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GIVEAWAYS 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, blockmounted Screamadelica poster and a copy of the 2CD edition of the Screamadelica reissue. There will be two formats of Screamadelica released – a 2CD edition with the remastered album and the rare Dixie Narco EP – and a superdeluxe 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 home.php#!/pages/Time-Off/111012688946269. Entries close 5pm Friday 18th March. Runners up will win a copy of the 2CD Screamadelica reissue. Thanks to Hoyts Distribution we have ten double in-season passes to give away to Australian musical comedy, A Heartbeat Away. When the town’s marching band faces a crisis, Kevin Flack (Sebastian Gregory) who dreams of playing lead guitar in a famous rock and roll band, is forced to take over as musical director. With the help of Mandy (Isabel Lucas), Kevin must get the band on his side, rearrange an iconic rock song and overhaul their dated routine. www. In cinemas Mar 17. Subject Line: HEARTBEAT AWAY Biutiful is the latest masterpiece from Alejandro González Iñárritu (Babel, Amores Perros, 21 Grams). It is the story of Uxbal (Javier Bardem) - devoted father, tormented lover, mystified son, underground businessman, friend of the disposed,

ghost seeker. He is a survivor at the invisible margins in today’s Barcelona. Thanks to Madman Entertainment we have ten double passes to a screening at the Palace Barracks, on Wednesday Mar 16, at 6.30pm. It’s released Thursday Mar 24. Subject Line: BIUTIFUL To celebrate the release of Mastodon’s Live at the Aragon CD/DVD we have a major prize pack up for grabs which includes: the Live at the Aragon CD/DVD, Custom Mastodon Logo Pick Tin with 6 individual Dunlop Tortex Sharp picks (used officially by Mastodon). Plus a Reproduction of the official Mastodon All Access Tour Laminate with lanyard. Five runners up will score a standard copy of Live at the Aragon. All thanks to Warner Music! Subject Line: MASTODON PACK Watch the piano come alive! Brothers Moriya and Keito Saito, together as Les Frères, have been shaking it up with their funky beats and boogie rhythms. The Japan Foundation, Sydney, presenters of the Les Frères concert, have announced that all proceeds raised from the Brisbane leg of the concert will be donated to the Premier’s Disaster Relief Appeal. They play the Old Museum Tuesday Mar 15, and we have one double pass to give away! Entrants must be 18+. Subject Line: LES FRÈRES Thanks to Civil Society we have ten double passes to give away to The Besnard Lakes’ gig at The Zoo on Friday Mar 11! Entrants must be 18+. Entries close Thursday 2pm. Subject Line: BESNARD LAKES


HOW TO ENTER: 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 8 Lowdown – news, opinions, tours, Backlash, Frontlash 10 Adalita discusses how personal tragedy informed her debut solo record 14 Plenty of things still surprise The John Steel Singers 16 Once again, R.E.M. are happy 17 Bethany Cosentino of Best Coast is more than just a lazy, crazy baby 18 The Besnard Lakes are as young as they feel 19 We chat with Triple Rainbow Tour participants to get the drum on what will go down 20 Donovan Frankenreiter talks about the correlation between his two passions 22 Thirty years on, D.O.A. are still a vital force 22 Girl In A Coma met Morrissey, and it wasn’t as weird as you might imagine 22 It’s been three years and $160,000, but The Red Paintings are striving for perfection 22 Lia Ices has found her true voice 23 The Afro-Cuban All Stars have our best interests at heart 23 On The Record has the latest, greatest and the not so greatest new musical releases 24 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 24





Get the scoop on what’s happening This Week In Arts Local comic Mel Buttle tells us about her old man, Barry What is art? The Looking Glass has no idea We look at the history of the Brisbane Comedy Festival Raw Dance have overcome some serious adversity to put together their new show Project X Geraldine Quinn talks about pop music Expect chaos from Jason Byrne’s Cirque Du Byrne Cultural Cringe wants you to write a script



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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 Go behind the music Behind The Lines iFlog and you can too

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

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RELEASES, PLEASE Sydney based label Yes Please have announced their entrance into the national scene, with the DIY-focused imprint preparing releases by Sydney’s Albatross and Guerre, Melbourne’s The Townhouses and Wellington’s Glass Vaults. They’ll be available over the “coming months”.

Splendour In The Grass have confirmed that they’ll be staying up north at Woodfordia for this year’s festival, as their application to return to Byron Bay remains under review by the state government. Also announcing the dates of the event – Friday Jul 29 to Sunday Jul 31 – the line-up will be announced in the “coming months”. The Woodford-based Woodfordia site did sustain damage during the recent Queensland fl oods, but organisers believe that the grounds will be back in perfect condition in time for the festival. In a statement Splendour’s producers Jessica Ducrou and Paul Piticco said, “We wouldn’t be announcing Woodfordia as the location for the 2011 Splendour In the Grass festival if we weren’t completely confident that was the case.” Commenting to The Front Line after the announcement, festival co-promoter Jessica Ducrou ensured that the move back to Byron Bay and Yelgun is still the festival’s plan, even if stakeholders have to remain quiet on the matter while it’s still being processed. Asked if she was disappointed Ducrou said, “The short answer to that question is ‘yes’. We’d love to be holding Splendour at North Byron Parklands. We’ve been working towards that goal since 2006 and it’s something we very much want to happen. That said, Woodfordia is also a beautiful venue that suits Splendour well and we’re very happy to be back there for 2011.” On the impending line-up, Durcou said, “So far it’s shaping up to be a really well balanced line-up – some big established acts, some new finds that we’re excited to bring to Australia – we’re looking forward to spilling the beans in the coming months.”

POLITICAL WOE FOR ONE MOVEMENT The future of One Movement For Music’s funding through Tourism WA has come under scrutiny after a call from Western Australia’s Labor shadow culture and arts minister John Hyde, who called the event a failure. After meetings following the announcement, promoters Sunset Events have declined to comment on the impending inquiry. Managing Director and Promoter Dave Chitty said in a statement, “Sunset Events at this stage does not wish to comment on what is largely a political debate. The inquiry is focused on Tourism WA and its practices, not Sunset Events. “We do note, however, that it was originally the Labor Government which approved the funding for this event and we are disappointed that this inquiry is proceeding despite the event having already undergone considerable parliamentary analysis. Our current focus is on planning the third One Movement For Music event, with local, national and international stakeholders and industry.” In his attack on the festival Hyde said, “One Movement has been a disaster for the Government from go to whoa and Tourism Minister Kim Hames must say enough is enough. If he had any sense, he’d be scrapping the agreement with One Movement before this inquiry gets underway.” The inquiry’s reports are expected by Thursday Jun 30.

END OF THE ROAD FOR MM9 Sydney-based industrial electro outfi t MM9 have decided to split after nine years. Citing an inability to “pour 100 percent of our hearts and souls into the music we’re making” and “as individuals we’re heading in different directions now,” the band released their first album last year, The Air Between. Once touted as a possible Australian export, hype on the band had quietened when other commitments had impacted their regular touring. Their statement also read, “To all of you, please accept our deepest appreciation for your support through all of these years.”

MOVERS AND SHAKERS Shae Constantine has joined Sony as the director of marketing for Australian artists, after leaving Warner. Leaving Mushroom, Matthew Rogers has joined Staple Group as General Manager.


ART VS SCIENCE COME SO CLOSE TO TOP SPOT Art Vs Science have missed out on debuting their album The Experiment atop the ARIA album chart by the slim margin of 68 units. Michael Buble instead retained the spot with his album Crazy Love, boosted by his current tour. Despite falling second the Sydney electro-indie three-piece who are currently touring as part of the Future Music Festival are believed to have sold more copies than last week’s number one did. Stung by a solid week of sales, the band managed to knock Rihanna’s album Loud into the number three position from number two, despite the Barbados-born superstar’s current Australian arena tour. She held the top spot in the singles chart though with S&M.

LOSSES OF A NATION Leading concert promotion company Live Nation posted further losses last week, blaming the “depressing” year on declining ticket sales and a smaller number of concert tours in the fourth quarter particularly. That fourth quarter last year showcased a loss of $USD124 million and took 2010’s overall losses to $US228m, far greater that 2009’s losses of $US60m. In a conference call with analysts, the company’s chief executive Michael Rapino stressed that, “The pullback was price driven and not a systemic issue.” He also said that artists were willing to work with the company to drive costs down. “No one wants to be the poster child for concerts that didn’t work in 2011. The artists are motivated.” Australia’s branch of Live Nation were unable to comment on global issues relating to the company but assured The Front Line that they’ll be rolling out further plans in Australia and New Zealand this year. They introduced themselves by jointpromoting the U2 tour with Coppel last year, but are only working on Neil Diamond and Chelsea Handler tours at the moment, which are both taking place this month.

CMC AWARD WINNERS MISSING Adam Brand has proven once again that he’s a fan favourite among the country music scene after being awarded the fan-voted CMC Oz Artist Of The Year at the CMC Music Awards for the fifth time running. Partly thanks to his dominance, the awards were opened up into new categories this year and, awarded last Friday, Taylor Swift was voted International Artist Of The Year and hinted that she’ll tour Australia this year in a video response. Best Music Video went to Keith Urban’s Til Summer Comes Around and McAlister Kemp won New Oz Artist Of The Year. In the end none of the winners were present at the ceremony due to other commitments.

MEMBER’S CHOICE APRA members are now able to vote in the Song Of The Year competition, the first round set to determine the 20 songs that will be shortlisted for the next round of voting. Voting closes Monday Apr 18 and voters have the chance to win a Gibson Les Paul. To vote, members just have to log into the APRA/AMCOS website.

UNIVERSAL STALWART JUMPS SHIP TO SONY Sony Music have snapped up veteran Universal exec Doug Morris to take up the role of global chief executive in July following much speculation that he was being headhunted by the world’s second biggest record label. There were also reports last week that even though he was being courted, he may not have been able to get out of his Universal contract until January 2012. It would have left Sony Music without a CEO, with current chief Rolf Schmidt-Holtz unwavering in his intentions to leave his post this year. Discussions with Universal/ Vivendi and Sony Corp chief executive Sir Howard Stringer resulted in a contract release and Stringer will oversee Sony Music until Morris comes on board in July. It’s a challenging time to take up the job as a Reuters report suggests that there are still large divisions between the Sony and BMG camps, seven years after the second and third ranked labels merged. In that time Sony has lost ground to both Universal and Warner. Also pressing at the moment is Warner’s decision to invite bids on the company, parts of which Sony have shown interest in, and the impending EMI auction through Citibank. Morris has been the head of Universal since 1995 and oversaw the development of online destination VEVO, a partnership between Universal, Sony and YouTube which attracts about 60 million visitors a month. He’s a director of the Rock ‘N’ Roll Hall Of Fame, board member of CBS and started his career as a songwriter; he is credited with The Chiffons’ 1966 hit Sweet Talkin’ Guy.

ASC CANNED FOR 2011 The Australian Songwriters Conference will not be held this year, organisers are disappointed to announce, due to a lack of “funding and sponsorship support”. Held annually since 2008 on the June long weekend, the event had received a $3,000 grant from APRA for the year ahead but in an email from founder and co-ordinator Lisa Butler she revealed that no other funding had been secured so it is “impossible” to hold the event this year, given its $60,000 running costs. The festival’s organisers are intending to hold the event next year and are now looking to secure the financial support for that event.

Wednesday 9th March

Dog & Dry Holly Terrance | Bec Plath Phil Hancock | Maggie Collins

Thursday 10th MArch

BOYS & GIRLS x strength through purity x Deceiver | Brazen

Friday 11th MArch

648 Ann Street Fortitude Valley QLD 4006


Numbers Radio Blonde on Blonde Montpelier Djs | Danny Cool NEW YORK with Maggie Collins

The importance of a mobile and social networking presence for artists has been highlighted by the formation of a new company focused on developing mobile, tablet and desktop apps specifically for artists, Zappp. Formed by music-focused creative agency One Meaning Communicated Differently and development firm Distriqt, ex-Below Par Records founder and half-owner of OMCD Jai Al-Attas told The Front Line that developers that weren’t quite understanding the needs of music industry clients. “A lot of people think they need apps just because they’re popular,” said Attas, “but they don’t actually understand what the point of it is.” Zappp hope to create a relationship between the artist and fan, by offering information and offers in return for the artist’s ability to contact them directly through the app. “For example, by owning their app Angus & Julia [Stone] are able to directly send a code to each person. They might say, ‘Okay, by presenting this code at the merch desk on the tour you’ll be able to get 50 percent off all merch,’ or whatever it is.” Already in development are apps for Angus & Julia Stone, Josh Pyke, Grinspoon, Little Red, The Getaway Plan, Illy, Gold Fields and Icehouse. Hoping not to be another flash-in-the-pan web-based company, Al-Attas believes that the experience within OMCD (the other half is owned by the Staple Group, that is We Are Unified, Boomtown Records) will make the venture successful. “A lot of the [app] developers that you talk to or a lot of the companies that create these, they don’t actually understand,” he said. “They know how to make them, but conceptually they don’t really understand what an artist or a band needs.”

YOUNG UPSTARTS The Rockschool Challenge band competition is looking for contestants, with $1,000 worth of prizes on offer at the end of it. Run by the Southbank Institute Of Technology, to apply send a CD/DVD recording of the band, a brief biography, online links to rockschoolchallenge@ or visit rockschoolchallenge. com. Aimed at high school kids, it’s open to all young musicians. If you’re accepted, you’ll be playing a 20 minute set of originals and/or covers.

WORLD EXPOSURE Applications to showcase at the Australasian World Music Expo are now being accepted by the event from both Australian and international artists. The fourth running of the event will take place in Melbourne Thursday Nov 17 to Sunday Nov 20 with, as the name suggests, an international focus. Last year’s event attracted 300 musicians, 400 delegates and 8,000 audience members and acts that have played previously include Femi Kuti, Groundation, Stone Love, Blue King Brown, Archie Roach, Dan Sultan and more. For more information on how to apply, visit

Saturday 12th march

Texas Tea Orville Brody (France) Butterz | Charlie Hustle 7’ to 12’ inches of Love downstairs feat Running Gun

Sunday 13th march

Pocket Music 1st Anniversary Cheapshot (Tokyo) Godinpant (SYD) Dot.AY | Slato | Rubijap SexyPie Sweepless in Seattle | Butterz



CLOUD NINE Calling in from Manchester, ULRICH LENFFER from CLOUD CONTROL tells BRYGET CHRISFIELD that their overseas manager “had a hunch” they would take out the sixth annual AUSTRALIAN MUSIC PRIZE while the band “had no idea”.









think it was 9am Brussels time so, yeah, it was early morning. We were still in our PJs in bed,” Cloud Control’s drummer/percussionist Ulrich Lenffer tells of how his band was situated to receive the news they had won the sixth annual Australian Music Prize (AMP). Cloud Control’s manager acted as human alarm clock when he knocked on their doors. “He was all excited like a kid at Christmas,” Lenffer tells. “I was kinda like, ‘Shut up and go back to sleep. We just wanna sleep’ [laughs]. And he was like, ‘No way, we’ve gotta see.’ And we ended up waiting two hours because he got up super early, but it was ultimately worth it.” It sounds as if their manager had a premonition. “He’d been contacted by the AMP [people] and they said, ‘You still haven’t given us the number’,” Lenffer explains. “So he was like, ‘Oh, yeah, that sounds a bit interesting’. So he had a hunch, but we had no idea.” Lenffer goes on to say, “To be honest I was kinda thinking Tame Impala had it in the bag, so I was content. I was at peace. I was like, ‘If we get this, great. If we don’t, I’m cool with that’.” The 2010 shortlist was rounded out by Eddy Current Suppression Ring (who took home the AMP in 2008), Richard In Your Mind, Pikelet, Sally Seltmann, Dan Kelly, Gareth Liddiard and The Holidays (this year’s recipients of the Red Bull Award for best debut release). Cloud Control’s AMP winning Bliss Release set is also their debut album. “It was a beautiful list,” Lenffer comments of the shortlist from which his band was chosen. The AMP announcement ceremony was held at the Annandale Hotel and Cloud Control’s Australian manager Joel Connelly accepted the $30,000 prize on their behalf. At the conclusion of his speech, Lenffer observes that Connelly “was on the phone pretty quick” to congratulate the band. With his sister Heidi also in Cloud Control, on vocals/keys, obviously phoning home was next on the agenda. “You know, I tried to call. I was outta credit – all our phones were outta credit,” Lenffer admits. “So we couldn’t call mum… She’s probably gonna kill me. I’ve given enough interviews saying how much they’ve supported us et cetera that she’ll probably be happy reading about it vicariously.”

The band is rounded out by bassist Jeremy Kelshaw and lead vocalist/guitarist Al Wright. “We just sent a big email,” Lenffer continues, “but a lot of people knew before we told them.” After their exciting news, Cloud Control’s European touring commitments meant they then had to spend eight hours in a van travelling from Brussels to Manchester. Surely they smashed some beers in the van. “Nah, not so much,” Lenffer chuckles, “not at 10am.” It wasn’t until the band arrived in Manchester that they “went out and had some pizza and beers and celebrated a little bit”. Reflecting on the success of Bliss Release – which cleaned up at the 2010 AIR [Australian Independent Record] Awards (Breakthrough Independent Artist and Best Independent Album) and also gathered two SMAC [Sydney Music Arts and Culture] Awards (Best Live Music Act and Record Of The Year) for the band – Lenffer admits he’s “a big advocate of EPs”. “It’s like a testing ground,” he offers. “There’s no expectations… and I think the vibe behind the EP was that we weren’t ready for an album yet – we were still finding our feet in the band, we were still finding the direction we wanted to take. And that was a big part of the album – we were quite hesitant on starting it before we were ready. It was quite deliberate, I think.” Once the $30,000 AMP prize pool has been safely deposited into Cloud Control’s communal bank account (“for personal use living in London”), the band members should be able to top up the credit on their mobile phones. But Lenffer says the quartet’s experience residing in the UK to date has already given them plenty of practice eating on the cheap. “We all really, really love baked beans,” Lenffer laughs. “They are the band’s best friend at this stage. A can of baked beans, a loaf of bread and a block of cheese and you’ve got a whole band sorted for an entire day!” Calculating the cost of these essentials as being “probably, like, two pounds fifty”, Lenffer commends, “Small groceries over here are really cheap, I’ve gotta give it to them. Everything else, a bit ‘orrible, but groceries – pretty cheap.”


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


IN BRIEF Phil Collins has indicated that he will quit music due to medical issues and feels that listeners have grown sick of him. Rockabilly legend Johnny Preston has passed away at the age of 71. Flaming Lips hero Wayne Coyne has mentioned he has asked James Murphy, Sonic Youth’s Lee Ranaldo and Led Zeppelin’s Jimmy Page to be involved in future Flaming Lips recordings.

BY THE BAY One of Australia’s finest rock bands You Am I are going to be back up our way at the end of this month for the Ric’s Big Backyard Festival, and while they’re in the area they’ve decided to duck down the coast for a quick date for their fans a little south of our fine city. The Runaway Bay Tavern has been hosting some seriously good shows of late and this is going to be one of the finest to date as these legends of the game deliver one of their trademark incendiary live performances to what is bound to be one hell of an excited audience. The band drop by said venue on Friday Mar 25 and you can grab tickets from OzTix right now for $28.60.

HOUSE OF MADNESS Have you been wondering what the well respected Australian musicians Alex Lloyd and the Pigram Brothers have been up to of late? Well we had, until we heard about the Mad Bastards, then it all became clear. We first heard about this group when they were announced for Bluesfest recently, but a little more information has now come to hand. They initially came together to record music for the film of the same name as their group, but things seemed to click very nicely so they are now going to head out on the road and play their way through this great new material that makes up the soundtrack to the film. You can catch them playing a special intimate show at The Zoo (in seated mode!) on Thursday May 19. Tickets are available from OzTix now for $31.15.

UGLY SWAN Oh Brisbane, it looks like we have lost again. There were plenty of people excited about getting the chance to see the one and only Swans perform live next week with support from Aussie gurus The Necks – but unfortunately that just won’t be happening. The band are still coming out to Australia but they’re giving Brisbane the big old swerve, cancelling their show that was set to hit The Hi-Fi on Friday night. If you bought a ticket with your credit card then the cost will be refunded automatically, otherwise you ought to take the ticket back to the point of purchase to make sure you get your money back.

Guy Sebastian was detained at Heathrow Airport for five hours last week after attempting to enter the UK with the wrong visa. Christina Aguilera was arrested in Los Angeles for public intoxication last week.

THE PEOPLE WILL RISE In just over a week’s time one of the biggest punk rock bands on the planet right now, Rise Against, will release their hotlyanticipated sixth full-length record Endgame and they haven’t wasted a minute in announcing their return to Australian shores on the back of its release. A show of epic proportions is set to descend upon Australia in July as the band bring not only their kick arse live show that so many punters around these parts have raved about after their past visits, but also some very special guests. The great Sick Of It All have been a staple of the hardcore punk rock scene since the mid-80s, but they’re as relevant and vital as ever these days, proven with their Based On A True Story album which was released last year – they’ll be out for the shows and opening things up will be Perth hardcore dynamos Break Even, who are continually proving themselves to be one of our finest heavy acts. It all goes down at the Brisbane Entertainment Centre Monday Jul 18; tickets are available from Ticketek as of 9am Friday.


Soundgarden will commence recording their new album next week.

Rob Zombie has been named as the director to take care of the film adaptation of the Mötley Crue memoir The Dirt.

Blue Mountains pop ensemble Cloud Control have one the AMP Award for 2010. The manslaughter trial against Michael Jackson’s doctor at the time of his death Dr. Conrad Murray has been postponed to Monday May 9. Patti Hansen, the 25-year-old daughter of Keith Richards, has been arrested for defacing public property and possession of a controlled substance. In yet another turn of events, Ray Davies has said that he will reunite The Kinks, just without his brother Dave. Elvis Presley will be declared a posthumous honorary citizen of Budapest.

Prince is yet to pay an agreed USD$2 million in damages to Irish promoters MCD, meaning he could lose his home and other items contributing to his personal wealth.

RETURN OF THE KING It has been a long 18 months since the wonderful Blue King Brown last embarked on a headline tour of Australia, but this is all going to be rectified come May when the band bring their energetic brand of rootsy reggae to audiences all over the country in support of their stunning new record Worldwize Part 1 North & South. Over the past few years this band has become a real favourite to audiences around Australia, their heavy touring schedule – including plenty of big festivals and high profile support slots – has meant that the band has managed to get their pumped up live show out in front of plenty of people. This headline tour is bound to be enormous as the band spread their heavily political and socially just message to beats that will make you shake incessantly. You can catch them at Byron Bay’s Beach Hotel Thursday May 19, the Coolangatta Hotel Saturday May 21, Kings Beach Tavern Sunday May 22 and The Tivoli Friday Jun 3. Tickets for all shows are available from OzTix right now, otherwise you can grab them from the venues, bluekingbrown. com or, for The Tivoli show, Ticketek. Proudly presented by Street Press Australia.


STILL OURS The rumours have been floating around for a while now, but it was confirmed last week that Australia’s number one princess of pop Kylie Minogue will indeed be bringing her massive Aphrodite-Les Folies tour to Australia midway through this year. The response to the tour after recent European shows has been incredible, with the show – replete with the world’s best dancers and aerial performers – getting rave reviews from critics as well as thousands of fans. Minogue can’t wait to bring the spectacular to the homeland and will do so with support from hot young things Gyspy & The Cat who will open things up on all dates. You can catch it all happening at the Brisbane Entertainment Centre Friday Jun 3 and grab yourself a ticket from Ticketek as of Tuesday Mar 15.


They’ve just had a name change and announced that they inked a deal with hip Aussie label I Oh You and now local party rock duo DZ Deathrays have announced the release of their brand new EP Brutal Tapes and a big launch tour that will take the lads to plenty of areas all over the country. Things are looking pretty good for the duo at present, they’re about to head off to the USA again for shows at SxSW and then to the UK to showcase at The Great Escape festival over there. When they come back they will kick off their launch tour with some local shows, giving Woodland a good going over on Friday Apr 1 (with Dune Rats) and then heading down to the Gold Coast’s Shark Bar on Saturday Apr 2 (with Diamants and Dune Rats). Tickets for the Woodland show are $12 and available on the door only (get there early!) and for the Gold Coast show, you can grab a ticket from OzTix for $8 + bf right now.

STAY ON THE RECORD There are few simple pleasures more alluring than buying records; this is a simple fact of life. The people behind the very awesome Egg Records are throwing another of their fantastic record fairs and this one sounds like it is going to be fucking enormous! The West End Club will play host to 80 tables full of the finest in awesome records, with dealers from as far away as Sydney and Melbourne coming up for the event, and thousands of awesome records (and probably a couple of fairly ordinary ones) will be up for grabs to those game enough to dig through the crates. The Brisbane Record Fair happens on Saturday Mar 26; early birds will be admitted from 8.30am for $5 and those who choose to attend after 9.30am will get in for three bucks.

Courtney Love has been ordered to pay $434,000 to fashion designer Dawn Simorangkir following the controversial artist’s unsavoury comments about the designer (i.e. calling her a whore) on Twitter last year. A lock of Justin ‘Beebs’ Bieber’s hair has sold for USD$40,668. The money will be donated to animal care charity The Gentle Barn Foundation. James Taylor, Sonny Rollins and Quincy Jones were all honoured by the US government last week, each receiving a National Medal of the Arts. Foo Fighters will perform a secret show in Sydney on Thursday Mar 24. The Book Of Joel, Billy Joel’s autobiography, will be released on Tuesday Jun 14. Shooting of the video for Brian McFadden’s Dancing At The Bar has been cancelled by the singer and he has noted he will donate all proceeds from the song to charity.

LIKE WHAT THEY SEE It has been a rapid rise for electro pop duo Tim and Jean, who were Unearthed by triple j in 2009 and quickly shot to blog stardom, which prompted a bit of a bidding war between record labels keen to release their debut album Like What. The record is finally seeing the light of day at the beginning of April and the band are heading out on the road to launch it, bringing the skills learnt with slots at the Good Vibrations, Splendour In The Grass, Future Music and Laneway Festival (to name but a few) to more intimate live venues around the nation. When they’re up here they’ll play the Coolangatta Hotel on Thursday Apr 28 and the Globe Theatre Friday Apr 29.





































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IN BRIEF My Morning Jacket will have a new record by the name of Circuital out this year. Arabia Mountain is the name of the forthcoming Black Lips record, produced by Mark Ronson and due for release in June. Warner Music is officially up for sale, with at least ten interested parties thus far.

BASS OF THE MOUNTAIN Their take on modern bass music calls to mind the pastoral countryside of rural England more so than the grimy underground of London and it’s this fresh take on the electronic music genre that has made Mount Kimbie so popular since their Crooks & Lovers record was released midway through last year. The British duo are heading to Australia next week for some festival dates down south, but they aren’t going to leave Brisbane fans wanting, with a big show announced to hit Barsoma on Friday Mar 11. Joining them will be the all star line up of Seekae, Toy Balloon, Science Project, restream, Elroy 4.0 with Kieron C and Vivandiere keeping things moving in the courtyard all night long. Tickets are available from OzTix right now for $46.95 and they’re expected to sell out so get in quickly!

SEE FOOD AND WHINE? The organisers of the Caxton Street Seafood and Wine Festival have pulled another blinding list of bands out of their hat for their festival’s second announcement, with Thousand Needles In Red, Sweat - Frantic, The Eggman and The Trip joining the already killer line-up that features acts like Shihad, Ash Grunwald and GANGgajang among many others. It’s always a massive party when this event closes down Caxton Street and 2011’s instalment will be no exception, you can guarantee that. Plus, two bucks from every ticket sold is being donated to the Premier’s Disaster Relief Appeal, which is bound to raise a bucketload of cash. Tickets are available from Moshtix right now for just $20 + bf.

Nelly Furtado, Beyoncé and Usher have all donated money made from their shows for members of Libyan dictator Muammar Gaddafi’s family to charity. New Found Glory side project International Superheroes of Hardcore have filled in for Sum 41’s Soundwave dates after vocalist Deryck Whibley was ruled out of playing three shows due to severe pneumonia.

DYING ALL OVER AGAIN They’ve already announced that they’ll be around our area in a couple of weeks to play the Ric’s Big Backyard Festival, but while they’re here Kiwi post-punk smashers Die! Die! Die! will head down to terrorise the oh-sochilled area of Byron Bay with a show at the Great Northern Hotel on Sunday Mar 27. The band are still riding high on the back of their kick arse new record Form and their most recent Australian shows were absolutely stunning, with both crowd and band going absolutely nuts and showing just how powerful a solid dose of rock’n’roll can be. You’ll want to have plenty of energy in the bank when these guys head back to town, entry is absolutely free and the fun begins at 8.30pm.

