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GIVEAWAYS Parks & Recreation is one of the funniest TV series to emerge from the US in a post-The Office world. With a heavy debt owed to the game-changing UK series (the US version of The Office was created by the same duo behind Parks & Recreation), the show follows the Deputy Director of the Parks and Recreation department of a small town (played by Amy Poehler) and her colleagues – the hilarious Aziz Ansari (Funny People) and Aubrey Plaza (Scott Pilgrim vs The World). We have five copies of Parks & Recreation: Season 2 to give away! Adam Hills is one of Australia’s most loved comedians and also one of the country’s most recognisable faces. As the host of the music gameshow Spicks & Specks and now his new talk show, Adam Hills in Gordon St Tonight, Hills has championed his own brand of clean humour that’s anything but safe. His live show is a must-see, which makes any DVD he releases a required item. We have five copies of Adam Hills: Inflatable, which also contains a lot of extras, including the warm-up set from Hannah Gadsby, to give away! Based on Posy Simmonds’ much-loved graphic novel, which in turn was inspired by Thomas Hardy’s Far From the Madding Crowd, Tamara Drewe is a joyful but occasionally dark comedy about a young newspaper journalist torn between two lovers. Tamara Drewe’s childhood home is being sold, and her return to the rural Dorset village where she grew up causes

something of a stir. Having left as an awkward teenager she returns as a smouldering femme fatale, kicking up a storm of envy, lust and gossip wherever she goes. Tamara is the ultimate modern girl but her story of love and confusion is timeless. Thanks to Roadshow Entertainment we have five copies of the DVD up for grabs, which is released on Jun 16. After successfully touring the As U Were album to packed houses across the USA, Lyrics Born and his five piece live band are ready to do their thing in Australia and promise a very funky show. It’s been a couple of years since LB has toured Australia and he comes armed with a new album, a new show, and some of the classics we know and love. He’s known internationally as one of the greatest performers in hip hop and right now he’s on top of his game. He will be playing at The Hi-Fi on Jun 15 and we have got two double passes up for grabs! Entrants must be 18+. A worm-like parasite named Aylmer latches into Brian’s (Rick Herbst) neck and offers to inject his brain with a hallucinogenic fluid, giving him pleasurable psychedelic experiences. But the catch is, to keep the ‘high’, Brian has to feed Aylmer his favourite food...human brains! Directed by Frank Henenlotter (Basket Case, Frankenhooker), Brain Damage will have you screaming with laughter as you reach for your barf bag! We have five copies of the DVD up for grabs!






Get your music industry news from The Front Line 10 Lowdown – news, opinions, tours, Backlash, Frontlash 12 Dallas Green – aka City And Colour – tells us about his new record and his wife’s night terrors 16 We get inside the Arctic Monkeys headspace during their recording of Suck It And See 18 From darkness comes Battles shiny, bright new record 19 The Potbelleez are really cooking now 20 Okkervil River certainly weren’t looking to please others when making I Am Very Far 21 Maya Jupiter is ready to promote change 22 Ska institution Bad Manners can’t wait to eat some pies 23 Mark Seymour is still excited about rock’n’roll 24 Excitement levels are high on the eve of The Medics’ first headline tour 24 Bass Kleph reflects on his past and gives us an idea of where the future will take him 26 If they have fans there, Emmure want to be there 26 Obits play exactly the kind of music Rick Froberg has always wanted to 26 DJ Friction approaches seeking tracks for his label and his DJ sets in almost exactly the same way 26 It’s not Crass but Steve Ignorant wants to make his upcoming show as celebratory as possible 28 Ron Carter wishes jazz embraced the carefree and vacuous 28 On The Record has the latest, greatest and the not so greatest new musical releases 30

ISSUE 1530 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out



Get the scoop on what’s happening This Week In Arts 32 Michelangelo Frammartino talks us through his fascinating Le quattro volte 32 The Looking Glass gets wild about Dali 32 Take a look inside and behind Metro Arts’ FreeRange programme 33 Wunderkammer sees Circa changing perceptions of circus performance all over again 33 Cultural Cringe revisits some classic hits 33 We get a warts and all insight into Cane Toads: The Conquest 34





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 Cyclone has the wide urban world covered with some OG Flavas 41 Alfredo Lange knows what’s hot in clubland and wants to give you a Progress Report 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 Contributing Editors: Dan Condon, Adam Curley Intern: Katherine Edmonds

Front Row: Baz McAlister, 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

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EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. ©

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INDUSTRY NEWS successful. Something like 100,000 viewers went back and looked at our footage of the Laneway Festival. It’s something no one else is doing in Australia… Virgin Mobile has been associated with the V Festival in the UK for something like 11 years. In Canada and the United States too, festivals are definitely something that works well. So we’ve got a lot of years of experience doing this.”

BOWDITCH TAKES TO THEATRE THROUGH EVA Following last week’s news that Nick Barker will play Bon Scott in an upcoming theatre production, the team behind that has announced that Clare Bowditch will portray Eva Cassidy in the upcoming show EVA – Tales From The Life Of Eva Cassidy. Co-written by Bowditch with Jim McPherson, it will follow the “narrative concert” theme that has been implemented to the Bon Scott and John Denver productions after the success of the Helpmann Award-winning The Man In Black show last year. The show will take place at Athenaeum Theatre One in Melbourne, the opening performance Thursday Aug 11 with the season running until Sunday Aug 21.

Of the Australian leg she said, “It’s actually run through Virgin Management, and Virgin Mobile are the sponsor. Virgin Management is the umbrella for all of the Virgin businesses. As far as I know they are still looking in to it, it has just been a hold for a couple of years.”


FRESHLY INKED Sydney singer-songwriter Lanie Lane has signed to Ivy League Records. Negotiations started “a few months ago”, Lane told The Front Line, and she joins a roster that includes Cloud Control, Josh Pyke and The Mess Hall. She said her manager Andy Kelly of Winterman & Goldstein, who’s also a director of Ivy League, kept out of the negotiations but allowed the opportunity to happen without his direct involvement. Her old-world sound and pin-up style has taken her to the US and UK this year, she has toured nationally with Justin Townes Earle, and she’s “pretty much done” an album. “I’ve just got to do a few tracks in the coming weeks… I recorded the vocals separate, but everything else was recorded live.” It will be released before the end of the year. Melbourne “desert rockers” Redcoats have signed a deal with Island Records, Your Daily SPA announced last week with the band’s debut EP due soon. Manager Sophia Liddy said the release was “hot off the press, we’ve just got it back from being mastered in America and we’re just finalising the artwork… We had a champion within Island Records who loved the band…” Adding to recent signings Tiki Taane and Jim Ward, Stop Start has penned a deal with Americans French Horn Orchestra. Their debut album The Infinite Music Of French Horn Rebellion will be released Jul 15 through distributor EMI. The American brothers duo of Jared and Michael Bell, LYMBYC SYSTYM, will be released through Hobbledehoy Records in Australia. The label said their DIY ethics make them a match for their roster.

HISTORIC DOLLY TOUR HAS OFFICES DANCING The announcement of Dolly Parton’s first Australian tour in 28 years had Australians “dancing in their offices”, according to tour promoter Michael Chugg. Speaking to The Front Line on the day of announcement last week the veteran promoter said, “Whole floors of offices were dancing with the announcement this morning... our office has been dancing for weeks.” The much rumoured tour was finally hinted at by the promoters themselves when they posted five clues in the form of pictures posted to their Twitter account, including a roller coaster (Dolly World) and a poker hand (association with Kenny Rogers). “It leaked out a bit but that didn’t bother us because the response has been amazing,” said Chugg. “The biggest three tours recently have been Robbie Williams, AC/DC and Pink and this is right up there with them I think.”

KANYE CLOSES GIL SCOTTHERON SERVICE Kanye West closed the memorial service to legendary poet/soul singer Gil Scott-Heron with an auto-tuned version of Lost In The World, according to American sources. Held last week in Harlem, the track samples Scott-Heron’s Who Will Survive In America and Billboard described the performance as an “auto-tuned yet emotional rendition”. Other performances at the public service included Scott-Heron’s daughter Gia, who performed Bette Midler’s The Rose and read an original poem, and his backing band played Better Days Ahead.


ODD FUTURE ABUSED AT KFC Tyler, the Creator has claimed his hip hop collective OFWGKTA was racially abused at a Brisbane fast food outlet while touring the East Coast last weekend. He first made note of the incident through his widely followed Twitter account posting, “Out Here In Brisbane, Australia. People Out Here Are Racist As Fuck. I’m Uncomfortable And Want To Go Home. I Get THis Weird Vibe.” He followed that with, “I Love Australia Tho Sydney And Melbourne Was Sick, But For Some Reason The Couple People Ive Come In Contact With In Brisbane Are Dicks”. Before going on stage in Brisbane, frontman Tyler came over the PA to clarify that the tweets were caused by an incident at a KFC earlier that day where the band had been abused by someone referencing a stereotype. A spokesperson for promoters of the East Coast leg Live Nation told The Front Line that although not aware of the incident specifically, “We unreservedly condemn racial discrimination in all its forms and regret this has tarnished what has been a spectacularly successful tour of Australia for OFWGKTA. I have not heard of any other incidents on the tour and sincerely hope none were made.” Later Tyler seemed content with his overall Brisbane experience posting “Fucking Brisbane Show Was Fucking SICK!”. Odd Future are no strangers to controversy, Sara Quin of Tegan & Sara famously called their lyrics “misogynistic and homophobic ranting and raving”.

INDIGENOUS AWARDS GO NATIONAL Nominations for the Northern Territory based National Indigenous Music Awards are now open, with the awards night to be held in Darwin Friday Aug 19. Industry members are encouraged to nominate acts for categories – doesn’t have to be all the categories – for consideration in the awards. After seven years of having a Northern Territory focus the awards have broadened their scope this year, with 2011 being the first National awards. Nomination forms are available from

SHOCK MOVES After a short stint at UNFD, Stu Harvey is returning to Shock Entertainment. Also announced this week, a victim of the company’s restructure, George Hatzigeorgiou, Ragged Company Touring General Manager and National Publicist, is no longer with the business.

SHOCK’S MARKETING OUTSOURCED Regency Media – the parent company of Shock Entertainment – has announced the formation of Kimchi Creative, a marketing and publicity agency for the entertainment industry. Set up within the Regency banner the agency will be able to service Shock, its partners and other clients with the aim to provide a holistic service across marketing and publicity. Former Shock Marketing Manager and now General Manager of Kimchi Creative, Jason Martin said that the formation of Kimchi was a direct response to “the demand for publicity and marketing services from both local and international artists.”

