I’m just running them out.” Troy Cassar-Daley, Adam Brand, Graeme Connors, Slim Dusty, Kate Ceberano and many more Australian artists have benefited from Walker’s songwriting skills, recording tunes he has written, though the artist is somewhat blasé about his role on their recordings. “I guess most of the stuff I write is a little to the left of what other artists would want to perform, but over the years there’ve been a few that other people have done and had success with,” he offers. “It’s good to do them because it keeps you in touch with what’s going on in the mainstream music business and it prevents me from disappearing up my own particular line.” As far as collaborative writing goes, Walker is open to it but only with select people in the right environment. “It varies according to who it is,” he offers on collaboration. “I go to America from time to time and try the treadmill American way of co-writing and mostly that’s not rewarding. It’s a good exercise to do for the sake of the one or two people you come across that make you do something you never would have done otherwise that you’re really pleased with. But a lot of the time it’s just a wasted day and a bit of a boring nightmare for all concerned. “It works,” he concedes. “It works commercially. I don’t do a lot of it; I go over there for a week or two every year or two. But to really make a big success of it you have to live over there and really immerse yourself in that way of doing things. I guess I’m a little bit spoiled, at some stage very early in life I turned my back on the public service and it seems a little bit uncomfortably close to that.” The tragic passing of Cold Chisel drummer Steve Prestwich has made for an understandably tough beginning of 2011 for Walker emotionally. The forthcoming Cold Chisel record, as a result, is not something at the forefront of his or the rest of the band’s minds. “We’re individually and collectively trying to comprehend just the personal side of it rather than looking at projects,” he says. “There will come that time, because we had done some recording with Steve, not enough to make an album, but we had recorded a single and a few other songs. But for the moment it’s all a bit raw on a personal level.” This weekend Walker returns to Queensland – he was born in Ayr and raised in northern New South Wales – for a strippedback performance at the Friends of Folk Festival. “I get to take up Roy Payne and Gareth Costigan who are playing with me and we get to have a night out in Brisbane,” he says. “The people who are running this festival are not only ultra-professional but they’re very young so there’s a lot of youthful enthusiasm and new ways of looking at things that they’re bringing to this festival. “I haven’t been up there since the floods, my brother and his family had to vacate down the coast for a few days. They went a few days without electricity. There’s a certain amount of nostalgia in it too, my brother and I went through so many floods when we were kids in a fairly isolated situation and some of them were quite dangerous, so floods aren’t new.” The songs that are currently being demoed might see the light of day soon, though after hearing of the amount of material Walker already has under his belt, one wouldn’t be surprised if we didn’t hear them for a while. “There’s a lot of new songs in the set, probably about half the set is new songs and now there’s this raft of new songs coming up with this writing and demoing I’m doing at the moment,” he says. “I’m always looking at opportunities to record these new songs whenever we get together, I’ve already got more than enough recorded for a new album, but I’d like to get some more.”

WHO: Don Walker WHERE & WHEN: Friends of Folk

Festival, Old Museum Sunday Mar 6


RETURN OF THE KING France’s MONARCH are returning to Australia for the third time in less than three years. MATT O’NEILL catches up with vocalist EMILIE BRESSON and bassist MICHELL BIDEGAIN to discuss the doom merchants’ increasingly unique output.

– from the droning textures of 2006’s Speak Of The Sea to the crushing heaviness of 2007’s Die Tonight. Sabbat Noir, the band’s 2010 release, constituted a significant departure – incorporating a richer vocal presence and a greatly expanded sense of space. “I don’t know,” bassist Michell Bidegain reflects on Monarch’s apparent transformation. “I think that this record is a progression in the sense that we have a better idea of where we want to venture sonically. It’s not really about being different; it’s just us doing what we like. I guess we never think about if something is going to please the crowd. If that were the case, we wouldn’t be playing the music that we do.”


ne wouldn’t think there’d be much scope for variation in the doom metal genre. Brutally primitive, punishingly slow and with a clearly defined aesthetic of occult and fantastical imagery, the genre’s tenets are so rigidly defined so as to make any significant deviation from tradition seem like some form of betrayal. Yet, for the past decade, French outfit Monarch have been successfully carving out their own niche within the style.

The key difference with the band is that, unlike many of their peers, they don’t seem to be particularly interested in the doom-metal subculture. There’s a spontaneity and unpredictability to their career that belies any sense of the typical solemnity and self-importance associated with the band’s genre. As an example, the band’s line-up is spread over three continents (France, America and Australia – Grey Daturas veteran Robert MacManus being the group’s current second guitarist).

Formed in 2001, the group immediately distinguished themselves with the decision to employ a female vocalist (Emilie Bresson) and to decorate their releases with handdrawn imagery of love hearts and other cartoon motifs. Their proclivity for solely releasing works of astonishing length, meanwhile, (2004’s debut album Monarch, for example, featuring only three tracks over 86 minutes) immediately positioned their work at the genre’s vanguard.

“Honestly, I think of Monarch as a rock band. It’s guitar, bass, drums and vocals. We have our personal preferences in genre and whatnot, but it all comes down to playing rock on loud amps. Real men play at ten,” Bidegain laughs. “When we formed the band we just wanted to play loud music, never really thought about recording, let alone touring. I’m always surprised that people actually like what we do and that we’re halfway across the world playing live.”

“Well, we’ve been playing music together for years now, and we like it. That is all,” Emilie Bresson explains of the group’s idiosyncrasies. “I formed the band with the others and the fact that I’m a girl has never changed anything. It’s not a matter of gender or us trying to do something special. We’re just buddies doing what we like without caring about anything else – except the music we want to play.”

“As long as we play loud and slow, I think we’re all going to be happy,” Bresson says with a laugh. “I don’t think Monarch would be Monarch otherwise. What I mean is that – we are what we are and people like it or not. There is not much we can do about it. As our old friend Kim said, ‘I don t care about the future, the future is going to happen anyways.’”

Since that point, the band’s output has become progressively more idiosyncratic. Each passing release has seen Monarch’s aesthetic gently expand to incorporate different and more elaborate flavours and techniques

WHO: Monarch WHERE & WHEN: The Hi-Fi Saturday Mar 5

JOINING FORCES Well-spoken, well-mannered and with an air of graciousness that is long gone for many bands of the heavier realm, SYDONIA will change your preconceptions with their inspiring brand of technicality. BENNY DOYLE talks with drummer SEAN BAILEY.


ericco and Sydonia, two of Melbourne’s most explosive bands in a burgeoning scene of heavy and intelligent rock, have joined forces to bring the noise. Bailey, drummer virtuoso for the boys of Sydonia, explains how the tour finally got legs. “It’s quite a while ago since this thing began being organised,” he recalls. “We were both sort of looking to tour and the Jericco boys initialised the idea of doing a co-headline tour around the countryside. Oh yeah..., and we’ve got the same sound guy, Stu Marsh, the sound guy from hell! He’s just an amazing soundie. He’s been doing our sound since 2007 I think and so he jumped on board with them and said, ‘You guys should do a big tour together’. So we’re just going around and doing a few capitals but it should be a really cool tour. The bands have a different sound but we’re both sort of loud and melodic in a way so it should be good for people.” Sydonia is a live show to be seen, with intricacies in their music that gain their full feeling on stage. With recent support slots including Korn and Lamb Of God, they’re not afraid of an occasion either and are bringing the lessons that they have learnt from the greats on the road with them. What was the best tip they took away from their experiences? “To be punctual,” Bailey states confidently. “Their tour managers are always on the dot saying, ‘You’ve got to be onstage now!’ There’s no fucking around with those guys. It really teaches you to be professional because if you’re late they’ll be straight on your arse – you’ve got to be on the ball. You’ll see the big bands and it’s all so well-organised, they know exactly where they’ve got to be, it’s all mapped out and you think, ‘Oh shit,

we could do the same thing’, although obviously on a smaller scale. There is nothing you can’t learn.” The band also enjoyed a hell of a New Year’s, in the beautiful mud pit that became of the Woodford Folk Festival. “It was a bit of a weird one,” Bailey begins. “We’re normally just used to the ol’ smelly, sweaty pubs, that sort of thing, then we turned up in this beautiful valley and it was like a city in itself. But because it’s a bit more of a casual affair out there, we didn’t go into the extremes of our music, we brought back a couple of our heavier songs and played the mellower, mid-rock sort of stuff, and it went down a treat.” It’s this versatility and skill that allows Sydonia to avoid being limited through the genre barriers lazily placed on the band. But as Bailey explains, they certainly aren’t the only ones. “I think a lot of bands get that,” he concedes. “We definitely get it. People say, ‘Oh you’re a metal band’, and sure, some of our songs you could say are metal but then the other two-thirds are completely different. It’s all mellow and bandaged up then there’s rocky stuff, tribal stuff. But yeah, you do get pigeonholed. Like some of the big tours we’ve been supporting – Slipknot, Lamb Of God – because of that people will go, ‘Oh, you’re metal’, but then they see us and take away a whole different thing. And then they try and describe it and it’s a totally different feat in itself. We just don’t like to restrict ourselves, I guess.”

WHO: Sydonia WHERE & WHEN: Step Inn Friday Mar 4 27


KATIE NOONAN recaps the journey of her debut album with THE CAPTAINS to TYLER McLOUGHLAN, one which has reinforced her love of getting out and doing it on the road in every state and territory of Australia. come and basically get drunk and just talk until they’d heard the one song that they knew off the radio,” she continues. “And I really ultimately prefer to play to people who have come to hear the whole album. That’s a more enjoyable experience for us as performers… And it just means that the people that do come to your gig are really, really there because they’ve bought the album and they have a connection with the music.”

FOR ART’S SAKE Having earned the respect of everyone from Marilyn Manson to Sonic Youth, Sydney rock quartet THE ART are well-prepared for the release of debut album Here Comes The War. MATT O’NEILL speaks to guitarist/vocalist AZARIA BYRNE about the band’s colourful career to date. ended up staying for a while. I think the tour van has been our only real home over the past three years.” There is, however, more to the band than rock superstardom. Depending on one’s perspective, you could even say there was less. The key is in the band’s new moniker, The Art. While afforded all the opportunities required for mainstream success at an early stage in their career, the band actually opted to do away with major label triumph and start afresh as The Art.

Noonan is busier on the road with The Captains than she’s ever been in her career, an indicator that she is truly connecting with fans and Tarago mates alike.


eleasing Emperor’s Box in April last year, Katie Noonan is wonderfully happy with the response to her debut album with The Captains, the musically muscular escorts to her pop past, by way of her ever-present theatrical bent. “I’m really proud of the journey that the record has taken us on as a band,” says Noonan. “This upcoming tour is the fifth national tour for this release, so we’ve toured a lot which has been really awesome to explore the songs and have people connect to the songs live. We were very grateful to receive some really lovely critical acclaim for the album.” As proud as she feels, there’s a small thorn in Noonan’s side when it comes to radio support, from both the perspective of a music fan whose recent favourite albums by Tim Finn and Lior were largely bypassed, and as an artist with an album to plug. “There doesn’t seem to be a home for this kind of music on Australian radio, so that’s obviously a little bit disappointing to be completely honest…,” she admits. “I just get sad generally speaking that there’s so much great music that isn’t getting radio support.” Having experienced generous radio play over a decade ago with george, Noonan is uniquely aware of both sides of the radio play coin as it relates to attracting a live audience. “When we were playing with george, we had beautiful, dedicated fans, but then also we’d have people who’d

“We get on really well, and we’re all really similar people in the way we lead our lives. [Three of us] are all parents so we’ve got all those kind of responsibilities, and we understand those responsibilities. And now Stu [keyboardist/bassist] is pregnant, ‘cause it was kind of a condition of the band – I told him that he had to get pregnant and have a boy, because we’ve all got little boys,” she laughs. “We are fierce crossword competitors. It’s really daggy, but that’s the only thing that might get things fired up on the road.” As Noonan and her Captains prepare to navigate the nation for a fifth time before bunkering down to work on album number two, the busy motherof-two renowned for her many musical hats is preparing to unveil a new Elixir album, her folky jazz project alongside saxophonist husband Zac Hurren. Collaborating with an American choreographer, Elixir are developing a cross-artform show for The Brisbane Festival in September. Noonan is not overwhelmed. “It’s what I’ve always done. I love doing different things, as long as I maintain my sense of self throughout it. My technique is essentially the same in all the different projects in terms of my singing technique, and I just try and make sure I stick to my own voice in these different environments from a composition point of view. But I just love with working with different people from different walks of life because you just learn something new from every experience.”

WHO: Katie Noonan & The Captains WHERE & WHEN: The Judith Wright Centre Friday Mar 4


On the back of their recent and unexpected split, ROCKETSMITHS’ lead guitarist IANBOY APULI talks to SAM HOBSON about exactly what happened, and where they all go from here.


t would be tempting to write off Sydney’s The Art as ruthless careerists. The scope of their media profile certainly suggests the kind of unrepentant quest for fame and fortune undertaken by only the most shameless of musical acts – and their apparently unstoppable charge towards super-stardom would only seem to confirm the band’s priorities. As musicians, the band’s members have earned the respect of figures like Sonic Youth’s Lee Ranaldo (who produced the debut album of The Art’s original incarnation The Follow) and The Pixies (who invited The Art to support the Australia/New Zealand legs of their 20th anniversary Doolittle tour). Lead singer Azaria Byrne has even performed with former Dresden Doll Amanda Palmer. “I don’t know. I’m pretty shy. I don’t even know how to react to it,” Byrne reflects of the band’s successes. “It’s just an honour. I’m just thankful that there are fans of our band that we were influenced and inspired by – that’s pretty special. That’s something you can’t put a price on or anything like that. I mean, playing with the Pixies was just a dream.” The band’s career trajectory implies calculated ambition. Formed as The Follow in the early noughties by Byrne and bassist Kara Jayne (aka KJ), the band wasted no time signing to a major label (Warner Bros) and relocating to America – touring internationally and delivering memorable performances at legendary venues like The Viper Room. “We just went over there to do a tour – and then we got management, we got some interest and got a good booking agent. We just had a lot of friends there that helped us out and gave us a base there,” Byrne explains. “We never intended to move there, we just

“It was just political stuff within the band. We wanted to get out of our deal with Warners. We just needed a clean break,” Byrne offers. “There’s no malice. Like most bands, we were really young when we signed to a major label and just had the wrong idea about it. I’m really thankful Warners just let us go rather than shelving our record or anything like that.” What becomes immediately apparent upon speaking with Byrne is that, for all of their success, The Art are still something of a naive band. Far from calculating and ambitious, The Art are actually just four musicians who genuinely believe in their music’s ability to bring people together and create something beautiful – who got lucky. The ultimate illustration comes from the attitudes surrounding the release of forthcoming debut album Here Comes The War. Produced (and paid for) by veteran producer Frenchie Smith, The Art’s debut album will nevertheless be released independently with no expectations of mainstream success whatsoever. “We’re all very proud of it but, if people don’t like it, they don’t like it. That’s life,” Byrne muses. “I don’t know. I think the biggest thing that I ever wanted to do with this band was just to create a good rock’n’roll community around me – and we’ve kind of already exceeded those expectations with what we’ve done.”

WHO: The Art WHAT: Here Comes The War (Silverback Records) WHERE & WHEN: Club Envy,

Maroochydore Thursday Mar 3; Elsewhere, Gold Coast Friday Mar 4; X&Y Bar Saturday Mar 5

NO DIALOGUE Focused on a method involving a lot of time and a lot of tinkering, Brisbane experimental folk outfit SILENT FEATURE ERA have evolved from a musical experiment to a fully-realised live act launching their self-recorded debut album, as GREG CATHCART tells TYLER McLOUGHLAN. who want to use The Ark, but ideally we wanted to keep the space to use for ourselves whenever we wanted.


t’s kind’ve been a bit of a fallback plan, you know? We’ve always said for a while, ‘If you release something, you expect to go to the next level.’” Ian’s words could easily recall the indignant spurs of many an overnight have-not: the final, defiant throes of the scorned artist-cum-entitled naif, hurling excuses bound with shrapnel at the faceless, conspiring collective who, by no fault of his, have done him so terribly wrong. But for him, and the rest of the guys in Rocketsmiths, it was really the hung-tail, and worst-case-scenario conclusion to a failed, four year business plan. After three, very focused, and very well-defined EPs, and then a fantastically strong debut album in late 2010’s The Bones, Brisbane circus-punk maestros Rocketsmiths – though still as defiantly against the definite article, as difficult as that reads – have made the begrudging decision to call it quits. “[Relative success] had always happened for us,” Ian continues, his voice worn with reproach. “We’d got to a point where we’d done a couple of EPs, and they went well, we got some good exposure, a little bit of play on triple j, and we thought the next level then would be to release an album.” He hurries this information almost obsessively, as if that phrasing had been the band’s mantra of late. Deeply proud of their work, but feeling as if they’ve failed amidst a sea of others coming up through the same system, the band are understandably left feeling a little tortured. “The outcome for an album should be again more radio play, some good supports, getting some festivals – all that sorta stuff. I mean, having little goals and everything is one thing, but the fact is, we’ve settled those goals, and still just really didn’t achieve the way we wanted to. It’s draining. I just don’t think any of us have the energy to reset, and go again.


“It gets to the point where it’s so much money, too,” he continues, elaborating on their struggle, “...and so much time, and it’s absolutely emotionally draining.” He’s quiet for a moment, as an axiom about ‘enjoying things for the sake of the music’ is put to him in counterpoint. “I think we started counting heads in the crowd, rather than really enjoying ourselves. It’s not like it was a job that we set out to make us money, it was something we did for fun, but all that, and we weren’t really having fun anymore, so why continue it? We weren’t getting out what we put in.” He issues a dour laugh, as a thought crosses his mind – “...hah, but we’d happily write a new album if someone out there wanted to fund it!” And to see this four-year era off, the guys have one last show at The Zoo. “Well, this is the final one, really. There’s nothing we have to try not to do, or anything. We don’t have to worry about burning any bridges, or anything in the future,” there’s a smile in his voice, at last. “We’re anticipating a fairly good crowd. I’m sure a lot of old fans, and current fans, and a lot of our friends even, who don’t even like our music will come along and at least drink heavily, and yell at us on the stage, but you know – it’ll be fun. We’ll be playing a lot of older tracks, stuff we’ve not played in a while, and a couple of covers.” He pauses, searching for something definitive. “It’s purely about going out with a bit of a bang, and doing everything we wanted to do in one last show. It’ll be sad but, you know, that’s just the next step in wherever we want to go.”

WHO: Rocketsmiths WHERE & WHEN: The Zoo Friday Mar 4


and names, song and release titles are often areas of fierce debate for some outfits, akin to the process of naming of a child. Brisbane’s Silent Feature Era left such pressures aside initially, leaving the project untitled until their underlying ethos became their name. “Back in the day, silent feature films had an accompanist to sit and frantically play along to these films that didn’t have a soundtrack,” explains key songwriter Greg Cathcart. “We liked that whole spontaneous vibe instrumentally as a concept, and wanted to try and adopt a little bit of that into our own philosophy when we were tracking instruments… Then we were very interested in film and soundtracks, and made the connection that a lot of the sonics around the songs themselves were starting to sound a bit soundtrack-y.” Sharing his songwriting project with Adrian Mauro, the duo continued their experimentation by making a custom studio, with the unexpected bonus of turning their personal recording space into a hub for other creative types. “We built our own studio and collected a lot of vintage gear, tape machines and microphones, and we pooled together our resources with another guy Richard Johnson,” says Cathcart of their studio, which they named The Ark. “There’s been a lot of stuff going through there recently – Jackie Marshall and the Black Alles record was recorded there, as well as The Honey Month and Operator Please where they actually stole half our studio and took it to Byron Bay. There’s been a bit of demand for people

“We went through a massive toy collection phase. Not kids’ toys,” he says, laughing at the excitement of sourcing their own studio gear to create varied and different sounds. “We didn’t really want to treat each song traditionally or have any formulaic technique as to what a song should and shouldn’t be. We filled up wine glasses and played them, and hit strange things and messed around with synthesisers where we probably shouldn’t have. Through just playing and having some fun with it and trial and error we discovered what works and what doesn’t… We wanted to have sounds that weren’t on other records. We wanted to find our own identity in that sense.” Although The Ark’s increasing profile led to large chunks of time being devoted to other recording projects, the number of potential Silent Feature Era guests grew massively with over 20 musicians contributing to debut album This Old Leather Heart, notably Jackie Marshall, Chris Pickering, Dan Mansfield from The Gin Club and producer Jamie Trevaskis, a deft hand at playing the saw. “People were hearing little bits of things that we’d been working on and put their hand up and were interested. We felt kind of loved, that people liked what we were doing enough to want to be involved,” he gushes. Filling out the live band with three further members, Cathcart and Mauro launch This Old Leather Heart to Brisbane this week as they reflect on the already epic Silent Feature Era journey. “The whole process has been a learning experience… We were learning things as we went along, learning how to do things better, learning new tricks and getting new bits and pieces. That part of it was half the fun as well. Yeah, you’re making the music which is really great and awesome, though you’re sort of learning how to drive this Millennium Falcon studio, too.”

WHO: Silent Feature Era WHAT: This Old Leather Heart (Plus One/Shock) WHERE & WHEN: Woodland Friday Mar 4

Check website for complete artist line-up ~

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Over 4 days in March, 550 artists from 32 countries will perform across 7 stages in Adelaide’s magnificent Botanic Park!


FRIDAY 11-MONDAY 14 MARCH BOTANIC PARK ADELAIDE Book at or Venue*Tix or 1300 30 40 72


GYPSY BEATMASTERS Brisbane is about to host its first international Gypsy music festival – Karavan! – and one of the featured international guests are the Czech Roma band GIPSY.CZ, who have created a new musical hybrid – Romano hip hop. MICHAEL SMITH investigates.


n the line from Prague, capital of The Czech Republic, is the mastermind behind Gipsy. cz, former street kid and rapper Radoslav Banga, who is explaining what prompted him to try fusing contemporary energy of hip hop with the vitality and exotic romance of gypsy music. “The idea came up with one single man; it was my friend [Czech gypsy violin player] Vojta Lavicka. In 2004, I released my first solo English album and there were just elements of gypsy traditional music, and my plan was to have somebody playing live on the violin or guitar on my shows. But after that, on a stage, when we have seen how well it worked together, the deep connection between Roma music and hip hop is possible and we realized it should be amazing to continue in this idea. “To be honest, many people think the idea came, boom, abracadabra, but it’s not true. It was very difficult, how to find the ideal combination – but after six years we have found it. So the first album, [2006’s] Romano Hip Hop was like a flash – we couldn’t believe how does it sound! We just recorded the violin, the guitars and the beat and when we heard it we didn’t believe it’s us. We said to ourselves, ‘What is it? It’s not hip hop, it’s not gypsy music, it’s something completely new!’” Continuing as, the ‘cz’ of course denoting Czech, rather than continuing under Banga’s name, the album becoming the first Czech album to make the top ten in the European World Music Charts the following year. A second album, Reprezent, followed in 2008, and the band has been invited not only to world music festivals across Europe but also the prestigious Glastonbury festival, as well as being invited to collaborate with Gogol Bordello.


“I was a hip hop artist since I was 13,” Banga continues. “So before, I was in the deep underground Czech hip hop music scene here in Prague – I had a band which was strictly hip hop – but, you know, after ten years, when you are a musician and you have ears, when you hear the tones and all the chords, you start to be very bored of hip hop. But of course, you’re talking about a message, you know – hip hop music is about message from a culture, from the street, from a race, from your individual present inside of you – so of course I had to keep it in the lyrics. “We are very political. Sometimes our lyrics are very radical, some are ironical, but everything we say, it’s coming up from the street – it’s still the street music. The real spirit of hip hop comes from the street. I’m not talking about being some pretend MC – I’m talking about a real life transformation into the rift. So I’m speaking as a gypsy, I’m speaking as a Roma growing up in the Prague streets. I’m talking about the person who knows how it feels when somebody is a racist; I know how it can hurt you. “But, it has to have some limit, so on the gypsy scene, the limit is to be very ironical. So the first verse, you are trying to be very serious but in the second verse you’re trying to be very, very funny, because that’s what the life of a gypsy is about. Gypsy energy – we are either trying to be very melancholic or celebrating, very drunk! That’s why I’m trying to keep the beat very fast – hip hop beat isn’t that fast.”

WHO: WHERE & WHEN: Karavan! International Gypsy Music Festival, The Hi-Fi Friday Mar 4


IF I LIE frontwoman HEIDI BELL explains to BENNY DOYLE how through the power of the bright lights and stage, the band are going to overcome the hurdles they’ve recently faced. “We are still getting over the blow of the States but that’s why we’re really stoked we’ve got the In-Surge festival that’s going to lift our spirits. We’ve got the new songs to sing so that’s awesome. And we are going to be filming our debut video at In-Surge as well for Ghost In The Machine, the title track off our latest EP. We’re filming the live footage so we definitely want people up the front going nuts.” Bell takes on the arduous player/coach scenario by not only fronting As I Lie but managing the group as well. It’s a fine balance to maintain not only the order behind the scenes but still bring about the disorder onstage. However Bell assures that her two worlds remain segregated.


et in stone to depart these shores only recently, proven well by the fact that Bell didn’t even bother purchasing a Soundwave ticket, Gold Coast five-piece If I Lie’s road to the big time has proven rockier than they’d hoped after one of their members was denied entry into the United States. “We had to cancel our US tour that was supposed to be happening next month. It was such a bummer,” Bell states with a disappointed tone. However with a sound made for the rough and tumble rock world of the States, the band are not throwing the towel in on the idea yet. “We’ll definitely try and get back. We can do it but it’s going to cost a lot of money to get his stuff sorted out. We had quite a lot of shows booked over there so it was very disappointing. But who knows? Everything happens for a reason.” Creating positives from negatives is what separates the also-rans from the contenders and If I Lie are not a band to carry a defeatist attitude. The rockers have quickly bounced back on the domestic circuit and have fresh plans to assault local stages in the very near future and want your help to make it epic. “Well I think the next step will be an east coast tour then we’ll probably go from there,” Bell continues.

“I think when you’re onstage, it’s just a different persona. It’s not something I do intentionally but it’s just the other side of me that comes out – the dark side,” she laughs. “When I get up there [onstage], all I want to do is rock out and put on an awesome show for people. There’s nothing worse than going to see a band that just gets up there; they may play very well, but if they’re not passionate about it then well, what’s the point? I definitely don’t believe in staring at my shoes on stage.” So where did Bell get the fire inside to rip into the mic like a woman possessed? The classics, of course. And who’s fault was it? Yep, older brother rock syndrome. She discusses her musical touchstone “I’ve got a really wide range of music that I like listening to,” she explains. “I grew up listening to classical music because my old man is a freak classical music composer, so I grew up listening to all that sort of stuff. But then I became a rocker very quickly. I just love bands like Pantera, Metallica, Guns N’ Roses, Soundgarden – y’know, bands like that. It was my brother’s fault. I think I must have been about nine years old, and he put on Appetite For Destruction. I remember standing there just going, ‘Oh my god’. I’d never heard anything like that in my life, I just couldn’t believe it. I just thought to myself, ‘Man, this must be cool!’ Now if you ring me, it’s going to be Welcome To The Jungle.”

WHO: If I Lie WHERE & WHEN: In-Surge Festival,

Greenslopes Bowls Club Saturday Mar 5






(679 Recordings/Warner)

(Woodsist/Remote Control)

(Victory Records)

Computers And Blues


Melbourne’s Architecture In Helsinki once again employ twee falsetto vocals, cornball lyrics, cheesy synths and electro drums and somehow manage to make a track that isn’t twee, cornball or cheesy at all. Cameron Bird’s impeccable taste and acute pop sensibilities are responsible for elevating Contact High far above the many groups that have tried to imitate what his band seems to do so effortlessly. Plenty of space in the recording makes it clean and crisp and modern despite the many nostalgic retro sounds and after at least 16 times on repeat on the headphones it still feels like it’s as fresh and new as the first listen, which I’m sure it still will after the hundredth. The anticipation for the new album Moment Bends just went up a few more notches, if it needed to at all.

RADIOHEAD Lotus Flower (Independent)

The most overrated band of our generation continue to make moderate rock with moderately experimental instrumentation and continue to create gushing adoration and fill column space by selling it themselves on the Internet. Thom Yorke croon-wails monotonously over a minimal drumbeat and a gurgling synth with some big sweeping pads and a little bit of glitchery designed to disguise the pompous U2-style grandeur of the composition. There’s a nice vocal delay effect thrown in, which I guess is my attempt to say something nice about it, in a backhanded, jerk-like manner. Once again the fuss and the art is lost on me, but 6,000,000 YouTube hits in a week suggests that once again I’m in the minority. Good for me.

