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GIVEAWAYS Sydney based indie-rock outfit Sierra Fin have released their debut album Cautionary Tale of the Beautiful Blackout, and are set to kick off an East Coast tour, which hits Brisbane May 27 at the Old Museum. Cautionary Tale of the Beautiful Blackout tells a story from Yesterday through Today to Tomorrow and features a full symphony orchestra as accompaniment for the album’s entirety – adding layers of texture to the Paul McKercher (Sarah Blasko, Little Birdy) produced album and marking a first for an Australian debut album release. We have got a prize pack to give away to one lucky winner! It includes a double pass to the gig, a copy of their debut album and a copy of their EP Shake Stare Sleep. For years, townsfolk have been terrified of the backwoods recluse known as Felix Bush (Robert Duvall). People say he’s done all manner of unspeakable things – killed in cold blood; that he’s in league with the Devil; that he has strange powers – and avoid him like the plague. Then, one day, Felix rides to town with a shotgun and a wad of cash, saying he wants a “living funeral,” in which anyone who had a story about him will come to tell it, while he takes it all in. Get Low is a movie spun out of equal parts folk tale, fable and real-life legend about the mysterious, 1930s Tennessee hermit who threw his own rollicking funeral party while still alive. Thanks to Rialto Distribution we have ten double passes to a preview being held at Palace Centro Cinemas on Monday May 23 at 6.30pm. Watch the trailer here: Throughout history, tales of chivalry have burnished the legends of brave, handsome knights who rescue fair damsels, slay dragons and conquer evil. But behind many a hero is a

good-for-nothing younger brother trying just to stay out of the way of those dragons, evil and trouble in general. Danny McBride and James Franco team up for an epic comedy adventure set in a fantastical world – Your Highness. As two princes on a daring mission to save their land, they must rescue the heirs apparent fiancée before their kingdom is destroyed. Your Highness, rated MA15+, is in Cinemas May 12. www. Thanks to Universal Pictures we have 20 in-season double passes up for grabs! It stars Danny McBride, James Franco and Natalie Portman. Eugene Gilfedder unleashes a searing script of myth and madness, trauma and terrorism with Empire Burning. The fires of Rome and the characters surrounding Nero (Finn GilfedderCooney) are warped and twisted out of their time and into ours. Disaster strikes this modern Empire when figures begin to appear from out of nowhere, bursting into flames and setting the city ablaze. One of these strangers survives and is captured, but the intense silence of this enigmatic Prisoner (Dan Crestani) soon ignites a monumental battle of power, politics and passion. Premiering at Metro Arts as part of The Independents 2011, Empire Burning lights the fuse on one of the most exciting ensembles you’ll see on stage this year, including Damien Cassidy, Michael Futcher, Eugene Gilfedder, Sasha Janowicz, Niki-J Price and Steven Tandy. Empire Burning melds history and science-fiction with an evocative, poetic language to throw Western anxieties of the Other into sharp relief. Season runs from May 13 to 28. Thanks to Metro Arts we have two double passes up for grabs to the Wednesday May 18 performance, which includes entry to BackChat, the post-show Artist Q&A session.


CONTENTS Get your music industry news from The Front Line Lowdown – news, opinions, tours, Backlash, Frontlash The new Cut Copy record sees them reinvent themselves yet again A Day To Remember talk line up changes, Victory and the future of record stores Parkway Drive like to mix it up Revisiting The Pleasure Principle has been a far more pleasurable experience than Gary Numan thought possible Suicidal Tendencies espouse the virtues of not knowing what the fuck you’re doing We find out about Lissie’s unique way of working Re: Enactment rock less these days A long history in performance has put Hannah Macklin in good stead Blind Lemon are ready to blow a fuse On The Record has the latest, greatest and the not so greatest new musical releases Chris Yates spotlights the best (and worst) tracks for the week in Singled Out


The joy of puppetry is alive in The Adventures of Alvin Sputnik: Deep Sea Explorer 32 Find out what makes the art form so alluring on the eve of this year’s Miss Burlesque competition 32 Fiona O’Loughlin takes a little solace in the fact that people are always going to fuck up 33 Cultural Cringe talks Tarantino 33 The Looking Glass fears for the future 33 Lucks tells us about the importance of his street art past 34 There are a number of big steps taken to bring Love Let Me Out to Brisbane audiences 34



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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 We take you behind the music Behind The Lines iFlog and you can too


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CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Front Row Editor: Daniel Crichton-Rouse Editorial Assistant: Dan Condon Contributing Editor: Adam Curley Intern: Katherine Edmonds ADVERTISING Advertising Account Executives: Melissa Tickle, Adam Reilly DESIGN & LAYOUT Designer: Matt Davis Cover Design: Stuart Teague ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Justin Grey, Alex Gillies, Mark Beresford, Adam Curley, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Sarah Petchell, Helen Stringer, Brendan Telford


Front Row: Mandy Kohler, Lauren Dillon, Adam Brunes, Matt O’Neill, Mitch Knox, Jessica Mansour, Guy Davis, Rowena Grant-Frost, Danielle O’Donohue, Helen Stringer, Alice Muhling Photography: Stephen Booth, Kane Hibberd, Alex Gillies, Silvana Macarone, Brad Marsellos EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. © PUBLISHER: Street Press Australia Pty Ltd Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 POSTAL: Locked Bag 4300 Fortitude Valley QLD 4006 Phone: 07 3252 9666 Email: PRINTED BY: Rural Press



INDUSTRY NEWS with the intent to play as much as possible”. The band will be back for the New South Wales leg of the tour and will debut new material that they’ve been working on.

BRISBANE LOSES ANOTHER VENUE Brisbane lost another venue last week with the news that Rosies Live would be discontinuing live music at the end of May. James Geekie, the promoter of one of the venue’s main nights Monstrothic and who helped develop the venue into a live music venue from a nightclub said it was “very disappointing... in the CBD and even The Valley, alternative music is being pushed further away”. He also claimed that there is a negative misconception of the alternative and metal scenes within the Brisbane public that is hurting their cause. The group who own the renovated Fox Hotel have bought Rosies and changed the policy. Outgoing owner Tony McLeod told the Daily SPA newsletter “they buy old, tired venues and return them to their former glory, they make them beautiful.” Music will continue at Rosies, but not in a live format.

MIXED RESPONSE TO VIC’S MUSIC FUNDING Music Victoria has received $500,000 in funding from the Victorian state government in their latest state budget, but it’s come at the cancellation of the FreeZACentral program and a cut in the overall funding for Victoria Rocks. The $2.4 million FreeZACentral program was a government initiative that provided workshops, mentoring and events across the state to help emerging artists break into and establish themselves in the music industry. Crikey also reported that the $1.3 million in funding for a ‘bank’ of popular music equipment, to be hired out to young musicians, was scrapped and that Victoria Rocks’ funding had been cut to $2.6 million over the next three years. The $500,000 provided to Music Victoria over two years may also be a one-off payment as it’s given with a view to the organisation creating selfsustainability. In comparison, the amount is dwarfed by the $4.2 million over four years for the Melbourne International Comedy festival and $1.8 million for the Melbourne Symphony Orchestra to continue their program during the redevelopment of Hamer Hall. The new Ted Baillieu Liberal Government in Victoria had appeared at last year’s SLAM Rally prior to the election with “Liberals Love Live Music” placards.

WARNER BOUGHT BY RUSSIAN BILLIONAIRE FOR $3.3 BILLION After a fierce month of final bidding a deal it has been announced that Warner Music Group has been bought by Access Industries, a conglomerate controlled by Russian billionaire Len Blavatnik. The sale process had taken three months in which a number of other private equity firms, companies and other music labels had been involved. In the end the deal is worth a reported USD$3.3 billion. Warner Music Chairman and Chief Executive Edgar Bronfman Jr. said in a statement that the deal “serves the best interests of stockholders as well as the best interests of music fans, our recording artists and songwriters, and the wonderful people of this company”. Blavatnik was an existing shareholder of the company – with an approximate two percent stake – and has been a favourite to take control since the early days of the sale. Arriving poor in America from Russia at the age of 21, Blavatnik went on to make a fortune in his home country in oil, coal and aluminium. Pundits are now looking to the sale of EMI, which is expected to kick into gear now that Warner’s sale has been finalised, plus there is speculation that Access may move to buy that major label as well with a view to carrying out the merger that has been talked about for a decade. It is believed that the other labels, who pulled out in the final rounds of bidding, will be on the lookout to pick up parts of either company (such as Warner’s publishing arm Warner/Chappell).


STAY TUNED ARTISTS REVEALED The line-up appearing on ABC 3’s new kids-focused music show Stay Tuned has been announced. Locals Art Vs Science, Short Stack, Jinja Safari, Jessica Mauboy, Purple Sneakers DJs, Sparkadia, Heroes For Hire and more will be alongside Ke$ha, Good Charlotte, 30 Seconds To Mars, City & Colour and Sum 41 in the first season, which premiered last Friday. Purple Sneakers member Tim Poulton told The Front Line that they were involved in a rockstars vs DJs competition with Hell City Glamours which involved bike throwing (guitar swings), etch-a-sketch competitions (knobtwiddling) and mash-potato making (for mash-ups).

FRESHLY INKED PARKWAY’S INTERNATIONAL GUESTS CANCEL ON TOUR Both of Parkway Drive’s main international supports for their upcoming Mix’N’Match tour have pulled out of the tour with only a couple of weeks before it kicks off. You Me At Six and Bleeding Through both pulled the plug on their visits last week. A statement from the tour’s promoters Resist Records announced that Ohio’s Miss May I will be coming in their stead at this late notice. Describing it as “a double blow” to the tour the statement explained You Me At Six’s cancellation. “Due to the band’s extended recording schedule, You Me At Six will spend the next few weeks in the studio completing their new album.” No reason was given for Bleeding Through’s though. Resist’s Graham Nixon told The Front Line, “Obviously this isn’t the ideal situation a few weeks out from a tour, however these things happen and there’s little we can do. Life goes on, I’m sure there are a lot worse things going on in the world then two bands withdrawing from a tour.” You Me At Six, who’ve toured Australia previously with Soundwave, took to their social networking platforms to explain their actions and eventually released a statement from the band’s frontman Josh Franceschi, claiming that they will be touring Australia this year, just not on this Parkway Drive tour. “We’ve never, ever pulled out of a tour, in our whole five-year career,” he said. “It’s something we swore we’d never do unless there was a family bereavement, as we want to be known as the type of band that when they commit to something, do their up most not to let people down. “Now, there are other ‘political’-esque reasons that I don’t want to go into, that involve our label and us trying to record our album. That’s the industry. That said, since we’ve been in Los Angeles I’ve had quite a few health problems, that at times, have been quite worrying... We’re also currently in talks with promoters about coming over to do a headline tour in September with some insane bands. We will make this up to you Aus! We’re gutted we can’t be there with you all and will no longer get to play with our brothers in Parkway Drive.” On their Facebook Bleeding Through offered, “Unfortunately we had to pull out of this upcoming tour with [Parkway Drive] due to obligations here at home as well as the writing of our next album which is underway. We are deeply sorry and we’ll make it up to you!” The tour will still feature emerging pop/punk act The Wonder Years as well as Melbourne’s Confession and local supports.

ADELE HOLDS MOTHERS’ DAY TOP Adele’s internationally chart-topping album 21 has remained atop the ARIA album charts over the Mothers’ Day weekend as Damien Leith’s Roy (Roy Orbison tribute) shot to second. Fleet Foxes were the highest debut with Helplessness Blues in sixth, narrowly beating out Beastie Boys’ Hot Sauce Committee Part Two. Jennifer Lopez could only manage 11th with Love?. Meanwhile DJ Havana Brown has hit the singles top ten, with her track We Run The Night debuting at #7.

RING IN THE BELLS One of Australia’s most prestigious series of jazz awards, The Bells were announced last week. In the album categories; Elly Hoyt took away the Vocal album gong for his self-titled effort, the Mike Nock Trio’s An Accumulation Of Subtleties won Contemporary album, The Subterraneans’ self-titled for Blend and Leigh Barker’s The New Sheiks Traditional. The Song Of The Year award went to Eugene Ball’s Une Saison En Enfer (“Song From The Highest Tower”), Best Ensemble to Australian Art Orchestra/Young Wagilak Group and Young Artist Of The Year to Johannes Luebbers. Improvisational pianist and composer Tony Gould was inducted into the Hall Of Fame.

GOOD VIBES MAY HAPPEN THIS YEAR, AGAIN The Good Vibrations Festival is ‘definitely’ continuing on after a rough year with pundits speculating that the dance-indie crossover music festival could even happen before the end of the year. After losing a couple of staff members following this year’s event, doubts were raised as to whether Jam Music (promoters, owned by the Merivale group) would continue the festival. A spokesperson told The Front Line, “Jam Music and its principal businesses of Good Vibrations Festival and Chinese Laundry club nights are definitely continuing. We are looking at taking on some new businesses as well within the Merivale Group. Personnel within Jam Music is being re-structured accordingly.” Merivale’s owner Justin Hemmes told The Front Line that they were “looking at our options” and would not rule out a shift in time-frame. “We’ve been riddled with rain recently, I want a dry day!” he said.

SOHO VIOLENTLY SICK Violent Soho were forced to pull out of their Victorian dates with Jebediah over the weekend due to vocalist Luke Boerdam suffering from flu and migraines, the band told The Front Line. Guitarist James Tidswell said, “It sucks so much for us. We came home from America

INXS’ back catalogue will be “regenerated” and re-issued by Universal beginning in June. In the announcing release Daw said, “We’re looking forward to giving this catalogue the respect it so richly deserves.” Spunk have announced their first signings from New Zealand, with the label – distributed through EMI – to release the debut albums from Tiny Ruins (Some Were Meant For Sea) and Unknown Mortal Orchestra (selftitled, now based in Portland, USA). The former will be released Jul 1, the latter Jul 8. Footstomp Music have announced the first signing as part of their deal with Warner, Busby Marou. The Rockhampton band will release their self-titled debut full-length Jun 24.

JAPAN COMPILATION RAISES $5 MILLION Involved parties have announced that their benefit compilation Songs For Japan has raised $US5 million for the Japanese Red Cross Society after the first month of sales. The figures come from both the physical two-CD set and digital release of the album, which features tracks from John Lennon, Bob Dylan, Lady Gaga, R.E.M, Elton John and John Mayer among others. A initial payment of $US2 million was made last month on behalf of the artists, songwriters, labels and publishers who are taking part and donating all their profits. Another payment of $US3 million was made earlier this month.

FINAL CALL TO PLAY AT BIGSOUND There’s a final call for artist applications for the upcoming BIGSOUND conference and showcase at the moment, which are available through Sonicbids [] and open until Monday. The first round of speaker announcements included Creation Records founder Alan McGee, ie:music’s Tim Clark and David Enthoven, and Warner’s Tony Harlow among others. BIGSOUND is happening Wednesday Sep 7 to Friday Sep 9.

FANS’ PETITION KEEPS PERTH DATE The threatened Perth date of the Soundwave Revolution festival will be going ahead, it has been announced by promoter AJ Maddah. The date, Monday Oct 3, was under review because the public holiday it was meant to fall on had been moved by the West Australian government to coincide with the Commonwealth Heads Of Government Meeting, which is happening at the end of the month. “It’s one of those things that it’s out of their hands, it’s out of our hands, it’s out of everyone’s hands,” Maddah told The Front Line. “[It would be] too much turmoil for us to mess around with it at this point.” The event still falls on school holidays and the festival has held dates on non weekend or public holiday dates before. “At the end of the day I think people are going to declare it a public holiday anyway,” he said. A Facebook petition had been put up by fans to campaign the festival keeping its Perth date.



FORCED INTO COMMUNITY With their unique 100 SONGS program set to take over studios and airwaves this weekend, IMP’s co-director JULIAN KNOWLES tells SCOTT FITZSIMONS that in this artificially-generated initiative they’ll get a clearer view of what’s naturally happening in Brisbane’s scene right now.







hroughout history, albums have taken years to create – even decades in some cases – with songs and their production being labored over until the artist is ready, or forced to, unleash them onto the world. More often than not though, the quick and instinctive approach has been just as effective, if not more so (see Eddy Current Suppression Ring’s ability to create an album in hours, rather than days). That’s what Queensland University of Technology’s Independent Music Project (IMP) will be hoping for with their 100 songs project. From Sunday this week until Friday May 20, 75 bands will pass through the University’s Gaswork Studios in Newstead where three studios will be running simultaneously with the hope of generating a song per hour. The whole this is to be broadcast on triple j as well as Brisbane community station 4ZZZ, with a compilation, to be distrubted by MGM, to package the best efforts at the end. “The event will be a success if we are able to assemble a snapshot of emerging and established Australian songwriting talent and, with the help of our partners, present that out to a wide audience,” explains Julian Knowles, who is co-director of IMP and one of the 100 Songs engineers, as well as holding numerous other prestigious titles in the Queensland music landscape such as being the current Chair of Q Music, the state’s leading industry body. “We’re certainly hoping to bring new talent to the attention of Australian audiences and key industry figures. We expect that this will translate into a range of opportunities for the project participants.” The program reportedly received applications from over 400 artists, which was whittled down to 75 – a figure 25 more than the original applications claimed they were looking for. Along with covering a range of genres, which Knowles says that made a concerted effort to do, acts were chosen “on the strength and distinctiveness of their material”. “There were more than 400 submissions and the overall standard was high. I can tell you from having personally listened to all 400-plus submissions, there were surprisingly few that were way off the mark. The standard of the final 75 acts is really very high not just in terms of the quality of the songs, but also the standard of the recordings. The range [of the selected acts] is not so much around the quality of the songs, but the level of experience and comparative success of the bands. We are completely focused on the songs, not on how far down the track a band might be with their career.” Artists taking part include Drawn From Bees, Ben Salter, The Medics and My Fiction. Unknown acts will still have to be reasonably sure of themselves though as in the pressure-cooker environment that 100 Songs will generate there’ll be no time to ‘find’ a sound. “The focus is on capturing existing songs,” confirms Knowles. “There is no time to be playing with arrangements or structures. We will be capturing what already exists as a kind of large scale song documentation project. That is the essence of the event.

“I think the more experienced bands will be able to discipline themselves more effectively to record quickly than the less experienced bands. On the whole, they understand the studio process and are aware of how to approach recordings where the tracking is mostly done live, playing together. On the other hand, I think the less experienced bands or those who are not tight as a live act will find it more challenging.” Live experience will almost certainly come into play during the process, artists competent at live recording will be at a huge advantage to shine amongst a field of Brisbane-based (but not exclusively so) talent. “The logistics are quite intense,” Knowles says. They are, after all, taking over the whole Gasworks Studio facility, which houses three studios. “We have worked out that each act gets four hours to record their song. Of this, three hours will be spent recording and up to one hour doing a rough mix of the result. We will use standard backline gear and microphone setups to make the changeovers easier. We have a roster of engineers, assistants and ‘people managers’ to get bands in and out of the studios on time. “Bands will be playing mostly live, with the opportunity to do some basic vocals, basic fix-ups and a limited number of overdubs. These will be more ‘live in the studio’ recordings. They will not be fully fledged studio productions.” On top of having some fun (and question ‘can it be done?’) the underlying aim is to develop the local music scene and something like this is a unique opportunity to create a community atmosphere amongst the bands themselves. Even though the Brisbane scene is unique in its networks (smaller than Sydney or Melbourne, artists are forced into mixed-genre bills more often) paths still may cross that never would have otherwise. “When you think about it, it will be a pretty amazing experience having 75 acts moving around a building in one week. It’s a unique glimpse at the depth and range of music making in Brisbane. We think this will be as exciting for the musicians as it will be for us.” And for the organisers, the means is arguably going to be more satisfying than the end. “I think the event itself is in some ways more important than the final release. The opportunity to document the scene in this way is totally unique and it will be a way of reflecting the scene back to itself so that musicians and the public can get a sense of the whole. Musicians are aware of the immediate scene of which they’re a part, but the event will allow musicians and the public to see how all these micro-scenes interact and come together as a whole. It’s a zoomed out ecological view of what’s happening right now.” The recording stage of the 100 Songs Project occurs between Sunday May 15 and Friday May 20. Head to www.implabs. net for more information on the project.





















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


IN BRIEF The Cure will perform their first three albums in their entirety for the first and apparently only time as a part of Sydney’s Vivid Live festival. The performances will be filmed for a DVD release. Nick Cave and Neko Case have recorded a version of the Zombies’ She’s Not There as a part of the soundtrack for the latest season of HBO’s True Blood. This week’s Animal Collective curated All Tomorrow’s Parties festival will be the final UK springtime ATP event for the foreseeable future.

ALL OWLS GREAT AND SMALL The name Adam Young probably means precisely fuck all to most people reading this right now, but under the moniker Owl City he has charmed the figurative pants off many thousands of people around the world. The indie-synth-pop sensation hit mainstream popularity with the enormously popular hit single Fireflies, but people realised he was more than a one trick pony when they picked up the Ocean Eyes record from whence it came, which proved to be a tantalising set of very alluring songs. The good news is he has followed that debut up with a new record by the name of All Things Bright And Beautiful and word on the street is he has not lost any of the brilliance that made him stand out the first time. Owl City is going to be in Australia just a couple of months after the album’s release and you’ll be able to catch Young and his gang making everyone grin and blush at The Tivoli on Monday Aug 15. Tickets are available from Ticketek as of Thursday morning.

GET LOST Andrew Kidman is very well known and respected in a number of different worlds, including those of surfing, filmmaking and music. He’s made some stunning surf films over the years, including Litmus, Glass Love and Last Hope and has recently finished up and released his latest piece of work, Lost In The Ether. He is looking to launch the film in the only way he knows how; matching images from the film with live music from his band The Windy Hills. Kidman will also be showcasing some images from Patrick Trefz’s new film Idiosyncrasies. If you like surfing, roots music or just good filmmaking then you’ll want to be at the Stone & Wood Brewery, Byron Bay Friday Jun 1, Coolangatta Hotel Saturday Jun 2, Noosa Surf Club Friday Jun 8 and Brisbane Powerhouse Saturday Jun 16. Ticketing information is available from

Bassist Nikolai Fraiture has indicated over Twitter that The Strokes are back in the studio already. Angles, their first record in five years, was released in March. AC/DC are currently working on a new record. Given how long their last couple of records have taken, one wouldn’t expect to hear anything from it for a couple of years.

KILLING IT If you have never heard of OFWGKTA (Odd Future Wolf Gang Kill Them All), then we are sorry to hear that you have been without an Internet connection for the past few months. This crew of foul-mouthed kids have exploded out of Los Angeles to be one of the hottest musical acts on the planet right now, no joke. Their crew rolls 11 deep, their ages range from 16 to 20 and their lyrical content is... well, it can be quite hard to stomach. These guys are raw, they’re controversial but most importantly, they’re very, very good and on record they well-and-truly live up to the hype. Their live show is said to be something pretty special too, and we’ll be getting our chance to see this for ourselves when they make their way up to Brisbane following three sold out shows for the Vivid Live festival in Sydney. They play The Hi-Fi on Sunday Jun 5; tickets are available from Moshtix right now for $49.90 and given how quickly tickets sold down south you’re going to want to get your arse into gear quick sticks to secure one.

IN BRIEF Lemmy Kilmister from Motörhead, Slim Jim Phantom from The Stray Cats and Danny B. Harvey from Lonesome Spur have come together to form HeadCat.

Billy Corgan has ruled out a classic Smashing Pumpkins reunion to coincide with the re-release of their albums. Speaking to Rolling Stone he said, “I cannot in any way, shape, or form ever envision standing on a stage, playing music again with James [Iha] and D’arcy [Wretzky].”

Emma Bunton – aka Baby Spice – has had another baby. Tate was born on May 6. Don’t pretend you don’t care.

The Decemberists’ accordionist and keyboardist Jenny Conlee has been diagnosed with breast cancer.



The little local event that could is fast becoming much bigger and more exciting each and every year, or so we reckon as we hear all about the bands who will be playing the third instalment of the Spoonfest event in Brisbane next weekend. Get set for a shitload of awesome local punk rock and one very, very special headlining act as The Nation Blue, pictured, make a rare appearance on a Brisbane stage, as do Tasmania’s Luca Brasi while local hot shots The Quickening, Local Resident Failure, Headaches, Army Of Champions, Friends With The Enemy, The Blasted Heath, Dementia 13, The Flangipanis, Ringpull and Sunsets all make themselves available for your rock’n’roll enjoyment. It all goes down at the Step Inn on Saturday May 21, kicking off at 5 o’clock in the afternoon and going til very late at night. Tickets are available now for just $18.40, hit up OzTix if you want to secure your spot at this kick arse punk rock event. Good times are to be had by all.


Australia’s largest Indigenous youth music and cultural festival is back for another year and we can all but guarantee you that Stylin’ Up 2011 will be as empowering, educational and impressive as ever. The line-up features some of our most well-renowned established and up-and-coming acts from the world of Indigenous music and dance as Impossibble Odds, Dizzy Doolan, Colli Kids, Pulse, In Need Of Sleep, EMR, Cat Thompson, Dirty Mob & Beat Kamp (Collaboration), Stunna Set, David Cook, Yung Roii, Tnc, Shiinga, Soulbreakers, Maupower, MC Murriz + Dust, The Fresh Elements Dancers and many more come together at CJ Greenfields Park in Inala on Saturday May 28 from noon through to 6pm. The event is open to all ages and family friendly as well as completely free for all comers, so whether you’re a Stylin’ Up veteran or looking to check out something different, make sure you get along and support such an important event.

Bryan Adams has become a father for the first time at the age of 51.

Truly the only way to celebrate the spookiest night of the year is by getting down to some decidedly evil rock’n’roll music and that’s exactly what you can do if you get your arse to the Step Inn on this Friday – Friday the 13th! A monstrous bill has been put together, featuring genuine Australian rock legends The Scientists (in duo mode, featuring Kim Salmon and Leann Chock), pictured, as well as some of our finest local rock’n’roll acts such as HITS, Slug Guts, Spifireliar, The Jim Rockfords, Flangipanis, Gimpus, Main Street Brats, The Androgyny, The Lost Cause, The Vampers, Graveyard Rumble, Teenage Wolves, The Dirty F Holes, The Chokes and Midnight Creepers. Entry to the event is just $20 on the door and the action kicks off from 8pm.



After the release of two EPs and a single, it is about time Sydney’s Papa Vs Pretty hit us with a full-length record, so we are very glad to hear about the imminent release of United In Isolation, their heavily anticipated debut longplayer. The band enlisted two of the country’s finest sets of ears to help them lay down the tracks for the record, with Paul McKercher and Scott Horscroft both taking an active role in helping the band get the absolute best out of their already stunning alternative rock and from what we hear the results are very special indeed. The record is out at the end of this month and the band will be out on the road in support of it soon after, making sure audiences all around the country are given a taste of their new material in a live setting. They won’t be up here for a little while, so get your diaries out and note that they’ll be at X&Y Bar Friday Jul 1 so you don’t forget! Tickets are available from OzTix from Friday morning.

Paul McCartney has proposed to his girlfriend, 51-yearold businesswoman Nancy Shevell. She said yes. Len Blavatnik’s Access Industries has won the bid for Warner Music Group with a USD$3.3 billion all-cash acquisition. Steven Tyler reportedly blew $20 million on drugs back in the day. Weezer’s Rivers Cuomo has written and performed on a Simple Plan song, which will be released on their new album this June. Kasey Chambers has become the first artist in history to ever be nominated seven times in the International Songwriting Contest.

RETURN OF THE ROCKET MAN It has ended up being one of 2011’s worst kept secrets, but we can officially confirm for you this week that the iconic, legendary, incomparable Elton John will be making his 15th visit to Australia this November. For over 40 years John has remained one of the world’s most renowned pop stars and as a performer he has lost none of his spark, continually drawing in huge praise for his live shows to this day. With over 250 million records sold and countless hit singles, Elton John is truly one of the world’s most loved pop stars and public figures and if you ever doubted it, you’re about to see just how much the Australian public love him; when tickets for his show at the Brisbane Entertainment Centre on Wednesday Nov 30 go on sale from Ticketek at 9am Tuesday May 24, they will all be gone in no time flat – so if you want to catch a true legend in action, make sure you’re quick!








































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IN BRIEF Rick Springfield has been arrested in Malibu, California for driving under the influence of alcohol. He was released on a $5000 bond. Flavor Flav has been arrested in Las Vegas after he was found with outstanding traffic warrant. He apparently had to spend the weekend locked up. A 17-year-old Sydney male has been arrested on a number of charges after he broke into Acer Arena and threw eggs at Justin ‘Beebs’ Bieber.

SWAPPING SECRETS You’d be hard pressed to find a more charming and lovable artist on the periphery of the Australian adult contemporary music scene than Clare Bowditch. She has well-and-truly proven her musical aptitude with a series of stunning records, most recently last year’s Modern Day Addiction, which saw her foisted into the public spotlight perhaps more than ever before; a position she handled with aplomb and perhaps even relished somewhat. Bowditch has a habit of using her profile for good and her latest tour will see her take that to the extreme, with a firm engagement of audiences on the cards for this upcoming Winter Secrets tour, which she is sharing with up-and-comer Lanie Lane. Together these artists hope to break down the barrier between audience and performer; we hear talk of inspiring stories, songs, comedy, questions and answers, secrets, random audience participation and even group singing sessions with the two talented ladies. If you’re as intrigued as us then you need to ensure you get to Bangalow A & I Hall Wednesday Jul 20, Joe’s Waterhole, Eumundi Friday Jul 22 and the Old Museum Saturday Jul 23.