THREE LOCALS MAKE TOP 50 There were three local albums to debut in the ARIA albums chart top 50 this week, with club juggernaut The Potbelleez leading the way with Destination Now dropping into 17. Further down the list You’re A Revhead from country favourite Adam Brand just managed to edge out Sydney youngsters Papa Vs Pretty’s United In Isolation with the two albums dropping in 39 and 40 respectively. Kylie Minogue re-entered the chart in 31 with Aphrodite, a response to her upcoming arena tour – even if there are reports that tickets aren’t selling as well as hoped. The Glee Cast had the highest debut this will with Volume 6 landing third behind Lady Gaga’s chart topping Born This Way and Adele’s double-platinum 21. Other debuts included Death Cab For Cutie – Codes And Keys (7) and Brad Paisley – This Is Country Music (26).

V FEST COULD BE BACK IN AUSTRALIA V Festival could return to Australian shores if a story in magazine Marketing is to be believed. The festival, which featured The Killers, Snow Patrol, Madness, Elbow, Kaiser Chiefs, The Temper Trap and Duffy in its last year (2009), split with promoter Michael Coppel last year in a move that seemed to signal the end of the festival locally. Virgin has since focused on sponsorship of other events and is involved with Splendour In The Grass, St Jerome’s Laneway and even has the naming rights to Sydney’s Metro Theatre. Virgin Mobile spokesperson Amber Morris told Marketing the festival isn’t off the radar as part of their musiccentric approach to marketing. “The focus for us is the live streaming,” she said. “It has been massively

The latest edition of the Australasian Music Industry Directory was released last week. It is the first edition published by Street Press Australia (publishers of Time Off ) since they acquired the mast head from IMMEDIA! last year. The most comprehensive directory of music industry contacts for the region, it covers musicians, management, labels, promoters, photographers, media, legal, merchandising, ticketing, transport, distribution and more. Managing Editor Andrew Mast said today, “We intend to uphold the standard of quality set by previous publisher Phil Tripp and expand the directory where we can. We hope the directory retains its reputation as the industry bible.” Print editions are available for $55 from

VALE GREG CLARKE Much-loved tour manager Greg Clarke died last Tuesday at the age of 50 in Sydney of a suspected heart attack. ‘Clarkey’ had been the tour manager for Billy Thorpe from 1995 until 2007, had worked with Rose Tattoo 2006 and also held tour manager and IT manager roles within Chugg Entertainment. As well as those roles he had also worked with acts like Monster Magnet, Fleet Foxes, The Screaming Jets and The Angels.

AMERICANS CAN’T SUCK IT The Arctic Monkeys have encountered some retail problems with their new album Suck It And See in the United States, with frontman Alex Turner telling London radio station XFM last week that some big chain stores have censored the title. “They think it is rude, disrespectful and they’re putting a sticker over it in America in certain stores, big ones,” he said without specifically naming the stores. Spinner pointed out that the UK band was the first to get a censorship sticker on their album for a non curse word, unlike previous censorships for the Pixies and Nirvana. Suck It And See was released locally through Domino/EMI last week.

MUSIC AWARD JUDGES ANNOUNCED The first round of judges for the Queensland Music Awards have been announced in the first year of their expanded scope from the Q Song Awards. Along with the name change there are three new publicly voted awards – Most Popular Female, Most Popular Male and Most Popular Band – while industry professionals will decide the Album and Song of the Year awards. The industry panel includes Ron Adsett – Founding member of the Country Music Association of Australia, judge of Country Music/ ARIA Awards; Steve Bell – Editor Time Off magazine; Roxanne Brown – Manager Troy Cassar-Daley; Gabby Columbi – Global Recordings; Sam Cook – Woodford Folk Festival; Sarah Howells – triple j; Noel Mengel – Chief Music Writer The CourierMail; John Mullen – A&R Manager Dew Process; Isabel Pappani – Undercover Tracks (USA); Matt Tanner – Creative and A&R Manager Native Tongue Publishing and Ritchie Yorke – Music Writer. Entries are now closed and the winners will be announced at The Old Museum Tuesday Aug 16.

THE GREAT CONDOM CASE The QUEENSLAND ASSOCIATION FOR HEALTH COMMUNITIES image that graced the cover of Time Off a fortnight ago became the centrepiece for a huge debate over the acceptance of homosexuality in Queensland and within the Christian faith last week, after an advertising agency pulled the ads down. SCOTT FITZSIMONS recounts how people power came back ten times as hard. been removed, the whole group is shutting down soon – homosexuality was referenced a number of times. With punctuation intact it read, “latest BILLBOARD has two homosexual men in an act of foreplay – one kissing the other’s neck – the promotion is for them to use condoms. This, the billboard suggests is a HEALTHY COMMUNITIES and a SAFE SEX message. It features a huge image of a condom in a packet and the words RIP & ROLL. Those practicing homosexuality are in a minority. The majority of parents are seeking to prevent their children from being pre-sexualised. THIS BILLBOARD IS UNACCEPTABLE AND MUST BE REMOVED.”


wo weeks ago Time Off ran a cover supporting the Queensland Association for Healthy Communities’ Rip & Roll campaign. In the first time that Time Off had ever sold its cover, with money raised from an auction donated to the Flood Appeal earlier in the year, the image of two men – one with his arm around the other and holding a condom in the other hand – was also seen around the city on billboards and bus shelter advertisements as part of the QAHC’s wider campaign. But on the night of Tuesday May 31 all those advertisements were taken down by advertising agency Adshel without warning to the QAHC. The previous Friday Wendy Francis – the Australian Christian Lobby’s Queensland representative – had started a campaign against the advertisements on her Facebook page “Outdoor advertising should be G-rated,” which, in gathering momentum with the supporters, seemed to have forced Adshel’s hand. With approximately 30 similar complaints – many of which made direct reference to the homosexual nature of the advertisements – Adshel’s hand was an easy one to push. The social networking spheres went crazy when they awoke to the news, with the topic trending across Twitter (Kylie Minogue even posted her support of the ads) and tens of thousands of people joining events on Facebook. “2 men hugging is not offensive. The Aust Christian Lobby’s homophobia is offensive” wrote journalist Mia Freedman on Twitter while writer Benjamin Law posted “Tell Adshel public health is more important than pandering to homophobes”. The Australian Christian Lobby congratulated Adshel’s move in a media release that featured quotes from Francis while lauding the “grassroots movement” and “people power” that made it happen. In a statement that morning Adshel wrote, “All complaints were made by individual members of the public; none were identified as stemming from the Australian Christian Lobby.” There are similarities between many of the complaints. QHAC’s General Manager Paul Martin told Your Daily SPA that day that it was through the Australian Christian Lobby’s media release that they’d discovered their campaign was being taken down. He was also adamant that the “grassroots movement” was in fact an “orchestrated campaign” and was generated through a “network of people or supporters”. He cited the 30-odd complaints, which were posted on the internet, and their similar sometimes identical wording. The social media commentary was damning of Wendy Francis and those who had made complaints, claiming that under the guise of G-rated advertising they were actually attacking the integration of homosexuality into mainstream society. In the original post from Francis on her Facebook group – which has now

The complaints from the public were heavy on the homosexual references. “[The ad] to me is encouraging homosexuality. This public display is unacceptable and damaging,” read one. Another claimed “The only reason homosexual men need condoms is because their sexual intercourse carries with it a very high risk of serious disease. To promote this lifestyle to our youth is not in the interests of healthy communities.” Pointing to the fact one of the men is wearing a wedding ring another read, “The ad is so obviously promoting several things which that are against Christian beliefs and still the advertiser chose to make the man wear the very biggest and clearest symbol of Christianity.” Speaking to The Front Line that day Francis claimed that it was the presence of the condom that she opposed. “I’m tired of sexual acts in our public places, I’m tired of children being exposed to that… [bus stops are] not a place to advertise condoms.” Telling us that she’d experienced instances where children were spelling out the word ‘condom’ in the car while stopped at lights, when we pointed out the advertisements didn’t feature the world she said “Children are going to be drawn to the red [condom in the image].” However, she didn’t oppose Time Off’s cover, despite the fact 20,262 copies were distributed to public places. “Last time I checked my six year old granddaughter doesn’t go to cafés,” she said. “They’ve got a right to express their views,” said Martin at the time, “and our organisation is happy to explain why we do what we do. We understand that the ACL and Wendy are involved in a campaign to stop the sexualisation of children… but that shouldn’t mean that there is no discussion of sex or sexual health in the public domain.” Even Premier Anna Bligh weighed in, telling The Australian newspaper through a spokesperson, “I’ve seen these billboards about Brisbane and didn’t find them offensive. In fact, I thought they were very powerful in promoting safe sex practices. We can’t overlook the fundamental fact that safe sex practices remain a major issue – you only need to look at the data.” Under intense pressure – even a makeshift protest outside their offices that afternoon – Adshel backflipped their position in the afternoon, admitting they’d been duped and that the advertisements would return. Without directly apologising to the QAHC they wrote in a statement (their second and only comments for the day), “Following ACL Queensland director Wendy Francis’ acknowledgement that the complaints received by Adshel, Brisbane City Council and the Advertising Standards Bureau regarding QAHC’s campaign have been orchestrated by the Australian Christian Lobby, Adshel is reinstating the ‘Rip and Roll’ campaign. Adshel earlier responded to a series of complaints by removing the campaign from its media panels yesterday. None of the complaints indicated any liaison with the ACL, so Adshel was made to believe that they originated from individual members of the public.” CEO Steve McCarthy said, “It has now become clear that Adshel has been the target of a coordinated ACL campaign. This has led us to review our decision to remove the campaign and we will therefore reinstate the campaign with immediate effect.” ACL’s response was a media release that outlined the “abusive language” and “cyberbullying” that had occurred in the “debate about sexualisation of children through outdoor advertising,” this one without quotes from Francis.






















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IN BRIEF The Living End will release their sixth album The Ending Is Just The Beginning Repeating through Dew Process/ Universal on Friday Jul 22. The much anticipated new record from Lil Wayne Tha Carter IV has had its release date pushed back over a month. Don’t expect it before late-August at the earliest.

GET RUINED New Zealand’s Tiny Ruins (Hollie Fullbrook to her landlord) has been writing, travelling, recording and collaborating quite a lot of late; this has all culminated in her stunning debut album Some Were Meant For Sea, which will be released at the beginning of next month. Fullbrook worked with the much renowned J Walker on her debut, recording down in an old hall down in South Gippsland, and the exploratory nature of both of these artists has really shone through on the songs assembled on this release. Recent support slots with Joanna Newsom and Beach House and a forthcoming one with Seeker Lover Keeper ought to give you a fair idea of the calibre of her live show, but you can see for yourself when she plays the Black Bear Lodge on Thursday Jul 14, for free!