As a social commentator, Mike Skinner is peerless. From the days of talking about kebab store fights at the ‘shit in a tray merchants’ to his pill-fuelled light blinding, all the way to this climatic and reflective ending to The Streets saga, he has been far more relatable than the ‘hustlers’ and ‘hoes’ of American verbal jousters. And here on his swansong, Computers And Blues, he has hit the nail on the head of society deeper than anything since 2002 debut Original Pirate Material. All the squelching production, blips, skips and windups sum up the Computer... elements of the record in a perfect sonic snapshot of the present technological universe. But it delves deeper and digs up the bareboned ...Blues of where our world presently sits; a world where people click keys rather than shake hands and look into monitors instead eyes. But never does Computers And Blues seem like astral projection. It feels real, it resonates and it’s poeticyet-complicated in a style Skinner has never shown. The way the lyrics bounce around the glitch beats is enough to spill your Earl Grey. The Outside Inside hook of, “The world is outside but inside warm, inside informal outside stormy inside normal” is flooring as it rides the tech waves of the progressive opener. And the rest of the album follows in relentless torrents of sharp bites and tongue ties, with topics ranging from Frank Bruno and troubling trouble troubling Mike (really), to pixelated girlfriends and his final clean up where he locks the locks one last time on The Streets. For almost a decade this geezer has brought the excitement, but now his life won’t provide us this, will we insight violence? Probably not but we’ll certainly miss him. “Common sense, simple common sense...”

Simon Werner a Disparu When pondering what the almighty Sonic Youth’s next project might be, not many would have picked a stark, brooding instrumental score for a French language psychodrama, but that’s exactly what Simon Werner a Disparu offers us. The band recorded the album in New Jersey after watching rushes of Fabrice Gobert’s film, creating snippets of sound that fit the mood of the piece. But what we have here on Simon Werner a Disparu are 12 tracks reworked, retooled and reorganised to become an individual record in its own right. Some tracks are the result of morphing several pieces together; others have been stretched to create an entirely new sonic realm. The album opens with Theme de Jeremie, an ominous piece that utilises manual noise to evoke a sense of unease that remains prevalent throughout the entire record. Thurston Moore’s iconic riffage is effortlessly complemented by Lee Ranaldo’s stark sonic punctuations; Steve Shelley and Kim Gordon keep the engine room running at a metronomic pace, never once hinting at release. There are moments of surprise here – the lush piano strokes on Les Anges au piano; the tall, dark stalker that is Jean-Baptiste a la fenetre – but on the whole Sonic Youth offer us a soundtrack of… well, Sonic Youth, balancing the disparate song structures with equal parts disaffected malaise and barely-controlled noise. They even finish with an obligatory epic jam in the 13-minute Theme d’ Alice. Simon Werner a Disparu may in effect by Sonic Youth by numbers, but even that is something to get excited about. That, and brooding French psychodramas… ★★★★ Brendan Telford

★★★★½ Benny Doyle

Speaker Of The Dead Emmure have made a name for themselves by melding modern metalcore styles with the foul attitude of history’s worst nu-metal acts. Having dropped an album in almost yearly intervals since their promising debut Goodbye To The Gallows in 2007, subsequent releases have shown a band more concerned with quantity over quality. Their fourth album Speaker of The Dead is no different. Opening breakdown Children of Cybertron highlights the band’s recently-lowered tuning, and it destroys with creepy overtones that give hope for the remaining 14 tracks. Save a small handful of songs, like the undeniably catchy single Solar Flare Homicide, the album is made up mostly of a repeated sound that certainly overstays its welcome. The band have raised the bar slightly when it comes to their instrumentation – the guitarists showing some ingenuity in terms of their dissonant experimentation – but this does not translate to how the songs have been mashed together. Vocalist Frankie Palmeri comes across as the bastard child of Limp Bizkit’s Fred Durst and Suicide Silence’s Mitch Lucker, dropped on the head shortly after birth. Repetitive lyrics that are marketed as being ‘controversial’ are more aptly described as simply being ‘childish’. The track Drug Dealer Friend finds him screaming about wanting to watch a “bitch” perform oral sex on another man, and there’s nothing witty about it. Speaker of The Dead is good in the same way a McValue Meal could be considered good – cheap, easy and somewhat delicious, but ultimately unfulfilling. If you simply need some more ridiculously heavy breakdowns and don’t care too much for thought, this album may just be what you’re looking for. ★★ Lochlan Watt



Sometimes TV On The Radio songs make me believe that they have discovered some new kind of sonic awesomeness that reinvents music itself and opens up the world to some kind of new thing that never existed before. Tracks like Wolf Like Me and New Health Rock make you want to dance and be stupid and all that – tracks like Blind are introspective and make you want to savour every second of life. But for each of these highlights there’s a bunch of tracks that just don’t seem to connect very well, and somewhat betray the sense of genius suggested by the aforementioned numbers. Will Do sits somewhere in the middle of all that; it has a nice melody, a good shuffle of a beat and semi-memorable moments, but still seems a little lacking in the ‘changing the world’ department. Probably asking too much really, but great moments create high expectations.


Going Through Hell (Warner)

The last album from The Streets Computers And Blues is finally here and by that I mean at least there will finally be no more new albums from The Streets. On Going Through Hell Mike Skinner raps like a drunk and marginally lesstalented Nathan Barley, spitting out clichés and lazy puns on wordplays over a thin guitar line, occasionally making way for a pointless chorus that is somehow even less interesting than the mindless train-of-thought verses. One joke that got stretched out over nine years, Skinner should at least be congratulated for that feat of blatant audacity, and be remembered as a man who did the right thing and finally went away. Hopefully.


ART VS. SCIENCE The Experiment (Kobalt/MGM)

Art Vs. Science aren’t your average, everyday, run-ofthe-mill band. Pigeonholed by many as they of the silly festival anthem a la Flippers or Parlez Vous Francais, The Experiment is just that, but rather than feeling like they’re sonically messing around with sounds, arrangements and what not for their debut album, one gets the feeling that the trio are pushing their audience and treating us like the guinea pig. You think you know this album already before even spinning it and you’re probably right... and wrong. Funnily enough, the two aforementioned hits have been omitted for a fresh palette of the predictable and a bunch of surprises to boot. Cramming everything that’s good about 90s party music into virtually every track, the trio bring back an aesthetic that has been missing in Regurgitator of late, even working with Magoo to helm the disc of future party anthems. There’s the white boy rap (Higher), the outright dancefloor-focussed (Take A Look At Your Face, New World Order) and then, of course, the tracks that lend themselves to simply being party-starters and secure the band a spot as sensitive songwriters with somewhere to go on record number two when the dust settles and festival-going followers settle down. Finally See Our Way demonstrates a fine sense of melody with an astonishing, futuristic lyrical twist while the mid-paced With Thoughts is surprisingly poignant. Future hits are definitely present, coming thick and fast in the form of the likes of the vocoder-driven A.I.M. Fire, the frantic Sledgehammer and the sonically nostalgic Meteor (I Feel Fine).



(Spooky Records/MGM)


This Brisbane quartet were already well-and-truly established by the time they released their second album The Sober Light Of Day back in 2005, but that record proved they were a cut above your run-of-the-mill Brisbane garage band, or indeed side-project. A painful six-year wait and now Magnetic Island is here, delivering undeniable quality with just a tinge of frustration.

This record was one almost swallowed by its own hype. It’s incredibly fortunate, then, that it’s brilliant. Though everyone’ll be drawing comparisons to Queen and Freddy Mercury due to the familiar vocal prowess of gangly frontman Eric Sean Nally – who himself, going by recent music videos, seems all too happy perpetuating the similarities his style has with that of the late singer’s – it’s pretty much something that can’t be helped, and, with an absence of that kind’ve stuff in the mainstream today anyway, makes for probably the most appropriate point of reference.

Magnetic Island

It’s hard to find fault in this record, but this doesn’t make it great. In fact it’s what stands in the way of this record reaching the levels of greatness the band have proven capable of. What unfolds over these 11 tracks is great songwriting, unobtrusive production and fantastic musicianship; but upon witnessing a Gentle Ben live show, one’s mind is opened up to myriad more elements of this band that aren’t quite captured here. Judged purely on its merits as a record, it is a completely satisfying listen. The shimmer and twang of Dylan McCormack’s guitar lines are once again a highlight, providing the perfect bed for Gentle Ben Corbett’s creepy but tender croon at one point, before completely exploding into a maelstrom of intriguing melodies played with deft precision. Corbett proves his knack for quirky lyrical ideas hasn’t dulled over the years and you can guarantee that for every clichéd “He’ll break your heart in two” (on heartbreaking ode to unrequited love That Guy Is A Liar), there’s a doubletake inducing “touching each other inappropriately, I think you could be the friend that I need” (the charged Lay Down With Me) waiting around the corner.

Art Vs. Science’s debut is near on flawless. How could they have made the perfect record? Easy, really – drop the atrocious Magic Fountain, it still makes no sense and is no more appealing even on an album format.

While you can help but wish this band would incorporate more of the grit and swagger of their live show onto record, the quality here is patent and something Brisbane ought to be proud of.

★★★★ Ben Preece

★★★½ Barry Kobarma

Foxy Shazam

And Foxy Shazam – on album at least – is almost all Nally. The band’s sound throngs around a giant, stadiumbound mega-pop aesthetic; plenty of soaring key changes in each song’s third quarter, toothpaste-thick electric-guitar lines, and drums you could stick a workout montage to, easy. On top of all of that immensity combined, Nally’s vocals still seem larger. Equally as adept at growling, as he is at the high-end Mika-like shrills – and always at a volume to shatter glass with – his delivery’s electric, exciting, and joyously cartoony. There’s a soul to their sound, too. A kind’ve queer heart like the one found in the Hedwig And The Angry Inch tunes; that all-encompassing understanding and accepting of people, told with unrestrained, theatrical language, and coloured with broad, sweeping admissions of love and equality. Their grasp of melody is so finite in its getting to the heart of melancholy, it’s sometimes almost a little hard to listen to. In all, the album’s a rapturous monument of pop and culture met with sparks at the precipice of unleashed creativity. Or, it’s one more poorly structured review sentence away from you fiending to check it out. ★★★★½

Sam Hobson




(Napalm Records)

Native Speaker Native Speaker is the debut effort from Braids, a Montreal four-piece drawing comparisons to the likes of Animal Collective, though Australian audiences may more readily find similarities with Sydney’s emerging kyü, particularly as vocalist Raphaelle Standell-Preston hits her stride. Through seven tracks of tinkering, looping and experimenting with created sounds, and some traditional ones (they are after all based on the traditional grouping of guitar, bass, keys and drums though you might not hear it), Braids create a soundtrack to a dreamlike, cartoon landscape. That’s not to say it’s all softcore derivative pop instrumentation on a sugar high lacking a firm structure at all. Sometimes the dream state is pushed to almost formless realms, though more consistently the structure of the compositions are kicked out of regular shapes and distorted wonderfully, shapeshifting as Standell-Preston grows increasingly comfortable, mixing tender whispers with the heights of Björk, and throwing in everything from seagull cries to obscenities. The album’s title track, clocking in at over eight minutes, uses the same three-note muted keys loop to build a path through dense sound effects, vocal layering and a bubble machine sound seemingly from the aforementioned cartoon landscape. At times feeling like a dump for random samples, the repeating loop offsets this, showing that Braids have a good grasp on arrangement despite the absolute simplicity of the track’s key sonic device. Opening single Lemonade is an accurate precursor to the album at large; pretty and abrasive, searching and recurring, building though unafraid to explore an unexpected twist, and most importantly, requiring time for its layered shades and subtleties to settle right in. ★★★½

Tyler McLoughlan


It’s been some time since a new Monster Magnet album sent ripples through the music world. Their last offering, 4 Way Diablo (2007), was recorded during a difficult period that saw the band’s central member, Dave Wyndorf, recovering from a Benzodiazepine (sleeping pills) addiction and subsequent overdose. While it was not without its interstellar moments, 4WD appeared as a mishmash of material forced into an album, and it just simply was not the statement that Monster Magnet needed in order to keep their buoyancy adrift amidst a turbulent record industry. Fast Forward to latest album Mastermind and you will find Wyndorf has recharged his creative powers and delivered a powerhouse of an album that is the most consistent since 2001’a epic God Says No. Opener Hallucination Bomb drops with a slow and dirty bass-line before giving way into an explosion of doom-laden rock that is peaked with a menacinglybeautiful chorus, “Always have the best hallucinations baby/Cobras and fire”. Spells of imminent annihilation are balanced with reflections of struggle and despair, and all the while Wynorf offers them with a magician’s tongue. The monolithic riffs and flowing solos are all part of the package, however, as The Titan Who Cried Like a Baby and Time Machine demonstrate, it is oft overlooked just how frightfully powerful and moving Monster Magnet’s subtler moments are. Those solely hung up on Dopes To Infinity and the band’s previous incarnations are not going to find their long-lost, psychedelic saviours on this one, but if you consider yourself a Powertripper then prepare the alter, because Mastermind is the return of the 90s rock gods. ★★★★

Jake Sun


(Black Records/V2 Records)

The Eighties Matchbox B-Line Disaster were a band that should have been contenders. But on the cusp of the rejuvenated rock explosion that made superstars out of bands like The Strokes, The Datsuns and The Vines, TEMBLD were just too weird for the kids – a bit too much in-your-face freak. So it was unsurprising that after only two albums, they found themselves at odds with the musical world around and disappeared back into their respective house(s) of horrors without too much mourning. But with almost seven years between LP drinks, the time away for this Brighton-birthed band seems to have been a blessing in disguise, Blood & Fire not so much a return to form as a complete king hit, the album appearing out of nowhere and rocking the foundations of the establishment they never stood for. Frontman Guy Mcknight has a voice to kill and he exercises its full range over Blood & Fire. Working from a crooning baritone full of suggestion and seduction, all the way up to high octave yelps that should see dogs come running from miles, his intense venom smoothers this record and makes tracks like call-to-arms opener Love Turns To Hate and Under My Chin a complete horror ride of rock lust. But it isn’t strictly ghouls and ghosts. Homemade and it’s feedback-drenched guitar haze, harks back to memories of At The Drive-In’s Invalid Litter Dept, while the speed thrash of Monsieur Cutts would have The Bronx tipping their caps in approval. To now call this band psychobilly is to demean the essence of what Blood & Fire stands for. There shouldn’t be any more need for gimmicky titles with this album – it’s just incessant rock’n’roll brilliance. ★★★★


Underneath The Pine (Carpark/Mistletone)

Causers Of This, last year’s debut album by South Carolina native Toro Y Moi (aka Chaz Bundick), was meteoric in the way it helped forge an entirely new genre, chillwave. Since this release every man and his synthesiser has attempted to catch that lightning in a bottle, with most efforts offering far inferior results. That has left a lot of chillwave acolytes wringing their hands anxiously in whether their saviour can strike twice. However, with Underneath The Pine, Toro Y Moi steps away from the plate and attempts to hit all preconceptions out of the ballpark. Underneath The Pine displays a beautiful progression out of the shadow of the genre Toro Y Moi inadvertently made into a much warmer, soulful place, where melody and song structure holds sway with a definitive wink and nod to 1970s funk, colouring the edges with some 60s psychedelic pop to boot. Songs like How I Know and New Beat brings the Jackson 5 kicking and screaming into the 21st century, whereas Good Hold is a warped piano ballad that trips just left of the strawberry fields. Before I’m Done is Elliott Smith transported to 1960s California, and Divina melds a psychedelic guitar groan with sunkissed meandering pop. It is an invigorating sound that is no doubt inspired by the use of live instrumentation over computer programming. Yet it is the shimmering soundscapes that Toro Y Moi is renowned for, alongside a liberal dose of funk and soul pilfered from the record collection of his youth, that binds this album together – a beautiful transmogrification of a “then is now” dynamic. Toro Y Moi has broken away from chillwave’s shackles, choosing instead to get his groove on – with delectable results. ★★★★ Brendan Telford

Benny Doyle





until you hurt. Tribal Theatre, 10pm.


Brisbane Comedy Festival – shows tonight: Mel Buttle in Buttle & Buttle (until Sunday Mar 13), Josh Thomas: Eveything Ever (until Sunday Mar 6), Josh Earl’s Love Songs And Dedications (until Sunday Mar 13), and George McEnroe: The Care Factor (until Sunday Mar 6). Brisbane Powerhouse.

Launch Pad – four of Australia’s exciting new choreographers (Timothey Farrar, Lucas Jervies, Miranda Zeller, and Nerida Matthaei) converge together to road-test new and developing work in front of an audience. All week until tonight. Judith Wright Centre, 7pm.

THURSDAY 3 Brisbane Comedy Festival – shows opening tonight: Denise Scott: Regrets (until Saturday Mar 5), Peter Helliar’s World Of Balls (until Saturday Mar 5), and Dave O’Neil Is Happy To Be Out Of The House (until Saturday Mar 5). Brisbane Powerhouse. Level Up – bands and video games. Launch night.Rosie’s.

FRIDAY 4 Freddie Mercury: Let Me Entertain You – keeping the spirit of Queen and Freddie Mercury alive, performer Craig Pesco presents the glam rockers’ greatest hits. Concert Hall, QPAC, 8pm. The Room – Tommy Wiseau’s mustsee disasterpiece of melodrama set in Los Angeles. Bring friends, bring plastic spoons and prepare to laugh



TUESDAY 8 Brisbane Comedy Festival – shows opening tonight: Danny Bhoy (until Monday 14 Mar), Damien Power (until Sunday Mar 13), Steve Hughes (until Sunday Mar 13), Eddie Ifft (until Sunday Mar 13), Mark Watson (until Sunday Mar 13), and Geraldine Quinn (until Sunday Mar 13). Brisbane Powerhouse. Stitch By Stitch – exhibition celebrating International Women’s Day, featuring textile artworks from South East Asia and the Asylum Seeker Resource Centre Women’s group. Live entertainment, and a guest speech from International Women’s Day programme manager Eleanor Jackson. Opening night, 6pm. Juggler’s Art Space until Saturday Mar 12.



UNKNOWN You basically know what you’re in for with Unknown the second the screen flickers with its opening images. It’s not a tepid film by any means, but there’s little grit to it, which, given its European locale, and espionageactioner posturing, sees it fall a little flat. Unfair to judge it so? Nay, for it was incorrectly marketed as such. “Taken meets Bourne, from the nineth producer of Scary Movie” — that kind’ve thing. Insults aside, director Jaume ColletSerra comes with some pedigree. 2009’s Orphan was subversive, and kinda brilliant. To do to the dime-a-dozen Bourne clone what he did to the dime-a-dozen childhorror flick would’ve been a thing to witness, and, whilst there’s scattered remnants of that inventiveness


here – the film’s ending’s particularly ballsy for this kind of fare, and the story’s loose ends are cauterised immaculately – it just doesn’t follow through on that hope. Instead, his vision of Berlin is appropriated through the populist American gaze; all Hostel-like murk, and threadbare, fingerless gloves painting the cold threat of a lingering Stasi rule. Starring Diane Kruger as the token foreign, Frank Langella as the recognisable plot-twist, and Liam Neeson as a faintly Irish rubber mask, to its fleeting credit, the action’s admirable, and the set-pieces, follow through. The short-hand character/ narrative beats are mostly given the in-world logic to make sense but otherwise, it’s pretty average. WHERE & WHEN: Screening in cinemas now SAM HOBSON

WASTED ON THE YOUNG Do you know where your children are? Okay, this is the street press, and if you’re reading this you’re quite possibly too young and/or hip to have kids, but chances are one day you’ll have a rebellious teenager in your temporary care – so you simply need to see Aussie talent Ben C Lucas’s impressive debut Wasted On The Young. It follows reluctant step-brothers Darren (Oliver Ackland) and Zack (Alex Russell), thrown together in a blended family. It’s the age-old story; Darren’s a meek nerd, Zack a popular jock, and they both long for the same girl, Xandrie (Adelaide Clemens). From the stark, uncompromising opening scene there’s an air of dread

as we dive into a story bookended by two wild parties, and every sign points to the fact that tragedy is never far away. Lucas makes no bones about the fact this is a melodrama, but it works surprisingly well. After all, teens feel everything more keenly, and tiny things become world-shatteringly significant. Lucas smartly keeps the location ‘anytown’. Oliver Ackland is impressive as the brooding, intense Darren, a sweet guy with a bit of a darker side to him. And Adelaide Clemens is a radiant Xandrie – she’s every inch a girl worth fighting for, and when her angelic smile fades, we feel its loss as keenly as the film does. I for one can’t wait to see what Lucas does next. WHERE & WHEN: Screening in cinemas from 3 March BAZ McALISTER


WITH HELEN STRINGER I like my artists crazy. I’m naturally inclined towards the ear-cutters, the fringe-dwellers, the paintsplattered mad works of the clinically insane. Regardless of this personal inclination, there’s a common misconception that the sane amongst us are far, far removed from these incomprehensible aberrations of humanity; these are the fearsome, dishevelled creatures who stop us on the street to terrify us; these bruised people are the reason our parents warned us against the Valley. There’s a certain fellow with whom regular night-time visitors to the Brunswick St mall might be familiar. I don’t know his name, and I haven’t seen him for a while, which is a concern, but he’s undoubtedly one of my favourite Australian artists. I call him “The Timekeeper”. He makes beautiful, distorted watches, and he’s always wearing at least three of them. None of them tell the time, or at least not as we understand it. He needs three as a minimum, he’s told me on occasion, because he’s keeping track of the hours in the various worlds he spends his days in. Each of his watches have triangular faces, because, says The Timekeeper, “hours are not circles”. And he’s right, it’s a complicated concept involving equations I can’t do but hours, as The Timekeeper understands perfectly, are not always circles. Sometimes they are triangles, sometimes they are lines, and sometimes they disappear entirely. Still, we think, this man who makes his beautiful watches to keep the time in worlds only he is privy to is so unfathomably insane we cannot


possibly relate to him. Why is it then that some of the most identifiable artworks in history have been made by men and women much like my beloved Timekeeper? Vincent van Gogh was, in all likelihood – we can’t be sure because he’s long dead and doctors in his time thought leeches and prayers were legitimate forms of medication – bipolar. He cut off his own ear in the midst of psychosis. His self portraits are shockingly honest; but what do we see? We see an artist able to visualise how we, in our darkest moments see ourselves. We can relate to Vincent not because of his technical brilliance but because by capturing that extremity of emotion in paint he captured the far end of an experience universal to humans. More than that, because he knew the density of that darkness – that it has form and tangibility – he was able to show it to us as well. Closer to home, highly underrated Australian artist Arthur McIntyre was also bipolar. His Bruised Head series is as powerful as Van Gogh’s portraits and for the same reasons. Edvard Munch, painter of The Scream, was also, unsurprisingly, bipolar. Jackson Pollock, by many reports, suffered the same illness. A world without madness is therefore a world devoid of art. It is a world without Van Gogh, Munch, McIntyre, and Pollock. It’s a world without Virginia Woolf, Oscar Wilde, or Ernest Hemingway. It’s a world without The Timekeeper. And what an unbearably superficial world that would be, because the truth is, we need these beautiful anomalies to articulate those insights into humanity that are obscured by sanity.



s someone who makes their living out of comedy, Josh Thomas doesn’t suffer fools. He’s not rude or narky or tandrum-y, but he’s not scared of giving a short, sharp, direct answer. It’s rare, and a little offputting, but given the man’s got stand-up, television, and an entire generation to represent, it makes sense. For example, his new show Everything Ever seems to cast a very wide net. While asking what it’s about might be a bit clichéd, it’s also logical. Thomas answers directly, though, as if the answer should be obvious. “Well, the show’s just about me, my shows are always just about me,” he says. “And the joke is that it’s about everything ever, but it is just about me, so it’s a joke that no one other than me will get.” Another way of approaching the new show is to look at its predecessor, the brilliant Surprise. As Thomas explained, it was also just about him, but a truly original take on one of the least original material mines for comic – the first big love and first big break-up. The originality didn’t just come from Thomas’ coming out midstory, nor did it come from the fact that his first love happened to also be an up and coming young comedian (Tom Ballard). Instead it was the directness, the almost-but-not-quite indulgent style, and willful (if not always successful) wont to avoid being unnecessarily contemplative. “I’ve done that now, and that was a while ago and was exhausting, because when we broke up again then got together and then broke up again I had to change my show –

what a nightmare! So I’m definitely going to be talking about parts of my life that won’t change as much.” Surely a bit of artistic license (read: bullshit) is allowed? “Well, it’s hard to do that too much, particularly with the podcast and Twitter; people would end up knowing too much about my life for me to be able to make it up,” Thomas says with a token Gen Y reference to social media. Given that his life is so public, to the point where audience members have corrected him on details (one last year heckled Thomas by citing a reference on Wikipedia as evidence for their claims), does Thomas ever get freaked out by such apparent closeness to the great unwashed? “No. Nothing ever freaks me out,” he says slowly, using the same directness (or perhaps apathy this time). As someone that comes across on TV in particular (Talkin’ ’Bout Your Generation, for example) as quite nervous, it seems strange that he’s so brave here. “Well, I don’t know if I’m nervous, just a bit weird. People ask me questions, and I often don’t know the answers, I often just don’t know what’s happening.” Pressing a little further, this writer insists Thomas must know some stuff by now, at least. It’s been a few years, at least a couple of iPod upgrades. “Well yeah, a bit. But um, that’s it.” WHO: Josh Thomas: Everything Ever WHEN & WHERE: Powerhouse Theatre, Brisbane Powerhouse until Sunday Mar 6





Brisbane City nightclub Rosies is launching a new weekly club night this Thursday, called Level Up, which will boast live bands and video games – which, to us, sounds like the best thing ever. Launch night, 3 March, will feature live sets from The Submariners, Death By Dance, The Molotov, and Slim Johnson And The Powerwalkers, plus Guitar Hero. Result. Check out the event listing on Facebook, or just head along on the night.


JULIUS CAESAR Roundhouse Theatre


risbane’s Friends Of Folk Festival is shaping up to be something of a fantastic day out. With toes plunged fearlessly into the unforgiving waters of civic responsibility, the Brisbane seven-piece who together oversea the festival in their capacity as The Modern Enthusiasts are on the verge of something vital, and great. Four years ago, and the festival was just a small gathering of buddied bands playing together to help out a troubled friend. This week it turns three, and from those humble beginnings to heavyweights Robert Forster and Don Walker headlining and the acquisition of graduate film-shorts in its second year, the festival in 2011 is at its biggest and most headiest yet. Emerging eagerly from its infancy, and brought up on a wealth of good intentions, it’s this year poised to exert an influence that’ll hopefully far eclipse its modest, one-day span. If they can pull this off, it could launch a number of opportunities. Intuiting that a sense of community amongst the city’s arts contingent is in a state of fracture, and proving increasingly less accessible to the public as platforms for its display begin to snuff out – cue a portentous nod to the death of venues Troubadour and Regent – the collective hope, among other things to instil not only an new interest in the festival’s home at the Old Museum, but set a larger example, and a new tradition.

But first, how it all got started. Talking to key director Mark Adams, it’s easy to see how such an event came to fruition. He’s a man who at mere whiff of a mention of this week’s festival, spills with excited adverbs, and a real pride for the Enthusiasts’ achievements. “It started a couple of years ago, I’ve been living in Canada for the last four years, working in the film industry over there, and I came back and kinda realised all my friends were in bands I’d never seen, so I thought we’d put on a little festival with all my mates’ bands. The next year I came back, and we decided to raise funds for the Royal Children’s Hospital foundation.” On how it’ll compare for people who’ve attended previous iterations, he quips: “This year it’s just exponentially exploded into becoming this local, multi-faceted arts love-fest.” But for something boasting of multiple faces, it has a rather oddly specific name. You hear ‘folk festival’ and think of thickly braided hair, henna, worn sandals, and the dulcet pluckings of an old ukelele. Mark laughs, quick to rectify this: “The first year was a bunch of friends getting together, and we all considered ourselves pretty decent folk, so we just thought it’d be ‘The Friends’ of [those] folk, you know? As opposed to being necessarily about folk music, it’s more just about good people.” AY RSD HU T RTS STA


And this is truly a sweetness of vision shared by the Enthusiasts collective entire. “We just absolutely love the Brisbane arts scene, and we know that it’s a real wellspring of talent. [We want you to] go there, and just immerse yourself in the atmosphere, and that’s really what we’re trying to create on the day. Just a saturation of local arts and artists.” And saturate, this year’s festival indeed does. Inundated with interest, Mark goes on to describe the process of sifting through the city’s immense talent, and really honing in on what aspects of the arts community this year they’ve the space to represent. “We’ve been working on the festival probably about six or seven months. I was in Canada, and [fellow organiser] Scott Russell lives in Brisbane, so I would call in the evening, and we’d just kind’ve work on getting grant applications over here, getting artists...” he trails briefly, as he’s read a list of this year’s inclusions. Its length and breadth, it’s alluded in euphemism to Mark, is something indeed to be boastful about. Despite getting a lot of coverage for its primary function as a music festival – and the acquisition of acts like Robert Forster and Don Walker – it’s really the attention been paid to the broader arts spectrum that delineates it from other festivals. “The stand-up comedy’s an addition we’re really excited about.” he’s

quick to gush. “It’s only a 90-minute programme that we’ve got, but we feel [it’s a] selection of comedians who really define the local stand-up scene. We’ve got Greg Sullivan, Davo, Steve Allison — people that really are iconic Brisbane stand-up comedians. “The [artwork] component is just a smaller component of the festival,” he continues, working through the list. “We’re just trying to curate a smaller exhibition of local emerging artists. Most of those are recent art-school graduates, so we’re really hoping that people will come along and see these artists who probably in the next five to ten years will become Brisbane’s seminal artists.” Atop that, they’ve also snagged dancers from the Brisbane Ballet. “It was always a vision [we] had, to [integrate] a dance component. It [naturally stemmed] from sizing up the venue, and meeting Martin Flemming, who’s the choreographer and director of the ballet there, and we’re just really, really stoked they’re going to be there on the day.” Couple that with yet more graduate short films, roaming buskers, and the festival’s co-function as a charity event, and you’ve got a day you’ve no excuse to miss. WHAT: Friends Of Folk Festival WHERE & WHEN: The Old Museum Sunday Mar 6



10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM



10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM



10:30 AM, 1:00 PM, 6:00 PM, 8:30 PM

10:30 AM, 1:00 PM, 6:00 PM

FRIENDS OF FOLK ARTS BREAKDOWN MOST OF THE ARTS EVENTS WILL BE HELD IN THE WHITE ROOM, KICKING OFF AT APPROXIMATELY 11:30AM AND RUNNING UNTIL 7:30PM. Greg ‘Sully’ Sullivan, Steve Allison, Davo, Gary Fludder, Mark Mead, Matt Marr, Shayne Hunter. DANCE The Queensland National Ballet School presents A Night In The Studio Of Contemporary And Classical Dance, choreographed by the ballet school’s artistic director Martyn Fleming, with guests the Queensland National Dance Company. SHORT FILMS The Foal, Smoking Will Kill You, Akvarium, Mr Wolf, The Time We Are Given, A Crowded Web, Here Be Treasure. Works by Kate Nash, Monica Rohan, Luke Kidd.