Rave On, a new Buddy Holly tribute record, features tracks from Paul McCartney, Nick Lowe, Patti Smith, The Black Keys, Modest Mouse, Lou Reed, Fiona Apple and Jon Brion, Florence and the Machine, Cee-Lo, Julian Casablancas, Justin Townes Earle, She & Him, My Morning Jacket, Detroit Cobras, John Doe and more.

TRACK CHANGES The massive upcoming Track And Field event that hits the Old Museum on Saturday Jun 4 has all selfrespecting lovers of quality local indie-rock practically salivating, with many taking advantage of the very well-priced early bird tickets already. There has been a slight change to the line-up though, with Mitzi having to pull out of the event due to circumstances we can only imagine are completely reasonable. They will be replaced by the rapidly rising cool kids The Jungle Giants who are fresh from the launch of their awesome debut EP just last weekend. Last Dinosaurs, Ball Park Music and The Belligerents are all still onboard as are DJs from Hungry Kids Of Hungary, The John Steel Singers and The Honey Month and tickets are still available from OzTix for $17 + bf.

TWO DOWN Some mighty sad news has come from the Parkway Drive camp this week, with word that not one, but two of the supports on their upcoming Mix N Mash tour have had to pull out. Both Bleeding Through and You Me At Six have pulled the pin on the tour for reasons that we can’t really ascertain, but the fact is they’re not coming and we have to deal with it. The good news is that a pretty rad replacement has already been sorted out, with American metalcore favourites Miss May I taking up one of the slots while a local opener will take the other one. The Wonder Years and Confession remain on the bill that hits the Brisbane Riverstage Wednesday May 18 and Byron Bay High School Thursday May 19.

RUDE MATHEMATICS British/Jamaican producer Lotek has been spending a lot of time in Australia of late and he is making one more run up the east coast on the back of his latest single Drink Triples, See Double, Act Single, before he heads back to the UK to plug his latest record International Rudeboy which was completed in Australia last year. You would have heard Lotek’s work with Speech Debelle and Roots Manuva but he has proven he can stand on his own two feet with this release and his live show – complete with live band and horn section – really captures the energy with aplomb. You can catch Lotek for the final time for a while at The Joynt on Thursday night.

TEA AND SYMPATHY The spirit of collaboration can be incredibly powerful in a musical sense if it is executed in the right way, which has us thinking that the upcoming Storm In A Teacup tour could be something very special indeed. On this tour audiences will witness some of the finest indie folk acts in our land; we’re talking the likes of Tinpan Orange, Husky, pictured, Jordie Lane, Jen Cloher, Harry James Angus and Liz Martin, performing their tunes in all sorts of different collaborative formations that you will have to see and hear to truly believe. We haven’t enough space to give you individual rundown on each of these artists, but anyone who has kept an eye on our magazine over the past couple of years will know that we rate them all very highly and the concept of them all playing together really has us excited. You can catch this amazing folky revue at the Mullum Civic Hall on Saturday Jun 18; tickets are available from mullummusic. com right now for $25 + bf. Proudly presented by Street Press Australia.

LOOKING BACK The new record from Sydney rockers The Paper Scissors is called In Loving Memory and it is set for a mid-June release. The past couple of years have seen the band do their fair share of touring around the globe and this has evidently rubbed off on their songwriting; the topics covered are disparate, but when put together it results in a stunning and cohesive collection of songs. The band are rallying against the disposable snappy three-minute digital single loving marketplace the music industry is quickly becoming and relishing the epic, long form album embracing way of appreciating music that they feel ought never die. The band will bring their ambitious new material to the live stage in our part of the world in early July, dropping by the Great Northern Hotel in Byron Bay on Friday Jul 1 before heading up to the Step Inn on Saturday Jul 2.

TOUR NO MORE If you’re a fan of Nevermore then you’ve really been running the full gamut of emotions over the past few weeks. Firstly the band announce an Australian tour on the back of their awesome new record The Obsidian Conspiracy, their return to our shores prompting many a horn hand sign to wave proudly around the streets of Brisbane. Then we hear that things aren’t all that good in Nevermoreland, with the band’s Jeff Lommis and Van Williams leaving the band after “internal struggles and ongoing issues” became a bit too much. Now we bring you the awfully sad news that the tour is over. Sorry dudes. If you had tickets to see them at The Hi-Fi on Thursday Jun 9, you’ll have to grab a refund from point of purchase. You should get an automatic refund if you purchased online with your credit card.


DREAMY ANGELS Just about everyone knows that Austin has a kick-arse music scene and more recently their scene has become particularly rife with incredible psych bands. There has pretty much always been one singular band at the top of the pile though, and that is The Black Angels. Formed in 2004, the band quickly became favourites among tastemakers in the American underground and before long they were featuring on all of their country’s coolest festival bills and supporting some of the world’s biggest rock bands. The band released their third album last year, a blistering slice of psychedelia by the name of Phosphene Dream that was recorded over the space of around six months with super producer Dave Sardy. On the back of this record, which could well prove a serious landmark in the band’s career, they are making their first trek to Australia, and will be dropping by The Hi-Fi on Thursday Jun 30. You can get tickets from Moshtix for $48 + bf. Proudly presented by Street Press Australia.



After more studies showing irrefutably that the koala is facing extinction, the government is still dragging the chain re putting them on the endangered species list. Fuck the greed-addled property developers fighting this protective measure right in the eye…

The youngster who egged Bieber in Sydney got busted because he boasted about it on Facebook? How could someone with such noble aspirations be so stupid? A plead of severe provocation should get him off…



The World Pole Dance federation is again pushing for pole dancing to be included as an Olympic discipline in time for the next games. Why stop there? Lap dancing is as skillful as synchronized swimming, surely? Definitely easier to judge…

We thought Scrabble jumped the shark by allowing proper nouns – now they’re recognising bullshit words like ‘innit’ and ‘grrl’, pandering to the untapped market of dumb pricks who have no clue about the English language… What next – people who can’t count?


GET WELL JENNY Terrible news from the indie world with the diagnosis that The Decemberists’ Jenny Conlee is battling breast cancer. Our thoughts and best wishes go to Jenny and the band, may the force be with you…


Thanks to the Emirati state of Abu Dhabi for donating $30 million so ten cyclone shelters can be built in FNQ. Anna Bligh matched the offer, but why is our government reactively responding to the lead of an unaffiliated overseas party?


The initial success of Melbourne’s CUT COPY coincided with that of a veritable wave of Australian electro-pop outfits – but each release has taken them further and further away from their pack. MATT O’NEILL speaks to multi-instrumentalist TIM HOEY about the band’s journey to leftfield third album Zonoscope.

WHERE ARE THEY NOW? Cut Copy were but one of a handful of electropop bands to emerge from Australia last decade. What happened to all of their friends?

THE PRESETS The arguable kings of the Australian electro-pop roost, The Presets’ sophomore album Apocalypso was one of the biggest records of 2008 – going platinum in Australia and taking home multiple ARIA awards (including Album Of The Year). In the years since, the Sydney duo have toured and vacationed. They are currently recording their third album and it’s scheduled for release in the spring of this year. Little is known as to whether the band have decided to make good on their threats to record something bizarre enough to whittle down their Apocalypso fanbase.

VAN SHE Operating in a similar dialect to In Ghost Colours-era Cut Copy, Van She’s shoegaze-disco hybrid kicked up quite a ruckus from 2005-2008. Following the (admittedly well-received) release of their eponymous debut album at the end of the period, though, things gradually went quiet for the Sydney band. DJ side-project Van She Tech have maintained interest with regular festival appearances and remixes but, outside of a single dropped without fanfare in mid-2010, the band itself have delivered scant new material or performances. The band will be playing Brisbane’s Figjam Festival and Sydney’s Vivid Live, though, and it’s believed they will be showcasing material for a new album.

MIDNIGHT JUGGERNAUTS Melbourne’s Midnight Juggernauts have actually been one of the most consistent acts in their genre. In addition to already delivering a follow-up to their critically acclaimed 2007 debut album Dystopia (in the form of last year’s stupidly-named-butotherwise-exceptional The Crystal Axis) and have spent the rest of their time touring nationally and internationally and running their own label Siberia Records. They’re actually the only band on this list who never went media silent over the past three years.


ut Copy have pulled off three key coup d’états over the course of their ten-year career – each one coinciding with their successive album releases and, like their albums, each one even more impressive than the last. Basically, Cut Copy managed to secure success and acclaim on an international level with their 2004 debut album Bright Like Neon Love and then managed to reinvent their entire sound (twice) and actually secure even greater success (twice) on subsequent records. The band’s stylistic evolution, furthermore, has been, on paper, almost diametrically opposed to greater success and acceptance. Following the riotous electro-rock of Bright Like Neon Love, Cut Copy opted to indulged their affection for classic pop-rock songwriting and shoegazing soundscape textures for 2008’s In Ghost Colours – before effectively disregarding those hooks and layers in favour of the sprawling, abstract spontaneity and hypnotic percussion of this year’s Zonoscope. “Yeah, I guess it sounds kind of like career suicide in a way,” multi-instrumentalist Tim Hoey laughs of the band’s trajectory. “No, I think you have to treat your audience with a lot of respect. They’re not stupid. I think audiences like the idea of bands kind of growing. You know, you definitely don’t want to repeat yourself. You want to be able to challenge yourself and challenge your audience and I’d like to think that, ultimately, you’ll be rewarded for that.”

This is bearing in mind that, from the outset, Cut Copy’s sound has never exactly been in vogue. It’s always been tempting to lump the band’s work in with a wave of other similarly-minded electro artists but, when Bright Like Neon Love originally emerged in 2004, it arrived onto an Australian music scene still enamoured of acts like Jet and The Vines. Their now-legendary label Modular (The Presets, Van She, MSTRKRFT) was still best known for The Avalanches and The Living End. By the time electro was launched into the public consciousness, Cut Copy were no longer really affiliated with it. In Ghost Colours did managed to top the Australian charts following its release in 2008 (and break through to the charts in other territories like the US and UK) but its contemplative textures were somewhat removed from acts like The Presets. The dance-friendly Zonoscope has actually arrived in a world more in love with indie-folk than electro. “It’s been a bit funny, really,” Hoey muses. “I guess when we first started out, more electronic-based music was kind of sidelined and more rock-oriented music was very much in vogue. You know, people were really into bands like Jet and Wolfmother. The Vines were really kind of everywhere. It was really tough for


“I love putting on a record, being really confused by it and then wanting to listen to it more – and that was maybe the key ambition of this record for us.” us to get on festival bills or to get on the radio – but before we knew it, there seemed to be this collective of likeminded artists making electronic music. “You know, it seemed to all of a sudden crossover into a more kind of mainstream culture of popular music,” the multi-instrumentalist reflects – still clearly bemused by the sudden transition. “I’d like to just put it down to those bands releasing good records, though, as opposed to being just some flash in the pan thing. You know, I kind of hope our albums, and others from this whole kind of movement, will still be listened to and thought about for years to come.” To re-emphasise – Cut Copy have actually been quite successful throughout these circumstances. One would presume that a band with such a profound gift for evading the zeitgeist would have floundered after their debut album but each release has brought Cut Copy greater recognition. Zonoscope actually broke through to the Top 50 Billboard Charts in the United States following its release (peaking at #46) while also performing well in Australia, Canada, Ireland and England. “You know, I think everybody measures success differently,” Hoey reflects carefully. “We feel very blessed that we’ve been able to take our music around the world and put on shows around the world. We certainly don’t want to take that for granted. At the same time, though, we don’t really want to rest on your laurels and think, ‘Okay, we’re a successful band now’ – you know, I’m not even sure what that means. “I think we’re pretty down-to-earth people. There’s no ego in this band whatsoever,” the multi-instrumentalist elaborates. “We’re basically a bunch of friends who enjoy hanging out with one another and love making music together. We don’t ever consider ourselves pop stars in that regard. We’re music nerds and lovers of music. We don’t see ourselves as being any different to the people who listen to our music. I am a huge music nerd. I love fanning out with bands.”

The band’s greatest coup, however, has not taken place over the course of an album cycle but rather their entire career. Over the past ten years, Cut Copy have managed the near-impossible task of successfully transitioning from a successful electro-pop project with a penchant for soundtracking parties, clubs and festivals into a widely respected musical ensemble of artistic and intellectual resonance – equally respected by critics, peers and party-goers alike. “Like I said, I think everyone measures success differently. Personally, I feel we still have so much more to say as a band,” Hoey offers of the band’s ambitions. “We really like the idea of building like a career of records and going through all different kind of phases and different kinds of records. I think someone like Brian Eno or David Bowie is a good person to base your career off – or a band like Sonic Youth.

around. He knew I played a little bit of guitar, so we added all of this guitar and bass and stuff to all of this other stuff that was done inside of a computer. “He took that to Paris, got it mixed and all of a sudden we had an album and had all of these shows,” the multi-instrumentalist continues – retro-actively incredulous. “In the beginning, I didn’t even know we were going to play more than one show. I was at art school and I was concentrating on that but it just kind of snowballed. We just kept on moving onto the next record and the next set of ideas and now it’s just become this full-time proposition.” All of which contrasts heavily with the philosophies of the band who recently delivered Zonoscope, and with Zonoscope itself. Constructed under the microscope of documentary cameras over the course of 2010, the band’s third album is a meticulously orchestrated deconstruction of their own sonic hallmarks – subverting the densely layered synths and melancholic pop of In Ghost Colours via sprawling and unpredictable percussive raves and solitary, hypnotic melodies. While still comprised of largely the same members (sans Bennett Foddy who, absent since 2004, was finally replaced by Ben Browning in 2010) and still indebted to electronic pop music, the band are nevertheless an entirely different outfit. Unconventional numbers like 15-minute closer Sun God are indicative of an ensemble no longer concerned with making pop-dance music but something of far greater resonance. Again, though, they’ve never been more successful – critically, commercially or artistically.

“You know, those artists who went through all these different phases over the course of their career – all of these different records. Some phases people really liked and some phases people didn’t like at all but, if you look over their career as a whole, it’s a really comprehensive kind of body of work. I think we’d like to be thought of in a similar way in times to come.”

“I think if you’re always honest with what you’re doing with your music, you will always find an audience with it. I guess that’s what our intention is every time we release a record,” Hoey muses. “We kind of placed a lot of pressure on ourselves creatively. We wanted to be a bit more ambitious with this record. I guess with each record you hone your craft a bit more and bring everything you learned from the previous one but it’s very much about stripping it all down and starting again.

In actual fact, the band began in 2001 as a solo dance music project for DJ and songwriter Dan Whitford. It wasn’t until after the release of debut EP I Thought Of Numbers (released the same year) that the band expanded to include additional members Mitchell Scott, Bennett Foddy and Hoey in 2003. When initially recruited by Whitford, Hoey wasn’t even sure exactly what he was being asked to do for the project.

“Like, for this record, we liked the idea of it revealing itself over time. It’s not this instant slap in the face. We all love records that gradually reveal themselves over multiple listens – where you hear something new in it each time. I love putting on a record, being really confused by it and then wanting to listen to it more – and that was maybe the key ambition of this record for us.”

“I’m not even sure what my expectations were – I didn’t even know we were going to be a band. I didn’t know what we were doing,” he recalls. “Dan had started Cut Copy and released a kind of sample-based, studioproducer kind of recording and he started writing Bright Like Neon Love and he just asked me to come

WHO: Cut Copy WHAT: Zonoscope (Modular/Universal) WHERE & WHEN: The Tivoli Thursday May 19


RED LETTER LIFE Though the concoction of pop punk-meets-metalcore originally spearheaded by the group is now aped by countless imitators, A DAY TO REMEMBER remains on top of the pile. Guitarist KEVIN SKAFF gives a handful of brief but polite responses to LOCHLAN WATT.


011 has been going great, and I’m excited to see what the rest of the year is like,” offers Skaff with mild enthusiasm. The last interview in a line of many for the day, he sounds a little tired, and could probably think of more exciting things to talk about than his band. Though he surely can’t be blamed – A Day To Remember has become a cultural phenomenon that seemingly every kid and his or her dog wants a piece of. This notion is one that has simply skyrocketed since the release of What Separates Me From You in November last year. The band’s fourth album, it’s in fact the first to feature Skaff in his role of lead guitarist, backing vocalist and occasional contributor of keyboards to the group’s infectious anthems. Formerly a member of post-hardcore labelmates Four Letter Lie, the guitarist left his prior group in favour of joining the ever-rising pop-mosh giants. He admits if it weren’t for the vacancy that rose within the ranks of A Day To Remember, he would have

gone back to school anyway “to become a history teacher”, and recalls the story of how the pieces the fell into place back in mid-2009. “Tom [Denny], the original guitarist – he broke his wrist and they were kind of scrambling for a last minute replacement for a European tour, and I hit up Josh [Woodard – bass] asking them if they needed somebody, because one of my friends from Florida said, ‘Hey, are you doing anything?’ and he was like, ‘Do you want to fill in?’ So I talked to Josh, and I ended up learning 14 songs overnight then flew to Europe the next day and played a show. Then after that, I did another tour where I filled in, and that was the tour where Tom left, and they just asked me to be in the band.” The rest is history, and although Denny left to focus on his marriage, starting a family and working in his recording studio, he still remains an important member of the group when it comes to the writing process. Responding to the question of Denny’s contributions to the latest album, Skaff confirms that, “he had a pretty good amount. We were all coming up with ideas, and we would all bring them into the room together and pick apart from each idea. We would do just demo stuff. We would record it and bring it to a practice. A lot of his stuff made it on. We’ll be doing the same thing for the new album too – he’ll be a part of it.” So has work on a new album begun already? “Yeah, we actually have,” he responds. “We have as many ideas for the next album already as we did for the last album completely, so we’re going to have many ideas to work with on this album,” Skaff going on to add that at this stage of the game Denny will “always be there” when the band’s jamming out new hits. But what would happen if Denny’s marriage soured, or if he got bored of sitting in the producer’s chair, or just wanted back into his original baby on a full-time basis? “I don’t know man, I don’t know what would happen.” Skaff laughs, “We could do a Foo Fighter’s thing where we just add a third guitar player. But yeah, I don’t know. He seems really happy at home with his wife and his studio, so I don’t know. Something would have to happen I guess.” Despite the abundance of creative input, the guitarist is quick to say that a follow up to What Separates Me From You is a little while off yet. “We haven’t really been thinking about that really, just because the new album’s still pretty fresh. We’re mostly concentrating on what we’re going to be doing tour wise.” The latest in a string of many successful film clips from the group, the clip for their latest single All I Want features dozens of high profile guest appearances from many of the band’s contemporaries, and curiously, generally more metal peers that perhaps attract more respect in underground circles – members of The Red Chord, The Acacia Strain, Trivium, Parkway Drive and more appear alongside members of Fall Out Boy and Andrew WK. Given the touring lifestyles of the clips guests, how on earth did this work logistically? “Well we had our videographer Drew Rudd, who did this video, and he really probably got about 100 thousand miles on his account, because he flew to almost all of them,” Skaff recalls. “Some of them, like Pete Wentz and stuff, they had their own videographers, where they just did it and sent it to Drew, but for the most part Drew flew around and got a lot of those bands. He was pretty tired after that video was done.” Doing their part to support International Record Store Day in April just passed, the band released a limited edition 7” of that single. It leads to the question – will such an event actually help the ailing retail music industry in the long run? Skaff’s response is simple: “I don’t know. The music industry changes so much, so quick,” citing Napster, MySpace, and torrents as the main catalysts, “that it’s really hard to predict where anything is going to go, period. I mean when we did a Record Store Day signing, there was a ton of people there at the record store, so maybe it’s just for that bit but hopefully they stick around, I don’t know.” And what of his personal music purchasing habits? Does Skaff still buy records himself? “I do, but I buy them on iTunes. I don’t really have time to get out all that much.” Following a time where a large portion of the label’s established bands – Darkest Hour, Earth Crisis, and Between The Buried And Me to name a few – called them out and/or jumped ship, Skaff maintains that the relationship with Victory Records is extremely satisfactory for A Day To Remember, and isn’t aware of how many more releases they are contracted to. “Yeah, they’re awesome,” he gushes. “They’re the only label that really believed we were worth a shit. They were the only ones that took a chance. I’ve heard Jeremy [McKinnon – vocals] tell this story a million times – if Victory had never picked up A Day To Remember, A Day To Remember was definitely going to break up. So they’ve been there since nearly day one, and they’re awesome.” The upcoming Australian run sees the group headlining over Underoath, undeniably a more established band. But that’s just the way the cookie crumbles, and as Skaff explains this isn’t the first time this “crazy” situation has happened. “We just did a headliner over in America with Underoath as direct support. Underoath has been one of my favorite bands for a really long time, so it was crazy when I heard that they were going to come on tour with us. They’re amazing dudes, an awesome band, so I’m really excited to do it again over in Australia.”

WHO: A Day To Remember WHAT: What Separates Me From You (Victory/Riot) WHERE & WHEN: The Tivoli Sunday May 15 and

Wednesday May 18, Coolangatta Hotel Tuesday May 17



EXPECTING THE UNEXPECTED The more things change, the more they stay the same for PARKWAY DRIVE – the unassuming Byron Bay group that is undoubtedly Australia’s prime metal/hardcore export. Vocalist WINSTON McCALL catches up with LOCHLAN WATT.

the same answer: we have no idea. It could completely implode or it could do the opposite and explode. There’s always things we have to worry about, but we do what we do and every surprise that happens is something else to say, ‘Wow, didn’t see that one coming!’” But what if the tables were to turn? What if all of a sudden they were not the biggest metalcore band on the planet anymore and, much like their influences, their tour slots began to fall down a peg or two? “It comes down to the way we feel about playing music,” McCall muses. “I think it would be one thing to call it off if we were like, ‘Fuck, this sucks, I hate playing under a younger band’, or we’ve become jaded and generally just don’t want to play the music anymore. But if we’re still psyched on writing music, and that happens, and people decide they don’t like us anymore, I can’t see any reason why we wouldn’t continue doing what we do. It just comes down to personal feeling. We never really started this band to get popular in the first place. The reality is we get to play these crazy shows here to however many people, but we also still play a lot of smaller shows overseas. We’re not completely immune to playing smaller shows. It’s definitely something we still enjoy.” Speaking of crazy shows here, the band’s next Australian run is something a little bit different to the sort of bills the band has typically been seen on. Though both Bleeding Through and pop rockers You Me At Six pulled the pin on the Mix N Mash Tour since this interview took place, the fact that it is their own brainchild stays the same.


e’re in the lucky position where it is too hard to pick an individual tour because they have all been amazing,” responds the chatty singer to choosing a favorite leg from their last year of touring. The band has been busier than ever, headlining tours to huge sold out rooms on almost every continent. “It just seems like everything since Deep Blue has been released,” referring to the group’s third studio album released in June last year, “has been magnified tenfold all of a sudden. It’s kind of hard to pick that kind of thing. The Australian release tour was pretty ridiculous, because it was just fucking ridiculous... the headlining tours in Europe were insane, the last tour in the States was insane, Warped was insane.” These days Parkway consistently headline over international bands that they once covered the songs


of to 50 kids in their hometown, such as Unearth and Bleeding Through. It’s comforting to know that no matter how big the crowds get, the attitude of McCall and his bandmates has not changed, and does not look to be changing anytime soon. They take it as it comes, and such widespread notoriety to the point of full-on hero worship was never a part of the plan. “It’s the same thing as always. It seems like every step up that this band takes, we end up even more confused. It’s not a case of being humble or anything like that,” he pauses, “but I appreciate the fact that people say that, and I generally try and be that person, but at the same time it’s really confusing. It doesn’t really make sense. You saw some of our first shows at Mary Street – there’s no way any of us could have predicted that this would happen. I still get asked this question – ‘Where could it go?’ And I’ve been answering it for like literally three years with

“Pretty much everything generally comes down to our decision in the end, which is nice,” McCall offers with a slight laugh. “The idea was to have a line-up that basically was different. There’s so many tours these days where you hear the same carbon copy bands, the same five bands in a row playing breakdowns. That’s not the kind of stuff we grew up on. We grew up getting one band every six months, and hopefully they’d brought a support band most of the time, and they’d usually sound completely different, and you got to broaden your horizons in some way or another. I’m sure most people out there don’t just listen to one specific band and that’s it.” Although he admits the reaction to the tour has been “controversial”, the apparent stagnation of bands that play breakdowns generally only ever touring with other bands that play breakdowns seems to have reached an all-time high, and McCall hopes that the tour proves to be successful enough to warrant similar endeavours in the future.

“The idea was to hopefully break down,” he pauses with a chuckle, “that kind of wall in a way. Like I said, these days it seems like you have to tour with a band that sounds really similar to what you sound like. It seems to have become a full-on saturation of really specified genres and shows. I’m not really a fan of labels and genre qualifications, and all the crap that kids seem to have to subscribe to. If we can help people change their minds it would help open up the doors to a hell of a lot of bands we’d like to tour with in the future.” Revealing that writing for the fourth album began as soon as Deep Blue was done, McCall divulges that he’s come up with some ideas for his next lyrical concept. “It is a concept but it’s definitely not a concept in the same way that Deep Blue was. It’s not a narrative or anything like that. I think the idea so far that I’m going to run with is a hell of a lot more personal. It kind of runs in conjunction with the starting of a new DVD on the next Australian tour. It’s basically going to be our life for a year, and a hell of a lot more in-depth than the last DVD got to.” He admits it’s a little difficult to reveal all the finer details at the present time, but dismisses the idea that it’s going to be a collection of songs with generic ‘life on the road’ lyrics. “It won’t necessarily be ‘we were here, and now we’re here, and now I feel sad and miss home’ or whatever, but specific points in time within my existence that make me inspired to write a specific song,” McCall reveals. “The inspiration behind that song, and hopefully the images – because we have the filming going on – that inspired that film in the first place. So yeah, people can grasp what goes on in my head when I’m writing something in the first place.” As always, McCall gives credit where it is due. “I think the reality is, and people understand from the last DVD, is that they’re the ones behind it, they’re the engine that has pushed this whole bizarre musical experience off the tracks to the degree it has. I think if people can get to experience what that entails for us personally, then I guess that’s kind of the idea behind it.”

WHO: Parkway Drive WHERE & WHEN: Brisbane

Riverstage Wednesday May 18, Byron Bay High School Thursday May 19


LOOKING BACK GARY NUMAN has always been a true pioneer of both electronic music and popular culture at large. MATT O’NEILL catches up with the veteran to ask why he’s finally decided to indulge nostalgia with his upcoming Pleasure Principle tour.

This is ignoring the influence he had beyond popular music. Numan’s post-human, technologically-driven themes and compositions would prove a seminal influence on the development of industrial-rock while his image-driven performances and aesthetics (actual name: Gary Webb) would prove influential on the developing goth sub-cultures. Basically, Numan was one of the first pop musicians to elaborate on David Bowie’s career of innovation. “I’m definitely surprised by it all. It’s certainly very flattering. I’m not going to knock it,” the musician reflects. “My career’s been quite weird, really. It started out really well, I went number one with that album and it was really cool and then, for a long, long time, it was really, really shit. I was effectively dead and buried for the decade after I was number one. I truly thought I was finished. I mean, even the press had stopped writing about me. I thought I was over.


nowledge of Gary Numan’s contributions to popular culture is not widely dispersed. Fragments of recognition exist throughout pop culture but, for the most part, audiences are unaware of the true scope of Numan’s influence over the entire spectrum of popular music. Some people may remember him for his guest appearances on cult comedy The Mighty Boosh, others might recall his 1979 breakthrough hit Cars – some may just know him through celebrity followers like Trent Reznor.

It isn’t exactly a surprising legacy. While greatly respected by peers, critics and historians, Numan has not delivered a charting single outside of the UK since 1985’s collaborative single with jazz keyboardist Bill Sharpe, Change Your Mind, and hasn’t released an album of original material since 2006’s Jagged (which itself arrived six years after his previous effort, 2000’s Pure). Until two years ago, he hadn’t toured Australia in 28 years. “Yeah…How can I put this kindly? I’m lazy,” a somewhat abashed Numan laughs. “The gap between my most recent albums has gotten to such a stupid level that even I’m deeply embarrassed by it. I actually planned to do two albums recently, because I don’t


“You know, I couldn’t give concert tickets away, I was playing smaller and smaller venues – ‘more selective audiences’, we called it – and then they just stopped writing about me altogether. They weren’t even slagging me off anymore,” Numan laughs. “Then, around 1991, something happened. I’m not sure whether I hit a different creative patch or it had something to do with the massive musical change going on around the world – but things started looking up.” feel I’ve released anywhere near as much music as I should, but, getting two albums out, I’ve taken even longer and still haven’t released anything. They both should have been out at least year ago, really.” Still, it’s no exaggeration to describe Numan as one of the most influential figures in popular music history. Released in 1979, Numan’s debut solo album The Pleasure Principle was one of the first albums in history to simultaneously introduce electronic synthesis, aesthetics and dance music into popular culture. Prior to its release, synthesisers and electronics were used by artistic visionaries (Bowie), noise-punks (Suicide) or composers (Stockhausen). After The Pleasure Principle…? Aside from defining the popular sound of practically an entire decade, synthesisers and dance music have been the foundation of popular artists in every decade since Numan’s initial advent. Madonna, Kylie, Britney, Gaga and countless also-rans have built their careers on Numan’s foundation. It’d be foolish to attribute the sound solely to Numan (Donna Summer and A Flock of Seagulls executed similar coups in 1979), but there’s no denying his influence: Numan made synthesisers cool.