WITNESS CARRIE’S POWERS Do you know who Carrie Underwood is? Of course you do; she won American Idol back in 2005, has since released three pop-country records and even appeared on Sesame Street as “Carrie Underworm” which could very well have been her finest work yet. Anyway she’s very popular and if you’re a fan you are in luck; she’s not only coming to Brisbane but playing a free, all ages show in the Queen St Mall on Saturday Jun 18! It kicks off at midday but, given her popularity, we reckon you should get there far earlier than that.

BIG WEEKENDER This year marks the tenth anniversary of the Noosa Longweekend Festival and you can bet there are plenty of awesome musical acts booked to make Noosa an even more desirable place to be (as if that was even possible). We’re talking acts like Katie Noonan and Karin Schaupp, Skipping Girl Vinegar, The Magnets, Steve Ross, Stephanie Brownlee and heaps more. Hit for all the info you’ll need and get ready to embrace the jewel of the Sunshine Coast. It all happens from Friday Jun 17 through to Sunday Jun 26.

Kanye West performed his song Lost In The World at Gil ScottHeron’s memorial service in New York last week. New scientific research indicates that sharks behave in a much calmer manner when played AC/DC tracks, particularly You Shook Me All Night Long.

JUST BECAUSE SHE CAN The rumours about this one have been floating around for an awfully long time, but it is all confirmed now and we can let you know that the incomparable Dolly Parton will be making her way to Australia for the first time in almost 30 years this November. She is the unparalleled queen of country music, in a career that spans half a century she has written over 4000 songs and has had countless number one hits, prestigious award wins and glowing reviews for her incredible songs and albums. She is also a hugely successful businesswoman, a generous philanthropist, a vibrant media personality and an incredible live performer; or so we hear. We cannot wait to see if she lives up to the lofty expectations we have when she drops by the Brisbane Entertainment Centre on Friday Nov 25 and Saturday Nov 26. Tickets are available from Ticketek as of Monday Jun 20 and you’re going to want to get onto that very quickly as this will be one of the hottest tickets of the year!


The new Arctic Monkeys album Suck It And See is being sold in some American supermarkets with a sticker obscuring its title after it was deemed “rude and disrespectful”. Rancid have announced they will record the follow-up to 2009’s Let The Dominoes Fall in September and have promised fans to celebrate their 20th anniversary next year with a “tour all over the world”. Paul Kelly has been nominated for the Prime Minister’s Literary Award for his memoir How To Make Gravy, which was published at the end of last year.

Diva Adele has been offered the chance to appear on Neighbours, after the show’s executive director was informed she is a huge fan of the soap.

TO THE DEATH Last month saw Adelaide rapper Vents drop his much anticipated Marked For Death record, the follow up to his killer 2007 debut Hard To Kill, and now he is ready to take his show on the road to give us a taste of his great new record in the live setting. Recent times have seen Vents open things up in fine fashion for local heavy hitters like Hilltop Hoods and Funkoars but when he gets out on stage in headline mode you are guaranteed a seriously passionate performance. He’s taken a little bit of time away from hip hop but he is back more energised than ever and you can catch up with him at Toowoomba’s Spotted Cow on Thursday Jul 21 and the Step Inn Friday Jul 22. Proudly presented by Street Press Australia.

RIDING A NEW WAVE Omega Wave, the first record in 13 years from old school technical thrashers Forbidden, sees them prove to all and sundry that they have lost none of their vitality, none of their power and none of their uniqueness when it comes to delivering insane heavy metal music that does nothing short of completely blow your mind. Many were surprised but none disappointed when the band announced they were issuing a new record and it is safe to say Australian audiences are going to be completely shocked to realise that the band are actually, for the first time in their 25 year history, making their way down here for six brutal Australian performances. In Brisbane you’ll be able to see the band tearing through tracks from throughout their back catalogue when they drop by the Jubilee Hotel on Thursday Aug 4.


HIGH OCTANE One of the hottest drum’n’bass acts going around at the moment is undoubtedly UK duo Octane & DLR; after releases on labels like Renegade Hardware, Subtitles and Dispatch they have become one of the most talked about acts in the world’s underground d’n’b scene. They’re making their first ever trip to Brisbane next month, and they’ll be smashing it up with an enormous party happening at the Step Inn on Friday Jul 1 courtesy of the Rukus, Junkyard Sessions and Rudebwoyz peeps. Joining in on support are locals De la Haye going back to back with Kosha D, Erther going back to back with Daskyze, Kurrupt and, back from Melbourne, Model T. Entry is just $20 if you get to the show before 10.30pm and $25 if you’re there later.


For the fourth year in a row, all the hippest cats and dolls are going to be slipping into their finest threads, doing their hair up pretty and getting down to The Gangsters’ Ball. This is a night of unadulterated frivolity in a decidedly 1920s to 1950s style; if you want to come along you have to dress up and if you do make it you get to enjoy fantastic live music, dancing, cocktails, a ‘gambling den’ and so much more. The acts the organisers have booked this year are once again sensational, with ninepiece swing band The Calibre Cats as well as sideshow vaudeville performers Asher Treleaven (who’ll also MC) and Erwin Keneval, burlesque and cabaret artists Gypsy Wood and Scoundrelles, acclaimed acrobatics troupe This Side Up, magic and illusion artist Cath Jamison and aerials artist Rony, to name but a few. It hits The Tivoli on Saturday Sep 10, tickets are available from Ticketek right now for $65 or $130 if you want the VIP treatment.

A group of hackers in the US posted a phoney story on PBS News earlier this week. The report alleged that the late rappers Tupac and Biggie Smalls were found alive and well at a small resort in New Zealand.

SILVER JUBILEE How old are you feeling? If you don’t want to feel any older then you should probably skip to the next blurb because we’re about to tell you that Diesel is celebrating 25 years since he first burst out of the Perth rock scene and onto live stages and charts all across the country. Yep, twenty-five years. The master guitarist is still writing great tunes and performing more than just about anyone on the scene these days but for his next release he has cut some familiar tunes in a unique and unfamiliar way, proving he is a great interpreter and indeed re-interpreter of song too. He has plenty of shows around the country to support the record, which is released at the beginning of next month, and around these parts you’ll be able to catch him at the Redlands Multi Sports Club Friday Aug 19, Norths Leagues & Services Club Saturday Aug 20, the Spring Lake Hotel Thursday Nov 3, Broncos Leagues Club Friday Nov 4 and Twin Towns Services Club Saturday Nov 5. Get in touch with the venues for ticketing information.

Notorious bad-boy Liam Gallagher is up to his old tricks this time lashing out at Bob Dylan, with language that would make a sailor blush, and other musicians from the 60s and 70s for playing comeback shows and re-releasing their greatest hits. Guns N’ Roses guitarist Ron ‘Bumblefoot’ Thal narrowly avoided his death after his car was ploughed into and totalled by a 4WD, before being struck by two more vehicles. Amazingly, he walked away without serious injury. Brisbane born 90s pop star Gina G (Ooh, Aah, Just A Little Bit) has released a new single. Country star Trace Adkins has lost his Nashville home and all possessions in a tragic house fire. Thankfully no-one was hurt in the blaze.

IT’S IN THE BLOOD He has just come back from an extended stint in the US and it must have been a productive one because Jordie Lane has a new album ready for release by the name of Blood Thinner. The record is out midway through July and of course Lane is going to be touring hard on the back of it; he has plenty of reacquainting to get done as he hasn’t traversed the wide brown land for a while now, and we’ve no doubt he’s excited to see us just as we are him. Apparently the new record is vastly different to last year’s Sleeping Patterns, we certainly hope it’s as good! He makes his way back into our lives this August, playing shows at the Beetle Bar Thursday Aug 4, Joe’s Waterhole, Eumundi Friday Aug 5, and the Mullum Civic Hall, Mullumbimby Saturday Aug 6.

























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IN BRIEF Guy Sebastian posted a prank caller’s number on Twitter and urged his 40, 000 followers to “return the favour”. Local artist Heinz Riegler has released his And The Lovers Make A Scene/ Andy Looks Up At The Sky single digitally through Bandcamp.


Ruby Rose plans to take her show on the road, quite literally, travelling around on a bus DJing for fans as part of her very own music festival on wheels she’s dubbed Bustival.

BACK IN TOWN The Circus! Circus! gig being held as a part of this year’s Brisbane Pride Festival promises to be an all out Vegas style carnival spectacular with all sorts of burlesque, circus and acrobatic goodness happening throughout the night, not to mention plenty of awesome live music. The Blow Waves are the latest musical project from Matt Doll, aka Matt Thomas of 90s superstars The Mavis’s, they’re bringing their much lauded live show up from Melbourne for the event and they’ll be joined by local acts The Bertie Page Clinic and Silver Sircus at The Zoo on Friday Jun 24; tickets available now from Oztix for $16 + bf. If you can’t make that, The Blow Waves and Bertie Page Clinic also play Sideshow! Sideshow! at The Loft on the Gold Coast on Saturday Jun 25 with Sweet Continuum; entry is $12 on the door for that one.

GOOD VIBES The vibraphone is a fucking cool instrument that doesn’t get anywhere near the amount of kudos amongst today’s youth as it should, but if there’s someone who’s gonna change that, it’s Pascal Schumacher. This young Belgian bro is one of the world’s most exciting jazz musicians who is currently working and he is on his way to Australia with his three of his best bros as the Pascal Schumacher Quartet look to show Australian audiences how hip jazz can still be. Bang My Can is the quartet’s fifth full-length record and they’re going to be playing plenty from it when they hit Bowen Hills’ Jazzworx! Club on Thursday Jun 16. The Dave Kemp Band supports and entry will set you back $15.

SPARK UP YOUR MONDAY The Thank God It’s Monday series of shows makes its return to Brisbane this month, giving all of you hospitality workers the kind of party you so dearly deserve on a Monday night. This time around you’ll be treated to a performance from Sparkadia, the enormously popular project headed up by Sydney’s Alexander Burnett who have just dropped the awesome new record The Great Impression, that debuted in the top ten in the charts upon its release a couple of months back. They play a free show at Birdee Num Num on Monday Jun 27. To get on the guest list, hit

Local hip hop favourite Evil Eddie is leading the fight against ‘wackness’ all over the country and to spread his powerful message he’s doing a quick run of shows up and down Queensland (which he loves so much) throughout this month. Yes, you will hear him play new favourites like Queensland and (Somebody Say) Evil but he’ll also be dropping some old Butterfingers classics, so old fans will be well-and-truly satisfied with what he delivers. He hits the Step Inn on Friday Jun 17 and The Sol Bar, Maroochydore Saturday Jun 18. Tickets for both shows are available at the door for $15.