Our enduring passion for the arts relies on innovation; when it comes to Shakespeare balancing the classic text with modern presentation is a fine line and this production doesn’t just walk it, it swaggers.


Until Sunday Mar 20






10:30 AM, 1:00 PM, 6:00 PM, 8:30 PM




FRI 11.30 AM SAT/SUN 1:00 PM WED 6.30 PM




THE GIRL WHO KICKED THE HORNETS’ NEST (MA15+) (NO FREE TIX) THU-WED 10.15, 1.00, 3.45, 6.30, 9.15 PM


This world of the cunning and conniving is brought to life with plenty of gore allowed by knife as weapon of choice. Steven Rooke as Brutus and Thomas Larkin as Antony put in steely performances as the underlings of Cassius (Paul Bishop) and Caesar (Hugh Parker). Performances are generally very good with Shakespeare’s language delivered with the same smart understanding that made last year’s Hamlet so enjoyable. If there’s one criticism it’s that the seating in the round didn’t provide an equally good view all sides, however it is a great idea to stage the show as if the actors were addressing the audience from the senate floor.




Julius Caesar is a play about politicians doing what they do best – lying. Unlike the current political climate the world over, in this Shakespearean realm they lie so well that their audience are almost treated to it. La Boite’s production of Julius Caesar reminds us we’re all subject to manipulation and this, rather than the personal betrayal of Caesar by Brutus, seems to be the drive behind this interpretation. The characters move through the plot like chess pieces finding themselves in turn vulnerable, at an advantage, fallen, or victorious. The people of Rome are massaged into accepting political agenda with clever rhetoric, rousing speeches, or gentle persuasion.





THU 10.00, 2.00, 6.45PM (SOLD OUT) FRI-TUE 10.00, 2.20, 6.45 PM WED 10.15, 2.35, 7.10PM

THU 12.05, 2.15, 9.05 PM FRI 10:00 (BABES), 12.10, 9.30 PM SAT/SUN 10.00, 12.10, 9.30 PM MON/TUE 10.00, 12.10, 9.10 PM WED 12.25, 4.15 PM

THU 10.00, 12.15, 2.35, 4.55, 7.15 PM FRI-TUE 12.10, 2.30, 4.45, 7.00, 9.20 PM WED 10.20, 12.45, 3.15, 8.30 PM



THU 9.30 PM FRI-TUE 9.00 PM WED 9.20 PM

THU 11.40, 4.10, 9.05 PM FRI 2.40, 5.00, 7.15 PM SAT/SUN 10.30, 4.10, 7.15 PM MON/TUE 11.30, 2.00, 4.30, 6.50 PM WED 11.30, 2.00, 9.10 PM

THU/MON-WED 12.30, 2.30, 7.00 PM FRI-SUN 12.30, 5.00, 7.00 PM

127 HOURS (MA15+)

TRUE GRIT (M) THU-WED 10.00, 4.20 PM




07 3852 4488



THU 4.20 PM FRI-TUE 4.30 PM WED 4.45 PM



FRI 8.30PM

THU/MON-WED 10.05, 4.30, 9.00 PM FRI-SUN 10.05, 9.00 PM

FRI 10.30PM


THE GIRL WHO KICKED THE HORNETS’ NEST (MA15+) (NO FREE TIX) THU- SAT/ MON/ TUE 12.20, 3.15, 6.20, 9.10PM SUN 1.10, 3.50, 6.40, 9.20PM WED 10.30 (GOLDEN LUNCH), 1.20, 6.20, 9.10PM

WASTED ON THE YOUNG (MA15+) THU- SAT/ MON 10.15, 12.15, 8.40PM SUN 2.50, 4.50, 8.40PM TUE 11.30, 2.20, 8.40PM WED 10.15, 12.15, 9.20PM

RABBIT HOLE (M) THU 10.10, 3.45, 6.30PM FRI 11.30, 1.20, 3.10, 6.30PM SAT 9.45, 1.20, 3.10, 6.30PM SUN 11.40, 1.20, 3.10, 6.50PM MON 11.40, 1.20, 3.10, 6.30PM TUE 9.45, 1.20, 3.10, 6.30PM WED 11.40, 1.20, 3.10PM

INSIDE JOB (PG) THU 10.20 (BABES), 2.45, 6.15, 8.50PM FRI 9.30, 2.00, 7.00, 9.15PM SAT- WED 10.20, 2.45, 7.00, 9.15PM

127 HOURS (MA15+) THU- SAT/ MON/ WED 4.30PM TUE 4.20PM








An incident at a high school party sets off a dramatic chain of events and two brothers must place their lives at the mercy of popular opinion. Wasted On The Young is the debut feature from Perth filmmaker Ben C Lucas, which debuted at the 2010 Sydney Film Festival before doing the festival circuit and picking up admirers along the way. Now, finally, it gets a wide release in Australia so everyone can see one of Australia’s future filmmaking greats. We’ve five in-season double passes to giveaway to the film, which opens Thursday Mar 3. For your chance to win one email with ‘WASTED ON THE YOUNG’ in the subject line.


CONVICTION Here’s the difference between a Russell Crowe movie and a Hilary Swank movie (apart from the obvious): If big Rusty perceived a miscarriage of justice to a loved one, as in The Next Three Days, he’d concoct a batshit insane plan to bust them out of jail. Swank, on the other hand, would spend 16 years fast-tracking her education from high-school dropout level through college and law school to passing the Bar, while simultaneously raising two rugrats on her own and working parttime as a waitress, just so she could represent her brother and get him off a murder rap. That’s what happens in Conviction, based on a true story, where Swank plays Betty Anne Waters, the aforementioned single mum and law


student. Sam Rockwell plays brother Kenneth, a hellraiser jailed for life for the murder of a Massachusetts woman killed in 1980. He didn’t do it – and Betty Anne never gives up on him. So far, so much of a little golden statue grab – but there’s just something a little flat in Conviction. Swank and Rockwell are great, and Minnie Driver is fantastic in her supporting role as law school buddy Abra, but there is just something hollow in the script causing it to fall short of what it’s aiming for. Conviction wants you to empathise a bit more strongly than it’s capable of moving you to feel, and it makes some dramatic sacrifices by harping on its emotional side a little too much. WHERE & WHEN: Screening in cinemas now BAZ MCALISTER

THE ADJUSTMENT BUREAU It helps to know The Adjustment Bureau is based on a story by sci-fi legend Philip K Dick (Blade Runner, Total Recall). If I’d known that before going in, I would’ve been more prepared for its strangeness. The action begins convincingly and intriguingly when we meet Matt Damon’s character, David Norris, who looks sure to be elected as a senator. But his chances are dashed because of one drunken act that’s exposed by the media. Rehearsing his concession speech, David meets beautiful dancer, Elise (Emily Blunt), in the men’s toilets of all places. They end up kissing – as people only ever do in the movies – and strange

things start happening involving men in suits and hats who follow David’s decisions as if they’ve got a vested interest in them. But what looks like it might be a political thriller becomes something quite different, with the main question being about fate and whether any of us are agents of our own life or mere puppets being manipulated by a force making the bigger decisions for us. The film isn’t as mind-bending as Inception although it might wish it were. If you accept the somewhat preposterous premise, you’ll probably enjoy it for the quality of acting and general poise from seasoned writer George Nolfi (Ocean’s Twelve) in his directing debut. But it might just be a bit too hard to swallow. WHERE & WHEN: Screening in cinemas now VICKI ENGLUND





t the risk of sounding melodramatic, there’s something in Tim Dashwood’s eyes one doesn’t typically see in interviews – an element of fear that is usually either buried or absent. Conceivably, one could attribute this to a reasonable man’s justifiable terror in the face of a stunningly charismatic interviewer. More reasonably, one could link it to the show the actor is about to unveil. “I’m good – I’m a bit stressed but I’m good,” Dashwood protests with a laugh. “This is my first time as a producer and as a writer and I’m also performing in the show. We’ve been running through it and it’s in a good place. We just need to make sure it all comes together before opening night and that sort of thing.” A blend of cutting-edge stage combat, absurdist theatre philosophies and the rigorous physical approaches of Vsevolod Meyerhold’s biomechanics, Dead Cargo is far from conventional. Still equipped with a script and narrative, the work is equally informed by choreography as by character. “When we started writing it, our initial pitch was that we wanted to do something really physical that still had a decent text behind it,” Dashwood explains. “Not reliant on the text but more having a symbiotic relationship with it – the text is dependent on the physicality and the physicality is informed by the text. “The premise is that there’s basically this world with no exits. The show starts with two people in the space sorting through boxes and suitcases


and that sort of thing – going through their routine – and then someone arrives with something they want and the play progresses from there,” Dashwood pauses, laughing. “That sounds really basic, actually, but there’s a lot of stuff going on.” Dashwood has reason to be nervous. If nothing else, Dead Cargo marks the inaugural consummation of a long-standing creative partnership between Dashwood and legendary fight choreographer and performer Nigel Poulton. “Nigel and I have had a long relationship, over five years, which started with him teaching me stage combat at university,” Dashwood reveals. “As part of his training, he’s done a lot of Meyerhold’s biomechanics in England and Italy and he’s bled it into his stage combat training.” This, however, is only compounded by the fact that, by the time Dead Cargo opens, it will have been bouncing around its creators heads for some 12 to 18 months. Devised at the end of 2009, the work’s debut was initially postponed by Dashwood’s involvement with Fame: The Musical and Poulton’s ongoing work abroad. “We don’t know how this will go. Some people may see it and hate it. We like it, though, and most people who’ve read it have liked it — which is a good sign!” WHAT: Dead Cargo WHERE & WHEN: Metro Arts Wednesday Mar 9 to Saturday Mar 26


WITH MANDY KOHLER The red carpet is rolled away, Hollywood is hungover, and the little golden statues have been doled out for another year. Whether or not you agree with the all-powerful, anti-populist, out-of touch Academy on the winners is increasingly less relevant. The Oscars are kind of dying — getting youngand-oh-so-pretty duo James Franco and Anne Hathaway to host confirms this year’s ceremony as a straw-grasp to sucker in ‘the kids’. If only they’d listen, and stop snubbing the slambang awesome films we all loved with the mercy-shag of a technical Oscar, we might take these old farts more seriously. What’s the average age of an Academy member, 80? A case in point from 2008: how awesome were the Bourne films? And what did Ultimatum pick up? Best Editing, Sound Editing, and Sound Mixing? Puh-lease. This week Hollywood’s almost at Oscar-level excitement as the longlist of replacement actors for the amnesiac assassin Jason Bourne circulates around the upper echelons of Tinseltown. There is indeed talk of another Bourne film. Matt Damon once pointed out in an interview just before The Bourne Ultimatum that franchise owners Universal are a division of General Electric (as every savvy 30 Rock viewer knows), and if GE makes a fridge that millions of people buy, they’re not going to stop making fridges, ever. So it goes with Bourne – but sadly, Damon’s not along for the ride this time. It’s a crying shame. Matt Damon might be the nicest guy in movies, but he can pull off looking deadly and schoolboy-innocent all at the same time. He’s medium height, medium build, a bit unremarkable, utterly disarming – all of which is

vital for an operative like Bourne. There’s a general changing of the guard on the future of Bourne. Shaky-cam superstar director Paul Greengrass is also skipping the next outing; Tony Gilroy, who has worked on the past three Bourne scripts and directed Michael Clayton and Duplicity, is taking over. Make of that what you will. The Bourne Legacy is also the first of the Bourne novels written by Eric Van Lustbader, who took over scribe duties of the franchise after Robert Ludlum’s death in 2001. So, who’s on the long-list, I hear you ask on tenterhooks? Well, there are some interesting names. Alex Pettyfer from I Am Number Four – far, far too chiselled and pretty. Tobey Maguire – well, he’s already been binned from one franchise, don’t let him screw up another. Paul Dano – as much as Cringe loves him, what were they snorting when they came up with that name? Is Bourne going to give up the spy game to become a floppy-haired bohemian stoner type? Joel Edgerton was also on the list. He looks both mean and pretty enough to pull it off but he’s probably not the name Universal is looking for. The word is, that Jake Gyllenhaal is the frontrunner. Personally I don’t see it. Sure, he has some super acting skills, but he’s a bit too lean and a bit too distinctive-looking to be a successfully anonymous spy. They’d have to knock out his front teeth to stop that cheeky grin cutting through. With five more Van Lustbaderpenned books in the series, we might be looking at Jason Bourne joining that other JB, James Bond, in an ongoing multi-actor franchise. So the truth is, whoever they pick, they’re all in with a shot eventually. It’s just a shame Damon will be watching from the sidelines.



ustralian writer-director Ben C Lucas was home-schooled until the age of 13 – he spent his few years at school trying to work out where he fit in, trying to become one of the cool kids, but he found he was always coming at things from an outsider’s perspective. It’s no wonder, then, that Wasted On The Young, his debut feature, paints a fairly bleak picture of the final year of high school. “Wasted On The Young was never autobiographical, you’re right,” he says. “It’s not a personal story in the true sense of the phrase. It’s just a little fable about how I feel.” It certainly plays out like a fable. Wasted On The Young follows two boys with single parents - popular jock Zack (Alex Russell) and nerdy, shy Darren (Oliver Ackland) - thrown together as step-brothers by their parents’ marriage. Then there’s the sweet blonde girl at school with the incandescent smile, Xandrie (Adelaide Clemens), who captures the eye of both. Zack has an army of loyal followers who’ll do anything he bids; Darren has a dark side he keeps well hidden. This isn’t going to end well at all. “It is a melodrama, you know,” says Lucas, “and that can be really ham-

fisted, but the only thing that makes it work is the people you pick to play it out.” So Lucas says he had one priority when he started to make the film: find the perfect cast. “We had bugger all money and we did have time, so I said to the producers ‘let’s not skimp on casting’,” he says. “If we have the right cast and we then have to skimp on locations or post-production it’ll still work. I’m so glad of that decision. We got Greg Apps – the best casting director in Australia – who cast Chopper and Romper Stomper and put his faith in people like Eric Bana and Russell Crowe. He was pivotal. We spent five months casting, we went everywhere.” Lucas’s cast are indeed the goods, all talented relative newcomers to film who convincingly sell the tragic, horrific events. It would be doing the movie a disservice to be more specific here – to get its full impact, you really have to see it – but both parents and kids all over the world are sitting up and taking notice of Lucas’s take on teenage tribalism and high school revenge. “I’m kind of surprised at the reaction – I thought we were a lot more indie

than we are, but the mainstream response has been quite good,” Lucas says. “From the beginning, we imagined this as a film that kids wouldn’t want their parents to see and parents wouldn’t want their kids to see. There was a screening in Toronto where there was a mother in the audience with her 17-year-old daughter. At the end she told me she thought I must have a bit of an axe to grind, that I was pretty scathing of teenagers and their culture, and then her daughter piped up and said, ‘No mum, that’s what it’s like’. Parents are reacting usually quite positively – but are also a bit scared. And the teenagers themselves? Well, their potential reaction when the film opens this week is scaring Lucas more than his own film will scare them. “I get kind of scared as to what the reaction’s going to be from a teen audience,” he says. “No power on Earth can tell them what’s cool. You can’t make a film ‘for the kids’, in the dorkiest possible sense. So it was risky – all you can do, I guess, is make the film the way you want to and hope it strikes a nerve. But it seems to have – we even got a teenage fan review on IMDB that suggested it should be made part of the school curriculum.”

Perhaps the craziest part of this whole saga is the fact that Wasted On The Young was almost an afterthought to the original project Lucas was hired to direct. Producer Aidan O’Bryan hired Lucas to write and direct an idea he had for a B-movie slasher film. “I had no interest in doing this film, but I did have an interest in working!” Lucas confesses. “I liked the idea, as a writer’s exercise, to put together someone else’s story from a writer’s point of view, so I wrote it – I didn’t love it – and it took a year. Then when Aidan got funded and wanted me to direct it, that’s when I realised it was not the right film for me.”

It took a hell of a lot of courage for this young filmmaker, on the cusp of principal photography on his directorial debut, to march into an office full of money men and tell them he’s off the job. “I had this big scary meeting with the producers – we were already into casting at this point – and I said ‘I’m really grateful for the opportunity but this isn’t a film I can make, give me a few weeks and I’ll get something different’. Thankfully they were all on board. They were more interested in the film the team would make than the actual project itself, and they were very supportive of us. Australia’s very privileged

in that sense. It’s one of the only countries in the world where the government gives you money to develop your career. “But that rewrite,” he grins “...that rewrite was five weeks of insanity. That’s not something I think I’ll be able to do again.” It’s a dramatic way to launch what’s sure to be a dramatic career, if Wasted On The Young is any indication of things to come. WHAT: Wasted On The Young WHERE & WHEN: Screening in cinemas from Thursday Mar 3



Bookings: call the box office on 3829 8131, or visit Tickets: Adult $39, Seniors/Pensioners $37, Student (17 years and under/student) $25 • A $2 transaction fee applies to all ticket purchases made online. Supported by Major Media Partners: Bayside Bulletin, The Redland Times and d’fine.



ARJ’S MUSICAL RELIEF AUSTRALIA HAS HAPPILY ADOPTED ARJ BARKER, BACK IN HIS “SECOND HOME” WITH HIS NEW SHOW LET ME DO THE TALKING. THE COMEDIAN SPEAKS TO HELEN STRINGER. Despite having spent enough time in Australia to have earned honourary citizenship – his last Adelaide Fringe and Melbourne International Comedy Festival performances sold out and were followed by a four-month regional tour – Barker insists that this is “the best season yet”. (“Going by ticket sales and responses, and you know, because no one’s yelled at me,” says Barker of why he considers this show his best.) It’s a big call from a comedian whose popularity, particularly in this country, has made him somewhat of a star. His stint as Dave the sweatbandtoting pawn shop-owning go-to guy on the massively popular Flight Of The Conchords, as well as his numerous appearances on Australian television, has cemented his place as one of comedy’s most beloved performers. But in person Barker seems decidedly impervious to the attention.

In fact, for a man who makes his living performing and has titled his current show with a directive that he’ll be the one doing the talking, Barker is a less than verbose conversationalist. Until, that is, the conversation turns from comedy to harmonica playing or jogging. “I was just practising [harmonica] when you called,” he says, before giving an impromptu harmonica lesson after a certain party to the conversation admitted they’d only just worked out that inhaling while playing the instrument creates a different note. “When you breathe in, right, you can bend notes. This is what bending sounds like, listen!” Barker then launches into quite an impressive demonstration of precisely what “bending a note” sounds like. Harmonica jam session finished, in response to the question of whether

his jogging (he happily details his fitness routine) is interrupted by over-zealous fans requiring him to be instantly humorous Barker admits that it’s an inconvenience that does happen on occasion. “Most people have a realistic expectation,” Barker says in his familiar Californian drawl, “[but] sometimes people say, ‘Arj, tell me a joke,’ and I just say, ‘Sorry, I’m not at work right now. I’m not a robot. I mean I could tell you a joke, but I don’t really feel like it’.” He’s direct and it’s somehow still not offensive, the result being that his anecdotes are impossibly endearing and inexplicably funny despite their brevity. His stand-up shows are invariably topical; they’re an hilarious insight into Arj’s unique take on the world around him. With his antipodean friends having suffered a bout of crippling natural disasters, this time

we can expect these insights to include Barker’s tips on floods, fires, and earthquakes. “My take on the flooding and all the disasters including the earthquake and everything is,” Barker says, “that, you know, with humans

we’re always fighting each other, you know? But maybe we need to take another look and redefine who the enemy is.” Barker deadpans: “Nature. I’m trying to put that idea forth. It’s not very popular, but I think it’s pretty progressive thinking.”

WHAT: Arj Barker: Let Me Do The Talking WHERE & WHEN: Powerhouse Theatre, Brisbane Powerhouse Tuesday Mar 15 to Sunday Mar 20





Mark ‘Chopper’ Read is one of the most consistently misunderstood figures in Australian culture. A violent criminal with over 19 murders to his credit, Read has also earned renown as a writer, recording artist, and spoken word performer. As a result, his personality has been described as everything from heartless to heroic. It’s commonly believed he seeks out such ambiguity. “It’s amazing how he’s managed to entrench himself in the culture,” an incredulous Heath Franklin reflects. “Anywhere you do a show someone will have a story about Chopper – and each story will paint a completely different impression of the man’s personality. You know, everything from ‘I used to drink with him, great bloke’ to ‘I once saw him

stab a bunch of cats’. It’s really quite strange.” That taken in mind, it’s somewhat surprising to note that the comedian who has built a career largely out of impersonating the legendary criminal is almost categorically opposed to such mystique. Since his 2005 debut on Channel Ten sketch comedy programme The Ronnie Johns Half Hour, Heath Franklin’s Chopper Read has been a triumphant success – but Franklin himself is as straightforward and unassuming in conversation as his character is violent in confrontation. “I am surprised at how successful Chopper’s been,” the comedian says candidly. “I think I’m very lucky that our show was on at the same time the whole idea of the YouTube

phenomenon was starting to take shape. If Chopper had been on TV a year earlier, it wouldn’t have made it onto YouTube and it wouldn’t have been successful. A year later, it just would have been a part of that whole inundation of YouTube that saw a thousand versions of that cat playing a keyboard.” While one would assume a performer blessed with Franklin’s ubiquity and success – the comedian having sold over 100,000 tickets to Chopper Read shows across Australia, New Zealand, and the UK – would be inclined to diversify as quickly as possible, Franklin displays only a peripheral interest in such work. While not disinterested in other roles, the comedian is bluntly realistic about his prospects. “Comedy’s a funny job to me in that, while it is a job that you have to do professionally, it’s not something you can force very easily. You can’t just walk into a room full of people and be funny for an hour doing whatever you want – you need to use what works,” Franklin explains directly. “Eating your favourite meal for dinner every night does get boring but that’s why you need to break it up every now and then with other work.” Chopper’s F**ken Bingo is a prime example of Franklin’s approach. Simple and effective but creative and clever enough to evolve his repertoire, the comedian’s latest show involves his Chopper character overseeing his own twisted game of bingo – including audience participation, comedic improvisation, and surprise prizes. “It’s something we used to do back at university,” Franklin explains of the concept. “When the whole Chopper thing blew up, we decided to go back to it and give it a spin. Feedback’s been really great, so far.” WHAT: Heath Franklin’s Chopper in Chopper’s F**ken Bingo WHERE & WHEN: Powerhouse Theatre, Brisbane Powerhouse Wednesday Mar 23

1976 and Mexico City in ’68. While researching for the show Helliar uncovered some amazing true stories from the world of sport that were already pretty amusing, like the tale of Stella Walsh. “Stella Walsh, this runner in Berlin who was the darling of the track, and she came second in the Berlin Olympics in 1936 and accused Helen Stephens, the American who won the race, of being a man. Then there were all these gender tests going on. Then 44 years later, Stella Walsh gets killed as an innocent victim in this bungled robbery attempt and they do an autopsy on her and they find out she’s a man! “It’s a great story but it was taking me three or four minutes of the show to tell the story, and it was more fascinating than funny – so that had to go. I guess I expect more laughs per three or four minutes than that. But the show is evolving every night, it might go back in.”

It’s not just all about the oddlyshaped balls for comedian Peter Helliar – it’s also about the cocks. Shuttlecocks, that is. Not to mention racquets, sticks, bats, and clubs. Helliar’s new show World Of Balls is all about sport – but not aggressively so. Non sports fans can also enjoy Helliar’s whirlwind wrap-up of the wide world of sport. Egged on by his manager, Helliar says the hardest part of writing was to find an entry point to a vast topic. “I mentioned this to my manager and he loved the idea of doing a show about sport,” Helliar says, “and he kept on at me until I agreed to do it. At one point while writing I was

cursing him for it. I’d probably written about half a show with generic material already that I had to put aside. My biggest thing was just getting into the world of sport. It’s so massive! What are you supposed to cover? But in the end whatever’s funniest wins. “It’s the first ‘themed’ show I’ve done, which is kind of exciting and nerve-racking. Most of my shows are just funny stuff I’ve thought of. People can come along and learn something to take to their next dinner party.” The show, Helliar says, covers everything from recent issues to sporting stories from Berlin in

As for the more controversial aspects of sport, Helliar says he’ll be shying away from some of the more extreme stories of sporting celebrity excess, like the interminable Warnie/ Hurley story and the already minedout vein of Tiger Woods gags. But will his own bad-boy celebrity sportsman be making an appearance? Will Brian “Strauchanie” Strauchan be a part of World Of Balls? “I don’t think about Strauchanie too much when I’m writing stand-up, it never occurs to me until people ask,” Helliar says. “It seems like two very different things, stand-up and Strauchanie, but I guess it’s a natural fit for a sport show. But I just don’t think he needs to be on stage! If I’m struggling for material it might be a nice little thing to pull out but it feels like cheating, in a way.” WHAT: Peter Helliar’s World Of Balls WHERE & WHEN: Powerhouse Theatre Thursday Mar 3 to Saturday Mar 5






to talk about and what you know, really – some people do political comedy and some people do surreal comedy and some people do very personal comedy.” Whilst Danny Bhoy is now one of the most recognisible faces in stand-up comedy, life could’ve been very different if he’d followed the path the Scot originally chose: sports reporting.

Danny Bhoy is a much loved comedian to Australians, having toured here so frequently people regularly think the Scottish comedian lives here. So why the Australian love affair? “It really all started from Melbourne and Sydney and Brisbane,” he begins. “They were the three festivals that if you could get an audience then it was worth you coming back every year. “The crowds are great; they’re smart, they’re clever, and you get all kinds of mixes of people. You know, sometimes when you go to comedy festivals, like if I do Montreal for example, it’s very TV-based. It’s very industry based, which is very dull, and in London and in Britain you tend to get the peer type audiences whereas here you get a really good mix. You get like teenagers and you get families, couples, and they’re great festivals.”