Why is this knowledge not widely dispersed? Put simply, Numan never stayed still long enough for audiences to come to grips with his work. He released one more album in the style of The Pleasure Principle (1980’s Telekon) before rapidly transitioning away from everything that initially awarded him success. Subsequent records would see Numan transition through jazz, experimentalism, punk and other genres before finally settling into an industrial-metal groove in the 90s and noughties. “I’m always really excited by what I’m doing next – that’s the way I’ve always been,” Numan explains. “I’m really excited by what I’m doing tomorrow and I’m not all that bothered about what I did yesterday. The whole nostalgia thing is a bit of a weird thing for me. If other people didn’t remind me to do those sorts of things, I’d probably never have anything to do with any of it. I appreciate what I’ve done and how people regard it but I’m just not that focused on it. “Somebody actually said to me recently, ‘You know, you really should learn to enjoy what you’ve done and stop turning your back on it – it’s a good thing and you should be proud of it’, but it’s never been a

question of being proud,” the musician clarifies. “It’s been a question of interest. Are you interested? Are you passionate? Are you passionate about what you’re doing now? Or are you interested in what you did in the past? Those are the questions I always ask myself.” It’s only been in the past year that Numan has actually decided to revisit his most famous release. The 30th anniversary of The Pleasure Principle has convinced the pioneer to briefly acknowledge his legacy by performing a series of shows devoted to showcasing the record in its entirety. Uniquely, the record will be performed on the original equipment. Numan never stopped performing hits like Cars but he only ever did so in the industrial-metal crunch of his recent releases. “When the 30th anniversary of the record rolled around in 2009, I actually planned just one show here in Manchester,” he explains. “But that became a tour, that tour went to the UK and then America and now Australia. I have to be honest, even though it will never be my favourite thing to do, it has been a lot more enjoyable than I thought it would be. I’ve learned to be proud of the album. I didn’t listen to that album for about 30 years. “I’d actually kind of dismissed it slightly. When I started to learn the songs again and play it live, I actually began to appreciate it,” Numan admits cautiously. “It is a quirky, peculiar little album. The song structures are very odd – songs without vocal choruses, that sort of thing – and it’s just a very strangely put together kind of record. I appreciate it a lot more now so going out and playing it live is not such a bad thing.” This, however, will be Numan’s last dance with nostalgia for a considerable amount of time. Having well and truly revisited his past for once, the musician is more anxious than ever to progress into the future again. He’s just put the finishing touches on his Dead Son Rising mini-album (due out in July) and is currently aiming for an early 2011 release for his long-awaited Splinter album – even if he still has doubts about the timeline. “Well, I’ve just got to finish the vocals for two songs on Dead Son Rising and I’ll be done,” he says hopefully. “I do have to get everything for the other one done by September, though. I don’t know how I’ll go with that…”

WHO: Gary Numan WHERE & WHEN: The Tivoli Thursday May 12


TAKIN’ IT EASY ALEX LLOYD recalls how he came to count the legendary Western Australian Pigram Brothers as family due to the intervention of MAD BASTARDS. He captivates TYLER McLOUGHLAN with his Boy’s Own tales from Australia’s back country.

“Brendan would come back from Broome and tell me these tales of going fishing and hunting and show me pictures of the landscapes and communities and it all looked really intriguing and exciting for him. I was happy for him and kind of a little bit jealous,” he laughs. “So then he gave me the opportunity to go and do it myself – it was mind-blowing, completely mindblowing. I don’t know if it’s because the earth up there is so rich in minerals… it kind of gives you energy. I don’t know if it’s that or it’s the soul of the place but to write up there, especially from a poetry point of view, it’s just really easy – it kind of flows through you if you just let it be. That’s something I learnt from the Pigram Brothers – to be on Broome time.” From both the perspective of his songwriting and his life outlook in general, his experiences with the Pigram Brothers have caused a shift in Lloyd’s psyche, particularly as he completes the preparatory work for his sixth studio album. “The last few weeks I’ve started thinking about putting together another Alex Lloyd record and I did all these demos with loads of production. And I just stripped them all back just to the vocal and the guitar and they work so much better,” he admits with a relieved sigh. “That’s where my soul’s at at the moment and it’s really from working with these guys and appreciating how much less is more.”


n paper the musical partnership of Alex Lloyd, ARIA award winning writer of Amazing, with Broome brothers Alan and Stephen Pigram, renowned for their unique blend of calypso/ roots ‘saltwater love songs’, rouses intrigue for its implausibility. When considering that the partnership was born to musically communicate a story set in remote northern Australia in the context of family breakdowns, violence and alcohol abuse, it seems even more unlikely for a self-confessed city boy from Balmain. In reality, the encounters that led to Lloyd’s involvement in the soundtrack for new Australian feature film Mad Bastards have been over a decade in the making. Lloyd vividly recalls meeting his close friend, the film’s writer and director Brendan Fletcher, and his many extensive research missions to the Kimberly over a four-year period. “Brendan the director is a really good mate of mine and we met each other back in the day when I was in Mother Hubbard, which was like in ‘95/’96-ish. He was a lighting guy on one of the filmclips with aspirations to be a director


at the time, and as my career grew, his career grew,” Lloyd begins. “He’s very, very good at capturing people and their realness and I guess that’s why this project took so long, because he was casting non-actors. That was a long process and at the same time he was writing the script. He was very insistent from the beginning that if I was to be involved that I’d have to come out there and work with the Pigram Brothers and travel with them. “We did so many thousands of kilometers back and forth across the Kimberley, going to different Aboriginal communities and meeting traditional landowners and casting the film essentially. And in that way the idea of the script shaped the music, but then the music helped shaped the script as well. They worked together hand in hand and I think that comes across when you see the film.” The people of the region and their way of living have long intrigued Fletcher, and as his friendship with Lloyd grew, he imparted the joy of his visits.

Lloyd spent a great part of each trip with the Pigrams exploring the land and water by way of small planes and boats. The adventures became direct fodder for the selection of music written for Mad Bastards. “One of the traditional land owners from Wyndham took me out to a boab prison tree. I wrote a lyric about it actually. It’s a song that didn’t make it into the film – “the boab trees, they stand like curvy shapely women waiting on the land for the tears that fall from heaven”. It only rains there a certain time of the year and then it stops – there’s a wet season and there’s a dry season,” he explains with the patient familiarity of a local. “These trees stand there and they shed themselves of all their leaves and flowers until the wet season. They’re huge, enormous trees and they used to pile the Aboriginal prisoners into these trees… That was pretty intense and kind of special in a way to be shown that from a different point of view.” With so many new places, colours, perspectives and emotions filling his senses, Lloyd’s songwriting flourished. “It’s such an inspirational place and maybe also due to the fact that it’s a place that I’m not familiar with –

it’s a very foreign place. It’s very beautiful and harsh. Poetry and words and music seem to float through the air and they just come into your soul. I don’t mean to sound too airy fairy but it’s so true – I’m a different person there,” he says, remarking on the volume of material they had to whittle down for the film. “At the end of the day it was Brendan’s decision as director of the film as to what stayed and what went… He’s a fantastic A&R guy for a film director!” Whilst the release of a soundtrack for Mad Bastards was always a given, touring the music wasn’t a part of the plan until a special promotional performance at the film’s international debut for Sundance Film Festival went exceedingly well. “We hadn’t planned to do any touring in Australia but decided on the basis of the reception in America that we should, that it was something worth doing. Some of those other songs might make an appearance in the set in the live shows and eventually maybe we will get around to recording them too, but things take time; we’re on Broome time,” he says seriously, noting how fully he has embraced the ideology of allowing life and music to evolve at its natural pace. “I’m appreciating at the moment just letting things be and come when they come.” Having now performed around two dozen overseas shows spruiking Music For Mad Bastards, countless more were played to small crowds in intimate campfire sessions during the making of the film, and Lloyd is animated as he speaks of sharing this with his home country. “I’ve seen people sit on the floor before!” Lloyd chuckles when imagining The Zoo in a rare seated mode. “We wanted to keep a kind of theatre vibe, but small and intimate, so you feel a bit like you’re hanging out with the Piggies by the campfire. “I’m really excited for Australia, for the people that will come and see these shows just to hear the Pigram Brothers’ music and experience because it’s a really unique sound and I think it takes from some really beautiful styles of music that you don’t hear that often. It’s really something that I think would be quite exciting if you hear it for the first time.”

WHO: Alex Lloyd & The Pigram Brothers WHAT: Music For Mad Bastards (MGM) WHERE & WHEN: The Zoo Thursday May 19


ADRIFT IN NOISE With their fans including noise artiste Lawrence English and founder of Kranky Records Bruce Adams, dissonant noise merchants NO ANCHOR have been relentless in their death march towards world domination. BRENDAN TELFORD catches up with all three members of the band to discuss their disparate fanbase and the “virtues” of small country towns.

It’s just this weird anomaly that we have where there is something in our music that people can latch on to, even if it’s something they aren’t necessarily akin to.” In fact, No Anchor are intent on blurring the lines on what should be accepted within the boundaries of the genre they are placed in. “My personal opinion is that we write basic pop songs and cover them up with massive amounts of distortion and volume and randomness!” Gillies muses with a smirk. “When you pull it all apart there is a constant beat there, there is something you could click your fingers to.” “The thing is that we don’t fit into a metal community,” Rogers adds. “We aren’t overly workmanlike; we aren’t interested in being technically proficient or are hammering on about a billion different things at once. If we were just in a metal community they’d fucking hate us!” The first milestone of this new chapter is the release of the band’s third album (and the first as a trio) Real Pain Supernova, a monster double album that is overflowing with vitriol, menace and atmosphere. The idea of releasing Real Pain Supernova as a double album was a prospect that provoked a lot of debate within the band.


o Anchor have been wowing audiences both in their hometown of Brisbane and much further afield with their rough energy and their propensity to skew various metal tropes in order to create their own brand of noise rock. Starting out as a duo that consisted of Ian Rogers (bass) and Alex Gillies (drums), the inclusion of another bass guitar to the ranks in the form of Donnie Miller last year has served to flesh out their sound, allowing them to relentlessly up the ante whilst also providing a much broader aesthetic for them to experiment with. And whilst the idea of a guitarless noise band may sound like an aberration, the band is quick to asset that theirs is a privileged position to be in. “Based on the fact that all of us have played in more indie rock bands before now, we’ve all been a part of that scene, so our stuff gets a lot more attention than if we were coming at it from a purely metal angle,” Miller


says. “So we are lucky in a sense to have that initial touchstone for people. On the other end of the spectrum, because of our sound and how we perform, people who support heavy metal might come watch us play. So in that respect I can’t say we have struggled in that way.” “It took me a while to reconcile our popularity too, because whilst we are writing original songs, we are not rewriting any books whatsoever,” Gillies asserts. “It took a while for me to be okay with the idea that there is no-one else in Brisbane doing what we do. If we were from Melbourne or somewhere with a different musical landscape it might be a different story, but here no-one does this kind of music. So we cross genres – we can go play with an indie band, where people will see us as a heavier version of what they like, then go to Burst City with the crusty punks, and they might see us as a heavier version of what they like, yet it’s not the same thing.

“We were touring before we started recording, and I was drunk in the back of a cab going somewhere, and I thought that the new album should be a double album,” Miller said. “Then I forgot about it. Then we went and recorded a whole bunch of songs and ideas over a seven month period – it was a long time! It was the first record I’d done [Miller recorded the album] and, along with gear limitations, it took a long while to piece it all together. If we did it all again now, it would take half the time. There were a lot of technical factors that made it hard to get together – we are all shift workers, you know? We couldn’t book a studio or anything. We had a lot of fun doing it, we continued on with our lives, and at the end of it we had 75 minutes of music, and I didn’t want to record anymore! (laughs)” “I really could not believe they were considering [vinyl],” Rogers shakes his head. “I thought they were idiots, that they thought we could put one album out, let alone two. When that was thrown out, that was like shutdown. I was like, ‘Well shit, let’s just put out ten thousand! Let’s put it out stamped into gold bars...’ But they were right and I was wrong (laughs).” “It was also the first time that we had three people with different ideas as opposed to two,” Gillies continued. “It was pretty hard to work out what to

do, to create a working template, apart from that of Lightning Bolt, and with the two of us so much of our stuff was unspoken because of that. Unless both of us wanted to do something, it didn’t happen. If one of us went, ‘I don’t wanna do that’, that was it, end of discussion – half the band has already thrown the idea out the window. With Donnie on board, there was this influx of ideas that was really exciting.” As if being a double album put out in a physical format by a local band wasn’t a novel enough premise, Real Pain Supernova has three different coloured album sleeves and was also available as a deluxe edition which included an original woodcut of the cover art by Gillies and a T-shirt (which has already sold out). “We wanted to make the release special,” Gillies continues. “We did the deluxe because we wanted to, because it was a fun thing to do. When you go to so much trouble to make a tactile document like a double LP then why not go all out? It just feels nice to make something that people can play with.” All of this aside, any album comes down to the music being made, and the band is divided on what aspects of Real Pain Supernova stands out. “I think we all like different things,” Miller maintains. “I personally love lots of distortion and feedback, really abrasive stuff that goes for a long time. Alex and Ian are more for the punchier stuff, I’m just not made up that way. I love playing them though – they really split everything up.” The crowning glory on the album is the sprawling epic Gatton Bohemia, a track that Rogers thinks is the best thing they’ve ever done. “It was the first song we ever wrote with Donnie, and it just holds it all in there,” he offers. “It could be split into three different songs, but as a whole works so well. It’s fast in parts, it’s droney in others, it swings the whole way. It has all the things I like to play and sing... And it’s about Gatton too. There aren’t enough songs about Gatton. I think Lee Kernaghan did one about girls from Gatton...maybe we should cover that!”

WHO: No Anchor WHAT: Real Pain Supernova (Independent) WHERE & WHEN: Woodland Friday May 13, Tym Guitars Sunday May 22 (2pm)




They don’t rate our brew too highly, but hard-partying, pirate-loving Scottish power/folk metallers ALESTORM are delighted to be kicking off their worldwide shindig in these ‘ere parts. BRENDAN CRABB shares a pint with frontman CHRISTOPHER BOWES.

Californian band SUICIDAL TENDENCIES, the undeniable fathers of crossover thrash, absolutely love Australia, and as vocalist MIKE MUIR reveals to LOCHLAN WATT, they have some ambitious plans for this great southern land.

Reputations can be tricky though, especially when a band wants to break the mould – albeit only slightly, as on new album Back Through Time, their third full-length. Australia will get a live sneak preview before the record’s release in June. “We varied our lyrics a bit on this album,” Bowes enthuses. “The title track is about pirates going back in time to kill the Vikings. [There are] songs about going places and killing people,” he laughs. “See the world and kill everybody – that’s kind of the theme of the album.” They also attempted to freshen up things from a musical perspective, while retaining the beloved elements.


’ll be honest with you – your stuff isn’t the best,” Bowes muses when quizzed about the comparative quality of Australian beer. “It gets the job done though; it gets you drunk. It’s all good there – I don’t want to offend anybody,” the keytar-sporting vocalist quickly adds with a laugh. Which nation stands out as the best then? “Belgians do good beer; it’s mostly ten percent alcohol and gets you pissed very quickly.” Since the release of debut album Captain Morgan’s Revenge in 2008, the quartet has established a reputation as a raucous, booze-swilling bunch. This is still definitely the case, but Bowes says they keep it in check somewhat. “We try not to have more than a beer or two before going on. Some of the songs are difficult to play live and we try to be good boys,” he laughs. “We are professionals in some sense of the word. We get pissed afterwards; we love to party. We’re not making grand artistic statements; it’s all about great party music for us. Come to the shows, get drunk and get naked – the naked part is optional.” Love of a wild party aside, Alestorm is renowned for their pirate-themed subject matter. Fans have embraced this wholeheartedly, wearing all manner of clobber to shows. “We are a bit tired of it,” the frontman says of being tagged a “pirate metal” band. “It gets a bit annoying that people expect us to dress as pirates and tell these stories. We just want to party. I’m open to doing something a bit different on our next album. We just want to have fun and a lot of that fun happens to involve pirates… Pirates are fun guys,” he laughs.


“When we wrote our first album we had never played a live show before and our second album, we had played like 50 shows. So now we’ve played like 500 shows we know what works. It’s more varied; a lot of catchy choruses and headbang-able riffs. There’s a two-second song, blast-beats, a black metal bit – just this random bit where we turn into Dimmu Borgir. “We’ve been told by a number of people it’s a diverse, good album; it’s good not to stagnate your sound. I think our first two albums were kind of the same; maybe next time we’ll do something even more ridiculous. We have to cater to expectations somewhat, but sometimes it’s fun to just throw something out there and see what people think. There’s nothing wrong with experimenting. I think people expect us to play accordions and violins for 45 minutes. We like to surprise people and hope people like it.” Time Off can’t end our conversation without asking Bowes about the keytar and its importance to Alestorm’s live experience. “The keytar is cool because it’s like a guitar, but better,” Bowes chuckles. “Without it, the band wouldn’t be half of what it is. (Otherwise) I’d be stuck at a keyboard and wouldn’t have half the fun; I wouldn’t be able to jump around like I do. It just wouldn’t be as much fun.”

WHO: Alestorm WHERE & WHEN:

The Hi-Fi Thursday May 12


aving made their first visit to our shores all the way back in 1993, 12 years after their initial formation, Suicidal Tendencies have had the tendency to tour Down Under quite regularly. More recent years have seen them play the 2007 installment of the Soundwave Festival, but perhaps of more interest is the gang’s subsequent Australian run in 2009. Though brief, they self-booked a string of shows along the east coast’s most iconic surf towns, playing the Sunshine Coast, Gold Coast, and Byron Bay – all off the back of their own promotional work.

DIY – if you didn’t do anything, nothing would happen. So it wasn’t a philosophy, it was just a necessity.”

So when all was said and done, just how did such an approach work out?

“We’re really not sure when we’re going to put it out, how we’re going to put it out, and what format it would be, but we’re really not worried about it,” says Muir determinedly. “We have so much stuff that it’s not a matter of quantity, it’s a matter of the fact that a lot of it is music that is not going to sound like it’s 2011, and whether or not we put it out in 2011, or 2015, or 2025, it’s still going to sound different to what other people are doing. If we had a really genre-specific record, we’d have to rush it out, but we don’t have to. The other side of it is we’re glad that we did [delay it], because we got a lot of these festivals and opportunities that we wanted to do, and we’re not trying to make it fit in with how we market a record. Everybody has their situations, several of us have young kids, I’ve just been through the losses with family members and stuff like that. You learn a lot from it, you appreciate it, and you realise when you do something you want to do it for the right reason, and not just do it out of a time constraint.”

“It was a very good success,” offers the band’s creator and creative lynchpin Mike ‘Cyco Miko’ Muir. “The one thing that we did when we started off is that we didn’t know what we were doing. If we knew what we were doing we probably wouldn’t have done it. I think that’s the key to success. We basically said, ‘You know what, we’re going to put on the shows ourselves, even though we’ve never done it, and don’t know what it takes’, and we’ll just try and do word of mouth, tell our friends, ask them for some help, and a lot of people came through and gave us a lot of help. We sold out all the shows, and it was just a really, really good atmosphere.” Asked about the notion of ‘DIY’, Muir, also the band’s sole original member, the 48-year-old’s take on the idea leads him to talk more of the band’s history. “Well we’ve done that, you know. Where we came from that’s what we’d do,” he tells. “We put on our first shows in Venice and stuff. We didn’t fit into punk, we didn’t fit into metal, so we had our own ramp parties at our house, and then those got so big that we started renting out places and putting on our own shows. Back then there was no

The release date of the band’s forthcoming studio album, number 12 in fact, has been consistently pushed back since it was originally announced for an early 2010 release. It seems the reason is not a matter of record label, financial or logistical problems at all – it is simply because after all these years, Suicidal Tendencies do what they want, when they want, on their own terms.

WHO: Suicidal Tendencies WHERE & WHEN: The Coolangatta Hotel Thursday May 12, The Hi-Fi Friday May 13


US chanteuse LISSIE was out on the road with Washington this month, supporting her shows on The Tour Of Laughter And Forgetting, and now she’s playing some shows of her own. BEN PREECE jumps on the phone to her on the eve of her first ever Aussie tour.


RE:ENACTMENT have been tinkering away at their debut album for nearly three years. MATT O’NEILL speaks to vocalist JACOB HICKS about the Brisbane electro-punks’ long-awaited Sport. the gigs we’ve played in Sydney and Melbourne have been more like late night club shows – and we found that we really own those club shows when do them.”

recording device and then I hope that someday, when I’m at my house by myself, I’ll play them back and hopefully finish them. I don’t know how that will go. I want to carve out some time to just not make any plans to do anything so I can create a spontaneous environment. It comes when it comes and I have to be ready to capture it.” Lissie’s tale plays out like a fairytale – the girl from the small town moves to the city to be a star. Her unique vocal and charming, down-to-earth demeanour quickly won over fans and, by the time her debut EP emerged in 2009, she was a certified star. Catching A Tiger further entrenched her as an artist to watch, but it’s the second album that Lissie is looking forward to most. “I’m going to try and take an entire month off and try to write,” she reveals. “My roommate, the guy that I live with, is a producer and he’s going to produce my album – he’s a travelling musician, so am I. I couldn’t afford my rent, he needed somewhere to keep his things. We’re never really there at the same time and that’s perfect and he’s built a studio in my office and so I’m going to go back in July and try to be a normal person again and the just take it from there.


ailing all the way from Illinois, Elisabeth Maurus – or Lissie as she’s know to the greater majority – possesses one of those voices which simply commands attention. She’s been dubbed as one of the greatest female vocalists of her generation by BBC and was Paste Magazine’s #1 new solo artist of 2010. Her debut album Catching A Tiger was released overseas in June of 2010, hot on the heels of her Why You Runnin’ EP. While Lissie takes the workload and the endless accolades in her stride, the singer simply can’t wait for some downtime, mainly so she can write some more music. “We were on a three-week tour of Europe, which wasn’t great, but we’ve been on tour for two years so I seem to get more and more anxious for when my tiny two-week breaks come up and I can’t wait,” she explains. “So yeah, it’s nice to be home as I kind of don’t write songs on the road. I come up with little ideas and hum them into a little

“I was a solo artist for a really long time – you know, writing songs since I was a teenager – but I never really knew what my sound was and I didn’t really want to put out anything that was solo. I didn’t want to put out just some persona that was ‘insert singer-songwriter chick’ into this foundation because they can really make girl singer-songwriters sound the same. So I took a while to put out my first album, I was 27 when it came out, but even on the first one, I really had to trust the musicians and the producer to help me find my ‘sound’. So we just jammed, so to speak, and I was, ‘Oh yeah, I like that’ and it rolled like that until I learned that, yes, I did know how to do this. I am so proud of Catching A Tiger and I love it but I am really looking forward to this next record, because now I have a band so now the way I sound live with my band is what album two will sound like.”

WHO: Lissie WHAT: Catching A Tiger (Columbia/Sony) WHERE & WHEN: The Zoo Monday May 16

SWEET AND SOUR Local blues fixtures BLIND LEMON are all set to bring this year’s Brisbane Blues Festival to a massive climactic end this Saturday. Frontman JAMIE SYMONS tells DAN CONDON a bit about thriving in different live environments.

Sport is the arguable culmination of the transformation. The band’s long-gestating debut album will finally be released this month after nearly three years of writing and recording and showcases a markedly different band from the vicious eclectists responsible for Kittens and Regicide. Mixed by Australian heavyweights Burke Reid and Magoo, Sport is adventurous and unpredictable – but also precise, polished and contained.


or a long time, Re:Enactment’s better qualities were a secret understood only by their peers within the Brisbane independent music scene. Formed in 2007, the band’s crudely recorded early EPs (Kittens and Regicide – both released in 2008) were a mess of seemingly-impenetrable stylistic collages. Leftfield electronic processing rubbed shoulders with bass-heavy noise-rock while, somewhere within the cacophony, savvy pop sensibilities did their best to lend form to the chaos. “I’m still really proud of those EPs,” vocalist and guitarist Jacob Hicks reflects of the band’s origins. “I think we accomplished exactly what we wanted to with those recordings. They were kind of everywhere stylistically – but that’s cool. The thing I like most about bands I enjoy is when they do something completely left-ofcentre that really surprises me and I’m reasonably sure the rest of the band feel the same way.” Gradually, though, the band have evolved into a more recognisably brilliant incarnation. Always an electrifying prospect in the live arena, the band have spent the past three years sculpting their unpredictable sound palette into something vaguely approaching a recognisable formula – razor-sharp, post-punk aggression grafted to a backdrop of throbbing electro rhythms punctuated by swirling atmospherics and the occasional leftfield flourish. “There’s not as much guitar in these songs,” Hicks muses. “It’s been really weird because that’s kind of what really filled up our sound until this point. I think we wanted to explore a less dense sound and have a bit more melody. We’ve noticed when we play live now that the gigs aren’t really like rock shows any more. All


“We’ve been kicking around since about ’98, our former guitarist Andrew Baxter started off the band and then I came in,” Symons recounts. “Up until about three years ago the line-up was pretty much the same and then he decided to pack it in. He said ‘Do you want to shut the band down?’; we’d been pushing for six or seven years and I didn’t want to pack it in because we’d done all the hard work establishing ourselves as a blues band. So I took the reins and ever since then it’s jumped up another level.” With this line-up change came a distinct change of sound as well. “Up until Andrew left we were a bit more jazz-based, doing a lot of jazzy blues,” Symons says. “I really like The Black Keys and The White Stripes and Blues Traveller – stuff with a rock side to it – and I like the swampy, dirty, edgy blues. So I just started doing what I wanted to do and directed the band towards that sort of style and it seems to be working.” Given the band are adept at covering a wide variety of different blues styles, this gives them great scope to tailor what they play to individual audiences.

When they hit the Brisbane Blues Festival this Saturday night the band will be closing the show in fine fashion. Expect full throttle rockin’ blues and maybe even a few guest appearances. “We’re gonna try and blow a fuse, try and blow the house fuse if we can,” Symons laughs. “We’re just going to rock it out,” he says. “We will have a couple of guest artists getting up with us throughout the night. I think we might even be doing a two-anda-half hour set, so towards the end we might get a couple of special guest artists up with us.”

WHO: Blind Lemon WHAT: Drinker’s Lament (Independent) WHERE & WHEN: Brisbane Blues Festival @ Tempo Hotel Saturday May 15, Ric’s Bar Sunday May 16, Royal Mail Hotel Saturday May 21, Blues on Broadbeach Festival Friday May 27 – Sunday May 29.

“I’ve got no fucking clue, man. At all,” the vocalist admits with a laugh. “I think that’s the way it’s always been and I hope it continues in that vein. The good thing about music is it’s like the weather – you can try to control it but, ultimately, things just happen and you just have to deal with it. It can be frustrating – it can give you a fucking aneurysm – but, when it all comes together and something happens that you didn’t expect to, I know I feel a lot better about pretty much everything in my life.”

WHO: Re:Enactment WHAT: Sport (Lofly) WHERE & WHEN: Woodland

Bar Saturday May 14

Following a few incarnations and a stint flying the Australian flag at World Expo in Shanghai, HANNAH MACKLIN is ready to take down venues in a single bound with HANNAH MACKLIN & THE MAXWELLS. BENNY DOYLE gets the lowdown on their exciting new album. spin thanks to Macklin’s voice. It’s one of old school soulfulness that recalls the past but it’s delivered with a youthful exuberance that channels directly into the music. Basically, it sounds as if the young Brisbane lass and her band of eight are having a load of fun under the current banner of Hannah Macklin & The Maxwells. Macklin talks about her musical pathway that’s brought her to this present place as astute songwriter and performer.

The band’s latest record, Drinker’s Lament was released midway through last year. While Symons says he doesn’t listen to it often, when he does he has laments of his own.

ou cannot have missed Blind Lemon if you have been a part of the Brisbane music scene over the past couple of years. While they formed back in 1998, it was a decade later that they started to step up their performing habits considerably.

Still, Hicks is quick to emphasise that Sport does not represent any kind of permanent shift for Re:Enactment. Comprising a jazz/funk drummer (Sam Mitchell), former Regurgitator member (keyboardist Shane Rudken), leftfield electronic producer (bassist Jim Grundy) and a drummer turned reluctant frontman (Hicks), Re:Enactment’s entire career has been defined by the juggling of four wildly differing perspectives on music. Hicks is actually unsure of most aspects of Re:Enactment’s future.


“We definitely tailor our sets to wherever we’re playing,” Symons says. “If we’re doing a gig where we’re playing over the top of people eating then we’ll jazz it up if we have to. But if we play at Ric’s then we can edge it up, make it more swampy and edgy; basically turn it up and dumb it down.”