LOST IN THE COUNTRY One of Australia’s most established contemporary country talents is teaming up with one of our younger, though certainly not unexperienced, country stars for the Can’t Find Our Way Home tour, which hits spots all over the country this July. James Blundell has just released his tenth studio record Woolshed Creek, and he is still considered one of our finest songwriting talents, while Catherine Britt is riding high after the release of her self-titled fourth record and the monstrous success of gorgeous single Sweet Emmylou. Together they will hit the Coolum Beach Hotel on Friday Jul 29, Nerang’s Hinterland Hotel Saturday Jul 30 and the Jimboomba Tavern Sunday Jul 31. Get in touch with the venues for ticketing information.

CELEBRATE THE BEST It has been 40 years since the release of Led Zeppelin’s classic record IV and to celebrate, there is a very special tribute show by the name of Whole Lotta Love Led Zeppelin Celebration coming to Brisbane. Now, this isn’t any old Zeppelin tribute show, we’re talking about some seriously awesome musicians getting together to pay tribute to this classic record, with musical and artistic direction courtesy of Joseph Calderazzo and guest vocalists like The Tea Party’s Jeff Martin, Noiseworks’ Steve Balbi, Sway’s Simon Meli, Zkye and Natasha Stuart. This celebration of one of history’s finest hard rock bands takes place at QPAC’s Concert Hall on Thursday Sep 22; tickets are available from Qtix from Tuesday Jun 21.

DOING IT FOR YOU The debut LP from Australian idiosyncratic wonky pop masterminds Oscar + Martin is called For You and it is one of the more anticipated local debut releases of 2011. The duo, whose music is a mix of snappy hip hop drum patterns and R&B hooks with a quirky twist, have recently cut their teeth supporting acts like Caribou, Four Tet and Coco Rosie but now they’re taking it upon themselves to head around the country in headlining mode to take the full impact of their live show to their fans and soon-to-be-fans. They play their Brisbane show at The Hangar on Saturday Jul 2.

WE DO KNOW SUZI There would be something seriously wrong with the world if we didn’t get to see the legendary Suzi Quatro on our shores at least once every year or two. Sure enough the iconic artist is on her way back to Australia this September for another series of incredible live performances. Word on the street is that she will have a new record released by the time she makes it over here, which is incredibly exciting news, but knowing Suzi she’ll spend plenty of time belting out the classic hits that have made her such a star all across the planet. You can catch her at Twin Towns Services Club Saturday Sep 17 and Sunday Sep 18, Toowoomba’s Empire Theatre Tuesday Sep 20 and the Caloundra Events Centre Thursday Sep 22. The respective venues have your tickets on sale right now.


THE SHARPEST NEEDLES Over the past year or so, Clint Boge of The Butterfly Effect fame has been showing the world that he has so much more to offer, starting a new project by the name of Thousand Needles In Red and ultimately blowing everyone away with the power of his live performances and quality of songwriting. It has come time for this band to record their debut album, which they have just done, so it comes as no surprise that they are itching to get out on the road to play some shows in support of it. They’ll have plenty of new material as well as all of the tunes that have become firm fan favourites over the past year or so and you’ll be able to witness it all in the flesh at The Hi-Fi on Saturday Jul 23. That’s not all, the band will also be joined by Scarymother, Karnivool and Cog side project Floatingme, ex-Sunk Loto vehicle Electric Horse and up-and-comers The Smart and Forever The Optimist. Tickets are available from Moshtix now for just $20 + bf.



So good that Eddie McGuire has lost another show into the ether of TV oblivion, especially after he pulled the race card following a run in with a footy fan on the weekend. What the hell is a ‘borderline racist’ comment anyway Eddie? You’re a dick, lock it in…

The orchestrated movement by the Australian Christian Lobby to ban the QHAC ‘Rip & Roll’ campaign was embarrassing for Brisbane to say the least. Isn’t organised religion supposed to preach equality and tolerance? Seems more like bigotry and hatemongering from where we’re sitting…



Robbie Williams’ admission that he has to take sex hormones because doctors discovered he “had the libido of a 100-year-old man” is hilarious, partially because it explains his insipid music all these years, but also because, well, why the fuck would you admit that?

Similarly, the douche who racially hassled OFWGKTA at a KFC when they arrived in Brisbane isn’t doing us any favours, although to tweet that a whole city is racist because of one run in with a redneck doesn’t exactly scream tolerance and empathy either…


NOTHING TO FUCK WITH Luckily the announcement that Wu-Tang Clan are touring Australia but not coming to Brisbane hit before Tyler, The Creator got his tweet on or God knows what links would have been made between the two unrelated incidents. Why, Wu-Tang, why?


Hot on the heels of this year’s awesome Archers Of Loaf reformation comes news that Merge are reissuing their four albums complemented by a slew of b-sides and oddities. Brilliant. Now won’t someone just do the right thing and get them back to Australia?












From a cold lonely basement of St. Catharine, Ontario, CITY AND COLOUR is now connecting with a global audience. Little Hell, the third LP under the name play moniker for DALLAS GREEN, is arguably one of the year’s most anticipated releases. The ever-humble Canadian tells BENNY DOYLE what to expect from an album that is sure to provide the soundtrack for a million moments this year. Cover and feature pic by CYBELE MALINOWSKI.


’ve never been a sort of really world domination type of guy – I’ve just written songs.” It’s not exactly the tagline of a man on the verge of blanketing airways across the globe. But Dallas Green has never been one to puff his chest out, even when he’s creating a wall of noise as guitarist for melodic post-hardcore titans Alexisonfire. Worlds away from the abrasive nature of that five-piece and far from reflecting the inked-up physique of the 30-year-old, Green is a softly-spoken, gently-mannered individual, who only wants to write songs that make himself happy. Only then, does the hope of reaching a mass audience even cross his mind. Taking shape over the last couple of years, Green explains down the phone line from his Canadian homeland that Little Hell has been a slow process since the 2007 release of his previous album Bring Me Your Love. Writing here and there in-between tours, the recording of the album was eventually finished in February so it’s been a couple of months of sitting, waiting, biding time, as is the nature of the industry. But the world hasn’t been waiting as patiently. They’ve been demanding City And Colour. Attesting this fact, far further than his frantically snapped up sell-out tour of Australia in April, is Green’s recent sold-out show at one of the most iconic venues on the planet, London’s Royal Albert Hall. “That was definitely one of those moments,” says Green when asked about some of the pinnacles of his performing career. “It was just something that you’d never think you’d end up doing, it was just one of those surreal moments. There’s just been so many things that have happened at that venue over the years, you couldn’t really count them all. To be on the list I guess, it’s pretty crazy to think about.” So far, only Fragile Bird and Northern Wind have been officially available to fans from Little Hell, although a few other album tracks such as Silver And Gold have popped up on social media thanks to the intrusive beauty of the camera phone. Polar opposites as far as their composition, sound and delivery, Green

agrees that these tracks are a good indication of the disparate sounds we should expect this time round. “I think it’s a good example of how I went in both directions on this record. And I think it’s now, to a point where I don’t think people, once they hear this record, there really won’t be any more talk of...” he regathers his thoughts, “because I feel like for the last couple of years it’s sort of been all about ‘the two sides of Dallas Green’ sort of thing. Whereas now it’s just like people, I feel like people should just not expect their need to decide on the one thing, y’know? Like with the record, I wrote different types of songs and I didn’t want to just sort of shy away from one style just because it didn’t fit the mould of what people thought City And Colour should sound like. It’s my project and I write the songs the way I want to hear them.” But just because there are smatterings of thicker instrumentation, don’t expect some middle road bridging point between his two musical outlets. “I wouldn’t necessarily say that,” he states when proposed with such an idea. “The louder songs aren’t those fourto-the-floor punk songs. They’re just songs that have a full band arrangement, like Fragile Bird. There’s a couple of songs like that and then there’s some songs that are more acoustic-based that still have a full band aesthetic. But then there are songs that are pretty much just me and a guitar. So it’s kind of all over the place but I think that’s sort of what I am. But at the same time, I definitely think that when you listen to the record front to back it sounds like a record, it doesn’t just sound like a bunch of songs mixed together. At least I like to think so.

sort of figure out what I’m doing at the same time. She’s never hurt herself thank god but it’s scary just ‘cause she tends to grab the phone sometimes and throw it because she doesn’t really know what’s going on. We try not to keep any sharp objects or anything near,” he chuckles. With Alexisonfire, Green and his band mates covered both Midnight Oil and The Saints for a special tour 7-inch last year, while on City And Colour’s most recent tour, attuned ears would have picked up the subtleyet-familiar melodies of Sam Sparro infiltrating the encore of the set. Showing himself to be not only a fan of tunes from Down Under but a general audiophile with a broad palate, Green talks about the first musical connection he spawned as an impressionable youngster. “It’s weird, growing up I kinda went through all these different periods. I guess the first music that really hit home with me was the grunge era because I was 11 or 12, maybe 13-years-old when that blew up. So bands like Pearl Jam and Soundgarden, Alice In Chains and Nirvana, they were the first bands that I really felt a kinship with, like a really emotional connection with the music,” he reflects. “And that just led me on my path. Because I liked Nirvana, I found out about the Melvins because Kurt Cobain was a big fan. And Pearl Jam had the whole Neil Young connection which turned me on to the idea of Neil Young. I feel like I could go over chronologically the way I got to where I’ve gotten or the way certain bands have led me to other bands. But it would just take me forever because I’m an enthusiast, a music enthusiast. I like lots of different music and have always liked lots of different music over the years.”

“There’s nothing really crazy going on,” he continues when asked about any new instruments that he latched on to during the recording process. “There’s pedal steel on a couple of songs but there was some pedal steel on the last record and I think there’s just more of everything I guess. Although there is no banjo and no harmonica, like some of that stuff that was on the last record, there’s none of that. But there’s just a bigger drum sound, a bigger guitar sound, a bigger bass sound. And there’s maybe a bit more piano on some of the songs.”

Green thinks more than anything, this is a generational situation that thanks to the internet has sadly tapered off.

Premiered globally on triple j in early April to coincide with Green’s first headline tour as City and Colour, Fragile Bird is arguably the fullest sound ever heard from the originally solo project. With a throbbing bass, layered percussion and a climatic chorus seeing Green hark lyrics of “All that I can do/Is hope she makes it though”, it comes as somewhat of a surprise to hear that far from terminal illness or the recalling of a freak accident, the inspiration for the track actually stems from his wife’s intense night terrors. Green talks about how serious it can get for both himself and Leah Miller, the current host of Canada’s So You Think You Can Dance.

It’s this core love of music that resonates through everything Green does and runs through Little Hell, from the gorgeous pastels of Scott McEwan’s cover to the curious song titles and vivid lyrical content. The songwriter attests this complete package is more important than ever before. But although important, it’s not everything.