Bhoy believes he has found such success in Australia due to the sheer amount of time he’s spent here. “A lot of comedians that I started with back in the UK sort of stayed in the UK and built up and have their own TV shows whereas I always wanted to travel,” he says. “It was always a big part of the job for me, taking comedy to different places. So when I got invited to Australia I came and the first year went really well and I just sort of built. Every year I go back and I don’t do television, so for me I rely purely on word of mouth and the quality of the show.” Another point of difference is that unlike other comedians, Bhoy doesn’t include his family or personal relationships in his act. “It’s the same reason I don’t really talk about sex or anything graphic or controversial in my comedy,” he says. “You talk about what you want

“I moved down to London and I’d actually been told I had a job with a sports newspaper, a new daily sports newspaper, and it actually folded before it got off the ground. So I found myself in London with no job and no prospects and I just sort of got bar work and just picked up anything I could do in the day and at night I would go out and just troll around the comedy clubs,” he says. “I mean, it was quite different back then ’cause now it’s a very organised thing, comedy. Back then you could just rock up at a club and say, ‘Well, can I please jump on and do five minutes?’ and most of the time it was fairly successful and they’d squeeze you in and that was it, really. I slowly built up through the weeks and months and years.” WHAT: Danny Bhoy: Messenger (Please Do Not Shoot) WHERE & WHEN: Powerhosue Theatre, Brisbane Powerhouse Tuesday Mar 8 to Monday Mar 14

Tom Ballard is a young man with a career that already is the envy of many in his field. Regular radio gig (Breakfast on triple j), a promising career, and, more importantly, he still seems to be loving it. It’s refreshing, and perhaps slightly irritating if you’re one of those who’s been kicking around the circuit for a while trying to catch a break. He’s also just put his last show, Tom Ballard Is What He Is, to bed via a DVD recording and mini theatre tour. Damn him and his talent. “I’m always really keen to do stand-up in theatres, there’s just something really special about putting a show in a theatre,” he says in reference to the intimate setting at the Brisbane Powerhouse. “I think especially when you’re doing a show that’s very personal like this

one is, doing it in a theatre gives it a real sense of gravitas, which is very important to me, as a failed actor and with my low self esteem.” Many of the new young up and comers play on their age and relative lack of life experience to get a show about being timid and childlike, however Ballard’s shows have proper, um, big man balls. It does make the I-can’t-believe-he’sonly-21 factor a little more intense, but it also makes for a solid show rather than one based on the novelty of being entertained by someone who was born after The Simpsons started. A good case in point is his former partner, Josh Thomas, who although equally hilarious, is much more boy than man. “Comedy’s a great sort of leveller,

you know; being young isn’t going to get you through an hour of stand-up, you also (and most importantly) have to be funny, and that is something for everyone, at any age and with any level of experience,” he says. “So if people want to talk about my age that’s fine, but at the end of the day, you know, it doesn’t matter how age you are or what colour you are or your sexuality or anything like that. My new show, Since 1989, is about being someone in their early 20s and does explore things from an age perspective to a degree, but there’s more to it than that.” Does he ever worry about building a worthy perspective though, especially given the sheer fact that people Ballard now shares bills with may have been honing their craft for longer than he’s been alive? “Well, that’s a good point, particularly as comedy is about authority, when you’re onstage you have to get the fact that you’re worth listening to. But I think when I started, when I was really young, 17 or 18, and started at comedy clubs, you have to get through that, but so much of all comedy is confidence, and once you figure that out then it’s fine.” Talented, level headed and with just enough belief in himself to be assuring without being arrogant, what a little upstart. WHAT: Tom Ballard: Since 1989 WHERE & WHEN: Turbine Studio, Brisbane Powerhouse Tuesday Mar 15 to Sunday Mar 20





With Dead Cat Bounce having enjoyed a brilliant run at the 2010 Adelaide Fringe and the Sydney and Melbourne Comedy Festivals, there was certainly no rest for the wicked. “From Australia, we went straight back to Ireland and the UK, and started playing summer music festivals,” bassist Shane O’Brien says. Dead Cat Bounce, which O’Brien describes as “halfway between a comedy band and concept rock”, has a reputation for delivering incredibly funny musical comedy aided by considerable instrumental skill. With a range of numbers spanning all manner of musical genres, it’s not an easy concept to describe. “We spend most of the show trying to explain what we do,” explains O’Brien. “It’s basically four men behaving very strangely for an hour, playing overblown rock songs about very stupid things.” The band consists of happy-golucky Irish lads O’Brien (bass), Mick Cullinan (keys), Demian Fox (drums), and James Walmsley (guitars and lead vocals). As O’Brien explains, the group are particularly excited about their upcoming Australian performances (including their debut Brisbane Comedy Festival run) because they’ll be playing their band-spanking-new show, Caged Heat, which they only finished writing recently. “For the last two months, we’ve been holed up in this


underground studio in Dublin, writing the new show and going slightly insane in a room with no windows. So, if the show is a bit weird, that’s why.” A bit weird? Definitely, if O’Brien’s description of the opening number is anything to go by. “It’s kind of a searing indictment of the Reagan administration, featuring the characters of The Wind In The Willows.” Really? “Really.” Another personal highlight for O’Brien includes a hip hop number “about four firemen who ain’t got no hose. It’s just one prolonged pun, but taken to a ridiculous extreme.” While the band’s signature sound is “80s rock – that kind of Springsteen sound”, O’Brien has enjoyed seeing their range expand. Rock, hip hop, R&B, even a boy band number (“We hit a lot of genres on the way.”). What’s most exciting at the moment, he explains, is the chance to play fresh material. “We’ve only performed [Caged Heat] about

four times at this stage. We toured the previous show for over a year, so we’re loving it at the moment because it’s all brand new again.” Of course, the touring life isn’t nearly as glamorous as one might occasionally imagine, and, according to O’Brien, the lowest points are far worse than just not showering for days on end. A show in Bayswater during last year’s Melbourne Comedy Festival Roadshow saw the band become a little too intimately acquainted with the Australian wildlife. “There was a possum in the lighting rig that they couldn’t get rid of,” says O’Brien. “It basically, for want of a better expression, pissed and shat on us for the whole show. It must have been terrified, because it was loud, and the lights were hot, so it was just kind of darting around – and we were, well, targets.” Still, O’Brien says, it’s just great to be back in Australia and doing what he loves – playing gigs and making people laugh. For a band that found its name while looking up economics terms for a piece about “three stockbrokers standing over the body of a dead hooker”, they’re having an extraordinarily good run. WHAT: Dead Cat Bounce: Caged Heat WHERE & WHEN: Rooftop Terrace, Brisbane Powerhouse Tuesday Mar 15 to Sunday Mar 20

Mark Watson is standing on the platform waiting for a train to Manchester when our call comes through. He says to disregard the announcements in the background or, in any case, he can’t be held responsible for their opinions. The train station is a fitting place to be talking to Watson. For the first few months of this year he’s been on the move. He’s been finishing a tour of the UK and is about to come to Australia for the first time in a few years. He’s looking forward to the two-and-a-half months in the southern hemisphere as something of a break. Since his last visit, not only has he become a father, he’s finished writing another book or two, taking his publishing credits to four novels and one non-fiction book. “I sort of feel that if you just do stand-up you’d go a bit mad, really,” he says, speaking quickly. “It’s quite a precarious thing to hang your life on and it doesn’t always work out. It makes you quite an unpleasant

person sometimes – it makes me an unpleasant person. You’re quite vulnerable and emotional. So other stuff like writing novels keeps you a bit more civilised, I think. It keeps you a bit more grounded in life.” The multi-disciplinary approach to comedy and creativity in general is the only way that Watson would have it. As well as the novels, he’s got regular spots on a scattering of UK TV shows. Although it’s all grown out of his stand-up, the artistic pursuits art different. “I think for a lot of [books] do grow out of what they do on stage,” he explains. “The books are a progression of that. For me I always wanted to write books anyway. I wanted to do that before I wanted to be a comedian. So I see them as separate disciplines that overlap a little bit but I’ve never wanted the books to sound like they were written by a stand-up comic who was trying his hand at writing.”

Watson instead takes the route of Woody Allen or Ben Elton, where he attempts to reinvent himself with each project. “I think from a marketing point of view people would like you to have the same voice every time to be able to get a handle on what you’re doing,” Watson says. “If you’re doing a book and then you’ve got a CD of stand-up that’s sort of the same then it might be better as a promotional point of view but really I admire people like Ben Elton who reinvent their style each time they take on a new discipline.” Watson might seem to have a lot on his plate – and his press bio punctuates his achievements by pointing out he’s only just turned 30 – but that’s the way it works for him. “I find that I’m more productive if I’m doing more stuff. If I’m almost overwhelmed by the amount of projects then that’s when I’m most successful. I like having a lot of creative stimuli at the same time. Maybe it’s a concentration thing, but I’ve found that having two or three projects that go alongside each other should benefit them all. Of course you might find that you don’t do any of them properly but for me it helps to have my brain doing one thing one day and another thing the next. I think I thrive on being on the verge of almost being out of control.” WHO: Mark Watson WHERE & WHEN: Powerhouse Theatre, Brisbane Powerhouse Tuesday Mar 8 to Sunday Mar 13




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kind of awakening, which happened in North Queensland, that changed my life. It was a wake-up call. Not quite as dramatic as the wake-up calls they’ve been through lately, though. Mine’s pretty pissy compared to what they’ve been through. I know that all doesn’t sound funny, but I weave my magic.” Sex, death, disaster, epiphanies, regret – what’s not to like? As ever, Scott’s life has given her all she needs to reel off some enchanting anecdotes, just as she did in last year’s popular show All That Happened At No.26, which she also turned into a book that’s doing quite nicely in the shops, thanks. “The book has gone well,” she says. “I’m meant to be handing in the first draft of the second book at the moment. Wouldn’t it be cool if I’d written it? I just got busy with other

So how does one follow up a sweeping family saga? What’s the second book all about then? “Oh, whaddaya reckon – ME!” Scott says. “I could vomit at the thought! I did spend six months writing fiction, really giving it my best shot and I literally went insane. Couldn’t sleep, was crying with frustration, and then just had to abandon ship and realise that I could not write fiction to save myself. It really disappointed me. I wanted to be Tim Winton so badly, but couldn’t do it. So it’s just more boring stories from my life, I’m afraid.” Aside from her life as a stand-up and author, Scotty’s been filling in lately on The 7PM Project on Ten, getting chatted up by the ‘Ruddster’, but you’ll be seeing a bit more of her on the screen in weeks to come when new drama Winners And Losers debuts on Seven. “It’s really good fun, I do a day or two a week on it,” Scotty says. “The four main girls are brilliant. Man, they’re good – and I’m not even an actor’s arsehole! I keep thinking, ‘Oh, I’m gonna have to really act soon’ because there is a dramatic turn of events happening for my character. It’s terrifying, watching these girls turn it on. Need tears? They just start bawling. Stop crying? The tears stop. I love it.” WHAT: Denise Scott: Regrets WHERE & WHEN: Visy Theatre Thursday Mar 3 to Saturday Mar 5






Even though, as has been well documented, comedians must often submit show titles to festivals long before they’ve actually written the show, Denise Scott assures us that her new show Regrets does actually stick to the brief – inviting a very obvious opening question. What does Scotty regret? “I do discuss one particular regret in the show. I can’t give it away but it’s sexy, Baz, it’s quite sexy,” she says rather coquettishly. That’s not all the show is about, though – it has a slightly darker motif too. “It’s also about being in my 50s and it’s quite common for people in my family to die in their 50s of a heart attack. Both my grandmothers, my father, a couple of uncles, an auntie – gone, in their 50s. And it sounds very Oprah and very corny but I had a

work and the publishers are very patient with me.”

Having already won over audiences singing about cake-making and the trials and tribulations of being a high school librarian at a school that as he says, “rhymes with shcollingwood shcollege”, comedian Josh Earl is back on the festival circuit with his new show Josh Earl’s Love Songs And Dedications. Doing nothing to dispel the ‘nice indie kid’ tag that precedes him Earl is talking from a Brunswick Street café, the conversation sporadically interrupted by rather loud musicians. But, true to form, Earl very nicely apologies for the noise before explaining the inspiration behind Love Songs. “There’s this radio show and it’s brilliant…It’s the best radio show in the country,” Earl says. “The host calls himself ‘The Love God’ and people ring in and request songs like Celine Dion and Rick Price for the people they love. They’re so earnest and he’s so earnest…you’re laughing and cringing. In the end you’re like, ‘that’s really nice and sweet and I hope she does let you back in the house because you requested Meatloaf’.” Himself inspired by these earnest declarations of love articulated in the immortal words of Meatloaf, Earl explains of the subject of his show. “It’s one of those things that’s been

done in comedy before but I’m trying to do a different take on it. It’s not just going to be me going, ‘So, how different are men and women, hey? Hey? Yeah, they’re different’.” ‘The Love God’, however, was not overly enthused by Earl’s appropriation of his radio show’s title, but as Earl explains, “I got that [reaction] last year as well. I named my show Josh Earl vs The Australian Women’s Weekly Children’s Birthday Cake Book.” The title of the show, at least on the posters, had to be changed to avoid litigious media outlets. “The posters didn’t say the exact title of the show. But, but,” he says emphatically, “The book has been republished and I’d like to think I had a bit to do with it…I mean I went on the telly and sang about their book,” he continues in disbelief, “I haven’t even been sent a thank you or a free copy or anything. So hopefully they read this and send me one.” Perhaps because he is a rather

innocuous character – a librarian who sings about cakes – Earl has largely managed to avoid the dreaded heckler, although he does admit, “I did a footy club room once and someone yelled out, ‘You’re not Peter Daicos!’ which was a weird heckle…I had nothing to come back with because I was just like, ‘Well no, I’m not Peter Daicos,’ he pauses, ‘Swell observation’.” Having quit his day job as a librarian to focus on full-time comedy Earl is trialling his new show in Melbourne before hitting the festival circuit. But any expectations that the guitarslinging comic might get up to some rock-star like shenanigans whilst on tour are quickly dashed; The Wiggles are apparently more rock’n’roll than Josh Earl. “I did a big tour with the comedy festival all through Queensland and WA last year,” Earl says. “We stayed in the same hotel as The Wiggles, and the next morning The Wiggles were out and they had their massive entourage just making so much noise and throwing cans about…So Dorothy the Dinosaur and whoever else, they were still drunk,” he says, sounding shocked, “and then there were five comics and our crew and we were all nice and well behaved. So yeah, The Wiggles rock out more than the comics I know do. It is all rock’n’roll for The Wiggles.” WHAT: Josh Earl’s Love Songs And Dedications WHERE & WHEN: Visy Theatre until Sunday Mar 13



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You’ll excuse Stephen Grant if he sounds a little flustered, Australia. He does love you – but you do confuse the hell out of him. “I see people walking around going ‘Aw, 22 degrees’ with a frown on their face!” he says from Adelaide, where he’s performing at the Fringe. “If it was 22 back home we’d be having a picnic on the roof. And the food here is a bit American, isn’t it? What they’ve done to the humble schnitzel, don’t tell the Austrians – they invented it 200 years ago because they thought it’d be nice to have some chicken with a light dusting of breadcrumbs on the outside, but here in Australia it’s like roadkill on a plate. It’s frightening. How you can eat it and live past 40 is a mystery to me. And ham, cheese, and tomato on top – halfway through the schnitzel someone got confused and thought it was a pizza!” The parmigiana might, quite literally, be a bit hard for the Brighton man to stomach but he’s mightily impressed by the response of crowds to his comedy here. He’s travelling with Gordon Southern and John Robbins, his cohorts on the always-impressive Best of the Edinburgh Fest comedy triple-bill. So far he’s been having a ball but is noticing some differences to UK crowds.


“In the UK and Ireland, stand-up can be a lot more subtle, you can try to hide the jokes,” he muses. “Australian audiences are just as bright and just as savvy when it comes to the language but they like their jokes a bit more signposted. More people here do much more direct jobs than back home – postmen, delivery men, roofers, tilers, carpenters – they’re not just sitting around in offices taking the piss and looking for subtle ways of insulting their colleagues. I think that reflects on the comedy here, it’s a bit more in-your-face whereas in Britain it’s borne of 50 years of trying to insult your friends without them realising.” Grant has a residency at the famed Komedia comedy club in Brighton, every Sunday night, and recently won the Chortle Award for the best comedy compere in the UK, so you can imagine he knows a few things about bantering with the audience.

However, Australia, you’ve managed to throw him a googly yet again. “I’m learning every day here,” he says. “The other night I had someone in the crowd say his job was a ‘leado’. Any idea what that is? He’s the person who puts lead lining around stained glass windows. What? And the thing about it was, he said ‘leado’ and not a single person in the audience said ‘What?’. I mean, come on. You can’t abbreviate a job that specific, surely. There’s no financial services manager in the UK going ‘I’m a fino’. It’s a different world.” The big question, of course, is whether this cultural odyssey has been fertile ground for new material to take back to Brighton. Grant is decidedly undecided on that. “I already have about three minutes of observation jokes about being in Australia but it’s the opposite of fresh fruit – I think you have to leave jokes about Australia at the border. And if you do smuggle them through they might be a bit over-ripe when they get there.” WHAT: Bulmer’s Best of the Edinburgh Fest WHERE & WHEN: Visy Theatre, Brisbane Powerhouse Tuesday Mar 22 to Sunday Mar 27

Hannah Gadsby is a Tasmanian lesbian, not that comedians need labels, but this is quite a good one (and it’s got a strange kind of rhyming thing, which is also a bit neat). A bad Dr Seuss rhyme? Maybe not. Okay, so that was quite a crappy introduction, a bit awkward, forced, slightly embarrassing and unnecessary, but such small talk (or small writing, in this case), is the theme of Gadsby’s new show, Mrs Chuckles. Let’s just say that just because you’re a comedian, it doesn’t mean that you always excel at, or enjoy, making the small talk anywhere other than onstage. “Essentially the show’s about making conversation, making small talk, engaging people when you’re in a social situation,” she says. Pausing for a moment, Gadsby adds with a warm drawl: “Mrs Chuckles is pretty much about someone who looks displeased, and I have a habit of looking displeased. It’s not necessarily a true reflection of what’s going on in my head, but it is something I have to admit I have.” Small talk must be a particular minefield for a comedian, as a social situation for a professional funny bugger would no doubt include drunken attendees expecting the odd

with rare speed (perhaps reassuring herself as much as the potential audience). “Having said that, often the show goes to a new and interesting level if other people get amongst it. I’ll be throwing some questions out there but it won’t matter if people answer them or now.” So, dear reader, you may comfortably sit in the front row, secure in the knowledge it’s pretty unlikely you’ll get picked on. freebie live show. Is that what got Mrs Chuckles going – other people’s expectations that Gadbsy should be funny all the time at any occasion? “Yeah, but people are often disappointed with me; I’m not a great one for performing if I’m not in the mood,” she admits. “So I know I’ve left a number of people after a social situation who’ve thought, ‘Wow, I’ve met that Hannah and she’s not… funny…’ And they’d be right. “But when I feel on form I’ll give it away for free. But I’m moody, let’s face it.” Given that small talk is often a dialogue, this writer has to make sure whether or not audience participation is needed. Will Gadbsy be needing someone to small talk with? “No, the show will be fine without… I have written a show,” she says

For those new to Gadsby, this writer can highly recommend her timing as much as her content, which makes the live performance even more impressive. “I have so many filters between my brain and my mouth that I think I come across as quite slow, not all of it’s helpful or intelligent, but once it comes out it’s been through quite a bit,” she says modestly. “I like a bit of silence, I think a bit of dead air can add to a punchline, it adds to the tension.” Of course this is delivered with a slowness that almost begs this interviewer to interrupt, but of course, the anticipation is what makes the payoff so much better. WHAT: Hannah Gadsby: Mrs Chuckles WHERE & WHEN: Visy Theatre, Brisbane Powerhouse Tuesday Mar 15 to Sunday Mar 20

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THE POWER OF BEING DRIVEN WITH THE BRISBANE COMEDY FESTIVAL THIS YEAR HERALDING THE DEBUT OF HIS FIRST EVER SOLO SHOW, LOCAL COMEDIAN DAMIEN POWER IS POISED AT THE CUSP OF FULFILLING A DREAM. IN THE CALM BEFORE THE ROARING LAUGHTER, HE TALKS WITH SAM HOBSON ABOUT HIS LOVE FOR THE CRAFT. The funny thing is, Damien Power’s a pretty serious guy. There’s noise on the line like he’s stepped outside to talk by a busy highway, and his voice is strained. You imagine the hand not holding his phone probably cups his other ear as the cars pass; his eyes squinting at the sudden brightness of the midday sun. On the back of a hectic morning working, Power’s rushed. After being informed he’s in fact the IT manager for a large Gold Coast post-production company, it’s suddenly an awkward thing to ask him questions so detached from his current reality. Eclipsing that, and there’s something of a naïve disappointment in discovering things aren’t always wisecracks with comedians – that they too have real lives. “I’ve had an interest in performing since I was a kid, and in my early 20s I decided that I would go and study acting; just to see what it was about,” he says. Power talks at length about exorcising that early itch that now looks to separate his normal life into one more dominated by his alternate career. “I started doing Theatre Sports as a [tertiary] subject, and started performing that, and improv around Brisbane in pubs,


it, and there are a lot of comedians who I’ve watched, and studied – they’re influences on me for sure. The big ones? They’re probably Bill Hicks, Ricky Gervais, and Richard Prior, but also some more obscure, alternative comedians more recently.”

and all those sort of places. I met a lot of stand-ups, and thought, ‘this is the next thing to do, I guess.’” There’s an offhand casualness to the way he recounts this. After a considerable pause – in which he perhaps feels the need to sell things a little stronger – he yawns the story of his of journey into a conclusion. “So I tried it, and it was a pretty big rush, and I guess I just didn’t turn back from that.” Starting with the intentions of becoming an actor, then, it’s interesting to hear of how his sensibilities have shifted to embody something of the practice’s history. “Now that I’ve been doing it for a while, I’ve really got into the craft of

Happy to sing the virtues of a newfound muse, he continues: “There’s a guy – Stewart Lee – in England, who’s part of the alternative comedy scene over there, and he released a book with all of his material in it. It breaks down his stuff, and why he does every joke, and I read that recently, and it was a really big eye-opener.” Whether this study has any bearing on his new show Driven, of course remains to be seen. From all early accounts, and despite the slow tone of this interview, Damien Power’s the real thing – he’s good comedy. “It’s something I’ve always wanted to do,” he concludes. “I think I’ve only started to get the ability to actually do it now.” WHAT: Damien Power: Driven WHERE & WHEN: Graffiti Room, Brisbane Powerhouse Tuesday Mar 8 to Sunday Mar 13


“Proof that laughter really is the best medicine.”





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fox in the the snow presents “Jaw achingly funny - there is no better way to describe it. His material is sharp, his take on Australian audiences generous as much as demeaning and his status as one of the world’s best comedians unquestionable” Sunday Herald Sun




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FOR THOSE ABOUT TO LAUGH FROM HEAVY METAL DRUMMER TO STAND-UP COMEDIAN, EXPAT AUSSIE STEVE HUGHES HAS LED ONE HELL OF A LIFE, AND HE’S COMING HOME TO TELL US ALL ABOUT IT. BAZ MCALISTER GETS THE SKINNY FROM THE EX-SKINSMAN. It might seem an odd career path – as Sydneysider Steve Hughes was making it in the seedier side of the underground metal scene, he dropped the sticks and picked up the mic to become a stand-up comedian in the mid-90s. Some years after that he and high-tailed it to Manchester, England to expand his career.

“Australia lacks in population, so there is limited work for creative endeavour,” he says of the move. “It’s this huge continent with no one in it. I was in Mumbai the other day, a city of 24 million people, and I got to Australia and a mate said ‘It’s getting crowded here now.’ You have no idea! I’ll take you to Oxford St tube station

on a fuckin’ Monday and I’ll show you a fuckin’ queue, mate.” Hughes is still running on adrenaline from a gig in a small, packed bar in Antwerp. He’s been in the country to support a mate of his, Alex Agnew, “the biggest comic in Belgium”, for a run of five massive arena shows. “It’s this 12,000-seat sports arena,

where Iron Maiden played, and it’s fucking outrageous!” he says. “It’s daunting. Firstly it’s in a foreign language and secondly they don’t know who the fuck I am, and it’s like, fucking hell – I’ve just come from Blacktown and now I’m standing in front of 12,000 Belgians! Coming back to do gigs in Oz it’ll be a joy to work in front of 60 people again,” he says with a laugh. For the arena gigs, the sound man played Hughes on to AC/DC’s For Those About To Rock, which he says did bring back a bit of nostalgia for his days in bands. “I was like ‘I’d love to play this here!’. It must be outrageous being those guys. They must get fucking pumped up. No wonder Angus Young can still run around like that at sixtyfuckin’-five. But yeah, I just recorded a solo album, I’ve been teaching myself guitar over the last few years. I got back together with a guy I used to be in the band Naxzul with, and

he engineered this six-track album. After ten years in England doing comedy I just thought ‘I’ve gotta play some music’. It just doesn’t leave you.” Hughes made his big homecoming last year at Sydney and Melbourne Comedy Festivals and this year he’s debuting in Brisbane, as well. “I’ve gigged near the Russian border in Finland and I’ve still never gigged in Queensland,” he laughs. “Fucking hell! But I’m really looking forward to getting back there. I find Melbourne a particularly challenging audience, and I don’t mind telling them that. However, Sydney has the tang of violence in the air, it’s got a bit of grit. People with a bit of grit laugh better! I’ve gigged in Belfast – it’s fuckin’ fun! When you’ve experienced a

bit of drama, you understand the need for comedy. “But I’m a bit worried by all the American arse-licking and safety and security creeping in to Australia. Some of the things they’ve brought in in Sydney, I couldn’t believe it! Not selling me a straight spirit after midnight? Refusing to serve men at the cricket because they have sunglasses on and you can’t see if they’re drunk? What the fuck is this?” If there’s anyone who can set these wowsers straight, it’s a man like Steve Hughes. WHAT: Steve Hughes: Heavy Metal Comedy WHERE & WHEN: Turbine Studio, Brisbane Powerhouse Tuesday Mar 8 to Sunday Mar 13

IT’S NOT EASY BEING LEAN BEANPOLE COMEDIAN SAMMY J IS ON THE COMEDY FEST CIRCUIT WITH TWO DISTINCT SHOWS THIS YEAR – LEAVING PUPPET COLLABORATOR RANDY DOWN SOUTH, IN BRISBANE HE’LL BE IN SOLO CONFESSIONAL SONG MODE, AS HE TELLS BAZ MCALISTER. happens after you die, which he covers in the song Delete. “Delete is about the fact that I don’t have any photo albums, my photos are all digital, so when I die my grandkids can just walk into my room and press delete on my computer and that’ll be it,” he says.

Sammy J and his partnerin-comedy Heath “Randy” McIvor have written a foul-mouthed, macabre new ‘Sammy J and Randy’ sitcomstyle show for the comedy festival circuit this year – Bin Night, the follow-up to last year’s Brisbane Comedy Festival hit Ricketts Lane. We won’t be seeing that for a while though – Sammy says he hopes to bring it to Brisbane later in the year – but for this Comedy Festival show he’s dialling things back to his roots and doing Skinny Man, Modern World. “It’s my new solo show, which I did in Edinburgh last year,” he says of Skinny Man, which got rave reviews from the Scottish capital after its run at the biggest festival in the world. “This is something I’ve wanted to do for a while, which is tell stories – tell real stories on stage, which I’d never done until last year. I’ve always had either the full theatre production thing going on with Heath, or in my own shows the song-anddance man veneer up there. This was a chance to tell the stories I wanted to tell, and the songs are a bit different to my previous work in that they’re stories from my life, too.” The songs consist of Sammy’s whimsical musings on the big themes – like what


Beginning with an incident on Sammy’s school bus in the last two weeks of school, the story winds its way through various personal anecdotes to a terrifying experience he had at the Adelaide Fringe last year. “After one of my shows, this crazed, drunk punter stormed backstage and put me on my knees and threatened to kill me because I’d flirted with his wife during the show,” he says. “It was while the car race was on, the Clipsal 500, when the streets of Adelaide become a seething hotbed of racism and testosterone – two things I pride myself on lacking. So yeah, it’s quite a dramatic narrative arc.” Confessional-style comedy has never been Sammy’s thing, really, but he says he’s really been pleasantly surprised by the reactions the show is getting. “I’ve never been a fan of the ‘comedy as therapy’ model, it’s never been my thing, but what I enjoy is the fact that people know it’s a real story and it’s not like things of mine I’ve said in the past. It’s had a lovely reaction. It was a bit of a risk but people took to it. Folks are willing to come on a different journey with this one. With my stuff, whether it’s working with Heath or alone, it’s all about the jokes. I’ve always had the same sense of humour, I’ve always found the same things funny – it’s just about finding different ways of serving it up.” WHAT: Sammy J: Skinny Man, Modern World WHERE & WHEN: Rooftop Terrace, Brisbane Powerhouse Tuesday Mar 22 to Friday Mar 25



ROCKETSMITHS NAME/ROLE IN BAND: Dom – singer and guitarist


We’ve been together for about five years in different formations. First we were The Citizens, then we were The John Citizens and finally we got a new drummer and became Rocketsmiths, which was a name which unintentionally rhymed with the name of the drummer who we had just kicked out.


The four of us up the front all went to school together. Brenty (drums) used to work with Dan stacking shelves at Target. When we started talking about getting a new drummer Dan brought up this dopey guy who he worked with. We practiced with him once and it was sexy love at first sight (sound?).


Snowman’s first album, Archie Bronson Outfit, Special Patrol from Adelaide or anything by The Mess Hall or The Drones.


Isn’t the eternal question for every dickhead playing in a band? I would say I would rather be able to pay my bills by playing music but be respected for what I did. That’s a copout answer I know. Okay fuck it, give me the money.


The Gin Club for their collective-ness and great fucking songs. SixFtHick and The Grates for their live shows. Powderfinger for the way they split up everything totally equally. Custard for writing some of the best Brisbane songs ever written. And of course, The Go-Betweens, who could forget The Go-Betweens?


A huge part. Living in Brisbane feels like a very unique thing. Half metropolitan city, half big country town. You can’t go 20m without

seeing a friend, an enemy or someone who reminds you why this town can either be totally fucking awesome or absolutely incredibly shit.


Make outs. Once you get a good look at our band, ANYTHING looks better than that.


Basketball. Cause there’s five of us and all these motherfuckers can DUNK*. (*may not be true)


Breaking up. Not practicing. Not songwriting. Talking to each other about things other than gigs, set lists, records or the band. Will we have anything to talk about? ONLY YOU CAN ANSWER THAT?!!?! Rocketsmiths play their fi nal ever show at The Zoo on Friday Mar 4. Photo by ALEX GILLIES.