“I don’t put it on that often; we’re moving on to new stuff now,” he says. “I was really happy with the way it went down, though. We had a producer in called Beachy Wild and he did a really good job, giving us little tips here and there about what we should be doing and how we should be attacking certain things, whether it be the singing or the melody or the solos. He got the best out of us. Obviously when you listen back three to six months later, the songs have evolved, so you always think, ‘Gee, we could have done that the way we do it now, we’ve improved it a bit’, but you can only do what you can do at the time.”

“I want people to listen to the album from start-to-finish and I don’t want any filler in there at all. It has to be bam-bam-bam, rewind,” Hicks laughs. “You know, there were heaps of songs that could have been on the album but we really wanted to make sure it was a really wellframed kind of project. I think our greatest weakness before was that we didn’t have a real solid identity in regards to our sound and we kind of wanted to prove to ourselves that we could do it with this album.”


ollowing a shift at GoMA, the Brisbane art gallery where Macklin gains artistic stimulation under the guise of work, the recently graduated performer provides an insight into her life since completing her studies at the Conservatorium and how her musical career is going from strength to strength. “It was the start of 2010, most of us were friends or people that I’d seen playing around a couple of times,” she says, speaking of the formation of her current band, The Maxwells. “So I just asked people that I thought would be really good for the music I was writing. I had a few months of writing a whole new repertoire of songs prior and they were all different to the stuff I’d done before but all of the same genre so it seemed like a new direction, which is why I decided to put The Maxwells together and try a new thing. “Everyone’s been pretty cool to do what I say,” she says sarcastically before laughing at the statement, “No, that sounded terrible, it’s not like that at all – everyone is very much happily along for the ride and the album, I just wanted it to have a physical representation of that. I feel good about it. I think it’s really indicative of where I am presently.” The album, Real World, is a genuine find, with gorgeously-crafted pop tunes given a invigorating

“I was one of those kids that did theatre, so since I was about five or six I’ve been singing and dancing and all that kind of stuff,” she offers. “I was always pretty into it and then I started learning piano when I was four or something so I always had the music influence. Then I got more serious about it at the end of high school and told my parents that I wanted to be, y’know, a rockstar, and they were like, ‘Ohhh, no! No, music is a hobby!’ at first but then I proved I was serious so they were really supportive.” Getting serious has taken Macklin all the way to China where last year she performed for a six-week run at the Australian Pavilion during the World Expo in Shanghai. It was a surprise experience that Macklin still recalls as a great one, driving her to possibly take her music overseas to Europe later this year. “I didn’t apply for it or anything,” she says of the role, “I just received an email last year from someone on the committee of the pavilion saying they wanted me to perform at Shanghai World Expo. The Australian Pavilion really wanted to have heaps of music and performances so they hired an entertainment company in Sydney to seek out performers and musicians. Someone at The Con [Conservatorium] kindly put my name forward and it snowballed from there. I’d never done that much performing in such a small period of time before but it was really great, the crowds were so appreciative and the vibe was really good so it didn’t feel like a job or a chore.”

WHO: Hannah Macklin & The Maxwells WHAT: Real World (Independent) WHERE & WHEN: Old Museum Friday May 13







(New West/Shock)


Real Pain Supernova


Into The Eyes Of Those Who Sleep (Independent)

Sprawling psych rock space jams are awesome. You don’t even need to be on drugs to enjoy them, but it does make them better. Even without the assistance of some good hallucinogens it’s very easy to enjoy Melbourne band The Ovals’ new EP. The freakouts are kept within the bounds of listenability, the lyrics are minimal and Joy Division-y, and the big phasing sweeping instruments and effects trickle out in measured increments. The sound of the EP is clean and well rounded (it wouldn’t suffer from being a bit dirtier) but the creative spark that is holding the band together more than suffices. They’re not taking themselves too seriously either, which can make or break this kind of mushroom music. Refugees is probably the best track, it’s a bit more proggy and the vocals are less Ian Curtissounding, but the whole package is great.


Crawling Up A Landslide (Spunk/EMI)

Leader Cheetah would like you to think that their new material is channelling 70s West Coast Americana, but Crawling Up A Landslide sounds a lot more like white-bread yacht rock with a slide guitarist in the studio by accident. It’s a shame this Adelaide band are veering off into directions that they really don’t seem comfortable with, they were a raw compelling band at one stage with a cool energy and a style that was hard to nail down, but they’ve become another example of middle-of-the-road pop mediocrity. Maybe a lack of venues is making it hard for noisy bands to come into their own in front of audiences, and everyone is spending far too much time in their bedroom studios wanking off instead of getting drunk and making feedback for the sake of it.

Local three-piece No Anchor occupy a once vacant area of the Brisbane music scene, crafting a brand of metal that is as brutal as it is melodic. Such a juxtaposition sees them cutting a starkly original figure on the sonic landscape, and Real Pain Supernova, their third LP (and their first as a trio, Donnie Miller having joined the band last year), is the perfect summation of their sound. A double album behemoth, Real Pain Supernova opens with restraint, the ambient sounds of ironically monikered The End before the obligatory crunch of dirge-like bass guitars takes the breath away, as do the Ian Mackayelike avuncular vocals that precede the abrasive screams. It’s this sense of controlled aggression and muscular musical promiscuity that really makes an impression here – Wolves Bite And Disappear holds down a nitrousinjected blues beat across the breadth of its short running time, the breakneck ebb and flow (and anguishing howls) of Dead Pony, the Shellac-esque chug of the bass that underpins Come Again, also sporting the beautifully juxtaposing vocals of Joanna Nilson from Butcher Birds. Never do you get a sense that these guys are doing anything redundant, the music speaking for itself much louder than just sheer volume or the “novelty” of being a two bass/no guitar band could achieve. Real Pain Supernova is a milestone of an album for No Anchor, who have never sounded more vital. This is perfectly highlighted by pivotal (and fittingly epic) epic track Gatton Bohemia – a song in movements that has the trio showcasing their influences such as Boris, Sunn O))) and Om, then systematically pinning them down and beating them to death with their own instruments. It’s beautiful, harnessing the dark powers of feedback, dirge, sludge and post rock into what is, hands down, the best song about Gatton ever written. This is how it’s done, folks.

The Majestic Silver Strings Buddy Miller, Bill Frisell, Marc Ribot, Greg Leisz –the four names that adorn the cover of The Majestic Silver Strings ought to be reason enough for any fans of innovative guitar work to make a beeline for the checkout with this classy looking digipak in hand. But with such talent on hand, the ultimate question is age old; too many cooks? What makes these players the best doesn’t just lie in their scintillating fretwork, their lively tone and their forward-thinking playing; their ability to complement each other within a song is just as vital. Miller’s tasteful production skills, matched with these incredible players and appearances from the finest voices in country makes this record dazzle from start to finish. The variety of country styles collected so cohesively is astonishing; Tex Owens’ Cattle Call sets the mood well, restrained rolling country painting the picture of scorching isolated dustbowls while No Good Lover is a lively playful rollick, Ann McCrary’s soulful holler casting grit and power. Lefty Frizzell’s I Want To Be With You Always is built around Patty Griffin and Miller’s perfect harmonies, while the angered darkness of Chocolate Genius on Dang Me is a true highlight. Ribot’s laconic vocal on Barres De La Prison is sombre and completely removed from the lively Why Baby Why and tense Bury Me Not On The Lone Prairie. Lee Ann Womack’s tender croon on Meds and Return To Me will melt your heart, God’s Wing’d Horse proves why Miller and wife Julie are simply meant to be and the pathos Emmylou Harris exudes on Why I’m Walkin’ confirms why she’s considered one of the best in the business.


It was nearly 20 years ago that Dave Lowery from Cracker said “What the world needs now is another folk singer like I need a hole in my head”. His words couldn’t ring more true today, especially in Australia where for some reason there’s folk-acoustic-singer-songwriters churning out music quicker than Chinese kids can make Converse sneakers. It’s a real worry when the country’s alternative youth network sounds more conservative than 4KQ Classic Hits. Daniel Lee Kendall contributes an EP’s worth of new material to add to the glut. My Soul The Colosseum stands out for its extra instrumentation, a bit of arrangement and subtlety, all of which is undone by Never Changing, a kickback to Jack Johnson surf acoustic blandness.

★★★ Brendan Telford

★★★★ ½

Dan Condon

Diaper Island (Sub Pop/Inertia)

COSMIC PSYCHOS Glorius Barsteds

(Junkyard/Missing Link)

Aussie underground rock mainstays Cosmic Psychos hold onto their core ethos as tight as they hold onto their stubbies – full stubbies, that is. The Victorians have been putting runs on the board – without necessarily receiving due recognition – for decades without compromise. Now almost 25 years on from their eponymous debut album, Cosmic Psychos are as good as ever on Glorius Barsteds. In the vein of recent predecessors Off Ya Cruet! (2006) and Dung Australia (2007), the trio admirably continue to age disgracefully on Glorius Barsteds, from standout opener Nice Day To Go To The Pub through to the superbly titled Nude Sheilas On Motorbikes Drinking Beer and Watchbox Road (Fucked In The Truck). Guitarist John McKeering (of Brisbane stalwarts The Onyas) continues to fill the big shoes left to him by the late Robbie “Rocket” Watts with aplomb with lengthy, searing wah-wah solos peppered all over the album. Lead vocalist/bassist Ross Knight is in fine form throughout as he supplies the other two essential ingredients for this band – fuzzy, chainsaw-on-a-blitzkrieg bass and gruff, no-nonsense vocals. And Knight offers his usual thick slab of quintessentially Australian lyrical vulgarity (another Psychos’ tradition) here to hilarious effect, particularly on Enmore Backender. The only unexpected turn comes with the background bagpipes that herald and close Tossing The Kaber, but they’re coupled with a chugging riff and work like a charm. While Dung Australia slightly pips Glorius Barsteds for more memorable individual songs, this is yet another solid entry in the Cosmic Psychos canon. And the album comes with an essential 16-track bonus disc of Psychos’ classics, starting with early demo Custom Credit and spanning the breadth of their near three decades of noisemaking. ★★★★ Justin Grey


But this is all about the titular three, and their brand of laconic rap is stubbornly steadfast, a tested and tried formula of infantile quips and fun, infectious beats that revels in its dual intimation of being “old school” and decidedly juvenile. It’s a consistent effort that ticks all the boxes without hitting any skewed notes – the rhymes are tight, the good times are nigh – it’s the Beastie Boys doing their thing. And to be perfectly honest, it should not be any other way.



Talk The Night Away

And from the get go, it’s Beastie Boys by rote – business as usual then. Make Some Noise is a beautiful number to open up with as a quirky yet infectious beat highlights Adrock, Mike D and MCA’s nearmythically iconic rhyming styles. The album churns out 16 numbers that maintain the good times vibe that their music has always maintained, whilst adding variations on their sound to give the album a degree of freshness, such as the 80s electronica permeating OK. Elsewhere there are the customary punk rock/ hip hop fusion experiment in Lee Majors Come Again, and there are some nice guest spots by Santigold and Nas, whose contribution on Too Many Rappers (New Reactionaries Version) is especially well-considered.

★★★★½ Brendan Telford



Ah, the boys are back! Perennial hip hop royalty Beastie Boys hit back after seven years, and after that celebrity-jam-packed short film have produced a slick new album in Hot Sauce Committee Part II. What, where was Part I? Oh those crazy guys…

If this doesn’t end up being this year’s finest country record, then we’re in for some incredible music in 2011. But this surely won’t be beat.

LADY GAGA Pop music’s gone all weird and glitchy. Not like proper glitch-core-nerd-tech, but elements of splicing and gapping are showing up in the most unlikely of places – the new singles from Beyonce, Britney and now Gaga all using weird cut and paste bits to modernise their pop ditties. Gaga’s pulls it off with more success as usual, and adds an 80s Madonna-style chorus whenever possible. She’s also borrowed a whole bunch of Jesus imagery and even put a cross on the cover. It’s catchy as hell, no pun intended, but not on par with any of her proper pop classics from the first album. Second album slump becoming rapidly apparent, but I don’t think many of her gazillions of fans will care in the immediate future.

Hot Sauce Committee Part II



After working with fellow Austin, Texas native Roky Erikson in 2010, Okkervil River returns with I Am Very Far, their sixth studio album and the follow up to 2008’s The Stand Ins. Bandleader Will Sheff shifted the band between three different locations for recording sessions, with a distinct modus operandi for each. Some of these songs were recorded simply with the band playing live together in the same room, while others were cut with what can only be described as an orchestra of rock and roll accoutrements (45 guitars churning at once in places). This lends varying sonic palettes to the album, from the widescreen rollicking of the anthemic Rider to the lonely, seductive late night groove of Piratess. Album opener The Valley, one of a number of standout tracks, opens with an insistent, slinking acoustic guitar figure that swerves off on an unexpected tangent to be punctuated by piercing shotgun drum bursts. The band sounds like it’s on autopilot in the album’s uneventful middle third, but returns to typically captivating territory with the heartbreakingly fragile Hanging From A Hit, with the audible quiver in Sheff’s delivery wafting along aboard a gorgeous melody. Your Past Life As A Blast floats by in an ever so playful haze, before ferocious lead single Wake And Be Fine hollers into being. On what is arguably the album’s best track, Sheff sounds particularly angstriddled as he charges the dark imagery of the lyrics with caustic emotion over a cacophonous, edgy arrangement. Sheff continues to amaze as a wordsmith, intertwining a panoply of rhymes throughout these intricate, literate lyrics. I Am Very Far is rich and gloriously complex in a way that only Okkervil River can conceive, and another sterling entry for this great band. ★★★★ Justin Grey

VanGaalen’s fourth full-length album Diaper Island sees the Canadian artist create his most accomplished and realised effort to date. Every delicately crafted moment falls exactly into place, his psych folk reaching new heights of ecstatic sadness and hopeful, distant longing. It starts with a couple of slow burners; neither Do Not Fear or Peace On The Rise are particularly immediate. Noodling guitars weave around unusual and sporadic chord changes, the latter breaking down to a slow wash of reverb until it feels like it’s going to disperse into outer space, before staggering back together and continuing on. As the intergalactic wash phases into Burning Photographs, the pace speeds up and the atmosphere intensifies – VanGaalen’s vocals are still distant but they become shouty and desperate. One of the most beautiful tracks on the album, Sara pulls at the heart strings immediately, his voice accompanied by just an acoustic guitar and a whistled melody for almost the whole track, building into a more percussive rhythm for the chorus. It’s almost impossible not to skip back and replay this number forever. Later in the album, Wandering Spirits will have the exact same effect. He returns to rocking out for Release Me, which features a pre-chorus that wouldn’t be out of place on a genuine late 60s psych rock masterpiece, but his unique style and production defy that comparison. VanGaalen switches back and forth between slow thoughtful mood pieces and rock out jams for the whole record, maintaining interest and still keeping a thread of consistency running that has sometimes been absent on his previous albums – he’s figured out how to mix things up without breaking the mould, and that’s what makes Diaper Island more successful than his earlier, albeit still amazing records. ★★★★½ Chris Yates

HOLY GHOST! Holy Ghost! (DFA/Shock)

Watching Holy Ghost! at Parklife last year should have been enough to dispel the aura surrounding the New York production pair. The vacancy of decent beats, climatic moments and anything resembling a stage presence left many scratching their heads wondering just why James Murphy and his DFA family have backed this act so heavily. And on this, their long overdue debut LP, that same exasperated feeling of all hype and no substance still rings true. With the help of a great sound system, listening closely for the subtle intricacies that have made recent albums by James Blake and TV On The Radio so engulfing, you are pressed to uncover anything that really justifies the hipster pundits that have fawned over this New York pair for years now. Sure, there are a few moments on this release where the windows in your Trans Am may fog up. It’s Not Over sees Holy Ghost! edge towards perfecting their lo-fi neon electro dreams with a great hook and a tribal drum loop that allows the track to bounce along with bubbly buoyancy. Hold Me Close is another tune that early in the peace stands out, the dark, skeletal guitar really combining with a simple, hypnotic bass line that is all sex and bravado. Even then though, you are left to lament the cold truth that even delivering their best, Holy Ghost! still don’t hold a flame to Cut Copy, Friendly Fires or a myriad of other acts plying this shtick with far more vigour.



In all likelihood no-one was quite as surprised as the members of New York band The Pains Of Being Pure At Heart were when their self-titled debut album hit most critics’ ‘best of’ lists back in 2009. Their brand of shoegaze pop proved both catchy and powerful, and the band have graced the world’s biggest stages and supported some of the biggest bands in the process. Belong doesn’t reinvent the wheel so much as redefine it. With production duties handed over to Alan Moulder (Jesus & Mary Chain, Ride, Smashing Pumpkins) and Flood (Depeche Mode), the quartet have never sounded so fuzzy and cute – yet are still at the whims of their obvious influences. Heaven’s Gonna Happen Now is more My Bloody Valentine than My Bloody Valentine, whilst Robert Smith sits heavily on the quartet’s shoulders as they homage their way through My Terrible Friend. Even the aforementioned Smashing Pumpkins earn a jersey, with the crunching guitars out in front of the titular track evoking anything from the latter stages of Siamese Dream.

This is too dull to penetrate the most glittery of dancefloors. It’s dinner party music for a ketamine swimming generation of youth praying at the altar of VICE. This is overblown, under-delivered revitalised 80s pop that 25 years on is still five years too late.

None of which are bad indicators to have – these sounds are all indicative of bands at the peak of their powers. The problem here is that Belong, as beautiful, catchy and infectious as it may be, sounds too much like a mixtape. Furthermore, the anthemic nature of these productions take away the insular charms of the preceding album, leaving solid tracks that nonetheless struggle to make a lasting impression. Sure, singer Kip Berman’s lyrics remain maudlin and insecure; the soaring wall of guitar is juicily amplified; there are handclaps, cute keyboard runs and the occasional motorik stomp. But when it comes down to it, Belong is a pastiche of former glories – most of which aren’t their own.


★★★ Brendan Telford

Benny Doyle




(Plus One/Shock)

The Milk Has Gone Sour Brisbane grungy underlings Sleepwalks have gone through a certain transitional period over the past 12 months, their sludgy riffs and verse/chorus growls refined to a post-punk tapered edge. The transformation is complete with The Milk Has Gone Sour, their debut album. This much can be ascertained before the first track plays, as the production duties have been handed over to the mighty Steve Albini. That aside though, opening song Clicks is the perfect precursor of what is to come – a heady mix of Mudhoney-via-Nirvana grunge with basement DIY noise snap/crackle/pop. The album takes off at breakneck speed and never lets up – its brief running time of 25 minutes flying by in a maelstrom of sweat, spit and, sadly, missed opportunity. There are some good moments – Grimless hits us with a raw energy that tends to be MIA with a lot of today’s rock acts, and Fingers could very well be a B-side from Japandroid’s 2009 classic Post Nothing sessions – but overall The Milk Has Gone Sour offers up thrashy nonsense that is fun without really adding up to anything. Most of these tracks are missing the tightly-coiled focus and aggression that could turn these songs from good songs to great ones. That sounds like a damning indictment, but there is much to take heart from here – when they let rip in the likes of Yes Yes No No, it is clear that there is much burgeoning talent here. And alongside their Brisbane brethren Violent Soho, Sleepwalks are heralding a new age to grunge – something we can all get extremely excited about. ★★★ Brendan Telford

In Stereo

In Stereo’s a hulking, seething slab of grunge-blues. It’s the soundtrack to the grimy recesses of the male ego, painted atop barren landscapes of raw and smouldering hurt. It’s bar-blues for wayward nighthawks; think Tom Wait’s Real Gone sharing a musky cigar over an aged, oaken whisky with Nick Cave, while Soundgarden plays over the crackly bar speakers. But there’s something tongue-in-cheek to this sound, too – a slurred, and seedy wink to this overwhelming atmosphere that sees the album shift perhaps too much in tone throughout its playspan. It disconnects, every now and then, seemingly in the fear of being taken too seriously – too much so to have it fester and brood into something really great. After its ineffable presence, the next thing that strikes you about In Stereo is its production. Wide, and booming, it’s one of those albums that you feel awesome just listening to. Each instrument’s timbre and nuance aches another layer of story into the wood-rings of each song. It’s a live sound, in essence; the bass is thick, and guttural, and the lead guitar wily, aggressive, and commanding. Shane Hicks’ gravelly vocals creak and moan in constant echo underneath all the otherwise clean instrumentation, that starkness assuring the pathos and humanity in what he’s saying’s not lost under all that precise and liquid steel. The album’s titular opening track perhaps best accumulates all the facets of the album’s not-quitedelivered-upon promise; a song about putting up a hubris-drenched front as a man scorned. After that, highlights are the intensely cinematic Burn Baby Burn and Hot Resin, a track that’s like the brown noise for sexual arousal, some of the raunchiest blues ever committed to tape. Though it’s not quite the darkness you wish it was, it’s pretty damn promising of that still to come. ★★★½ Sam Hobson


THIS WEEK IN WEDNESDAY 11 The Promise: The Making of Darkness On The Edge Of Town – behind the scenes look at the writing and recording process of Bruce Springsteen’s 1978 album. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 6pm.

FRIDAY 13 Ladies And Gentlemen, The Fabulous Stains – biopic about the seminal teenage punbk band who paved the way for the riot grrrl movement. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 6pm. Miroir Noir – arty concert film following the performances and recording sessions of Arcade Fire circa Neon Bible. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 8pm.

SATURDAY 14 An Oak Tree – British playwright Tim Crouch kicks down the walls of our comfort zone by introducing us to a hypnotist carrying a terrible burden, and a grieving father looking for solace. An encounter during the hypnotist’s absurdly funny act will forever change the lives of both of them. Final day. Bille Brown Studio, South Brisbane.

ARTS Dogs In Space – Michael Hutence stars as a musician and junkie in the seedy world of the 1970s Melbourne punk scene. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 6pm. A Hard Day’s Night – classic Beatles film featuring the classic songs Can’t Buy Me Love and She Loves You. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 3pm. Quadrophenia – seminal British film about mod and rockers in the town of Brighton, featuring a soundtrack by The Who, starring a young Phil Daniels (he who narrated Blur’s Parklife) and Sting in a small role. Part of the Let There Be Rock programme. Australian Cinémathèque, GoMA, 1pm.

SUNDAY 15 End Of The Century: The Story Of The Ramones – documentary that spans form the formation of the band right through to the death of three of its four original members. Australian Cinémathèque, GoMA, 3pm. The Filth And The Fury – Julien Temple’s documentary about the career arc of The Sex Pistols, intimately told. Features interviews with Johny Rotten, David Bowie, and Alice Cooper. Australian Cinémathèque, GoMA, 1pm..



am Routledge loves the power of theatre. A member of the innovative theatre company My Darling Patricia, he’s hard at work rehearsing for the company’s second production, Africa, which credits him as the “creator”. “I’ve always been attracted to the visual aspects of the stage,” he explains. “I’m not a great fan of naturalism on stage — I think television does it better, and I think the stage is better suited for things beyond naturalism: fantasy, surrealism, and narratives of power.” It’s his scope for visual creativity that has led to the creation of Africa — a production inspired by true events, featuring bunkaru-style puppets. (Don’t fall into the trap of thinking that this is a kids’ production, through — it’s very much a play about children, for adults.) The narrative, Routledge explains, draws inspiration from two main sources. One is the story of Mika and Anna-Bell, two young children who tried to make it to Africa in order to “get married”. The other

is the recent cases of child neglect reported in Canberra and Adelaide. Routledge says, “I was in Denmark in the winter of 2008, and I was reading about these cases of child neglect back in Australia that came out of Canberra and Adelaide.” In the midst of his shock at the events, he was stunned by the imagery that came with them. “I was very taken with the spaces that were being described — rooms covered in garbage.” He developed the concept for the set of Africa as a result. “I had an idea for a space that was a floor that was covered with rubbish and toys, with no walls — the rooms in the house would be given to us by what was on the floor, and these three children characters lived in this space.” It was then only natural for Routledge that puppets be incorporated into the production. The previous My Darling Patrica production, Politely Savage, featured a puppet character called Snatch, made by Briony Anderson. “It was as good mechanically as it was aesthetically, says Routledge. “I had a desire to work

with those puppets again.” He discussed the initial concept with his fellow My Darling Patricia members, who helped develop the narrative. “Someone mentioned the idea of these children trying to get to Africa, which is a true story, of course, and we came up with the play,” says Routledge. What has followed has been an extensive creative process focusing on using the uniqueness of theatre to tell the story. In particular, Routledge is thrilled to have well-regarded Melbourne DJ Declan Kelly on board as sound designer and composer. “The music is so important in this play.” Dealing with such heavy subject matter, it would be easy to assume that Routledge is looking to preach






WHAT: Africa WHERE & WHEN: Powerhouse Theatre Wednesday May 18 to Saturday May 21



t is often said that the most erotic body of all is one partially clothed. It’s the power of suggestion,” says Miss Burlesque organiser Cassandra Atkins. “It’s all about what is secret and hidden, what can’t be possessed; it’s the imagined that matters in burlesque.” Atkins has spent 13 years seminaked, seducing male and female audiences with her sensuous stage routines as a professional “strip artist” in championships around the world. “I love being a strip artist, and I imagined running a competition of my own at some point,” she says of the origins of Miss Burlesque. Industry professional Jac Bowie and I were brainstorming one day a comp that would work well in today’s climate, and we came up with the Miss Burlesque title. Neo-burlesque is so popular now — there is no competition like this anywhere in the world — so we said let’s do it. What’s exciting for us is that the new burlesque is less about the strip, more about the tease, about the humour.” Atkins cites a list of burlesque legends including US artist Lily St. Cyr as mentors. “Lily was a legend because she understood mystique, that beauty emanates from the inside,” Atkins says. “The body in the right shaped costume with the right bits showing

he multi-award winning The Adventures Of Alvin Sputnik: Deep Sea Explorer is not your average puppet show. Set in a global-warming induced, postapocalyptic water world, Alvin, the show’s endearing titular character, must journey to the depths of the relentlessly rising seas in the hopes of saving humanity and finding the lost soul of his beloved wife. It’s heavy material, particularly for a puppet. But Tim Watts, Alvin Sputnik’s Perth-based creator and sole performer explains, puppetry makes the bleakness more palatable. Writing from South Korea where his show has been touring, Watts explains of the audience attachment to his inanimate star. “The most fun thing about a puppet is that it thinks it’s alive, which is a game that [the audience] gets to play with me,” he says. “Let’s pretend that I’m not just waving some things about in the dark; let’s pretend its a little person with a big head who is under the sea.” As Watts explains, his drowned world of the future was in part inspired by his own fears in the face of global warming and an abiding appreciation for the unknown mysteries of the oceans. “Myself and Arielle Gray — who helped me make the show — went snorkelling at Great Barrier Reef. I will never forget looking out into the crystal clear blue water, into the endless nothing, and being absolutely terrified. Feeling so small and vulnerable in the face

from atop a soapbox, although nothing could be further from the truth. “The idea of giving a message is sort of problematic,” he says. “Opinions within the company vary about whether theatre should should teach us something. What appeals to us about this story is that we do believe that this story is relevant to Australians today… Australia does have problems with children who are neglected, and that’s a problem that we, as a society, have to face up to.”


is a lot more sensuous then the naked body on its own. It holds the mystery and keeps you thinking and wanting more. It’s like the chasing game of love: if you give them what they want too soon then you’re no challenge at all, the seeker finds you dull. Keeping yourself covered leaves the special someone, or an audience always wanting more. “The dream now is to hold the firstever Miss Burlesque International by 2013,” Atkins adds. “We are in the process of franchising the ‘brand’ to producers overseas. Miss Burlesque Canada and South Africa are set to start in 2012. We are in talks for a number of countries in Europe and the USA. Miss Burlesque has been successful here in Australia, and hopefully eventually, an international title. “When we organised the first Miss Burlesque last year we received a lot of scepticism — people putting the competition down, saying the burlesque community doesn’t need a competition, that performers shouldn’t be competing against each other, it will only produce bad for the industry not good, it won’t help your career if you win and on and on and

on. I could see some of their points but the truth remains our whole life is a competition, why not have some fun with it? “We watch sport on television and in news programmes there are competitions around us everywhere. We have proved these people wrong. In my life I have never seen so many women in a competitive environment working together as one, supporting each other, being involved in their community and using competition as an opportunity to grow, to make friendships. Watching the WA entrants drinking cups of tea, hand sewing, gluing beads, stitching, helping one another in a sewing circle sharing stories and experiences was so gratifying for me, a sense of belonging. These girls made me cry from happiness. “Oh,” Atkins adds as a final-note, “keep an eye out for Mr. Burlesque — that’s next year’s epic.” WHAT: Miss Burlesque 2011 WHERE & WHEN: Globe Theatre Saturday May 21

of the deep unknown. We still have explored so very little of the ocean... It’s full of so many possibilities. It’s a creative goldmine. “The reason I made the show,” he continues, “was because I was becoming so overwhelmed with the very bleak future we will all face. And in researching the most powerful and inspirational revelation came from watching deep sea documentaries and seeing that even in the most toxic, desolate, freezing, boiling, and unstable environment, life not only exists, but flourishes. Life will continue. Really, the point of the show is that even in the most bleak of circumstances, we will find a way. We will survive. It is not easy, and requires a lot of diligence and self sacrifice, but there is a way.” Alvin Sputnik’s mission to the bottom of the sea shares some obvious similarities with classical mythology, journeying as he does to the underworld in the hope of bringing back a lost soul. Watts agrees. “The one that there is the most comparison to is the ‘Orpheus and Eurydice’ myth, where he follows his love’s soul down into the underworld. There are some similarities, but it is also very different. There is something so profound about those

classic stories [that] often great movies, or stories, borrow from these classic myths.” Puppets might usually be made with children’s entertainment in mind but Watts explains that Alvin was originally created for an adult audience. “Up until opening night,” he says, “I was reserving the right to swear, or have a sex scene...But as it turned out it didn’t need any of those things, so it was appropriate for children to come along with their parents.” While he incorporates various media into his show: animation, live and recorded music, ultimately, he explains, its success relies on Watts’ remarkable capacity to emote with a few simple tools. “The human imagination is such an amazing thing,” says Watts, “I am still amazed that a foam ball and a glove can make people laugh and cry. It’s one of the most amazing and mysterious things about us, and should not be forgotten.” WHAT: The Adventures of Alvin Sputnik: Deep Sea Explorer WHERE & WHEN: Judith Wright Centre Tuesday May 17 to Saturday May 21



iona O’Loughlin is used to being upstaged. While her battle with the bottle has taken on mythical proportion in the media, it measures comparatively less to celebrities like Charlie Sheen. “Charlie set new heights,” O’Loughlin says. Her own fall from grace pales in comparison. Everything from wardrobe malfunctions and “breast fallout” to cocaine-addled frenzies and sex romps, to acting Melbourne Lord Mayors acting out announcing themselves for a state pre-selection, to high ranking homophobic right wingers “going at it” caught in men’s public toilets with their pants down. “It’s a wonderful world,” hums O’Loughlin. The comedian’s 2011 show came about after some deep reflection, that deepseated difficult existential contemplation that can come about after a fall. “My work all began from telling stories at a dinner party, well over a decade ago now; my perpetuity with embarrassing moments, ‘Here she goes again’ my friends would mutter to mock me, ‘another tell-tale tale of humiliation’. They loved it, it was — and still is — a good formula, like it or not, people always fuck up. It makes life rich, and, it’s been a great life. I mean, you can’t beat a career where you hang out with other like minded types who have the same warped view of the world.” Her friends’ digs were in good nature. “We share the same black humour,” she says. “I was with one dear friend on the train recently overhearing the most woeful story; a stream of racist slurs that would make your toes curl, my friend turned to me and said dryly, ‘Climate change is not so much the issue, is it?’” Motherhood has long served O’Loughlin well, it’s “prime fodder” for her side splitting stage shows. “Albert — he’s my favourite. Bertie we call him, he’s the child who is so well behaved he is like a house guest you love to have stay. Bertie is used to me speaking about him, as are my other kids — I am keen to destroy the myth that parents don’t have their favourite children; we do, and it’s only natural to have favourites, we’re human.” Initially O’Loughlin was trepidatious about reprising past comic material for a show: “Oh, here she is again trailing out the old rope,” reflecting now exhausted yet ecstatic now after a successful season of ‘Greatest Hits’ at Adelaide’s Fringe Festival. “Now I see it much like a musician would, reprising early favourite songs, and in the retelling, re-jigging with a slightly different pitch, one tempered by experience. Comedy, like storytelling, gets better in the retelling, re-jigging gets better with age. “I used to be a technician’s dream,” she adds. “Once upon a time I was so damned nervous doing stand-up I just couldn’t move, they could set the lighting rig in one mode, and I wouldn’t move, now it’s a dance, and technicians need more lights.”