“If I’m awake and they happen it’s not that bad, I can sort of corral them back before they get out of hand,” he says. “But when I’m sleeping and she wakes up screaming and jumps out of the bed and starts running away, it can get pretty crazy just because I need that few seconds to

“You had to do research if you were interested in finding new music,” he reflects. “So I would read the liner notes of the CDs that I’d gotten and you’d look to see what bands that band thanked and if any of the names stood out to you then you’d go listen to them and that leads you to somewhere else and before you know it you’ve got a big CD collection.”

“I think it’s gotten better nowadays because it’s such a coveted thing y’know. I think people are spending more time on their artwork and everyone is releasing everything on vinyl again. Because although technology is sort of overtaking, there are still those people who like I said, like myself, who are enthusiasts and who want to sit and read the lyrics and who look at the art and hold something when they listen to the record. But really, I feel like with a record and with songs, it all depends on how it makes you feel. So if you like the way a song sounds, you shouldn’t worry about what other people think.”

WHO: City And Colour WHAT: Little Hell (Dine Alone/Shock)

PUNK ROCK TROUBADOURS Dallas Green’s evocative and emotion-filled vocal cords aren’t the first to emerge from a rough and tumble punk rock background. Here’s a few more inked-up crooners and skateboardriding songsmiths that could not only incite the circle pits or smith grind your local park bench, but could probably entertain your folks too.

NIKOLA SARCEVIC (MILLENCOLIN) Although there were flashes of acoustic emotion in amongst the blistering So-Cal styled speed punk this Swede was playing in the mid-90s, it wasn’t until Millencolin’s breakthrough album Pennybridge Pioneers that Sarcevic really put himself out there as a solo artist. From the well-received final track of that album, aptly titled The Ballad, Sarcevic has gone on to release three albums of folk-rock inspired numbers spanning from 2004s Lock-Sport-Krock to most recently, last year’s Nikola & Fattiglapparna.


CHUCK RAGAN (HOT WATER MUSIC) When Florida-based rockers Hot Water Music called it a day in 2006, Ragan chose not to follow his band mates on a route remaining in punk rock. Instead, he flew solo and began performing as a man and a guitar, aligning himself with Hot Water Music side project Rumbleseat that released some 7-inch records and one LP, Rumbleseat Is Dead, in 2005. Although strictly acoustic and with far less venom in his tone, Ragan has keep his allegiances to punk rock and continues to perform with musicians of a similar vein such as Frank Turner and the Gaslight Anthem’s Brian Fallon.

TOM GABEL (AGAINST ME!) Another product of rock music hotbed Gainesville, Florida, Tom Gabel actually formed Against Me! originally as a solo project back when he was 17. Now 30 years of age, Gabel is still the frontman of Against Me!, but he’s also stripped back to his roots as a performer and released one solo record under his own name, the 2008 EP Heart Burns.




After three albums, ARCTIC MONKEYS feel like a staple in the world of music. With number four Suck It And See on the way, drummer MATT HELDERS takes the time to tell BEN PREECE all about it.


hen Time Off calls Arctic Monkeys skinsman Matt Helders, he’s “pumping iron” – probably no big deal really with the amount of musicians that try to stay in shape, but considering he’s still only 80 percent recovered from his broken arm of last year, he seems to be remaining optimistic about all the activity his band is about to undertake with their fourth album Suck It And See dropping this week. It was only five years ago that this young band stirred the music world into an utter storm with their debut Whatever People Say I Am, That’s What I’m Not that placed them atop the list of the hottest bands in the world. Frontman Alex Turner quickly became a voice of a generation, penning savvy lyrics in a wide-eyed and observational tone that only someone of his age could. Five years and four albums later and things seem different. The band has enjoyed the highs, endured the challenge of following

up an incredible debut, suffered the backlash, the commercial criticisms and yet always seemed to end up back on top. On Suck It And See, Arctic Monkeys have come full circle, borrowing bits from all their Monkeys’ worlds all while growing up considerably, perhaps even beyond their still youthful age of 24. “I think we’ve probably mellowed out a bit on this one, I suppose,” Helders says rather casually. “I suppose we have to grow up, it happens to anybody over five years from 19 to 24 or whatever, things change whether you’re in a band or not. Ours was more documented than your average. Every album... we’ve had a different attitude towards them and [2009 album] Humbug was all about going away and doing something completely different, working in a brand new place and working with somebody new and all about that experience as well. Doing that, in a way, kind of liberated us and gave us the confidence to know we can really do what we want and it’s still Arctic Monkeys, you know? But this time, I suppose, we’ve done a combination of all three records, you know, poppier bits from previous albums and some of the darker bits from Humbug but put together in a more traditional way.” Once again working with long-time producer/collaborator James Ford, the band decamped to Los Angeles, specifically the famous Sound City Studios. Helders explains that the decision to work outside of England wasn’t necessarily to break their habits back home, it was more a comfort thing. “I think it was more like that on Humbug but with this one, it was more straightforward,” he explains, “it was January and really cold in England. It was a really great studio and it had the best drum sound ever, everyone says that about that drum room. That was a massive attraction for me obviously. I definitely noticed the difference, we hired an old Ludwig kit and the room was made for it. Because of the way we recorded it – we pretty much did it live – we had to get a good sounding room rather than trying to fix things after. The first song we did was Reckless Serenade and as soon as you hear that kick drum come in and it just reminds me of that exact sound that I thought it would be like when Nirvana recorded there. I wasn’t getting caught up in it all but you could just notice the difference and remember that so many classic discs were done there. “We did a lot of pre-production in London in a rehearsal room with James as well,” Helders says, explaining the band essentially cut the record live. “We spent a couple of months there, getting the songs tight so we could just go and record and get a really good sound. We did like a song a day and we wouldn’t have been able to do that if we were not rehearsed and we did stick to that schedule – we’d fill a tape reel, which is like three takes, and then choose the best one. Nobody really made any massive errors I don’t think. We all had our moments where we had to redo a take from dropping a drum stick or whatever.” Like any great band, Arctic Monkeys simply continue to evolve. Turner’s lyrical delivery, specifically, is almost the first thing you notice. Gone is the sharp-tongued Turner of old and in his place, well, someone more controlled. “He’s mellowed out a bit,” Helders says. “I think with the Last Shadow Puppets thing, he had more practise at singing different kinds of songs and he kind of brought that back a bit as a singer and not... shouting lyrics. It was good and that was exactly what we wanted to do at the time but more you listen to, like, classic songs, it changes how you go about it. “I don’t think there’s anything we regret from Humbug but you definitely learn from the last thing you did and I remember Alex saying that when he started writing songs for this record, he was taking a more traditional approach – sitting down with an acoustic guitar and getting the chords and melody and lyrics. Then we’d come in and put our bits on. Before, we’d have a drum beat and a guitar riff and glue them together and that seemed to work, not having any real structure. We thought the traditional way obviously works – as there are so many amazing songs that are written with verse, chorus, verse, chorus – so we thought we’d have a bit of a go at that and I suppose that’s why the poppy bit or the more instant comes through.” Suck It And See is already raising its fair share of questions and has fans swarming to understand the meaning of, firstly, the confronting album title and, secondly, the rather bland album cover with not so much of even a band name on front – is it minimal genius or just outright boring? “It was already a song on the album,” Helders says, addressing the album title first. “We’ve never done like a title track sort of thing and usually, you know, our first album title was really long, like a lyric of a song. We had loads of ideas and it’s really hard to narrow it down to one idea and commit to one thing that’s going to exist for the rest of your life. But it seemed like a good one just to use that as an album title but also it’s a term that’s very British – ‘Just suck it and see’ – you know, you might like it, take a risk. “As for artwork, you wouldn’t believe how much we went through – more than ever – of completely different things. We had some silly ideas and we had a bit of a last minute wobble and this was just simple and classy. It looks quite good on the 12-inch and even though there’s not much going on, it looks quite nice. I guess it’s about how much you spend on it is how much you get back – if you buy it on iTunes, it’s going to look pretty rubbish but if you buy the record, there’s a nice photo inside and what not.”

WHO: Arctic Monkeys WHAT: Suck It And See (Domino/EMI) 18

BATTLE HARDENED In the face of adversity via departing members and label pressures, New York’s BATTLES have produced their most killer album to date. Drumming virtuoso JOHN STANIER chats to BRENDAN TELFORD about Gloss Drop, discarded records and the strength necessary to not walk away.


he arrival of Battles’ second long player Gloss Drop has been one of the most hotly anticipated of the year, and with good reason. The huge success the band had achieved after incendiary live shows and the release of the white-hot brilliance of 2007’s Mirrored almost came undone last year when, whilst deep into the recording of their follow-up, singer/guitarist Tyondai Braxton abruptly walked out, never to return. With the band’s unique dynamic relying heavily on all four members’ disparate approaches to creating music, the possibility of another Battles album appeared to be slim to none. “Yeah, it was a pretty strange time,” a very relieved John Stanier comments from his home in Brooklyn. “I definitely did not think that [Gloss Drop] was gonna happen. There were times when I wasn’t sure we would come out of it. It was a difficult time, so that made it a very tricky album to make. It’s an experience I never want to go through again, so I’m very happy that we got it done.” The focus preceding the release of Gloss Drop has inevitably focused on the departure of Braxton, the reasons behind the sudden exit and the resultant reactions of the remaining core members, who also include Ian Williams and Dave Konopka. It is quite clear that the issue remains unclear, even to Stanier.

out of this depressed state – there was no universal mantra. We just decided to lock all the negative stuff away, that we would worry about it later, drank a tonne of beer, and then just did it. So in a weird way Gloss Drop is the sound of us freaking out!” By swallowing the bitterness and vitriol, the remaining Battles members have carved out another unique, awe-inspiring album that highlights the kind of brilliance a band can come up with when their backs are against a wall. The question remains – how will it all come together in the live arena, as a three-piece? Stanier’s answer is a wry one. “You are gonna have to wait and see!” he laughs. “I’m not at liberty to tell you now, but yes, it’s good. It feels really good.”

WHO: Battles WHAT: Gloss Drop (Warp/Inertia)

“We maybe saw it coming a little bit, [Braxton] started to remove himself more and more from the rest of the band, so it wasn’t totally out of the blue I guess, but it was with very little warning,” he remembers. “It was a matter of him saying, ‘This is what I will and will not do’, that sort of ultimatum, that’s what came out of nowhere. He basically wanted Battles to turn into this side project, this kind of recording project that never toured. I mean, we had just spent seven years to get to where we are now. Who knows what his reasoning is behind it all? It was pretty hard to take, but, y’know, he just left.”