MENTAL TO MISS IT What are you up to tonight? How would you like to go and see the legendary Mental As Anything? We don’t care if you’re broke, you can still make it happen! The band are ready and raring to turn in a killer set at the Treasury Casino’s Livewire Bar from 9pm and they’re not charging you a cent to get in and check it out. The Mentals have an enormous list of classic hits up their sleeve and they’re not afraid to let them loose – tracks like The Nips Are Getting Bigger, Too Many Times, If You Leave Me, Can I Come Too? and Live It Up and you can bet they’ve got plenty of killer recent material to show off too. Don’t miss these legends of the game go through their fine material live in the flesh!

TIKI LIGHTS UP He’s been far more than just that dude who used to be in Salmonella Dub for a solid few years now and Tiki Taane is ready to prove that the complete awesomeness of his debut solo record wasn’t a fluke as he releases its follow up In The World Of Light this Friday. He might be known as the King of the Dubs, but the new record is said to feature a wide variety of styles, including dubstep, reggae, drum’n’bass, hip hop and good old fashioned pop and rock. Taane will tour the record in May, stopping by Byron Bay’s Great Northern Hotel Thursday May 19, Coolangatta Hotel Friday May 20 and The Hi-Fi Saturday May 21. Tickets are on sale now from OzTix for the coastal shows and Moshtix for Brisbane.

MUSICAL MASTERS The word legendary is a powerful one that has become somewhat overused in recent times; but when it comes to describing Van Dyke Parks and Kinky Freedman, pictured, it doesn’t even begin to explain just how much of an impact they have had on the world of contemporary music. While his first (and possibly most renowned) claim to fame was collaborating with Brian Wilson on the lost Smile album, Van Dyke Parks has since gone on to write and arrange songs for everyone from Bruce Springsteen to U2 to Cher to Ry Cooder to Joanna Newsom, while playing on records from The Byrds and Grateful Dead just to name a couple. Kinky Freedman, the Jewish Cowboy, has had a colourful career that has included releasing swags of albums and novels, running for the Governor of Texas, releasing a range of cigars and coffee and generally being one of America’s finest satirists. Together these legendary figures play two very special intimate Brisbane shows, hitting the Brisbane Powerhouse’s Visy Theatre Friday Jun 24 and Saturday Jun 25. Tickets are available from the venue from Monday morning.

The Libertines have released a statement saying they will not be playing any shows in the foreseeable future. After being convicted on three counts of drugs and weapon charges, reggae star Buju Banton could face up to 15 years in jail. Fela!, the musical based on the life and times of Nigerian musician Fela Kuti, will be staged in the artist’s home country of Nigeria in April this year. Lady Gaga has told a London store to stop selling its Baby Gaga ice cream, which is made from human breast milk. Fair call.

SOUNDS WE SEEK Sydney ensemble Seekae are killing it at present, plenty of high profile support slots and, most importantly, a swag of incredible material that you can hear on their brand new record +Dome. The band are getting back out on the road in support of this, their second album, and word is they have a pretty spectacular live show to go along with it, with the band playing in full live mode. It’s a bit tough to pin down the Seekae sound, at times it’s heavy and percussive, at others it’s laid back and a bit reserved, but it’s distinctively Seekae and that’s the way they like it. You can see them hitting Woodland Friday Apr 15, tickets are available from Moshtix right now for $15 + bf.


NEVER TOO MANY WOMBATS A couple of weeks ago we announced that UK superstar indie pop group The Wombats would be hitting Brisbane while in the country for the Groovin’ The Moo Festival, dropping by The Tivoli for a big show on Tuesday May 3. Well, demand for tickets to that show has been so incredibly high that the organisers have decided that they’d best put on another show so that no one misses out on seeing this hot band as they tour on the back of their cool new record This Modern Glitch, which will be released in April. The second show will be at the same venue on Thursday May 5 and tickets are available from Ticketek right now for $62.30. Sydney indie kids Tortoiseshell will be there in support. Proudly presented by Street Press Australia.



Why did it take allegations of his new single being about date rape for Brian McFadden to request that the radio not play his music? If he had even a shred of decency he would have asked for that years ago… Oh yeah, the song bites irrespective of what it’s about…

Keith Richards’ daughter Theodora was charged with crimes including drug possession in New York last week. No way! Where would she have learned that from? Parents these days set such a bad example…



Unless those parents happen to be the offspring of Steve Earle. Justin Townes Earle may have confronted his own demons in the past, but his Sydney shows last weekend were nothing short of transcendent. Get to the Step Inn on Thursday, just do it…

Last Backlash on Charlie Sheen for the foreseeable future – does he really think that releasing that homemade tripe into cyberspace qualifies as ‘winning’? It makes Two And A Half Men look like The Wire…


BETS ARE OFF The spot-fixing claims dogging the cricket World Cup are getting out of control. Accusing the Aussies of taking bribes because they “didn’t start quickly enough” against Zimbabwe is a joke, and there should be accountability for making such outlandish claims…

Phil Collins has promised to disappear from the cultural radar and has essentially apologised for his music. Must have gone into a store and heard Sussudio or something. He shan’t be sorely missed… BRIAN MCFADDEN


Having spent the best part of two decades fronting Oz rock institution Magic Dirt, ADALITA is striking out on her own with her debut solo album. She tells STEVE BELL how the project was indelibly inspired rather than derailed by massive personal loss. Pics by KANE HIBBERD


o-one wants something that they’ve poured their heart and soul into to be inexorably linked to tragedy, but sometimes life deals out cards that can’t be played any other way. Magic Dirt’s Adalita Srsen had already commenced work on her debut solo album under the watchful eye of her friend, bandmate and creative foil Dean Turner when the bass player’s life was taken away at a tragically young age – Turner passed away from a rare form of tissue cancer aged just 37-years-old in August 2009 – and amidst this state of personal flux and turmoil Adalita found an inner reserve of strength, taking it upon herself to complete the project in his honour. Fortunately the album – now finally seeing the light of day under the simple epithet Adalita – has proved to be a fitting tribute to the much-missed musician, a man who shaped the life and career of Adalita more than most of us will ever realise. A sparse, stripped-back affair which is at once miles removed from the relatively raucous cacophony of her day job but also immediately identifiable as coming from the same genesis, Adalita utilises primarily just voice and guitar to craft uniformly beautiful songs that meld together into a seamless whole. The artwork features two simple but clearly heartfelt tributes to Turner, and it’s clear that he would be thrilled by not just the album’s beauty but that fact that it even came to fruition at all. “It was around 2008 I think – or maybe even a little before – that Dean encourage me to try and do some solo shows, asking me what I thought about the idea and encouraging me to give it a go and maybe even write some songs for a solo record,” Adalita recalls of the project’s origins. “I really took on board what Dean would say – he was always guiding me and mentoring me, so it was very natural to try this new thing on his encouragement and advice. So then I started doing the live shows and Dean would come along even though he was very ill – he was so into it, it really was one of his great joys. I think the music was very nourishing for him and he just loved it so much, so he would come to the shows, and then when he was bed-ridden I would go to his house and just discuss the record and how it would sound, and what it would be like in recording and how we would set things up. We had long conversations about every facet of the project and how it would sound, but that’s kind of as far as it got – after that he passed away. He came into the studio while I was tracking, so he was there for that whole time, but then he passed away. “I went in and mixed the record after that in December – that was hard but I sort of felt like it was a way to connect on some level with Dean, even though he was no longer there. That was really important to me, and following through with the record I feel really proud and I feel very relived and I feel like I’ve accomplished something, and I know that Dean would have been really proud that the album was done. So it’s very close to my heart – it’s a totally different record for me now. I mean, before when I was writing a lot of the songs were about relationships and stuff, and inner-psyche shit, so there’s one song about Dean that was written about him much, much closer to just before he passed, but after he passed away the record’s taken on this whole new kind of meaning for me. It’s a big thing, and I know he was just so really into it, and I can see now that it was wise to heed his advice, because it’s been a lot of hard work, but so far it’s been worth it and there’s merit in it...” More than just Turner’s vision, the album also reflects the key traits of experimentation, exploration and perseverance that he brought to the table for Magic Dirt. “It’s the same thing that we did with Magic Dirt – just try shit,” Adalita continues. “Just try shit if it’s fun or you really like doing it. It’s fun to create, and I still feel that core excitement of writing a song – that’s never changed, so whether that be with Magic Dirt or solo or with another band, it’s still the same feeling. Dean and I were there together from the conception. He discovered my songs and learned bass to play with me, and he really got the ball rolling from the beginning, so those threads just carried through the whole way. He was my kindred spirit and best friend and we were a great creative team, so it’s a big project for me and it feels good to have it out. “There was a moment in the beginning where I was first playing solo live shows, and it was so hard to do that Dean thought I was going to stop because it was so hard for me – just because it was so confronting and I wasn’t prepared for how hard solo shows can be. But once we booked the recording in he was really happy – it was the right thing to do to keep pressing on, and I’m so glad that I did. He was right. He was just always fucking right, it was incredible. He had such vision – a real visionary, it was incredible. He could see things in the future, and it was just spooky how right he would be most of the time. He really believed in me, and a big part of our relationship was just him making sure


LIFE WAS BETTER and pushing me and encouraging me, because I do need a bit of a shove every now and then. He provided that, and I know he’d be very happy.” Musically Adalita is more than capable of transcending the difficult circumstances of its birth, and its creators had a clear vision from the outset on how they wanted it to sound. “I started writing the songs in late 2008,” Adalita recalls of the writing process. “I definitely wanted the songs to have a rhythm of their own so they didn’t need a backing band or obvious drums or anything, so I was definitely keeping that in mind when I was listening back to them – making sure they had a rhythm you could tap into. And then I spoke extensively about making it a stripped-back, extremely raw and simplified record. So that was the plan from the get-go. “I just threw myself into it, and just kind of made sure that they were songs that I wanted to put out there: picking the best songs and kind of connecting them all up and finding a groove within the group of songs and just going from there. So recording them I was definitely having to find different pockets of my singing voice, and trying my best to sing really well. My voice is very exposed, so it was important to make sure that I was happy with all the takes – they had to be extra good, I think, because the voice was so on its own. Plus I just had the guitar on its own, and it took ages to get the guitar sound exactly right and make sure that it also stood on its own. So it was a long and laborious kind of detailed process to make sure that we got all the sounds and the right mics to capture the vocal and the guitar and to get a good take. I was just going on a feel thing, working out which songs would be best in a very minimal solo format – songs that felt right.” Certain bands and even movies became touchstones of influence for Adalita as she sought to channel this completely different facet of her creative being. “I wasn’t actively listening to anything prior to writing the songs and going into the record, but if I was to look back I did bring reference CDs into the studio while we were mixing, and they included things like The Paradise Motel and PJ Harvey and Neil Young,” she admits. “But I was thinking of movies that I love like Paris, Texas with that kind of very focused, hypnotic, long drawn-out long shot of the one thing – I like the idea of just kind of pushing one riff or one feeling or one thing, and just locking it into a groove and sort of creating a hypnotic kinda vibe. I feel really aesthetically drawn to movies like that, so I had things like that going around in my head every now and then. A soundtrack to a movie, with a widescreen, cinematic vista... I wanted to create a vast landscape but with music, just this desert or vast expanse but letting reverb vocal take you there with the echoing guitar.” With her solo career off to an auspicious start, Adalita still has to tend to the legacy of the much-loved Magic Dirt, who are currently on an indefinite hiatus from both recording and touring following the loss of one of their cornerstones. “We’re all just a bit sort of lost, so we’re just taking some time out until things become a bit clearer,” she reveals solemnly. “There’s a lot to do still with the legacy of the band – archiving and things like that. It’s a big legacy, and a big job to kind of make sure that we honour what else is to be done, and that’s yet to be done. But we’re in the process of doing that with unreleased material and possibly a documentary – so there’s a lot going on behind the scenes and a lot of work still to do.”

WHO: Adalita WHAT: Adalita (Liberation) WHERE & WHEN: Great Northern Hotel,

Byron Bay Thursday Mar 24, Old Museum Friday Mar 25, Miami Tavern, Gold Coast Saturday Mar 26


STEEL YOURSELVES It’s been a big few months for local folk-party indie-poppers THE JOHN STEEL SINGERS, with the release of debut full-length Tangalooma late last year, festival appearances, a Hottest 100 nod, and an upcoming tour with comrade-in-arms Jonathan Boulet all encircling the band as they try to get some work done for album number two. Vocalist/guitarist TIM MORRISSEY brings MITCH KNOX up to speed.


espite the obvious growing acclaim surrounding his band, Tim Morrissey is clearly a man of much modesty. Speaking about The John Steel Singers’ recent appearances on the Laneway Festival circuit, he sounds kind of down about his pre-show feelings, indicating he expected people to spend their time on acts known to be bigger than his. “Particularly at Laneway in Brisbane, I was pretty apprehensive,” he admits. “I don’t really know much of Two Door Cinema Club, but I know people like them, and then Ariel Pink was playing on another stage, so I thought we were going to have an empty Laneway, but to actually have a full Laneway was just amazing. It was really, really great to see. The Perth Laneway was fantastic; we played in the Spiegeltent over there.”

Endearing though it may be, it’s a little difficult to understand why he would have gone into the Brisbane show feeling the slightest degree of nervousness – this was, after all, after the band’s 2010 debut record Tangalooma had performed admirably on local independent charts and their single Overpass had come in at #52 on this year’s Hottest 100 countdown. Naturally, though, Morrissey insists that was a surprise, too. “I think, as I was saying to someone yesterday, sometimes when you’re in a band, it can be a little hard to judge how well something is going, or what sort of a response it’s receiving, and I think whether you love or hate the triple j Hottest 100, for us to actually see our song get in at #52, it sort of made me realise it’s doing better than I thought it was,” he laughs. “So that was really good to see. “If we were going to get in, I thought we might just scrape in somewhere, so by the time it got past maybe the 80s and then the 70s, I thought we had no chance. So I was ridiculously happy with where it came in.” Yet despite Overpass and even Tangalooma well exceeding his expectations, Morrissey does not harbour any lofty hopes for newest single You’ve Got Nothing To Be Proud Of – it takes a strong will to stay grounded when varying degrees of success seem to start surrounding you, and Morrissey’s seems to be made of adamantium. “I try not to think about it at all,” he says flatly. “I don’t really know, to be honest. I sort of don’t really have a great gauge on how things are going, or how well a song could translate over and that sort of thing. But I guess it remains to be seen by that time – at the moment, we’re sort of as a band pretty focused on album two. Partly the reason I slept in this morning, because we were up ‘til 2am in our rehearsal space doing some recording.” The feverish approach towards their sophomore release is probably attributable partly to excitement, but also to a determination not to let anyone drag their heels when it comes to the release of this album – not after last time. “After Tangalooma was mostly done, it had such a long time before it actually came out due to the boring music industry side of things, which took time,” Morrissey recounts. “So at that time it was very frustrating, but it did also give us some time to just start working on the next one. So we’ve already got quite a few songs in place and quite a few ideas for songs, and obviously that’s the most exciting thing for a musician, is when you’re creating new stuff. So I guess once you release an album you almost a little bit cut yourself off from it, but you always look to the next thing.” It is surprising, then, that the band would have found the time to organise a tour amongst all this, but they’ve done just that with friend Jonathan Boulet, who is well-known enough on his own merits as a performer and producer. The tour will, however, give Morrissey and his bandmates an opportunity to meet new people and see new places, and the experiences therein will undoubtedly impact their musical psyches. “We’re going to some areas that I’ve never been to before or mainly only ever driven through,” he enthuses. “So it will be interesting to see what the response is like in those particular areas. Like, I think we’re going through Wagga Wagga and Albury and a whole bunch of places like that which we’ve never been to, so it will be interesting to see how places like that go.” As though the public response in general so far has been negative or something? It’s a little hard not to find something primal to like in The John Steel Singers’ music. At its core, it is fun and catchy, the kind of tunes that would make everybody in the town from Footloose have a conniption. “I think we do definitely like to create a party atmosphere when we play live,” Morrissey offers, “it’s different from the recorded work, so I guess this last album is a bit more in some ways upbeat, but in some ways it’s more baroque, I guess you’d say, but with the shows we definitely like to keep an upbeat vibe. It’s nice when people dance.” Besides, there’s no outward reason not to want to support these guys; their karmic stock must be way through the roof given their activities in the wake of January’s floods. “We did the Float On flood benefit, which was over two nights, and we played the second night with Regurgitator,” Morrissey says. “I just heard actually that it raised, like, $51,000, so that’s pretty good to hear, and thanks must go to Ben Preece, a fellow Time Off man, for putting that all together – but that was a pretty good effort. We auctioned off as well one of the horse heads from the Tangalooma album cover as well; apparently that was seen being worn at Sydney Laneway, so yeah; we’ve done a couple of things on the band front I guess.” It seems to be paying off, too: following their tour with Boulet, everything seems to be coming up TJSS, with talks of overseas tours and, of course, their second and guaranteed timelier album on the way. “We’re in the works of organising overseas at the moment, where it looks like we’re heading over to the US at some stage, but the finer points of organising that are still yet to be worked out,” Morrissey says. “But yeah, the main focus at the moment for us is actually, apart from touring, writing and recording this album number two and making sure it doesn’t take two years to come out like this album did.”

WHO: The John Steel Singers WHAT: Tangalooma (Dew Process/Universal) WHERE & WHEN: Great Northern Hotel, Byron

Bay Wednesday Mar 9, The Spotted Cow, Toowoomba, Thursday Mar 10, King’s Beach Tavern, Caloundra Friday Mar 11, The Hi-Fi, Saturday Mar 12


STRANGE CURRENCIES R.E.M. guitarist PETER BUCK talks to STEVE BELL about reconciling the present with the legendary band’s past and future.


riorities are different when you’re in one of the world’s biggest rock bands. US alterna-legends R.E.M. have been around for more than 30 years, sold enough records to float the economy of a small nation, been inducted into the Rock And Roll Hall Of Fame, and basically achieved every benchmark in the rock’n’roll game worth achieving, yet they still find themselves going back to the well and striving to create new collections of work that they’re proud of. Since losing long-term drummer Bill Berry back in 1997, the remaining three R.E.M. members – frontman Michael Stipe, guitarist Peter Buck and bassist Mike Mills – have seemingly struggled to find their niche in the pantheon of modern music, but their last album – 2008’s Accelerate – was deemed by many to be a serious return to form, and they’ve quickly followed this up with the musically diverse Collapse Into Now, a record which has taken the many disparate R.E.M. sounds from the last three decades and weaved it into one seamless whole. The band members are clearly stoked with the results, and 15 studio albums into a career that’s probably all that matters. “After Accelerate Mike and I in particular were talking about what we wanted to accomplish,” Buck recalls. “That was a pretty straightforward record – it was all kind of fast, short and sharp songs – and I noticed with this record that we were not worrying about following a template. As well as short and fast songs we were bringing some slower numbers as well, so there was a really wide kind of emotional palette for the record.

With R.E.M. having completed their long-standing contract with their label Warner Brothers the future for the band is an open slate, and Buck seems excited about the band’s prospects in this ever-morphing musical landscape. “It is exciting, but we don’t really know what we’re going to do yet,” he concedes. “There are all kind of situations – we could re-sign to Warner, we could go our own way. But it’s definitely something to think about. We’re all kind of tied up with this new record, but it leaves the door open for us which is kind of exciting. We’re in a confusing era as far as selling records goes, but my job is to record them not sell them so we’ll see. “It’s all up in the air right now, so it’s really something to sit down and talk about as a group – I’m really interested to see where we’ll go next.”

WHO: R.E.M. WHAT: Collapse Into Me (Warner)

“It’s not so much a ‘classic R.E.M. sound’, it’s more that we’ve covered a lot of familiar ground this time around – it’s a little bit of all the things that we do. There’s pretty ballads and mandolins and really loud noisy rock things. It does feel like a really strong record – I think song for song it’s as good as anything we’ve ever done.”

“It is great to be happy with your work – it’s a bad feeling to make records that you’re not really fond of, and with Around The Sun that’s really the only one that that ever happened with.” Collapse Into Now was recorded with renowned producer Garrett “Jacknife” Lee (who’d also helmed production for Accelerate), but this time the band recorded in a number of different studios in three different locales – in Berlin, Nashville and New Orleans – and these disparate locations all played a role in the album’s final sound. “You know, I think both New Orleans and Berlin are decadent nightlife cities, and there’s a lot of music around,” Buck tells. “I think that does affect things a little bit, even given that a lot of the music and the songs were written before we went in. I think that New Orleans rubbed off a lot – we certainly have a couple of songs with New Orleans horn players on there – and it was incredibly inspiring seeing really cool music every night, everywhere – even in restaurants and bars. It’s not just at clubs, you go to dinner and you’ll see a great three-piece jazz band. “And I think that Michael probably wanted Berlin for the city because he was inspired by the city, but we were conscious of the history of Hansa Studios [famous Berlin recording studio where Bowie recorded Heroes and U2 made Achtung Baby]. I’d been in there before to check it out, and it just seemed like a really nice place to work in. And you always hope that whatever’s great in the place rubs off. But you can make horrible records at Abbey Road or wherever, it’s what you bring in that really counts.” And it seems that R.E.M. had done their homework and prepared fastidiously, because most songs which ultimately became Collapse Into Now were captured on first or second takes. “Yeah, I always try for that anyway,” Buck admits. “Every band I work with I essentially try to get it done really quickly, because you can really tell when someone’s laboured over something. The last record Accelerate was that way too, while [2004’s] Around The Sun took forever and things got redone and I think it sounds like it – that’s the record we’re not really happy with. So I’m just totally obsessed with making sure that we do it once or twice, and that’s what we use. If you’re good you should be able to do it in one take.” Buck admits that after the disappointment of Around The Sun that the band were reinvigorated by the positive reception afforded Accelerate. “It was definitely the feeling that we were on the right track, yeah,” he recalls. “But even while we were making that one, Garrett – Jacknife Lee – would say, ‘The next one will be better, I can tell’. There was a feeling that we were heading in the right direction. It is great to be happy with your work – it’s a bad feeling to make records that you’re not really fond of, and with Around The Sun that’s really the only one that that ever happened with. It’s a waste of time if you’re not enjoying either the process or the end result. “At the end of the day you really just don’t want to disappoint yourself. It really is a bad feeling to do bad work – or to do work that isn’t as good as it could be. It’s not that easy to just let it go and move onto the next one, you have to live with it. So to me it’s really important to do great work and to be completely one-hundred percent focused on it.” It can’t be that easy to be musically inspired having achieved all that R.E.M. have managed over their esteemed career, but according to Buck it’s never that hard to keep the creative juices flowing. “Not for me,” he states emphatically. “I think we all go through phases. It’s almost like a chemical addiction thing, where as the time gets near you get more geared up and focused on it. Two years away from making a record you’re not really even thinking about it, even though you’re writing songs, but it comes naturally to kind of build yourself up to it. You don’t really want to overstay your welcome in that regard – I still think we’re doing great work so I feel good about where we are.”


YOU’VE GOTTA BE CRAZY, BABY With a high-selling, critically-lauded debut album, a charmingly high profile personal life and the kind of work ethic solid careers are built on, BEST COAST’s BETHANY COSENTINO has emerged as a newly shining star of indie-rock. She tells DAN CONDON about dealing with success.


osentino is in the back of a van riding through the ranges of Wyoming, making the nine hour trek from Boulder, Colorado to Salt Lake City, Utah. It’s nothing new for the young artist; since bursting onto the scene with the first Best Coast singles in 2009 the band has spent a huge amount of time on the road; even more since releasing debut album Crazy For You mid-last year.

Cosentino enjoyed a small amount of underground success last decade with prolific drone-folksters Pocahaunted. But then, following an ill-fated decision to move from her native California to New York City to study, Cosentino began writing pop songs, enlisted fellow Pocahaunted member Bobb Bruno and former Vivian Girls drummer Ali Koehler and Best Coast as we know it was born. Given their debut album is barely six months old, it has been a rapid rise to indie-rock superstardom for the trio, a point not lost on Cosentino.

“I’m really good now,” a friendly, talkative Cosentino says of her adaption to life as a touring musician. “I had a lot of difficulties with it at first, I dealt with homesickness and feeling lonely and getting sick and tired all the time. Those things still happen but I think I have better control on it now. Touring is really physically and emotionally draining and when you complain about it people want to jump all over you and tell you, ‘Fuck you, you don’t appreciate what you’re doing’. But it’s not that at all – I am thankful every day for getting to do what I get to do. But it is a very, very tiring thing.”

“The pace that everything has gone for us has been extremely quick and we still sometimes are like, ‘How did we get here? What’s going on? How are we doing some of the things that we’re doing?’,” she admits. “But at the end of the day we’re all really excited about it and I don’t think any of us would want to be doing anything else. I know if I wasn’t doing this I’d be working a retail job doing absolutely nothing, so this has saved me from the life that I was kind of living before where I was just kind of lazily strutting through every day.” They’ve been presented with some surreal opportunities; a couple particularly stand out. “Playing on Letterman was amazing and I got to meet Justin Bieber which was really cool,” she giggles. “The other thing that’s really exciting is getting to find out that musicians or actors, people you look up to, are fans of your music.” Including Rivers Cuomo, who was so taken with the group he asked Cosentino to join him for a writing session and for the band to join their Memories tour, where Cosentino was afforded to opportunity to join in on a rendition of Island In The Sun. “Singing on stage with Weezer, it took me a second to realise, ‘Okay, this is really happening’. Just because I was – and still am – a huge Weezer fan, but when you’re a teenager and you go and see bands and they bring someone up out of the audience to sing, I’d be like ‘Oh I wish that was me’. In this case I was asked to do that so it was really exciting.” While her decision to move to New York City didn’t herald the results she had anticipated, it did give her a newfound appreciation for her home city. “I think [my time in New York] was really important. Before I moved to New York I was just living in LA and everything was a routine. There were things about [LA] I didn’t notice and appreciate and it was like, ‘I’m sick of this place, I want something different’, but then when I got to New York I was like, ‘This is not what I want, what I really want is just to be back home’. I think it is imperative for people if they’re feeling bored by the place that they live, or just bored in any regard with anything, to distance yourself from it for a little bit and when you come back to it you really learn to appreciate it. “I think I needed that time away from home, spending that time experiencing seasons and all that stuff for the first time in my life really made me appreciate California and that’s why I named the band Best Coast, because it summed up the way I had felt.” Weather is clearly an influence on their music, nary a description of Best Coast’s sound exists that doesn’t espouse the word ‘sunny’. Likewise Cosentino’s obsession with cats, smoking weed and gentlemen are overly flogged press fodder and she wants that to change. “I’m definitely trying to kind of lose that ‘Oh, you’re obsessed with boys!’ thing, because it’s so fucking annoying to talk about, even though it’s my own fault, because I did write a record about a relationship,” she professes. “And I don’t regret doing it at all; I just want to prove that I can write stuff that’s not about being a lazy, crazy baby,” she laughs. Yes, that does mean that rudimentary planning for LP number two has begun. “I’ve just been writing,” Cosentino says. “My theory with songwriting is that if you put too much thought into it and if you try too hard, it shows. I think the reason why Best Coast has been received so positively is because it’s just very organic, they’re songs written from the heart and songs written about things that other people have experienced and that other people can relate to. “A lot of the content of the [new] songs are about the things I’ve come to realise about myself throughout this whole [touring] process. When you’re in a van for eight or nine hours a day, or you’re backstage with six other people, you spend a lot of time in your head because you don’t have a lot of alone time. So you spend a lot of time thinking; you’re just sitting there staring at a wall, drinking a beer, which is the same thing you did last night and the night before last night and the night before that night and you kind of spend a lot of time thinking about yourself and life and all that stuff.” Then there is the old cliché of the sophomore slump. Is Cosentino anxious about having to live up to the lofty expectations Crazy For You set? “When the idea of a second record was presented to me and I realised it was something I was going to have to end up doing, I was like, ‘Shit, how am I gonna do it again? How am I gonna do it when there was so much positive feedback for the first record?’ I’m a human being, of course I doubt myself. But I’m also starting to realise that if I do a second record and it’s not as good as the first one or not reviewed as good as the first one then it doesn’t fucking matter to me. If I‘m happy with something that I’ve made and if I make a record that I’m proud of then that’s what matters.”