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 MGMT: Beach Hotel, Byron Bay Mar 3 JOANNA NEWSOM: The Tivoli Mar 4 THE CHEMICAL BROTHERS: Riverstage Mar 4 MICKEY AVALON: Coolangatta Hotel Mar 5 MONARCH: The Hi-Fi Mar 5 RYAN FRANCESCONI: Judith Wright Ctr Mar 5 BELLE & SEBASTIAN: The Tivoli Mar 7 WAVVES: The Zoo Mar 8 OMAR SOULEYMAN: The Hi-Fi Mar 9 THE HOLD STEADY: The Zoo Mar 9 BEST COAST: Woodland Mar 10 EDDIE VEDDER: QPAC Mar 10 & 12 JUSTIN TOWNES EARLE: Step Inn Mar 10, Joe’s Waterhole Mar 11 THE CLEAN: The Zoo Mar 10 JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS: QPAC Mar 11 MOUNT KIMBIE: Barsoma Mar 11 SWANS: The Hi-Fi Mar 11 THE BESNARD LAKES: The Zoo Mar 11 D.O.A.: Prince of Wales Mar 12, Shed 5 Mar 13 DONAVON FRANKENREITER: The Zoo Mar 14, Coolangatta Hotel Mar 15, Beach Hotel Byron Bay Mar 16 STONE TEMPLE PILOTS: Riverstage Mar 23 FINNTROLL: The Hi-Fi Mar 24 SANTANA: BEC Mar 24 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 DEAD KENNEDYS: The Hi-Fi Apr 7 STAR FUCKING HIPSTERS, AC4: The Zoo Apr 7 CITY AND COLOUR: The Tivoli Apr 8 GOOD CHARLOTTE: BEC Apr 8 BEN OTTEWELL: The Zoo Apr 9 JIMMY EAT WORLD: The Tivoli Apr 9 REGGIE WATTS: The Tivoli Apr 12 BONE THUGS N HARMONY: Fitzy’s Apr 15, Shooters Nightclub Apr 19 FRANK TURNER: Rosie’s Apr 16 HORRORPOPS: The Hi-Fi Apr 23 INDIGO GIRLS: QPAC Apr 26 HERBIE HANCOCK: QPAC Apr 28 HUGH CORNELL: The Hi-Fi Apr 29, Kings Beach Tavern Apr 30, Caxton St May 1, Coolangatta Hotel May 1 DISTURBED: BEC Apr 30 ESCAPE THE FATE: The Tivoli May 1 HOUSE OF PAIN: The Hi-Fi May 2, Coolangatta Hotel May 5 THE GO! TEAM: The Zoo May 3 THE WOMBATS: The Tivoli May 3 UNKLE: The Hi-Fi May 3 DATAROCK: The Zoo May 4 KYUSS: Coolangatta Hotel May 4, The Tivoli May 6 THE DRUMS: The Hi-Fi May 4 AGAINST ME!: The Hi-Fi May 5 DARWIN DEEZ: The Zoo May 5 KATY PERRY: BEC May 5 & 15 QUIET RIOT: The Tivoli May 7 ERIC BIBB: Brisbane Powerhouse May 10, The J May 11, Soundlounge May 13 ALESTORM: The Hi-Fi May 12 GARY NUMAN: The Tivoli May 12 SUICIDAL TENDENCIES: Coolangatta Hotel May 12, The Hi-Fi May 13 A DAY TO REMEMBER: The Tivoli May 15, Coolangatta Hotel May 17 BEN FOLDS: QPAC May 17 JOE BONAMASSA: The Tivoli May 21 THE HAUNTED: The Hi-Fi May 26 PROPAGANDHI: Coolangatta Hotel May




Remember the floods? How bad it was, and how you wished there was something that you could do to help those less fortunate than yourself? Remember how much you love live music and supporting our awesome local music scene? Well here’s another golden opportunity to kill two birds with one stone and raise money for the Premier’s Flood Appeal (and the Royal Children’s Hospital to boot) while having an amazing Sunday afternoon of great music and family entertainment – the third annual Friends Of Folk Festival! Bands performing on the day include our own legendary Robert Forster, pictured, Don Walker, The Gin Club, Andrew Morris, Asa Broomhall, Emma Dean, Spacifi x, Tara Simmons, The Good Ship as well as many more fine acts. Plus there’s a slew of comedians, fine artists, dance displays and short films, making this a great day out for anyone regardless of your inclinations. It all happens at the beautiful Old Museum this Sunday between 11am-8pm – check out for full details and ticketing information, plus look for the map and times on p53 of the Time Off you’re currently holding in your hands. Go and get folked!

Dimmu Borgir @ Soundwave by Alex Gillies

PRESENTS THE WAIFS: Nambour Civic Centre Mar 2, The Tivoli Mar 3 THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4 KARAVAN GYPSY MUSIC FESTIVAL: The Hi-Fi Mar 4 IN-SURGE FESTIVAL: Greenslopes Bowls Club Mar 5 FRIENDS OF FOLK FESTIVAL: Old Museum Mar 6 WAVVES: The Zoo Mar 8 THE HOLD STEADY: The Zoo Mar 9 THE CLEAN: The Zoo Mar 10 BALL PARK MUSIC, EAGLE AND THE WORM, WE SAY BAMBOULEE: The Loft Mar 11, The Zoo Mar 12 STONE TEMPLE PILOTS: Brisbane Riverstage Mar 23 RIC’S BIG BACKYARD FESTIVAL: Ric’s Mar 26 HALFWAY & KNIEVEL: The Zoo Apr 2 THE HOLIDAYS: Elsewhere Apr 14, The Zoo Apr 15, Great Northern Hotel Apr 16 CHILDREN COLLIDE: The Zoo Apr 20 BLUESFEST 2011: Byron Bay Apr 21-25 HUGH CORNWELL: The HiFi Apr 29, King’s Beach Tavern Apr 30, Coolangatta Hotel May 1 GROOVIN’ THE MOO 2011: Townsville Cricket Grounds May 1 CAXTON STREET SEAFOOD AND WINE FESTIVAL: Caxton Street May 1 HOUSE OF PAIN: The Hi-Fi May 2 THE WOMBATS: The Tivoli May 3 UNKLE: The Hi-Fi May 3 DATAROCK: The Zoo May 4 DARWIN DEEZ: The Zoo May 5 KYUSS LIVES: Coolangatta Hotel May 4, The Tivoli May 6 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Brisbane Riverstage Jun 10, Lake Kawana Community Centre Jun 11 Welsh trio Feeder amble on to stage to a Wild West soundtrack and quickly gain attention with the quick one-two of Home and Insomnia. Come Back Around and Just A Day sound as good as their studio versions, and set-closer, a note-perfect rendition of Nirvana’s Breed earns the band its most rapturous response.



A beautiful day greets hordes of black-clad punters, eager to get in early to celebrate the now annual paean to all things dark and heavy. With as much force as expected, Nonpoint throw everything they can out towards the mini-pit of dedicated followers. Miracle hits all the right notes yet their outdated style continues to scream for a new musical transition to gather a larger audience.

out the new single I.D.G.A.F. and previous release Down, seemingly pleasing the few present. It’s a strange concept, even stranger to behold, but dual 90s-punk powerhouses The Ataris and MxPx (or more accurately, three Ataris and Mike Herrera) make the best of grim touring situations by joining forces and delivering equal dollops of their respective songs, spending the first half of the set dancing around Ataris stalwarts before delving into MxPx’s back catalogue. Both bands’ contributions to the set show simple threechord angst rock can actually vastly improve with age.

Local main stage openers Tria Mera are brutal and unforgiving with their relentless pummelling. Providing a nice mixture of traditional thrash and speed metal but infusing it with modern hard- and grindcore elements, the guitar solos of Flying V-equipped Juz Cook and Ian Konrad are technical and energetic while the band remain tight through crunching breakdowns.

The Starting Line frontman Kenny Vasoli (looking weedy) proves he has come into his own as a live performer, effortlessly navigating the harsher vocal terrain of later work like Direction – providing a nice shake-up to the otherwise solid mix of super-cheery jump-rock – yet still able to deliver the crisp and clean style epitomised by energetic closer Best Of Me.

Friends Of The Enemy share their moniker with an old No Use For a Name tune and a couple of songs in to their set, it’s clear that’s not all they share, with the band delivering a frenetic, catchy and polished set of 90s So-Cal influenced punk rock.

New York’s Bayside set out to prove why they’re one of the strongest alt-rock bands in the world. The band’s sound is full and voluminous, complemented by the meaty vocal work of Anthony Raneri. He foibles a few of the higher notes, but generally is on form and delights through the relatively recent (Carry On, Duality), high-octane earliness (Devotion & Desire), and even a cover of Weezer favourite My Name Is Jonas.

Cristofer Ingle or Never Shout Never is a strange addition to Soundwave, but he proves he knows how to hold a crowd. From the slender 60s pop sound of Love Is Our Weapon to the country twang of On The Brightside, Ingle’s relaxed approach on stage rubs off on the crowd as more people are swayed by the familiar sounds. York metalcore outfit Asking Alexandria have drawn are impressive crowd and they’re living up to expectations. Not The American Average and vocalist Danny Worsnop’s death growl breakdowns and Ben Bruce’s destructive riffs all build a firestorm of energy for A Prophecy that culminates in a wall of death. From Denver, Colorado, Breathe Carolina fill one of the earliest slots, at the farthest stage from the action. The repercussions are evident in the minimal crowd, but a short set from this electronic pop rock duo rolls

Texan metallers The Sword have one thing on their mind, and that is making people rock out as hard as they can. Effortlessly passing through opener Acheron/ Unearthing The Orb to name-maker Freya right through to the wall-of-distortion climax of Winter’s Wolves, the band drops deep metal grooves that suffer only from a lack of life in their guitar tones. There is barely room to breathe, much less move, as Millencolin endear themselves not only through pumped-up renditions of favourites like Fox and Penguins & Polarbears but through heartfelt sentiment about Australia, its wildlife and food products, which strengthens the innate urge to hug someone by the time The Ballad rolls around.

Alaskan renegades 36 Crazyfists are incessant, the open palm of bear-like frontman Brock Lidlow rallying troops and directing the chaos both on the stage and in the pit. Pulling a collection of tracks from their deep back catalogue, classics like I’ ll Go Until My Heart Stops and At The End Of August comfortably rub shoulders with recent cuts like We Gave It Hell and Reviver and the band seem vibed on the massive crowd response. Sevendust burst into opener Splinter and it immediately becomes clear the band are focusing on heavier elements more then they did in their heyday. Black and Forever are received well but after serving up a medley of Metallica’s Master Of Puppets and Pantera’s Walk they have the crowd eating out of their hands. The outdoor setting is one that sees dainty British quintet This Town Needs Guns in a ‘fish out of water’ situation. Despite being far removed from their usual more intimate settings, the band cruises through their emotional math-rock with the utmost precision. The frantic guitars of perhaps their most popular song 26 Is Dancier Than 4 are saved right until the very end. Hardcore group Trash Talk waste no time before getting brutal, with bassist Spencer Pollard spitting rage over the furious doom-inspired Hash Wednesday. Frontman Lee Spielman doesn’t seem to care much for the stage, spending the band’s set kicking up dust amongst the pit. The band finishes with Birth Plague Die and the audience hold him high above their heads. Sugary like a toothache, Sum 41 have been around an eternity but their brand of snotty punk remains full of life. The Hell Song and Still Waiting are both ripped through enthusiastically and frontman Derek Whibley shows the exuberance of a teenager. But as consistent as the set is, it’s the closing double of In Too Deep and Fat Lip that will keep fans regaling this set for a while yet. The four members of We The Kings step up and make quick work of shamelessly stirring young libidos with their catchy brand of pop-punk. Singles Heaven Can’t Wait and We’ ll Be A Dream shake things up and Check Yes Juliet leaves young fans seeming blissfully pacified. With opener Nod Scene, stoner gods Monster Magnet come on like a peyote trip under a harsh desert sun. Sporting a leather jacket, singer Dave Wyndorf is unafraid to sweat it out as he drives Tractor and Dopes To Infinity into the hearts of the small crowd of devotees. The band are in form and lead guitarist Garret Sweeney delivers the goods.



TOUR GUIDE 28, The Hi-Fi May 29 THE DANDY WARHOLS: The Tivoli May 31 NEVERMORE: The Hi-Fi Jun 9 RISE AGAINST: BEC Jul 18


THE WAIFS: Nambour Civic Ctr Mar 2, The Tivoli Mar 3 KATIE NOONAN AND THE CAPTAINS: Judith Wright Ctr Mar 4 THE JOHN STEEL SINGERS, JONATHAN BOULET: Great Northern Mar 9, Spotted Cow Mar 10, Kings Beach Tavern Mar 11, The Hi-Fi Mar 12 BALL PARK MUSIC, EAGLE & THE WORM: The Loft Mar 11, The Zoo Mar 12 HARD-ONS: Woodland Mar 11 DEEZ NUTS: Rosie’s Mar 18 THE BEAUTIFUL GIRLS: The Hi-Fi Mar 18 TRIAL KENNEDY: Step Inn Mar 18 ADALITA: Great Northern Mar 24, Old Museum Mar 25, Miami Tavern Mar 26 DEAD LETTER CIRCUS: The Tivoli Mar 25 GARETH LIDDIARD: The Zoo Mar 26 OH MERCY: Neverland Mar 31, Alhambra Lounge Apr 1 SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8 PARADES: Woodland Apr 9 BRITISH INDIA: The Zoo Apr 14, Coolangatta Hotel Apr 15, Great Northern Apr 24, Kings Beach Caloundra Apr 25 CHILDREN COLLIDE: The Zoo Apr 20 HOLLY THROSBY: Brisbane Powerhouse Apr 29 – 30 WASHINGTON: The Tivoli May 4 FRENZAL RHOMB: Coolangatta Hotel May 6, The Hi-Fi May 7 BIRDS OF TOKYO: The Tivoli May 11, Lake Kawana Community Ctr May 12 PARKWAY DRIVE: Riverstage May 18, High School Byron Bay May 19 CUT COPY: The Tivoli May 19 ARCHITECTURE IN HELSINKI: The Hi-Fi May 27 JEBEDIAH: The Hi-Fi Jun 3, Irish Club Toowoomba Jun 4 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Riverstage Jun 10, Lake Kawana Community Ctr Jun 11




DevilDriver have standards from which they rarely stray. The musicianship is precise, the well-known items present – Clouds Over California and I Could Care Less prompting fists in the air at full throttle. Dez Fafara is as authoritative and as energetic as he’s always been, commanding respect from the masses in attendance until the very last blast beat rings out.

Murderdolls @ Soundwave by Stephen Booth

It’s a sad state of affairs looking into the small crowd Dommin have pulled, nonetheless they want to entertain their fans as Kristofer Dommin arches over his mic stand to unveil My Heart, Your Hands and Closure. The four seem appreciative to be playing in the country regardless of crowd size, and while few know their songs, their cover of Cutting Crew’s (I Just) Died In Your Arms seems to be the perfect ice breaker.

Brutal LA Hardcore from the masters, Terror start a riot from the outset which sees dust flying into the air as much as the punters launching from the front of stage. Scott Vogel is his usual dominant self, spitting venom down the microphone and sending out some accessible call and response, while the raging drums of Nick Jett drive home the power of the Californians.

the rest of the band struggling to keep up as they smash through a stream of classics like Mommy’s Little Monster, Ball And Chain and Story Of My Life to a massive crowd of delighted onlookers. It seems to have finished all too quickly as they complete their allotted time with a rollicking cover of Ring of Fire. Awesome stuff.

Shortly into All That Remains’ set, the band inject their most recent commercial composition into the mix with Hold On. Thankfully past this point their choices become more respectable as a heavy metal fest kicks off with material from their The Fall Of Ideals album. The line between integrity and label demands become apparent as vocalist Philip Labonte reluctantly shows their softer side with Forever In Your Hands declaring that, “This is for everyone with a vagina!”

Primus, reunited with drummer Jay Lane, launch straight into Pudding Time and Those Damn BlueCollar Tweakers, before treating the crowd to a new and oddball-as-ever tune, The Last Salmon Man. The remainder of their brief set, unceremoniously cut short due to Stone Sour playing for longer than their allotted time, includes favourites Jerry Was A Race Car Driver, John The Fisherman and Harold Of The Rocks.

Stone Sour have a packed audience but listening to the half-baked rock, you realise their following is just a by-product of their Slipknot tie-ins. Made Of Scars highlights the chemistry between Corey Taylor and Jim Root while Get Inside takes fans back to their debut. Taylor picks up a guitar to provide depth to Through Glass before they finish with 30/30 – 150. A sweaty Murderdolls kick into Homicide Drive as the afternoon sun blazes upon the many PVC suits in the crowd. Wednesday 13 and Joey Jordison are putting on a show to remember with dirty sneers and windmill headwork, they crash tackle Twist My Sister, Drug Me To Hell and 197666 with a tongue-in-cheek demeanour and ballsy stage presence. Blessthefall show a surprisingly large amount of children just how clichéd they can be, despite drawing a blurry line between post-hardcore and metalcore. Vocalist Beau Bokan and his meticulously-torn jeans stand poised above the audience, his hairstyle repeatedly being patted down while the guitarists bang their heads to yawn-inducing breakdowns in synchronised style. Orlando generic alt-rockers There For Tomorrow make pretty good use of the opportunity to net themselves some new fans. For the most part, it seems to work, their powerful, driving rock travelling nicely around frontman Maika Maile’s showboating, but it still does little to distract from the fact that the whole thing kind of plateaus early on dynamically speaking. It’s taken over 30 years for Californian legends Social Distortion to play in Australia, and frontman and mainstay Mike Ness wastes no time fucking around with pleasantries, kicking a superfluous fan offstage (the air type of fan, not the acolyte version) as he pummels into So Far Away. Ness is like a dervish,

It still is one of the greatest images in rock’n’roll to see Slash, leg on a foldback with his gold top Les Paul shining in the sun, and today he’s sharing tracks from all his catalogue, diving into Mean Bone, By The Sword and Sweet Child O’ Mine, all with Myles Kennedy on vocal duties. Seems Slash needs little of his former bandmates to prove he can still tear up a sharp rendition of Paradise City to close off. As soon as pop-punkers Every Avenue take to the stage, it’s clear singer David Strauchman is in a playful mood, before launching into Girl Like That. Despite the band’s cohesion, Strauchman struggles a little on some of the higher notes, but it hardly seems to matter, with the crowd lapping up songs such as Think Of You Later and Tell Me I’m A Wreck.

The Gaslight Anthem setlist is made up entirely of songs from their last two albums, with The ’59 Sound’s High Lonesome opening the set, followed by the title track from last year’s American Slang. Although the band only manages to fit in nine songs, there isn’t a dud amongst them. Here’s hoping they’re back soon to headline their own shows.

I See Stars’ mish-mash of styles seems to go over well with the young crowd, with Save The Cheerleader, Save The World earning a rapturous response. The band’s set wraps up with The Common Hours.

My Friends Over You, while Grushka surprisingly keeps his shirt on. The whole time.

The benefit of a quality sound increases the infectiousness of High On Fire as they soldier through a plethora of devastating riffs. The three-piece are tight and technically proficient throughout their fast paced set that includes favourites Frost Hammer, Turk and Snakes For The Divine. Bryce Avery and his band collectively known as The Rocket Summer are relatively easy listening, and despite their positive audience reaction seem to cover musical ground that is middle-of-the-road. Things get a little more interesting when Bryce’s hired musicians leave the stage in order for him to start a song from scratch, impressively looping live drums, keyboards and guitars one at a time before ruining it with some uninspired and meaningless ‘woah-ohs’ and ‘doo-wahs’. No theatrics are spared as intro Xibir marks the arrival of Dimmu Borgir’s first ever performance on Australia soil. The heavily-clad band take us back to the early days with Spellbound (By The Devil) before playing a string of current songs that include Dimmu Borgir, Gateways and The Serpentine Off ering. Their sound lacks the volume and clarity needed, however classics Puritania and Progenies Of The Great Apocalypse punch through hard enough to bring some level of satisfaction. “AUSTRALIA!” is the call Silverstein vocalist Shane Told sings out as the band prepare to swing through a set of stifled and unimaginative melodic hardcore, their new offering of Sacrifice proving there will be no change to their monotone structures. Chucking seizures from one corner of the stage to the next, these Canadians bounce in time to the sound of their own songs, while people stop and stare – most moving on. Dressed in team colours and running on-stage to the strains of Chariots Of Fire, pop-punk veterans New Found Glory defy expectation from myriad angles: the band’s energy – particularly from frontman Jordan Pundik and bassist Ian Grushka – implicitly demands performance in kind from the audience, garnering huge singalong support for favourites like All Downhill From Here, Dressed To Kill, Hit Or Miss and closing favourite

Given the degree of change throughout the history of Latin-influenced metal unit Ill Nino, no-one in the crowd is quite sure what to expect, and it’s not a great start as vocalist Christian Machado struggles to hold a note. As the issue is resolved, the group hit their stride with This Is War, God Is For The Dead and an awesome display of mixed percussion backing. Local lads The Amity Affliction destroy the afternoon slot with finesse and power. A Youngbloods heavy set, I Hate Hartley, H.M.A.S Lookback and Anchors draw attention to their balance of metallic, brutal beauty and catchy singalong’s while Ahren Stringer’s melody rich vocals more than give justice to Kate Bush with closing Pat Benatar cover Love Is A Battlefield. A small crowd bounds around the concrete as Veara dish out serving after serving of energised pop-punk. There is little contrast between songs but all members seem thrilled to be playing under the Australian sun and create a ball of enthusiasm that bounds back and forth from the band to their young fans. Sartorially elegant UK post-punks Gang Of Four are without doubt the surprise packet of this year’s Soundwave, withstanding the heat with ease and delivering an incredible set featuring material from across their 30-year career. Frontman Jon King bounds around the stage with the intensity of a man half his age, delivering his polemic with missionary zeal. Counterpoint Andy Gill is more stoic as he delivers his guitar bursts and dialogue, the rhythm section’s thick grooves proving to be the closest we get to dance music all day. Highlights are Anthrax and To Hell With Poverty, although in essence the whole set is an unabashed triumph. The metal stage is at fever pitch in anticipation for Slayer, who today have chosen to open with newer number World Painted Blood. Bassist and vocalist Tom Araya stands stiffly, his vocals often without the rage one might want to expect from these thrash metal gods. Fill-in guitarist Gary Holt displays excited levels of energy that completely overshadow those of the rest of the band, who make their way through 13 career spanning tracks including Mandatory Suicide and Raining Blood. Ohio angular rockers Foxy Shazam are one of the more refined bands on the bill but what they lack in decibels they more than make up for in quirks and gawky rock moves that makes their set a feast visually. Bombs Away opens proceedings and frontman Eric Sean Nally is immediately transformed into a rubber man, limbs flying maniacally while the foot stays on the gas through Rocketeer and Yes! Yes! Yes!. One Day As A Lion are taking no prisoners as they blast through new material from their upcoming LP, Zach De La Rocha sprinting and spitting his way across a Brisbane stage for the first time in well over a decade as he rifles out Ocean View, If You Fear Dying and Rockers with trademark aggression to the backing of mesmerising Jon Theodore’s beats. Pennywise: It’s fair to say the people in this crowd



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don’t go to political rallies and start talking about music so why do you intersperse every song with preachy rhetoric that sounds lifted from a schooldesk carving? New vocalist Zoli Téglás seems so promising before Every Single Day, Same Old Story, Fuck Authority – hell, everything except Bro Hymn – become opportunities for political discourse. New York punks H2O have their fans in a frenzy from the first note. They invite straight-edge fans onto the stage for the anthemic Still Here before sending them straight back out to whip up a thick dust cloud through Fairweather Friend. While the brothers Morse may be getting on in years, they retain their youth on stage with limitless energy, multiplied by a special guest appearance from Chad Gilbert for One Life, One Chance. Mad Caddies make the most of their time, squeezing in more than a dozen songs and amusing between-song banter. Opening with Backyard, the band plays a selection of songs from all of their albums, including Leavin’, No Hope, Monkeys, Road Rash and Mary Melody. Chuck Robertson’s

vocal range is impressive and his digs at Australia’s alcoholism go down a treat. The psychedelic tunes of Kylesa prove the perfect accompaniment to the setting sun. Though the vocals and guitars of Laura Pleasants seem louder than those of the other singer/guitarist Phillip Cope, the band plays an even selection of tracks. The speed of prior act Slayer appears to have had an influence on the band’s two drummers, though it does little to detract from their overall impact. Queens Of The Stone Age are flawless tonight. The sneering and swagger of Josh Homme is effortless, the band are wound watertight performance-wise and the sound and lightshow more than give justice to the songs. Sick Sick Sick, The Lost Art Of Keeping A Secret and Monsters In The Parasol are reeled off like pure sex while surprise inclusions like Tangled Up In Plaid and Mexicola chug with an intensity and drama that really feels dangerous and inspired. The intro line to Astro-Creep 2000 teases every White Zombie native prior to the arrival of Rob

Zombie. Deciding to deliver his solo material featuring Scum Of The Earth and Superbeast, it is only a matter of time before the guitar-swapping, stage-crawling John 5 releases the all-too-familiar guitar riffs of More Human Than Human and the much-anticipated Super-Charger Heaven. This band puts on the first real show of the night, featuring elaborate clothing, explosions and big screen animations through to the finale of Dragula. Bring Me The Horizon arrive bringing with them fierce vocals, fast-track beats and shallow guitar riffs – each track breeding insanity in the circle pit. The young and restless charge in unison, while demanding more fight music, Chelsea Smile satisfying a whole host of joyous hardcore campers. The Maine provide melodramatic tunes that see tears fly from the converted but don’t transcend to the casual listener. Following a formulated emo template, Inside Of You and Whoever She Is don’t stray into dangerous territory and the whole experience is watered down and lacking.

Social Distortion @ Soundwave by Silvana Macarone Despite expecting to see a Year Of The Black Rainbow-heavy set from prog stalwarts Coheed & Cambria only two songs from their latest make the cut. Instead, we’re treated to In Keeping Secrets Of Silent Earth: 3 – during which it’s apparent Claudio Sanchez’s delivery has gotten as polished as his singing pronunciation is ludicrous – poppy favourite A Favor House Atlantic and highlights The Camper Velourium III: Al The Killer and The Crowing before epically culminating in the wailing duelling guitar solos of Welcome Home. Melvins come out firing on all cylinders with two drummers, Dale Crover and Coady Willis, unleashing a percussive storm as the afro duo of Buzz Osbourne and Jared Warren go to town on their guitars. After less than a minute of madness Warren’s bass-amp head blows and the other three keep the brew stirring as he makes very quick work of replacing it and then progressing to The Water Glass, The Bloated Pope and The Talking Horse. The performance is one that could only come from such a band that has been pioneering exploratory rock for near on 30 years. Truly inspiring! As the rolling video transforms into Satellite 15... The Final Frontier, Iron Maiden emerge. The icons have never sounded better as vocalist Bruce Dickinson soars through 2 Minutes To Midnight, however as they continue to showcase their latest material and slower tracks, the crowd loses interest. Leading the charge through Fear Of The Dark, the red glowing eyes of a robotic Eddie can been seen preparing for Iron Maiden, but is never revealed for production faults. Although Running Free closes off another perfect performance from Iron Maiden, a lacklustre feeling flows across the crowd. Certified for teen consumption, The Blackout complement their name in their colour-coordinated apparel. Melody after scream after blasé lyric, this export from the UK reeks of dollar signs and a massmarketing budget. The short-stack crowd lap up this tame event with attentive ears and rapturous applause. The majority of Less Than Jake’s set is made up of songs from two standout albums Losing Streak and Hello Rockview, and the crowd couldn’t be happier. They open with Shinto and Sugar in Your Gas Tank and seem puzzled and gracious some of the crowd are missing Iron Maiden, declaring themselves “less talented but better looking”. Canadian prog-metal act Protest The Hero’s singer Rody Walker is in fine voice. Guitarists Luke Hoskin and Tim Millar’s synchronicity is impressive, while bassist Arif Mirabdolbaghi and drummer Moe Carlson provide an equally tight rhythmic backbone. Set highlights include Goddess Bound and Sequoia Throne. The sickly sweet pop-punk/emo/rock of Mayday Parade may be too much for some, but it has the teenage girls over at Stage 5 going wild for Jamie All Over and Kids In Love. Energetic and proficient as a live unit, they finish up to a treble-heavy uproar with Jersey. The Bronx discount the frustrations of waiting to headline a long hot festival. Hampered by initial sound issues, they unleash their catalogue of back-to-back classics – rarities Around The Horn and Strobe Life included. Hitting harder than some earlier material, new track Under The Rabbit displays a positive future. Struggling to ignite the pit due to sweltering heat, vocalist Matt Caughthran isn’t fazed as he joins the sporadic crowd surfing for History Stranglers.