“ We were in such a negative, horrible place that we were forced to turn a negative situation into a completely positive situation...” Not only was the setback a bitter pill to swallow, but now a band that had wowed the world with its organic, seamless, complementary dynamic, had an integral cog missing from the machine. Or to put it more aptly, it was like losing a limb. To make things worse, the original recordings were already almost a year behind the deadline that their label Warp Records had given them, so the idea of a natural healing process was taken out of the equation. “It all happened so fast,” Stanier reflects. “The thing was we were already so late with what we had set out to do. If it had all happened two, one-and-a-half years ago we could have just sat down and taken a look at things, talked out what we wanted to do now, if we still wanted to do this thing, do we get in a fourth person... But it happened at the worst possible time ever. And it wasn’t like we had finished recording – we only had a couple of songs that we fully finished and a whole bunch of other stuff.” With so much pressure threatening to destroy the band from within, Stanier maintains that calling it a day was never an option. “There wasn’t any time at all to reassess, we just had to act, just go with our instincts. The thought never really crossed our minds, we collectively wanted to continue working together. I was hell-bent on getting it done, it was like my life depended on it,” he asserts. “There wasn’t another option for me. If I had walked away then, and not taken care of what I thought I needed to take care of, I probably would have regretted it for the rest of my life. So we had about ten days where we came home, we went out a couple of times, hung out, then we turned around and went back into the studio and tore everything we had done before apart and started again. We just started again from scratch, it was like out with the old and in with the new, and we had the whole thing done in three-and-a-half months.” The result of such a tumultuous time in their lives is an album that holds all of the trademarks of the Battles aesthetic, yet without the effects-laden childlike vocals of Braxton the band turned to friends for inspiration. “There were four songs that we knew all along would need vocals on them, and ironically enough that was the easiest thing as far as the creation of this record is concerned, the least amount of work,” Stanier admits. “It was a simple conversation where we all agreed that we’d get different people to come sing on them. We have known Eye (from Japanese band The Boredoms) for ages so we just contacted him, we’ve known Kazu [Makino] for ages through her band Blonde Redhead here in New York, so we just went over and picked her up, she did her part in one night then caught the bus back home... Even Gary Numan – he was out “fantasy” artist to work with, but we just had the label ask him and he said yes. So we went over to Boston and hung out with him for a bit, he really liked the track... It was that simple.” With all of these changes aside, the most noticeable change in the Battles sound is the somewhat sunny tone that permeates throughout. A casual listener would think that Gloss Drop is the result of a band that are in a good conceptual place dynamically – that this is, in essence, a fun record. “To be honest with you, that totally came about by accident,” Stanier states. “Time was of the essence, so we didn’t sit down and work on constructing this happy, dance-y record at all. It just turned into that, and the only reason I can give for that is that we were in such a negative, horrible place that we were forced to turn a negative situation into a completely positive situation. You know, we just isolated ourselves from everything else, dug deep down and just made it happen. There was no ulterior motive to write something to get us



THE POTBELLEEZ have been unashamedly administering high doses of blockbuster dance hits to floors across Australia and abroad for several years now. DJ-producer DAVE GOODE tells TYLER McLOUGHLAN why their new album Destination Now is an important device in solidifying the four-piece lineup.


obbing into Australia in 2001 with a box of records and a working holiday visa, Irishborn Dave Goode met fellow DJ-producer countryman Jonny Sonic when a mutual friend thrust their shared musical sensibilities together. Just a decade on, any Australian who partakes in even a casual spot of TV viewing, particularly in the sporting arena, would certainly be familiar with the music of the two lads behind The Potbelleez. “It’s been a little while in the making,” says Dave Goode of The Potbelleez sophomore album Destination Now with an accent that’s lost little of its sheen since he began calling Australia home. Hitting shelves just a couple of weeks ago, the new album may feel strangely familiar for many, particularly at the midway point when a booming voice commands: “Hel-lo-oh-oh/Are you ready to go-oh-oh?/We’re gonna lose contro-oh-ohl/So let’s

go”. Hey Hey It’s Saturday secured the first exclusive live performance of lead single Hello way back in July last year, and it’s been keeping us company on high rotation across the airwaves ever since. “Basically it was a bridging track between the old stuff and the new stuff using our signature sound and just a bit of a gateway into the second album really,” explains Goode of the song that soundtracks the network promo of the Nine Network’s digital television channel GO! “When you listen to it you can definitely hear Potbelleez so we thought that was quite important for the first release so people would recognise us, and to show that we’re ready for a whole new chapter… I don’t think there was any other track that we all agreed on that we thought would be best to represent us after having maybe a two year break from recording, so that one just ticked all the boxes. It’s got the big Ilan [Kidron] vocal, it’s definitely got a Potbelleez backing track sound – you know, big pumping dance music!” The Potbelleez can certainly put a big tick in the recognition box also, given that their lyrically catchy dance floor sounds have faired so damn well across television synchronisation opportunities, an income stream that Goode is greatly appreciative of. “It’s a different climate than ten years ago in the sense that music’s way more available now; music gets shared so much so you can’t make as much money off selling records any more because not as many people are buying records. So there’s a few different ways to make money out of music; there’s selling records, there’s touring, and then there’s the TV synching,” he explains of the process of matching visuals with music. The lengthy lead time of the first single, and its follow up Shake It, was a strategic move for recognition of a different sort – the introduction of key touring musicians Kidron and Blue MC into The Potbelleez fold as members proper. “We’ve got Blue MC in the band and not a lot of people would definitely recognise her as part of The Potbelleez even though she’s been travelling and touring with us for a lot longer than Ilan, so we decided to release Shake It to showcase Blue… This album is really showcasing both our vocalists; we’ve really made a point of showing off them two and making sure that people get to experience what we’re all about,” he says. “I think as a band you can hear in this album we’re really cooking now; we’re really close and we’ve definitely got a consistent sound going all the way through it. We’ve based it definitely on the dancefloor, so it’s definitely a dance music record. It’s great party music – stick it on before you go out, stick it on when you come back or stick it on in the car. You don’t have to be any age to get it really. “We had a lot of time to really digest it and make sure we were happy,” Goode continues. “Because we’re three years later from [APRA awarded Dance Work Of The Year] Don’t Hold Back, we’ve had three years more experience now and as a group you get closer and we’re able to collaborate on music a lot more and a lot better. We’re constantly learning, so I think we’ve definitely grown as a band,” he says of the outfit that scored the coveted Australian support for Usher’s sold out OMG tour earlier this year. The learning process for Destination Now was ably guided by legendary co-producers Paul Mac (Itch-e And Scratch-e, The Dissociatives) and Shave who has gained acclaim for four UK top ten and US top five productions. “We were in the studio for eight weeks with Paul Mac so that was a great experience. It was really nice as an artist to work with another really good, prolific producer, and to see him at work,” Goode gushes. “He was very much a hard working guy and he’s a very passionate and very real musician and producer… Paul definitely brought feeling into making music and he really got to see us – he grooves the music, he feels the music. For some other producers for instance, music can turn into mathematics, whereas for Paul it was all about the feel of it, and we’d have a little dance to it. He just brought a real musicians stance to it… Where we might use the mouse to program stuff into the computer he could actually play the beats through the keyboard; everything’s done by playing rather than actually computer programming.” Destination Now is a representation of the motley foursome’s past few years together, highlighting the cyclical peaks and troughs of their musical environment. “A lot of the songs on it have a bit of [an element of] struggle… Ilan always refers to it as a bit of party and then recovery; there’s tension and release constantly throughout our songs. In naming the album Destination Now [we] definitely summed up where we were all feeling with all these songs and all the lyrics of these songs. I suppose it’s a struggle type scenario but it always comes back to havin’ fun I suppose, or to try and get over something and get beyond something.” The Potbelleez are in a constant state of readiness, though surely the relentless pressure of having to bring the high-energy party is enough to wear down even the most hardened dancefloor enthusiasts as they prepare to embark on a massive national tour throughout June and July? “We’re a touring band and we’ve been touring for years. Ilan and I both have families back in Sydney so we come back to a really normal kind of life, so it’s not that hard to manage,” Goode says gracefully. “We’re very blessed to have the jobs that we have so we just take it and give as much as we can to it. People that come to see our shows – most likely they’re workin’ nine to five, Monday to Friday – so if they just hand over their little door fee no matter what club they’re going to, we feel that it’s our job to let them forget about their working week and the mundane.”

WHO: The Potbelleez WHAT: Destination Now (Vicious/Universal) WHERE & WHEN: Chalk Hotel Thursday Jul 21, LaLaLand, Byron Bay Friday Jul 22


INNER EXPLORATIONS For OKKERVIL RIVER’s sixth album I Am Very Far, head honcho WILL SHEFF was predominantly aiming to please himself, but as he explains to STEVE BELL, sometimes such motivations are easily misinterpreted.


exan indie wunderkinds Okkervil River have been dazzling discerning music fans with their hyperliterate brand of folk for well over a decade now and show no signs of easing their momentum on epic sixth album I Am Very Far. A break from their recent predilection towards treating albums as conceptual treatises, I Am Very Far is at once a brash and discordant sounding affair, but also eminently listenable due to the inherent melodies and plentiful vocal hooks which emanate from frontman and wordsmith Will Sheff, whose songwriting acumen and lyrical dexterity seems to blossom with each subsequent release. The new record may be different in tone and feel to earlier efforts – particularly when placed alongside direct predecessor The Stand Ins (2008) – but according to Sheff this was just part of the ongoing evolution of his muse. “It was conscious and unconscious,” the affable musician offers of the album’s sonic progression and feel. “It had been a long while since I’d had a chance to make a record, so it was a lot like getting to start things over again and being really excited about being able to start things all over again, and a lot of the passion for recording and making music came fl ooding back. I loved The Stand Ins and I was happy with it, but I kind of just felt that I’d gone as far as I wanted to go at that particular moment on a kind of ‘accessible rock path’, and I felt like I wanted to do something that felt new and different to me and felt exciting to me, and that kind of reflected how I felt inside about stuff that was really hard for me to even put my fingers on – certain ideas and images that I’d been carrying around for a huge part of my life. A lot of the record is instinctual – it’s like subconscious and instinctual, that was kind of a watchword for me.”

think that they’re really lucky – I don’t really think that there’s a formula for how a band like Animal Collective, for example, can get to be quite weird and yet quite popular. I don’t know if there’s a formula for how that works, but I feel like in a way it comes down to luck – which is not to discount talent or anything like that – but in a way it’s luck. But that’s the kind of career that I guess everybody wants – you want to be able to do what’s deeply meaningful to you and what really resonates with you, and yet for people to have it resonate with them as well, and have people follow you no matter how twisty and turny you get with your own work. That’s what I’m trying to do to, to be able to go as far down a deep, twisty dark path as I want to, but have people be willing to try to follow me along the way.”