I fear for the future of art. Considering that the vast majority of our output thus far can be written in a series of zeros and ones what will Gen Y leave behind for future generations to puzzle over? 00000110011000 is hardly as insightful as Van Gogh. While we pore over the ingenuity of ancient artefacts a future humanity will be deciphering the meaning of internet memes and Twitter updates. They’ll reach the only logical conclusion available: that we were ADD afflicted robots with computers for hands. I’m no historian, but I’m pretty sure that our artistic legacy was first threatened the day some possible illiterate decided that writing actual words was too time consuming and decided to begin a campaign of dictionary destruction by reducing every human reaction to three or four letters. Despite the fact that acronyms should be reserved only for abbreviating proper nouns, in the digital age if it’s possible to amputate words so that only their first letters remain, we will.







Do you remember your first Tarantino film? For me, as for a many people, it was Pulp Fiction. As a teenager in regional Queensland who, not being old enough to see an R-rated film, I was privy to a screening on VHS with a friend whose parents wanted to see the film heralding John Travolta’s comeback. “He’s gotten old,” was their critical summation. For a teenage film buff living in times before entertainment was considered news, the best way to figure out if a film was good was to rent it. Consequently I’d seen some weird stuff, but not a gimp, not a person cooking heroin, not a representation of male rape. I don’t think I was even conscious of those things existing in the world, so nothing was as confusing or confronting as Pulp Fiction was to me at that time. Then there was the seemingly unstructured structure, and all that talk about foot massages was supposed to be comedy? Needless to say, I didn’t get it. Rewatching Pulp Fiction a year or so later is the most rewarding film experience I can remember, it was like getting the perfect score in Tetris — everything clicked into place. I don’t know what happened in that year between viewings, maybe I went through film puberty. In any


TH THURSDAY, HURSDAY, 12 MAY 2011 10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

MONDAY, 16 MAY 2011 10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

FRIDAY, 13 MAY 2011 10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

TUESDAY, 17 MAY 2011 10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

SATURDAY, 14 MAY 2011 10:30 AM, 1:00 PM, 6:00 PM, 8:30 PM

WEDNESDAY, 18 MAY 2011 10:30 AM, 1:00 PM, 6:30 PM, 8:45 PM

SUNDAY, 15 MAY 2011 10:30 AM, 1:00 PM, 6:00 PM, 8:30 PM

Fittingly, to describe the phenomenon of acronym abuse someone has invented a word: initialism. I for one refuse to LOL or ROFL and BRB while I’m LMAO, but it seems I’m in a losing minority. In the future this word culling will make it appear as though George Orwell correctly predicted the demise of language only instead of a verb massacre we will have committed a word genocide. We’re going to have to make a Rosetta stone of initialisms so future humans can understand just WTF we were saying. If acronym abuse wasn’t bad enough some genius thought of a way to further the degradation with lolcats. At this rate I fear that lolcats will be one of our most lasting artistic legacies; the cave painting of the digital age. They’ll appear as some strange deity we worshipped with bad spelling and out-of-focus photography. Whereas the ancient Egyptians made graceful felines from brass and gold we take photos of cats in amusing positions and superimpose deliberately misspelt sentences to really bring the

point home. While things might be looking dire for Gen Y, an iPhone App might just save us from apparent artistic deficiency. Hipstamatic may have killed the photographer but it makes the rest of us look like visual geniuses, able to capture any given moment in evocative sepia tones. The walls of the museums of the future will be lined with digital photos of shiny, happy young folk looking as though they’ve stepped straight out of a summertime Coca-Cola ad. Computers may have brought us many things: the ability to instantly communicate (albeit in 140 character limits) and access to infinite amounts of inaccurate information, but they’ve also spawned a generation seemingly unable to tolerate anything other than instant gratification. Creating art takes more than uploading photos from your iPhone to your Facebook account. Now excuse me while I find a lolcat that adequately portrays my disdain and attach it to my status update to make my digital friends ROFL.



WHAT: Fiona O’Loughlin with Damien Power and Jacques Barrett WHERE & WHEN: Sit Down Comedy Club at Paddo Tavern Thursday May 12 to Saturday May 14




case, giving this Tarantino guy another chance was a good move. Since then it seems that the further he gets from being grounded the more enjoyable his film are. I’m happy then that Tarantino has a new project in the works and one that, like Inglourious Basterds, garners inspiration from the past and looks to thoroughly manipulates it. Titled Django Unchained, Tarantino is said to be chasing Will Smith for the lead role of Django, a slave turned bounty hunter looking to free his wife from a sadistic slave master under the tuition of German bounty hunter Dr King Schultz (rumoured to be played by Christoph Waltz). To think I got excited hearing the title and thinking it might be a bio pic of gypsy jazz guitarist Django Reinhardt. Anyone wanting to see that film is going to get a bloody surprise. We’ll

leave that one to Woody Allen. In a time when we feel more keenly with every passing year that originality is in its death throes and scrounging from the past is all that’s left to do, Tarantino shows us how new something borrowed can be. Many filmmakers work for authenticity or from a memory of authenticity trying to recreate worlds true to those past. If those directors were architects they’d use the recycled materials from a hut to build a hut, whereas Tarantino uses the recycled materials from a hut to build an obelisk. As with any film that will by hyped to the heavens, hope for the best, prepare for the worst, but with with this director that’s getting harder to do. Incidentally, ‘django’ is a Romani word meaning “I awake” — appropriate for a revenge thriller, methinks.











risbane-based Lucks may have managed to succeed in parlaying his street art background into a legitimate career in contemporary art but, as he explains, his formative years wielding markers and spray cans continues to inform his work today. “It’s a big part of who I am and what I do,” he says, “so there’s a lot of subject matter related that runs through my work. Even if it doesn’t look like it has derived from graffiti... it’s always in there somewhat.” His moniker has become so integral to his work that he — very politely — requests that he remain semianonymous, explaining, “That was a name I picked many, many years ago when I was running around the train lines. An adopted name...I added the ‘s’ onto it because in life you don’t just have good luck you have bad luck as well; the sort of ying yang... you can’t have one without the other. To me it personifies what I’m about and who I am.” Despite an illicit past Lucks is now involved in community work both in his home state and overseas, running youth workshops and spending time teaching art in Cambodia. His background, Lucks assures, is a useful tool.

“In my workshops I use my background as an example for the kids,” he says. “Because of Queensland’s graffiti laws I’m quite conscious of the different hurdles that the kids have got today and I...tell them about my community service and wrong doings so that they maybe can learn a little bit off that. I can’t tell them what to do but I give them options.” As for his artistic sojourn in Cambodia he explains, “I ended up working with another organisation called Friends on an environmental awareness banner for the UN. That was a great opportunity to work with the Cambodian kids...I went in there as me, as what I do, just as a basic art activity for the kids and just [as] an opportunity to meet someone... from another land. All the hardship and poverty there but the kids were still kids. I was painting away and I would hear music and then the little Cambodian kids would be break dancing on rickety wood floors and bare feet...Those similarities in cultures just mesmerise me.” Fittingly this abiding curiosity is apparent in the artist’s upcoming show at Spring Hill’s Shøøting Gallery, combining religious iconography with street art and found objects. An ex-Catholic altar boy Lucks has



A genuine rocksploitation classic, Ladies And Gentlemen, The Fabulous Stains follows not only the story of the three-piece punk rock proto-riot grrrl band The Stains as they strive to find their sound and be taken seriously by the big boys, but also examines the historic era when the dinosaur rock and roll bands who had dominated the loud guitar music stratosphere were challenged by the meteoric explosion that was the birth of punk rock. The lead singer of The Metal Corpses is a thinly veiled parody of Paul Stanley, and the band reeks of Kiss and all their excesses. When the singer of British punk rockers The Losers (featuring members of the Sex Pistols and The Clash) calls bullshit on his band, The Stains are added to the tour across the wasteland of early 80s America. The film deals with issues well ahead of its time with the mainstream media playing a large part in sensationalising rock’n’roll deaths, and the way television makes Corrine Burns, the singer of The Stains (played by Diane Lane), into a superstar and role model for a new generation of female empowerment via the power of rock’n’roll. Frequently hilarious, it’s easy to see why the film has become such a cult hit. The cheap production values, quotable dialogue, appearances by punk rock royalty, and the unbridled sexuality of The Stains all add up to the kind of film that will continue to be watched for years to come. WHERE & WHEN: Australian Cinémathèque, GoMA Friday May 13, 6pm CHRIS YATES

Few acts are as revered today for starting a musical movement, yet completely failed at achieving proper commercial success, as the Ramones. From kicking around the streets of New York’s East Village to 22 years later when they are touring the world with a diehard fan following, End Of The Century documents the rise and fall of the four leather-jacketed punks, but instead of glossing over the ripples in their story, they are all expanded. From Dee Dee’s heroin addiction and subsequent fatal overdose shortly after the film’s completion, to the bickering and infighting, and the origins of why the Ramones were considered one of the biggest bunch of assholes in rock’n’roll history. Directors Jim Fields and Michael Gramaglia have a myriad of unseen interview footage and use it all to display the band’s story, as told by the band members themselves in a completely candid format to give a proper insider’s journey of a band that grew to hate each other so passionately, yet somehow managed to coexist in a band, touring and recording. End Of The Century is a brilliant film that will make or break a fan, exposing a brutal and thought provoking truth behind these punk pioneers, and for anyone who has purchased a Ramones T-shirt to be edgy and hip, this is compulsory viewing before you even think of donning the bald eagle logo again. WHERE & WHEN: Australian Cinémathèque, GoMA Sunday May 15, 3pm




ove Let Me Out is a daring theatre production in more ways than one. In addition to interrogating Australian male culture’s relationship with work and responsibility (and doing so with live music and accompanying photographic exhibition), the production also constitutes the Brisbane debut of theatre-makers Craig Hearps and Iris Ray Nunn.

drawn on the similarities between and ironies between within icons for his exhibition. “As I get older religion fascinates me; how it’s used as an really interests me. Little things just spark different ideas,” he continues, “The Lucky Dip show has evolved around my...research into different icons and different public opinion on different issues that are happening. ‘Lucky Dip’ is a good umbrella name for a lot of the things that go on within life, within society...I am a little bit of an eclectic person. I like to bring my own beliefs into things.”

True to his eclecticism Lucks’ show also has a playful side; an actual lucky dip will be in action. But, he explains, this lucky dip is not the traditional childhood favourite. “It’s not going to be your traditional lucky dip; it’s out of a suitcase,” with that said, he laughs, “I’m not ruling out barbie dolls.” WHAT: Lucky Dip: new works by Lucks WHERE & WHEN: Shøøting Gallery, Spring Hill Friday May 13 to Friday Jun 3

“We actually workshopped the play last year in Brisbane, with Brisbane actors, and, through that, we got access to some seriously quality actors,” writer, co-director, and actor Hearps explains of the pair’s decision. “We realised that a lot of the actors really suited the roles better than anyone we’d find where we come from — so we decided to do the show in Brisbane.” Furthermore, Love Let Me Out represents the debut of the pair’s own production company Cape Byron Productions. Based in Byron Bay, both Hearps and Nunn have previously secured considerable success working with the acclaimed

Byron Bay Theatre Company. Hearps’ previous works have enjoyed multiple sell-out seasons while Nunn has won multiple awards as a producer. “Iris and I have always been involved with Byron Bay Theatre Company. We’d been doing that even up until this year but we thought it was time we branched away and created our own theatre company,” Hearps explains. “Our vision is basically just to put on quality theatre, to shake people up, to move them. “We were very nervous about coming and putting a show on up here,” the performer admits. “From a production side, we don’t know Brisbane. We don’t even know where to begin to look for money to put on a show like this. I think we’re kind of looking at it as an in-road — letting people know who we are and what we do.” That said — the greatest risk of the production is still most likely one related to artistry. As a writer (and former performance poet), Hearps has always operated on hypothetical variations of his own life. His previous work, The Glass Kiss, oscillated




SIGUR RÓS: HEIMA After releasing landmark albums Ágætis byrjun and () earlier in the decade, post rock enigmas Sigur Rós announced a series of concerts in their homeland of Iceland in 2006. Heima is much more than a document of these concerts however, it is a meditative reimagining of the modern rock film, and a worthy addition to a visual identity that already includes some of the more striking video clips and album covers in musical history. Throughout the film concert footage is interspersed with stark almost alien images of the Icelandic landscapes including crystal clear glacial streams and waterfalls flowing backwards that add a further otherworldly dimension to music that was once described as “teardrops from heaven”. Soundbites and segments of interviews with the band members are expertly cut in throughout the film to stunning effect which softens the sometimes

standoffish nature of their previous presswork. Moments of magic abound throughout including all four band members standing in a cave playing a marimba made by a local artist from flaky landslide rock plates of different tones, the spine-chillingly reworked version of Von played to a crowd of less than 50 in an old town hall, Heysátan in the medieval town centre, a totally acoustic Vaka performed in a soon-to-be-dammed valley for a bunch of protestors, and the final outdoor version of Untitled 8 from Reykjavik, which harnesses the power of this incendiary live track and captures the euphoria of the final epic drum-led build-up amongst the red mist. Sure it’s arty, sure it’s ambitious, but that’s what Sigur Rós have always been about and this film represents that rare thing, capturing everything that’s wondrous about a band at their peak and distilling it into 97 minutes of rare beauty. WHERE & WHEN: Australian Cinémathèque, GoMA Saturday May 14, 8pm, Sunday Jun 5 3:15pm ED MATTHEWS

Set around the notorious punk squats of Melbourne’s inner-city suburb of Richmond, Dogs In Space cleverly utilises the environment and the characters that inhabit it to bring to life the scene surrounding the new wave punk explosion of the late 70s, from one of the world’s most vibrant underground music havens. Starring a young Michael Hutchence as his fame peaked and INXS finally cracked the US market , the film is directed by Richard Lowenstein who wrote the film around his own real life experiences, loosely basing Hutchence’s role on Sam Sejavka, lead singer of The Ears who Lowenstein lived with in the exact same house some ten years earlier. Dogs In Space is no mere Hutchence vehicle. He inhabits the film but doesn’t chew the scenery. His

lines are sparse and his acting is underplayed and sincere. As lead singer of the band Dogs In Space, his role is central to the film’s plot (or what passes for a plot in the stream of consciousness style of film making), but he plays more of a supporting act to the ensemble cast of young Australian talent. Some of the lines are cheesy, some of the acting is naive and primitive and the characters often come across as caricatures and stereotypes (vegan hippies/political activists/violent punks/moody heroin addicts) but the energy and dark comedy perfectly captures the youthful exuberance of making music as a primal urge, not just for the period and location it is set, but everywhere, any time. WHERE & WHEN: Australian Cinémathèque, GoMA Saturday May 14, 6pm CHRIS YATES


Burke And Hare is the latest film from filmmaker John Landis (Trading Places, The Blues Brothers), and is described as “A black comedy about two 19th Century grave robbers” — Simon Pegg (Shaun Of The Dead, Star Trek) and Andy Serkis (The Lord Of The Rings trilogy, Brighton Rock) — “who find a lucrative business providing cadavers for an Edinburgh medical school.” It also stars a host of excellent Brits, including Tom Wilkinson (Eternal Sunshine Of The Spotless Mind), Jessica Hynes (Spaced), Bill Bailey (Black Books), Tim Curry, and Christopher Lee. Opening 12 May, thanks to Paramount Pictures we’ve five in-season double passes to giveaway. For your chance to win, head to timeoffmag.



around the fear of the loss of his own child and Love Let Me Out is similarly designed to confront concerns within his own lifestyle. The play is primarily concerned with a therapist whose devotion to helping addicts has grown to become, to the detriment of his emotional wellbeing, an addiction in and of itself. The premise of the work springs from Hearps’ own workaholic tendencies and actually touches on aspects of his own relationship with co-director and producer Nunn (his partner in life as well as in theatre). “I usually start my plays by looking

at what really affects me,” Hearps explains. “My previous play, I looked at the worst thing I could ever imagine happening to me — and that was about a son being taken away from me — and that play went through the roof. People loved it. With this one, I looked at what would move me beyond measure. Unfortunately, I can’t say what that is because it would ruin the play. You’ll just have to come and find out for yourself.” WHAT: Love Let Me Out WHERE & WHEN: The Studio, Metro Arts until Saturday May 14

Madman Rubber is a film about a sentient rubber tire, which roams the desert, exploding the heads of its victims with unexplained psychic powers. Miraculously, this isn’t a willfully bad movie a la Machete or Snakes On A Plane, but rather a kind of essayfilm masquerading as a prank – or maybe it’s the other way around. It opens with a striking shot of a police car driving down a desert road in a zig-zag toward the camera, strategically knocking over two rows of evenly-placed chairs en-route. A policeman then steps out, and begins a to-camera address, detailing the pervasive element of ‘no reason’ in films. When he rhetorically asks why the protagonist of Polanski’s The Pianist “has to hide and live like a bum when he plays the piano so well?”, you’ve got an inkling of the hyper-absurdist shenanigans to follow. Rubber has been criticised for hating its audience, being over-stretched short film material, and overall pointlessness. But the film, shot using the video function of a still camera, has too much surreal visual splendour and wit to be dismissed as a half-hearted ‘eff you’. Its writer/ director is Quentin Dupieux, aka French house music producer Mr Oizo. On the basis of this Dadaist delight, he could well become a surrealist force to be reckoned with. IAN BARR



very twenty-something who grew up in Australia knows the songs. Newspaper Mama, Toffee Apple, Juicy Juicy Green Grass, Mr Clicketty Cane... the songs of Peter Combe are synonymous with the childhood of an entire generation. So, when Combe started playing the pub circuit in 2006, it seemed at once odd and inspired. Generation Y coming out to listen to kids’ songs over beers and vodka cranberries? As Combe explains, it didn’t happen by design. “Sometimes these ideas happen by accident,” he says, explaining that it all started when he was booked to play a German beer festival in Adelaide, as entertainment for the families outside. “I remember thinking at the time, ‘Why on earth would you ask a children’s songwriter to sing a German beer festival?’” Because of the tremendous heat, Combe was asked to play indoors in the beer tent. The punters went wild:

“They were all fairly drunk, and they started moshing and crowd-surfing to Toffee Apple.” At the time, he was less than impressed. “I thought, ‘They’re winding me up’. But what I discovered was that they weren’t taking the piss – they were just loving hearing the songs again.” A spate of sold-out national tours followed, with no shortage of bornin-the-80s youngsters queuing up for tickets. Perhaps best of all, it’s led to Combe playing to a new generation — he’s started adding matinee family shows to his tours. “In the last 18

months or so, I’m now finding my matinees getting bigger as well. You get people who are slightly older — late 20s, early 30s — who also grew up on all my songs, but they’ve now got a three-year-old or a four-yearold.” Indeed, it looks like a new generation of kids will be washing their face with orange juice. WHAT: Peter Combe: Wash Your Face In Orange Juice WHERE & WHEN: The Old Museum (11am) and Globe Theatre (8pm) Saturday May 14





Tara (drums), Catherine (bass) and Zac (guitar).

HOW LONG HAVE YOU BEEN TOGETHER? We have been jamming for four years or so.


YOU’RE ON TOUR IN THE VAN – WHICH BAND OR ARTIST IS GOING TO KEEP THE MOST PEOPLE HAPPY IF WE THROW THEM ON THE STEREO? Tour? If Zac’s driving it’s crazy Japanese Psych. If it’s Cat behind the wheel it’s Lil Kim.



WHAT PART DO YOU THINK BRISBANE PLAYS IN THE MUSIC YOU MAKE? Brisbane has the potential to be a psychedelic tribe land and we intend to make it that way.

IS YOUR BAND RESPONSIBLE FOR MORE MAKE-OUTS OR BREAK-UPS? WHY? We don’t know, we just play and don’t look.




Mixing our record with Donovan Miller at Nowhere for vinyl and sending a copy to Ecstatic Peace. Dreamtime support No Anchor at Woodland on Friday May 13. Photo by ALEX GILLIES.

MAY 2011



SIERRA FIN: Old Museum May 27 TRIAL KENNEDY: The Zoo May 27, Miami Tavern May 28 PEGZ: Coolangatta Hotel Jun 2, Step Inn Jun 3, Great Northern Hotel Jun 4 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Brisbane Riverstage Jun 10, Lake Kawana Community Centre Jun 11 THE MIDDLE EAST: Old Museum Jun 15, Joe’s Waterhole Jun 16



Ah, you can’t beat a good double bill! And that’s what we’re getting in our neck of the woods this week – assuming you’re a fan of the more punk-edged music that the world has to offer, even more so if you’re a young ‘un – as we’re treated to a tour by Florida-bred punk exponents A Day To Remember and their fellow Floridian brothers-in-punk Underoath. Both of these prominent US bands are still plugging albums that they recently dropped – ADTR with their What Separates Me From You set, and Underoath with their acclaimed Ø (Disambiguation) opus – so both have plenty to prove when they drop by The Tivoli for two all ages shows on Sunday May 15 (sold out) and Wednesday May 18, plus an 18+ set at the Coolangatta Hotel on Tuesday May 17. Lucky local supports will be The Dream The Chase (Sunday), Skyway (Tuesday) and Th is City Ignites (Wednesday) so get amongst it already!


STORM IN A TEACUP: Mullum Civic Hall Jun 18 THE BLACK ANGELS: The Hi-Fi Jun 30 THE GRATES: The Hi-Fi Jul 1 MIAMI HORROR: The Zoo Jul 1 WAGONS: Spotted Cow Jul 1, The Hi-Fi Jul 2 BELLES WILL RING: Sol Bar Jul 7, Step Inn Jul 8 ART VS SCIENCE: The Tivoli Jul 9 FLAVOURS OF SCUZZ FESTIVAL: Jubilee Hotel Jul 9

This is what pop music should be like; cute, extravagant, disposable, energetic, kind of a massive waste of money, a bit dumb and a bucketload of fun. If you’re not beaming from ear to ear afterwards, seek help.

Katy Perry @ BEC by Stephen Booth



Gloriously unpolished Hobart three-piece Tiger Choir are on first with theirs an intriguing juxtaposition of styles, like a more melodic Gerling with Cure-esque cooey vocals coupled with atmospheric Modest Mouse-y guitars. In short… awesome. A few tunes come off almost like Panda Bear covers with their off-kilter harmonies, but the accompanying twinkles are fi lled with so much sonic fairy dust you don’t mind the obvious debt owed. The line-up changes throughout, shit-hot drummer Sam Nicholson switching to keys for one number as Hamish Cruikshank handles both guitar and keys with startling aplomb. There’s not much musical terrain they don’t touch upon, post punky guitars drenched in reverb, calypso vibes over spindly chord progressions, Cruikshank even busts out some Jonsistyle cello bow action at one point, adding startling atmospheric sonics to the number in question. Witnessing this set feels like a real discovery, whilst also offering proof that invention and creative musical instinct are alive and well on the Apple Isle.