WED 1 JUN // Coolangatta Hotel // GOLD COAST // 18+ THURS 2 JUN // Beach Hotel // BYRON BAY // 18+

FRI 3 JUN / The Zoo / BRISBANE / 18+ SAT 4 JUN // Princess Theatre // BRISBANE // AA (Not LIC)

It’s no secret Anberlin vocalist Stephen Christian has spent a fair amount of time attending Church. This is a notion that has clearly rubbed off in more ways than one, with wholesome statements between songs such as Paperthin Hymn and Godspeed reflecting a preacher in a disturbing fashion. Nevertheless, it’s an impressive spectacle, the band proving their status as a worthy headlining act. No-one can work out why washed-up alt-rockers Third Eye Blind are on this bill – is it nepotism? a bet gone wrong? a band name mixup? – and their vapid performance does little to alleviate concerns, their set a tortuous mix of pop waffle until they fire up ubiquitous 1997 hit Semi Charmed Life to a ragtag collection of people who really should know better. They throw in a new song as the crowd disappears after hearing the solitary hit, and those unlucky enough to hear the piano-based horror will never be the same again. An intimate crowd gathers to get a taste of the US post-hardcore sensations Polar Bear Club. They jam pack all that they can into the brief, passionate performance. Possibly the most punk performance of the day is delivered by Toronto hardcore exponents Fucked Up to a small but besotted crowd. Frontman Damian Abraham wastes no time joining his fans in the pit. where he spends the entire set, smashing everything he can get his hands on and flailing around like a madman whilst screaming out requests for a copy of local punks Razar’s impossibleto-find Task Force single – while his band deliver an unrelenting amalgam of pure punk rock force. As the massive horde of reprobates disappear into the darkness we think; ‘How the hell are Soundwave going to top this next year?”. MARK BERESFORD, BENNY DOYLE, SAM GILBERT, DAN JOHNSON, MITCH KNOX, KENADA QUINLAN, JAKE SUN, LOCHLAN WATT



TRIBUTE-A-RAMA Tribute-a-rama returns for 2011 bigger, better, and free-er than ever, with four huge, themed shows in the Triple-Zed carpark. Saturday Mar 12 is a tribute to the 80s featuring the Vaginabillies, Panacea, The 50 Bags, The Lovebuckles and D-Wizz. Saturday Mar 19 is a salute to our Local Legends with The Flangipanis, Ironside, Tape/Off, The Bollocks and Macho Grande. Saturday Apr 2 is the Ladies Of Rock featuring Midnight Creepers, Main Street Brats, The Purgatories, Hello Hokkaido and Legless and Saturday Apr 9 finishes it all off with a Tribute To TV, featuring the Kamikaze Thunderkats, Graveyard Rumble, Scott Mercer and the Cobweb Gallery and the River City Orchestra. Don’t miss this once in a lifetime chance to be a part of Brisbane music history in the making.

Best record you stole from your folks’ collection? I think I was about five when I used to steal my dads Survivor record and headphones and listen to Eye Of The Tiger. I thought they looked so tough in their leather jackets smoking cigarettes. First record you bought? My parents used to give me 50 cents for every maths sum i’d get right at school in grade 2 so I saved up and bought Poison’s Open Up And Say... Ahh! – I didn’t get many sums right after that. Record you put on when you’re really miserable? I don’t know, I just keep putting discs on till the misery goes away.

Record you put on when you bring someone home? When my GF and I have friends over we usually end up standing in the kitchen singing Rise Against, Cog, and when Brent used to drink, a lot of Bon Jovi . Although a friend of mine says Sisqo’s Thong Song works well with the ladies. Most surprising record in your collection? Baby Bash, I’m not even going to check what single it is, because it doesn’t matter it’s highly embarrassing. Last thing you bought/downloaded? I bought Bring Me The Horizon’s Suicide Season on disc, I don’t download because I love reading the liner notes. Jericco play Step Inn on Friday Mar 4

100 EPISODES OF THE BRISBANE MUSIC SHOW The Brisbane Music Show will host its 100th episode on Thursday Mar 3 from 8-10 PM on 102.1 FM. To celebrate this milestone, hosts Josh and Danielle have invited seven local bands/artists to play live in the studio. Artists featured on the night: Seja, D-Wizz 2.0, Inland Sea (Jeremy & Dani), Transvaal Diamond Syndicate, The Pugs Dead Riot, Ash Kerleigh. Each will perform one or two tracks each, and a recording of the performances will later available on CD. Prizes will be given away throughout the show to listeners and anyone who subscribes to the station. The Brisbane Music Show is fi lled with recent news, recent releases, upcoming gigs, band interviews and live acoustic sets from bands of all genres. If they can play an instrument, hum a tune and live in this wonderland of ours you’re bound to hear them on The Brisbane Music Show.

4ZZZ’S FEBRUARY/MARCH SUBSCRIBER INCENTIVE Subscribe during the months of February and March and go into the draw to win a hot pink electric guitar package that includes case, lead, strap, guitar and hot pink amp supplied by proud sub-discount outlet and business sponsor Browning Street Music.

GOT YOUR NUMBER They’ve already knocked off their fi rst Australian tour for 2011 and now local hardworking pop-punk wonders Numbers Radio are moving onto their next order of business, releasing their brand new single. Josephine is the next track to be lifted from their Final Day EP, another tune that shows off the band’s knack for punchy riff s and catchy hooks, and one that is best heard loud! If you’ve had the pleasure of seeing the band live then you’ll agree that they know how to stand and deliver when they hit the stage, and they will of course be doing just that when they launch the single with a big hometown show at X&Y Bar on Friday Mar 11. The band will have fellow locals Blonde On Blonde on board as the support act and punters can get tickets at the door for just $5.


Local indie-pop quartet Little Scout have finished up the recording of their debut album, which we will hopefully hear sooner rather than later, and though those lucky enough to be heading along to see Belle and Sebastian at The Tivoli on Monday night will likely get a sneak preview of some of their new material as the locals have been confirmed as the support act for the evening. We can’t think of a more suitable choice for the slot and it certainly makes for a very auspicious start to the year for the band who we’ll no doubt be hearing plenty more from before too long. Tickets for the show are still available from Ticketek for $79.90.


Nanna Nights are going swimmingly at The Hi-Fi’s Vinyl Bar so the organisers have gone ahead and booked a bunch more of them for the next couple of months, and there are some very cool local bands making appearances in this intimate environment very soon! Tonight you can see My Escapade, playing in ultra-relaxed mode, while hard working up-and-coming pop group The Baby Seal Club are adding to their already packed live schedule with a slot there on Wednesday Mar 16. These nights kick off nice and early with doors opening at 6pm and the bands playing sets at 7pm and 8pm; match this with board games, free entry and a general chilled out vibe and you have the recipe for one hell of a relaxed night fit for anyone over the age of 18.








“Punk has such a stigma attached to it now,” says Brennan. “As soon as you say you’re in a punk band everyone expects an American teenage voice and every song to be about girls. Don’t get me wrong; we’ve got songs about girls. The music still has major punk elements, but the difference does lie a lot with the vocals. During the recording of the EP I’d do a take and then say to the guys, ‘Did that sound American?’” Given the band’s penchant for experimentation, where might A Strobelight Summer’s sound go in the future? Brennan is open to most possibilities, although ‘screamo’ doesn’t seem to be one of them.


“Since the band started, we’ve wanted to keep the genre pretty loose, and try different elements of other styles. We each have such varying tastes in music, so it drives us to try different things. We can see ourselves getting a bit heavier definitely; it’s more suited to us, and so much better live. We’re starting to draw more influence from grunge and also southern metal, it’s brought more energy to the music, and before the EP recording, we re-wrote a few of our songs with that intention. Even though we’ll be getting heavier, I’m not too keen on screaming.”

“Touring with The Bride was no glamorous Hollywood TV show. We toured both bands, a manager (11 people) and towed a 16-foot trailer behind a 12-seater Toyota. On the way back from Melbourne the van overheated three times leaving us stranded on the side of the highway. Compared to our sardine can-sized van, car parks in Noosa and two person hotel rooms became luxury accommodation for 11. We were even chased by llamas in Mt Gambier and took an unforgettable detour on the Great Ocean Road. All in all it was definitely a tour we will never forget.”

So, do the band have anything special planned for the EP launch? They sure do. Unsuspecting punters might think they’ve wandered onto the set of a new Optus ad.

And for someone who’s never seen an In Hearts Wake live show, firstly what’s wrong with you, secondly, Taylor makes a heartfelt promise.

“Anyone who knows us is aware that we love animal suits, so we thought we’d make the launch free for anyone who decides to dress up in an animal suit. Hip hop hero Seven will be playing a set before us and he’s hinted that he may be doing his entire show in some sort of aquatic creature disguise...” WHO: A Strobelight Summer WHAT: The Big Deal (Independent) WHERE & WHEN: The Globe Theatre Saturday Mar 5

How did you get together? Justin Sykes (bass): “A collective of mates from school, previous bands and friends of friends... Very Brisbane!” Sum up your musical sound in four words. “Dynamic, melodic Rock and Roll.” If you could support any band in the world – past or present – who would it be? “Led Zeppelin.”

Split releases make a lot of sense, especially these days, but Taylor says it actually started as a joke. “After touring twice together The Bride and ourselves became the best of friends. The idea of the split was a joke at first but then both bands realised that neither band was ready for a full release. We figured that the split would be a stepping-stone and would help to reach out to new audiences.” Let’s talk about taking a dual release on the road: two metal bands, a crowded van. Sounds to Time Off like a recipe for some serious rock’n’roll shenanigans. Interestingly though, Taylor talks radiator problems and ‘luxury’ accommodation.


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? “Led Zeppelin II.”

Why should people come and see your band? “We love playing rock’n’roll and we’ll be playing a swag of great songs setting the vibe for a top festival.”

WHO: In Hearts Wake WHAT: The Split EP (New Justice Records) WHERE & WHEN: Lost In Sound festival, Toowoomba Saturday Mar 12, Th riller Saturday Mar 19, The Fort (all ages) Sunday Mar 20, Expressive Grounds, Gold Coast Saturday Mar 26

How did you get together? Daniel Roberts (guitar): “Two words, Mooseknuckle convention… [scene missing]… Dead End Kings was formed.” Sum up your musical sound in four words. “Th rashy, southern metal… pineapple!” If you could support any band in the world – past or present – who would it be? “Pantera.” 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? “Nashville Pussy’ s Let Them Eat Pussy, but only for the killer sleeve artwork.”

Greatest rock’n’roll moment of your career to date? “Recording in Sawmills Studio, UK.” Hotel Motel play Friends Of Folk Festival at Old Museum on Sunday Mar 6

“We truly give our live set all the energy we’ve got. No one comes to a show to watch a bunch of disorganised concrete statues play heavy melodic music. If you come to one of our shows, we promise we won’t let you down.”

Dead End Kings play In-Surge Festival at Greenslopes Bowls Club on Saturday Feb 5

Greatest rock’n’roll moment of your career to date? “Gotta be the gig we played a while back where our singer had a catwalk made out of milk crates to strut his shit, which he did while two strippers got their gear off and worked the poles onstage. YES!”

HEAPS AWESOME AUSSIE FESTIVAL VIP EXPERIENCE TO BE WON A VIP experience to an Aussie music festival of your choice, with 9 friends in tow sounds heaps good, doesn’t it? If you’re a full time or part time student, or an apprentice, simply sign up for an Everyday Account with Debit MasterCard ® by 2 April 2011 and that’s what you could win. If you already have an Everyday Account, just make sure you select Debit MasterCard. To find out more, drop into your local branch or visit Important information: Competition starts on 31/01/2011 and closes on 02/04/2011. The winner will receive a VIP Music Festival experience of their choice. The total prize value is a maximum AUD4500. The draw will take place on 13/04/2011 at the Commonwealth Bank of Australia (the Promoter) ABN 48 123 123 124, Level 13, 201 Sussex St Sydney NSW 2000. The winner will be notified by telephone and details published in The Australian on 20/04/2011. Authorised under NSW Permit No. LTPS/10/12507, ACT Permit No. TP10/5697. For full terms and conditions please go to MasterCard and the MasterCard Brand Mark are registered trademarks of MasterCard International Incorporated. CBC2319_F



It looks like 2011 is going to be a year to remember for the psych loving coasties Band Of Frequencies with their much anticipated sophomore album set for release some time in the coming months. The band are currently in the studio working on said release, but they’re going to crawl out of their lair over the next couple of weeks to play a few special gigs that will showcase plenty of the new material for the fans who just can’t wait to hear it. They kick off their run of shows with a date at The Joynt on Thursday Mar 10, then head down the coast for a date at Currumbin’s Sound Lounge on Friday Mar 18 and then wrap up this run of shows with a slot at the Noosa Festival of Surfing at Noosa Woods on Saturday Mar 19.


Ash Kerley has been playing songs around town on her lonesome for a while now, doing everything to shirk off the stigma that goes along with the solo singersongwriter tag with her loud, fuzzy, grungy, shoegaze influenced rock’n’roll. She has adopted the moniker of Strangers as a banner to perform under and you can catch her playing a few shows around town in the coming week, starting off with a date at Ric’s Bar alongside the Keep On Dancin’s on Wednesday Mar 9, a show hitting the Beetle Bar on Thursday Mar 24 with The Louie Louies and BMXRAY and another one at that same venue on Friday Apr 1, this time alongside The Frail Marys and The Shrewms.


Silent Feature Era are causing somewhat of a stir in the local scene at present as they get set to release their debut record This Old Leather Heart this Friday night. The band are new to most, but the project started up quite a while ago and is just finding its feet as a live concern now. The record is a stunner and we have no doubt it will be given the treatment it deserves when the band launch it this Friday night at Woodland. As if seeing the band of the hour wasn’t enough, they will also be joined by Mckisko who pretty much always punches well above her weight while playing live.


The first instalment of Rockin’ The Crown at Lutwyche’s Crown Hotel was so successful that the venue owners have let the garage rock reprobates back for a second crack and we’re bloody pleased to hear it. Nothing appeals to us more than some dirty Sunday afternoon rock’n’roll in a relaxed environment and that’s exactly what you’ll get when the all star line up of Mick Medew & the Rumours, Leadfi nger, Generation Jones and The Rocky Outcrop Experience come together from 2pm to bring you some good old-fashioned, high-quality, loud rock’n’roll. Entry is free and it beats the shit out of mowing the lawn, so stick your excuses up your jumper and get on down.



survivalist techniques in the deserts of Utah, which will certainly aid him when he gets to Australia. Er, if life was Mad Max. “My knowledge of Oz comes from movies like Mad Max and Walkabout and Chopper and Th e Proposition,” he laughs, “so I don’t really know what to expect. Lots of danger, right? We have some crazy desert in Utah so we have learned a few survivalist techniques but we’ve never fought crocs or sharks. I’d like to see some giant jellyfi sh or The Twelve Apostles or something cool. I’m sure we will.”


BlindChase are no strangers to being the support band, with shows alongside heavy hitters like The Radiators and Thousand Needles In Red in recent times, just to name a few. But they’re the main attraction this Friday night when they head up a bill that also features Melbourne pop-rockers Red Ink and locals Unplanned Holiday and Geomantra. The occasion is the launch of new single Loose Change, which is pretty bloody exciting, but the band have promised that they’ll roll out plenty of old favourites as well. If you’re interested in some loud, in your face

“We have been in Seattle recording a new album with Randall Dunn for the past week-and-a-half,” explains Densley of the pair’s pre-tour activities. “He did our first record and the last Sunn 0))) and a bunch of Earth and Wolves and, yeah, tons of tones. It will be our second full-length album on Southern Lord. We’ve been working on the music for a while and played a bit of it on our European tour a few months back and when we toured with Goatsnake in the summer. Other than that we have been building guitars and speaker cabinets and pedals and stuff like that.” Their handyman-esque capabilities do not cease there, though – Densley claims to have developed

rock’n’roll, then you know what to do. It kicks off at 8pm and entry will set you back ten bucks.



ALT-ROCK FOUR-PIECE PLASTIC WOOD ARE MAKING A RETURN APPEARANCE AT THIS YEAR’S FRIENDS OF FOLK FESTIVAL IN THE LEAD-UP TO THE RELEASE OF THEIR DEBUT FULL-LENGTH. CO-SINGER/ SONGWRITER NATHAN GALLAGHER GIVES MITCH KNOX THE DETAILS. something that would greatly assist the push to get our live music scene back to where it once was. An event that doesn’t just see Brisbane as a stop on the circuit, but rather a vehicle for what Brisbane has to offer musically, as well as offering exposure for all forms of cultural expression. “FOFF was happening on a large scale prior to these horrible weather events, and it is still happening on the same scale,” he continues. “The only difference is all ticket proceeds are going to charity. This wasn’t an event put on just to raise money post-flood… It’s also important to mention the promise has been kept to give $1 from every ticket sold to the Royal Children’s Hospital Foundation.” With all this good karma in the air and a promising few months ahead, good things surely abound for Plastic Wood and their hearts of gold.

“I also think Friends Of Folk, as a marketable event, has an incredibly unique outlook and clarity. The last ten years really has been the decade of the festival, and I think that a Brisbane born and bred, organic and original festival is


Local indie outfit Swaying Buildings are glowing following the reviews their debut record received across the board upon its release a while ago. Like they say in the classics, a happy band is a good band, and the band have taken their positive vibes into the studio again and made another record called Bloom Beside The Freeway Moon, which they say has been heavily influenced by the work of bands like The Go-Betweens and The Replacements. That alone is reason enough for us to be excited, so join us when the band launch the record at Ric’s on Friday night with support from the always awesome The Stress Of Leisure. Entry is free and the music will play from 8pm.


“I think it’s holistic pride to be honest,” Gallagher says of the band’s festival veteran status. “We are really proud to share the stage with some of the FOFF acts. I don’t think it’s about competition either. It’s not about what city has the ‘best’ music – it’s about adding to the pool. I think that our fair town is really adding its fair share.


“The next few months will see the release of the album coinciding with an east coast tour,” Gallagher enthuses. “Then we are looking forward to a post-recording gig list with some really fantastic friends and artists. If you see us around, come and say hello!” WHO: Plastic Wood WHERE & WHEN: Friends Of Folk Festival, Old Museum Sunday Mar 6

If you like boats (who doesn’t?) and good quality rock music then you would be a damn fool to not be getting right amongst the I’m On A Boat show that is happening in a couple of weeks time. The line-up is killer, with Death By Dance, Burning Brooklyn, The City Shake Up and Nine Sons Of Dan all jumping onboard (literally) and the event is open to people of all ages, so there’s really no excuse for not being a part of what could be the greatest night you’ll ever spend on the Brisbane River. You can hit up to secure yourself a spot on the vessel, which leaves from the River Lookout Terminal at South Bank at 7.15pm on Saturday Mar 12. Entry is just $12, but can you really put a price on an experience such as this?

As for what audiences will see in return, Densley promises, “pure heaviness and plenty of music with a few stories thrown in.” After all, it seems Eagle Twin do love a good story. “The fi rst album ended with the crows battling the sun and falling back to earth burned black and turned into snakes,” Densley explains. “Th is new album picks up from there and is all about the snakes. One song is about a snake with horns made of snakes with horns of snakes with horns…” WHO: Eagle Twin WHERE & WHEN: The Hi-Fi Saturday Mar 5


When this week’s cover star Joanna Newsom is in Australia she will be joined by her incredible backing band whose talents will provide the perfect accompaniment to Newsom’s enchanting songs. One such member of this band is Neal Morgan and he has just been announced as the opening act for the show that hits The Tivoli on Friday night. We’re not entirely sure what to expect from this incredible artist, but we know that it will certainly be worth getting in early to catch. Tickets are still available if you don’t have one already, they will set you back $60 from Ticketek.


Red Ink like their rock music loud and bursting with hooks, so that’s exactly what you’re going to get if you head along and see them when they hit Brisbane for a couple of shows this weekend. The band exploded on to the scene last year and have been working tirelessly to get their music out to the masses; it’s working too, with a bunch of their songs receiving airplay on stations all across the country and them scoring support slots with bands like Biff y Clyro, Miami Horror and British India. They have a new single called What My Friends Say ready for release and we reckon there’s a bloody good chance you’ll be hearing it when they drop by Lambda at Alhambra Lounge on Thursday night (with Alba Varden and Fushsia) and the Stones Corner Hotel on Friday night. Tickets for both shows are available on the door.


If you’re looking to funk up your Thursday night a little, then we strongly suggest getting yourself along to The Zoo to catch a few fine Brisbane bands doing what they do best, making you dance. There will be a wide variety of funky music on display as these three

NO BETTER INSTANCE The psychedelic beats and euphoric moments that are jam packed into Alba Varden’s oeuvre make for some pretty special live shows and Brisbane audiences will get the chance to see so for themselves when the band play three shows in our fine city this coming weekend. People have compared them to The Doors and The Bad Seeds, but the band are clearly on their own musical path, something you can certainly hear in their new single This Instance, which is the release they’ll be flogging while they’re up here. They’ve lined up some great gigs, so make sure you get along to Lambda at Alhambra Lounge – where they play with Red Ink and Fushsia – on Thursday, Balcony 153 on Friday with Grand Atlantic and X&Y Bar on Saturday night with The Art and Blonde On Blonde.


Hardcore and punk with Sarah Petchell. Email punk news to Propagandhi

So now that Soundwave is all done for another year, the floodgates have opened and there have been about a million big tour announcements over the past week. Like I said, I have a feeling this isn’t going to stop any time soon as autumn is always peak tour season. Parkway Drive have announced another epic tour of a mix of international and local acts that will be touring across the country this May. The Mix N’ Mash Tour sees Parkway joining forces with You Me At Six, Bleeding Through, The Wonder Years and Confession. Both The Wonder Years and You Me At Six toured late last year, but it will be interesting to see both these bands on a stage as big as the Riverstage. And of course, any time Bleeding Through comes to this country there is bound to be bones broken. This is quite an extensive tour, hitting main regional centres as well as the capital cities. The tour hits town on Wednesday May 18 at Brisbane Riverstage for a licenced and all ages show. Tickets are on sale now, so snap them up quick as the Riverstage sold out the last time Parkway came to Brisbane. Also announced this week was the news that singer-songwriter Frank Turner is heading back to Australia this April for his own run of shows following his appearance on the Revival Tour last year. Tim Barry, it looks like you started a trend! Seriously though, Frank’s music is fun and entertaining and tells a completely different story to his American contemporaries, which makes him refreshing. Tickets go on sale on Friday Mar 4, for the show that is happening at Rosie’s Live on

Saturday Apr 16. It’s presumed that Frank will be playing some tracks from his forthcoming album, England Keep My Bones that will be out through Epitaph/Shock on Friday Jun 3. Canadian punk band, Propagandhi, will also be heading back to Australia this May (it looks like May is shaping up to be a rather big month). Last here in 2009 to slay audiences the country over, this is going to be one of the most exciting tours of 2011, and I feel confident making that call now. This is another quite extensive tour, with shows in Gold Coast and Brisbane. On Saturday May 28, the Canucks roll into the Coolangatta Hotel, before hitting The Hi-Fi in Brisbane the next night, Sundy May 29. Tickets for this tour are on sale now. Frenzal Rhomb are back on the road from the end of April to raise awareness for the victims of “Bird Attacks”. They will be selling their range of hand-made neopolitan ice cream container helmets to fans at the shows, so head on down if you are concerned about being the potential victim of a bird attack. This time around these Sydney punksters will hit the Coolangatta Hotel on the Gold Coast on Friday 6 May. Then on Saturday 7 May they will without a doubt rip up The Hi-Fi in Brisbane. Tickets for both shows are $20 + bf and are on sale now.

The Nihilist will play their second show at Monstrothic this Friday evening with support from Fear The Setting Sun, Leadlight Rose, Duramata and The Cilkis Progressio Project. The symphonic metal act is a supergroup of sorts – Empyrean, Phalanx and Aeternitas are amongst the members’ former bands – and they will be selling copies of their debut EP for only $7 on top of the $8 cover charge at the door. Forever The Optimist, Nuclear Buddha and Zeroes and Ones will hold the fort at the upstairs stage, with doors opening at 8pm. In-Surge Festival will hit the Greenslopes Bowls Club from 10am this Saturday for a huge day of all ages metal, punk and hardcore. The line-up includes The Dreamkillers, Lynchmada, The Kidney Thieves, Five Star Prison Cell, Silver Ocean Storm, Brazen Bull, Origin of Janken, If I Lie, We Live Forever, In-Cyde, The Black Market, Mad Machine, Adriatic, Kunst, Inhailed, Homeless Yellow, Promises, The Fevered, Dead End Kings, Veiled In Flesh, Bonesaw, Never Plead Guilty, Southern Crossfire, Through Plagues, Embrace Eternity, and The Stone Foxx. Tickets are available on the door for $30. Next Wednesday at the Step Inn metalcore group A Breach Of Silence will debut their recently solidified line-up, which now features former Sydney resident and ex-member of A Fallen Memory Corey Staples on vocals. The band will play alongside Swedish worshippers The Fevered, Exploder (who are launching their debut EP on the night) and Solid. Free entry and pool from 7pm! Next Thursday at Sun Distortion Studios, which is located at 22 Corunna Street, Albion, Sydney post-black metal group Dining In


Joe Bonamassa

The beginning of the year can be a little bit depressing when it comes to album releases, but I’m pleased to see that that post-Christmas lull is over and there is once more some quality blues being pumped out from artists around the world. For his latest record Dust Bowl, British guitarist Joe Bonamassa once again teamed up with Kevin Shirley, who is well known in Australia for producing records by Hoodoo Gurus, The Angels and Cold Chisel as well as Silverchair’s Frogstomp album, to name but a few. After the success of Frogstomp, Shirley moved to the USA where he worked with artists like Journey, Slayer, Iron Maiden and heaps more and the great thing about having Shirley on board with Bonamassa is that he taps into the heavy elements of Bonamassa’s blazing blues.

In album and label news, Between The Buried And Me have announced that they will be making the move from Victory to Metal Blade Records. The label will release the band’s seventh full-length, which is to be titled The Parallas: Hypersleep Dialogues, some time in April. The band released their last album, the exception The Great Misdirect, through Victory in 2009, so a new release is most definitely welcome from these guys. Stay tuned for more information.

A big selling point for the record is the guest appearance from country megastar Vince Gill and the legendary John Hiatt and when you get to Tennessee Plates, which features the latter, you can definitely sense a strong country influence coming through. It’s not there on every track, but littered amongst the ripping blues epics. This works in Bonamassa’s favour mainly due to the fact that his voice is probably better suited to this style of music and it doesn’t inhibit his playing. But one would imagine it might scare off some of the blues purists. The record is out on Tuesday Mar 22 through J&R Adventures. Joe Bonamassa plays The Tivoli Saturday May 21.

I mentioned a few weeks ago, when I was talking about the now entirely sold out City & Colour shows, that Dallas Green was in the studio recording his third full-length. It was announced last week that the album will be titled Little Hell and is scheduled for release in June 2011. Also stay tuned for more details as they get announced.

Eric Bibb will be in the country promoting two records in a couple of months. I’ve only had the chance to hear his studio album Booker’s Guitar, which was released last year but has just been getting a push over here now ahead of his upcoming tour (the other is Troubadour Live! a live record due for release this May). After a

show in London a couple of years back, Bibb met a man who professed to owning the guitar that belonged to legendary bluesman Booker White. The experience of seeing and playing the guitar stirred something inside Bibb that made him realise he had to make a record in tribute to the country blues of this legend. It’s a stripped-back affair, just Bibb’s voice and guitar with the occasional harmonica line courtesy of collaborator Grant Dermody and anyone who has seen Bibb live will attest to the fact that this is when he’s at his best. There’s none of the over-production that has sometimes clouded past studio releases, just some great songs that paint magical pictures of rural USA played faultlessly. Eric Bibb plays the Brisbane Powerhouse Tuesday May 10, Noosa’s J Theatre Wednesday May 11, Bangalow’s A&I Hall Thursday May 12 and the Sound Lounge, Currumbin Friday May 13. It seems like it wouldn’t be a Roots Down column without another freaking Bluesfest announcement, so here we go with the latest round of bands to be added to the enormous 2011 bill: Los Angeles rockers Little Feat haven’t played Bluesfest for about a decade now, but they were pretty great then so it’s awesome to see them back. Fellow Los Angelino legends Fishbone are back as well, bringing their highly energised heavy rocking ska punk to the festival once again. British-African pop superstars Osibisa and fiery ‘hardcore salsa’ singer Cecilia Noël ramp up the World Music quota, while Leah Flanagan, Kim Churchill, Grace Woodroofe, The Red Eyes, Lowrider, Melbourne Ska Orchestra, Bayjah, The Aggrolites, Wagons, Resin Dogs and Yodelice add some distinct local flavour. One more local act, and a particularly intriguing one, is Jack Thompson & The Original Sinners, which features the legendary Australian actor alongside a hot band featuring Aussie musical legends Normie Rowe and Kevin Borich. One last announcement is that Grace Jones will also play a show on the Tuesday of the festival as well as her Friday slot! A few tickets are still left, but not many, so head along to au to grab yours. It hits the Tyagarah Tea Tree Farm Thursday Apr 21 to Tuesday Apr 26.

Pop culture therapy with Adam Curley

Metal with Lochlan Watt …and what a Soundwave it was! Brisbane Slayer fans in attendance should thank their lucky stars, with stiffening frontman Tom Araya being hospitalised the following day. This occurrence prevented the band from performing at Sydney’s incarnation of the festival, though the 49-year-old is expected to recover in time for the Melbourne and Adelaide installments this weekend.