WHO: Okkervil River WHAT: I Am Very Far (Jagjaguwar/Inertia)

The last project that Okkervil River completed was the True Love Cast Out All Evil album, which found the band collaborating with Texan psychedelic legend Roky Erickson to bring some of his unreleased songs to life, and Sheff believes that this experience was integral in this shift in songwriting focus. “Yeah, I mean I think that Roky’s kind of ‘openness’ to ideas in his writing, and his willingness to let these different instruments play over him, was really inspiring to me,” he admits. “A Roky song might veer from being a very sweet love song to being a song of Satan and evil to being a song of Jesus and light and love and family, to being funny or being psychedelic – he’s got this kind of openness to emotions and for his songs changing and for their feel changing, and that was very inspiring to me. Also there’s this sort of ‘inner world’ that Roky has in his music, and Roky of course is a very colourful person and has a very sort of chaotic energy around him and a very colourful inner world, but really we’re all of this inner world. It’s common to all of us – not just Roky Erickson – and it’s something that we can all tap into, and I wanted to feel like I was able to tap into my own sort of interiority while I was making this record. “I wanted the lyrics to feel like I was talking to myself – this inner unprocessed monologue – or the logic of a dream, which doesn’t have to explain itself or justify itself. Sort of this raw experience – that’s kind of what I wanted the scenarios lyrically to come across like.” Sheff has maintained from the outset that he had no overt intention of making I Am Very Far a ‘crossover’ or ‘crowd pleasing’ effort, yet this hasn’t stopped many pundits – particularly in the UK – from assuming that the album is a grasp for the kind of success afforded bands such as Arcade Fire, who for years occupied a very similar position to Okkervil River in the musical landscape. “Of course [reviews like that] perplex me, but I’ve seen so many reviews where I’m perplexed by what they say that it’s not anything new,” Sheff chuckles. “I’ve read reviews that say that this record is another record about the perils of show business – I think people literally just think, ‘Ah, what did I say last time? I’m just going to say that again...’ It was actually very much not a ‘crowd pleasing’ record – it was very driven by my desire to please myself and to make myself proud of what I’d done. [2007 album] The Stage Names was in a sense a crowd pleasing record – not to say that I was pandering or wasn’t pleased myself, or enjoying myself with what I was doing – but it was me kind of going, ‘Can I take my thing that I do and turn it into something that’s outward focused and tries to lure people in?’ as an exercise to see if I could do it. But this was not like that at all – this was just like, ‘I want to rise to this dictate of what I’m feeling in terms of what I want stylistically out of music’. “So it wasn’t a crowd pleasing thing, but that said, I’m a very firm believer in trying to seek out the largest exposure for what you’re doing, especially when that thing is less conventional. You look at an artist like David Lynch – he is very much an iconoclastic artist, but he’s also a very iconoclastic artist who’s always found a very wide audience, and I always found that to be a very beautiful model, this idea of trying to potentially alienate but also potentially alter the perception of the largest group of people possible, as opposed to be a strictly underground artist who wants to hide underground – which I think is a great and wonderful tradition, but it’s not something that I connect with as much.” Has Sheff been encouraged by the recent success of bands like The Decemberists and Arcade Fire, who seem to have achieved commercial footholds without compromising their artistic vision? “I think there are certain bands who get to do whatever the hell they want, and people really love it regardless,” Sheff mulls. “I


MAYA-N PROPHECY Respected rapper and TV personality MAYA JUPITER talks to CYCLONE about heritage, personal growth and the power of music to create change.


aya Jupiter is back in a big way. The Aussie femcee has a spirited, adventurous and powerful new album, Maya Jupiter. She’s been gigging internationally with collaborator Aloe Blacc and now she’s touring behind a progressive Federal Government youth initiative, The Line, which aims to foster respect. Jupiter has just returned from Los Angeles, her current base. Before that, she supported Mr Blacc across Europe (she toured the States with him in late 2010). She first released an album, Today, of socially-conscious hip hop in 2003, and she’s hardly slacked off in the interim. Jupiter joined the Latin fusion band Son Veneno, hitting the festival circuit. She also issued an album with MC Trey and Nick Toth as the supergroup Foreign Heights. Then there were high-profile hosting gigs with triple j (The Hip Hop Show) and Channel [V]. But didn’t she aspire to cut another LP sooner than this? “I don’t think I knew what I wanted to do at that point,” Jupiter admits from a Melbourne hotel. “I was very young when I made Today – in 2003 I think I was 22-years-old – so I was just enjoying myself... I just didn’t feel like I knew

what I wanted to say. Once I did, I moved overseas. I basically set foot in LA and I knew exactly what kind of album I wanted to make. Looking back, the music and the inspiration have been there all along, it’s just finding myself and finding my own voice.” On her eponymous record, Jupiter explores her Mexican heritage. Born in La Paz, Mexico, she left for Australia with her family as an infant, growing up in suburban Sydney after a few years in Melbourne. Jupiter was already MCing – and writing – in her mid-teens. She recorded Maya Jupiter in LA with Quetzal Flores and Martha Gonzalez, a husband and wife team of Chicano rock musicians in their own band Quetzal, as well as Dawkins, the Panamanian-American neo-soulster responsible for I Need A Dollar. Led by the single Phenomenal, Maya Jupiter is a melting pot of Son Jarocho (a folk style that has its origins in Mexico’s Veracruz region, but was introduced to the world via Ritchie Valens’ La Bamba in the 50s), soul, hip hop and dancehall. Jupiter favoured traditional instrumentation, such as the quijada (a donkey’s jaw bone!), and she sings and raps in Spanish and English. Jupiter’ cohorts pushed her “to do more than just rapping – to become more of a vocalist, and to grow as an artist.” She’s touting Maya Jupiter as “world hip hop”. And the album is timely. Thanks to Diplo (and MIA), world music is no longer viewed as traditional or static, but transgressive and hyper-modern. As it happens, Jupiter discovered Son Jarocho through her brother-in-law, Victor Valdes, a Mariachi harpist. Jupiter loves Latin dancing with her sister. Maya Jupiter is a tribute to her father’s heritage, yet Jupiter’ mother is Turkish. Does her Mexican background exert a greater pull? “Not really – however, I speak more Spanish than I do Turkish!” she laughs. “But I was raised by my Mum, so she reminds me that I should be making more Turkish music… One is not stronger than the other. I would love to go to Istanbul and collaborate with some Turkish musicians there and make another album with more of a Turkish influence to it. That’s next!” Jupiter recognises the potential for her music in the US. “Technically, I’ve been living in LA for three years, but I do come back [to Australia] quite often,” she continues. “I haven’t spent much time there in the past year. But, yes, I do [see that]. It’s tricky but, at the same time, I feel, especially with this album and this direction I’m going, there’s a really big market there.” Her relocation isn’t simply market-driven. It’s as much about fresh experiences. “It’s just about growing,” she contends. “I felt musically that I wasn’t growing in Australia, for whatever reason – it was probably ‘cause I was taking other jobs and working within the industry. But that’s why I decided I had to leave to find myself again as an artist.” Jupiter gave up The Hip Hop Show in 2008 after four years, allowing Koolism’s Hau to take over, then quit Channel [V] last year. This, too, has enabled her to focus on her music. Nevertheless, she hopes to again present in future. Jupiter relished being able to talk artist-to-artist. “I’m still open to it,” she admits. “I still enjoy the medium – I always loved it... So I haven’t quit that all together – that’s still something I’m open to, if it comes up. I’m just focusing on music.” Among her favourite interviewees are Common (“I felt like I learnt something from him”), P!nk (“really lovely... P!nk felt just like a homegirl – she was very cool”), and Kanye West, who was “fun”, “flirtatious”, “a bit cheeky” – and humbler than might be imagined. ‘Ye was generous with his time. Most major urban stars limit interviews to 20 minutes, yet he spoke for 40.” Ironically, Jupiter herself doesn’t necessarily buy a lot of new hip hop these days. She listens to world music – Afro-Cuban, highlife and dancehall. Jupiter has long been interested in community programmes, leading hip hop workshops, and so her role as an ‘Artistic Ambassador’ for The Line [] is consistent. The campaign is directed at teens and young adults negotiating relationships – and is meant to combat violence, abuse and harassment. It encourages people to engage in a dialogue about value systems, define behavioural parameters, and cultivate respect in an increasingly sophisticated technological age. (Sample question: Is texting someone 300 times a day crossing a line?) “I think it’s important to start thinking about the kind of relationship you want to be in at a young age,” Jupiter elaborates. “The Line is a youth campaign, but the lessons that you learn as a teenager will hopefully carry through to your adult relationships. So it is about respect and deciding and defining for yourself what’s appropriate and what’s not. I believe first and foremost in music having the power to create change. Being an artist who wants to create positive change through music, [then] being approached by the campaign to be involved and to be an ‘artistic ambassador’, I jumped at the opportunity. I thought, ‘This is great, this is something I can relate to, and it’s something that means a lot just as a woman’.” Reading the research materials, Jupiter realised that when younger she’d been in a relationship that “was not a very healthy one at all,” although she doesn’t consider herself a “victim”. “I definitely can relate on a personal level to what this campaign is talking about.” Young women should always follow their instincts, she adds. Jupiter is accompanying Pez and 360 on The Line’s Change It For The Better tour. In fact, she’s borrowing a band for her slot. “Pez’ band has been so kind as to play for me, so it’ll be live music.” Expect affirming – and empowering – music. “I really just promote awareness – awareness in different forms.”

WHO: Maya Jupiter WHAT: Maya Jupiter (Independent) WHERE & WHEN: The Spotted Cow,

Toowoomba Thursday Jun 9, Never Land Bar, Gold Coast Friday Jun 10, The Hi-Fi Saturday Jun 11


SKA TISSUE English 2 Tone ska stalwarts BAD MANNERS have been plying their trade for almost 35 years and now they’re set to return to Australia for the first time in nearly a decade. DANIEL JOHNSON catches up with frontman BUSTER BLOODVESSEL midway through the band’s US tour.


’m okay – in a bit of a strange place, we’ve just arrived at the gig,” Buster says when asked how the current tour is going. “It’s great, I mean everyone’s having a great time and the shows are all packing well; selling well but we’ve had a few problems – the police keep pulling us up because our RV’s a bit untidy and we’ve had a few blowouts with tyres, going down the motorways but we’ve only missed two shows.”

of things and also I can’t wait to eat more pies than anywhere else in the world. It’s just the strangest country – everyone looks fit but they eat pies!”

Buster is quick to point out Bad Manners do not make a habit of missing shows.

“If they’ve not seen us before and they’re into that style of music they will be stoked,” he enthuses. “If they’ve never seen this style of music – which is ska, of course – it naturally makes you dance, you can’t help yourself, and we play it particularly hard so people tend to dance wherever we go.”