WHO: Best Coast WHERE & WHEN: Woodland Thursday Mar 10 18

YOUNG MAN, OLD MAN Over the past seven years, THE BESNARD LAKES have become one of Canada’s most beloved and idiosyncratic musical exports. MATT O’NEILL catches up with co-founder OLGA GOREAS ahead of the band’s debut Australian tour to discuss their uniquely psychedelic sound.


t’s often tempting to describe The Besnard Lakes as one of Canada’s exciting young indie-rock bands. Formed in 2003, the group’s expansive and ambitious soundscapes have always dovetailed nicely with the far-reaching output of acclaimed acts like Broken Social Scene and The New Pornographers while the husband-wife songwriting partnership at the heart of the band has consistently linked their work to that of The Arcade Fire. The evidence has always been there. As tempting as it is, however, it’s also somewhat unfair. While one would be hard-pressed to ever describe The Besnard Lakes’ sprawling atmospheres as anything other than exciting, their position as a young indie-rock outfit is tenuously maintained at best. Stylistically, the group’s three albums have been more indebted to the muscular eclecticism of latter-period Led Zeppelin or the unrepentant musicality of progressive rock than the more visceral evocativeness of indie-rock. “We didn’t really have a sound in mind when we came together,” Olga Goreas – one-half of the group’s core songwriting team – reflects. “We always wanted to be experimenting. We always wanted to try and do something that sounded space-rock or psychedelic or otherworldly. We’ve always had that sort of idea in mind. We never really focused exactly on what it was we were doing, though. We just kind of always found ourselves heading in that direction. “To me, progressive rock is not a dirty word. I’ve listened to progressive rock from the time I was 12, 13-years-old,” the songwriter laughs. “I was really into Rush and Yes and bands like that and the best way to describe them would be progressive rock. I have no problem with a tag like that being used to describe our music. I’m not sure it’s entirely accurate – I see us as a little bit more down-to-earth – but I don’t see anything wrong with exploring that avenue of musicianship.” The concept of The Besnard Lakes being a young band is ultimately a fabrication. Granted, the band were only formed in 2003, but its members have been involved with music for considerably longer. Olga Goreas has been playing in bands since the late-80s while Jace Lasek – her husband – runs Breakglass Studios in Montreal and has worked on records from acts including Wolf Parade and Patrick Watson. “I’m influenced by our peers – purely because music is my profession and my husband’s profession and bands are difficult to avoid – but, really, I’ve been around and playing in bands and making music since the mid-80s,” Goreas reveals. “I grew up in that kind of scene in Vancouver where you’re always seeing bands and everybody knows each other and, really, I associate us more with those bands and that community than what’s going on these days. “You know, I feel like I’ve gotten older and I’ve gotten a little closeminded about what I listen to and what I’ll really absorb. There are still things that catch my ear but it’s not the same as when I first started,” the songwriter elaborates. “You know, I’m 40-yearsold. I’m not ashamed of it. Personally, I’ve worked a long time in this business and I’m really proud of what I’ve accomplished. I don’t feel any different from when I was 30-years-old.” Once one stops attempting to shoehorn their work into some kind of Canadian indie-rock movement, The Besnard Lakes’ career adopts a more compelling narrative arc. Rather than exuberant and ambitious visionaries, Jace Lasek and Olga Goreas are repositioned as experienced artisans and craftspeople – their work leaps from being a product of spontaneous inspiration to the distilled wisdom of decades of experience.

fictional narratives and showcasing a previouslyunobserved degree of musicianship, the band’s third album originally resembled a coming-of-age – but now seems like the definitive statement of a lifelong career. “I think we’re always going to keep it like a rock band. We’re not going to go into any kind of crazy territories – we’re just going to keep developing our sound, I think,” Olga Goreas says of the group’s development. “I think the overall trend is that we’re actually a lot more straightforward now than we were six or eight years ago. I think, back then, we had a lot more experimental tendencies whereas now we’ve kind of incorporated our classic rock influences and stepped away from experimentalism.”

WHO: The Besnard Lakes WHERE & WHEN: The Zoo Friday Mar 11


" album in more than a decade" -

“I’m not really surprised by the success we’ve had – I’m happy about it but I also feel like the bands I played in before really helped a lot,” Goreas reflects. “I don’t know. Maybe I am surprised by how long we’ve been doing it. Every day it kind of crosses my mind that I might be doing this until I’m 65-years-old or whatever and not really doing anything else – and I wonder whether I really want to be in that position?” The band’s more experimental tendencies adopt a completely different aspect when understood through the lens of experience. Throughout their entire career, The Besnard Lakes have excelled at exploring more textural and experimental elements of musicality without compromising their more conventional songwriting. Once one understands the age and experience of those involved, it becomes clear that such adventurous experiments were, in actual fact, quite considered. “We like to sort of stick to what our M.O. is – which I think is just doing a rock band sort of thing,” Goreas explains. “I don’t know. We could always have some new influences creep in on future records but we’ve always had a real cross-section in regards to what we’ve been inspired by so we’ll probably always just be some kind of rock band. I don’t think we’re going to go in any crazy new territories but, hey, you never know. “You know, we’re still doing these projects – like film scores or stuff like that – which has allowed us to kind of keep those experimental tendencies a bit. We can still kind of dive into experimentalism and minimalism with that sort of stuff – like a film score we just did for a Quebec-produced film called Memory’s Corner.” It becomes significantly less surprising that the band’s 2003 debut album Volume One would prove to be such an immaculately crafted endeavour – or that the band’s two subsequent releases (2007’s Are The Dark Horse and 2010’s Are The Roaring Night) would both be nominated for Canada’s Polaris Prize (the Canadian equivalent of the UK’s Mercury Prize). The Besnard Lakes’ sound emerged largely fully-formed after years of trial-and-error on the part of its creators. “I am a little bit surprised. When I was younger, I would have thought this kind of belongs to the youth. You know, when you’re younger, you have youth on your side,” the songwriter considers. “You’re better off at 25-years-old than you are at 35-years-old and you’re better off at 35 than 40. You know, I’ve worked in this business a long time and I’m glad to have the reward for that work – but you never know what to expect. There’s always a giant x-factor.”

features Patti Smith Eddie Vedder Peaches


The band’s most recent album The Besnard Lakes Are The Roaring Night is blessed with a completely different context. Sprawling and ambitious, comprised of equal parts succinct personal reflections and expanded


FULL ON, ALL THE WAY Hometown heroes will become interstate icons as EAGLE & THE WORM (VIC), WE SAY BAMBOULEE (NSW) and local darlings BALL PARK MUSIC prepare to do some hard yards for their co-headlining Triple Rainbow Tour. JARRAD BROWN, RUSSELL FITZGIBBON and SAM CROMACK, from the above bands respectively, set aside some time to cross some borders with MITCH KNOX.

in. I don’t think we were too remarkable that night. We Say Bamboulee will bring some diversity, which is good. I hate watching a show of bands that all sound too alike. In fact, I’m listening to We Say Bamboulee right now and it’s great. Now I actually feel excited about going on tour and getting to know some new musicians. RF: Although we all have very different sounds I think the main theme will be an appreciation for excellent songs. Fun and Songz [sic]. Also, it may turn into a bit of a party competition.

WITH ALL THREE HEADLINING ACTS HAILING FROM DIFFERENT CAPITAL CITIES, ARE YOU EXPECTING TANGIBLE HOMETOWN FAVOURITISM IN THE ATMOSPHERE AT EACH GIG IN THOSE PLACES? JB: Yes, definitely. EATW will start favourites in Melbourne and likewise for the other bands in their hometowns. But never underestimate the power of the underdog. With expectation comes pressure... I hate when support bands come in from out of town and totally smoke us at our own game. It’s happened once or twice before and could happen at the Northcote Social Club.

HOW DID YOU COME TO BE A PART OF THE TRIPLE RAINBOW TOUR? SAM CROMACK (Ball Park Music): After being lucky enough to be selected as triple j Unearthed winners, we thought we should cash in on the opportunity and organise a tour with some of the other winners. Previously, we had seen this concept be successful for Washington, Philadelphia Grand Jury and Hungry Kids Of Hungary. When we suggested the idea to We Say Bamboulee and Eagle & The Worm they were keen and, well, the rest is history.

day life. Suddenly you’re travelling with friends and arriving in strange new places each afternoon. I think this tour takes us to a few new towns and venues, so I’m excited to see what’s on offer. I have never played in Cronulla. I hope I meet a fulla from Cronulla. JARRAD BROWN (Eagle & The Worm): The weather. I have snaked my way out of some of Melbourne’s more under-par efforts this summer by gallivanting up and down the east coast with EATW. Getting out of town every once in a while to play some shows is as good as a holiday.



RUSSELL FITZGIBBON (We Say Bamboulee): Everything except paying for petrol. There’s so much to love about travelling around with great new bands that we’re yet to play with. Adventure, sweet music, collaborative cover songs, pub food; these are the things we have in mind. And the best thing is that Melbourne, Sydney and Brisbane each get one of their own plus two bands’ worth of foreign exotic cities.

JB: I don’t expect that any of us will sound the same. I’m looking forward to more of a sport-like atmosphere between the bands, “one-upmanship” if you will. Looking forward to the kind of low-key inter-band pranks and douchebaggery that accompany these kinds of tours. The kind of douchebaggery that gets lots of “likes” and “comments” on Facebook.

SC: I think touring is generally pretty exciting. It’s draining and weird, but I believe that’s part of the appeal. You’re temporarily removed from your normal day-to-


SC: We’ve played with Eagle & The Worm before. They’re great guys. There’s a lot of them – just like us. I guess we have similar styles. To be honest, our gig with them was the most drunken event we have ever participated

RF: Having three headline acts will hopefully mean that people turn out from start to finish! I think everyone will be totally into the chance to see sweet bands that are from interstate as well as their hometown heroes. SC: Yes. Obviously we’ve played scores of shows in Brisbane; we’ve adapted to the crowds and learnt what to expect. However, I suppose nothing but good can come from learning about different audience attitudes around the country. In our hometowns, we’ll be expecting to draw a typically good response, but it should be interesting how the three bands fare in the areas where, really, none of us belong. But at the end of the day, who cares? It’s not a competition.

DOES THAT EVEN MATTER? JB: I don’t think so. RF: Not at all, the best thing about tours like this is that they’re total team efforts. A single rainbow has nothing on a triple one. SC: Well, as I sort of began to say, the answer is no. A lot of performing live is simply to do with enjoying yourself and entertaining those who were bothered to come and see you perform. I don’t mind what the other bands do; I just want to see everyone play shows that make them and others feel good.

DO YOU HAVE ANYTHING PLANNED TO MAKE THIS RUN OF SHOWS STAND OUT AND BE SUPER-SPECIAL AND MEMORABLE FOR EVERYONE? JB: I have been thinking about [a] “rainbow themed” singalong idea ... I need to raise the idea with the other bands. It sounds terrible on paper… SC: Not at this stage. We’ve been busy (translation in bandspeak: lazy). I know we have plans to learn some covers and do some collaborations with some of the other band members, although that trickery has become fairly standard for tours. Maybe I should buy some mildly impressive fireworks/confetti. I’ve been meaning to do it for a fair while now. Or maybe our band should get matching shoes. There’s 12 feet in our band; it could look impressive. RF: I think the most memorable thing will just be a run of amazing sets. There might be some secret ideas involving other artists, local delicacies, data projectors and inversions against gravity. But the legality of all that is yet to be determined, so surprises abound.

ULTIMATELY, WHY SHOULD FOLKS MOSEY ALONG TO CHECK THIS SHINDIG OUT? JB: That’s up to the folks at home. But the folks should know that all the shows are $10 on the door (if there are tickets left after pre-sales): not a bad deal to see three interstate bands. I’m not so poetic with genredescriptive word grabs – folks these days know to check out MySpace, Bandcamp and Facebook. I think the three bands have free stuff to download, or stuff on iTunes. SC: I was talking before about the band members endeavouring to enjoy themselves, but also about the importance of the audience enjoying themselves. I would have to think that Ball Park Music puts a fairly large focus on the audience enjoying themselves. Our music is fairly simple; it’s dance-worthy, you get to sing and swear. I’ll probably make some bad jokes. It’s definitely worth it. RF: Folks, and other people too, should jump on these shows because a triple headline is even more intense than a double headline. This stuff doesn’t happen every day. Plus I think it would be impossible not to have fun with this line-up, it’s pretty guaranteed as a frown smasher.

WHO: Triple Rainbow Tour; Eagle & The Worm, Ball Park Music, We Say Bamboulee WHERE & WHEN: The Loft, Gold Coast Friday Mar 11, The Zoo Saturday Mar 12



DONAVON FRANKENREITER has always followed his passions, spending his life touring as both a professional surfer and musician. DAN CONDON gets the artist’s thoughts on the correlation between his passions. “To me they’re very similar in a lot of ways,” he ponders “They’re both obviously very rhythmic with the rhythm of the ocean and your surroundings and what’s going on with the swells and obviously all the different rhythms and beats in music.


Canadian hardcore punk pioneers D.O.A. have been plying their trade for more than 30 years and show no sign of slowing down. As they return to Australia DANIEL JOHNSON catches up with frontman and founding member JOEY “SHITHEAD” KEITHLEY. Last year, one of D.O.A’s classic albums – Let’s Wreck the Party – was re-mastered and re-released after being out of print for more than 20 years. Keithley says there are plans in motion to re-release more of the band’s back catalogue.

“But when I’m on the road touring, things are timed out in a way – sound check at three, the show starts at eight, you’re on at ten... – but with surfing you just don’t know. You can’t just say, ‘I’m going to go to the beach today and catch a barrel’, sometimes you go to the beach for a week and it’s just flat. Things just kind of happen and when it does it’s really remarkable.”


he past couple of years have seen Donavon Frankenreiter and his young family settle into island life after relocating to Hawaii; it’s the ultimate place to relax when off the road. “I think the Hawaiian Islands is a powerful place with the ocean and the weather patterns and just the peace... for me being close to the earth and just life in general, it’s a really unique place for me to come home and decompress,” he says. “I find myself slowing down a lot more, just watching the wind blow through the palm trees. I think I’ve brought that to the songwriting.” When it came to making his new record Glow, both Frankenreiter and producer Mark Weinberg took a lot of influence from the artist’s recent relocation to Hawaii as well as the recording of Revisited, a redo of his eponymous debut strictly on Hawaiian instruments. “I redid my very first record with all these Hawaiian instruments and that was a lot of fun; going back and revisiting the record I did with Jack [Johnson] like eight years ago in Hawaiian style,” he explains. “On the new record there’s a lot of ukulele; I’ve been playing a lot of ukulele living in Hawaii. You hear those sounds all the time, the lap steel, the ukulele and the slack key guitar; it was kind of neat that those elements made it in to the new record.” The correlation between music and surfing is one Frankenreiter feels strongly about, it’s something that has meant a lot to him for much of his life.

Frankenreiter’s early interactions with music came frequently through his other passion, and one would imagine the early seeds of his love affair with our country stemmed from there as well. “When I was a kid I was infatuated with surfing so would just want to get my hands on as many surf movies as possible,” he recounts. “It’s like, ‘Here’s two guys and the waves they surfed’, but they couldn’t just show them with no sound. All the music I would hear growing up, a lot of it was Australian artists like Hoodoo Gurus and GANGgajang and when you’d be out in the water surfing you’d want to surf like Mark Occhilupo or Rabbit Bartholomew, but what was in your head was not what they were talking about it was the music they were surfing to.” As a big player in modern surf music, Frankenreiter finds it intriguing how the trends have changed over the years. “That really reverb guitar was considered surf music, then when I was growing up, early on, it was those Australian bands and then it became a lot of surf punk stuff like Blink-182 and Pennywise. Then Jack [Johsnon] started doing his thing and that sound took over, the laidback acoustic sound, it’s funny how it goes through these different cycles.”

WHO: Donavon Frankenreiter WHAT: Glow (Liberator Music) WHERE & WHEN: The Zoo Monday Mar 14, Coolangatta Hotel Tuesday Mar 15, Great Northern Hotel, Byron Bay Wednesday Mar 16


Fresh off the release of their first album of cover songs, and deep already into the recording their third of originals, GIRL IN A COMA are a band far more active than their name suggests. Lead singer NINA DIAZ – tired from work, she’s quick to assert – takes a minute or two to chat with SAM HOBSON about the Adventures In Coverland record, and her undying love for Jeff Buckley. of-factness to the way she addresses questions put to her. “With Joan Jett, she’s a good friend of ours, and she always has the best advice to give to us.” And on the surreality of coming face to face with the man who inspired their name, she keeps things similarly downplayed. “The last night we had on tour when we went overseas, he came into our room to say ‘thank you’, and he sat down, and we talked about people who’d performed at the venue we were at. We talked about Jeff Buckley for a little while as well.” She pauses, before issuing a bashful laugh. “...he’s my guy.” As the conversation’s curbed towards her influences, discussion begins to flow regarding the process of releasing an album of covers.


here’s a wealth of musical celebrity intermingled with the success of the San Antonian, all-girl band Girl In A Coma. Though in no way should that be taken as an attempt to undermine their achievements – they’ve won an IMA for Best Punk Song, opened for the likes of Social Distortion, and were commissioned recently by director Robert Rodriguez to compose something for his film Machete – they do seem a little ludicrously spoiled for famous endorsements. In 2006, after performing for a television show pilot in New York, they were signed by a nearby Joan Jett to her label, Blackheart Records. Following that, they toured alongside indie-music icon Morrissey, the man after whose song Girlfriend In A Coma they named their band. Add to this list that they’ve managed to wrangle the clearances to cover songs like The Beatles’ While My Guitar Gently Weeps, Joy Division’s Transmission, The Velvet Underground’s Femme Fatale and Bowie’s As the World Falls Down on their latest record, and you’ve got either a conspiracy, or something the rest of us should be deeply jealous of. “It’s very weird,” Diaz muses, as this information’s presented to her in bulk. “When I find out certain people like us, I just think: ‘Wow, it’s great they even know who we are.’” She speaks modestly, and there’s a matter-


“There wasn’t really a certain list we were supposed to stick to,” she drifts, searching for how to describe the band’s methodology. “We had people ranging from Elvis, to Rufus Wrainwright, to the Pixies, to the people that’re on there, to of course Jeff Buckley... “But these songs, they just worked with all of us,” she snaps back, happy with that preciseness. “They were easy for me to organise, and to put them in our own way. I wanted it to be as less pressure as possible; if we started getting pressure from something, then we would move onto another song, because it was just supposed to be fun. “I really do want to do a Buckley song someday, though,” she continues, with a contemplative sigh that belies her heartfelt obsession with the man. “As I was trying this time around, it just didn’t feel right. I’m convinced we’re going to be together someday, even though he’s... dead.” She laughs at the absurdity of what she’s saying. “I’ve met a lot of people on the road that’ve actually met him before, so it feels like hopefully one day I’ll feel close enough to him to be able to do one of his songs.” There’s again a pause, but the absurdity’s turned rather sweet. “Not just yet, you know?”

WHO: Girl In A Coma WHAT: Adventures In Coverland (Blackheart)

“Something Better Change and Hardcore ‘81 are coming out again on both CD and LP,” he explains. “We are making the LPs as close as possible artwork-wise to the originals and the CDs will be chock full of extra photos and posters from the respective eras of each record.”


Keithley has recently also been involved in the stage adaptation of popular 90s Canadian mockumentary Hard Core Logo and is thoroughly enjoying the challenge.

.O.A. formed in Vancouver in 1978 and, along with US bands such as Black Flag and Minor Threat, were at the forefront of secondwave US punk in the 80s. In fact, the band’s 1981 sophomore effort Hardcore ’81 is believed to be the first time punk was referred to as hardcore. Following the departure of bassist Randy Rampage, Keithley is the only original member of D.O.A., but he says the current line-up has gelled well and is firing on all cylinders.

“The playwright, Michael Scholar, asked me to write all new music for the theatrical adaptation,” he explains. “He approached me directly as we know each other after D.O.A. featured in the original film. I reluctantly agreed and it turned out to be a real good play and a whole lot of fun.”

“I’m the founding member and main songwriter of D.O.A. and I’m playing guitar and singing,” Keithley says. “Dirty Dan Sedan is on bass and he has been with the band since 2002, Jesse Pinner is the new recruit, he’s been playing drums with us since 2010.”

“We were last there for five shows in 2005 and Australia truly is a riot,” he says. “The people are gregarious. Plus I’m a big fan of AC/DC, Lime Spiders, Hard-Ons, Celibate Rifles and all the supports on our 2007 tour were very good from memory, so I am looking forward to seeing what Australia has to offer this time around.”

This line-up has already recorded one full-length together, last year’s Talk-Action=0, not to be confused with the band’s 1991 live album Talk Minus Action Equals Zero. Keithley is proud of the end result and says the album sits well alongside the band’s impressive back catalogue. “I think the album turned out great,” he says, and when asked if he has had any positive feedback he reveals “Jello Biafra recently called it ‘a beast’.” As with several of D.O.A’s previous albums, Talk-Action=0 was released on Keithley’s Sudden Death label, and although running a label has become more financially difficult in recent years, Keithley maintains a healthy sense of humour about the changing face of the music industry. “It’s more difficult for sure … we’ve had to sell the company jet, damn it,” he says with tongue planted firmly in cheek.

D.O.A. have toured Australia a couple of times before, most recently a couple of years ago, and Keithley says the band are looking forward to returning.

For those still wondering what to expect from D.O.A’s live show, Keithley promises the following: “We have a great set that covers a lot of songs that helped define the punk rock sound, like Disco Sucks, World War 3 and The Enemy,” he reveals. “There are also some from the middle period of the band – or our Alternative Tentacles era – and a few new ones thrown in, too. “D.O.A live is an unrelenting barrage of ear-splitting guitar riffs with lots of on-stage action, humour and politics.”

WHO: D.O.A. WHERE & WHEN: Prince Of Wales Hotel

Saturday Mar 12, Shed 5, Burleigh Sunday Mar 13

CHASING THE INDIAN A little over two years ago, TRASH McSWEENEY of local art rockers THE RED PAINTINGS left his life behind to relocate to LA on a three-year Visa. He returns to Brisbane with “the best Red Paintings line-up ever” and a brand new stage show to whet local fans’ appetites. MITCH KNOX reports.


t’s pretty exciting. We just finished a music video, which was directed by Clint Lewis, in Brisbane,” McSweeney says of being back on home soil after his absence. “It took him three years to make this video for one of the unreleased songs off the album [The Streets Fell Into My Window]. We just found out it won Best [Australian] Short at the Sydney Sci-Fi Film Festival, and then got into the short list of the West End Film Festival and the Byron Bay International Film Festival up against Massive Attack’s film clip. So it’s exciting for us, because it was the first time I kind of went, ‘I’m going to do everything I want for this record; all the music videos have to be right.’ I’ve directed three of the music videos and Clint did this one, and this is the first one we’ve let out of the bag to see what would happen, and it’s getting a great response around the world – LA Film Festival picked it up as well. So it’s exciting, man. It’s good to be back and actually getting some of these things out and people are recognising our creations as something unique, I guess. “I came back because I wanted to finish editing some music video stuff, and I have really good friends here with great skills and it’d be cheaper for me to do it here. I also thought it would be really nice for Brisbane fans to see the band again, and I wanted to do this show called The Tree Show which is about the spirituality of trees, and how we’ve started seeing trees as a commodity. I wanted to build a stage show that was like walking into a different dimension, and I’ve built it, and it made it easier to do it in Brisbane and I know our fans here will love it. So that’s why I’m here; but I’ll be leaving soon enough.”

With all due respect, that’s probably a good thing. After all, it sounds as though McSweeney’s life overseas has plenty going for it, not least of all the band’s much-anticipated debut full-length album, which has been a costly exercise both time-wise and monetarily, but promises to be totally worth it. “I’ve spent $160,000 so far on this record,” he admits. “I’m about to spend a lot more, and we’re just doing it all on our own. But we’re doing everything we want to do – yeah, it’s taking a while, and it sucks for fans who are getting frustrated that an album hasn’t come out, but I know I’m going to get exactly what I want. “I’m in the final stages of mixing the first record. I’ve mixed this record eight times. It’s ridiculous, but I keep walking into studios and then sitting there for six weeks in amazing studios getting these big-time engineers, and in the end going, ‘It’s not right,’ and them going, ‘Well, we’ve gotta get 50 grand, sorry,’ and walking out with a product I’m not happy with and having to try and work out how to go to the next stage. That’s what’s been happening, so it’s an insane journey. I feel like I’m Jim Morrison chasing the Indian, going through all these adventures and knowing that one day I’ll get to this pure and natural place, and everything will be right, but I haven’t got there yet.”

WHO: The Red Paintings WHERE & WHEN: Location available

w/ticket purchase, Saturday Mar 5 (sold out), Friday Mar 11, Saturday Mar 12 (sold out)

IN ITS RIGHT PLACE Within a relatively short timeframe, New York’s LIA ICES has made a significant impact in the indie-folk underground. MATT O’NEILL speaks to the singer-songwriter about her new album Grown Unknown and the intriguing career that’s led to its release.


Cuban music royalty JUAN DE MARCOS GONZALES – founder of ‘son’ revival mega-band Sierra Maestra, key member of the Buena Vista Social Club, and now the leader of the AFRO-CUBAN ALL STARS – talks to SAM HOBSON about coming over here to help out, and playing QPAC’s Carnaval.

all started, really,” the songwriter elaborates. “You know, I always knew there was a well in there. I just had to figure out how it would translate into a career.” The twist being that few musicians of any persuasion could boast the self-awareness of Ices. The singersongwriter may have wafted through a myriad of creative persuasions when younger (“All this is after years of piano, ballet, tap-dancing – all that stuff – as a kid,” she clarifies) but, since discovering songwriting, Ices has committed completely to the format.


“I’d like my music to lead me towards other expressions of art but, for now, I’m really focused on doing everything I can to keep writing music and keep performing music,” the singer-songwriter reflects. “I think, like any artistic pursuit, there’s no right or wrong way. You know, there’s no-one telling me what kind of music I should make. It’s very abstract but I wouldn’t have it any other way.”

n record, Lia Ices sounds thoroughly waifish. An austere collage of unpredictable vocal performance and minimal instrumental support, Ices’ work has always manage to sound almost incidental in its construction – like brief snapshots of fleeting soundscape just barely captured on record for the benefit of audiences not present at the music’s unfolding.

If in need of supporting evidence, one need only look at Ices’ most recent studio album Grown Unknown. The follow-up to her well-received 2008 debut album Necima, Grown Unknown is the sound of an artist taking absolute control of their sound – Ices co-producing the album and spending as much time on the experimental sound design of the album as the songs themselves.

Glancing over the singer-songwriter’s career, it’s difficult to dismiss such an image. Originally intent on being an actress as opposed to a musician, Ices’ career has unfolded both spontaneously and fortuitously with seemingly little exertion or ambition on her part. In little over two years, she has released two albums and gained the support of musicians like Bon Iver and labels like Jagjaguwar.

“I think this time around I gave myself a lot more freedom to experiment with sounds and concepts,” Ices explains. “I figured out that writing a song and deciding what a song sounds like are two very different things. You know, my first album is more of a document to me – ‘here are the first songs I wrote’ – whereas this one seems to have a lot more to do with what the songs sound like.

“Yeah, I wanted to be an actress. I went to school for acting and I was really on that path,” Ices explains of her beginnings. “I started to do some voice work at the experimental theatre wing and the voice work was much more about finding your own sound and finding what your own voice sounds like as opposed to staying really married to the technical aspects of singing. “I spent so much time just trying to figure out what my creative outlet would be and, for a long time, it was theatre – but the idea of being able to make my own work really ignited something in me. That’s where it

“When it comes to things I could be linked to as a musician, I prefer being called ‘avant-garde’ and ‘experimental’ more than most other things,” Ices says with a laugh. “I’d like to think that I do experiment and I do write experimental music. You know, I try to push my voice and I try to push my music. If it comes out a bit left-of-centre, it’s definitely because of me.”

WHO: Lia Ices WHAT: Grown Unknown (Jagjaguwar/Inertia)


ather devastatingly, today’s interview held no questions – and thus, go figure – no talk about famed German director Wim Wenders, with whom Gonzales worked on Wenders’ Academy Award nominated documentary about Juan’s tribute concert to the Buena Vista Social Club – a popular musician’s spot in the Cuban capital in the 1940s, a sound and era Juan was brought up on, and after which he named his second band. Nonetheless, even talking small with the man, you’re flooded with an immense sense of history, culture, and pride. Juan’s warmth and good humour is something which immediately illuminates our conversation. You can tell he’s just brimming with stories, but there’s a small language barrier: it’s the expressions, mainly, that separate us. Dipping in and out of successful careers in various big-time Cuban bands, he’s also dabbled in academia, achieving his Doctorate in 1990 after studying Hydraulic Engineering, whilst too having taken Russian, English, and even Contemporary Harmony and Orchestral Conducting in London – the latter of which no doubt brought him to his position at the head of the ACAS. “We’re starting our tour performing at the Java Jazz Festival here in Indonesia,” he continues. “We’re performing tomorrow, with a couple of great musicians, [the likes of] Roy Hargrove, Carlos Santana, George Benson – some world music and jazz stars, a really nice festival, actually.” Heading to Brisbane this week to headline QPAC’s Latin music festival Carnaval,

Juan goes on to talk about what the visit really means for him, and his band. “It’s kind’ve [a] big concert opportunity – gathering our band back together with a lot of [other] big bands – local afro-cuban or latin bands [that] are going to be performing. Part of the money is going to be used for supporting the people that was damaged by the floods,” he says sombrely. “This is something special for us, because we were in Cuba for a long time. I grew up in Cuba, I remember when I was only 12 years old, I was in a province which is about 500 kilometres outside of Atlanta, and I was in the countryside, and I saw the floods. And I know that horrible strength of the water, when the water’s outside of the normal course of the river. So for us it’s something special, and we are going to perform back in Brisbane, [since our] first time in 2000. Right now, we are back, and I hope the people enjoy the concert.” When put to him that what he’s doing is a thing of great generosity – $20 from each ticket sold acts as a donation – his broader sense of philanthropy takes charge. After waxing lyrical about the GEC, and then the pros and pitfalls of the Australian economy in particular, he concludes on a more upbeat note. “Our hopes are, that after our concert, the Brisbane people are happier, and better prepared to confront their problems, and I hope that they really enjoy the music.”