BIRDS OF TOKYO: The Tivoli May 11, Lake Kawana Community Ctr May 12 THE YEARLINGS: Beetle Bar May 12, The Art Centre GC May 19 KIM SALMON: Step Inn May 13 GYPSY & THE CAT: The Hi-Fi May 14, Coolangatta Hotel May 15 PETER COMBE: Old Museum May 14, Globe Theatre May 14 DIESEL: Brothers Leagues Ipswich May 18, Springwood Tavern May 19, Hamilton Hotel May 20, Lone Star Tavern May 21, Coolum Beach Hotel May 22 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 MY FRIEND THE CHOCOLATE CAKE: Lismore City Hall May 19, Soundlounge May 20, Old QLD Museum May 21 THE PIGRAM BROTHERS AND ALEX LLOYD: The Zoo May 19 COLIN HAY: Joe’s Waterhole May 20 FRONT END LOADER: Step Inn May 20, Spotted Cow May 21, Great Northern May 22 MIKE NOGA: Step Inn May 20 SEGRESSION: Rosie’s May 20, Miami Tavern May 21 THE NATION BLUE: Step Inn May 21 ESKIMO JOE: The Zoo May 26

GYPSY & THE CAT: The Hi-Fi May 14, Coolangatta Hotel May 15 BLUE KING BROWN: Beach Hotel May 19, Coolangatta Hotel May 21, King’s Beach Tavern May 22, The Tivoli Jun 3


ERIC BIBB: 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 UNIVERSITY OF ERRORS: The Beetle Bar May 13 JAMES BLUNT: Brisbane Convention Ctr May 14 A DAY TO REMEMBER, UNDEROATH: The Tivoli May 15, Coolangatta Hotel May 17, The Tivoli May 18 KATY PERRY: BEC May 15 LISSIE: The Zoo May 16 BEN FOLDS: QPAC May 17 & 18 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 FAT FREDDYS DROP: The Tivoli May 27 & 28 HAMILTON LOOMIS: Step Inn May 28 PROPAGANDHI: Coolangatta Hotel May 28, The Hi-Fi May 29 THE DANDY WARHOLS: The Tivoli May 31 KYLIE MINOGUE: BEC Jun 3 & 4 JANE BADLER: QPAC Jun 4 JOAN AS POLICEWOMAN: Globe Theatre Jun 4, Byron Bay Community Ctr Jun 5 OFWGKTA: The Hi-Fi Jun 5 EMMURE: Expressive Grounds Jun 10 STEVE IGNORANT: Prince of Wales Hotel Jun 10 CRUEL HAND: Byron bay YAC Jun 15, X & Y Jun 16, Sun Distortion Studios Jun 17 MILEY CYRUS: BEC Jun 21 HELMET: Coolangatta Hotel Jun 22, The Hi-Fi Jun 23 VAN DYKE PARKS, KINKY FRIEDMAN: Brisbane Powerhouse Jun 24 & 25, Joe’s Waterhole Jun 26 JOSHUA RADIN: The Zoo Jun 25 BRIAN MCKNIGHT: The Arena Jun 26 THE BLACK ANGELS: The Hi-Fi Jun 30 RISE AGAINST: BEC Jul 18 RANDY NEWMAN: QPAC Jul 22 FUNERAL PARTY: The Hi-Fi Aug 9 OWL CITY: The Tivoli Aug 15 MAD SIN: The Hi-Fi Nov 3, Shed 5 Nov 4 KINGS OF LEON: BEC Nov 8 K.D. LANG: Riverstage Nov 22 ELTON JOHN: BEC Nov 30




The dark electro thump of New Zealand’s newest pop prospect Zowie’s edgy performance seems slightly at odds with tonight’s headliner and while the music has a mature – though still somewhat disposable – quality, she might struggle to win new true believers amongst the candy-fuelled masses tonight. We’re clued in to the theme of our headliner’s performance as screens display a confounding Cinderella-esque narrative; Katy Perry is our protagonist, a butcher her evil ‘step-sister’ and a baker her knight in shining gingerbread dough – candlestick maker notably absent. It all seems very dramatic, but we ain’t seen nothing yet; the stage lights up to reveal a candy-fi lled wonderland, the riff of Teenage Dream blares through the enormous sound system, Perry rises from the floor sporting a black wig and pink tutu and before long she’s joined by a massive throng of dancers who run through the first of many oh-so-contrived-it’s kind-of-beautiful choreographed routines. Two mimes-cum-acrobats ply their act for Ur So Gay before a raft of feathers appear on both Perry and her dancers’ costumes to strip Peacock of its innuendo. I Kissed A Girl, the first mega-hit of the evening,

features a jazzy re-rub of the song’s first verse that works in a musical context, but feels too extravagant for a song with such gormless lyrics. Things get dark as Circle The Drain turns the evil dial up considerably – even the pastel costumes and sickly sweet props can’t take away from the venom Perry spits in is chorus – while lasers and spacey visuals accompany an atmospheric E.T. It’s not all good times though, a sycophantic “Aussie Aussie Aussie” followed by obligatory Kath And Kim, Summer Heights High and Vegemite references pander to the audience, who squeal with delight. Oh how they squeal. Even worse comes when a contrived acoustic medley of Rihanna, Jay-Z, Willow and Rebecca Black tunes wastes everyone’s time. Perry then grabs a guitar and stabs convincingly at yawn-inducing ballad Thinking Of You. Thankfully there’s more fun on the horizon as Hot N Cold, featuring Perry in iconic blue wig undergoing countless onstage costume changes, is infectiously energetic, as is a version of Whitney Houston’s I Wanna Dance With Somebody (Who Loves Me). But the final card is biggest; Firework has the crowd belting out its chorus while pyrotechnics light up the stage. It’s a stunning exit powerfully utilising the song’s epic nature, its only downfall being that when Perry returns for the awesome California Gurls, it falls flat, such was the power of the end of the set proper.

The room is well-and-truly packed for Brooklyn’s The Drums as the skinny-jean-wearing, denim-jacketsporting hipsters hit the stage. The tunes are catchy and bouncy and exactly what the room is in the mood for, Me & The Moon delivering appreciative head nods before Best Friend works off a Simple Minds-esque sound with yelpy vocals adding urgency to the heavily Joy Division-influenced aesthetic. Singer Jonathan Pierce’s pogoing dance moves aside there’s something terribly self-aware about the whole thing that irks the senses, the posturing turtle-necked keyboardist and hissy-fit throwing guitarist adding to the cringey undertone. That said, they do save it somewhat towards the end with Let’s Go Surfing and a ShangriLa’s channelling post-encore Down By The Water the highlight of the set. Why the powers-that-be close the bar before the encore is anyone’s guess, but this madness must come to an end sometime to preserve the future sanity of Brisbane’s gig-going public. ED MATTHEWS


Melbourne’s TANTRUMS open with a blast of magnificence that comes as a welcome surprise. The six-piece build up dynamic soundscapes both abrasive and subtle, weaving together a tapestry of guitars, keys, electronics and live strings over the defined blasts of a full-sounding kit. The interplay of the complementary organic and electronic elements causes a curious tension that pushes the momentum of each piece and seemingly mesmerises the audience with hypnotic and lyrical

Kyuss Lives! @ The Tivoli by Stephen Booth

movements. TANTRUMS are so impressive that it’s a wonder how the headliners are going to hold up. A large LED-screen is revealed by glitch visuals that act to introduce the phenomenon that is UNKLE live. It is apparent that the live show is no lazy extension of their persona, acting as a mere prosthetic in support of the studio project , but a fully fledged limb that holds the heart which beats and brings this monster to life. The stage convulses with light and sound as James Lavelle stands back at his helm churning out War Stories tracks Burn My Shadow, Chemistry, Restless and Keys To The Kingdom; whilst the guitarist, bassist and drummer execute their parts immaculately. While a few of the more celebrated personalities are present in visual and audio simulacra only, an additional vocalist fulfils the remainder of the duties with utmost respect and precision. Ablivion and Money And Run show the flare of the newer material, however, the explosiveness of Reign and Eye And Eye, contrasted with the fragility of Glow is almost enough to make one wish they’d never left Never, Never Land. It seems that although the sound has evolved to something other, Lavelle has stayed true to the notions of collaboration which informed his street-culture roots. The spacial proximity and interaction of the audience within the live setting is an important element that reinforces the concepts of the collective and there are likely very few in the crowd whom do not feel a complete part of it all as the encore of Heaven, Lonely Soul and In A State wrap things up for the night. JAKE SUN


The room is already brimming as Byron Bay’s Fort supercharge their intro to the half-cut crowd. Despite having to compete with other shows on this tour having Tumbleweed in support, Fort fit perfectly: their southern groove metal with doom rock riffs inspire images of Clutch or Monster Magnet, with vocalist Andy Walker bringing it back to a distinctly domestic touchstone. Their straight-up hard rock of Falling From Grace and In A New Light work well with the creative flair of drummer Deon Driver as they cap the set with the charging tempos of Sex Drugs And Rock’N’Roll. Amidst a flow of Bundy and Tooheys New cans, the lights dim for this incarnation of one of the kingpins of the California stoner rock scene, Kyuss Lives! The three musicians charge into Molten Universe, before vocalist John Garcia strolls onto the stage to deliver

the spitfire lyrics of Gardenia. Standing frozen-bodied and stone-faced, Garcia grasps his microphone and lets the waves of nostalgia take over the crowd – 17 years of repeat-playing records and lost hopes of a live performance are being exorcised into The Tivoli confines, and although the band have slowed down a touch, they are no less aggressive. Breaking into endless jams, the rough bass playing of Nick Oliveri hasn’t sounded this good in a long time, with the thick hits rolling on in the form of One Inch Man and Thumb. With drummer Brant Bjork barely visible, a majority of the focus is switched to new guitarist Bruno Fevery: replacing the coolest man in rock isn’t a easy task, but Fevery fights every solo, pushing to make it that touch better than we’ve heard before, and after 50 Million Year Trip (Downside Up) Garcia shows his approval with a kick to the leg and a mouthing of the platitude “You fucking rock!”. Returning to the stage after a quick break, the now singlet-bearing Garcia seems to crack his first smile of the night – the band have delivered a blistering set with no interaction with the room, but as we get to Spaceship Landing the band loosen and the atmosphere rises enough for a second encore with crowd favourites in Allen’s Wrench and Green Machine, all to give fans closure from a band that was – and, on tonight’s showing, still is – idolised by so many. MARK BERESFORD


The disparate nature of the bands on tonight’s bill, combined with the headline act’s penchant for discordant unpredictability, has pundits at Woodland buzzing, promising an entertainingly eclectic evening. It all starts innocuously enough, with local four-piece Stag fumbling through a short set. The girls’ dynamic and adherence to the art-punk blueprint as written by obvious touchstones The Raincoats cannot hide the fact that it is all a little fey, and that they have some way to go in order to garner wide-ranging respect, yet there are small pockets of appreciation throughout. The Rational Academy seem to be the weirdest fit on tonight’s bill. However the opening track eschews this notion, a brooding number that provides ample atmosphere. Ben Thompson’s soft vocals get lost at times, yet the band overcomes this by being decidedly schizophrenic, a bizarre drone metal outro to one track a particularly left-of-field delight.

“Tribal autobahn” is an interesting yet succinct way of describing Rat Vs Possum’s set. The key to these songs is the percussion, which provides an immersive presence that has the audience dancing whilst transfi xed by the antics on stage. The harmonies amongst overlap with a sense of jocular urgency. On paper this shouldn’t always work, but the band have taken control of the evening, pervading Woodland with playful electric currents and a fevered anticipation for the main act. New York pumps out its fair share of subversive bands, and Aa are no exception. Being highly respected amongst the drumming fraternity and counting Thurston Moore as a fan, the expectations are particularly high. The trio rip into their set with a rabid gusto, the eccentric instrumentation – drums, auxiliary percussion, effects, samples, synth, and definitely NO guitars – creates a nauseous atmosphere spiked by Atkinson’s shouts and wails and pedalmanipulated stage lights. Sticking to the material from Australia-only release mAate, Aa cut a unique musical figure – yet if this set is anything to go by, there may not be much to mine from. Although the band claim to have never written and recorded the same thing twice, their distinct sound becomes repetitive. That said, Aa is as much about the performance as the music, and on that level they succeed admirably. Atkinson’s rants are enthralling, the percussive interplay between Wahl and Bonati is impressive, as is a special finale where Rat Vs Possum take to the floor for a fully interactive thumping outro. Hopefully we will see the likes of them again very soon. BRENDAN TELFORD


Although it’s not their fanbase that are screaming, Sydney indie new-wavers Tortoiseshell milk the experience for all it’s worth. It could be the pinkish haze bouncing off the tambourine or the De La Soul 3 Feet High-era happy pants their bass player wears but the sound and stage swagger is very much a relic of the classic acid house days. Given the headliners tonight, the blissed out disco is just the thing to warm the crowd even if their melodies are far from perfect. Closing with the tribal workout This Girl, the guitar interplay with the bongos is well balanced, the song encapsulating a sound that could see them make stages like this their own. The Wombats stride on stage to a deafening noise and get everybody in the place bouncing in unison with Our Perfect Disease. Quickly the personas of the three members are acted out, behaviour that stays true through the course of the evening: bass player Tord Overland-Knudsen like a hyperactive Ewok, jacknifing around to the robotic percussive jolts of sticksman Dan Haggis. While they hold the rhythm, frontman Matthew Murphy is left to pour his heart out through his unique brand of storytelling, regaling punters with his misunderstanding of the female form. New material such as Jump Into The Fog and Techno Fan shows a defiant shift in sound towards an electronic glitch, synth and keyboards rubbing shoulders with the jangly guitars that encompass the sound of older tracks like Kill The Director and Patricia The Stripper. Frighteningly tight for an act two albums into their career, the band give as much as they get back. Then just when you think their tank could be dipping towards empty, they knock out Moving To New York, Tokyo (Vampires And Wolves) and everyone’s anti-singalong, Let’s Dance To Joy Division in quick succession to sign the night off. Forget the kangaroo and even the koala. Tonight it is official; Brisbane’s favourite marsupials are The Wombats.


ARCHITECTURE IN HELSINKI: The Hi-Fi May 27 SIERRA FIN: Old QLD Museum May 27 TRIAL KENNEDY: The Zoo May 27, Miami Tavern May 28 CALLING ALL CARS: Step Inn May 28 THE AMITY AFFLICTION: Riverstage May 28 AMY MEREDITH: Coolangatta Hotel Jun 1, Beach Hotel Byron Bay Jun 2, The Zoo Jun 3, Princess Theatre Jun 4 AN HORSE: The Zoo Jun 2 DAVE GRANEY & THE LURID YELLOW MIST: Jubilee Hotel Jun 3, Sol Bar Jun 4, Great Northern Jun 5 JEBEDIAH: The Hi-Fi Jun 3, Irish Club Toowoomba Jun 4 LOWRIDER: Coolangatta Hotel Jun 3, The Zoo Jun 4 TEETH & TONGUE: X & Y Jun 3 BOY & BEAR: The Hi-Fi Jun 4 BLISS N ESO: Riverstage Jun 10, Lake Kawana Community Ctr Jun 11 HUSKY: Beetle Bar Jun 12 THE MIDDLE EAST: Old QLD Museum Jun 15, Joe’s Waterhole Jun 16 AIRBOURNE: Villa Noosa Jun 16, The Hi-Fi Jun 17, Coolangatta Hotel Jun 18 LITTLE RED: The Hi-Fi Jun 18, Great Northern Jun 30, Coolangatta Hotel Jul 1 STORM IN A TEA CUP: Mullum Civic Hall Jun 18 KARNIVOOL: The Hi-Fi Jun 24, Coolangatta Hotel Jun 25, Caloundra RSL Jun 26 SKIPPING GIRL VINEGAR: Old QLD Museum Jun 24, Great Northern Jun 26 MIAMI HORROR: The Zoo Jul 1 PAPA VS PRETTY: X & Y Jul 1 PAPER SCISSORS: Great Northern Jul 1, Step Inn Jul 2 THE GRATES: The Hi-Fi Jul 1 WAGONS: Spotted Cow Jul 1, The Hi-Fi Jul 2 BELLES WILL RING: Sol Bar Jul 7, Step Inn Jul 8 ART VS SCIENCE: The Tivoli Jul 9 JINJA SAFARI: Alhambra Lounge Jul 14 SHORT STACK: The Tivoli Jul 15 & 16 CLARE BOWDITCH: Joe’s Waterhole Jul 22, Old QLD Museum Jul 23 PAUL KELLY, PAUL GRABOWSKY: Riverstage Jul 23 THE CAT EMPIRE: The Zoo Sep 29 & 30, The Tivoli Oct 1


BRISBANE BLUES FESTIVAL: The Tempo Hotel May 14 VALLEY JAZZ FESTIVAL: Fortitude Valley May 25 – 29 STYLIN UP: CJ Greenfields Sports Complex May 28 FLAVOURS OF SKUZZ: Jubilee Hotel Jul 9 SPLENDOUR IN THE GRASS: Woodfordia Jul 29 – 31







IS IT ANY WONDER? Moon Jog play Step Inn on Saturday May 14 How did you get together? Clay Thomson (guitar/synth/vocals/banter): “We were a collective of housemates with a drumkit in the living room and our heads in the clouds. As the last drop of wine poured, and a new trio of cigarettes were lit, we conceived Moon Jog. An easier way for heavy-set people to exercise: in zero gravity.” Sum up your musical sound in four words. “What time is practice?” If you could support any band in the world – past or present – who would it be? “Cirque Du Soleil: An Acrobatic Look at the Life of Stephen Hawking.”

It makes sense that folk-alt-pop group The Lucky Wonders hail from the lush green pastures of the Byron hinterland, their music just seems to fit so well with the rolling hills and gorgeous environment of that part of the world. Last year was massive for the group, with their independently released debut record Thirteen O’Clock making its way onto airwaves across the nation as well as a number of critics’ ‘best of 2010’ lists as well. The band have been hard at work on a few new songs that see them showing off their warm and quirky nature more than ever and prove just how much they have learnt after a year of continuous touring around the country and you’ll most likely hear a bit of this material when they hit the Brisbane Powerhouse this Sunday afternoon from 3pm when they play a very special show alongside the wonderful Roz Pappalardo and The Wayward Gentlemen. Entry is completely free and the show is open to all ages.

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? “I must say ours, so we can show it to potential beings from outer space. Because we are cheeky buggers like that.” Greatest rock’n’roll moment of your career to date? “Stockwood ‘10. Ask any of us about it sometime. Was well worth it.” Why should people come and see your band? “We have Tommy Bahama shirts, without the extravagance of hula skirts. We lead alien heads to cosmic beds. All because, we are lunar gentlemen.”


Sydneysider hip hop outfit Botanics are following up their mammoth 2010 without delay – new full length The Fabric was released only a few weeks ago through The A&R Department, and the momentum is foreseeably ceaseless. Having been in the works over the last few years, the album’s title track and lead single provides but a taste of the aural delicacies Botanics have assembled, and they’ll be dishing out even more samples on their forthcoming national tour. Follow-up remixes of some other tracks taken from the album will also be released over the coming months. Rhyme time with Botanics happens at the Beach Hotel, Byron Bay Saturday May 28. Check the band’s Facebook page for more details.


“I know and love Spear Of Longinus from the old days, and Vomitor. I’ve followed Portal from the time they started, and I’ve recently gotten to know Impetuous Ritual and Grave Upheaval, I’m keen to hear their stuff some more. Defamer and Laceration Mantra and Mongrels Cross also come to mind along with Invocation. I would consider the Brisbane scene to be a productive one, and one of the heaviest in Australia.” When it comes to the philosophy behind the band, Lynch says that Destruktor is all about remaining underground.

“It’s been nearly two years since we last played Brisbane, and since then the album [2009’s Nailed] has spread far and wide. We’ll play quite a few songs from Nailed, but nearly half the set will be from our earlier releases. In comparison to last time, we’ll play a few different songs, and will play them better than last time. The line-up is stronger than ever, and we’re ready to smash it with the punters. Punishing song after punishing song, played with total conviction. We’re not big on the theatrics, but we are big on playing extreme metal, for extreme metalheads!” Destruktor may not have been here for a while, but it seems that Lynch has been keeping well abreast of things in the Brisbane heavy scene.

IMAGINARY DARKNESS “Fringe folk” enchantress Emma Dean continues the quirky journey kicked off last November on her launch tour for the acclaimed Dr Dream And The Imaginary Pop Cabaret with latest single Something They Can Hold. She is supporting the release of the song with a national run of dates that, like the single itself, explores a slightly darker side to the musician, breaking down her already engaging shows to their “most basic, visceral elements,” embracing the “black, nebulous, murky world of a neurotic cabaret songstress fronting a group of musicians.” Yes, the songstress is having a break from the overly mirthful to get a little more exploratory, and it’s recommended you go exploring with her. She hits The Old Museum on Saturday May 28. Tickets are available through OzTix for $15+bf or $20 at the door. As an extra incentive, she will be giving away a free digital CD of songs from herself and her tour supports to anyone who sends their online ticket purchase receipt to em@


Much-hyped Melbourne indie outfit Strange Talk, who have been touted as far away as New York as being “a star-crossed marriage of Phoenix and Passion Pit”, are readying to make good on the promises. Their expansive first headline tour, to celebrate the recent release of their eponymous debut EP a couple of weeks back, rides the wave generated by debut single Climbing Walls as well as the anticipation preceding new single Eskimo Boy – which is tipped to create another splash on the airwaves, dancefloors and TV screens for the fledgling foursome. The tour culminates on Saturday night at The Bowler Bar in the beautiful Fortitude Valley.


It’s been a long time coming and now it’s here; Real World is the debut album of soul-pop diva Hannah Macklin and her band The Maxwells. After years of touring and numerous band line-up changes this songstress has finally found her sound. And what a sound! Her debut offering promises a sound mature beyond her 23 years, packed full of funk, soul and rock’n’roll. To celebrate its release with Hannah and special guests Scott Spark and Pear and The Awkward Orchestra, drop into Brisbane’s Old Museum on Friday night, tickets are available through Oztix.

“I can’t say we have a particular philosophy, but over the years I’ve remained true to my word. We will not wimp out to impress more people. We are not trying to stand out from the crowd; we are not going to change our image, none of this shit interests me/ us. Death metal is meant to be ugly and unfriendly, not acceptable to the masses. The common public should either fear us, or not even know we exist. These days, everyone knows someone into ‘death metal’, but the problem is what’s perceived as death metal. I’m not gonna roll off any names, except anything like Slipknot is not death metal.” WHO: Destruktor WHERE & WHEN: Rosie’s Friday May 13


Get ready for one hell of a night, just when you thought it couldn’t get any better metal marauders Alestorm have announced their supports for the Back Through Time Australian and New Zealand tour this month. WA based metal monsters Voyager are joining the group for the entire Australian leg of the tour and Brisbane buccaneers Scuurvy have been announced as local supports. The Hi-Fi is set for a pillaging this Thursday night, make sure you grab your tickets from Moshtix right now, they will cost you $47 + bf.


You might know Evil Eddie as the frontman for Brisbane hip-hop/rock stars Butterfi ngers, or more recently for his solo work that includes the radio hit Queensland. You may know James Straker as the dude who once bought you a beer at the Alibi Room or gave you a shocking hangover at The Depot or Monster Joe’s or something. Anyway, head along to Tinbillys Party Bar on George St this Saturday afternoon and you’ll see them both trying to outdo each other on the wheels of steel, while you kick back, have a couple of brews and enjoy some free pool.



MUSIC IS SPORT Over the years Re:Enactment have grown to become one of Brisbane’s most loved indie/ electronic acts on the live stage and their EP and single releases have proven they know their way around a studio better than most. So it is awfully exciting to hear that the band have made that next big step in their musical career, if you will, and completed work on their debut album Sport. The record comes around four years after the band’s formation and it has really managed to capture all of the band’s weird and wonderful traits to a tee; credit must definitely be given to local producer Magoo and Gerling’s Burke Reid for their work in capturing this all on tape. The band are launching the record at Woodland on Saturday night and they have No Art coming up from Sydney for the party, while locals The Rational Academy and Toy Balloon DJs have the rest of the night’s musical treats. Doors open at 8.30pm and entry is just $10.


started branching out, it’s taken some planning to get our live sound to imitate that of our album. In the recording process it’s so easy to throw in a couple of instruments you’d never use on stage, so making sure none of this gets left out live is a challenge. Let’s just say we’ve taken it into consideration. We’re excited about the new album, but we are even more excited about our refined live sound.”

FARE THEE WELL Saying goodbye can be really hard a lot of the time, but when you’re bidding adieu to someone embarking on a monumental adventure, you need to swallow those tears and just get excited. So that’s exactly where we’re at right now with the news that Danny Widdicombe and Andrew Morris, who have formed a duo called Widdicombe Morris, are playing one final show before they head off to Berlin to enjoy the fruits of the Grant McLennan Fellowship Prize they won last year. These two guys are no strangers to performing together, they make up half of renowned country outfit The Wilson Pickers and Widdicombe is a long time member of Morris’ backing band for his solo endeavours, so you can bet their musical chemistry is already something quite special. We can’t even imagine how good the songs that are borne from their time in Berlin will be, but we can’t wait to find out. Come and say goodbye when they play one final Brisbane show at The Joynt on Thursday May 19 from 8pm. Entry is free.

Rokeby Venus were invited to play last year at Victoria’s prestigious Bell’s Beach Rip Curl Pro. As a surfer, Danby was chuffed to say the least.

“I have no idea,” says Danby. “Somehow, we made it work. I think it’s been great having three people come together from differing backgrounds to collaborate their ideas. It’s always interesting at our rehearsals to see all the weird and wonderful outcomes. Putting this aside, we all have very similar personalities. Th is has played a large role in our band’s success.” Translating Worlds In Collision to a live setting has been a challenge for the band, but Danby says it’s been one well worth the undertaking. “We’ve always performed acoustically with no real electro feel to our music. We’ve never really needed or wanted it. Now that we’ve

“It wasn’t the best gig we’ve done, but it was by far the most fun we’ve had as a band. It was great to be able to let our hair down for once and just enjoy the festivities. My other passion is surfing and to be waited on in VIP beside some of the world’s best surfers was a dream come true. Not to mention the late night parties, seeing the Great Ocean Road and the perfect weather. Honestly, it was brilliant.” WHO: Rokeby Venus WHAT: Worlds In Collision (Independent) WHERE & WHEN: Tempo Hotel Friday May 13, Skilled Park Monday May 16, The Balcony Friday May 20




guitar player and it was magic; I think that’s why I love duos now. First record you bought? It was Sleeper Catcher by LRB, had that song Reminiscing on it, apparently that is one of the most played songs on US radio, man thats gotta be worth a mint.


Record you put on when you’re really miserable? Funnily enough when I’m in a downer I don’t go for the chirpy stuff I go deeper into the listening abyss and go for Lucinda Williams’ Essence or Tom Waits, something that sounds bad. Record you put on when you bring someone home? Hmmm, well it depends on what you mean by bring someone home: I assume you mean in a seduction kind of way, well it’s been a while since I’m in a happy relationship, but I’d be thinking something like Nick Drake. If you mean just bringing someone home just to hang out then what about On The Beach by Neil Young, that’ll also keep the neighbours happy Most surprising record in your collection? Bongwater, a hardcore American rock band, whooo look out! Best record you stole from your folks’ collection? My folks liked Frank Sinatra, Shirley Bassey, John Denver and Richard Clayderman, to name a few random selections. Some may say pretty daggy stuff, but then I happened across the album American Pie by Don McLean and I heard Vincent and Winterwood and I was deeply moved. Went with my mum and saw him play, just Don and his


Last thing you bought/downloaded? Bought the new album by Buddy Miller, The Majestic Silver Strings, features some beautiful stuff. The Yearlings play the Beetle Bar Thursday May 12, Hampton Festival, Toowoomba Sunday May 15, Gold Coast Arts Centre Thursday May 19, Drill Hall, Mullumbimby Friday May 20

“It’s been fantastic so far,” he enthuses. “Th is is the first new music we have had out since our EP so I was a little worried to see how people would react to our new material, but all the feedback has been very positive. Unless everybody is lying to me. Which is possible...” But not likely: having been added to the line-up for June’s upcoming Rock The Valley festival, it’s difficult to imagine the support behind the Blondes being anything but legitimate, and their plate is so loaded for the near future that said difficulty transcends into near-impossibility. Kicking off the year with an appearance at the prestigious Big Day Out, it seems the locallybased grunge rockers have wasted no time at all in indulging in the rock’n’roll lifestyle, and with natural style – in recounting their schedule since, Bratt lists off a slew of bad-ass adventures with the casual aplomb of a seasoned party veteran. “[We’ve been] playing shows, drinking Jagermeister, getting into car accidents, having panic attacks on aeroplanes, being asked not to return to certain hotels, and trying to find ways to stay afloat financially,” he laughs. Not without success, apparently – currently in the dying days of their tour in support of newly-released double A-Side single Are You Entertained?/Friends In Danger, Bratt

“We have a spare few days, so we are going back into the studio to record new material with Aidan Nemeth from Wolfmother,” Bratt explains. “Then we are making the filmclip for the single, and then we are heading straight back out on the road again. Our manager is a slave driver. Please send help.” WHO: Blonde On Blonde WHAT: Are You Entertained?/Friends in Danger (Independent) WHERE & WHEN: The Globe Friday May 13, Rock The Valley Festival, Step Inn Saturday Jun 4


LET’S GET DIGITAL, DIGITAL 4ZZZ is launching its brand spanking new digital channel ZED Digital at midday on Saturday May 14 with a full day of special broadcasts! Featuring live audio coverage of local and interstate bands recorded by 4ZZZ in the last 12 months, special archive recordings from 4ZZZ’s first 20 years on air including rare interviews and news coverage, local music luminaries guest programming half hour of their favourite tracks and a special new music segment featuring over three hours of local, Australian and New Zealand content.


Black Ghost Party play Mazstock, Lismore on Saturday May 21

We will be celebrating on the day by hosting a Suitcase Rummage, Bake Sale and guided tours of our historical premises at Zed Headquarters in Fortitude Valley. If you’d like to be a part of the rummage, send us an email at info@4zzzfm. detailing your interest and the sorts of things you’d like to sell. There’s a $10 stall fee and all stall holders will be locked in by Tuesday May 10.

How did you get together? Rod Black (guitar/vocals): “After 15 years of hiding out in bedrooms, the self-proclaimed King of Home Recordings figured it might be time to share sounds with anyone who cared to listen. Thankfully I have some fine supportive and enthusiastic friends.”

We’ll also be presenting Decent Exposure, an all ages gig at The Hive with Knights and Cavaliers, Winter Solstice, Elijah Cavanagh & Amela Duheric. Doors @ 6:30 / $15.

Sum up your musical sound in four words. “Indie guitar swing lives!”

‘FUN’DRAISERS ARE YOU READY TO RUMBLE???? Rumble Rock Wrestling is on again, this time on Saturday Jun 4 at the Jubilee Hotel. Two stages, ten bands and the rumbling talents of the All Action Wrestling Team! Bands on the night will include HITS, Mercy Beat, Trinatyde, A Breach of Silence, Delorean and more PLUS there will be four sets of side splitting, face ripping wrestling!! Kicking off at 7pm, it’ll cost you $15 for non-subs, $5 for 4ZZZ subscribers and $0 for passionate 4ZZZ subs.