Blues ‘n’ roots with Dan Condon

Tuscany will play with locals Ironhide and witness the first show from Mr Painful Memory. The all ages show is $5 from 8pm. Inferno Fest will return to the Step Inn on Saturday Apr 16 for its fourth year in a row. So far it’s set to feature Victorian group Humonic alongside locals Aeternitas, Tria Mera, Rekoil, Shifting The Paradigm, Face Of Mutiny, Fear The Setting Sun, Soul Illusion, Symbolic Weapon, Kyzer Soze and Shotgun Halo. Tickets will soon be made available for $15 from the usual local outlets. In case you were thinking of going to buy a ticket sometime this week, the upcoming Kyuss Lives tour has completely sold out. The band will play The Coolangatta Hotel on May 4 with support from local rockers Fort as well as The Tivoli on May 6. Melbourne deathgrinders A Million Dead Birds Laughing have announced their signing to new label Welkin Records, a facet of established touring company Welkin Entertainment. Described as a fusion of dark melody and brooding insight that delivers an onslaught of uncompromising atmospheric composition with unique extreme themes and influences, ForceFed Enlightenment will be available in stores on Thursday Mar 10, and is available for pre-order from The group is set to play Brisbane once more on Friday Apr 29. Though there has been no official word from the band, rumours are abound that Melbournebased death metal group The Red Shore has been reduced to only two of the members that performed on their latest release The Avarice Of Man – guitarists Roman Koester and Jason Leombruni. Currently taking some time off from touring, it is still promised that the band will return later in the year. Local thrashers Desolution are on the verge of self-releasing their debut album, and have posted two new tracks entitled Pull The Pin and Torn In Turmoil for your listening pleasure at

It’s been a ‘weird’ month. Between Rufus Wainwright having a kid with Leonard Cohen’s daughter and ‘reports of rumours’ that Justin Bieber lost 80,000 Twitter followers after getting a haircut, the news of Smashing Pumpkins recruiting the girl from the Siamese Dream album cover as their new bassist seems pretty ‘ordinary’. At least she’s over age, right Billy? Good things have happened in the past four weeks, too, not the least being the surprise local arrival through Remote Control Records of the film score, by Sonic Youth, to 2010 French ‘teen mystery’ film Simon Werner a Disparu (elsewhere titled Lights Out). It’s without vocals; fairly pared back due, at a guess, to the band’s need to take less than all the attention of film-viewers, but it’s whole and pretty and dark and great and Sonic Youth. Also with a foot in the ‘instrumental’ category are Sydney’s The Mumps, who aren’t the 1970s New York glam punk band (who, as a ‘segue’, Thurston Moore also mentioned in his No Wave: Post-Punk book of 2008), but do have their own ‘back-story’. The two core members are Liberty Kerr, who has engineered and produced for The Necks and FourPlay, and Tina Havelock, whose band moments include Crow and Plug Uglies. With former Machine Fun Fellatist Ross Johnson on bass, they make kind of light, wandering postrock with down-mouthed new wave guitar tones and ‘dancey’ drumming. It’s pretty damn excellent; nodding to cloudy ‘Australian’ sounds while also being fascinating and mightily accessible. Their debut EP, I Wish I Was You, is on iTunes and features the song getting a heap of airplay on FBi, Strange Telegraph, which does have vocals, if that kind of thing matters. Just arrived online is the new collaborative single between Melbourne’s Love Connection and Pets With Pets, a track called Home On The Wave that will be on a 7” coming out through Sensory Projects in April. The song (go to MySpace and whatnot) sounds like the mould that grew off the ‘psych rock’ and ‘indie pop’ revivals; an imperfect, bastardised jam both ‘up’ and catchy and askew

and, therefore, wonderful. It ends with the sound of the ocean, which will either make you think of holidays or make you need to pee. Either way, it’s affecting. Seeing as we’re going for kind of ‘off’ sounds that are also ‘poppy’ this month, let’s throw in Brisbane trio Per Purpose, who’ve been out launching their new 7” in recent weeks. The band take their clattering, sax-smattered sounds from English post-punk, complete with slurred obnox vocals, yet the songs are whole and the melodies keen. The 7”, Heil Progress, is out through Bedroom Suck Records. It might be an advertisement, but it’s still worth a view: Sydney garage rock troupe Straight Arrows have soundtracked a new promo clip for ManiaMania jewellery, which, if you’re into their heavy-handed guitar riffing and reverb-liking amps, can be found on the Rice In Nice label site, ‘Track of the month’ (what?) goes to Tyler The Creator’s Yonkers. The Los Angeles rapper from the Odd Future Wolf Gang Kill Them All (OFWGKTA, or just Odd Future) collective has just been signed to XL to put out his next record, Goblin – apparently out in April, through Remote Control in Australia – the first sign of which is the slickest, least tampered-with, production-wise, of his output. Besides being some of the darkest and most insanely tight rhyming to find a wide audience in recent times, it comes with a film clip that features Tyler eating a giant cockroach (‘rapgame symbolism’) and hanging himself (not sure how it’s made it past the YouTube censors). Damn. Kanye just asked for his Monster clip money back. On that tip, Tyler The Creator and Hodgy Beats from Odd Future recently performed their track Sandwitches on Late Night With Jimmy Fallon, with currently essential model-girl stage prop (people as stage props should be banned – for proof, watch the recent Crystal Fighters Later… With Jools Holland performance) and winding up taking over the set and jumping on top of Fallon. Essential time-wasting viewing.

SIX PACK WE LIVE FOREVER RISING LOCAL QUARTET WE LIVE FOREVER ARE STEADILY MAKING THEIR PRESENCE KNOWN AROUND THE CITY, AND THEY’VE GOT PLENTY GOING ON TO HELP THE CAUSE: A BRAND NEW SINGLE, A FESTIVAL APPEARANCE AND THEIR UPCOMING DEBUT EP. VOCALIST GRANT DENMAN CHATS TO MITCH KNOX. Keeping busy of late with “a whole lot of everything”, from writing to recording and playing for “some amazing crowds”, Denman seems excited about the prospect of how people will receive just-released free downloadable single As Colours March For War (check their Facebook). “The coolest thing has been the recording of our single,” he beams. “It will floor you when you hear it.” With an appearance scheduled on the all-local line-up of this year’s In Surge Festival as well as several other gigs on the cards, it seems there will be plenty of opportunity for you to be floored, and Denman promises at least that at a live show. If you look at any truly great band, the odds are that the members are equally in-sync personally as they are musically; that they are friends above being co-workers. If that’s true, then good things hopefully lie in store for local upand-comers We Live Forever, who are nothing short of downright familial, Denman says. “We have been friends for years and our goals in music became more and more alike as individuals,” he explains. “The next logical step was to form We Live Forever and I can honestly say we have become a family; it just seemed right from the get go, so I guess we’re lucky like that – we get to do what we love with our best mates. It’s fucking amazing when you think about it!”

“We love playing live and pride ourselves on our live show,” he says. “We always hope to leave the audience asking for more. The energy the crowd produces is the main reason we enjoy playing so much so a big thanks to anyone that comes down to support us!” WHO: We Live Forever WHAT: As Colours March For War (Independent) WHERE & WHEN: In-Surge Festival, Greenslopes Bowls Club Saturday Mar 5

DANCE YOURSELF GENEROUS If life has taught us anything, it’s that it is always important to dance. Unless you hate dancing, in which case it’s important to let other people dance while you tap your toe and nod your head. No matter what your involvement may be, X&Y Bar is the place to catch some sweet modern disco sounds from both live acts and DJs and all in the name of flood relief this Friday night. From 8.30 through until the break of dawn, you’ll be treated to sets from Sunshine Coast four-piece Mitzi, pictured, as well as hot DJ talent in the form of the great Katch, Youth, Rock Pop n Ju Vs Jung Hearts and Royal. As well as this there are heaps of prizes up for grabs and you’ll get that indescribable feeling that only comes with donating cold hard cash to deserving causes. See you on the dancefloor.

THE HEAT IS ON Th ings are going very well for local ensemble The Firetree, they’re just back from their tour of Canada and they have just released their debut EP The Space Between, so it seems their hard work is paying dividends thus far. They’re bursting out onto local stages this week with a couple of cracking gigs planned, the first of which happens at X&Y Bar tonight (Wednesday) where they’ll appear alongside Pensive Penguin, while Thursday night sees them head down the coast for a show at The Loft, Chevron Island with Holly Terrens, The Shy Musicians and Kyle Wadley.

THE ONE BEFORE THE TENTH Friday night is looking like it is going to be a special one for local band The Ninth Chapter as they hit the stage to launch their brand new EP Common Ground and welcome back an old friend. The recording was done locally, with Pete Dyball of Valleysounds Studio behind the mixing desk, while the mastering duties were completed by Oscar Gaona, who has been lauded for his work with Skunkhour, down at Studio 301. As well as launching the recording, the band will welcome back guitarist Joe Wurf, who pissed off overseas about a year ago but is ready to rock again! This all happens at The Joynt on Friday night and then the band head down to The Rails, Byron Bay for a show on Saturday night.

bands triple team the audience in fine fashion; the funk/soul/jazz/spy music of headliners His Merry Men, the soul and blues flavoured rock of The Ride and the heavy-hitting rock fusion of Le Suits will all come together for a seriously explosive school night of good times and fucked up frivolity. The Zoo is the venue, 8pm is the opening time, ten bucks is the entry fee and dancing shoes are the dress code.


For five years now Byron Bay metalcore quintet In Hearts Wake have been making a hell of a lot of noise around the country, slamming out furious live shows both as headliners and in support of some of the finer names in modern heavy music, such as Something With Numbers, The Amity Affliction, Carpathian, The Devil Wears Prada and many, many more. They’ve just issued their new EP Split (which is, funnily enough, a split release with fellow hardcore punishers The Bride) and they’ve got a few shows around these parts to show off their remarkable talents on the live stage. You can catch them at Toowoomba’s Queens Park for the Lost In Sound Festival on Saturday Mar 12, Rosie’s Saturday Mar 19, The Fort Sunday Mar 20 (all ages) and Expressive Grounds, Gold Coast Saturday Mar 26 (all ages).


WED 02

Alex Jones The Tempo Hotel BMX Ray, Halls Of Justice Ric’s Compact Pat Ian Hanger Recital Hall, Qld Conservatorium Devine Duos The Judith Wright Centre Falling For Autumn, Pandora’s Hero, Dances With Wolves Club 299 H.R.G. Swingin Safari I See Stars, Silverstein, Blessthefall The Hi-Fi Imelda May Great Northern Hotel Byron Bay Iretro Elephant & Wheelbarrow Mark Sheils Royal George Nanna Night Wednesdays: My Escapade Vinyl Bar, The Hi-Fi Open Mic Birdee Num Num Slash, Coheed & Cambria, Taking Dawn The Tivoli Soula’ Flare Glass Bar & Restaurant Stairway Griffith Uni Logan The Bell Divers, Payne Road, The Jungle Giants The Zoo The Bowery Hot Five With Mal Wood The Bowery The Firetree, Pensive Penguin, Maggie Collins X & Y Bar The Schoenberg Automaton, Trinatyde, Ironhide, Gimpus Step Inn The Waifs, Mama Kin Nambour Civic Centre Treva Scobie Fibber Magee’s, Toowoomba Tyson Faulkner Fiddlers Green Venus Envy Victory Hotel Wiley Reed, Rory Switzer The Loft Chevron Island

THU 03

Ballad Boy Loving Hut Bright Starts Series 2 Launch The Judith Wright Centre Cartoon Physics, Bazalgette Ric’s Dave Ritter Logan Diggers Club Depths Of Balsa, Dead Beat Band Neverland Ensemble Satsang Limes Hotel Graveyard Train, Bang Bang Boss Kelly, Tourism, Binary Circus The Tempo Hotel His Merry Men, The Ride, Le Suits The Zoo I Can’t Believe It’s Not The Satellites The Bowery Imelda May The Hi-Fi

Jazz Singers Jam Night Australian Legion Memorial Club Jazz Under The Stars Cloudland Ke$Ha River Stage Lambda: Alba Varden, Red Ink, Fushia Alhambra Lounge Mark Bono Fibber Magee’s, Toowoomba Never Lose Sight, Amberain, Miles And Miles, Upside Downside Globe Theatre Sampology Lightspace The Firetree, Holly Terrens, The Shy Musicians, Kyle Wadley The Loft Chevron Island The JD Summer Set: MGMT, Pond The Beach Hotel, Byron Bay The Submariners, Death By Dance, The Molotov, Slim Johnson & The Power Walkers Rosie’s The Waifs, Mama Kin The Tivoli Thirsty: Montpelier, My Escapade, Tourism Barsoma Thousand Needles In Red, Twelve Foot Ninja Hamilton Hotel Widow The Sea, Northlane, In The Walls X & Y Bar Woody Elephant & Wheelbarrow

FRI 04

22 Hotels Alexandra Headlands Blue Bar Adrian Keys The International Hotel Alba Varden, Grand Atlantic Balcony153 Andrew Baxter Band, Transvaal Diamond Syndicate, The Walters, The Duke Wilde Band The Loft Chevron Island Asa Broomhall, Rachael Brady, Dana Gehrman, Viper Pilot The Beetle Bar Blindchase, Red Ink, Unplanned Holiday, Geomantra Stones Corner Hotel Diana Anaid, Andrew Kennedy Tewantin Noosa RSL Freddie Mercury: Let Me Entertain You QPAC Geoff Achison, Doc Span & Friends Soundlounge Currumbin Geoff Rayner Horse & Jockey Warwick Greshka The Amazing Klezmer Band Locknload West End Joanna Newsom, Neal Morgan The Tivoli Karavan International Gypsy Music Festival: Harem De, Gipsy. CZ, Lolo Lovina, Arte Kanela, Babaganoush, Systa BB The Hi-Fi Katie Noonan, Holland, Emma Dean The Judith Wright Centre

Mark Easton Kin Kin Hotel Monstrothic: The Cilikis Progressio Project, The Nihilist, Fear The Setting Sun, Duramata, Leadlight Rose, Zeroes And Ones, Nuclear Buddha, Forever The Optimist Rosie’s Out Of Abingdon The Boroughs PJ Hooker Cannon Hill Tavern Powerplay The Crown Hotel QSM Live Alternative Country Weekend: Sue Ray Queen Street Mall Ramjet Hinterland Hotel Rob Cini, Jabba Elephant & Wheelbarrow Rocketsmiths, Velociraptor, The Baby Seal Club The Zoo Rushmore Brothers Ipswich Second Gear Fibber Magee’s, Toowoomba Silent Feature Era Woodland Sister C, The Sparkz Jubilee Hotel Solar Rush Victory Hotel Stairway Surfers Paradise SLSC Steve Trubble Murrumba Downs Tavern Swaying Buildings, The Stress Of Leisure Ric’s Sydonia, Jericco Step Inn The Chemical Brothers River Stage The Ninth Chapter The Joynt Bang Bang Boss Kelly Brisbane Powerhouse Turbine Platform The Wind Up Dolls, The Wild The Tempo Hotel Thousand Needles In Red, Twelve Foot Ninja, Drawcard Fusion Villa Noosa

Youth, Mitzi, Katch, Royal X & Y Bar

SAT 05

Adrian Keys The Brewhouse Alba Varden, The Art, Blonde On Blonde X & Y Bar Bowler Bar Bowler Bar Byron Short The Palace Hotel Chester Fibber Magee’s, Toowoomba Colin’s Class Redcliffe RSL Dan England Rum Jungle, Brackenridge Future Music Festival: Doomben Racecourse Hayden Hack Infusion Locknload West End Hits, Lobster Prophet, Royal Family The Beetle Bar In-Surge Festival: Eternal Rest, Veiled In Flesh, Dead End Kings, The Fevered, Promises, Bonesaw, Inhailed, and more Greenslopes Bowls Club Mason Rack Band Palmwoods Hotel Mick Danby, Brooksy & Co The Tempo Hotel Mickey Avalon, Mr Perkins Coolangatta Hotel Monarch, Unearthly Trance, Eagle Twin The Hi-Fi Muscles DJ Set, Waylon, Hollywood, Cory Fletcher Sun Neverland Planet Brisbane Powerhouse Turbine Platform QSM Live Alternative Country Weekend: PJ Weston Queen Street Mall Ramjet Surfers Paradise Beer Garden

Red Ink The Beach Hotel, Byron Bay Syncretism, Stina, Mike Cooper, Ryan Francesconi The Judith Wright Centre The Flangipanis, Girl With Cake, Ironside, Nuclear Buddha, Sushi Monster The Zoo The Pugs, El Guano Loco Ric’s The Unravelling, Alice Spacedoll, Icon, Deegs, Dan Webber Great Northern Hotel Byron Bay The Walters The Boundary Hotel Thousand Needles In Red, Twelve Foot Ninja Albany Creek Tavern

SUN 06

Adrian Keys Fisherman’s Wharf Tavern Alex Bell Queen Street Mall Blind Lemon Ric’s Block Party DJs Elephant & Wheelbarrow Ewan Mackenzie and Swing Manouche Australian Legion Memorial Club Friends of Folk Festival: Don Walker, The Gin Club, Andrew Morris, Asa Broomhall, Emma Dean, Tara Simmons, Hotel Motel, Mardi Lumsden & the Rising Seas, Hanna Macklin, Mark Lowndes, Rachael Brady, Matt Nelson, Plastic Wood, Robert Forster, The Good Ship, Jennifer Boyce, Candice Long, The Flumes, Greshka, Shannon Caddy, Bernie Carson, Charlie Mayfair, The Mute Canary Project Old QLD Museum

J-Woww, Sexypie X & Y Bar PJ Weston and The Precious Few, Halfway Brisbane Powerhouse Turbine Platform Mojo Webb The Boundary Hotel Rock In The Crown: Mick Medew & The Rumours, Leadfinger, Generation Jones, Rocky Outcrop Experience Crown Hotel Lutwyche Sunday Jam Sessions Hard Rock Café Sunday Solo Session, Abby Skye The Tempo Hotel The Deckchairs, Khan, The Flumes Joe’s Water Hole Eumundi Thousand Needles In Red, Twelve Foot Ninja Surfers Paradise Beer Garden

MON 07

Belle & Sebastian, Little Scout The Tivoli Paul Young Trio Locknload West End Spirit Of India: Rajendra Prasanna Brisbane Powerhouse Visy Twisted Trivia Birdee Num Num

Bogan Bingo Birdee Num Num Ciderhouse, Noel Gardner, Alex Bridge The Bug Escalate: Weekend Hiatus, Cry Havoc The Tempo Hotel Rob Cini Elephant & Wheelbarrow Wavves, Bleeding Knees Club The Zoo


Please relate your impressions of performing in our fair city. We usually play to the carpet but the last time we played a great set to some rock fanatics at The Clarence Corner Hotel. They missed us so much they invited us back!

Member: Stew “Leadfinger” Cunningham Home ground: The Edge of Suburbia (ie the outskirts of Sydney) Describe your live music/performance style as succinctly as possible. Hi-energy rock’n’roll with great songs and the best twin guitar attack ever. Is this your first foray to Brisbane? If not how many times have you performed in our midst? Been up to Brissie many times with other bands I played in and twice in 2009 with Leadfinger.

arrested for personal possession of marijuana. Husband Paul is driving the vehicle at the time of the incident but is not charged.

Mar 3, 1994 – Kurt Cobain of Nirvana lapses into a coma in Italy after taking a combination of Valium and champagne. Mar 4, 1970 – Janis Joplin is fined US$200 for using obscene language onstage in Tampa, Florida. Mar 5, 1982 – Blues Brother John Belushi dies of a drug overdose in the Chateau Marmont Hotel in Los Angeles at the age of 33. Mar 6, 1970 – Charles Manson releases his album Lies to finance his defence against murder charges. Mar 7, 1994 – The US Supreme Court rules that parodies that poke fun at an original work can be considered “fair use” that does not require permission from the copyright holder. Weird Al rejoices... Mar 8, 1973 – Paul McCartney pleads guilty to charges of growing marijuana outside of his Scottish countryside farm. He claims a fan had given him the seeds and that he did not know what they would grow. Yeah, sure mate...

TUE 08


Name Of Act: Leadfinger (pron: Led-fin-ger)


Mar 2, 1975 – Linda McCartney is

What can we expect different this time around? We have a new album – We Make The Music – to promote so we are a bit more amped up about touring and letting people know about us (hence this interview!). Recording the album was a real milestone and it has made us into a really great band. Has anything exciting been happening in your world of late? Apart from the new album, I’ve been hanging out with Russell Crowe and Greg Inglis and they love Leadfinger. Leadfinger play Jack’s Shed, Byron Bay on Friday Mar 4, Beetle Bar Saturday Mar 5, Crown Hotel, Lutwyche on Sunday Mar 6

ON THE TIME OFF STEREO Nova Scotia NOVA SCOTIA Adalita ADALITA Popboomerang Records Presents Electric and Eclectic VARIOUS Mix Tape THE FELICE BROTHERS The Palace Guards DAVID LOWERY Ducktails III: Arcade Dynamics DUCKTAILS Underneath The Pine TORO Y MOI Magnetic Island GENTLE BEN & HIS SENSITIVE SIDE Heaven Is Wherever THE HOLD STEADY Harlem River Blues JUSTIN TOWNES EARLE

4ZzZ FM NOW PLAYING 1. Nova Scotia NOVA SCOTIA 2. Scraps SCRAPS 3. Magnetic Island GENTLE BEN & HIS SENSITIVE SIDE 4. Board The Apartment Up (Summer Remix) THE SEABELLIES 5. Scissors LANEOUS AND THE FAMILY YAH 6. Falling THE WAIFS 7. Deerhoof vs. Evil DEERHOOF 8. Content GANG OF FOUR 9. Wire Empire MR. MAPS 10. Bag-o-items YEO

CoopersTV is a dedicated YouTube channel featuring all the great stuff Coopers are into. Things like music, food, grassroots sport and of course, beer. Check out Rock ‘n’ Roll BBQ with comedian Matthew Hardy, The Australian Music Prize (AMP), RocKwiz Road Stories with Brian Nankervis, plus much more. All exclusive to CoopersTV.



We’ve brewed a TV channel.


































Thursday Lambda: Alba Varden, Red Ink, Fushia

Wednesday Iretro Thursday Woody Friday Rob Cini, Jabba Saturday Venus Envy Sunday Block Party DJs Tuesday Rob Cini

BIRDEE NUM NUM Wednesday Open Mic Monday Twisted Trivia Tuesday Bogan Bingo



Friday Duck Duck Goose Saturday Bowler Bar

Sunday Adrian Keys


BRISBANE POWERHOUSE TURBINE PLATFORM Friday The Residents: Bang Bang Boss Kelly Saturday Planet Sunday Live Spark: PJ Weston and The Precious Few, Halfway

BRISBANE POWERHOUSE VISY THEATRE Monday Spirit Of India: Rajendra Prasanna

COOLANGATTA HOTEL Saturday Mickey Avalon, Mr Perkins

Friday Thousand Needles In Red, Twelve Foot Ninja, Drawcard

GLOBE THEATRE Thursday Never Lose Sight, Amberain, Miles And Miles, Upside Downside


HARD ROCK CAFÉ Sunday Sunday Jam Sessions

JUBILEE HOTEL Friday Sister C, The Sparkz

MIAMI TAVERN Sunday Mr Perkins

QPAC Friday Freddie Mercury: Let Me Entertain You

RIC’S Wednesday BMX Ray, Halls Of Justice Thursday Cartoon Physics, Bazalgette Friday Swaying Buildings, The Stress Of Leisure Saturday The Pugs, El Guano Loco Sunday Blind Lemon

ROSIE’S Thursday The Submariners, Death By Dance, The Molotov, Slim Johnson & The Power Walkers Friday The Cilikis Progressio Project, The Nihilist, Fear The Setting Sun, Duramata, Leadlight Rose, Zeroes and Ones, Nuclear Buddha, Forever The Optimist

STEP INN Wednesday The Schoenberg Automaton, Trinatyde, Ironhide, Gimpus

Friday Sydonia, Jericco


SURFERS PARADISE BEER GARDEN Friday Venus Envy Saturday Ramjet Sunday Thousand Needles In Red, Twelve Foot Ninja



Thursday Unplugged In The Basement: Gavin Doniger’s Mescalito Blues Saturday Graeme Norris

“Of course AC/DC is the best rock’n’roll band ever! But concerning metal, I’ve been into many black/death metal bands over the years such as Destroyer 666, Gospel Of The Horns, Sad Ex, and Vomitor. I also like bands like Portal, Stargazer and Atomizer. In the early 2000s, I was very much into the black metal underground and always found the Aussie BM bands to be more authentic and sincere. Obviously there’s something in the water down there.”

THE BEETLE BAR Friday Asa Broomhall, Rachael Brady, Dana Gehrman, Viper Pilot Saturday Hits, Lobster Prophet, Royal Family

THE HI-FI Wednesday I See Stars, Silverstein, Blessthefall Thursday Imelda May Friday Karavan International Gypsy Music Festival: Harem De, Gipsy.Cz, Lolo Lovina, Arte Kanela, Babaganoush, Systa Bb

Once Unearthly Trance arrive here, punters can expect straight-up, no-nonsense metal. “We’re absolutely thrilled to be able to come to Australia and play our brand of metal,” says Lipynsky. “Our expectations are to have a great time and focus on playing well. Honestly, we’re happy to travel and meet people into our music all over the planet. This is the gift our music has given us. With zero compromise after ten years we’re able to play places like Australia and Japan. This is something we never even dreamed of when we started out. The pleasure and honour is all ours. Even though the perception of such harsh music like ours is a negative entity, we feel the opposite. So we’re going over there with good spirits and our songs worked out to maximum tightness. ‘We’re ready’ would be the short answer.”

Saturday Monarch, Unearthly Trance, Eagle Twin

THE JUDITH WRIGHT CENTRE Wednesday Devine Duos Thursday Bright Starts Series 2 Launch Friday Katie Noonan, Holland, Emma Dean Saturday Syncretism: Stina, Mike Cooper, Ryan Francesconi

THE TEMPO HOTEL Wednesday Alex Jones Thursday Graveyard Train, Bang Bang Boss Kelly, Tourism, Binary Circus







442-446 LUTWYCHE RD, LUTWYCHE 4030 (07) 3357 1272 OPEN 10AM-2.30AM SEVEN DAYS

Friday The Wind Up Dolls, The Wild Saturday Mick Danby, Brooksy & Co Sunday Sunday Solo Session, Abby Skye Tuesday Escalate, Weekend Hiatus, Cry Havoc

THE TIVOLI Wednesday Slash, Coheed & Cambria, Taking Dawn Thursday The Waifs, Mama Kin Friday Joanna Newsom, Neal Morgan Monday Belle & Sebastian, Little Scout

“Super heavy dark Sabbathian riffs played with extreme heaviness. We play loud and proud. There are no stage props or outfits, just three dedicated guys from NY who have played this music only for the love of it. Unearthly Trance is a power trio and we thrive in the live environment. Most of all Unearthly Trance is a band that prides ourselves on songwriting and the focus is in the realm of the interior mind and eye.” WHO: Unearthly Trance WHERE & WHEN: The Hi-Fi Saturday Mar 5



Wednesday The Bell Divers, Payne Road, The Jungle Giants Thursday His Merry Men, The Ride, Le Suits Friday Rocketsmiths, Velociraptor, The Baby Seal Club Saturday The Flangipanis, Girl With Cake, Ironside, Nuclear Buddha, Sushi Monster Tuesday Wavves, Bleeding Knees Club

Friday Silent Feature Era

VINYL BAR, THE HI-FI Wednesday Nanna Night Wednesdays: My Escapade

X & Y BAR Wednesday The Firetree, Pensive Penguin, Maggie Collins Thursday Window The Sea, Northlane, In The Walls Friday Youth, Mitzi, Katch, Royal Saturday Alba Varden, The Art, Blonde On Blonde Sunday J-Woww, Sexypie





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




Do you have a taste for the exotic but can’t afford a world trip? That’s ok. We’re bringing the world to you.




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




Funny, free and freakin’ awesome.







To mark the launch of Steinberg’s Cubase 6 Artist 6, Yamaha Music Australia is presenting a workshop and Q&A session at Allans Music’s Barry Parade, Fortitude Valley store on Tuesday Mar 15 (2pm). Among the new features to be demonstrated will be creating the perfect vocal take and multitrack drum editing.