WHO: Juan de Marcos & Afro-Cuban All Stars WHERE & WHEN: Carnaval

@ QPAC, Friday Mar 11









Great Barrier Grief

DUM DUM GIRLS He Gets Me High (Sub Pop/Inertia)

Wrong Feels Right kicks off Dum Dum Girls’ follow-up EP to their album I Will Be with a floor tom getting pummelled within inches of its life, while lilting girly vocals provide a weird contrast. Once the drums settle down things are a lot more laidback and the production is actually very clean and almost sparkly. Distorted bass and super-tremelo wobbly guitars liven up the title track and draw attention away from the quite simple pop structure. The jangle guitar tambourine sound as invented by The Velvet Underground is the basis for Take Care Of My Baby, and with its dark sound and country tinge it’s easily the best song of the set. Every good EP deserves a cover version, and the Girls have tackled There Is A Light That Never Goes Out by The Smiths, a song there could never be too many interpretations of.


Weight Of The Sun (Or, The Post-Modern Prometheus) (EMI)

From their name alone it’s obvious that ...Trail Of Dead are master wordsmiths and have an uncanny knack with putting together a clever pun, and the title of this song speaks wonders about this gift. Unfortunately, it’s easily the best thing about the track. The vocals are delivered in a bizarre regional English accent with references to quaint Britishisms like ‘ferrymen’ while the folk verses drop away to stoner rock riffery and then bombastic two-chord pop hooks for some kind of a bridge. A band who clearly like to keep their audience guessing and on their toes, the first track from their new record The Tao Of The Dead will certainly do that, but perplexing confusion does not always equal satisfying results.

It’s difficult to explain the gently indirect path to Oh Mercy enlightenment, but once there, boy is one glad to have arrived. Following from acclaimed 2009 debut Privileged Woes, guitarist Thomas Savage has now left Alexander Gow to it in favour of his own songwriting project Kins, and Gow has crafted the difficult sophomore Oh Mercy album as though it were a walk in the park – albeit a languid, rambling, 38-minute one. Cheekily leading with the first two singles, there’s no time to wonder if Gow has peaked too early amongst the understated xylophone/guitar chug riff of Stay Please Stay, or the warm roll of Keith Street embellished sporadically with perfect strains of lead guitar – On The Run switches tack to highlight the lazily delivered imagery of Gow’s vocal throughout the 11 tracks. Let Me Go breezily demands: “I’m a single man/Don’t fuck all my plans” – see, it doesn’t have to be complicated. No element of Great Barrier Grief works against the other, and until the moment of getting the Oh Mercy ethos, this may be mistaken as unexciting or lacking dynamic. In truth, it represents a solid attention to detail and an unwavering dedication to style. Working with Mitchell Froom who produced the first two Crowded House albums, this point is further understood; neither have let a simple, beautiful melody, via instrument or a lovely turn of phrase, get in the way of a great song. Oh Mercy present a polished though uncontrived image from song through to art; a Ken Done nude heralds the songwriting maturity of Great Barrier Grief from the front cover. It’s full of sharp songwriting offered in the least angular method thought imaginable. ★★★★½

Tyler McLoughlan

Anna Calvi

Classically-trained songstress Anna Calvi offers up a delectable collection of seductive-yet-chameleonic tunes on her eponymous debut album. Anna Calvi gives a slick introduction to this ethereal, enthralling, enigmatic chanteuse, and the real power here is in how charismatic she is on record. Opening with the brooding Cinescope fingerpicking of Rider To The Sea, Calvi doesn’t let fly with her vocals until the ironically titled No More Words. A cabaret number, she croons like a modern day Piaf in a smokefilled, velvet-cloaked gentlemen’s lounge, suggestively moaning “Hold me down and hold me close tonight” before the instrumentation grows darker, then drifting away in a ray of light, leaving the listener in a state of unrequited lust. Desire evokes a young Chrissie Hynde with the E Street Band propelling everything forward; Suzanne & I is Shirley Bassey circa Goldfinger singing in a space Western; Blackout whirls around in a silky B&W fugue state, stuck inside a 60s B-movie about drag races, leather jackets and the wistful dreamings of daredevils with innocent souls. Just about every track here will remind one of another modern day chanteuse, Polly Jean Harvey, and never more so than on I’ll Be Your Man, a track made for a Tarantino soundtrack. The standout is The Devil – a sparse mini-epic that showcases Calvi’s brilliant musicianship and her tortured soul – a true blues soul track that fuses ice to your spine as it simultaneously rips the Devil from your breast and casts it back down the hole with a blast of pure white light. It’s dark, it’s beautiful, it’s scary. Anna Calvi may prove a little too schizophrenic for some, but one thing’s for certain – she is an otherworldly songstress that has the power of song that can build bridges and sink ships, heal the world or tear it asunder. Outstanding. ★★★★ Brendan Telford


Black Eagle Child is the nom de plume of Michael Jantz, a Milwaukee guitarist whose body of work thus far has been on CD-Rs, splits and cassettes on a variety of respected underground labels. Lobelia marks his first foray into the world of “traditional” recordings, and hopefully is one that will be duly noted as the first stepping stone for a prodigious talent. The12 tracks on offer weave Jantz’s guitar collages with varied percussion and field recordings for texture and rhythm, thus creating an album of expansive scope and resonant beauty. Effectively a meditative journey into the memories of Jantz’s youth, Lobelia weaves an aural tapestry that cascades out of the speakers and inexorably captures your soul. Crandon is a pastoral trek through the hyper realistic ruminations of a time of innocence. Summer Street etches a slow-motion sepiatinged show reel of a freckle-faced boy meandering down the streets of his town, the cares and fears of the adult world unknown to him. The Quarry Side evokes a wistfulness and ache for yesteryear that would be heartbreaking if it wasn’t so life-affirming, whilst Goodbye House casts a starry melancholia over the uprooting of memories before new ones can be allowed to take place. It isn’t all about the past, either – I Forgot features the coos of his baby daughter, which break in to burst the melancholy air with a sunny abruptness. Closer Families Get Together is a breezy banjo-led waltz into the future. Lobelia bears a striking resemblance to Living Through This, Emeralds guitarist Mark McGuire’s excellent album of last year – and Black Eagle Child matches that release in having created a near faultless aural recollection of days gone by – a sweet, evocative reminiscence that reminds you how good it is to be alive. ★★★★½ Brendan Telford



Sydney band Watussi lay claim to some proper Columbian heritage in the form of their lead singer Oscar Jiminez, and they have definitely incorporated some eclectic and good-time elements into their (shudder) fusion-based afrobeat/latin jams. Unfortunately they fall victim to that cursed disease of so much (shudder) fusion music, in that they rely far to heavily on the cheap crowd-pleasing white noise of white funk to push their sound forward. Overworked, unconvincing and unnatural funkification reduce what would be a unique and interesting melange of world influences into yet another Australian pub band with too much slap bass and horns, little grasp of soul and too much influence by obviously wellschooled musicians who want to impress other jazz/funk musicians while still encouraging the un-musically-educated to shake their booties. A 16 from American rapper-of-the-minute Curren$y helps out, but ultimately can’t save it. Less funk and more raw soul and this band could be awesome.


Living In America (Modular)

DOM play undeniably MGMT-inspired power-synthpop with falsetto vocals and luckily, despite their similarity to the aforementioned act, have enough individual characteristics to distinguish themselves, and pop hooks to pull the whole thing off. The chorus is pretty cheesy and a little obvious, but it will only make it easier to sing along to in the kind of places where people only like to dance to songs that they can also sing along to. Worthy of mention is the fact that they have done all the programming on the awesome-yet-underrated music program Fruity Loops, considered a toy by ‘real’ producers but obviously capable of coming up with some great sounds when used properly.


Bag-O-Items (Other Tongues)

Yeo Choong’s 2007 debut album Trouble Being Yourself was ultimately nothing more ambitious than a pleasant collection of leftfield soul-funk experiments from a blindingly talented multi-instrumentalist and songwriter. Eagerly anticipated follow-up record Bag-O-Items, while arriving some three years after its predecessor, very much springs from a similar perspective. Eclectic and unpredictable, Bag-O-Items sounds even more like a series of experiments than its creator’s debut album. Within only eight songs, Choong trepans amiably through as many contrasting variations of funk and soul as is humanly possible – from straight-laced soul/funk (Hey Mr Sound Man) and quirky electro-funk (Stupid Ideals) to jagged funk-rock (H.V.S.B.) and approximations of The Neptunes’ chart-topping pop-funk productions (Aliens). Wisely, Choong refrains from tossing too many genres into any one production (with the possible exception of gloriously noisy closer Made In Voyage) and, at all times, prioritises songwriting over eclecticism. While an album as eclectic as Bag-OItems was an inherently risky endeavour, the strength of Choong’s rock-solid songwriting throughout saves the record from disappearing into a stew of musical pretension and forced eclecticism. This is not to suggest the record is perfect. At only eight songs (and none over four minutes), Bag-O-Items feels like something of a disappointment in regards to quantity while the lack of a true stylistic focus can’t help but make one wonder what Yeo Choong (who, outside of a burst of backing vocals, wrote, performed, recorded and mixed everything on the album) could accomplish with a more elaborate vision. It’s difficult to complain too much, though. Once one is done confronting these relatively petty ‘what if?’ concerns, one is still left with what is a fundamentally impressive and fun-filled record – and that’s more than many more ambitious musicians will ever be able to boast. ★★★½


Matt O’Neill



Dean Turner deserved to listen to this album. Without him, it wouldn’t even be here. But tragically, the fellow Magic Dirt founding member and creative sparring partner of one Adalita Srsen was taken far before his time. However, by stripping back and staying strong rather than shutting down and being overcome, Adalita has provided the most suitable of tributes, an album that Turner most certainly would have heaped his praise on. Whether it be the rich climatic vocal layering of Invite Me or the scratchy riff of Goin Down, the tracks shadow box and toy with you all the while knowing they are in total control. Single Hot Air is a standout, raw and pure, Adalita highlighting the magical way she runs around a small topic with little effort, to maximum effect. This is perfectly shown through her character development with lines like, ‘Oh boy, I need your body... Yes, boy I need your man’. And as with a chunk of Magic Dirt lyrics, Adalita continues on the lyrical tangent of her continuing disappointment regarding the opposite sex. And greater than her skill of broadcasting the fact, by putting up such consistently valid cases of our downfalls, she makes us men agree with her by album’s end. On initial spins, the tracks tend to blend and can at times sound monotonous considering the lack of any challenging notes or progressions. But sit alone and listen to this album on surround sound and you’ll be finishing off that bottle of red in a flash. Subtle with it’s gorgeous sonic tones and curiously intellectual in all values, production-wise and lyrical, this selftitled release is haunting in the warmest of ways and the perfect soundtrack to take stock of what you have whilst yearning for the past and what was. ★★★½ Benny Doyle


Don’t Say We Didn’t Warn You (Pod/Inertia)

The light guitar arpeggios and wavering theremin that initiate Don’t Say We Didn’t Warn You (the second full-length album from British electro-rockers Does It Offend You, Yeah?) are a promising start, but as soon as the persistent and unshifting beat and whining synthesisers that dominate the remainder of opener We Are The Dead drop in, all hope should be abandoned immediately: this album is genuinely sloppy. It’s like God took Mindless Self Indulgence, Klaxons, and any indistinguishable German electronic band, took out all the interesting parts, arbitrarily threw them in a mixing bowl and haphazardly spilled the remains all over a CD. The vocals are tragically low in the mix throughout John Hurt: it could otherwise be an interesting track, full of spasmodic synth lines and a couple of interesting shake-ups, but the instrumentation is so harsh – and the vocals woefully unable to offset the sense of aural attrition – that it actually becomes kind of a chore to get through. Pull Out My Insides wishes it was written by Phoenix, because at least they pull off cheery electro-pop rock with an air of expertise, but nonetheless is actually one of the album’s strongest songs – alongside the anthemic and largely instrumental Yeah and the slowbuild crescendo of closer Broken Arms – if only because it doesn’t really sound like the band who wrote it. The rest of the time though, there seems to be a heavy focus on the same squealing/slightly fluctuating synth sound and glaringly simple rhythm sections that cannot be saved even by samples from former ECW owner Paul Heyman (Wrestler) and guest vocals from UK rapper Trip (Wondering). Presumably it could be great if you were tripping balls in a club, but otherwise… ★★ Mitch Knox









The Ocean And The Night The ocean at night can be a mysterious thing; it’s eerily calm but you can just feel those ominous undertones. Bright Knights’ debut album The Ocean And The Night is just that, generally calm and collected but it can get a tad moody at times. And like the ocean slowly tugging away at a piece of driftwood washed up on the beach, it will eventually draw you in and swallow you whole. From the onset of first track Post Modern Lines it’s pretty easy to see why Scott Horscroft (Silverchair, The Presets, The Temper Trap) was keen to mix and produce the album – they sound pretty gosh darn similar to The Temper Trap but with less high range vocals and a hell of a lot more nasality. You’ll also find some comparable Death Cab for Cutie references too. Despite the stock standard melodic indie rock they base their influences on, the five-piece from Melbourne know what they want and are very focused on bringing it to us. The Ocean And The Night is laidback and unpolished, despite Horscroft’s help, layering breathy vocals over lonely guitars and moody synths. Nick Russo’s eccentric voice seems to strain to reach the standards he’s set for himself but his talent as a songwriter is not to underestimated. Bright Knights tackle the sparse balladry of Explosions And Guns with ease while still offering great hooks and melodies on Bright Lights and This Love. Despite the hooks, it does take a few listens to actually get into the album but even the band didn’t think they’d win you over at first; “there is little reward for an impatient appetite, but if you’re willing to give The Ocean And The Night some time, it will burn its way into your heart.” ★★★

Rachel Tinney

Let England Shake The latest solo venture from PJ Harvey went through a rather long period of gestation before being recorded at a church in Dorset with long-time collaborators Mick Harvey, John Parish and Flood. It seems the lengthy wait was worth it however, as Harvey has once again managed the rare feat of breaking free of her own artistic mould and has delivered an album that, while a fitting progression from 2007’s White Chalk, is neither predictable nor trivial. Let England Shake is a meditation on conflict, and although her subject may be triumphalism, she never lectures her audience. Her poetry is neither romance nor reporting, but rather something else that is more honest and truly affecting. The soft and brittle title track opens the set with a pace that, in all its surface tameness, would shock fans of Harvey’s raw youth; that is only perhaps until the point where they breach its seemingly submissive exterior and find themselves humming along to “Pack up your troubles, let’s head out to the fountain of death and splash about”. We are introduced to characters throughout, and even given depictions of Gallipoli at times, but there is a sense of universal loss that escapes the confinements of place or identity; this notion is given extension by the fact that this is the first of her albums to not feature a photo portrait on the front cover. Although Bitter Branches and The Last Living Rose go some distance, the music itself is generally not quite as unique or expressive as the days of To Bring You My Love or Is This Desire?, however, the sentiment and tone of Harvey’s direction steers each piece, and consequently the whole, towards a realised success. Another complex and mature record from an artist who is never content with stasis. ★★★★

Jake Sun

Thank You Happy Birthday

In 2009, Cage The Elephant went from a virtually unknown Kentucky band living in London, to one of the ‘must watch’ acts, driven largely by their debut self-titled release and surprise single Ain’t No Rest For The Wicked. So it’s still a bit of a shock to see a sophomore release appearing so quickly, and an even bigger surprise to find that it isn’t a patchwork album to keep the hype wave going. Cage The Elephant’s previous album was a merging of genres and Thank You Happy Birthday is no different – each track hits a different stride of musical influence and by the time you have one track pegged, the next slaps you in the face with something completely different. Always Something has a sleek indie dance pop beat with Matthew Shultz cheeky vocal stacks propelling a singalong chorus, contrasting against the garage rock strained hook of Aberdeen or the punk firing frenetic frenzy of Indy Kidz. While the album layout is completely schizophrenic, the sound has evolved to a more studio experienced position as the band now play with timing changes, flirt with different keys and generally push out of their comfort zone without straying from the catchy pop sensibility and cheeky charisma that has done them well thus far. Thank You Happy Birthday, while a stupid name for a album (then again Cage The Elephant is no moment of brilliance either) is a great notch in the band’s belt, showcasing an expandable sound and grounded nature that make it hard not to enjoy all 12 songs. The fact that this has been released so quickly only puts the band in higher regard and sets a nice expectation for what they could potentially do with proper studio time. ★★★½ Mark Beresford

Wounded Rhymes Swedish songstress Lykke Li has come a long way since her saccharine 2008 debut Youth Novels; on Wounded Rhymes she’s retained but a semblance of that record’s cloying electronic pop. The lyrical content here is unrelentingly dark and Li works it with such swagger that it’s a visceral disappointment when she shifts back to the comfort zone of her younger years. Opening track Youth Knows No Pain – with its echoing percussion and carnival freak-show keys – is so tainted with cynicism it feels like an upright middle finger to the Disney-styled cuteness of her musical contemporaries. Li’s voice is endowed with fragility and feyness so it’s no mean feat that she avoids the inordinately irritating tendency for female songwriters to deliver their vocals in disturbing little girl style. Add to this the fact that the album is, as the title implies, a collection of love songs and Wounded Rhymes should be yet another addition to the overflowing pool of cutesy indie pop. It’s therefore a blessing that the Swede embraced the dark side, because when Li explores the murky waters of a love gone bad she is very, very good. Nowhere is this better showcased than on Get Some – it’s driven by truly masterful percussion but when Li sings “I’m your prostitute/you gonna get some” there’s no doubt that Li is utterly in control and there’s not a man or woman within hearing distance who’d want to complain. It’s lamentable that Li wasn’t brave enough to eschew the easy indie pop altogether. Unrequited Love is inexcusably derivative and Sadness Is A Blessing could’ve been taken off the latest release of any other female singer-songwriter on high rotation this month. But when Li is willing to get her hands dirty she’s a captivating paradox: a vulnerable heartbroken girl and sultry seductress in equal parts. ★★★½ Helen Stringer

LE IL AB AVA IDAY FR Rise Against presents its sixth album Endgame which features the band’s trademark conscientious breed of punk rock infused with heaving riffs and lyrical dexterity. Includes the first single “Help Is On the Way” plus an Australian-exclusive live track.


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FRIDAY 11 Brisbane Comedy Festival Chalkboard – a late-night showcase of the best comedians from the Brisbane Comedy Festival in casual environment. Turbine Studio, Brisbane Powerhouse 10:30pm.




risbane comedian Melinda Buttle is somewhat of a comedy wunderkind; since her 2009 River City debut she’s performed sold out shows at festivals; regularly appears on various radio shows, and has spent a little time with the women of daytime TV’s The Circle. The hosts were lovely, according to the unwaveringly cheery Buttle, plying her with all the cookies and soft drinks the cardigan-loving comic could consume. This year she’s back at Brisbane Comedy Festival with her new show Buttle And Buttle where she’ll be extolling the various virtues and eccentricities of he much-loved father, Barry. “I thought it’s about time that Brisbane got to know Barry Buttle,” she says. Having regularly updated the world on Barry’s various adventures via Twitter — Buttle is a prolific tweeter — she came to the realisation that her dad was a character worthy of devoting an entire show to. “He does, like, experiments on cane toads and things…You know, he wanted to see how long a cane toad could hold its breath for, if it was, like, trapped underwater,” she says. “The answer is somewhere between 20 minutes and an hour, depending on the toad. I think it also changes depending on how long Dad actually stands there…” Writing a show about your dad could be dangerous territory, but as Buttle explains, Barry is taking it well. “He loves it,” she says. “He thinks it’s his show. He’s really into it; he’s been handing out flyers to the neighbours, like,” she puts on the Australian accent ubiquitous to all eccentric Aussie dads in order to impersonate the cane toad experimenting Barry, “This is a show about me!” The impossibly cheerful Buttle is a little bit surprised by her quick success but is nonetheless overjoyed


by the small perks that have come along with her rapid accession. “It feels good. Compliments are nice,” she says. “It’s amazing, all the extra stuff you get to do when you do comedy, like, a bit of radio; sometimes you get to write stuff; sometimes you get to go on shows like The Circle. And it’s good. All of those shows give you free soft drinks… It’s pretty glamorous.” Television glamour and family oddities aside the Brisbanite also has a rather incongruous passion: gangster rap. “People seem to think I’m taking the piss or whatever,” says Buttle, laughing, “but inside I’ve got the soul of a rapper. I think it’s kind of a nice surprise when someone who’s dressed up like a doily starts dropping phrases like, ‘Yeah, word, what’s up with that, yo?’ But yeah,” she pauses, “that’s totally how I speak.” A cardigan loving rap aficionado, Buttle reluctantly admits that she does have a favourite rapper. “I mean I don’t want to start any beefs with the wrong people,” she says. “But my favourite overall of all time is Jay-Z,” she says, adding that Beyoncé is, “the hottest bitch in the game.” Perhaps her unbridled affection for American rap music has wellprepared the ex-teacher for the world of stand-up comedy. “It’s a bit scary,” she concedes, “[but] I’d rather do comedy than be at school and have somebody throw a chair at me or something.” As for her choice of content Buttle laughs, “I don’t have to make stuff up. I realised my facts are better than my fiction. So my entire show is true, and maybe that’s good, I think? Or maybe it’s bad?” WHAT: Mel Buttle in Buttle & Buttle WHERE & WHEN: Brisbane Powerhouse until Sunday Mar 13

Brisbane Comedy Festival Chalkboard – a late-night showcase of the best comedians from the Brisbane Comedy Festival in casual environment. Turbine Studio, Brisbane Powerhouse 10:30pm. Project X – Raw Dance’s flagship production comes to Redlands before embarking on a tour of Asia and the US. Tap, hip hop, funk, percussion, beat boxing, you name it. Redland Performing Arts Centre, 7:30pm. Sacre Bleu – from the same creative team behind QTC’s Fat Pig comes this double dose of French farce: Coal Seller Affair, involving two mates that wake up in the same bed incredibly hungover and with no recollection of the night before only to discover their belongings have been found at a crime scene; and A Murderous Affair, involving a love triangle interrupted by a fourth man, who matches the description of a wanted murderer. Final night. Cremorne Theatre, QPAC. Stitch By Stitch – exhibition celebrating International Women’s Day, featuring textile artworks from the South East Asia region and the Asylum Seeker Resource Centre Women’s group. Juggler’s Art Space.

SUNDAY 13 Brisbane Comedy Festival – Closing tonight: Mel Buttle in Buttle & Buttle, Damien Power: Driven, Steve Hughes: Heavy Metal Comedy, Eddie Ifft:

What Women Don’t Want To Hear, Mark Watson, Josh Earl’s Love Songs And Dedications, and Geraldine Quinn: Shut Up And Sing. Brisbane Powerhouse.

MONDAY 14 Brisbane Comedy Festival – Closing tonight: Danny Bhoy: Messenger (Please Do Not Shoot). Brisbane Powerhouse.

TUESDAY 15 Brisbane Comedy Festival – shows opening tonight: Arj Barker: Let Me Do The Talking (Powerhouse Theatre), Tom Ballard: Since 1989 (Turbine Studio), Hannah Gadsby: Mrs Chuckles (Visy Theatre), Stevl Shefn And His Translator Fatima (Graffiti Room), Dead Cat Bounce: Caged Heat (Rooftop Terrace), Asher Treleaven: Secret Door (Turbine Studio), The Hermitude Of Angus, Ecstatic (Graffiti Room), and Tom Gleeson: Up Himself (Visy Theatre). Brisbane Powerhouse.

ONGOING Julius Caesar – La Boite’s opener for the year, and it’s another Shakespeare classic, under the direction of La Boite artistic director David Berthold. Roundhouse Theatre. The Stoke: Skateboarding In Brisbane – an all access pass to Brisbane skateboarding history and culture for everyone — the uninitiated, hardcore skateboarders, museum lovers, design aficionados, extreme sports heads and fans of pop-culture. The Stoke also explores the intersection of physical and artistic expression that defines the pursuit of skateboarding and the camaraderie that unites Brisbane skateboarders from all walks of life from the 1960s to today. Museum Of Brisbane.



WITH HELEN STRINGER It doesn’t happen very often — thankfully — but on occasion some poor, misguided soul will mistake me for someone else, someone who actually possesses a modicum of knowledge about the big, scary, inexplicable phenomena that is art. After being misidentified the subsequent conversation usually involves an inundation of questions that are impossible to answer. These queries are invariably met with embarrassed foot shuffling and mumbling, which answers nothing but seems to be incoherent enough to confuse the person into believing that I’ve either imparted some useable wisdom, or that I am, despite any appearance to the contrary, entirely insane. Having a pathological need for near constant validation, many a sleepless night has been spent thinking of wise responses to the question, “Why is this art?”. Entire days have been devoted to reading indecipherable art journals in search of responses that will sound simultaneously nonchalant and appropriately intellectual. None have been found. So, from this moment forth, I give up. There is no easy answer. Sometimes art is art and sometimes it’s not. Sometimes what is an object of undeniable beauty to one person will be a worthless piece of trash to another. This very conundrum is precisely the reason that we humans invented the word “subjectivity”. For instance, I’m convinced that video installations are nothing more than the work of frustrated would-be directors who can’t get the requisite funding to make a real movie. Frankly, I think such work should be permanently banned from art

galleries. A video found on YouTube is not art; it’s merely the output of someone with a cheap camera and an aversion to using a tripod. But the venerable curators of GoMA — men and women who are far more qualified to make the decision — would clearly beg to differ; they have, after all, devoted an entire room to “video memes” plucked from the aforementioned website. To give another example that further compounds the subjectivity conundrum, one of my favourite contemporary artists is Wafaa Bilal. His body of work includes a video that lasts 31 days. Throughout those 31 days the artist was confined to a room with little more than a paint gun and an open invitation for audiences to go to a website and press a button that would magically pull the gun’s trigger and pummel Bilal with pellets. All of this was done, of course, while being filmed. The piece in question was called Shoot An Iraqi and a surprisingly large number of people did indeed partake in what would commonly be referred to as “assault”, but which in other circles is referred to as “art”. Bilal, by the way, is currently walking around with a camera surgically attached to the back of his skull uploading a photo every minute to his website. The point of this exercise, titled 3rdi, has not yet made itself apparent. So subjectivity wavers even in one individual. Exceptions are granted. Minds are changed. A vehement, seemingly immutable hatred of video installations can be diminished by the work of a single artist. All of this means that the only true answer — and therefore the only answer worth believing — to the question, “Why is this art?” is, “Because I say so.”