POSITIONS! 4ZZZ has a few important volunteer positions available at the moment, one is for the ZED Digital Program Coordinator role. The role entails working with management and volunteers to co-ordinate new show content on our new radio channel, ZED Digital. Interested parties will need to be current 4ZZZ subscribers and have a good understanding and interest in radio. If you are keen to find out more please email

MAY SUBSCRIBER INCENTIVE 4ZZZ’s current subscriber incentive is a ladies or gents “Westender” Bike worth $540 from proud 4ZZZ sub-discount outlet, The Bicycle Revolution located at 294 Montague Rd West End. The Westender comes with fully Sandblasted and Powdercoated frame and fork, new tyres, tubes, chain, cluster, handlebar, all bearings, grips, inner and outer cable, seat, brake-leavers and brake pads, 12-speed gearing in classic colors. Subscribe to 4ZZZ during May and have the chance to win the Westender. Check out the bike at


Local band Moon Jog are bidding farewell to their drummer Steve as he sets sail for shores elsewhere, they’re doing it in fi ne style with a big show set to hit the Step Inn on Saturday night. The show will also serve as a launch party for their Astro Risk set of songs that they recorded at the beginning of this year and they will have their good friends in Tiny Migrants along to help the party rage like you know it should. Entry is a mere $7 and the doors will be opening at 9pm.

If you could support any band in the world – past or present – who would it be? “The Residents with William Shatner.” 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? “Sun City Girls – Dante’s Disneyland Inferno.”

QSong award winner and much loved soul sister Bec Laughton has harnessed her jazz roots and put them to good use. Th is little lady has got one big sound, combining an eclectic mix of jazz, soul, funk and pop on her debut EP At First Sight. Bec’s going to be taking her show on the road, embarking on her first ever national tour this month before heading off for a stint in Europe, but firstly she’ll be introducing her new release to Brisbane audiences with a show at The Zoo tonight (Wednesday) as part of this national tour. The Walters and Celestino are also joining the festivities, and with an official after-party happening at Alloneword following the show’s conclusion, this promises to be one soulful soiree.


The Bertie Page Clinic are heading off to Edinburgh soon and before they go they want to give their hometown audiences a taste of the show they are taking to the world. On Saturday night they will take their show to SYC Studios (which is located at 37 Manila St, East Brisbane), a unique performance space that we’re sure will lend itself well to the band’s punk rock/ cabaret/burlesque goodness. It kicks off at 8.30pm.

Still reveling in the praise that has come their way after the release of their fourth album Sweet Runaway, alternative country duo The Yearlings have announced a massive East Coast tour kicking off in Brisbane and winding its way down the coast towards the group’s hometown of Adelaide. Famed for their uniquely evocative, American-inspired style of country and roots this series of shows will be like no other in Australia and with an abundance of shows announced there’s really no excuse to miss it. The Yearlings, with special guests Laneway, play the Beetle Bar in Brisbane on Thursday May 12, The Hampton Festival in Toowoomba on Sunday May 15 or The Gold Coast Arts Centre on Thursday May 17.


Greatest rock’n’roll moment of your career to date? “Two weeks ago I saw an extremely drunk person (who had somehow stage-dived off my music stand) with no pants on being held down by the boot of a beautiful woman while everyone else in the crowd took turns smacking his bare arse. It was great in the sense that it was completely bizarre and captivating to watch while I played.” Why should people come and see your band? “Because people will either break down crying or have a spontaneous orgasm. We are one of the finest bands on the planet. Why wouldn’t you come and see us?”


True enough, but with 40 years’ experience as a performer (including a notable stint with 80s rock outfit The Aussie Rebels) over his five as a professional mentor, it’s understandable Gaze has been unable to shake his love for a good old-fashioned live show. “Now that I’m up in age – blues shows and stuff like that are still good. I still do blues festivals a fair bit. I did Byron this year, and Thredbo as well – so I’d probably do two-four of those a year, I guess.” Lucky for us, one of those appearances is at our city’s own celebration of all things bluesy – and Gaze is no stranger to the stages found there, having appeared before for 2003’s event. “I still do odd projects here and there, around the place – I’m still recording and writing and doing different projects; y’know, the ones that I want to find the time for,” he says slyly. “I used to think that I didn’t know much about it; I used to think it was a bit of a bummer to go away from doing a lot of live music, but after doing it for the last five years, I’m actually quite enjoying it. I’ve got a lot of interesting students, and now that I’m into the swing of

“I like it because it’s local and I can go and do it and relax,” he explains. It’s good. It gives me a chance to air a couple of new tunes and be able to play in solo acoustic mode… just do a bit of cruisy stuff for people to enjoy.” WHO: Tim Gaze WHERE & WHEN: Brisbane Blues Festival @ The Tempo Hotel Saturday May 14


Hardcore and punk with Sarah Petchell. Email punk news to Miss May I

The list of bands playing Soundwave Revolution just keeps getting bigger and bigger. If you haven’t already been convinced to go, there were a couple more announcements over the last week that will surely have you rearing to go now! As the official announcement was pushed back, the rumours flew and were quickly quashed (no Rage Against The Machine or Alice Cooper guys) as to who the headliners will be (though KISS is now the frontrunning rumour… go figure!). There was a brief moment when I almost cried as I thought David Bowie would be playing, when AJ used a line from Ashes To Ashes to announce that All Time Low would be joining the line-up. In addition to all of this, Dashboard Confessional is the most recent addition to the bill. I’m not sure what it is, but this line-up is starting to send 18-year-old me into a head spin of excitement. There have been a few changes to the Parkway Drive Mix N Mash tour line-up, with the announcement that Bleeding Through and You & Me At Six have both withdrawn from the bill. No word on why Bleeding Through left the tour, but You & Me At Six have had to extend their recording schedule so will spend the next few weeks in the studio completing their new album. There of course has to be a replacement, and in this case it is Ohio’s Miss May I. Formed in 2006, Miss May I have been touted as the new face of heavy music by various US music press, as they blend death metal, thrash and melodic hardcore. Their most recent effort is 2010’s Monuments, and they are playing this year’s Vans Warped Tour, so it will be neat to see them in Australia. You should also check out their cover of Savage’s Swing if you

want a little bit of a giggle as well. So The Wonder Years and Confession are still holding strong on the line up, and tickets are still available through Ticketmaster for the show hitting Brisbane Riverstage on Wednesday May 18. There has been a flurry of activity in preparation for tours later this month and early next, with support announcements for both the Cruel Hand and Propagandhi tours. First up, the Propagandhi tour hits the Coolangatta Hotel on Saturday May 28 and then The Hi-Fi in Brisbane on Sunday May 29. Tickets for both are still available and hopefully the announcements of the local supports will give you more incentives to get along and check out this Canuck punks: Stolen Youth are supporting the whole tour and then at the Coolangatta Hotel show, Friends Of The Enemy will be opening while Lungs will open the Hi-Fi show. As for the Cruel Hand tour, Third Strike will open for the hard-hitting act from Maine and Sydney’s Phantoms at Boys & Girls Nightclub in Brisbane for an 18+ show on Thursday Jun 16, while Thick Skin, Milestones and the incredible Marathon will open at the all ages show at Sun Distortion Studios on Friday Jun 17. Last report I heard there were very, very limited tickets left to the Sun Distortion show, so make sure you hit up Kill The Music to get your tickets and buy some CDs or merch while you’re at it and support your local independent record store. Epitaph have a few releases coming out in the next couple of months. Miami experimental rock outfit I Set My Friends On Fire will be releasing their second full-length effort on Jun 17 entitled, Astral Rejection. If you haven’t checked out these guys before, their 2007 debut, You Can’t Spell Slaughter Without Laughter, is killer – a unique mix of chaos, brutal breakdowns, electronic interludes and melodic choruses – so check it out, and if you like what you hear make sure you mark the date of release of Astral Rejection in your calendar. Then on Jun 24, Set Your Goals will release their highly anticipated new album, Burning At Both Ends, just in time for their appearance on Soundwave Revolution this September..

Last week Parkway Drive’s already somewhat controversial Mix N’ Mash tour had international supports You Me At Six and Bleeding Through pull out of all the shows. Generic American metalcore group Miss May I have jumped on board alongside The Wonder Years and Confession instead, with a yet-to-be-determined local opening things up at Brisbane Riverstage next Wednesday. Next Wednesday an elusive Indonesian metal/punk group called Berantakan will play a free gig at the Step Inn with Kill The Apprentice, Symbolic Weapon and 308. Swedish thrashers-turned-radio-rockers The Haunted return to Brisbane on Thursday May 26. They’ll show us if they still have it or not at The Hi-Fi with support from locals Nefaria, Lynchmada and Desolution. Chances are you might have heard by now that Rosies Live will be closing up as a live venue after the final Monstrothic show on May 27 with Down Royale, Victoria’s Circles, The Fevered and Lagerstein. The weekly metal club will move to its new home upstairs at the Jubilee Hotel as of Jun 10. Obsidian Records, a driving force heavily associated with the club, has announced that they will be stepping back from the club’s operations, and “leaving it in the hands of other promoters as the label sets its sights on releasing more great Australian titles whilst further maintaining our contribution to Australian extreme metal with specifically tailored shows and events.” If you want to get a gig at the new incarnation of the club please email In the week where Monstrothic’s neither here nor there, Obsidian Records will present the re-launch of local progressive death metal group ‘Neath’s two albums as a single package at the Globe Theatre on Jun 3. The Small Untruths and


George Clinton

TWO NOTES FROM BLUESFEST: Why didn’t you like Dylan? If I have to hear one more person tell me how much better Jethro fucking Tull were than Bob Dylan I think I will explode. It’s not so much that I don’t understand people’s issues with Dylan’s set – the croaky, completely mistimed and, I guess, kind of obnoxious delivery is a far cry from the tenderness of The Freewheelin’ Bob Dylan, but the man has never been known as someone to replicate records or songs such as that; not in his almost 50-year career. The fact that people were surprised that he doesn’t sound like he did on those classic records is flabbergasting; there are myriad reports stretching back decades reporting on (and bitching about) his performing style. Dylan delivered the songs in a manner similar to how he has done for a long time; after the festival many are saying he has contempt for his fans, if this is the case (and it may well be) then this is nothing new. I will admit I found the lack of screens frustrating, but he has the right – like every performer on the planet – to perform in any way he wants. I’m not sure if I’ll ever go and see Bob Dylan if he returns, but I’ll have a pleasing memory of being in his presence, that’s for sure. Funk... Now I’m biased, I love funk, but anyone with even a passing interest in the genre ought to have been more than satiated by what they saw over the Easter weekend. We kicked off with the Funky Meters on Thursday night and while they killed it, it wasn’t until their set on Friday night that we really saw one of the world’s best bands kick into full gear. A crowd that barely reached into triple figures got to witness four buddies – who just so happen to be some of the best musicians on the planet – jam uncontrollably for over an hour. There was an

amazing sense of freedom as the band directed each other with nods and smiles, guitarist Brian Stoltz probably made use of it most, the former Neville Brothers member blasting out cobwebs with his blisteringly psyched out playing. Unfortunately to catch that set you had to leave uber-diva Grace Jones. It must be her sheer confidence that makes it so, but it’s hard to understand how anyone could like her. She’s completely selfish – not even allowing her band to be shown under stage lights – she shows up on stage 45 minutes late, calls the crowd impatient and motherfuckers and, frankly, her classics sound pretty dated. Gee, she was very good though. A consummate performer that oozed a creepy kind of soul, Jones showed why people continue to bother booking her; when she did finally get on stage she was just about flawless. On Saturday night the Juke Joint absolutely pumped to the sounds of Australia’s finest funk act The Bamboos. Now there’s a good chance that you’ve come across this band at some stage over the past decade in one way or another and they’ve always proven to be exceptional – but to see them genuinely hold their own alongside some of the world’s best funk and soul acts was a beautiful thing. Finally, and most importantly, we must strongly acknowledge George Clinton and his latest incarnation of Parliament Funkadelic. Once again it was a criminally small crowd who came to the party but there weren’t too many who were there and not dancing uncontrollably. I lost count of how many people were in the touring group (it was less than the advertised 26 but who cares) but each and every one of them played such an important part in this two-anda-half-hour extravaganza. Roller-skating backing singers, potty-mouthed granddaughters, the classic Sir Nose, a great setlist and, while Clinton is hardly able to contribute vocally these days, his direction of the band was awesome to watch. It was pretty special to be up the front well after their set (probably for too long) chanting “Ain’t no party like a P-Funk party cause a P-Funk party don’t stop”, I just wish it were true.

Pop culture therapy with Adam Curley

Metal with Lochlan Watt This Friday the blackened death of Victorians Destruktor will give the Monstrothic horde a good aural bashing. Impetuous Ritual, Veins Of Atrophy and Southern Crossfire join the bleak affair. Azreal, Malakyte and Konskriptor will hold down the fort upstairs. $15 will gain you entry to both levels from 8pm.

Blues ‘n’ roots with Dan Condon

The Spider’s Sleep will now be featured in the one package with stunning artwork from vocalist Boyd Potts. Sydney’s The Veil will support alongside local supergroup The Nihilist from 8pm. Sydney/Wollongong maniacs Totally Unicorn are re-releasing their 10” Horse Hugger EP on a bright purple 10” vinyl through Six Nightmares Productions, complete with a penis drawn on their Metallica tribute artwork. Pre-orders are currently being taken from sixnightmaresproductions. and are expected to ship Jun 25.

There’s a thing in pop culture called the ‘where were you when’ moment. Everyone knows about it. These are the moments when something ‘big’ happens in the world and we all stop what we’re doing and watch or listen, wide-eyed, mouths agape, storing information to trade and relay in the moments following.

Seven year old Melbourne doom/sludge band Whitehorse has set up a Bandcamp website, where they have uploaded their entire official discography for free streaming, with full downloads starting at as little as $2.50. Curious enthusiasts of down-tempo rumblings and deathly vocals should check out

I wrote some months ago about the ‘Kevin Arnold voice’ that starts up when nostalgic thoughts set in. As I write now, I’m getting it, because no one did the ‘where were you when’ moment like The Wonder Years. Perhaps it was because of the show’s writers were trading on 60s nostalgia, or maybe it was just that so much changed in American politics and culture in that decade – Kevin often found himself staring wide-eyed, mouth agape at the television with the rest of the Arnolds as a rocket fired into space or a president was shot.

Local Swedish-worshipping lords The Fevered are set to be parting ways with vocalist Joshua Robinson after their impending gigs. Looking for someone that will fit with the thrashier, more hardcore direction they wish to take, serious inquirers can email

These days – ie. pretty much any time past the 90s – we’re aware of every ‘where were you when’ moment as it’s happening. They’re no longer ‘where were you when’ moments. Now, they’re ‘where are you now’ moments. And there doesn’t seem to be any shortage of them.

After recently returning from their 31 date USA tour with Malevolent Creation and The Absence, grinding Sydneysiders Beyond Terror Beyond Grace are currently holed up at Melbourne’s Three Phase Studios. Working with engineers Joel Taylor and Rob Allen (The Abandonment, Encircling Sea), they are putting together their third album, slated for release in September. The band promises another wave of international touring will follow.

We take note of the time and location as Obama brags to the world that he’s a big, righty, allAmerican tough-guy who is Definitely Not A Muslim (albeit about an hour after news sites started reporting it), or when a boring white couple in their late-20s spends a wad of money that isn’t theirs on their wedding (it’s called Everything Above Middle Class, people), or when various natural disasters do increasingly bad things to masses of unsuspecting civilians (it’s called The Future, or Blockbuster Films Of The 90s).

Melbourne mosh-metal giants Confession recently tracked their second full length in Swedish with producer Fredrick Nordstrom (At The Gates, I Killed The Prom Queen). Frontman Michael Crafter promises it will be the heaviest and fastest CD the band has done to date. Release details are expected to be announced soon. American post-rock/metal geniuses Russian Circles are strongly rumoured to be touring in September. Sludgelords Torche were apparently previously set to be on the bill but have reportedly backed out.

Most of the time for us first-worlders, in First World 2.0, the ‘where are you now’ question is one of online rather than physical destinations: which news source or social media is turned to first? Which ‘community’? We don’t sit around the telly like the Arnolds, sharing the moment physically as Mrs Arnold looks worried (mothers – huh!) and Wayne scratches himself, but we do share it. That, however, alters

things considerably. The fact that we’re able to customise our individual physical surroundings while still being ‘present’ means that, when ‘big’ things happen, we’re each experiencing them in, sometimes minutely, different ways. For instance, as the ‘Osama Dead’ banners began filtering across the web, I was listening through my headphones to the new self-titled album by Cat’s Eyes (V2/Shock), the latest project from The Horrors’ frontman, Farris Badwan, also featuring Canadian opera soprano and multi-instrumentalist Rachel Zeffira. It’s an odd and oddly charming release, a collection of near-musical numbers heavily influenced by 60s ballad-pop but also saturating Hitchcock scores, and also by the Crampsian bouldering that sometimes informs The Horrors. In her soft, analogue-effected voice Zeffira sings, almost with a pretend naivety, of a fondness for a friend, her need to end a relationship and her knowledge that she’s “not prettiest girl in the world” (in I’m Not Stupid, a song so lacking in self-esteem it’s more telling of its protagonist’s insecurities than it is of any wider portrayal of young women in indie/pop culture). Then comes Bandit, with its whimsical ‘Eastern’ woodwind and cracking chains and accusations of “stealing hearts” and “robbing minds”. “If you catch him by surprise just don’t look into his eyes,” Zeffira sings before the chain cracks again. As a soundtrack to a media celebration of Osama’s death, or one to Obama’s speech, it couldn’t have been more appropriate. With the album’s closing track, I Knew It Was Over (which they performed live at the Vatican in January and filmed for your online viewing pleasure), a simple and stunning pipe-organ-filled lament, Cat’s Eyes close the door on their allencompassing, awkwardly emotional and detailed record. Listening to it while reading and watching the Osama/Obama media frenzy, the disparity between the two events happening simultaneously added a see-sawing of feeling removed from and connected to the world; the personal and the mass weigh-in pushing and pulling each other in a strangely rational dance. It’s where I was when. Where were you?







“I think the different backgrounds is the best thing that could’ve happened. It’s between that and having the same tastes in music that has helped us along the way. We still laugh as a band how a classical violinist, dance producer/ DJ, groove drummer and a soul guitarist are all in a band together. Who would’ve thought?” For Strange Talk, the band sought out the expertise of renowned producer Eliot James, and Docker says his contribution was essential. “Eliot added a certain sonic sound to the EP, and really polished the demo versions and brought them to life. We reached out to him with only little hope he would be available at that point time and thankfully, he really vibed what we had done and it all worked out.”

Given the high production quality, how will the record translate to a live setting? Docker says it’s taken time to get things right.

Now the group is back in Brisbane to launch their latest work and see if all their hard work has paid off.

“At first, we didn’t really know where to start, being only a studio act to begin with. It’s been a long journey to get to where we are currently as far as the live outfit goes, however there is still so much more we want to add to it: more synths and bits and pieces. It’s been good to have been playing smaller shows initially because it lets you figure out what’s working and what isn’t working. Plus, having supported some pretty amazing acts/bands in the last several months, we’ve managed to learn from them.”

“The band hasn’t played a show for over six months so we’re busting to get out there and finally play!” Mincher exclaims. “I’m really looking forward to playing our third track on the EP, The End of Me... It’s got great tension and for me creates this melancholy state of numbness. We’ve written a separate intro to it for our live set as well and have an extra drum tom on stage which our guitarist is playing so it really builds up and has a lot of energy.

For the big launch at The Bowler Bar, Docker says that the band might be so excited they’ll be trying some new tricks on stage. “Well we’re yet to have tried crowd surfing, so let’s hope that both us and the audience are on the same wavelength before one of us takes that leap offstage.” WHO: Strange Talk WHAT: Strange Talk (Fine Time Records) WHERE & WHEN: The Bowler Bar Saturday May 14

“We all grew up in the same home town of Gympie,” Mincher recounts. “Music has always been a part of our lives prior to The Secret Whisper... It was just lucky that we found people as motivated as each other with similar musical aspirations for the sound we want to create.” And it’s that sound they’ve been working on for the past six months, recording their debut EP, Le Juene Amour, with Sonny Truelove in Sydney as well as working with producer Elvis Michael Baskette, famed for his work with iconic rockers Incubus, Iggy Pop and more. “For Elvis Michael Baskette to even consider working on our EP was incredibly humbling and he did an amazing job mixing our record, we couldn’t be happier with how it sounds,” Mincher marvels of the new project.

“We want to create excitement and intensity but most of all we just want the crowd to enjoy themselves.” But there’s no rest for the wicked, as Jess explains. “We’ve got a little south-east Queensland tour going from Noosa, Hervey Bay and Gympie following the week of our EP launch. After that we want to be touring anywhere and everywhere!” WHO: The Secret Whisper WHAT: Le Juene Amour (Independent) WHERE & WHEN: The Zoo Friday May 13




It is totally understandable if you get the feeling there are simply too many festivals around these days. If they weren’t so much fun we’d probably be inclined to agree with you. Unfortunately the hip pocket doesn’t allow for us to go to every single festival we want, but the team at the Red Deer Festival are looking out for us, putting on a killer bill of (admittedly local) talent, in a gorgeous environment for a fraction of the cost of your regular festival experience. The bands getting amongst the festival this year include The Cairos, pictured, Dubmarine, Inland Sea, The Lyrical, Tim Nelson & The Cub Scouts, The Dashounds, Julz & The Grimly Beats, Avaberee, Last Minute, Tenda McFly and DJ Blake Thompson and it all happens at 291 Fogg Rd, Mt Samson on Saturday Jun 18 from 10am. Tickets are available for just $60 + bf from right now and the event is BYO (cans only) which is bound to save you a packet! Stay tuned for more artist announcements.

They’ve fast become Brisbane’s favourite merchants of deep, heavy, doomy metal and while their work has been ambitious enough to date, their latest release Real Pain Supernova really sees No Anchor take things to another level. The band consider the record to be their second, third and/or fourth record, due to their opinion of their first record’s quality and whether or not their live album of last year counts. It doesn’t fucking matter though, they have a new record, it’s fucking brutal and it’s available on double-LP right now from the band. If you’re not into vinyl (come on now) then you can legally download the album for free at the band’s website right now []. No matter how you get into it, you’re going to have to see the band live and you can do just that when they launch the record at Woodland on Friday night with support from the wonderful Undead Apes and Dreamtime, with DJ Swede Tooth dropping bombs between bands. Bring earplugs if you’re a pussy.

Is this your fi rst foray to Brisbane? If not how many times have you performed in our midst Approximately 80 times. Please relate your impressions of performing in our fair city. Friendly warm atmosphere, great audiences, laid back, great place to be. What can we expect different this time around? In the matinee some gorgeous dancers from the Brisbane dance school S.H.A.K.E. and in the 18+ show two new members in the Newspaper Mama Band. And also...performing in two venues I haven’t performed in before!

Home ground: The beautiful city of Adelaide. Describe your live music/performance style as succinctly as possible. Quirky, flamboyant, melodic, adult friendly, diverse, ‘out there’.

Has anything exciting been happening in your world of late? My daughter got married last Saturday. I have recently released Peter Combe – the Complete DVD Collection. In 2010 I did a concert in the UK which was the most enjoyable one I’ve ever done! Peter Combe plays Old Museum (11am, all ages) and The Globe (8pm, 18+) on Saturday May 14.


WED 11

Abby Skye The Tempo Hotel Bec Laughton, The Walters, Celestino The Zoo Birds of Tokyo, The Cairos The Tivoli Bom Gosto Glass Bar & Restaurant Brazilian Night Mick O’Malley’s Dog and Dry, My Escapade, Underwood Mayne X & Y Bar Eric Bibb, Blackbirds The J Iretro Elephant & Wheelbarrow Mark Bono Fibber Magee’s, Toowoomba Mark Sheils Royal George Nanna Night Wednesdays: Dom Miller Vinyl Bar, The Hi-Fi Open Mic The Music Kafe Open Mic Night Birdee Num Num Open Mic Night, Anthony Branagan, Rules of a Diagram The Loft Chevron Island Revenant, Grey Matter, Shotgun Halo, Nucklehead Step Inn Rock School Challenge Southbank Institute Of Tech The Bowery Hot Five With Mal Wood The Bowery Tiny Spiders, Tiger Beams Ric’s Tyson Faulkner Fiddlers Green Way Farers Acoustic Open Night Brighton Hotel

THU 12

Alestorm, Voyager, Scuurvy The Hi-Fi Ballad Boy Loving Hut Birds of Tokyo, The Cairos Lake Kawana Community Centre Boys and Girls: Never Lose Sight, Armada In The Dusk, The Endless Pandemic X & Y Bruce Woodward Trio Jazzworx Candice McLeod, Unplugged In The Basement: Fly By Wire The Arts Centre Gold Coast

Charlie Koranias, Alla Spina The Music Kafe Chris Ramsay Logan Diggers Club Daniel Fargo Story Bridge Hotel Gary Numan, Severed Heads The Tivoli Hey! Cartel: Running Guns Cartel Bar I Can’t Believe It’s Not The Satellites The Bowery John & Friends The Tempo Hotel Level Up: Safe Hands, Only Sleeping, Decades Away, Training Day Rosie’s Locky Mick O’Malley’s Lotek, Schoolfight The Joynt Quiet Steps, Diamants Ric’s Suicidal Tendencies, Toe To Toe Coolangatta Hotel Taming of The Shrew, Taylor The Zoo The Antibodies The Gollan Hotel The Yearlings, Laneway, Cowper The Beetle Bar Transvaal Diamond Syndicate, Andrew Baxter Band, Cleveland Blues, Jaime Robbie Reyne, Redeye Junction The Loft Chevron Island Woody Elephant & Wheelbarrow

FRI 13

1.1.1., DJ Doomy, Screamin’ Stevie, Los Huevos, Mick Medew & The Rumours Apollo Club, Upstairs Jubilee Adrian Keys The International Hotel Blonde on Blonde Globe Theatre Bluesville Station Cabarita Beach Sports Club Bob Mouat Southern Hotel Toowoomba Cheap Fakes, Darky Roots, One Dread Sol Bar, Maroochydore Chester Horse & Jockey Warwick Dale Voss, 3 Days Off Mick O’Malley’s Daze, Tim Johnson, Jackson Dunn Billy’s Beach House

Duck Duck Goose Bowler Bar Dynamic Duo Fibber Magee’s, Toowoomba Eric Bibb, Gossling, Seagull Soundlounge Currumbin Hannah Macklin & The Maxwells, Scott Spark, Pear & The Awkward Orchestra Old QLD Museum Hemi Kingi Trio The Morrison Hotel Hotel Motel, Lovers of Modern Art Ric’s Jaime Robbie Reyne & The Broken Hearts, Dan Widdicombe, Little Chris, Bacon, Van Miert X & Y Bar Jan Lennardz J’z Jazz Crew Full Moon Hotel Sandgate Joel Myles and The Jetpack Academy, Woe & Flutter, James Grehan, Arielle The Loft, Chevron Island Joshua Hatcher, Angela Fabian Brisbane Jazz Club Kennigo, Glass Towers, Tom & Jarry, Botanical Neverland King Louie Band Bilambil Sports Club Local Licks: Unplanned Holiday, Blindchase, Winter of Reason Transcontinental Hotel Locky, Superfreak Elephant & Wheelbarrow Mace Withcott Hotel Mark Sheils Sofitel Mason Rack Band Noosa-Tewantin RSL Michelle Brown Duo Coolum Bowls Club Mojo Webb & Band Pineapple Hotel Monstrothic: Destruktor, Impetuous Ritual, Infektion Rosie’s Mr Perkins Albany Creek Tavern No Anchor, Undead Apes, Dreamtime, DJ Swede Tooth Woodland QSM Live, Conservatorium Of Jazz Weekend Queen Street Mall Richard Waterson Queenslander Goondawindi Rokeby Venus, Hailey Calvert The Tempo Hotel

Ross Ward Royal Mail Hotel Goodna Suicidal Tendencies, Toe To Toe The Hi-Fi Test Pattern Prince Of Wales Hotel The Geoff Green Trio The Point Restaurant The Residents: The Honey Month Brisbane Powerhouse Turbine Platform The Scientists (Kim Salmon & Leanne Chock), Hits, Slug Guts, Spitfi reliar, The Jim Rockfords, Flangipanis, Gimpus, Main Street Brats and more Step Inn The Secret Whisper, Montpelier, Polaroid Fame The Zoo The Yearlings, Laneway Sphinx Rock Café Tin Can Radio The Beach Hotel, Byron Bay Transvaal Diamond Syndicate, Andrew Baxter Band, Cleveland Blues, Redeye Junction, Revolution Sunday Kings Beach Tavern Trinatyde, The Ovaries, The Disconnections, Oceans Away, The Hot Escape Basement 243 Triplickit, Rear Vision The Music Kafe University of Errors The Beetle Bar

SAT 14

8 Ball Aitken Lennox Point Hotel Adrian Keys Mango Hill Tavern Alter Egos Mick O’Malley’s Benny Cash & The Loose Change, JW Longhorn, Mickey Juice, The Loose Caboose Caledonian Hotel Bernie Carson, Sled, Moomoopapa The Music Kafe Bertie Page Clinic SYC Studios Bowler Bar Bowler Bar Brisbane Blues Festival: Dillion James Band, Johnny Hucker, Mason Rack Band, Tim Gaze, Mick Hadley & The Atomic Boogie Band, Asa Broomhall, Mojo Webb & Band, Blind Lemon The Tempo Hotel