STEVE VAI & BERKLEE WORLD RECORD ONLINE GUITAR LESSON Berkleemusic, the online continuing education division of Boston’s renowned Berklee College of Music and Grammy award-winning guitarist Steve Vai have announced “a call to action” for guitarists around the world to join forces and set the Guinness World Record for the largest online guitar lesson at 1.30pm EST (12.30pm Qld time) on Thursday Mar 3. This firstof-its-kind initiative will bring together the worldwide community of guitarists in an unprecedented online celebration of music education. Although he is not a guitar instructor, Vai is a passionate advocate for music exploration and hopes the event will encourage players to continue to cultivate their own unique style and spirit on the instrument. The live streaming video platform Livestream will host the event in their New York City studio. Participants can learn more about the online lesson at Vai’s free online lesson will last 30 minutes, and will provide a look into Steve’s technique with a focus on how guitarists can develop and gain insight into their own playing. Vai is also encouraging participants to submit questions to him online, which he will answer onstage at the conclusion of his online lesson. Interested participants can submit questions to Steve on the event’s web page. Berkleemusic and Steve Vai have also partnered to author a brand new 12-week online course, Steve Vai Guitar Techniques, which begins Monday Apr 4. For more information regarding the course, registration information, and to sample an online guitar course, visit

WORTH DROPPING A FEW NAMES! Taking themselves off to Los Angeles for six months, Sydney five-piece Syndicate ended up recording their debut album not only in Tranzformer Studio there with engineer/producer Bryan Caristrom, whose credits include working with The Offspring, Alice In Chains and Social Distortion, but also spent two weeks tracking in Velvet Revolver/Guns N’Roses drummer Matt Sorum’s home studio and then a further two weeks at Tommy Lee’s home studio in Calabasas. Overseeing the production of that album at various times were Jeff Blue (Linkin Park, Matchbox 20, Korn, Limp Bizkit, The Last Goodnight), Brandon Friesen (Nickelback, Comeback Kid, Sum 41) and Scott Humphrey (Metallica, Mötley Crüe, Andrew WK, The Cult). The album is yet to be titled but it’ll be very interesting to see what those impressive ears have brought to the musical table. A first single, Shout, is out now on Sony.

With the imminent release of her debut solo album, ADALITA explains some of the behind the scenes recording action to MARK NEILSEN. Strangely it involves food references to pizza bases and crème caramels.


agic Dirt frontwoman Adalita’s solo selftitled album is a stark listen. For the most part, it is sombre songs that are essentially just her and a guitar. The odd song has some backing vocals or additional instruments, but otherwise it is her voice and six strings that drive the material. Adalita went in to record at Head Gap Studios in Preston, Melbourne, with engineer Brent “Sloth” Punshon, who is also Magic Dirt’s mixer. Adalita says she’s been working with Punshon, “for ages. We own his soul [laughs]. A long time – over ten years I’d say”. With such familiarity with her engineer, it obviously made the recording process easier. “I trust Sloth, he knows me, he knows my voice and he’s got a really good ear. He’s classically trained. He’s one of those conservatory music people. He knows how to read music and stuff,” she points out. Reading Adalita’s recording blog, it seems that Punshon is also quite meticulous when it comes to recording as well. On the first day of recording, they were setting up mics to get a good guitar sound. She wrote, “We tested the microphones out and re-positioned them many times, sometimes to an nth of a degree until it was sounding right. I gave Sloth directions for each song before we got the guitar sound because some songs needed a tougher sound and other songs needed a nice clean reverb sound. I think this was a good way to do it because you’ve then got a real solid base to work from when it comes round to mixing it. It’s like having the perfect pizza base and you just add the toppings later on. Gotta have a good base.” “Sloth is very particular and very thorough, detailed, so he will spend a lot of time getting it absolutely perfect. So I trust him and that’s why I went to him because I knew he’d get a great sound. I’m very lucky,” she states now. Adalita also bought a new amp before recording. In Magic Dirt, she uses the Roland Jazz Chorus 120, a solid state amp. Time Off makes the assumption that because her solo material is different to Magic Dirt, a different sound was required. “I think so and because I wanted it to be a portable amp,” Adalita explains. “My other one’s gigantic and it’s got a cab, so I can’t carry that rock gear around. So I just got a little Fender Hot Rod Deluxe so I can just lift it and chuck it in the bar and set up and play.


Although Adalita used a new amp for recording, most of the guitar tracking was done on her old faithful red SG Gibson. “I’ve been trying to look for a new guitar or a new guitar sound, but I just fall back on the SG. I don’t know why. I actually use the same set up guitar and pedal-wise as Magic Dirt, but just a different amp. So it’s almost like Magic Dirt without Magic Dirt. It’s just me on guitar on a littler amp and doing some softer songs. But I played a gig the other night and the pub

Speaking of intense, the mixing process sounded exactly that – with 14/15 hour days the norm. Adalita admitted in her recording blog that, “I don’t think I was prepared for how much work this was going to be”. “Oh my god. It was full on, because Sloth is so meticulous. Sometimes I had to stop and go, ‘Sloth, what are you doing?’ He’s like, ‘Oh sorry’. He’d sometimes get caught up in this one loop of a thing for hours because he’s so meticulous. But he’s a perfectionist, he wants to get it right, so it took a long time, which we didn’t expect, because one vocal, one guitar – seriously it was one vocal, one guitar for most of the time – but that was really hard to mix because that’s all there is. You’ve got to make sure you get it right. So it took a long time. But I’m the same, I’m a perfectionist and a bit OCD, listening to one bit over and over. It was a bit of an opus.” Adalita’s Adalita is out Friday through Liberation.

In all honesty there is nothing overtly special about the vintage Tele, perhaps an item better suited to the blues and roots community. No major price tag is attached so rest easy, but let’s be real about this: this reviewer could not see himself picking up the item at any price. Bob Vance Supplied by Allans Music + Billy Hyde, allansmusic. For stockists see

YAMAHA FGX720SCA SEMI-ACOUSTIC As many readers may know, the Yamaha brand screams reliability! With over 124 years of experience building musical instruments you can bet that their “bargain pricing” has no indication on the overall quality of the product.


Sydney four-piece Costa Rae recorded their debut album, Shot From The Moon, at Studios 301 in Alexandria with producer Tony Buchen (Blue King Brown, Andy Bull, Tim Finn).

“Yeah, but I think I’ve got a good sound now. And I love the way I don’t have to turn it up – because I love playing loud – but I like the way just a little bit of distortion can sound so heavy with this massive vocal. It’s awesome: you don’t need – although I love – a big, fat band sound like say Magic Dirt. Sometimes it’s just the little things that can be so powerful… So even with just one voice and one guitar that’s not particularly loud, you can make a really big wallop.”

“It’s all intense. I still want to play intense songs. I’m not doing soft numbers.”

Tele has 22 jumbo frets which leaves you plenty of opportunity to alleviate any boredom you may have.

Stephen Bartlett Productions in Moorooka have been adding to their already impressive collection of outboard gear and are now proud owners of two new compressors – a JLM VOC 2 two-channel valve optical compressor, great for vocals, bass and acoustic as well as being a great match with their 1176 for vocal chains; and a Chameleon Labs CL 7720 JLM modified mix bus compressor, which features a built-in side chain high-pass filter. For details and bookings, call Stephen Green at the studio on (07) 3191 1385 or email

Brisbane’s very own The Gin Club/Giants Of Science mainstay Ben Salter took himself down to Gareth Liddiard’s Havilah Studio in rural Victoria to record his debut solo album, The Cat, which he co-produced with Liddiard and Robert F. Cranny (Sarah Blasko, 78 Saab), and hopes to raise the money to release it midyear through fundraising website, IndieGoGo.

Is she still figuring out the sound?

owner said that was too loud. So what I’m doing is not all pretty roses and crème caramels and balloons.



The Living End are heading into the studio end of the month to record their sixth album with producer Nick Didia, whose impressive list of credits include albums with Pearl Jam, Rage Against The Machine, Bruce Springsteen and even our own Powderfinger. They’ll be utilising both Red Door Sounds in Melbourne and 301 in Byron Bay.

So it’s a logistical thing as well. But yeah, I needed a different sound as well; something warmer than my transistor amp. It’s my first valve amp ever and I’m a bit scared of it. I’m getting used to it though. I kinda like it. I reckon once it wears in, it will be good.”

VINTAGE MODIFIED TELE So for over 60 years the wonderful team at Fender have been delivering the goods to salivating musicians all across the globe, folks with tastes of all types and people of all ages. The vintage modified Tele, however, does not seem to live up to its fellow brethren, but let us not be too hasty, there is always a little bit of good in something bad. Sporting a maple c-shape neck it does not seem to deliver the action that is desired, or by this reviewer’s standards, required. The vintage modified Tele’s fingerboard is made out of maple with a radius of about 7.25” (184mm). The vintage Tele is decked with chrome hardware and your standard die-cast tuners. The Tele is equipped with three-position toggle, allowing you to incorporate the bridge pick up, neck and bridge pick up, and obviously leaving you the option of having the neck pick up as a stand alone function. The

If you’ve ever bought an item based on its ‘crazy’ price tag or promises from the manufacturer nine times out of ten you won’t even test it properly, and just like those horrid ‘two for one’ deals at service stations you will end up with something you really don’t want or can’t use. Buying this guitar is similar to giving a slap to the man behind the counter in a way to say, “I know what I want!” The FGX720SCA feels incredible. It feels better than other guitars with double the price tag. It hurts to say that there are nicer guitars out there but remember it’s not the size of the dog in the fight it’s the fight in the dog and the Yamaha punches well above its weight. As an acoustic this guitar is able to project itself very well, so much so you could even go as far to say it’s the Steven Tyler of acoustic guitars making it a superb addition to the arsenal of any busker or street performer without a portable amplifier. If you do intend to use this guitar with an amplifier you must keep the following information in mind; it’s a love/

hate kind of sound and you will fall either left or right with your decision. Unfortunately this guitar lacks the realistic sound that any Maton can easily provide, however, this isn’t always a negative, the ‘typical direct sound’ can be sought after for many solo performers and it can even be used as an interesting blending sound inside the studio. The inbuilt equaliser is very similar to that in all the other semi-acoustics. Three band’s labelled low, mid and highs – obvious and simple to use for beginners. Although this guitar isn’t exactly the cheapest semi-acoustic on the market you have to keep in mind that it is very far from the most expensive. This is definitely another piece of gear that you all can add to the “Bang for your Buck” pile. Ryan Mortimer Supplied by Allans Music + Billy Hyde, allansmusic. For stockists see


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vinyl out soon on

thursday 3rd march the gollan hotel, lismore friday 4th march jack’s shed, byron bay saturday 5th march, 8pm beetle bar, brisbane sunday 6th march, 2pm crown hotel, lutwyche

cd out april on Leadfinger_TimeOff_180x130_D1.indd 1

17/02/11 3:57 PM


EMPLOYMENT ADMINISTRATION Guitarist to join established Brisbane based band playing original electro groove rock, pop and soul tunes.. CD in production with recording available, video shot and mixes by US and European and Oz producers. Band has management and gigs. iFlogID: 11551 Keys player/composer to join established band, good original repertoire recorded & in production. Can contribute to that & next album. Electro rock/pop/soulful sound, dynamic diva & emcee. Video shot & a track mixed US out now plus gigs & management iFlogID: 11549


Markbass Studio Pre-500 bass amp. Top of the line unit...Three stage distortion... 2 x valve stages + solid state... Compression on-board....EQ.... 9 months old still under warranty. Retails for $4395. SELL $1950 ...Perfect condition.Will deliver anywhere in Sydney. iFlogID: 11077 Vase All Valve Guitar Amp. 1960’s Trendsetter 60 with vibrato.with 2 2/12 matching cabs.very loud,great tone.australian made. Perfect Original Working Condition.suit collector/enthusiast. $1200. Cooroy Qld. Ph.0428744963 iFlogID: 11336

BASS GIBSON Epiphone SG Bass Guitar.Great fat tone and action.Solid Mahogany. Perfect Condition. $350. Ph.0428744963. Cooroy QLD. iFlogID: 11615

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO for free web-site and information on how to buy. Enquiries: (02)9807-3137 eMail: iFlogID: 11523 All court appearances, work licences, unlicenced driving, drink and drug driving, defended trials and guilty pleas. Get advice early. Over ten years experience, assault and public nuisance offences. Music Law and Contract advice. Get legal advice and make informed decisions about your legal issues. Please contact my office on 07 32101663 ........................., or visit iFlogID: 11693

ADVERTISING / MEDIA 2 camera peeps required for filming a music vid in & around central Brisbane. Own camera’s and editing skills preferred. More than one clip required. Students welcome iFlogID: 11377

ENTERTAINMENT 3D Animator needed to collaborate with musician/sound designer on experimental audio/visual project. An interest in music or a musical background preferred. If successful, our content will be seen at large scale live events such as festivals, concerts, etc. Email: iFlogID: 11267 Theatre,Backstage,Lighting,Sound,Crewi ng jobs online now at au join our facebook page search and press like or join the fun on twitter/bsjaustralia its free to join and search iFlogID: 11112

PROMOTER Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts /promoters for Melbourne club Killer. For more info simply email with “promoter wanted” in the subject heading iFlogID: 11545 Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts/promoters for Sydney clubs SFX and Trash. For more info simply email with “promoter wanted” in the subject heading iFlogID: 11547

RETAIL & CONSUMER PRODUCTS Art Gallery Promotions: Refer students to this art course and make $30 commission on each sign-up. Email Immediate start, no set up costs. Fun and informative art lessons. Ph 0421356410 iFlogID: 11197

SELF-EMPLOYMENT I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: iFlogID: 11519

FOR SALE AMPS 80 watt 12”combo with reverb,saturation and more.2 channel footswitchable.USA made.great fat tone.VGC.$350. Cooroy. Ph.0428744963 iFlogID: 11486 Fender Super Reverb guitar amp (circa 1969 - 71) 4 x 10” original Fender speakers, top right speaker needs re-coning otherwise unit sounds great. Needs cleaning.Speaker repair cost is approx $200 in Sydney. Will deliver anywhere in Sydney...Sell $1895 iFlogID: 11075

DJ EQUIPMENT DJ MIXER Behringer VMX1000 Pro Mixer 7 Channel Rack Mountable BPM Counters 3 Band Kill EQ 2 Mic Inputs Talkover Button Sub Woofer Out Adjustable Cross-Over etc etc Always Cased Like New $200 iFlogID: 11556 STANTON S-650 MK2 Dual CD Decks Fantastic Condition Boxed in Original Packaging iFlogID: 11558

DRUMS Yamaha Rock Tour, Cymbals & Cases Piano Black maple and mahogany blended 24, 13, 18, 14 copper snare Hardware, dbl kick, all cased, 14’ Zildjan dyno hats, 22’ wekl ride, 18’ paragon crash, 19’ dark energy crash, $3000 Sydney; matt: 0425820547 iFlogID: 11575 ZILDJIAN A CUSTOM BOX CYMBAL SET,16” CRASH, 18” CRASH, 20” RIDE, 14” HIHATS COMPLETE IN ZILDJIAN CYMBAL BAG AND BOX. These cymbals are brand new. Absolute bargain at , $1000. Ph 0419760940 iFlogID: 11607

GUITARS 1940 Supertone Singing Cowboys Vintage Guitar with original case. This guitar is super, lots of Soul, excellent condition. iFlogID: 11509 1960s Vintage Kingston Acoustic Guitar Single “0” Size Body - with hard case. Neck joins body at 12th Fret Good Delta Blues style guitar. Ph: 0402327153 iFlogID: 11511 Fender Pink Paisley Strat. Genuine 1980s model.all original.plays great.beautiful tone and action.very case.$2500ono. Ph.0428744963.Cooroy iFlogID: 11484

KEYBOARDS ROLLAND JUNO-106 Programable Polyphonic Synthesiser. Original 80,s model. Incredible Tones and versatility. classic collectable synth. Perfect working condition.$450. Ph.0428744963. Cooroy QLD iFlogID: 11613

OTHER AKG D112. Never used!

iFlogID: 11122

Excellent studio monitors, Yorkville YSM1P. Sparsely used and in great condition. iFlogID: 11126 Legal Alternative Marijuana try a sample pack today iFlogID: 11537

MUSIC SERVICES BAND MERCHANDISE Create your own merch! Screenprinting workshop at Monstrosity Gallery, inner Sydney $95 full day. Arrive with ideas, leave wearing your band’s merch. Fun and creative. We also print Custom Tees from $15 each. 0421356410 www.monstrosity. iFlogID: 11194

BOOKING AGENTS Gig Launch is Australia’s first online booking agency, connecting artists and promoters all over the world. Opportunities local and globally, we need quality artists for our gigs! Head to to submit. iFlogID: 11207 Gig Launch is Australia’s first online booking agency, connecting artists and promoters globally. We’re currently on the hunt for artists to play worldwide festivals and events, with heaps at home. au Go Aussie, Go Gig Launch! iFlogID: 11527


MASTERING Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: Phone: 0394170760 iFlogID: 11132

OTHER Daniel is now giving guitar lessons phone 0432 614 066 iFlogID: 11253 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact or see iFlogID: 11587 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, Search Engine Optimisation. + much more. Contact or see www. iFlogID: 11583 Mark McKinnon-Bassett is a qualified acoustic consultant specialising in small ‘home studios’ with owners looking to optimise their acoustics without any construction, major modifications or purchases. For a full list of services see iFlogID: 11621 MUSIC PUBLICITY: Got the music but need it to be heard? Need more people at your shows? Take your band to the next level with a publicity campaign designed to put your band in front of music lovers. www. iFlogID: 11257 is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member or get exposure check Ozjam out today! iFlogID: 11719

PHOTOGRAPHY Pro Band photographer available in Brisbane/Gold Coast area. Live and promo shots,

affordable rates for bands that don’t exist. Recent work at http://haqphoto.blogspot. com For enquiries email hannahquinn@ or call Hannah on 0459544495 iFlogID: 11421

RECORDING STUDIOS Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742 iFlogID: 11660 Professional Studio, With creative vibe and wide variety of equipment see fireantstudios. email iFlogID: 11723 We’re proud to introduce our new recording studio, utilising state of the art technology, at affordable community rates. The studio is available for hire both for production and as a rehearsal space. Located at Liverpool PCYC. Facebook Us!! 02 96086999 iFlogID: 11234

REPAIRS ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADES-REPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 iFlogID: 9346

TUITION SPEECH LEVEL SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. / slsvocalinstructor - Contact Maz: maz@ iFlogID: 11184

VIDEO / PRODUCTION Bands who have made videos with us include El Duende, Line Drawings and K-Lab. Get your band on Rage and Youtube. Fantastic concepts and slick production that wont break your budget. See examples on Call Darrin on 0413555857 (Sydney) iFlogID: 11636 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price. Visit or email iFlogID: 11423

MUSICIANS AVAILABLE BASS PLAYER Bass player looking for a band and/or regular jam. Have been playing about 12 months. Committed, reliable and keen to learn. Sydney (Hills/West). Email: scather@ iFlogID: 11396

NOT AVAILABLE FOR FREE ADS. CL 26 y/o sunshine coast bassist seeks original prog/alt/rock band. Own good gear & transport. 3+ years experience in original bands. Must be keen, committed & easy going. ph: Broc 0457235607 iFlogID: 11161 Professional electric & upright bassist available for session work & possible fill-in shows. Received high rotation on Triple J, QSong awards, iTunes Single of the Week. Played at Woodford, Laneway & Triple J Live at the Wireless. Competitive rates. 0403810714 iFlogID: 11617

DRUMMER Drummer available for pro cover gigs in Bris or touring. Casual or Permanent. 39yo. 22yrs exp. Rock Blues Hick. Recently returned from cruise ships. Keen to work. Cool to rehearse. Chart reading no prob for jazz/shows. Call or Text anytime. iFlogID: 11149 Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal! iFlogID: 11455


Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11443

Proficient Session Drummer Working Out of Sydney City Looking for new Projects for 2011 No particular style preference Call me for any info 0425820547 iFlogID: 11492

GUITARIST Freelance Guitarist available for orignal/ covers fill ins or recording sessions. Top pro gear, Fender/Gibson guitars, Ulbrick/ Mesa-Boogie amps, Boutique pedals.Keep my number on file for future reference Brad Kypo 0404 065 976. iFlogID: 11632

MUSICIANS WANTED BASS PLAYER ###FREE iPHONE APP### Sydney Underground Fusion Virtuosos, The Three Wise Monkeys, Download the 3WM iPhone app for Free for a limited time @: Track Previews, Videos, gigs, and social interaction, the Ultimate portal for Three Wise Monkeys. iFlogID: 11451 A fun Sydney indie/alt/folk band looking for bassist: Age 18-25, Play by ear, Saturday practice, Own transport, Good gear/ fx, Backing vox. for our tunes! iFlogID: 11293 Atmospheric electro-acoustic-psych-surfswamp-kraut-indie-rock band with an upcoming album release seeks friendly bass player. Call or text Danny on 0407226667 check out our songs www.transatmusic. com.upcoming LP and gigs in March iFlogID: 11334 Bassist & singer wanted! (Seperate people). Aged between 18-25. Guitarist & drummer are very serious to start a metal band w/ regular jams and gigs. Influences include Pantera, Metallica, Maiden, Sabbath & more! Contact Justin on or 0432905175 for more info \m/ iFlogID: 11425 Bassist wanted for female fronted psychedelic/ shoegaze/ ambient/ dream-pop band. Gigging all over Melbourne with radio play. Aged between 25 and 32. Rehearse weekly in Brunswick. For more information please write to iFlogID: 11437 Bassist with basic singing skills aged 18-21 wanted for established touring Brisbane indie/rock/pop band. Influences include: Bloc Party, Vines, Coldplay, Muse. Must be a rad, easy going person with own transport and gear. Find FUSHIA on facebook, iTunes and Myspace. iFlogID: 11506 Funk rock/alt. rock is looking for a committed bass player in the northern beaches area. available to do weekly rehearsals and regular gigs. must also be between 18-28yr of age. if interested please call nick on 0430 377 383 iFlogID: 11663 Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11447 ROCK BAND NEEDS BASS PLAYER. MUST HAVE PROFESSIONAL ATTITUDE AND BE READY TO ROCK. 90’S INFLUENCED. CALL. 0404 247 555 iFlogID: 11401

DRUMMER ###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www.


Circle need a drummer! We’re pretty busy so expect a reasonably exciting schedule of gigs, shoots and recordings. No tours planed at present but a possibility for the near future. While we’re happy to give anyone a go, this is not a start up project and we will be auditioning for the spot so a level of ‘pro’ experience is preferred. Please visit www. and email if you’re interested. iFlogID: 11367 DRUMMER NEEDED!!! Ipswich based guitarist (18) looking for committed drummer to start acoustic/roots band. Practice/ jam at least twice a week. A few influences are Ben Harper, Xavier Rudd, John Butler... If keen call, email Justin 0424 790 014, iFlogID: 11717 Drummer Wanted Diverse progressive metal band looking for drummer with metal background. We play regular gigs and we’re ready to record. Must have own gear and transport. Must be professional and motivated. Call Shane: 0427 009 059 iFlogID: 11704 Drummer wanted for experimental rock band. Originals. Influences Primus, QotSA, Cake, Beck, Tool, Zappa. Intending to gig. Fast learner preferred (by ear). Hawthorne. Adam 0431629306 For a listen go to http:// iFlogID: 11297 Drummer wanted for Sydney alt, electro indie rock band with management, triple J play, rage etc. Must be available for some touring with interstate shows currently booked. Please email any demo’s, myspace link, details etc to iFlogID: 11689

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11445

OTHER OzSong International is Australia’s newest songwriting competition. Grand prize is a paid trip, accommodation and recording time in Nashville or Sydney - the choice is yours. Each contestant through to the finals receives professional recording gear. www. for more info. iFlogID: 11205 We’ve revamped and renamed, we’re now online @ www.! Artists, upload your music and receive 100% commission on all sales. Promote your music even more with a featured ad!! iFlogID: 11242

SINGER 90s Influenced Frontman in Brisbane Originals band with vintage sound of funk, grunge, heavy, experimental looking for UNIQUE frontman with energetic stagecraft, lyrics, crooning, singing, rapping & aggressive capabilities. 11 songs written. Very serious. Ages 18-27. 0423378506. iFlogID: 11291 female singer wanted for duo/trio. Guitarist with experience looking for Singer/Muso for duo. Led Zeppelin, Heart style covers and originals. acoustic and electric. Aiming to do bars, beer gardens etc. Have gear... iFlogID: 11531


DUMMER NEEDED!!! Ipswich based guitartists(both 18) and bassist(16) are looking for a committed drummer to start rock/alternative/punk band. A few influences are Grinspoon, Jebidiah, Red Hot Chili Peppers etc... If your keen call/txt Justin 0424790014. iFlogID: 11497

New dynamic 60’s concept show is looking for a professional male vocalist who can cover all vocal ranges and styles.Must be a fan of the music and times with rehersals in Eastern suburbs 1-2 times a week.Auditions 19/2 Call 0420511187 iFlogID: 11104

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11449

Seeking a female singer/vocalist with a view to create original songs to perform and record including some covers. Music style Jazz/Funk /Blues inspired. Lower Nth Shore, Own Transport required. Call Nick 0421 440 435, or Aldo 0414521260. iFlogID: 11627

Session, possible full time DRUMMER wanted for central coast rock band.On a rock compilation in USA, Itunes, amazon. com, tunecore etc. Press release in late Feb, Contact Kurt on 0403915430 iFlogID: 11089 Sydney-High Energy, Well Dressed 60’s Garage/Punk outfit looking for Male or Female Drummer who can hold a beat, and wants to gig. Once a week rehursal. Influences-The Stooges, Ramones, Sex Pistols, The Hives. Own kit and transport prefferable. Astro:0430243915 iFlogID: 11180

GUITARIST Drummer Northside own quality P.A looking for guitarist to jam and possibilty, of form band able to practice most day’s before 5pm. Influences Hot Water Music,Leatherface,Coheed and Cambria,Smoke or Fire,Cog. Ph: Matt on 0422692335 or text. iFlogID: 11094 I’M A SINGER/GUITARIST, LOOKING TO START DUO/BAND. WANTED: LEAD GUITAR-

OzSong International Songwriting Competition is now accepting submissions! Grand prize winner chooses to fly to either Sydney or Nashville, with accommodation, studio time and airfare paid. Runner ups receive home recording gear. More at www. . iFlogID: 11529

SERVICES GRAPHIC DESIGN Custom Band T-shirts, Singlets & Hoodies, Band Posters, Business Cards, Flyers, Stubby Coolers.. plus more!! Fantastic Prices and Free Delivery within NSW www. iFlogID: 11657 Filmmaker available

Want to stand out from the crowd? Matte Blac Design. Album design, Gig posters, T-Shirt design, corporate identity, advertising material and more. Competitive Pricing!!! Call Matt on 0423 384 439 for a no obligation quote. Fast turnaround guaranteed 100% Original iFlogID: 11554 WIN A T-SHIRT for your valentine! Go to Just choose your ink colour and we will hand-print it for the winner. Usually $45! ENTER NOW! iFlogID: 11219

OTHER Boutique T-shirts in Monstrosity Gallery. Hand-printed, unique tees for the fashion evangelist from $45.00 au/shop iFlogID: 11201 ROYAL HOTEL BONDI ROAD SATURDAY MARKET-Designer clothing, jewellery and accessories, 11-4PM. If you are a stallholder and would like a stall call Andy 0426275655, $30 with table iFlogID: 11671 Senior First Aid $90 Valiant Training www. Ph: 1300 600 343 iFlogID: 11176

SHARE ACCOMMODATION AVAILABLE Room available by 14th of March. To share 2 bedroom unit on upper story - great view! 140pw Bond 400 Near beach, shops, supermarket & bus stops. Looking for a reasonable, easygoing housemate to share with a female Uni student. iFlogID: 11467


SINGER WANTED - ASAP Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. Think Sevendust, Stone Sour, Karnivool etc. READY TO PLAY!!! iFlogID: 11513 SINGER WANTED for Chili Peppers Tribute Band, Melbourne and surrounding areas. Serious inquiries only. Phone 0409865133. iFlogID: 11217 We are a band new to the live scene seeking a charismatic female vocalist aged18-25. Someone determined, open-minded and confident live. Our style includes blues, punk, rock and funk. Jam/practice sessions in Bondi twice a week. Call Bo:0401365924 or iFlogID: 11174

SONG WRITER Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11441

iFlogID: 11564

GIG POSTERS Professional Posters at a great price. or 1200 Design on facebook iFlogID: 11251

OTHER Seeking manager or management for Australian,female vocalist returning to Sydney from Tokyo. A versatile vocalist, I’ve recorded many albums and have name in the game music industry.I would like to be booked for decent gigs and studio work. iFlogID: 11415 BANDS & DJ’s GET YOURSELVES ON RADIO! Come and play at the Royal Hotel in Bondi for ABM & we’ll showcase you and your music on our network of Radio Stations for a month! Call Andy 0426275655 for details iFlogID: 10959 WANTED: MUSIC FOR SURF VIDEOS We’re looking for great new music to be featured on surfing movies, DVDs, TV Shows & other video content. Great opportunity for exposure & placement with other Australian & International artists. Contact smcclimont@ iFlogID: 11721

Lexicon MX 220 Dual Reverb Effects Processor. A pristine, never used unit, ideal for small studios. iFlogID: 11124

PA EQUIPMENT Australian Monitor F300 foldback wedge / floor monitor. 300W continuous 500W peak. 15” bass driver, 1” compression driver, 60x40 degree horn. Seven available. $299 ea. Princess Theatre, Woolloongabba, Brisbane. Ph 0400 404 919. iFlogID: 11560


Australian Monitor, Inter-M, dbx and more. The Princess Theatre is selling a number of PA components including amps, foldback wedges, rack cabinets, and crossovers. Check out the list and prices at pasale. Contact Jeremy 0400 404 919. iFlogID: 11167


CARVER 1800W PA. rack mount.split mono. with Bose controller/pre amp.8 speaker outputs.very case.VGC.cost over $2500. sell $850.Ph.0428744963.Cooroy. iFlogID: 11482


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Time Off Issue #1516  

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

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