he Brisbane Comedy Festival can actually trace its roots back to 2006. That’s when the Brisbane Powerhouse started putting on Livewired, their free Sunday comedy gig, in collaboration with Brisbane comedian Josh Thomas. Every Sunday evening, more and more punters would fill the massive area around the Turbine Platform. For some people, it became their church. You never know quite who might make an appearance at Livewired — there have been some huge names in the past, and it built quite a following. Of course Livewired is just one small part of the Powerhouse’s comedy programme — the venue regularly presents comedy shows throughout the year. The Powerhouse Powers That Be recognised the huge appetite for comedy in Brisbane but saw that the city didn’t didn’t have its own comedy festival like Melbourne or Sydney. Powerhouse Head of Programming Sarah Neal was instrumental in getting the first Brisbane Comedy festival up in 2009. It was carefully timed in March to span the month prior to the Melbourne International Comedy Festival and overlap with Adelaide Fringe Festival, meaning it has the best chance of luring the bigname acts to Brisbane by providing

another platform for touring comics. “We also present the Brisbane Comedy Festival Award to upcoming comedians performing at the Melbourne Fringe Festival, to enable them to build audiences for their work in Brisbane,” Neal says. Young comedian Josh Thomas curated the festival’s first two years, giving up the role this year due to his burgeoning list of other commitments like Talkin’ ’Bout Your Generation. The 2009 festival’s heavyweight headliners were God-bothering rock star Tim Minchin and cheeky Scot scamp Danny Bhoy. There was also a swag of local comics on the bill, like Dave Eastgate and Fred Lang — with Lang’s show Conversations With My Dog marking a very interesting first for the Powerhouse, the first time they’d ever allowed an animal to be part of one of their productions. Lang’s faithful Labrador Beau almost stole the show. This year’s festival has another first: an opportunity for some very young comedians to take the step up to the big stage. In Comedy Hits Puberty 2010 Class Clowns competition champion Matt and his miniature cohorts will have them rolling in the aisles. With sometimes ten shows a night,

and comedians preaching their gospel from every nook and cranny of the Powerhouse, it might be more difficult than usual to find a parking space near the venue (and that was already harder than diamond). But that’s kind of all right with most of the comedians — it provides a constant stream of comedy gold from picking on the poorly-organised. “I love the Powerhouse. It is the best place for latecomers,” impish Irishman Jason Byrne gleefully says. With Byrne’s show calculated to deeply humiliate several audience members a night, you might want to seriously considering arriving a few hours early. That’s the other great thing about the festival — if you do

have time to kill, you can chill out on the deck of Bar Alto with a frosty beer, knowing you can walk to your seat in a matter of seconds. Not only is the Brisbane Comedy Festival becoming a fixture on Brisbane’s cultural map, it’s also continuing to grow, with 35 acts on the bill this year across three weeks. “What we want to encourage the most with the festival is for people to take risks, to not only see comedians they know and love, but to try something new,” says Neal. WHAT: Brisbane Comedy Festival WHERE & WHEN: Brisbane Powerhouse until Sunday Mar 27



t’s a very, very hard slog,” says Andrew Fee, Creative Director of Brisbane’s Raw Dance Company, speaking of the rebuilding effort his company is continuing to undertake after being inundated by muddy water in January’s floods. The ground floor of the company’s Moorooka studio was virtually destroyed when the waters rose: 300 square metres of purposebuilt dancefloor was irreparably damaged and had to be removed; the entire first floor has since been, by necessity, rebuilt. “We had 1.8 metres of water run through and sit for about 36 hours in the venue,” Fee sighs. “It took out the whole ground floor…that all got ruined.” It’s a setback that could have been catastrophic, particularly for a private dance company without government funding, but having founded Raw Dance in 1998 when he was barely out of his teens, Fee is no stranger to hard work. With a single-mindedness not often associated with adolescents, in the space of a few years Fee took his dance troupe — then called Raw Metal — from busking for spare change in the Queen Street Mall to performing the group’s first work METALWORX in a sold-out showcase at the Tivoli Theatre. At the suggestion that this seems an uncommonly fast track to success, Fee’s response is typically straightforward. “I started dancing when I was six; it’s been my life since then…I created the group because I wanted to create a stage show,” he says. “That was always in my mind.” Fee continues to explain his youthful determination. “I could see what was possible; I remember seeing an interview with Dein Perry [of hugely successful dance company Tap Dogs] and he was just a welder or something…who was an exceptional tapper — and still is — and he did it. I remember thinking to myself at 19, ‘If this guy can do it, then I can do it,’ and I’ve never looked back from there,” he adds with a laugh, “Actually, I never look back for too long.” Fee is currently preparing to take Project X, a Raw Dance production

A MIGHTY PROJECT which has been touring almost constantly since 2006, back on the road across Australia, before jetting off to the States and embarking on a world tour which will include stops in China, Japan, and Singapore. The international tour will see Raw Dance perform for the second time in New York; by no means and inconsiderable achievement for a private dance company whose first appearance in the Big Apple was a very brief tenminute performance as part of the New York City Tap Festival. “It was great to perform in New York. But now this is our show; this is all about Raw Dance; it’s really, really exciting for the company and the guys in the company are just super excited,” Fee enthuses, clearly quite excited himself. “It’s considered the entertainment Mecca of the world. What better place to be performing than in a theatre on 42nd Street? It’s the middle of Broadway! When you get to produce work in New York, you really think, ‘It was all worth it’.” That Fee possesses an enviable combination of stoicism, pragmatism, and optimism is no doubt an invaluable asset that has greatly helped to get Raw Dance back on its feet after the potentially crippling damage it suffered as a result of the floods. He is, however, under no illusion that without the support of the wider community the company’s situation could have been dire; there is simply no way, he explains, that without the help of volunteers the company would have resumed business as quickly as they were able to. “We were totally overwhelmed,” he says of the immediate response in the flood’s aftermath. “There was just a constant flow of people and support from the arts community. We put one note up on Facebook saying we needed help and we had 60 people just ripping up floors and mopping walls; we literally gutted the place in about 36 hours. It was a day and a half and we were ready to start building, so we were miles ahead of other businesses.” The support didn’t end with an immediate outpouring of compassion. Fee explains that in the month following volunteers AY RSD HU T RTS STA


have continued to provide much needed help in restoring the studio. “In about three and half weeks,” he says, “we’ve had volunteers, we’ve had builders, tradies…all different people and we’ve turned the venue from being a swimming pool to being a functional dance studio. We’ve made it happen. “I mean,” he continues depreciatingly, “it’s up and running from a point of view.” He laughs before explaining that he is not speaking figuratively: “From the front it looks okay, but if you were to look out the back...” he trails off before laughing. “There’s still [work] that needs to be done.” Like Raw Dance, the vast majority of Brisbane arts venues are, for the most part, back to functional capacity, but in both the immediate and longer term there is still much work to be done. The relatively small size of Brisbane’s arts community may have been a boon in the immediate response to this recent crisis, with organisations willing to aid each other in the spirit of community, but in the longer term this same factor may well make the financial toll on both companies and regular patrons debilitating. For government funded organisations the possibility of a much decreased arts budget is undoubtedly a major concern; for private companies the risk is that audience numbers will significantly decrease as individuals struggle with the disaster’s personal cost. Meaningful support in the long term will not mean a willing community wielding mops and brooms, but arts enthusiasts willing to purchase tickets and fill seats.


Visy Theatre, Brisbane Powerhouse Scotty’s the kind of effervescent person the phrase ‘pocket rocket’ was probably invented for, and the kind of comedian a room of people instantly loves. Her new show Regrets deals, really, with one specific regret in her life, which is best left unwritten in a review. It takes her full circle from her days as a schoolgirl to just a couple of years back, at a gig after the Black Saturday bushfires, by way of an epiphany that happened in north Queensland while she was sharing a Tarago with a bunch of young comics on the Melbourne International Comedy Festival Roadshow. Scotty works on waves of laughter — once she gets a laugh, such is her style that she’ll sneak five, six, seven little gags in that’ll keep you chucking for a solid minute, until you’re a bit out of breath. Throw in some genuinely warm audience banter and you have a winner. Season finished BAZ MCALISTER

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Season finished SAM HOBSON




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3367 1954






THU-WED 12.35, 4.15, 7.15 PM

RANGO (PG) (NO FREE TIX) THU/FRI/MON-WED 12.00, 2.00, 4.00, 6.00, 8.00PM SAT 10.00, 12.00, 2.00, 6.00, 8.00PM SUN 10.15, 2.00, 4.00, 6.00, 8.00PM


Josh Thomas is the kinda guy whose persona you can’t help but fall for. Painting himself as the bullied kid turned comedian, his show’s rife with tales of closeted neuroses, awkward sexual experiences, and the delightful pains of familial over-familiarity. This is all evinced – from furtive one-liners, to overarching stories, rich with logic that can be layered on to preceding jokes – with a protective, coffee-addled twitch. Saying taboo things you feel him claw back in, he has the audience in stitches. From giving vaginas to the homeless, and questions like, “Is gay porn sexist in its exclusion of women?” to casing sought-after details of his spate with Ruby Rose – it was worth “paying $700 to publically call her a cunt” – the man’s show’s a comic opera of ageless, tasteless funny.

The latest animated film to captivate audiences and critics alike is Rango, a western starring a bunch of unlikely creatures from Pirates Of The Chameleon director Gore Verbinski. Johnny Depp stars as the titular character Rango, a lonely chameleon who can play any role, yet doesn’t know who he is. His journey takes him from the solitude of a terrarium to the vastness of the Mojave desert where he adopts the persona of vigilante lawman Rango, convincing the occupants of the town of Dirt that he is the solution to their looming hydration problem. Rango is forced to confront his identity issues as the townsfolk, including love interest Ms. Beans, begin to actually believe in him and the role he has concocted thrusts him into an uncertain reality. Rango must learn the meaning of friendship, complete his quest and uncover the conspiracy behind the town’s missing water. We’ve five in-season double passes to giveaway, so for your chance to win one email au with ‘RANGO’ in the subject line.

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Brisbane Powerhouse Theatre

WHERE & WHEN: Redlands Arts Centre Saturday Mar 12, Nambour Civic Centre Friday Apr 1, Ipswich Civic Centre Saturday Apr 2




WHAT: Project X




Hopefully, though, there are no crippling disasters in Queensland’s foreseeable future. “I’ll have grey hair if it happens again,” Fee says with a laugh, before pausing to reflect. “But still…we’d get through it.”





Fee shares the concern. “I do think that really there are going to be negative effects,” he says, “It’s going to take some time, but I think that we’ve all had a bit of an awakening that Brisbane does care deeply for the arts. [People were] there at the first opportunity to assist with getting businesses up and running and that is because the arts are important to Brisbane.”

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KISS ME AGAIN (MA15+) THU-WED 10.00, 4.35, 9.10PM

THE KING’S SPEECH (M) THU/FRI/MON-WED 10.00, 12.20, 7.05, 9.25PM SAT/SUN 12.20, 2.40, 7.05, 9.25PM

BLACK SWAN (MA15+) THU 11.15, 2.40, 6.55PM FRI 11.25, 2.40, 6.45PM SAT 10.00, 1.30, 6.45PM SUN 11.30, 6.45PM MON/TUE 11.00, 2.40, 6.45 PM WED 11.00, 2.40, 9.10PM



THU 1.30, 3.45, 6.45PM FRI 1.45, 4.00, 6.30PM SAT 11.15, 3.45, 6.30PM SUN 1.45, 6.30PM MON/TUE 1.20, 3.45, 6.30PM WED 1.20, 3.45, 6.45 PM



THU/WED 10.05, 2.20, 9.00PM FRI-TUE10.05, 2.20, 8.45PM

THE FIGHTER (MA15+) THU 4.30, 9.15PM FRI/SAT/MON/TUE 4.30, 9.00PM SUN 9.00PM WED 4.30 PM



07 3852 4488




127 HOURS (MA15+)

SAT 11.30AM SUN 1.00PM THU (17/03) 11.30AM

THU 10.30 (BABES), 3.30, 6.20, 9.10PM FRI- TUE 12.20, 3.15, 6.20, 9.10PM WED 12.20, 3.15, 9.30PM

SAT 10.10, 2.40, 7.00, 9.20PM SUN 10.10, 4.15, 6.30, 8.50PM WED 12.00, 2.20, 9.30PM










THU/ SAT- TUE 2.00, 8.30PM FRI 2.00, 4.10PM WED 4.20, 9.20PM

THU/ SAT/ MON 10.20, 12.10, 4.10, 6.15PM FRI 10.20, 12.10, 6.15PM SUN 12.40, 4.10, 6.15PM TUE 12.10, 4.10, 6.15PM WED 12.30, 2.30, 4.50PM



THU/ FRI/ MON- WED 4.30PM SAT 4.45PM SUN 10.00AM

THU 1.20PM FRI/ MON- WED 10.10AM

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RANGO Director Gore Verbinski’s animated feature Rango is a drink of cool water. It doesn’t see the need to be gimmicky 3D, overly cutesy or flat-out dumb like many modern animated films — it trusts that we’re an intelligent and cultured audience that can follow along, and there’s plenty of humour in there just for adults. Rango himself (Johnny Depp) is a simple chameleon from a terrarium with dreams of being a thespian. Bounced out of a truck on a desert highway, his world is literally shattered in a hyper-kinetic action scene. He becomes the weirdly-dressed stranger sauntering into the Wild West-style town of Dirt, populated by mean, ugly, hard desert critters — and he decides he can now take on


Rango is sassy and witty and beautifully animated, with lush, dense characters full of quirks. Depp is excellent in the role and heads up a vibrant voice cast of diverse talents doing what they do best — Timothy Olyphant as a hard-bitten western icon, and Ray Winstone as an English thug. The whole thing is full of outrageous action scenes, slick action-based humour in the Indiana Jones mould, and a wonderful iconic storyline. It’s a joy when a gamble like this — heading in a different direction from screeds of cutesy animations pays off. WHERE & WHEN: Screening in cinemas from Thursday Mar 10 BAZ McALISTER


MELINDA BUTTLE IN BUTTLE & BUTTLE Turbine Studio, Brisbane Powerhouse Brisbane’s Melinda Buttle is flying the flag proudly for the home team this Comedy Festival with a tapestry of yarns about a man who could only exist in country Queensland — Barry Buttle, her eccentric dad. He’s a passive-aggressive fellow who hides from birds, yells at non-existent koalas and writes epic emails more harrowing than Platoon about his protracted war with an ant colony. So far, so Shit My Dad Says, but Mel Buttle’s a lot more than just a conduit for recounting the mad antics of a family member. Clearly deadly with a pithy one-liner, the becardiganned one has plenty of stories from her school years, too — some of which are almost uncomfortably confessional, but she has a knack for tipping us the wink that it’s okay to have a chuckle. Buttle’s wit is a wry, often selfdeprecating one and she’s coming into her own as a longer-form comedic raconteur as evidenced by her willingness to dally with a good story. This is only her second hourlong show; expect many more. Until Sunday Mar 13 BAZ MCALISTER

JOSH EARL’S LOVE SONGS AND DEDICATIONS Visy Theatre, Brisbane Powerhouse Themed around a late-night request radio show presided over by a mellifluous-voiced DJ, ‘The Love God’, Tassie-born Bieber-alike Josh Earl’s new festival show is all about love, but that doesn’t mean it’s not funny. The show opens with an old-style wireless and the disembodied voice of The Love God purring romantic clichés, before Earl takes the stage to open with a rousing theme song of sorts. Earl is a veritable fount of charm, as he draws the audience into his examination of the power of love. His treatment of the topic is often warm and fuzzy but never twee or trite, rather taking


the role he’s been waiting to play all his life, the Clint Eastwood Mysterious Stranger, which embroils him in a vicious war over water.


a pragmatic and realistic line. There would have been more than a few in the audience who could identify with his closing tune, Content, for instance. Earl’s show is peppered with gorgeous dashes of the theatrical, particularly the segments playing out the trials of a bewildered fellow named Johnny — a character from Earl’s tunes — ringing the phone-in and trying to make sense of The Love God’s witterings. It’s wonderful when a comic shoots for something a bit deeper and more involved than straight stand-up, and it works this beautifully. Until Sunday Mar 13 BAZ MCALISTER

PETER HELLIAR’S WORLD OF BALLS Powerhouse Theatre, Brisbane Powerhouse Sport is something Australia takes very seriously, but it’s something Peter Helliar isn’t afraid to poke fun at. Helliar has somehow managed to pack a huge amount of fascinating info about playing with balls (not to mention some mighty fine gags) into World Of Balls, so much so that it overruns by about 20 minutes on the night this reviewer attended. That’s not a criticism — in fact, everyone in the room wanted more. More yarns about sportsmen behaving badly, more athletes with incredibly dodgy names, and more mind-blowing true stories about inventive and not-so-inventive cheating. Helliar’s actually finely developed the shtick of bantering back and forth with himself, as evidenced several times throughout the show, and his use of mime provokes more than a few laughs — especially when doing a German swimmer, or indeed himself breathlessly pedalling uphill. I don’t know precisely why, but after this show, I don’t half feel like a Freddo Frog or ten. Sterling stuff from a charismatic comedian. Season finished BAZ MCALISTER



or comedy musician Geraldine Quinn, the last year has been a bit of a revelation. For years, she says, she couldn’t break out of the idea that she was putting the idea of being a respectable musician in front of being a comedian. “Then,” she says, “I made friends with this whole drag queen troupe and suddenly went, ‘Oh, what am I doing?’. The more I was hanging around them, I just noticed how much attention they got. It just started getting sillier and sillier until one of the members started saying, ‘You’ve got to get more camp, you’re so camp and you don’t do it enough on stage’ because I was trying so hard to be taken seriously.” And when you’re looking for something a little more ridiculous as a musician, you’re instantly drawn to pop. Quinn started to think about what it was that made pop music tick. “I don’t mind good pop music, but I have a lot of snobbish friends,” she says. “I’m a little in defense of it because when it’s good it’s really, really good. When pop songs are written well they’re just unstoppable. ABBA showed us that. Max Martin, the guy who wrote Britney Spears’ early songs, showed us that. Beyoncé showed us that. And friends of mine were getting really snippy about this because it was ‘just pop music’ but I was like, ‘What are you talking about?’. I can listen to Neil Young, and then I can listen to Single Ladies.” Back in high school, Quinn says, her music teacher traced the entire

history of jazz from gospel roots to blues all the way to avant-garde, which changed the way she thought about music in general. “You were basically watching ‘popular’ music metamorphose over 100 years,” she says. “That all has happened with rock and trash-pop too. There’s still that mysterious ‘what the hell is it’ — or dare I say in French ‘je ne sais quoi’ — of what it is that makes a particular pop song melody work so well. Maybe it’s that good pop music sounds quite familiar, and if you can evoke that while being original it works.” Quinn says she is a devotee of David Bowie, but confesses that she reckons the secret to his success is keeping his finger on the pulse of the evolution of pop and borrowing from others. “Pop music does ‘rip-off’ very well. David Bowie — I’m a massive, massive fan, it’s well known even to people who don’t know me — he was a genius at finding people breaking barriers and cherry-picking bits from them, and crafting them brilliantly. He keeps paying attention to what everyone’s doing and that’s what the best of them do. Where it becomes dull is if people haven’t used their imagination, or haven’t got any — hello Ke$ha! It’s bored and it’s boring.” Quinn says her follow-up show, which she’ll be taking to Melbourne Comedy festival this year, You’re The Voice, was a direct antidote to listening to so much pop. “I listened to loads of Van Halen

and Queen and Toto and I’m on the most insane Aerosmith kick. I got into the idea of writing big, big, big rock anthems for ordinary people — people who aren’t really ‘Tommy and Gina’-level of down-and-out. What if you’re just sort of in the middle or are just suburban or have a boring job...

Where’s their song? There’s a hell of a lot of us in that middle position.” WHAT: Geraldine Quinn: Shut Up And Sing WHERE & WHEN: Graffiti Room, Brisbane Powerhouse until Sunday Mar 13

GIVEAWAY! Project X is the flagship production of Brisbane company Raw Dance, featuring funk, tap, hip hop, acrobatics, live music, percussion, and beat boxing. Ahead of taking the show to Asia and the US, they’re doing some last-minute shows in Australia, including Redland Performing Arts Centre Saturday Mar 12. We’ve two double passes to giveaway — for your chance to win one email give@ with ‘RAW DANCE’ in the subject line.







eople say to me, ‘Why don’t you just do a straight stand-up show, why do you make your life so fuckin’ difficult?’,” muses Jason Byrne. “But you know, people are paying to see a show, and they want that little bit extra.” The lovable Irish rogue’s philosophy of comedy has won him the hearts and minds of fans all over the world due to his outrageous stage antics — into which he often co-opts audience members. “I can’t wait to go back to Brisbane, fuckin’ hell,” says Jason Byrne with breathless enthusiasm. “I love the Powerhouse.” One of the many reasons Byrne loves the Powerhouse is because at the bottom end of New Farm, the parking options stink — which ensures there will always be a relentless stream of latecomers to Byrne’s shows. “There’s loads going on with this show,” he says. “When people come in there’s like six aerobics steps on the stage with skipping ropes beside them and you can just hear people coming in talking about it... ‘What the fuck, what’s that, why is there six of them and there’s only one of

him?’. So I come straight on and get five people up on stage, and doing step aerobics and skipping to music is fuckin’ hilarious. I try to pick guys because they’re so shit at it — fellas that have had a good few beers before they come in, you know? And if there’s any latecomers they have to get up and do the whole thing again!” This year’s show is called Cirque Du Byrne — quite fitting, as the comic often casts himself in the role of ringmaster. “When I called it that, I thought, ‘Oh fuck, I’d better put more circus stuff in it’,” he says. And so he did. Expect the skipping. Expect plate-spinning. In fact, Byrne divulges a lot more about what’s in his show during this interview, but trust us — it’s best kept under wraps. “This kind of thing, it’s what my comedy’s all about. It’s like a teacher’s out of the classroom and we’re all just taking the piss, we can do whatever we want,” he says mischievously. “I work out a lot of these routines there on stage for the first time. Often, when I get up, I have no fuckin’ idea what I’m gonna do. If I sat there and wrote some of these

things down on paper I’d just throw it in the bin. ‘What? Get a bloke up and do what? That’s not gonna work’. But because the audience are with me we can do anything.” And this year, Byrne has stimulated the audience’s creativity by appealing for them to bring him crazy gifts. “I don’t want to push that too much because I don’t want 800 people bringing fuckin’ gifts to a show,” he says, “but the weirdest one so far, and still the winner for me, is a hand-knit Santa Claus from Mexico, but apparently in Mexico Santa is the devil? It was like ‘fuckin’ what?’. It’s

this sort of stuff I want to see. I don’t want somebody putting their shoes on the stage and going, ‘They’re my favourite shoes’. It’d be brilliant if someone put their granny on the stage. That’d be fuckin’ brilliant. People will come away from the Powerhouse going ‘Holy fuck, what the fuck was all that about?’” WHAT: Jason Byrne: Cirque Du Byrne WHERE & WHEN: Powerhouse Theatre, Brisbane Powerhouse Thursday Mar 17 to Sunday Mar 20

I’ve seen a lot of terrible movies. Movies that required money and effort to produce. Movies that were probably meant to be career-making efforts for all involved. When you think simply about the nails that were made, bought, and used to build the set for a film that at best gives you the chance to sit in a comfy cinema seat, it’s sadly true that it’s less than the sum of its many parts. You too can write a movie like that! Er...let me explain. Throughout April the Office Of Letters And Light (the same folk who bring you National Novel Writing Month) host Script Frenzy. Over 30,000 people will participate in writing a movie, play, or graphic novel. The goal is to come up with 100 original pages in just 30 days. Sure, with only 30 days to produce a script that’s over 3,000,000 pages of varying quality — but that’s not the point. The point is that frantically working to complete a writing project in a month gives you a powerful creative outlet, a sense of achievement, and maybe out of those 100 pages there’ll be scenes you didn’t know you were capable of writing but always hoped you could. Now in its fifth season, there are Script Frenzy regions all over the world, from London to Wellington, Florida to South Africa. Script Frenzy is all about folks getting together in living rooms, cafes, or online to knock out those scripts that inhabit

all of us. Last year I failed Script Frenzy, which is a shame, but I did put up in pixels some stuff that I’m very proud of. I got a little stuck due to lack of preparation. Writers dream about those days when the words flow effortlessly onto the page. Last year, I thought that being under the gun might produce some of those days, and the script would appear on the page as if by magic, but every story has a beginning, middle and end, and coffee alone can’t make those materialise without forethought. If your kids are writers check out the youth component of Script Frenzy through the Young Writers Program where they can access script writing boot camps, and expert advice as they write the scripts they’ve got rattling around in their ultra-imaginative brains. For those of us whose imagination is constantly beset by troubles like work stress, home life responsibilities, or spending too much time in the creative dead zone of evening television, what’s the worst that could happen? You might write four pages instead of 100. That’s four more than you otherwise would have written. Maybe you’ll write 100 pages but it will kinda suck. You can make it better. The only green light that matters is the one you give yourself to be creative, even if that means creating something odd. You never know, it could be kinda wonderful. You can sign up at


inspired by true events

3 march

Supernatural themes, violence and infrequent coarse language






Benjamin Thompson – guitars/vocals/things


The Rational Academy has existed as a kind of collective since 2004. In that time somewhere close to 13 people have played in the group, closer to 20 if you were to count international friends who have guested on the records. In our current line-up Amelia has been a consistent member since late 2008, Thomas started with us towards the end of 2009 and Mike’s the new kid having only joined mid-last year.


Amelia helped save me from myself at Brisbane’s ill-fated SOOB festival a few years back. Prior to that we were from the same small town (although I didn’t know her) and she was an apparent regular at our shows. We met again on a boat and then didn’t really see each other for a few years. Brisbane can be like that....It’s all a little bit Tangled Up In Blue. Thomas came through Amelia – I think they used to play in a band together back in that same small town before I knew either of them. Mike’s been a close friend, flatmate and member of some of my favorite brisbane bands since the Academy started. It was just a matter of time before he ended up at a rehearsal.


We’ve tried driving to almost everything. I always hoped Frank Zappa’s Overnite Sensation would go down better than it has. Mount Eerie proved way too slow. Deerhunter’s Cryptograms is almost dangerous if

played on repeat between Canberra and Brisbane. Amelia and I treated the Newell Highway to a repeated helping of Paul McCartney’s classic album Ram very early one morning, singing along to every word in preparation for what will one day be our fantastic cover of the entire record – an unnamed ex-member got kinda vocal with his objections when we tried for a third helping.


I don’t see that we even have a choice. We’ve never made music for anyone but ourselves and as an unwritten rule we’re all dedicated to never making the same record twice. It would be great if people listened to records in a less disposable fashion, then perhaps we could live large but it’s not our reality. Heinz Riegler once asked me, “if no-one bought your next record would you still make another one?” to which I replied, “of course.” “You’ll be fine then,” he said. Heinz is a pretty awesome dude.


The two big ones for me when I first arrived in Brisbane were Turnpike and Shuriken. They still are really. Matt from Shuriken actually played bass with us for a period and I have an ongoing noise project with Adam from Turnpike. I don’t think I could really ask for more than that. Outside of bands, Lawrence English’s guidance and friendship has done more for this group, and me personally, than anyone could ever know.


I’m not sure I’m even conscious of Brisbane in terms of identity anymore. There was a period where I felt part of a scene perhaps, but almost as soon as that happened I fought to distance myself from it in every regard. Maybe that’s a Toowoomba thing. A lot of my old friends from there who’ve gone on to be successful in the arts have that. We still don’t really trust you city folks.



We’d be awful. There’s a reason we don’t dance around onstage. Mike’s been taking some kind of martial arts lately, but, I guess that’s not a team sport. If we all did martial arts and formed a gang would that be considered a team sport?


We have a new 7” we’re launching in March. Also just finished recording our third album which should be out before mid-year and another Japan tour looks set for late June. The Rational Academy play X&Y Bar on Friday Mar 18 Photo by ALEX GILLIES.




OMAR SOULEYMAN: The Hi-Fi Mar 9 THE HOLD STEADY: The Zoo Mar 9 ALAN JACKSON: BEC Mar 10 – 12 BEST COAST: Woodland Mar 10 EDDIE VEDDER: QPAC Mar 10 & 12 JUSTIN TOWNES EARLE: Step Inn Mar 10, Joe’s Waterhole Mar 11 NANO STERN: Mullumbimby Civic Hall Mar 10, Judith Wright Ctr Mar 19 THE CLEAN: The Zoo Mar 10 JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS: QPAC Mar 11 MOUNT KIMBIE: Barsoma 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 WEIRD AL YANKOVIC: Jupiters GC Mar 14, QPAC Mar 15 JASON WEBLEY: The Zoo Mar 23 STONE TEMPLE PILOTS: Riverstage Mar 23 FINNTROLL: The Hi-Fi Mar 24 DIE! DIE! DIE!: Great Northern Mar 27 URIAH HEEP: The Tivoli Mar 31 YOUR DEMISE: YAC Mar 31, Hard Rock Apr 1, The Fort Apr 2 (day), Rosies Apr 2 (night) 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 FRANK TURNER: Rosie’s Apr 16 HORRORPOPS: The Hi-Fi Apr 23 INDIGO GIRLS: QPAC Apr 26 NATURALLY 7: QPAC Apr 27 & 28 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 & 5 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 TIKI TAANE: Great Northern May 19, Coolangatta Hotel May 20, The Hi-Fi May 21 JOE BONAMASSA: The Tivoli May 21 THE HAUNTED: The Hi-Fi May 26 PROPAGANDHI: Coolangatta Hotel May 28, The Hi-Fi May 29 THE DANDY WARHOLS: The Tivoli May 31 NEVERMORE: The Hi-Fi Jun 9 VAN DYKE PARKS, KINKY FRIEDMAN: Brisbane Powerhouse Jun 24 & 25 RISE AGAINST: BEC Jul 18 KINGS OF LEON: BEC Nov 8



WOODLAND FRIDAY MAR 11 We are right in the middle of one of the best weeks of live music Brisbane has seen in a very long while and to say that we’re spoilt for choice is a vast understatement. One show that may have flown under the radar for some is the always welcomed return to Brisbane of Sydney’s finest pop-punk/sludge/grind/whatever group, the Hard-Ons. These guys have been hard at it for well over a quarter of a decade now and with their latest record Alfalfa Males Once Summer Is Done Conform Or Die, they’ve proven that they still have plenty to offer at this stage of their career. They play Woodland on Friday night for just $12, doors open at around 9pm. The Waifs @ The Tivoli by Stephen Booth

PRESENTS 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 21-26 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 and May 5 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 BLUE KING BROWN: Beach Hotel May 19, Coolangatta Hotel May 21, King’s Beach Tavern May 22, The Tivoli Jun 3 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Brisbane Riverstage Jun 10, Lake Kawana Community Centre Jun 11



With dreamy bass-infused drops that feel like dirty bombs of sound, James Holroyd has the enviable position of warming the crowd up for both Art vs. Science and the headliners this evening. With two slots leading up to vastly different live beasts, the British DJ is able to provide sparse variation with his track selections and mixing, while still maintaining the consistent quality that has made his Bugged Out! nights so respected in dance circles. Art vs. Science have a performance value that justifies the bullshit hype thrown upon them by certain areas of Australian radio. But stupidity through music will only last so long and listening to Magic Fountain, ParlezVous Francais and Flippers, it’s obvious these commercial clowns are on their last legs.