Caxton Street Noosa Heads Jazz Club Celtic Celebration QPAC Concert Hall Colin’s Class Horse & Jockey Warwick Cows at the Beach: Indian Jazz Concert Series The Judith Wright Centre Daevid Allens University of Errors The Gollan Hotel Gigahertz Springwood Hotel Greg & Katey Aspeling The Arts Centre Gold Coast Gypsy and The Cat The Hi-Fi James Blunt, The Verses Brisbane Convention and Exhibition Centre Jericho Fibber Magee’s, Toowoomba Kristy Apps, Shotguns Shirleys, Love Like Hate, Ukelele Sisters, Blue Honey The Beetle Bar Lil’ Fi, Mojo Webb & Band, Jimmy Watts Royal Mail Hotel Goodna Mace Southern Hotel Toowoomba Mark Sheils Redland Bay Hotel Michelle Brown Duo Maroochydore SLSC Moon Jog, Tiny Migrants Step Inn Mr Perkins Cleveland Sands Hotel Novacain Story Bridge Hotel Only Just, Vellum, Geomantra Prince Of Wales Hotel Peter Combe Globe Theatre Peter Combe Old QLD Museum QSM Live: Conservatorium of Jazz Weekend Queen Street Mall Re:Enactment, No Art, The Rational Academy, Toy Balloon DJs Woodland Ruidosa Imundicia, Teargas, Pastel Blaze, Short Life, Last Chaos Apollo Club, Upstairs Jubilee Sky Pilot, Videomatics Ric’s The Con Klezmer Orchestra Brisbane Jazz Club

The Mission In Motion, Numbers Radio, Words Versing Verses, For Th is Cause The The Moniters Spotted Cow The Replicants Elephant & Wheelbarrow The Scrapes, Sky Needle, Heart Flew Like An Arrow, Butterz, Charlie Hustle X & Y Bar Transvaal Diamond Syndicate, Andrew Baxter Band, Cleveland Blues, Redeye Junction Barsoma Treva Scobie Manly Hotel Waxing Lyrical: Rattlehand, Jac Stone, Sue Ray Brisbane Powerhouse Turbine Platform

SUN 15

A Day To Remember, Underoath The Tivoli Adrian Keys Brisbane Lions Club Ben Salter The Lark Big Community Day Out: Herb Armstrong And The Royal Street Krewe, No Right Turn, The Marsden Lee’s, Hello Africa South Bank Blind Lemon, Exposed Sundays Ric’s Block Party DJs Elephant & Wheelbarrow Blue King Brown, Diafrix Bellingen Memorial Hall Blue Sunday: The Zed Charles Band The Tempo Hotel Chris Ramsay, Owie Fibber Magee’s, Toowoomba Diesel Kings Beach Tavern Dillion James Band Royal Mail Hotel Goodna Enosi, Cover Charge, Nothing But Trouble, Harley J Young, Alla Spina, Lattitude The Music Kafe Green Heart Fair, Daryl Braithwaite 7th Brigade Park Gypsy And The Cat Coolangatta Hotel

Irish Sessions Mick O’Malley’s Jabba Royal Exchange Hotel Jazz Sunday Era Bistro Katy Perry, Zowie Brisbane Entertainment Centre Kristina Kelman Brisbane Jazz Club Live Spark: The Lucky Wonders, Roz Pappalardo & The Wayward Gentlemen Brisbane Powerhouse Turbine Platform Michelle Brown Duo Rococos Noosa Owie Withcott Hotel QSM Live: Conservatorium of Jazz Weekend Queen Street Mall Sound Support, The John Butler Trio Kings Beach Amphitheatre Sunday Bloody Sabbath Sessions, Skritch, Sabrina Lawrie The Beetle Bar The Satellites The Bowery Tramp Fiesta, Frail Marys, Sexypie X & Y Bar Treva Scobie Southern Hotel Toowoomba Vinyl Rotations, Archie Jacobsen, Sky Needle, Alps The Hi-Fi

MON 16

Airbourne Villa Noosa Hotel Baers The Music Kafe Lissie, Emma Louise The Zoo The April Maze The Cavern Bar & Café

TUE 17

A Day To Remember, Underoath Coolangatta Hotel Amber Williams Elephant & Wheelbarrow Ben Folds, Kate Miller-Heidke QPAC Concert Hall Connor Cleary The Music Kafe Gerard Mapstone, Dalecana Flamenco Company Brisbane Powerhouse Visy Gonzales 3 The Bowery Katie Wighton, Bohemica The Bug Pop Electro Escalate: Goodbye Gravity, Sky Pilot The Tempo Hotel The April Maze Buddha Bar


May 11, 1972 – John Lennon appears

on the Dick Cavett TV show and claims that the FBI have tapped his phone. May 12, 1968 – Jimi Hendrix is arrested for possession of hashish and heroin when he crosses the Canadian border for a concert in Toronto. He claimed the drugs were planted and he was later exonerated. May 13, 1958 – Jerry Lee Lewis is granted a divorce from his second wife six months after marrying his third wife, Myra. May 14, 1985 – Michael Jackson receives a humanitarian award from US President Ronald Reagan at the White House. May 15, 1995 – Scott Weiland (Stone Temple Pilots) is arrested for trying to buy drugs in a motel parking lot in Pasadena, California. May 16, 1969 – Pete Townsend (The Who) is arrested onstage after mistakenly kicking a New York police officer. May 17, 2000 – The Eagles file suit against the “Hotel California” restaurant in Dallas, Texas alleging trademark violations.









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(San Fran)1st OZ Tour w/ THIRD SKY





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APOLLO CLUB, UPSTAIRS JUBILEE Friday 1.1.1., DJ Doomy, Screamin’ Stevie, Los Huevos, Mick Medew & The Rumours Saturday Ruidosa Imundicia, Teargas, Pastel Blaze, Short Life, Last Chaos


BRISBANE POWERHOUSE Friday The Residents: The Honey Month Saturday Waxing Lyrical: Rattlehand, Jac Stone, Sue Ray Sunday Live Spark: The Lucky Wonders, Roz Pappalardo & The Wayward Gentlemen Tuesday Gerard Mapstone, Dalecana Flamenco Company

COOLANGATTA HOTEL Thursday Suicidal Tendencies, Toe To Toe Sunday Gypsy and The Cat Tuesday A Day To Remember, Underoath


ELEPHANT & WHEELBARROW Wednesday Iretro Thursday Woody Friday Locky, Superfreak Saturday The Replicants

GLOBE THEATRE Friday Blonde On Blonde Saturday Peter Combe

MICK O’MALLEY’S Thursday Locky Friday Dale Voss, 3 Days Off Saturday Alter Egos Sunday Irish Sessions

QPAC CONCERT HALL Tuesday Ben Folds, Kate MillerHeidke

RIC’S Wednesday Tiny Spiders, Tiger Beams Thursday Quiet Steps, Diamants Friday Hotel Motel, Lovers of Modern Art Saturday Sky Pilot, Videomatics

Sunday Blind Lemon, Exposed Sundays


Thursday Level Up: Safe Hands, Only Sleeping, Decades Away, Training Day Friday Monstrothic: Destruktor, Impetuous Ritual, Infektion


Wednesday Revenant, Grey Matter, Shotgun Halo, Nucklehead Friday The Scientists duo, Hits, Slug Guts, Saturday Moon Jog, Tiny Migrants


Friday University of Errors Saturday Kristy Apps, Shotguns Shirleys, Love Like Hate, Ukelele Sisters, Blue Honey Sunday Sunday Bloody Sabbath Sessions, Skritch, Sabrina Lawrie

THE HI-FI Thursday Alestorm, Voyager, Scuurvy Friday Suicidal Tendencies, Toe To Toe Saturday Gypsy and The Cat Sunday Vinyl Rotations: Archie Jacobsen, Sky Needle, Alps

Thursday The Yearlings, Laneway, Cowper

4ZZZFM NOW PLAYING 1. I Want That You Are Always Happy THE MIDDLE EAST 2. Glorious Barsteds THE COSMIC PSYCHOS 3. Rolling Blackouts THE GO! TEAM 4. Journey Over Skin MZAZA 5. I Hear This CD Is Really Good GRESKA 6. Washed Up I HEART HIROSHIMA 7. & Bombd RE:ENACTMENT 8. Scraps SCRAPS 9. Pierre le Rat EXTRAFOXX 10. The Milk Has Gone Sour SLEEPWALKS

THE JUDITH WRIGHT CENTRE Saturday Cows at the Beach: Indian Jazz Concert Series


Friday Rokeby Venus, Hailey Calvert Saturday Brisbane Blues Festival: Sunday Blue Sunday, The Zed Charles Band Tuesday Goodbye Gravity, Sky Pilot


Wednesday Birds of Tokyo, The Cairos Thursday Gary Numan, Severed Heads Sunday A Day To Remember, Underoath

THE ZOO Wednesday Bec Laughton, The Walters, Celestino Thursday Taming of The Shrew, Taylor Friday The Secret Whisper, Montpelier, Polaroid Fame Saturday The Mission In Motion, Numbers Radio, Words Versing Verses, For This Cause Monday Lissie, Emma Louise

Saturday Re:Enactment, No Art, The Rational Academy

X & Y BAR Wednesday Dog and Dry, My Escapade, Underwood Mayne Thursday Boys and Girls: Never Lose Sight, Armada In The Dusk, The Endless Pandemic

Friday Jaime Robbie Reyne & The Broken Hearts, Dan Widdicombe, Little Chris, Bacon, Van Miert Saturday The Scrapes, Sky Needle, Heart Flew Like An Arrow, Butterz, Charlie Hustle Sunday Tramp Fiesta, Frail Marys, Sexypie

VINYL BAR, THE HI-FI Wednesday Dom Miller

WOODLAND Friday No Anchor, Undead Apes, Dreamtime


ON THE TIME OFF STEREO Diaper Island CHAD VANGAALEN Crystal Theatre BELLES WILL RING Hard Bargain EMMYLOU HARRIS Walls AN HORSE Sport RE: ENACTMENT Soundcrane VARIOUS Hit After Hit SONNY & THE SUNSETS Teenage Dream KATY PERRY Showroom of Compassion CAKE Dance to the Music SLY & THE FAMILY STONE






The fifth annual Guitar Brothers’ Guitar Amp & Vintage Show, Australia’s largest guitar show, featuring thousands of guitars, basses, amps, effects units, mandolins and banjos from some of the biggest names in the musical products world, right through to custom-built instruments, returns once more to the Upper Commerce Building in Brisbane’s RNA Showgrounds Saturday May 21 and Sunday May 22. As well as all manner of instruments and associated technology local and international, there’ll be guitar workshops, free introductory lessons, product demonstrations, clinics and live performances – all day both days – access to all of which is included in the admission price. Among the guest guitarists performing and presenting workshops and clinic are, direct from the US, Michael Angelo Batio, voted the world’s #1 metal guitarist, along with local legends Michael Fix, Adam Miller, Tim Gaze and many more. An adult day pass will set you back just $20, and if you’re aged between 13 and 18, it’s only $10 (under 12, you’re in free!), so for further details and to pre-book tickets, go to

SHURE PSM 1000 PERSONAL MONITOR SYSTEM Shure is, later this month, releasing its PSM 1000 Dual Channel Personal Monitor System, which, building on the PSM 900, is designed to deliver a package suited to high-end professional touring applications and demanding end users for in-ear monitoring. The system includes a full width 1RU chassis incorporating internal mains supply, dualchannel transmitter, full Shure Wireless Work Bench (WWB) software for configuration and remote control/monitoring, best-in-class audio and RF performance, networking connectivity with and a true diversity-equipped low profile bodypack receiver, PSM 1000 delivers on the demanding requirements of top tier sound professionals worldwide.

MEET THE JBL PRX600 SERIES LOUDSPEAKE Replacing the now deleted PRX500 line, JBL has launched a new self-powered portable/installation line of loudspeakers, the PRX600 range, which includes three two-way models – the PRX612M, PRX615M and the PRX625 – a single three-way, the PRX635 and two single 18” subwoofers, the PRX618S and PRX618S-XLF. All of the feature M10 flypoints for easy installation, all include JBL differential drive transducers, which makes them much lighter, as do JBL’s super lightweight drivers, which feature two voice-coils and dual gap with neodymium magnet. I could go on, but the real test is of course in the hearing, so check out your local stockist or check into the Jands website – they’re the local distributor – for more details.


The formerly Perth, then London-based four-piece SNOWMAN is no more, but they’ve left us with one last recording, Absence. Singer and guitarist JOSEPH MCKEE talks to MICHAEL SMITH about its making.


onsidering the album was recorded over a number of sessions in various localities, including a railway arch, Absence is a remarkably seamless piece of work and very much, as Joseph McKee describes it, the “creamier and dreamier” antithesis to their previous album, 2008’s The Horse, The Rat And The Swan, which was, like their 2006 eponymous debut, recorded and produced by David Parkin at Perth’s Blackbird Studios. “I think we had a fairly solid idea of what we wanted to create,” McKee explains, on the line from his flat in London. “So as long as there’s a shared vision, a clear idea and good material, it doesn’t matter how long or how many studios it’s recorded in it you’ll get that sort of result. We’re classicists in the sense that we like the ‘album’ kind of idea; without it being a conceptual piece, we like to kind of create within certain boundaries. We put barriers in place that allow us to create things that work together. There was a pretty long gestation period for the record; it all kind of grew over the course of a few years really and I suppose as we went along that vision became clearer and clearer. “As to that railway arch, there was a little studio based under a railway arch and we thought that sounded like a Snowman thing to do [laughs], just making things as difficult as possible for ourselves, so some of the sounds on the album are recorded under a railway arch and most of them aren’t! But lots of interesting sounds were coming out of that space – lots of reflection – and that was the initial idea.” Taking care of the purely technical aspects of the swansong recording for Snowman, which also featured guitarist, violinist and keyboard player Andy Citawarman, bass player and saxophonist Olga Hermanniusson and drummer Ross DiBlasio, was fellow Australian Aaron Cupples, whose production credits includes records for The Drones, Paul Kelly and Dan Kelly. “We’ve known Aaron for nearly three years now; he’s recorded some of our favourite artists and we got along with him immediately, but I think one of the main reasons we agreed that we would record with him – other than the fact that he lives just around the corner, which is very, very convenient [Cupples’ flat in London suburb Dalston is also his recording space, the ‘Dalston Pop


Sydney’s Jane Walker recorded her debut album, Walk Gently with UK producer Steve James, recording four songs at Rocking Horse Studios in Byron Bay, with Barbara Griffin co-producing the other eight tracks at Billy Field’s Paradise Studios in Gosford. “Underground producers and songwriters” Sammi Scream and The Big Bad Broz began the album, Screaming Bikini, in a studio in Miami, but the project evolved through an unlikely series of sessions in a cellar in Brooklyn, a cabin in Malibu, and an old theatre in London. Just who is really behind Screaming Bikini is being played very close to the chest.


“Prior to this album, we would record an album in a three-week block or something and, fine, that was okay doing that, but you feel the pressure and the time constraints in those sorts of situations and we wanted this process to be a lot easier. Recording The

skull, leaving a trail of blood and bone through the four walls behind you and into the wilderness. For those of you who are into a more ‘click-andplay’ styled approach, you will be happy to know that there are some exquisite instruments that come with this bundle, some of them being New York concert grand, Vienna concert grand, vintage organs, scarbees and clavinets… This is just touching the surface of some of the most realistic and colourful software instruments on the market to date.

Brisbane two-piece The Blackwater Fever recorded their second album, In Stereo, in their hometown’s newly established Borough Studios with studio owner, producer and artist Skritch (Mary Trembles, Beasts Of Bourbon, Tex Perkins’ Dark Horses).

When singer, songwriter and busker Mike Rosenberg, who travels as Passenger, returns to the UK at the end of a final Australian tour through May promoting his current album, Flight Of The Crow, he’ll be taking home his next album, which he’ll be mixing in London. It was recorded at Linear Recording in Leichhardt, Sydney, which was essentially built by the engineer, Chris Vallejo, himself.

So the decision to use a variety of recording spaces – the aforementioned railway arch studio, the Dalston Pop Shop (mainly for overdubs) and Milico and Redchurch Studios in Hackney for the drum parts and louder instruments – was as much about the long gestation period of the album and the consequent availabilities of those various spaces, but it was also something else.

Horse, The Rat And The Swan was a kind of personal nightmare for me at times, so I did not want to repeat that process of doing it. That was one of the reasons why [Absence] was a staggered kind of approach; we’d go in for a few days at a time and work on what we had then, and we would come back later. “But also we were all flat broke and until we had enough pennies to record, we had to wait and just work on the songs. And I don’t think that was a bad thing. I think the fact that it was staggered and drawn out allowed us to really develop the songs. “It was a digital recording, again just out of sheer poverty – we couldn’t afford to buy tape – but we did some tape recordings. Though when I say tape, I mean cassette tapes, so we did lots of analogue things and worked them into the mix; lots of effects, running sounds through cassette tape machines, breaking up sounds in various ways, a lot of which was Aaron’s doing, and we had some really lovely breakthroughs using that.” While Snowman may be no more, the rhythm section having decided to head for Iceland to start a family and Citawarman is concentrating on his engineering design day job. McKee has thrown himself into a number of other projects including a solo album, a duet album and some film scores among other things. Absence by Snowman is out now through Dot Dash/Remote Control.


California’s Incubus called in producer Brendan O’Brien (Pearl Jam, Rage Against The Machine) to record their forthcoming sixth album, If Not Now, When?, out mid-July.

Adelaide/Melbourne band Coerce took themselves into their guitarist/songwriter/ producer Mike Deslandes’ Capitalsound studio in Adelaide to record their second album, Ethereal Surrogate Saviour, which was mastered by Bob Weston at Chicago Mastering in the US.

Shop’] – is that he is a very diverse kind of an engineer and producer. He can make very different-sounding records and we needed someone that had a kind of versatile approach to producing, because the last thing you want when you have a very clear vision of what you want to achieve is someone who has a very different vision. So it was easy to communicate our ideas to Aaron in textures and colours and he would translate that into audio language and record and produce it in that sense. We’d describe a sound we wanted to achieve in our loose band language developed over the past ten years and Aaron would try and interpret that. That clarity of vision was basically triggered by dislocation from everything that we knew. There was a very clear kind of emotion that we were going through and we were aware that it was an unnameable emotion or feeling and we simply wanted to capture that feeling in music.”

Twenty-four programs and expandable, cross compatible and priced to compete with other singular programs, it can only be one thing – Komplete 7! This select group of programs is quite easily the most powerful that you will find for a very long time. Komplete 7 means more than a facelift… It’s a complete renovation. Reaktor is fortunate enough to have been blessed with a much more comfortable user interface by the Gods at Native Instruments. New users will find themselves working up a modular-storm much faster this time around rather than fl oating around the surface and it’s all thanks to a simplified layout. The included add-ons The Finger, Spark and Prism come in handy. Purchasing every add-on for Reaktor would easily been seen as an intelligent investment. The alpha software in this bundle is easily Kontakt by far, never before has there been such a way to play and create sample libraries with such versatility and ease of use. If you are brave enough to dive inside of the 43GB of samples, be sure to dig your fingers under the skin of Kontakt and retract the outer flesh. Just be warned, the sounds you create will blow your eyes straight out of the back of your

Battery is everything it has ever been made out to be and a hell of a lot more. Drag and drop simplicity, full controller assignment and 12GB of pure orgasmic sampling to suit every genre are the most obvious features. While it may not have inbuilt sequencing, Battery, like most of the other NI Products, will open up inside your DAW as a plug-in which is very efficient. If you can’t produce a song with the sounds in Battery, you might want to rethink your strategies – this is the real deal. The brand new Guitar Rig is exactly what you would expect to come from one of the leading software manufacturers around. Simply put, Guitar Rig 4 Pro is one of the best guitar solutions for recording guitar in a production environment, packing a mighty 15 different guitar and bass amplifiers modelled to precision, reamping features and a whole heap of effects such as fuzzes, distortions, reverbs, delays, filters and volume effects such as envelopes. Add 17 guitar cabinets, six bass cabinets, nine microphones and four to five different positions in which to place the microphones and what do you have? You have the feeling that an octopus would have if it had an AA-12 Tactical Shotgun in each tentacle. Or in more simple terms you have more than enough to get you out of trouble in whatever situation arises. If that wasn’t enough for you, Native Instruments have managed to collaborate with one of the most innovative guitar legends, the one and only Richard Z. Kruspe. For those of you who aren’t familiar with RZK, he’s best known for being half of the guitar section in industrial

outfit Rammstein. Together they have produced RAMMFIRE, the closest you will ever be to playing through Richard Z. Kruspe’s personal rig. Yes, the same rig that he keeps such a tight hold on – he nearly didn’t let NI go anywhere near it! While producing RAMMFIRE, Native went to the extent of emulating his actual microphone set ups, speaker cabinets and overall sound and then managed to combine them into 21 individual rack presets. One thing is very certain about this product: it was built with the intention to melt ears faster than a Paddle Pop in a cremator. FM8 is described by Native as “FM made easy”, which is easy to understand as there are over 960 factory presets to get you on the move, ready to educate you on the complexities of FM synthesis. Again, the user interface is fast and simple. The talk-wah and psychedelay are the prominent effects in FM8, providing an innovative and “out of this world” experience. Massive... The cutting edge bass monster! Grab King Kong, Godzilla, Rosie O’Donnell and the Michelin Man and you still won’t have enough to take it on: it’s stocked shelves of 600 presets, not to mention the fully-editable functionality. Absynth, one of the most popular Native Instruments products, is a little bit less than one ‘e’ away from a very hallucinogenic experience able to send you deep into a trance in itself. As this program is virtually limitless it requires one to sit down and experiment with it for hours, days and possibly even weeks to understand the depth and features at hand. Absynth is, like all of the other softwares in this bundle, fully expandable if by some greater force (miracle or catastrophe) you run out of options. Whether you’re an advanced beginner or working in the biggest studios the world has to offer, you would be crazy to consider any other alternative. Ryan Mortimer Supplied by Mortstar; available at




SMOTHER Long-player number three from UK quartet Wild Beasts finds them exploring what has been described as ‘erotic downbeat’. Smother was recorded during a month locked away in remotest Wales and is awash with their musical influences - from Talk Talk to Caribou. Beasts’ Tom Fleming describes the rhythmically understated and spacious Smother as “more intimate… a grown-up record.”

SMOTHER by WILD BEASTS is on sale now



EMPLOYMENT ADMINISTRATION Desert Sessions Vol 9 & 10 CD. Josh Homme (Queens of the Stone Age, Kyuss), PJ Harvey and Twiggy Ramirez (Marilyn Manson, Nine Inch Nails, A Perfec Circle) etc. $15Ph0449713338 iFlogID: 13304

People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ iFlogID: 13289




Drum Lessons avaliable in Gladesville Teach all Levels, ages, experience. Played for 16 years. Studied at Billy Hydes Drumcraft and Obtained a Dipolma in Drumming Mob: 0402 663 469 Michael

original 1960’s.2 2/12 matched cabs. HUGE sound.perfect condition.Aussie made.$1200 ono. Ph.0428744963. Cooroy.

iFlogID: 13042

iFlogID: 13025

Microphone! Rodes Classic 2,Top of the line studio Valve Mic,Custom spec 1” dual diaphragm, multy patterns,Custom Jensen output Transformer,was $2500 never used,half price now $1000, Phil 0410500334 iFlogID: 13254

THE FLOWER KINGS - Unfold the Future Limited Edition 2 CD Set with bonustrack (Hard Digipak) $25. PROG ROCK LEGENDS Ph0449713338 iFlogID: 13302

PROMOTER is looking for 2 bright fun loving models to join our team in Brisbane. Promoting & playing in the band - NO EXPERIENCE REQUIRED! Email Kittie with recent iFlogID: 13166

LANEY GH120 GUITAR HEAD 120 watt.2 channel.f/ out.very punchy. great tone.UK made.VGC.$400. Ph.0428744963.Cooroy iFlogID: 13021

PEAVEY BANDIT 80WATT 12” GUITAR COMBO 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made. VGC.$350. Ph.0428744963. Cooroy

solid mahogany.great fat tone. VGC.$450.Ph.0428744963.Cooroy.

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI pickup. $2,400 including delivery.

iFlogID: 13029

iFlogID: 13086


CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO web-site on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 13287

IRON MAIDEN - The Wicker Man Rare CD Single. Tracklisting 1.The Wicker Man 2.Futureal 3.Man on the Edge 4.The Wicker Man(enhanced video). $10 Ph:0449713338 iFlogID: 13312

Suicidal Tendencies S/T & Join the Army CDs Signed by Mike Muir. $29each ono Ph:0449713338 iFlogID: 13314



WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940

supreme XL speakers.HUGE bottom end grunt.AS NEW cond.$500..

iFlogID: 13234

iFlogID: 13019

iFlogID: 13023

GUITARS FENDER PINK PAISLEY STRAT. genuine 1980’s.all case. great tone/action/condition.very rare.$2500 ono.Ph.0428744963. Cooroy iFlogID: 13027

KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with keyboard stand and damper pedal. Worth over $7,000 sell for $4,295 including delivery. Currently in Perth. Phone 0439301165 Email: iFlogID: 13084

OTHER BEASTIE BOYS Paul’s Boutique Gatefold Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13330

BUCK 65 Situation 2 x Vinyl LP . Sleeve and Record are Brand New. $25 Ph0449713338 iFlogID: 13322

cLOUDDEAD Self Titled, 3 x Vinyl, Triple LP. Sleeves and Records in excellent condition. $35 Ph0449713338 iFlogID: 13324

COLDCUT Sound Mirrors 2 x LP Vinyl. Sleeves and Records are brand new. $30 Ph0449713338 iFlogID: 13326

CRADLE OF FILTH Godspeed and the Devil’s Thunder Gatefold 2 x Vinyl LP. Sleeve and Record are brand new Sealed! $25 Ph0449713338 iFlogID: 13340

DIMMU BORGIR In Sorte Diaboli Gatefold Vinyl LP + bonus 7”. Limited Edition No. 1424 of 2000. Sleeves and Records are brand new - Sealed. $35 Ph0449713338 iFlogID: 13334

GHOSTFACE KILLAH The Big Doe Rehab 2 x LP Vinyl. Sleeves and Records are brand new. $20 Ph0449713338 iFlogID: 13328

JELLO BIAFRA with the MELVINS Never Breathe What You Can’t See Vinyl LP Signed by King Buzzo. Sleeves and Records are brand new. $35 Ph0449713338

PETE ROCK NY’s Finest 2 X Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13332

SHELLAC 1000 Hurts Vinyl LP + CD. Steve Albini’s band! Record, Sleeve and CD in Excellent Condition. Outer box in good condition. $25 Ph0449713338 iFlogID: 13342

TYPE O NEGATIVE Dead Again Gatefold 2 x Green Vinyl LP. Sleeves and Records are brand new - Sealed. $25 Ph0449713338 iFlogID: 13336


iFlogID: 13338

KING CRIMSON Beat Vinyl LP Signed by Adrian Belew (guitars on Nine Inch Nails, David Bowie, Tori Amos albums). Sleeve and Record in excellent condition. $30 Ph0449713338 iFlogID: 13320

MURS 3:16 The 9th Edition Vinyl LP. Sleeve and Record in excellent condition. $20 Ph0449713338 iFlogID: 13318

NINE INCH NAILS Closer 12” Vinyl: further away (part one of a two record set), 1994. SEALED!!! VERY RARE! $90 ono Ph:0449713338 iFlogID: 13344

NINE INCH NAILS Year Zero Triple Gatefold 2 x Vinyl LP. Special Edition Heavy Etched Vinyl w/16 page book! Sealed! $60 Ph:0449713338

DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. iFlogID: 13117

PA / AUDIO / ENGINEERING Need something recorded? For band recordings, live shows, sound for film/ game, get in contact with me. I’m a freelance sound engineer available all hours, with equipment. Prices negotiable. Previous work: rdholliman iFlogID: 13098

iFlogID: 13346

OZZY OSBOURNE The Ultimate Sin Vinyl LP. Sleeve and Record in excellent condition! $15 Ph0449713338 iFlogID: 13316

RECORDING STUDIOS Do you want to hear your song fully produced before you hit the recording studio? Any Instrument. Any Genre! First song is free!! For more information: 0435556985 llewellynstudios@ llewellynstudios

Dont have a lot of money and want guaranteed best release quality product? Our live recordings sound better or rival local or international releases. Call, check it out. Ph 0404066645

Brisbane based drummer available for fill in work (studio, live, film clips etc) around existing live and recording schedule. email - , .

iFlogID: 13261 iFlogID: 13348



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

ASTRO iFlogID: 13296


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TUITION DJ & MUSIC PRODUCTION LESSONS One on one, tailor made DJ/Production lessons with industry professional DJ/Producer. Cut years off your learning curve. All equipment can be provided. Affordable rates. We’ll come to you. PH: 0416935787

BAND MERCH..... For excellent quality band merch at affordable prices. No minimum quantities. Fast turn around. email inquiries to, call (02) 9667 0688 or visit www. iFlogID: 13168


iFlogID: 13300


MUSICIANS AVAILABLE DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/ groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.

PLAY MORE CHINESE MUSIC love, tenzenmen. www.tenzenmen. com iFlogID: 13077

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World-class mastering, from where you are right now. Check out Online Mastering at

For a limited time. Free online and print classifieds Book now, visit 54

Time Off Issue #1526  
Time Off Issue #1526  

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