Mama Kin makes every last note count as she woos a capacity crowd at The Tivoli with George Michael, her backing band of George Servanis on drums and keyboard maestro brother Michael Caruana. From the midst of a big, colourful skirt, the bubbly Mama Kin fuses her natural comedy with full stomping renditions of To My Table and Beat And Holler, showing off an instinct for soulful, percussion fi lled romps. Playing a good chunk of well-received material from their new album Temptation, the three core members of The Waifs, rounded out with a drummer and bassist, are looking fresh and tickled pink to be in Brisbane tonight. Fittingly opening with the album’s bluesy first track I Learn The Hard Way, guitarist Josh Cunningham lends a third voice to the harmonies of sisters Donna Simpson and Vikki Thorn in what has previously been a two-part harmony aff air for The Waifs. His new songwriting efforts show off tinges of gospel, particularly Moses And The Lamb which signals a switch to double bass and brushes for the rhythm section, and transforms the sisters into Cunningham’s sassy backup singers.

Though they’d be forgiven for offering weary renditions of the likes of Lighthouse and London Still, this is where The Waifs most admirably shine tonight across their close to two-hour set. Simpson smiles widely when her vocal is continually interrupted by a passionate crowd during the later, admitting mid-song: “Contrary to popular belief, I was actually in London for four days.” A heavily pregnant Thorn soulfully offers signature tune Bridal Train, as a spotlight bears down on the siblings during one of many beautiful moments of harmony. The two chat easily throughout the set, offering insights into family life, reflecting on their 20-year journey together and gazing around the room with pride at the space they’ve filled.

Original Kiwi son Zane Lowe has carved a name for himself in Britain as one of the country’s leading radio DJs and tastemakers. But does that give him the justification to be performing on tonight’s bill? Not really. However, what he lacks in technicality he more than makes up for in delivering sure-fire party anthems. Dubstep reworkings pepper the set while tracks like Barbara Streisand, Sandstorm, Major Lazer’s Pon De Floor and epic Zombie Nation stomper Kernkraft 400 are locked down to keep bodies moving across the hill.

Returning to encore old favourites Fisherman’s Daughter and Gillian, The Waifs leave the giggles, foot stomping and rollicking behind for a moment and humbly revisit their beginning: track one, album one, Take It In. As Thorn suitably urges: “Take it in/Take it all in/Now is a time that will not come again”, a solemn feeling creeps over The Tivoli. Though The Waifs’ trademark sense of humour is never far from mind, and Thorn announces: “I feel like Keith Urban, for some reason” before closing out the song and the show to delighted applause.

As anticipation transforms into complete adulation, The Chemical Brothers take Brisbane to school, showing just why they have been at the top of the dance music food chain for close to two decades. Running a dramatic intro into Galvanise and Do It Again, the air is thick with layered beats and smothering vocals before the cyber light horsemen ride in with Horse Power and the murderous bass line completely buckles your knees. With one of the most explosive, hyper and audacious light shows seen beaming across the Riverstage, Swoon is given another shade of beauty with swimming bodies majestically floating across the visual backdrop. And then when you’re almost ready to come up for air, the chocking double play of Star Guitar and Hey Boy Hey Girl shoves you deeper into the abyss. Ten years on, Out Of Control still drives with the focus and fitness of an F1 champ while surprise inclusions such as Saturate and the vocal line from Dig Your Own Hole destroyer It Doesn’t Matter provide the fanatical with heady moments of joy. Bugs crawl across the screen to deepen the fear before Block Rockin’ Beats closes the main set. But far from finished, Tom and Ed return for a 15-minute encore climaxing in the ultimate chinstroker journey, The Private Psychedelic Reel. With a level of class and unmatched chemistry, The Chemical Brothers tonight provide a life-affirming journey into sound.



It’s been five years since the twee pop overlords last graced our shores and Belle & Sebastian are greeted to rapturous applause as they hit the stage resplendent in sartorial style, frontman Stuart Murdoch coated and scarfed to the nines. The awesome groove of I Didn’t See It Coming gets things underway, soon displaced by the Smithsian swing of the gorgeously constructed I’m a Cuckoo. No-one does 60s soul pop better than these Glaswegian legends. The opening chords of Step Into My Office Baby are met with huge cheers as “wanna give you the joooooooob” cuts it way into the cerebellum not unlike the catchiest of 60s cereal commercials. The banter is first class tonight too, stories of $2 sunglasses from New York being confiscated for too many posing photos taken are interspersed with witty crowd rebuttals, whether it be patiently responding to the baffl ingly loud chorus of request shouters or replying to an ocker man’s bellowed “Very Nice” with “Now that’s what we really want from a crowd – exchanged pleasantries – Very nice?”.

High On Fire @ The Hi-Fi by Alex Gillies

The set is heavy with Dear Catastrophe Waitress material early on with stunning versions of Piazza, New York Catcher and Lord Anthony, Murdoch’s ethereal vocals cutting right to the core of the crowd Baxter-style. A glorious I Want The World To Stop seems like a lost 80s classic, these guys evoking any period with grace and faithful reproduction. The Fox In The Snow ends with sweeping strings courtesy of the generously utilised side string section and Boy With The Arab Strap sees some confused crowd dancers brought up onstage, rewarded for their rare style flourishes with a dancing medal presentation at the end of this cracking rendition.


Savannah’s Kylesa are in the position of opening tonight’s epic international-only bill, immediately suffering from a muddy mix that has vocal levels unmatched. Regardless, the band confidently powers through, with their psychedelic and sludgy tones gathering significant attention from the already significant audience. Singer/guitarist Phil Cope breaks a string mid-song, mid-set, but the show must go on with an impressive display of simultaneous restringing and vocalising. Protest The Hero is the oddball of tonight’s bill – cleaner in songwriting nature, hyper-technical and super slick, it’s a startling contrast amidst the doomedout, bong appropriate nature of the other bands. With the PA still yet to be wrestled into cooperation, the band’s stunning lead work and soaring melodic vocals all get a little lost in the mix despite their spot-on handiwork. The group saves their most well known for last, finishing up with the hit Bloodmeat. Again getting things started with the particularly doom-styled Hash Wednesday, Californians Trash Talk take to The Hi-Fi stage with an unrivalled ferocity, and evidently are lucky enough to receive the benefits of a decent mix. Long-haired, maniac vocalist Lee Spielman comes across as a man with many demons, hurtling rage through his vocal chords at a speed that never fails to match that of the powerviolence-style thrashing from drummer Sam Bosson. It’s an impressive performance even before Spielman decides to jump the barrier and stomp all the way to the top of the venue’s rear bar, manic and flailing in onlookers faces the whole way. Bassist Spencer Pollard climbs his way to the top of the closest speaker stack, and by the time the set comes to an end the room is buzzing with an almost unhinged and nervous rush of adrenalin. Opening with the barrelling number Speedwolf, threepiece High On Fire are in fine form tonight. Though the audience has perhaps thinned a little in the space between bands, singer/guitarist Matt Pike incites significant roars and throwing of the horns from the crowd through the simple act of throwing his hand up, in sync with the flashing of a sure-eyed yet urgent expression of expectation across his pirate-like face. The set chunders on into recent single Frost Hammer before they revisit their earlier days with numbers such as Waste Of Tiamat and Blood From Zion. After nigh on an hour of their rolling stoner riffage, everyone’s starting to look a little tired, and the set is finally closed with the suitably epic Snakes For The Divine. LOCHLAN WATT


Because it’s raining outside tonight, we’re let in early. The line’s a scattered snake of ruddy faces peeking out from under dripping umbrellas, and we shuffle towards the warm with shivers and excited chatter. Inside, the venue’s neatly bulked with seating;

a yawning selection of plush-enough reds, neat and welcoming in the bay of The Tivoli’s baroque panorama. Piling mild injury upon respite, we then suffer a longish wait, before a small group of sound crew mill in purposeful, head-bowed diagonals across the stage in front of us. Neil Morgan cuts a bizarre performance that blurs the line between brilliance and Asperger’s. He begins by firing up a cacophony of pre-recorded ‘oohs’ and ‘aahs’ from an old tape-recorder; earthy, free-form onomatopoeia that booms from the giant speakers to his side. Clasping a giant book as he speaks, he sermonises in abstract Whitman-esque passages to a rhythm that feels intuited on the spot, seething with unease as he rocks on his heels, and lolls his tongue. It’s a complex, and practised set of affectations, easily as fascinating to behold as his music, playing like some jarring, postured send-up of someone bored. Whether Dada or otherwise, it’s great because it begs questioning. As Joanna Newsom and her band swish across to their places, someone yells, “You’re amazing!”, to which she grins, shooting back: “Already?” With the laughs subsiding, they launch straight into the bouncy, cartoon slink of The Book Of Right-On. Breaking briefly to properly introduce herself, and then to the crowd’s baleful coo’s, she utters “ the time you read this, I will be so far away...” stealing a little hurt from our hearts, and sweeping into Have One On Me. Th ick with a golden, mystic texture next she switches to the piano for Easy, and then back to the harp for Cosmia – gasps caught wet in throats as her tiny voice soars aching across the song’s “and miss/your precious heart” refrain. Infl ammatory Writ breaks an extended bout of chatter, (“You guys don’t have NyQil here? It’s what Lil Wayne drinks. You know – Sizzurp.”) and Kingfisher then joins the harp’s gorgeous sound with that of a medieval recorder – far less sinister than it sounds – and the exquisite pleasure of hearing Joanna intone the phrase “obstinate as obsidian”, before the deftly rearranged Soft as Chalk. Nearing the end of their set, she lets slip that there’s only two songs left, and everyone cheerfully boo’s. Not missing a beat, Joanna giggles, quipping: “You guys, the system is bigger than all of us.” To the final peals of audience laughter, she and the band launch into Good Intentions Paving Company – the song’s closing ache bolstered back to giddiness with Peach, Plum, Pear. SAM HOBSON


Local dream pop outfit Little Scout hit the stage to a half-full Tivoli and prove to be the perfect choice as tonight’s openers. Baroque Grizzly Bear-style flourishes combined with beguiling frontwoman Mel Tickle’s Beth Orton-meets-Washington vocals give these guys a cosy off beat feel that rewards with the more attention paid. Take Your Light starts off with a funereal beat which is then littered with Andrew Bird quirk. Th roughout their set Kirsty Tickle’s cascading twinkles of piano coat the whole thing in fairy dust loveliness whilst the band heads into darker territory on more than one occasion, the dual drumming finale finding the singer joining the drummer on the tubs in a stomping finale. The new album should be awesome.

An amazing The Stars Of Track And Field starts off the post encore section and is a stunning highlight, as are following The Life Pursuit tracks Another Sunny Day with its effortless swing and the storming T-Rex channelling closer The Blues Are Still Blue. ED MATTHEWS


The musty halls at the back of the Old Museum were each assigned a purpose – ballet, comedy, art-display – and though each houses what it purports, the audience support just isn’t there. This visibly deters some performers – the ballet in particular is spectacularly lacklustre – creating a kind of knock-on slouch that permeates the wet afternoon. The weather’s awful, which probably doesn’t help. Outside to the main stage for The Go-Betweens cofounder Robert Forster and the crowd scattered across the lawn and tree-capped dustbowl beside it is scarily sparse. As the throngs of The Good Ship’s unfaltering enthusiasm lifts spirits from The Red Room behind us, a gangly Forster takes the main stage. Head Full Of Steam opens his quiet set, the tall man dressed down in slacks, a polo, and Lennon-glasses. His voice is flat, but in that cool-again jangle-pop way he helped pioneer. Solo effort Pandanas next, weaves its sleepy tale of regret at Peregian Beach. Darlinghurst Nights aches out mementos of the man’s well-lived life, as the nearby sausage sizzle wafts enticement across the crowd. His set’s pitched today at a sparse crowd of 40-somethings, whose attention in turn is settled somewhere at their knees by cavorting kids. A clown paces the grass like something from a 90s nu-metal music video. Today’s just not quite right. An hour later, and a grey-shocked quiff sporting Don Walker, or ‘Aus-music-legend-deux’, opens at the piano, with his Tom Waits-alike Sitting In A Bar. And again, it’s like he’s been ported to the wrong place, or sucked under by the day’s grey. Determined to perpetuate the melancholy, he continues with a poignant, but sallow rendition of Khe Sanh, lightening things with the nonetheless Australian-tragic Danielle, which sports, if little else, a delicious Clapton-esque twang. Everybody, a low key lament to materialistic trappings slips into new track I’m Feeling Lucky; calypso bent and pretty in its use of the pedal steel. From country sounds, to more bar-side blues, his set wanes, as the wind picks up, and the palms behind the stage bend and throw. The Gin Club, then, some good time later, close the evening. With just a short set, the six-piece power through an array of great regulars, easily the main-stage’s most vital act of the day. Drawn from a different palette entire, they blister through An Horse with a sound that feels like the fitting evolution of the day’s sound, ironic, and folky. Th rough to the moogdrenched Ten Paces Away, rich with interplaying vocal harmonies, before Say You Will, a sweet and subdued track prefaced by a play on some easy folk-based puns, before closing out the evening with the ever-so-aptlytitled Rain. Great artists, buttloads of effort involved, more attention needed.


MENTAL AS ANYTHING: Treasury Casino Mar 9 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 QLD Museum Mar 25, Miami Tavern Mar 26 ILLY: Beach Hotel, Byron Bay Mar 24, The Zoo Mar 25, Coolangatta Hotel Mar 26 DEAD LETTER CIRCUS: The Tivoli Mar 25 YOU AM I: Runaway Bay Tavern Mar 25 GARETH LIDDIARD: The Zoo Mar 26 HOUSE VS HURRICANE: YAC Mar 31, Hard Rock Cafe Apr 1, The Fort Apr 2, Rosie’s Apr 2 OH MERCY: Neverland Mar 31, Alhambra Lounge Apr 1 BONJAH: Beach Hotel Byron Bay Apr 1, Duporth Tavern Apr 2, Noosa Surf Club Apr 3 DZ DEATHRAYS: Woodland Apr 1, Miami Tavern Apr 2 MILES AWAY: YAC Apr 7, The Fort Apr 8, Rosie’s Apr 9 SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8 SPACE INVADAS: Barsoma Apr 8 PARADES: Woodland Apr 9 BRITISH INDIA: The Zoo Apr 14, Coolangatta Hotel Apr 15, Great Northern Apr 24, Kings Beach Tavern Apr 25 DRAPHT: Kings Beach Tavern Apr 14, The Hi-Fi Apr 15, Coolangatta Hotel Apr 16, Great Northern Apr 17 THE HOLIDAYS: Elsewhere Apr 14, The Zoo Apr 15, Great Northern Apr 16 SEEKAE: Woodland Apr 15 THE AMENTA: Rosie’s Apr 15 CHILDREN COLLIDE, YOUNG REVELRY: The Zoo Apr 20 GRACE WOODROOFE: Alhambra Lounge Apr 21 HOLLY THROSBY: Brisbane Powerhouse Apr 29 – 30 TIM AND JEAN: Globe Theatre Apr 29 WASHINGTON: The Tivoli May 4 KASEY CHAMBERS & SHANE NICHOLSON: Twin Towns May 6, Caloundra RSL May 7, Redcliffe Cultural Ctr May 8 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 BLUE KING BROWN: Beach Hotel Byron Bay May 19, Coolangatta Hotel May 21, Kings Beach Tavern May 22, The Tivoli Jun 3 CUT COPY: The Tivoli May 19 ARCHITECTURE IN HELSINKI: The Hi-Fi May 27 AMY MEREDITH: Coolangatta Hotel Jun 1, Beach Hotel Byron Bay Jun 2, The Zoo Jun 3, Princess Theatre Jun 4 JEBEDIAH: The Hi-Fi Jun 3, Irish Club Toowoomba Jun 4 LOWRIDER: Coolangatta Hotel Jun 3, The Zoo Jun 4 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Riverstage Jun 10, Lake Kawana Community Ctr Jun 11


RIC’S BIG BACKYARD FESTIVAL: Fortitude Valley Mar 26 SUPAFEST 2011: RNA Showgrounds Apr 16 BLUESFEST 2011: Byron Bay Apr 21 – 26 CAXTON STREET SEAFOOD & WINE FESTIVAL: Caxton Street May 1 GROOVIN’ THE MOO: Murray Sports Complex Townsville May 1 VALLEY JAZZ FESTIVAL: Fortitude Valley May 25 - 29




RATIONAL BUT FAR FROM NORMAL The new 7” record from local indie noise purveyors The Rational Academy is an intriguing one to say the least. Made up of audience recordings from the weirdest shows on their most recent Japanese tour, Satan/Kobe Excerpt is evidence of a band presenting their material in new and exciting ways in the live environment, showing off the explorative side of this ever-changing group and making for an incredibly rewarding listen. The 7” is being launched in somewhat more typical fashion than the way in which it was made, with a show at X&Y Bar on Friday Mar 18 with support from heavy pop group Dreamtime. Entry is free and it kicks off at 8pm.

SPREADING HIS DISEASE The new record from North Carolina-born, Sydney-based singer-songwriter Jefrey Siler is called Yellow Means Infection! and it will be released in May, presuming he can raise enough cash through his Internet campaign to get fans to pre-order the record so he has the funds to press it! It has taken a couple of years for him to record the damn thing, so you can bet he’s pretty keen to get it out there. Anyway, he is heading up here next weekend with Gold Coasters Tall Tails to play plenty of tunes from the record, most likely hoping you’ll be so blown away by what he has done that you’ll run out and pre-order the record as soon as you get home from the show, which you should do if you like what you see. He’ll be at The Joynt Thursday Mar 17, The Loft, Gold Coast Friday Mar 18 and Byron Bay’s Generator Saturday Mar 19.


RELIEF ROCK There have been a whole host of Brisbane bands donating their time to raise funds for flood victims recently and this week another bunch are determined to make sure that we don’t give up the ghost too quickly as there is still a long way to go. Machinery Hill, pictured, Chamberland, Broadkast, Silent Motive and Preech are all lining up for one monstrous night of rock at The Zoo on Saturday Mar 19. These bands are all on fire as far as their live performances go, so you’ll not only be assured of the warm, fuzzy feeling that goes along with supporting such an important cause, but you’ll be assured of a hell of a good night of sick rock’n’roll. You can grab tickets from OzTix now for $10 + bf, otherwise you can try your luck on the door where it will set you back $15.

“I’ve seen bands fake drinking onstage to look gnarly. One punk act kicked us out of their backstage room so they could meditate. One band we played with has specific numbers of soft drink fl avours delivered to their rider, which is probably the most un-rock thing I have ever seen. The world of live music is not what it seems.”

Local musician Chris Brady has been a solid part of the local scene for many a year now and has had his iron in many musical fires over that time. About three years ago he pissed off over to the UK to experience life over there, something he seems to enjoy, but he has now made a triumphant return to Brisbane for a very short time and will indeed be storming stages in his old home town this week! He’s kicking off the local campaign with a show at the Brisbane Powerhouse on Saturday evening for the Waxing Lyrical show with Tim Steward before he shows off his brand new rock band Tricks to audiences at Ric’s Bar on Tuesday night. Both of these shows are free and they may be your last chance to catch the man for another three years, so don’t miss ‘em!

In parting, Bainbridge shares his philosophy of the live show, and it seems it all has to do with the little things. “Every show we have we try push our boundaries and show people something different. We love rocking out, so people that like dancing around and partying will dig it, but we are working more and more on smaller things in the show so someone watching from the back can stand there and enjoy themselves. If you want to see five versions of someone doing everything in their power to make their dreams come true, watch our band.”

“That’s a pretty full on statement,” says Bainbridge, talking about E-Guide’s claim his band represented the future. “But we were stoked to hear it. Anyone that knows our band knows how fanatical each of us are about this being our future and our lives. We’re all so passionate and excited about what tomorrow holds, and that has translated into our band pushing ourselves forward as much as possible. Maybe it’s our baby faces or incredible pants. Everything’s new to us, so we’re always stoked on things, some people lose sight of how rad it is to play in a band and get all down and serious and start goth-rock bands.”

WHO: Nine Sons Of Dan WHERE & WHEN: I’m On A Boat, Southbank River Lookout Terminal Saturday Mar 12

And NSOD have shared the stage with Kisschasy, The Butterfly Effect and lots of other cool acts


The much anticipated return of one of Australia’s favourite So-Cal punk rock bands Unwritten Law is almost upon us and boy are we excited. The band will be heading around the country with support from Heroes For Hire, this we already knew, but the local supports have also just been unveiled. The pop-punk of Drawcard is bound to be perfectly palatable to fans of the headliners and we can guarantee you that the band are up to the task of playing on the big stage, with past experiences including performances alongside mega groups like Parkway Drive, Taking Back Sunday, Underoath, Thursday and Senses Fail. They will open things up at The Hi-Fi on Saturday Mar 19 and then head down to the Coolangatta Hotel on Sunday Mar 20.

STRONG SUPPORTERS There’s a whole heap of shows in support of other stellar Aussie acts on the horizon for local indie-rockers The Cairos, but this weekend sees them play a show off their own bat and one that is open to everyone! On Sunday afternoon the band will hit the Brisbane Powerhouse for the Live Spark show, entry is totally free and open to people of all ages, so if you’ve not seen the band before then this is the perfect opportunity to do so, particularly seeing as Vasy Mollo will be there as well. After that there are a few more opportunities to see the band, with shows at the Ric’s Big Back Yard Festival on Saturday Mar 26, the Tewantin Noosa RSL Saturday Apr 23 and the Fisherman’s Wharf Tavern Sunday Apr 24, both of which are alongside Calling All Cars and fi nally a couple of big shows with Birds Of Tokyo, hitting The Tivoli Wednesday May 11 and Lake Kawana Community Centre Thursday May 12.

Special T Thursday n hirsty ight offer

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Thursday at Barsoma


Doors open @ 8pm – Free Entry

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(07)3252 9550 For booking enquiries, please contact


thursday 10th march

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Sydney lads The Sunset Riot are set to hit Brisbane for the fi rst time in 2011 this weekend and word is they have an explosive live show in store for all who dare to witness it. It’s a good thing they’re hitting in form on the live stage, because they’ll be heading over to the US in the middle of the year for some big shows over there and goodness knows they are going to want to impress while they’re there. The band have a brand new EP ready to go and a serious itch to rock the hell out of Brisbane, so make sure you get yourself to Ric’s Bar on Saturday night where they will be fi ring on all cylinders for the low, low price of zero dollars. The fun begins at 8pm.



Toowoomba native Bart Th rupp has just issued a brand new single by the name of Girl In The Fishbowl (yep) and he’s going to be getting out and playing plenty of shows in support of it in the near future. Th rupp is kicking off his campaign to

get as many people as possible to hear the song – as well as his catalogue of other equally awesome material – with a big hometown show that hits Toowoomba’s Irish Club this Friday night. The show is open to people of all ages and kicks off from 6pm, entry will set you back a mere gold coin donation. Get along and support some local talent!


London songstress Becca Boucher, of The Mercy Bell fame, and Ben Burns of Jimmy Styles & the Easy Company are putting on a joyous night of lo-fi music this week which they’re calling Burns Bistro. It seems as if the format of the show is quite loose, with the two singer-songwriters playing some tunes while being accompanied by some great local artists, including members of We All Want To, Full Fathom Five, Topology and a whole bunch more. The idea for the night was inspired by a similar gig that the pair’s friends ran in Nashville and they reckon it brought the

joy of music back for them. Whatever works, we reckon. It hits The Beetle Bar on Thursday night from 8pm.


The cool, laidback surf roots of Donavon Frankenreiter will drift through some of our fi nest venues early next week and it has just been announced that Sydney outfit Sticky Fingers have scored the support for the tour. The band are hellishly busy at present, though they certainly see this as a good thing. They have been playing a shitload of festivals over the summer and they have been capturing all of their adventures on tape, it will all be edited down and made into a documentary that the band will be screening some time towards the end of the month. But for the time being they’re just looking forward to these huge shows, you can see them at The Zoo Monday Mar 14, Coolangatta Hotel Tuesday Mar 15 and Byron Bay’s Beach Hotel Wednesday Mar 16.

4ZZZ TO HOLD FREE WORKSHOPS FOR YOUTH WEEK 4ZZZ is gearing up for National Youth Week with a series of free workshops starting Saturday Mar 19. Workshop topics will include Social Networking, Podcasting, Audio/DJing and more. Visit for bookings and more info.

Q MUSIC PROFESSIONAL DEVELOPMENT SERIES AT THE EDGE Q Music in conjunction with The Edge (State Library of Qld) will be holding a Professional Development Workshop series throughout April. Held Wednesday Apr 6, 13 and 20 these workshops will cover Export Opportunities, Crowd Sourcing/ Social Media and Songwriting. They are free but require preregistration which can be done through the Q Music website.

ARTS QUEENSLAND DEVELOPMENT AND PRESENTATION GRANTS Development and Presentation Grants support oneoff collaborative projects that will result in excellent, innovative artistic work with public outcomes and benefits for Queensland communities. Funding up to $50,000 per applicant is available and previously successful applicants include Little Scout, Laneous & The Family Yah, Grand Atlantic and The Rooftops. For more information on applying visit

NEW FUNDING AVAILABLE FOR INDEPENDENT PRODUCERS The Independent Producers Initiative aims to strengthen and develop the business models of independent producers. Funds are available for producers to develop via touring, professional development and business needs. Funds support and develop producers in any performing arts related performance artform and mixed artforms such as music, dance, theatre, hybrid and circus. You can apply for up to $60,000. Applications close Apr 18 and can be done through

APPLICATIONS FOR THE SEED 2011 NOW OPEN The Seed Fund was established to nurture and support artists and arts workers throughout the emerging phases of their careers. Back for the seventh year the arts fund has been extended to include a publicity category and a new partnership with Next Wave festival for visual artists, under the Art For The Public/Next Wave category. Applications are now open through

AWME SHOWCASE APPLICATIONS OPEN The Australasian World Music Expo (AWME) has established itself as a major international music industry event pioneering new networks and creating opportunities for musicians by engaging with industry representatives from around the globe. Artist showcase applications for AWME 2011 are now open through or Sonicbids before Apr 29 2011.

GOLD COAST ACOUSTIC MUSIC FESTIVAL SEEK PERFORMANCE APPLICATIONS The Coast Acoustics Music Association are inviting performers to register for the Gold Coast Acoustic Music Festival on Sep 17-18. Application forms are available from www. and must be submitted before the Mar 31.


14 MARCH monastery, fortitude valley th

free doorlist at

For these stories and more, go to


Do you reckon your band has what it takes to stand above the rest and deliver a scintillating 20 minutes set that will make a panel of judges from the music industry stand up and take notice? Well the Southbank Institute of TAFE want to hear from you! They are hosting The Rockschool Challenge later this year and they need bands to go into battle so they can crown a winner. If your band is considered the pick of the litter then you’ll score a $1000 voucher from Ellaways to soup up your gear rig on whatever you see fit. For an entry form, email or phone (07) 3244 5741 and get ready to rumble!

doors open at 8pm

*RSVP does not guarantee entry, so arrive early to secure your spot. Must be over 18+ to attend.




Found The Sound was a long time coming – it has been three years since Beats Working’s debut, Harbour Drive – and Leaver says this was mainly due to shirty producers and the odd barney.

In describing a Beats Working live show, Leaver is either brave or silly enough to issue a challenge to all Queenslanders, a breed everyone knows are the best drinkers in the country.

“We work very closely with our producer in writing and editing the tracks. We almost use him as our instrument, which can be very frustrating for all of us, seeing he is a cranky arsehole. I think bickering is just human nature. If you’re jammed up in a small place for a long period of time, something’s gotta give. I bet the Beaconsfield miners had a few tiffs.”

“Our live show is high energy from start to finish. We like to keep building rather than having too many lulls between tracks. Our backline, Domino and Gruff, rehearse a lot together and it really shows on stage. We sometimes play drinking games: if you bring a couple of schooners onstage and reckon you can out skull Handsome Dan and you beat him, it will be free merch for the lucky punter. Not going to happen though.”

But differences can also be strengths, says Leaver, when it comes to making music, and of course it also helps if you’re a huge spunk. “Each of us bring different elements to the overall sound. James brings the edgy pop driven riffs. Tull is quite clever lyrically and I’m just really, really good-looking. Throw all of this in the melting pot and you get some clever, edgy, good-looking songs. Can’t beat that.”

WHO: Beats Working WHAT: Found The Sound (Hydrofunk/MGM) WHERE & WHEN: Step Inn Friday Mar 11

Local prog-punks Million haven’t played a show in over eight months, so they’ve decided it’s high time they dust off their instruments and get out onto a stage to sweat it out once again. The band have been spending a fair amount of time in the studio of late and they have a new release by the name of Staring At The Wake ready for release in April of this year. The record is said to be an explosive amalgam of pop hooks and prog mayhem and this malarkey has worked a treat for the band in the past and will undoubtedly do so again. You can see for yourself when they play Fat Louie’s on Saturday Mar 19 with The Quickening, The Vanguard Tic and Nauseum. Entry is free.


He has been terrorising the east coast of the country on his Blue Balls tour for the past few weeks and it is finally time for Gold Coast blues man Mark Easton to get his arse back up north to give us a taste of the new material he has written for his forthcoming album I Got Wood. You expect nothing short of revved-up live shows when Easton come to town, blazing away on his guitar and dropping tunes that cross over the line from blues to funk and even occasionally adding in a few disco flavours. You can see it for yourself when he hits The Joynt on Sunday evening.


The Canadian kings of punk rock D.O.A are coming to town this weekend, 30 years on from the release of their seminal Hardcore 81 record. The lucky bands appearing in support of the Canucks have been announced and at the Prince Of Wales Hotel, Nundah on Saturday night you’ll get the chance to see local masters Mouthguard, Spitfi reliar and Plan Of Attack get things nice and warmed up for all the punks present while at Shed 5, Burleigh Heads on Sunday, you can see The Scam, The Lost Cause and Not Ok doing what they do best before the headliners get out there and own. Tickets for both shows are still available from OzTix.


If you’re into punk, soul, rock, electro, Latin or all of the above, then you’d be well inclined to check out Coff s Harbour/Newcastle outfit Beats Working when they come to town to offer up their eclectic brand of contemporary music this weekend. The band have just issued their second record Found The Sound and they have taken a massive leap from their old modus

operandi of performing strictly hip hop music and now incorporate all sorts of fresh and exciting sounds into their music. But don’t take our word for it, get along and see for yourself when the group hit the Step Inn this Friday night. If you can’t make that then you don’t have to wait long for them to return, with a show at Byron Bay’s The Brewery set for Friday Apr 8.


The guys from Electric Horse seem interested in little else besides working their arses off to ensure they get their brand of powerful music out to as many people as they possibly can. The band have just announced a couple more dates up here and down south, following on from the release of their EP Translations and it’s highly successful launch tour at the tail-end of last year. The band are a sight to behold on the live stage and they’ll deliver some punishing blows to all those game enough to stand in the fi ring line at the Miami Tavern’s Shark Bar on Saturday Mar 19. They have enlisted Fightingkind, Private Radio and Hammers to support them, so you can guarantee you’ll be getting your $15 worth. Tickets are available at the door.


Fresh from their stellar performance at the completely sold out flood relief show alongside The Bronx, Trash Talk and H20, Brisbane’s very own rawkus rockers The Mercy Beat are making their fi rst ever musical pilgrimage to Lismore on Saturday Mar 12 to annihilate the Tatts Hotel with seminal Aussie punk legends, the Hard-Ons. The show is a part of the Hard-Ons’ Australian tour in support of their latest album Alfalfa Males Once Summer Is Done Conform Or Die and is going to be a mix of the old and the new, as some members of The Mercy Beat weren’t even born when the Hard-Ons fi rst formed in 1981. Bring your kids along so when they start a band in 20 years they can support The Mercy Beat on their 2031 Tour.


There’s a new cat in town calling himself Ed G, actually he’s not really new at all, but Edward Guglielmino has decided to shorten the name that will be attached to all of his musical pursuits, so adjust your fi lofax now. G will be releasing everything he has ever recorded but not released for free on his SoundCloud page and claims it will result



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in one song a day going up for the next year-anda-half. To celebrate this, he is throwing a big secret show on Saturday Mar 18 for his many fans that you can get yourself an invite by hitting his website edg. ug and singing up for his newsletter. You won’t just get a G show, but also sets from Emma Louise and M Jack B.




Mar 9, 1997 – In Los Angeles, the

Notorious B.I.G. (born Christopher Wallace) is killed in a drive-by shooting at the age of 24. Mar 10, 1988 – Andy Gibb (of Bee Gees fame) dies from myocarditis (inflammation of the heart) following a long battle with cocaine addiction, which had weakened his heart. Mar 11, 1991 – Janet Jackson signs a deal with Virgin Records for two albums worth $50 million. Hilarity ensues... Mar 12, 1998 – Cathay Pacific Airways announces that it has banned Liam Gallagher of Oasis after an incident on a flight from Hong Kong to Australia. Mar 13, 2002 – In Middletown, New Jersey, Sebastian Bach is arrested for threatening the life of a bartender and the patrons of Lincroft Inn. He is charged with disorderly conduct, possession of marijuana and possession of drug paraphernalia. He is released the next day after posting bail. Mar 14, 1998 – Ray Charles makes his first solo performance in 53 years on the television shopping network QVC. A small part of music dies... Mar 15, 2004 – A federal judge denies Axl Rose’s request for a restraining order to block the release of a Guns N’ Roses greatest hits collection, which Rose claimed he had not approved. Universal Music Group argued that they had every right to release the album since Rose had not delivered the contracted album Chinese Democracy, which had been in the making for more than seven years. It’s hard being Axl...

pedals … Brett [Frizzelle –guitar] cracked his head open when he was meant to track guitars and powered through with a gaping wound on his throbbing head, my hard drive with all my soundscapes and samples/demo sessions died and had to start again with creating/collating it all … also a family member passed away… at the end of it all I think it certainly added a darker shade and intense atmosphere to the album overall. I’m personally really happy with the result.” Now, Queensland and Victorian audiences will be able for the first time to experience the fruits of these triumphs and tragedies when D.I.T launch the album alongside Kiwi death metal juggernauts Ulcerate.

ALL IN THE FAMILY Woollongong is a city that has been renowned for producing some mighty fine rock’n’roll over the years and garage duo Mother And Son have done their bit in ensuring that the quality is kept at a high level as they continue punch out their taut, blues-inspired rock tunes to rave reviews around the country. With a solid following developing here in the homeland, the band are now stretching out a little, with releases in Europe and the US set for midway through this year, but before they even think about that, they need to get out and show off their recentlyreleased debut album which is in all good retailers right now and they’ll be doing that with some hard hitting live shows at the Beetle Bar on Thursday Mar 31 and The Loft, Gold Coast Saturday Apr 2.

“Oh man... it was either really good or horrible throughout,” Hatton says of 1556’s incubation period. “It was very cool to record at Studio 301 where we did the majority or tracking/ mixing and had it mastered; it was a day or night kind of vibe throughout – every time the sun came out a storm rolled in, or so it felt to me. When we were actually in the studio, it was very creative in the short amount of time we had to get things done; we all nailed the songs. “Shit things plagued us throughout though,” he continues. “Michael [Hutchinson – bass] had his bass rig stolen the night before his bass tracking schedule, I had some drum pedals stolen and had to make do with some rubbish kick drum

“We always strive for 100% energy throughout our sets; generally they are fast paced and atmospheric,” Hatton explains. “This will be the first time for Queensland and Victoria to check out our new material from our album 1556 with Bart [Ware] and Michael as part of the line-up; they take it to a whole new level of intensity.” WHO: Dining In Tuscany WHAT: 1556 (Eaten Alive) WHERE & WHEN: Sun Distortion Studios Thursday Mar 10, Monstrothic @ Rosie’s Friday Mar 11


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


Angus & Julia Stone AUSTRALIA Archie Roach AUSTRALIA Calypso Rose TRINIDAD & TOBAGO Féfé NIGERIA/FRANCE The Gadflys AUSTRALIA Hanggai CHINA Imelda May IRELAND Joanna Newsom USA Juan De Marcos Afro-Cuban All Stars CUBA Le Phun “Les Gûmes” FRANCE Luka Bloom IRELAND Martha Wainwright CANADA Nathalie Natiembé REUNION Omar Souleyman SYRIA Os Mutantes BRAZIL Rajendra Prasanna INDIA Tanya Tagaq CANADA Yasar Akpence HAREM’de TURKEY...

Plus: KidZone, Taste the World, a Global Village, visual arts, street theatre and so much more!


Hardcore and punk with Sarah Petchell. Email punk news to Rise Against

If you missed the memo this week, one of the biggest punk line-ups to hit Australia was announced last week. I am, of course, talking about the July 2011 Rise Against tour, which is being supported by Sick Of It All and our own Break Even. Rise Against’s new album, Endgame, is possibly one of the most anticipated releases this year and with only a few days until it’s release on Friday, the anticipation is most definitely building. When you add the legendary Sick Of It All and the fast-rising starts of Break Even into the mix, you know that this is going to go down as one of the most exciting tours this year. Tickets go on sale the same day the album is released (Friday Mar 11) for the show that will be happening at the Brisbane Entertainment Centre on Monday Jul 18. I don’t imagine tickets to this will last long, especially with Sick Of It All on the bill, so get in quick! With Tim Barry (former Avail singer) hitting the country for a string of solo shows next month, the local supports for this tour have been announced. Tim is already being supported by Chris Wollard (of Hot Water Music fame) and Addison Burns, but local flavour does need to be added. For the Brisbane show happening in the upstairs section of Rosie’s on Saturday Apr 2, Jud Campbell will be opening. Sticking with tour support announcements, it has been announced that Sydney’s Toe To Toe

will join the godfathers of skate thrash, Suicidal Tendencies, on a number of their dates across the country this May, including both of the Queensland shows. This is seriously one of the most perfect pairings, as this duo will inevitably tear apart Coolangatta Hotel on the Gold Coast on Thursday May 12 and The Hi-Fi in Brisbane on Friday May 13. Tickets are on sale now. I mentioned a couple of weeks ago that AC4 (featuring former members of Refused) are heading out to Australia to do a tour with Star Fucking Hipsters. It now looks like their selftitled debut will finally see a local release thanks to the guys at Shock Records. The album features 15 songs that are more like classic hardcore (think Minor Threat or Bad Brains) than the punk Refused was putting out. The self-titled album will hit stores on Friday Apr 1, and you can catch the tour at The Zoo in Brisbane on Thursday Apr 7. At Soundwave last week, a couple of the acts performed new songs, which has got me excited about new releases that are coming out later this year as well as surprised me as I was unaware some of these acts were in the process of writing. The Bronx are releasing The Bronx 4 and Mariachi El Bronx 2 this year. The LA group played a song that will be on 4 and apparently Australian audiences are the first to hear it. Also, New Jersey act, The Gaslight Anthem, played a song called Biloxi Parish, which may come to feature on the band’s fourth album, which is reported to be written in the first half of this year, as reported on vocalist Brian Fallon’s blog. Just a quick thing to end on, throughout this week there have been teasers, trailers, hints and rumours floating around the interwebs about Destroy Music 2011. You could do a Google search and see the trailer that is floating around and access the website that has launched for the tour happening this May. If you’re old like me you may remember a tour of the same name from way back in the dark ages, but for now you can sit, speculate and make as many wild guesses as you like while waiting for the details, which shall surface very shortly.

Yesterday industrial death/black metal band The Amenta released VO1D. Currently free and downloadable from, the vividly intense and highly conceptual music of the group has apparently been put together as a ‘true multimedia experience’. It contains 16 tracks that include a new song, re-recorded versions of older favorites, new instrumental experiments, remixes, and an Armoured Angel cover. Mastered by Alan Douches, it’s also the Sydney-based band’s first recording with vocalist Cain Cressall, and there’s even a cameo appearance from original singer Mark Bevan. The release contains a visual component, featuring four live songs and a brand new video clip for Vermin. It’s exciting to see such a highly regarded Australian band experimenting with new ways to release their music – check it out.


Mojo Webb

Great news for any of you keen local blues fans who ever caught one of the very many shows that local masters The Mojo Webb Band turned in on Friday nights at the Pineapple Hotel in Woolloongabba (who will no doubt look upon them with a great deal of fondness). Well, it’s about to happen all over again! The refurbished venue have come to their senses (or maybe Mojo has come to his, I’m not quite sure) and the blues will once more pour forth from the stage of the Piney on Friday nights for an unspecified amount of time start on Friday Mar 18. These were always special shows no matter whether there were 40 or 400 people there, Mojo and band always knew how to deliver in the finest of fashion. Speaking about the residency, Mojo seems keen to get back amongst it, mentioning that the band are currently on fire after a whole heap of recent festival performances and can’t wait to get back out onto the local scene with this legendary residency (which lasted four years last time!) kicking off again. Entry is free, so get on down! There’s a new venue in town! Yeah, I always get excited about new venues because you can never have enough of them, particularly when the operators are opening to showcasing fine local blues talent. If you’ve ever been to the airport, there’s a good chance you’ve done the crawl down Kingsford Smith Dr and by the time you get to the corner of that street and Racecourse Rd,

you’ve probably already sworn violently at your cab driver and wished you could jump out and grab a couple of frosty beers at the Hamilton Hotel that sits on said corner. Well I wouldn’t recommend missing your plane for it, but the pub has decided to throw some blues on every Sunday afternoon from 3pm with the killer jump blues of Morningside Fats and the classic pre-war blues of The Checkers. As is always the case with these kinds of things, you really need to get your arse to the gig if you want to see it continue; because the allure of terrible covers bands can be far too strong for a lot of pubs – so the blues scene must put its money where its mouth is (word is the food and drinks are cheap, so it won’t even be that much money). Good luck to all involved, see you at the bar. Over the past couple of years the Cairns Blues Festival has progressively grown bigger and bigger and in 2011 they are showcasing their finest bill to date. Any keen punters looking for an excuse to head north for a while would be wise to do so around Saturday May 7 so they can catch the legendary Eric Bibb, Ian Moss, Phil Manning, Chase The Sun, Mason Rack Band, Claude Hay, Jules Boult, Shaun Kirk, Johnos Blues Band, Moondog Gypsy Blues Band, The Derringers and Albatross. The festival happens at Fogarty Park, The Esplanade, pre-sold tickets are just $50 or you can grab one on the day for $60. As a rule, Brisbane almost completely misses out on Bluesfest sideshows. It sucks, but given the festival is so close it does make sense. One artist that is performing a couple of side dates while here for the festival is the self-proclaimed ‘sophisticated hillbilly’ Michelle Shocked. Shocked is a firm favourite amongst Australian audiences and has been for many a year now. It has been a few years since she was last here and she’ll make up for that with a couple of shows, so if you’re a really big fan you could feasibly see her four times without having to drive more than a couple of hours. She plays The Zoo on Saturday Apr 16, Currumbin’s Sound Lounge Sunday Apr 17 (3.30pm show) and then a couple of Bluesfest slots on Monday Apr 25 and Tuesday Apr 26.

Pop culture therapy with Adam Curley

Metal with Lochlan Watt The Amenta

Blues ‘n’ roots with Dan Condon

will also play Saturday night at Thriller with The Dream The Chase, Countdown To Armageddon and Atlantis Awaits. Dead Ends is available this Friday through Skull and Bones Records. The crazy skills of The Schoenburg Automaton are hitting the Step Inn again this Saturday night alongside Victorian group Circles, as well as the local likes of Lagerstein, Wishlist Of A Warlord, Adriatic, The Last Outlaw, and Schiamacy. It’ll cost you $10 from 6.30pm, and apparently there’s going to be a milk drinking competition that you can sign up for at the door – the gig’s being promoted as ‘A Ron Burgundy Pants Party’ if that helps explain. State Of East London, a rising Victorian death metal group, is set to launch their sinister debut album Repugnance through Skull And Bones on Friday Apr 1. The band’s sound is self-described as “delivering dark, body moving riffs with explosive breakdowns; layered with deep and thoughtprovoking vocals/lyrics”. The band will pair up with The Ailment to hit 16 regional and city dates together, starting on Apr 12 at Thriller.

Blasting Sydney black metal experimentalists Dining In Tuscany will launch their new album 1556 across Brisbane stages this week, starting with an all ages show at Sun Distortion Studios, Albion, on Thursday evening alongside locals Ironhide and first timers Mr. Painful Memory. On Friday night they hit Monstrothic as part of a hugely epic lineup that features New Zealand’s Ulcerate, the last show in a long time for Astriaal, Brazen Bull and Eternal Rest. Both shows will open their doors at 8pm, costing $5 and $15 respectively. The band will go on to again play with Ulcerate in Sydney and Melbourne over the weekend.

Iconic Melbourne venue The Arthouse will soon close its doors forever, but not before having one huge final week with a ton of esteemed and local and interstate bands. Going hard with the punk and hardcore, Depression, Straightjacket Nation, Bloody Hammer and Scratch N Sniff play Apr 21, Mid Youth Crisis, Conation, Extortion and The Gun Runners on Apr 22, with Frenzal Rhomb on Apr 23. The grindcore genre also has its last hurrah, with Fuck I’m Dead, Captain Cleanoff, The Kill, The Day Everything Became Nothing, Superfun Happyslide, Roadside Burial, Garbage Guts and Die Pigeon Die on Apr 24. There’s a couple more punk shows over the new couple of days, before the mighty thrashing metalcore legends Mindsnare headline Samsara’s final show with Against, Iron Mind and Phantoms.

Sunny Coast deathcore group The Ailment was set to launch their crushing debut album this Friday at The Fort, though the venue’s recent closure has the gig’s status up in the air. If a suitable replacement location can be found, they’ll be joined by Infinite Thought Process, Tomb Of Doom, and All My Friends At Sea. The band

Local black thrash group Mongrel’s Cross will soon release a 7” entitled Whoresanna, promising “three exclusive tracks of chaotic bible thrashing metal as a harbinger for their debut full-length assault later this year”. With the first 100 copies being made on white vinyl, the release will be available in early April through

On the inside cover panel of her second album, Tears Again (Remote Control), a photograph depicts Melbourne’s Jane Badler sitting in front of a window, looking warily out of frame with a shirtless man in white slacks standing before her. It’s a provocative shot; a part of a narrative that allows the viewer to fill in the gaps however he or she pleases. Badler might be looking towards the door in anticipation of someone entering. The man might be a sailor. Or a pool cleaner. Whatever happens next depends on where you’re willing to let your mind wander – or just how far. Elsewhere on Tears Again, the imagery is more defined. On songs like I Want A Lot Of Boys To Cry At My Funeral and I Don’t Trust Women, the lyrics are manifestos extending directly from the songs’ comically blatant titles. Badler sings them in her breathy, slightly wounded but more so assertive voice – not only is she telling you to bend over until you can see yourself in her shoes in Four Corners To My Bed, but by the end of the song you’ll actually want to. Set to a backing larger in scope than Badler’s 2008 debut album with Sir, Devil Has My Double, the album takes in not just composer Paul Grabowsky’s added elegant orchestrations but Sir’s extended foray into using porn-funk and dinner-party jazz as, at once, deftly written moodbuilder, future-pushed revivalism and tongue-incheek indulgence. Needless to say it’s excellent, never falling mindlessly into any one category. It’s truthful, sexy, funny and sad. It’s also a lie. Well, perhaps ‘semiautobiographical fiction’ is a better description. With Sir leader Jesse Jackson Shepherd penning the lyrics (in the past it’s been suggested that Badler regales Shepherd with stories he then spins into songs – and in my head it’s done over canapés by the pool at a country club more resembling the Playboy Mansion), Tears Again is an image of Badler created, not captured. For all its presentation as a record of lounge confessionals (albeit camp ones), there’s a level of suspended belief involved for the ‘listener’. After all, Badler is currently in the US reprising her role as Diana in the ‘revamped’ 1980s sci-fi television series V. She also has a husband and children, who she’s described in past interviews as being embarrassed to attend her shows.

Badler is, of course, carrying on a tradition of self-manipulation for her music. In the ‘pop world’, it’s done constantly – images of Rihanna as dominatrix or Eminem as his blood-thirsty alter ego Slim Shady or Lady Gaga as a pop star – and accepted as both hammy and playful and as fodder for tabloids and bad radio. There are no hard lines – Eminem can at once be criticised for his character’s extreme misogyny and homophobia and shrugged off as ‘lights-and-mirrors’ entertainer; Rihanna can be championed for creating an ‘in charge’ image of female sexuality while derogatory comments are publicly made about her – but there is often a concession that the images created are ‘unreal’ enough to be considered exaggerated for entertainment, even if those works don’t seem to have any real purpose other than to satisfy the demand of the ‘public’/’media’/whomever for more excessive everything. With Badler, there is certainly a knowing in the image she creates on Tears Again; one of a mature seductress who doesn’t suffer fools but must contend with an ongoing loneliness. As far as pop imagery goes, it’s smartly drawn and threedimensional and speaks of gender relations and self-acceptance and the ongoing struggle of life. Created imagery can be problematic, however, when there are no lines drawn at all between a musician’s malevolent public persona and real life. What, for example, are we to surmise from Brian McFadden’s latest single, Just The Way You Are (Drunk At The Bar), other than that it is a foul and earnest justification of date rape when it (and McFadden’s defence of it) shows no signs of an artist’s intention to manipulate image, to create anything other than a ‘confessional’ that is unacceptable as a public ‘work of art’. There isn’t an answer to what constitutes acceptable imagery and what doesn’t, but it would seem to have something to do with intentions, how those intentions are communicated and – as culturally elitist as it might be – the ‘artistic integrity’ involved. Which all makes me very excited to get my hands on LA rapper Tyler The Creator’s upcoming debut album, Goblin, out in April through XL/Remote Control. Yes, the same label releasing Badler. Does this call for a duet?






SELF-DESCRIBED FRENCH COWBOY ORVILLE BRODY IS CROSSING THE SEAS TO JOIN HIS FRIENDS IN LOCAL OUTFIT TEXAS TEA ON A TOUR AROUND OUR NECK OF THE WOODS; READY AND RARING TO UNLEASH HIS UNIQUE BRAND OF FRENCH-STYLE, COUNTRY-TINGED ROCKABILLY IN THESE PARTS ONCE AGAIN, HE TAKES SOME TIME OUT TO CATCH UP WITH MITCH KNOX. he necessarily needs them, but because he needs them to see this country. “The first tour was successful and I wanted to come back with my band so they can get to know this country,” he says. “Here the people understand my style, words and music.” Brody’s style is unusual – it’s not often one associates rockabilly/country music with all things French. Still, his love of diverse melodies and harmonies was instilled from a young age. “I remember my grandfather playing piano in the church of my home town,” he recalls fondly. “I sat at his side.” As with most who subscribe to the laidback, earthy mentality that seems to come with being a part of the good, old-fashioned school o’country rock, France’s Orville Brody is friendly, yet to the point. He doesn’t bandy around the bush, but he’s no stranger to it either, having previously visited Australia as recently as last year – not that that means he doesn’t have to prepare. “Th is year I have played many shows in France in preparation for this Hell tour,” he explains. “Life is very busy with my work and playing my music.” What sets this visit apart, though, is that this time Brody will be joined by his backing band, The DDD’s – not because

Teaming up with our own stylish troubadours – and previous tour-mates in France – Texas Tea, the entire trip is shaping up to be an affair to remember for Brody, filled with mirth, music, and drinking between mates. “They are my friends, we went to many towns and villages in France to play together and shared many good experiences together,” he recounts. “We now have a strong bond.” WHO: Orville Brody & the DDD’s WHERE & WHEN: Beetle Bar Friday Mar 11, X&Y Bar Saturday Mar 12


ON THE TIME OFF STEREO Blessed LUCINDA WILLIAMS The Balladeer Hunter MIKE NOGA Kaputt DESTROYER Several Shades Of Why J MASCIS Bootleg Vol II: From Memphis To Hollywood JOHNNY CASH The Bang Years 1966-1968 NEIL DIAMOND Flytrap THE BAKELITE AGE Nova Scotia NOVA SCOTIA Magnetic Island GENTLE BEN & HIS SENSITIVE SIDE Demo PASTEL BLAZE

1. Scissors LANEOUS AND THE FAMILY YAH 2. Magnetic Island GENTLE BEN & HIS SENSITIVE SIDE 3. Diff erence Engine TOPOLOGY 4. Bag-o-items YEO 5. Let England Shake PJ HARVEY 6. Rolling Blackouts THE GO! TEAM 7. Legal Man BELLE AND SEBASTIAN 8. James Blake JAMES BLAKE 9. Demo PASTEL BLAZE 10. Axxonn Remixed AXXONN

ROCKINGHORSE RECORDS TOP 10 1. 21 ADELE 2. Sigh No More MUMFORD & SONS 3. The People’s Key BRIGHT EYES 4. The King Is Dead THE DECEMBERISTS 5. Let England Shake PJ HARVEY 6. Go-Go Boots DRIVE-BY TRUCKERS 7. Brothers THE BLACK KEYS 8. Kiss Each Other Clean IRON AND WINE 9. Fixin’ To Die G. LOVE 10. Doo-Wops & Hooligans BRUNO MARS

Camels In Croatia play X&Y Bar on Friday Mar 11 Browning Mummery play Artefacts Of Australian Experimental Music II CD launch at the Beetle Bar on Saturday Mar 12 How did you get together? Andy Lonsdale (Co-performer/producer/ composer): “I began playing experimental music in Rockhampton in 1980. Browning Mummery emerged from various solo and collaborative projects in the experimental/ industrial/electronic music scene in Sydney in 1983, and has continued to work as both individual and collective entity (with members including John Murphy from Australian post-punk pioneers Whirlywirld and also Current 93 and NON, and the late Max Hawk from legendary feral electrofolkers Electric Tipi) and have released around 20 EPs and albums. Sum up your musical sound in four words. “Ambient industrial post-punk electronic…” If you could support any band in the world – past or present – who would it be? “Negative Reaction (early 80s Sydney industrial outfit).” 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? “My Houdini by Tactics.” Greatest rock’n’roll moment of your career to date? “There’ve been many over the last 30 years… packing the front bar at Ric’s in 2003, playing the notorious Sedition gig in 1983 in Sydney… stirring the dust over the outback with a 20k rig at Lightning Ridge in 1996….. look forward to a lot more.” Why should people come and see your band? “Regarded as ‘the Godfather of Australian Darkwave’ Browning Mummery always surprises, challenges, and moves audiences with a unique genre-defying electronic/ post-punk sound forged over three decades performing and recording in Australia.”

How did you get together? Jon Wood (guitar/vocals): “Ben, Ferg and myself were introduced to each other through a mutual friend, whom we were part of a band with during high school. After the previously mentioned band came to an end, Ferg and I carried on writing songs together but with no direction, until Ben mentioned we should get together and see what happened. Before we knew it we’d put the wheels into motion and had written six or seven songs, playing a number of gigs around Brisbane. Sum up your musical sound in four words. “Loud. Fast. Raw. Go!” If you could support any band in the world – past or present – who would it be? “If I could support any band, it would probably be The Libertines, as everything about their music just entices me. The crazy, out of key, but somewhat brilliant live shows would be amazing to watch from close up, and just to be considered in the same league as them would be an honour.” 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? “For me it’d be Arctic Monkeys’ Whatever People Say I Am, That Is What I Am Not – after nearly six years, I haven’t been bored by any song on the album. Maybe not the most obvious choice but oh well!” Greatest rock’n’roll moment of your career to date? “Playing to a full house at the Sunshine Coast with ‘Uprising Events’ was definitely the highlight, as it’s always going to be nice having people take in your music, and to respond positively.” Why should people come and see your band? “Because it’ll only cost you ten dollars! Only joking, but we’re confident that if you like bands like the Arctic Monkeys or The Wombats, you might like what you hear, not to mention the songs being played at least 1.5 times quicker than they are on the EP!”







442-446 LUTWYCHE RD, LUTWYCHE 4030 (07) 3357 1272




WED 09

A Breach Of Silence, The Fevered, Exploder, Solid Step Inn Carly Bennett Limes Hotel Dave Ritter Fibber Magee’s, Toowoomba H.R.G. Swingin Safari Holly Terrance, Bec Plath, Phil Hancock X & Y Bar Hundred Acres Alloneword Iretro Elephant & Wheelbarrow Justin Townes Earle, Lanie Lane Mullumbimby Civic Centre Mark Sheils Royal George Mental As Anything Live Wire Bar, Treasury Casino Mick Danby The Tempo Hotel Omar Souleyman The Hi-Fi Open Mic: Anthony Branagan, Rules Of A Diagram The Loft Chevron Island Open Mic The Music Kafe Open Mic Night Birdee Num Num Royal Zephyr, Locus Wimple, My Escapade Club 299 Soula’ Flare Glass Bar & Restaurant Strangers, Keep On Dancin’s Ric’s The Bowery Hot Five With Mal Wood The Bowery The Hold Steady, Gun Street Girls The Zoo The John Steel Singers, Jonathan Boulet Great Northern Hotel Byron Bay Tyson Faulkner Fiddlers Green Venus Envy Victory Hotel

THU 10

Alan Jackson Brisbane Entertainment Centre Ali MC, New Dub City Sound Club Envy Ballad Boy Loving Hut Band Of Frequencies The Joynt Bec Laughton Limes Hotel Best Coast Woodland Boys and Girls: xStrength Th rough Purityx, Deceiver, Brazen X & Y Bar Brenden Schick Ryan’s Bar, Treasury Casino Burns Bistro The Beetle Bar Caulfield, Draw Your Lines, Draw First Blood, Not Unto Us, Decades Away Rosie’s Chris Ramsay Logan Diggers Club

David Aurora, Karl Williams, Sarah Archer The Loft Chevron Island Dead Prez, DJ Ill Kid, Tailor Made, Khovelle Capote The Tempo Hotel Dynamic Duo Fibber Magee’s, Toowoomba Eddie Vedder QPAC Concert Hall Glenn Esmond Coolangatta Hotel Holly Terrens, Mark Wilkinson The Arts Centre Gold Coast I Can’t Believe It’s Not The Satellites The Bowery Jazz Under The Stars Cloudland Justin Townes Earle, Rattlehand, Lanie Lane Step Inn Lecia McPhail Band, Mike Beale Ric’s Nano Stern Mullumbimby Civic Centre Orville Brody and The DDD, The Re Mains, Rocky Outcrop The Gollan Hotel Scott Mercer & The Cobweb Gallery, Hemi & 2 Stroke, Alla Spina The Music Kafe The Clean, The Legend, Blank Realm, The Deadnotes The Zoo The John Steel Singers, Jonathan Boulet Spotted Cow The Jungle Giants, Indianhead, Payne Road, The Secret Silence Globe Theatre Th irsty, Rattlehand Barsoma Woody Elephant & Wheelbarrow

FRI 11

22 Hotels Alexandra Headlands Blue Bar Adrian Keys The International Hotel Alan Jackson Brisbane Entertainment Centre Alex Jones, Th ree Days Off The Tempo Hotel Andy Dickson Q Bar Holiday Inn Ball Park Music, Eagle And The Worm, We Say Bamboulee The Loft Chevron Island Bart Th rupp Irish Club Hotel, Toowoomba Beats Working, Ill Bill, Briggs, Loose Change Step Inn Blind Lemon Wave Corner Carnaval: LDG Latin!, Chukale, Sidestepper QPAC Cascade Court Carnaval: Juan De Marcos & The AfroCuban All Stars QPAC Concert Hall

Craig Werth Loose Acoustic Listening Room Dan England Kawana Surf Life Saving Club Dan Quigley Brisbane Jazz Club Duck Duck Goose Bowler Bar Dynamic Duo Horse & Jockey Warwick Fat Albert Hinterland Hotel Gaff a Locknload West End Glenn Esmond, St Petersburg Transcontinental Hotel Grown & Sexy Logan Diggers Club Gud Fierce Globe Theatre Hemi Kingi Trio The Morrison Hotel James Johnston The Palace Hotel Jan Lennardz J’z Jazz Crew Vida Amor Restaurant Joshua Deeble And The Wild Comforts, Bata Scouts Ric’s Justin Lerner, Shibby The Music Kafe Justin Townes Earle, Lanie Lane Joe’s Water Hole Eumundi Lynchmada, Decimate, Hybridize Tatt’s Lismore Mace Fibber Magee’s, Toowoomba Macka Cannon Hill Tavern Mark Bono Southern Hotel Toowoomba Mason Rack Band Cabarita Beach Bar Masters O’Rock Tewantin Noosa RSL Melissa Baker Club Hotel Waterford Michelle Brown Duo Duporth Tavern Monstrothic: Ulcerate, Astriaal, Brazen Bull, Dining In Tuscany, Eternal Rest, Icarus Complex, As We Stand, Upside Downside Rosie’s Mount Kimbie, Seekae Barsoma My Killing Hands, Eden Must Burn, Sons Of The Soil, Stone Chimp, Amos Pella, Chester Jubilee Hotel Natt Dunn Gazebo Restaurant, Hotel Urban Numbers Radio, Blonde On Blonde, Camels In Croatia X & Y Bar Paul Clarke Morningside AFL Club QSM Live: Indie Weekend, Matthew Colin Queen Street Mall Ramjet Surfers Paradise Beer Garden Red Cell Live Wire Bar, Treasury Casino

Rob Black Ryan’s Bar, Treasury Casino Rob Cini, Superfreak Elephant & Wheelbarrow Rokeby Venus Great Northern Hotel Byron Bay Second Gear Coolum Beach Hotel Slug, Tesla Coil, Claymores, Birdbrain The Italo Club, Nth Lismore Solar Rush Victory Hotel Taylor, The Lamplights, Frankie And The Moon Soundlounge Currumbin Test Pattern Prince Of Wales Hotel The Besnard Lakes, Nova Scotia, Mosman Alder The Zoo The Geoff Green Trio The Point Restaurant The Hard-Ons Woodland The Jim Rockfords, Orville Brody and The DDD, Mel Fraser & The Fine Lines, Skritch The Beetle Bar The John Steel Singers, Jonathan Boulet Kings Beach Tavern The Kate Mackie Quartet Gertie’s Restaurant And Bar The Red Paintings Secret Venue The Residents, Bang Bang Boss Kelly Brisbane Powerhouse Turbine Platform Two Cool Murrumba Downs Tavern Vaughan Ney Criterion Dalby Venus Envy CBX Viper Room Broadbeach Tavern

SAT 12

Adrian Keys Warehouse Tavern Alan Jackson Brisbane Entertainment Centre Andrew Kennedy Narangba Valley Tavern Artefacts The Beetle Bar Ball Park Music, Eagle and The Worm, We Say Bamboulee The Zoo Blind Lemon Marcoola Surf Club Blindchase Cleveland Sands Hotel Bowler Bar Bowler Bar Carnaval: Papituy Magepa, Bolivian Marka Dances, Celestino Andean Fusion, Viva Mexico Folkloric Dance, La Tropa Latina, Victor Valdes & Real Mexico, Los Mambesis, Azukka QPAC Cascade Court Caroline Taylor The Arts Centre Gold Coast Chrome Daddies, Corn Liquor Jubilee Hotel

Colin’s Class Fibber Magee’s, Toowoomba D.O.A., Mouthguard, Spitfi reliar, Plan Of Attack Prince Of Wales Hotel Dan England Rum Jungle, Brackenridge Diesel, Carmen Smith, Rokeby Venus The Tempo Hotel Eddie Vedder QPAC Concert Hall Fat Albert Great Northern Hotel Byron Bay Funk Yeah Locknload West End Gary Numan, Severed Heads The Tivoli Gung Ho Redcliffe Rsl Honey Live Wire Bar, Treasury Casino I’m On A Boat: Death By Dance, Burning Brooklyn, The City Shake Up, Nine Sons Of Dan South Bank James Johnston Billy’s Karma Duo Crown Hotel Lutwyche Kelsie Rimmer, Pryority, Scenic Tour, Hemi & 2 Stroke, Sled The Music Kafe Mace Southern Hotel Toowoomba Marialy Pacheco, Joe Marchisella, Pat Marchisella Brisbane Jazz Club Mark Sheils Simons Tavern Mason Rack Band Ivory Tavern Michelle Brown Duo Maroochydore SLSC One By One Tewantin Noosa RSL Orville Brody and The DDD, Texas Tea X & Y Bar QSM Live: Indie Weekend, Lauren Moore Queen Street Mall

Ramjet Elephant & Wheelbarrow Solar Rush Newmarket Hotel Star Assassin, The Gathered, Pink Bullet, Daze Globe Theatre Sue Bond Jazz Quartet Woombye Pub Sunset Riot, Galactic Acid Ric’s Teleprompter, Hey Fever, Adam & Dusty, Primary Colours The Loft Chevron Island The Hard-Ons, The Mercy Beat Tatt’s Lismore The John Steel Singers, Jonathan Boulet The Hi-Fi The Peter Gun Band Reunion, We Salute You, Jules Victor Souths Leagues Club The Red Paintings Secret Venue The Schoenberg Automaton, Circles, Lagerstein, Wishlist Of A Warlord, Adriatic, The Last Outlaw Step Inn Tom Foolery Shafston Hotel Vertigo Broadbeach Tavern Vintage Band Reunion, Paula and John Cox Noosa Heads Jazz Club Viper Room Surfers Paradise Beer Garden Waxing Lyrical, Chris Brady, Tim Steward Brisbane Powerhouse Turbine Platform

SUN 13

Adrian Keys Glen Hotel Ali MC, New Dub City Sound Locknload West End Blind Lemon Ric’s

Block Party DJs Elephant & Wheelbarrow Brisbane Big Band Brisbane Jazz Club Chris Ramsay, Owie Fibber Magee’s, Toowoomba D.O.A. Shed 5 Burleigh Heads Dan England Blue Pacific Hotel Glenn Esmond Crown Hotel Lutwyche Hodads Broadbeach Tavern Jabba Royal Exchange Hotel James Johnston Brothers Ipswich Jan Lennardz J’z Jazz Crew Full Moon Hotel Sandgate Jennifer Boyce, Paul Furness Queen Street Mall Jim Kimo West, Peter Miller The Loft Chevron Island Jimmy Z, Jessica Mauboy Wickham Hotel Live Spark: Silver Sircus, Kathryn Mckee, The Cairos Brisbane Powerhouse Turbine Platform Mad World Blues Band Caxton Hotel Mama Juju, Charlie Williams, Jack McCullagh, Miller & Nodwell The Music Kafe Mark Bono Southern Hotel Toowoomba Mark Easton The Joynt Mason Rack Band Coolangatta Hotel Michelle Brown Duo Sunshine Beach SLSC Phat Chance, Sexypie X & Y Bar

Sunday Solo Session, Doug Wilshire The Tempo Hotel Swing Th ing Live Wire Bar, Treasury Casino Venus Envy Oxford 152

MON 14

Donavon Frankenreiter, Sticky Fingers The Zoo Sunset Blush, Bernie Carson, Arcade Made, Sankara The Music Kafe Weird Al Yankovic Jupiters Casino

TUE 15

Afro Celt Sound System The Hi-Fi Amber Williams Elephant & Wheelbarrow Chad Swaby, Pirate Brides The Bug Clare Hansson, Terri Hartung Albert St Uniting Church Donavon Frankenreiter, Sticky Fingers Coolangatta Hotel Escalate: Main Street Brats, Harming Monica, Dark Lab, We Are Box The Tempo Hotel Lauren Lucille Locknload West End Miller & Nodwell, Connor Cleary The Music Kafe Tricks, The Fricken Hecks Ric’s Weird Al Yankovic QPAC Concert Hall



WHAT SETS YOUR VENUE APART FROM OTHER VENUES? Our live music, we have the best Irish and cover bands in Queensland.

WHAT’S THE VENUE’S MOST MEMORABLE MOMENT? There are many, but the Wallabies vs Ireland Rugby Union weekend was the by far the most memorable for me. Every Irishman in Oz was here.

WHAT IS YOUR VENUE DOING TO HELP THE LOCAL MUSIC SCENE? With support from our booking agents the Gig Factory, we are giving the opportunity to up-andcoming bands to play at one of QLD’s premier music venues.

SUM UP YOUR VENUE IN THREE WORDS: Fun, craic, atmosphere

UPCOMING HIGHLIGHTS: Paddy’s Day Festival kicking off on Friday Mar 11 from 5pm through till the big day St Patrick’s Day. There will be loads of giveaways, amazing live music and the Best Craic in Town. Also in conjunction with Craic’n Sundays we will be having a huge Irish music festival on Sunday May 1, featuring the best Irish bands all day. It’s going to be a fantastic day.

CONTACT THE VENUE Address: 175 George St, Brisbane Phone: (07) 3221 4377 Email: Website:

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.



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BRISBANE POWERHOUSE Friday Bang Bang Boss Kelly Saturday Chris Brady, Tim Steward Sunday Silver Sircus, Kathryn Mckee, The Cairos

COOLANGATTA HOTEL Thursday Glenn Esmond Sunday Mason Rack Band Tuesday Donavon Frankenreiter, Sticky Fingers

GLOBE THEATRE Friday Gud Fierce Saturday Star Assassin, The Gathered, Pink Bullet

GREAT NORTHERN HOTEL BYRON BAY Wednesday The John Steel Singers, Jonathan Boulet

JUBILEE HOTEL Friday My Killing Hands, Eden Must Burn, Sons Of The Soil, Stone Chimp

Saturday Chrome Daddies, Corn Liquor

QPAC CONCERT HALL Thursday Eddie Vedder Friday Afro-Cuban All Stars Saturday Eddie Vedder Tuesday Weird Al Yankovic

RIC’S Wednesday Strangers, Keep On Dancin’s Thursday Lecia McPhail Band, Mike Beale Friday Joshua Deeble and The Wild Comforts, Bata Scouts Saturday Sunset Riot, Galactic Acid Sunday Blind Lemon Tuesday Tricks, The Fricken Hecks

ROSIE’S Thursday Caulfield, Draw Your Lines, Draw First Blood, Friday Ulcerate, Astriaal, Brazen Bull, Dining In Tuscany,



Thursday Burns Bistro Friday The Jim Rockfords, Orville Brody and The DDD, Mel Fraser & The Fine Lines, Skritch Saturday Artefacts

Wednesday The Hold Steady, Gun Street Girls Thursday The Clean, Blank Realm, The Deadnotes Friday The Besnard Lakes, Nova Scotia, Mosman Alder Saturday Ball Park Music, Eagle And The Worm, We Say Bamboulee Monday Donavon Frankenreiter, Sticky Fingers

THE HI-FI Wednesday Omar Souleyman Saturday The John Steel Singers, Jonathan Boulet Tuesday Afro Celt Sound System

THE TEMPO HOTEL Thursday Dead Prez, DJ Ill Kid, Tailor Made Friday Alex Jones, Three Days Off Saturday Diesel, Carmen Smith, Rokeby Venus Sunday Doug Wilshire Tuesday Main Street Brats, Harming Monica

WOODLAND Thursday Best Coast Friday Hard-Ons

X & Y BAR Wednesday Holly Terrance, Bec Plath, Thursday xStrength Through Purityx, Deceiver, Brazen Friday Numbers Radio, Blonde On Blonde, Camels In Croatia Saturday Orville Brody and The DDD, Texas Tea Sunday Phat Chance, Sexypie



How long have you been away from Brisbane and where did you spend the bulk of the time? I went to London towards the end of 2007 and lived in Hackney and then Camden. Hackney is in east London and is a big artist community, so it was a great place to live and practice with my bands and jam with the other guys in the warehouse. I then moved to Camden town which is like the rock’n’roll centre of London with Amy Winehouse and Pete Doherty running round. I also did shows in New York, Paris and Berlin whilst over there. What brings you back to town? I had to escape the winter! I couldn’t handle another winter and I wanted to see all my old friends in Australia. It’s been almost four years but luckily we have the internet to keep in touch or else no one would have remembered me back here! What have you been up to musically while away? As soon as I landed I started writing new songs with an English producer Steve Crittall who played in the UK Subs. He is a real Soho punk

kinda guy and it was really fun working with him. I formed a band for my solo stuff and he played lead in the band. I started playing some old recordings of heavy rock songs I had recorded in Australia before I left to some people in the industry I had met in the UK. The former manager of Morcheeba was helping me out and he suggested forming a new band and playing the rock songs. So I formed what is now called Tricks with some friends from London. Did you have any specific experiences abroad that inspired you? Being overseas almost everything is inspiring. I mostly get inspiration from my friends I work with. London is a very inspiring place as you are surrounded by big celebrities just being normal and hanging out next to you. What are your plans from here on in? I head back to London and have a gig the day I arrive. Then more gigs! Also there is a horror movie coming out sometime later in the year that is using six Tricks songs and one of my solo songs in it so I will be organising the release of the first Tricks album for around the time that movie is released. We have a cameo in the movie and the bass player from Judas Priest plays our manager in it. Chris Brady plays Brisbane Powerhouse on Saturday Mar 12. Tricks play Ric’s Bar on Tuesday Mar 15.






“We strive to replicate the extremely dense wall-of-noise approach of the albums faithfully, and obviously the live presence really gets across the aggression a little more convincingly,” Saint Merat asserts. With so much going for them, one would assume a possible move Down Under would be an option, as so many of their brethren before them have explored, but Saint Merat maintains that such considerations don’t really enter into it, given Ulcerate’s unconventional – yet entirely valid – approach to playing live and touring – even with their shows here in Australia and upcoming appearances over in Europe. “[The] response has been very humbling so far,” Saint Merat says modestly of The Destroyers Of All’s wake. “This time around we had people’s expectations to meet or exceed, and on most fronts it seems that’s we succeeded. Critically it’s been received very, very well; no complaints whatsoever. “Outcome-wise, [we are] certainly more happy this time around, but of course hindsight brings a lot of clarity, so there’s small things that we could have done better, etcetera. But overall, the more we write music, the more we can kind of nail what we’re going for.” From the sound of things, the band is more than capable of “nailing it”, promising a live performance that complements, rather than pales against, their recorded output.


“We’ve always talked about Europe as a relocation option, but the more well-known we become the busier our schedule becomes, and things always pop up on the horizon,” he says. “We’re not a huge gigging band per se; we only play NZ once or twice a year, and the same would go for Australia. I think it’s more exciting for ourselves and our fans that way, so it really makes no difference where we reside.” WHO: Ulcerate WHAT: The Destroyers Of All (Willowtip) WHERE & WHEN: Monstrothic @ Rosie’s Friday Mar 11

“We’ve quite a few surprises up our collective sleeves,” says Rio, talking about what punters can expect. “Which may or may not include hanging from rafters, epic guitar solos, crowd interaction and the odd fire-breathing trick. But seriously, we take the business of entertainment to be a very specific study. We’ve been honing our set list over the past 18 months and we’re pretty sure we’ve got a show that will blow the roof off of Ric’s Bar.” So, besides a Queensland tsunami, what else have Sunset Riot got planned for this year? Plenty, Rio says. “2011 is going to be a massive year for us. We’ve already played ten shows this year and have another 23 lined up before June, we’ve started work on a follow-up to our debut EP with producer Mark Opitz (Noiseworks, Cold Chisel, ACDC, INXS, KISS) and we’ll be shooting our first music video very shortly. We are also touring the USA for the first time with three shows

already booked and another 31 in the works before we head home. We’ve also been receiving airplay in Sri Lanka so who knows, maybe a trip to the sub-continent before the year is up.” And it seems that the new EP will attempt that most difficult of all feats: capturing a band’s live sound. But Rio is confident they’ll pull it off. “We’ve recorded most parts for five songs that we currently play live, so fans should be expecting a more raw-sounding, energetic and passionate bunch of songs. We always pour our heart and soul into what we do and these new recordings are aimed at capturing the essence of our live show without sacrificing recording quality.” WHO: Sunset Riot WHERE & WHEN: Ric’s Bar Saturday Mar 12




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



Great singer/songwriters are a rare and impressive breed able to effortlessly marry poetry of words with a magical melody.




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



Funny, free and freakin’ awesome.




60 YEARS ON This year sees the 60th anniversary of the initial release of two of the world’s most iconic instruments – the Fender Telecaster and the Precision bass guitars. Recognised as the world’s first successful solid-body electric guitar, Fender first unleashed the Telecaster on the world in February 1951, the Precision, essentially the bass counterpart to the Telecaster, shortly after, and its then-radical double cutaway body contour and trademark sound have made both instruments the standard by which all others have been measured since. Fender has naturally come up with a 60th anniversary edition of each, with the 2011 models blending modern technology – modern tuners, high-mass vintage bridge – with vintage looks and each bearing a commemorative chrome neck plate.


STUDIO PROFILE THIRD STORY SOUND ZAK BROWN, AUDIO ENGINEER WHAT’S THE STUDIO SET UP YOU HAVE THERE EQUIPMENT WISE? Third Story Sound’s set up is an Mbox, Rode NT1-A Consdenser mic. We take advantage of line inputs for all our guitars. Not a very impressive set up I know but we certainly pull a great sound!

Ben Harper recorded most of his forthcoming and tenth album, Give Till It’s Gone, due in May, at Jackson Browne’s Groove Masters studio in Santa Monica, California.


Rather than recording solely in one location or studio, Skipping Girl Vinegar have been recording their next album in various beach houses along the Victorian coast, The Cottage and Atlantis Studios in Melbourne and The Palace in Brisbane with a variety of producers including Nick Huggins (Kid Sam, Whitley), Caleb Jones (Yves Klein Blue), Greg Arnold (Stonefield) and band member Mark Lang. They’re now taking it to a studio in Nashville that goes by the name Alex The Great, where US producer Brad Jones will be mixing the album. Jones also mixed the title track of the three-track mini-EP, Here She Comes, the band has just released.

Practice, practice, practice! If you don’t have your parts perfect you’re only going to waste time and it’s going to end up coming out of your pocket!

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


Angus & Julia Stone spent the better part of January tucked away working on new material at 301 Byron Bay. Meanwhile, Foals spent two weeks in February recording new material at 301 Sydney with producer Jono Ma and assistant engineer Sam Weston. Engineer/producer Michael Taverner has been busy down at The Brain Studios in Sydney’s Surry Hills, working on recordings with Tear Down The Skies, Without Reason, Johnothan Springfield, Royal Headache and Nintendo Police among others. Melbourne three-piece Parading initially went into Birdland Studios in Prahran to record the one song for a 7” vinyl single but enjoyed the experience so much they carried on recording, with Rob Long recording and mixing the four sessions. The resulting eponymous debut album is out now. Newcastle-based math-pop four-piece Long Island Sound called in Sydney producer Dave Hammer (The Snowdroppers, Pockets) to record their eponymous debut EP. The Beggars have been tracking their new album at MixMasters in Adelaide and are mixing it on the HD System in The Red Stairs in Sydney with engineer Andrew Beck at the helm. The ability to fly parts in from pretty much anywhere these days allowed Paul Kelly to record his contribution to the latest Shane Nicholson album, Bad Machines, with Lachlan Carrick at Sing Sing in Melbourne, Pete Grandison to put down Lucky Oceans’ pedal steel parts at Shanghai Twang in Perth and Matthew Ryan did his backing vocals in Nashville. Producer Mark Ronson, whose credits include of course working with Amy Winehouse, Adele, Kaiser Chiefs and Lily Allen among many, was called in to work on the latest album from Duran Duran, All You Need Is Now, which he’s described as the “imaginary follow-up to Rio that never was.” The album was mixed by Spike Stent, who’s mixed records for Madonna and No Doubt among others. They might be the New York Dolls but they took themselves over to the UK for three weeks in September last year to record their latest album, Dancing Backwards In High Heels, with producer Jason Hill, best known for his work with The Killers. English folk/Americana singer and guitarist Martin Simpson is currently in Greystones Studio in Thurlestone, just outside of Sheffield in the UK where he lives, recording his next album, the working title of which is Friends & Heroes, coproducing the record with his bass player Andy Seward. And for something completely different, Sydneysider Lyall Moloney took himself off to Ethiopia for four months and recorded his latest release, The Africa EP, in a bungalow in Barhir Dar, 50 minutes flying time north of Addis Ababa.


WHICH NOTABLE ARTISTS HAVE YOU WORKED WITH AT THE STUDIO? Taking up business only about a month-and-a-half ago my favorite acts would be Sunsets and Amberain.

WHO DO YOU HAVE ON STAFF? At the moment it’s just me. I guess it’ll remain that way unless we expand!

DIGITAL!!!! To start off I’ll say that there are still some things that just can’t be replicated. There are some sounds that if you want them perfect just HAVE to be done live. Having said that, technology has come so damn far in the past few years... especially when it comes to creating new sounds.The drum sounds and guitar sounds we use are ALL digital and “fake” if you will but we’re getting nothing but great feedback. I think we’re at a point in musical production where it’s not a case of wanting something to sound real that makes you choose between analogue or digital methods of recording but HOW you want it to sound. Let’s remember, fake instruments offer sounds that can’t be replicated by real ones as well.

CAN BANDS BRING IN THEIR OWN ENGINEER OR DO THEY HAVE TO USE A HOSUE ENGINEER? Third Story Sound is about the sound we create. That’s why you come to us! That being said I can record a band and give them the tracks and then they can take it to someone else to work with for a small fee.


WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATIONS? Absolutely! That’s what we’re all about! $200 per song at the moment. I started this business with poor musicians like myself in mind.

WHAT’S THE ACCES TO THE STUDIO LIKE WITH REGARDS TO PARKING, FLAT LOAD, ETC? There’s plenty of space for parking on the street. More than enough for any band.

WORKING IN A STUDIO CAN BE ARDUOUS AND WE’LL NEED A BREAK – WHAT ARE THE AMENITIES IN THE LOCAL AREA? They’re great! Redcliffe is where the studio is located! We have a million little beachside cafes, shopping centres and even an area to rest out the back.

CONTACT DETAILS: Email Third Story Sound on or get on our Facebook! –


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


For more info simply email andrew@ with “promoter wanted” in the subject heading iFlogID: 11547

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: nadipa1@ 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 Bass Amp Combo, Kustom, 200 Watt, 1x15 Inch, new 700.-, now 350.-. Guitar Amp, Datamix XL10, 20.-. Must be picked up in Eudlo and paid cash. phone 07 5445 0379 iFlogID: 11890

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: info@ iFlogID: 11267

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 meagan@tarantulamusic. 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.

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

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


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 Bass Guitar, YAMAHA, black, 70.-. Electric Guitar, Squier Strat by Fender, red, 70.-. Must be picked up in Eudlo and paid cash. phone 07 5445 0379 iFlogID: 11892 Fender Pink Paisley Strat. Genuine 1980s model.all original.plays great. beautiful tone and action.very rare.VGC. in case.$2500ono. Ph.0428744963. Cooroy iFlogID: 11484 My 1972 fender mustang is for sale, great guitar, priced to sell $1500, 0424492752 please call for details iFlogID: 11736

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 Legal Alternative Marijuana try a sample pack today iFlogID: 11537

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 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 For Sale including: Mixers, Power Amps, Equalizers, Road Case, Speakers, Speakers Stands, Mics, stands, Drum Kits,etc. iFlogID: 11790 Voice Microphone, Sennheiser MD431, 200.-. Recording Microphone, Sony ECM-959A, 50.-. Mic Stand, new 40.-, now 20.-. Mixer, Behringer Xenyx 802, 8-input 2-bus, new 120.-, now 60.-. Must be picked up in Eudlo and paid cash. phone 07 5445 0379 iFlogID: 11894


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

BOOKING AGENTS 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. Go Aussie, Go Gig Launch! iFlogID: 11527 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 www. to submit. iFlogID: 11207


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:// For enquiries email or call Hannah on 0459544495 iFlogID: 11421


For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. au. Contact Chris 0419272196 iFlogID: 11749


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 au 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 iFlogID: 11583 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Search Engine Optimisation and much more from $399 including Hosting! Contact or see iFlogID: 11589 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. 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

**VOCAL RECORDING** $50 AN HOUR! PRO STUDIO IN SURRY HILLS INCLUDES ENGINEER! If you need good quality vocals for demos/albums, simply bring along backing track/s or pre-recorded track/s to sing over! Call Danielle: 0425213-721 5mins walk from Central Station iFlogID: 11862 Professional Studio, With creative vibe and wide variety of equipment see 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 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

REHEARSAL ROOMS “The Jam Room” in Parramatta is now open for band rehearsals from 8pm-12am Mon-Sun. Would suit regular rehearsing bands. $30/hr. Option to record live rehearsals for demo’s. 0407125837 - iFlogID: 11429

REPAIRS ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs. com iFlogID: 9348

TUITION “The Jam Room” in Parramatta is now open for tuition in guitar, piano, vocals and violin/fiddle. $35/half hour. Experienced teachers with a vast knowledge of their instruments. Beginners to advanced and everything in between. 0407125837 - iFlogID: 11431 Private singing and acting lessons with an full time working and interanational award winning performer. Brake new boundries and let go of your inhibitions, develope flawless techniques & have lots of fun. In Sydney inner city. $50/ hr. 0412206675 www.damiennoyce. iFlogID: 11269

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 dynamic.screen.content 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 www. or email info@ 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: iFlogID: 11396 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 steelechabau@ steelechabau iFlogID: 11617

DRUMMER 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

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. www.polarknights. com for our tunes! iFlogID: 11293 Atmospheric electro-acoustic-psychsurf-swamp-kraut-indie-rock band with an upcoming album release seeks friendly bass player. Call or text Danny on 0407226667 check out our songs LP and gigs in March iFlogID: 11334 Bass Player & Drummer wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11838 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

GET SIGNED TO A 360 DEAL! You MUST be an outstanding male bassist! Rehearsing at Wetherill Park N.S.W. Drummer is forming a fast paced original rock band to get signed to a 360

deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers etc. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Phone Will: 0413 772 911 iFlogID: 11738 Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@ 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 Seeking full time bassist for touring blues/roots band. $100-$200/ gig + expenses, originals and cover gigs with band or duo. Need transport, decent rig, professional attitude, abn, good availability, long term commitment preferred. ph jim 0408585626 iFlogID: 11788

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.threewizemonkeys. com. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal! iFlogID: 11455 Drummer needed for loud grunge/punk/ rock act. Serious and experienced only. Prac in Valley weekly, no unemployed, poor, junkies or dreamers. Well known professional act. iFlogID: 11864 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 a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11840

OTHER We are a jazz band performing music to the style of Nat King Cole. Perfect for romantic situations, weddings, small cozy clubs etc. For more information, contact Chris 0419 272 196 - iFlogID: 11751




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


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Time Off Issue #1517  

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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