“It certainly wasn’t our fault,” he assures. “We got pulled over by the police and had to change all the tyres. Oh, it was ridiculous behaviour, just to keep the police happy. Of course they drugsearched us and looked in places we didn’t want them to look.” When asked if such instances make him feel a little like Danny Glover in Lethal Weapon and question if he’s getting too damn old for this shit, Buster chuckles, and explains that he doesn’t “know what age is”. “I’m beyond age and I’m back in my childhood now,” he laughs.

For those who haven’t witnessed Bad Manners live before, Buster promises the band are still delivering the same energetic performances they were famed for in the 80s.

WHO: Bad Manners WHERE & WHEN: Step Inn Wednesday Jun 15

The fact that Bad Manners are driving themselves around the US suggests the band still take a very hands-on, DIY approach to touring. “Very much so,” Buster says. “We are still very DIY and my ambition at the moment is to get a great big coach over here and convert it and I’ve still been all-day long drawing up the designs for it... yeah, still very DIY.” Bad Manners started out in 1976 and released their first album Ska ‘n’ B – which featured such 2 Tone classics as Lip Up Fatty and Special Brew – in 1980. The band have since released a further eight studio albums and more than a dozen compilations and Buster, the only founding member still in the band, says he has been able to make a living out of Bad Manners the whole time. “Yeah, that’s what I do and I feel very fortunate and I think I chose one of the best paths you can choose in life,” he offers. “It was completely against the grain; it’s not the normal choice my parents would’ve liked me to have chosen or anything like that because I just knew it was going to be a rough old world that you have to go into, but at the same time it’s one of the most rewarding when you actually achieve things. “You know, like a good gig is a good gig and you can’t take that away from anyone and to have that experience once in your life is brilliant and for me – three million times in me life – it’s incredible. And to still be achieving it and to still be going at this length of time – most bands I know gave up the ghost a long time ago but for us it’s not hectic; people still want us and we want to play.” Despite only touring Australia and New Zealand for the first time a decade ago, Buster says he has always had an affinity for his antipodean fans. “There was certainly a great enthusiasm [on the last tour] and I remember when it was all really kicking off; there was a lot of people from Australia and New Zealand in London when the first sort of wave of the 2 Tone thing kicked off,” he says. “A lot of Australians and New Zealanders used to come to the shows and it added to the craziness that was going on there at the time. I’ve always remembered [ska] was a good thing for Australian and New Zealanders. I’d always wanted to go there and we aimed at getting there quite some time ago.” Buster made headlines in the UK several years ago for his dramatic weight loss. At his peak, he tipped the scales at 197kg, and after surgery he was closer to 100kg. While Buster is still a relative shadow of his weightiest former self, he admits he’s not as svelte as he was a few years ago. “It worked for a while, although I’m putting it back on again at the moment; my weight’s gone up quite considerably, and my health’s really good,” Buster proclaims, before he’s silenced by an ironic coughing fit. “No, my health’s really good at the moment so I’m still enjoying performing,” he continues once he’s cleared his throat. “Of course you have to put a lot of energy into whatever you’re doing and that’s what I’m doing at the moment; putting loads of energy into it and it seems to be working for me – it keeps me fit.” Other British 2 Tone bands such as Madness and The Specials have reformed for successful world tours in recent years and Buster believes Bad Manners are partly to thank for the enduring popularity of the genre. “Well I think it’s because we’ve been keeping it all alive and going and servicing the rest of the world and they’ve realised there’s a big market out there for them and they’ve got off of their bottoms and got up and done something,” he reflects. “It’s good that they’re out on the road and I really appreciate the fact that they play ska music the same as ourselves, and it’s really better if there are more bands than if there are less bands so I enjoy it.” Like most bands that have been around for more than three decades, Bad Manners have had several line-up changes along the way. “Several? Several-hundred line-up changes, yeah,” Buster laughs. “We’ve had so many changes and it’s good because people keep coming in. We almost use it like a school now, Bad Manners. There’s that many musicians who have come and gone throughout Bad Manners; it’s quite incredible. “And we carry on, the door is still open – we look for good musicians and hope to find them. We had some sort of list on the go about four or five years ago and it was 450 people then, or thereabouts, and since then there’s been loads more to add to that equation, so it’s got to be 500, at least.” After their US tour wraps up, Bad Manners are playing some shows in Japan, and while Buster says “the Japanese are really lovely people,” he admits he “can’t wait to get to Australia and see some of them huge barbies”. “There’s something great about Australians, they’re a very competitive nation and they’ll be jibbing us all the way along and I’m sure they’ll be showing us how wonderfully they can dance and all of those sort



As local indie quartet THE MEDICS prepare to embark on their maiden headline tour, BRENDAN TELFORD catches up with drummer JHINDU LAWRIE and bassist CHARLES THOMAS to discuss their influences, the recording process and the isolation of coming from North Queensland. was necessary. For example, we are more available, we could be up for six support slots or a show at short notice. Even more so the travel – a trip down to Sydney is much more realistic now, it’s about ten hours. But the drive from Cairns to Brisbane is over 20 hours. I fully miss Cairns and just going swimming or hanging out at friends’ houses, but the move was definitely worth it.” Despite the success of their previous releases, Lawrie insists that the recording for their first album marks a new chapter for the band.


airns-bred indie exports The Medics have been based in Brisbane for only 12 months, yet already the shift has proved a masterstroke for their future as part of the Australian music scene. The success of second EP The Boat We Call Love last year has led to the recording of an as-yet-untitled debut album, the release of which will be preceded by their first national headlining tour. “I guess it’ll be interesting, working out all the pros and cons to having a ‘headline tour’, you know what I mean?” Thomas muses. “Whether the numbers will be there or whatever, or the exposure... But just to be on tour, it’s pretty amazing. It’s just all looking really good.” “Yeah, we’re totally stoked,” Lawrie grins. “I’m not nervous about it at all, hey. We’ve never really toured with bands, it’s always been local – so to tour, we just love playing. And the fact we’re headlining? It’s amazing!” The fact that touring is something new to a band that have been together in various forms since 2007 has much to do with trying to get regular gigs in a town like Cairns. “From Cairns, flying anywhere is expensive, so if you wanted to do gigs out of town, it was almost impossible,” Thomas states. “That and venues – there are only so many venues you can play at. The move (to Brisbane)

“There is so much difference there, it’s more mature,” he offers. “It’s taken a while, but we’ve worked out what type of music we want to write, we want to play, and we’ve all gotten better as musicians. Also, when we started it had all been pretty much Kahl [Wallace – lead vocal/guitar]’s songs and ideas, with the basic structure, then he’d bring it to us and we’d make the song what it is. But now, the songwriting has changed – Andy [Thomson – guitar] brings lyrics and riffs to the table, then we get together and try to structure it as a big group.” “We had eight songs pretty much mapped out before we went in to record,” Thomas continues. “The other two songs (on the album) were just songs or ideas that Jhindu and Kahl had. The songs started off as riffs, and then became songs pretty much on the day. Also, with Jhindu’s song, it will be the first song we have where Kahl isn’t the singer, so it’s pretty interesting. Still, we didn’t want to have a song that stood out or threw the whole album out of whack, which was a worry, but now it’s one of the strongest ones on there.” One thing that can be expected on the upcoming tour, like influential band Sigur Ros, is an emphasis on tension. “Most of our songs are like that, where we start off at a certain level and then the dynamics raise to the end to a peak” Lawrie asserts. “We actually really put everything into our shows, build up, then play as hard as we can in the heavy parts.”

WHO: The Medics WHAT: Beggars (iTunes single) WHERE & WHEN: The Zoo Thursday Jun 9


MARK SEYMOUR’s work in Hunters & Collectors gave Australia some of its most enduring anthems – and Seymour one of Australian music’s most enduring reputations. MATT O’NEILL speaks to the singersongwriter about his new solo album …And The Undertow. it does evolve. It’s not something I have any control over. I just sort of listen to that and put up with it. It doesn’t really affect the way I work. The profile I’ve got is just an accumulation of constant work and promotion and travel and getting up in front of people and playing in places all over Australia. Nature just takes its course, really.”


o many people, Mark Seymour’s name and reputation is synonymous with that of defunct Melbourne pub-rockers Hunters & Collectors. Not unfairly so, either – as the one-time lead singer and chief songwriter of the band, Seymour has been responsible for some of the most enduring music of Australian popular culture. Even those completely unfamiliar with his name would have at least heard classic cuts like Holy Grail and Throw Your Arms Around Me. “It was a period of great turmoil when the band ended,” Seymour reflects of his most famous association. “I felt, at the time, the band hadn’t achieved what I hoped it would – but then I stopped and thought for a second and went ‘Well, what was I hoping for?’… I think Hunters did actually achieve it. You know, we just became a massively popular live band and a lot of Australians became very close to us and I don’t think you could ever really ask for much more than that.” What has been less than fair has been the identity Seymour has had thrust upon him by casual audiences as a result – many tarring the literate and politicallyaware artist with the same brush as the most lugheaded members of his fanbase. As a veritable institution of Australian pub rock, Hunters & Collectors have naturally been linked to the clichéd definition of blokiness but it would be inaccurate to presume Seymour has any genuine personal connection with those traditions. “Well, there’s sort of a narrative that just seems to evolve in the media,” the songwriter says diplomatically. “And


…And The Undertow, for example, is not the kind of record that sits comfortably within pub-rock conventions. Seymour’s fifth solo album of original material, the record is largely indebted to folk-rock and predominantly defined not through soaring choruses or rollicking guitar riffs but Mark Seymour’s considerable finesse and elegance as a lyricist. The former Oz rocker touches on everything from the disintegration of a relationship to political unrest over the course of the album. “At any given point in time, there is an argument that the latest thing you’re writing is the best thing you’ve ever written. It’s easy to get excited about rock’n’roll – you know, it’s a bunch of people playing loud music in a room. There’s a lot of adrenaline and euphoria associated with it,” Seymour laughs. “I just think the accuracy of emotion and feeling with music is paramount, though. When I made the decision to finally record this album, it was just a spontaneous decision. “Somebody asked me the other day if I thought my songwriting had changed over the years,” the songwriter muses. “And I don’t think it has. I try to keep what I’m doing true to the immediacy of my life experience. I don’t like dealing in generalities, I don’t like making sweeping statements, I try to keep things nice and simple and close. The way I approach ideas and what ideas interest me hasn’t really changed that much, I think. You know, I have songs from 1983 that I still play and that I’ve re-investigated and trying to understand. It’s all personal.”

WHO: Mark Seymour WHAT: …And The Undertow (Liberation Music) WHERE & WHEN: The Tempo Thursday Jun 16, Joe’s Waterhole, Eumundi Friday Jun 17, The Lonestar Tavern, Gold Coast Saturday Jun 18



His move to electronic music from rock was organic, but BASS KLEPH – or STUART TYSON to his folks – is now well-and-truly here to stay. He talks evolution and his quest for global domination with CYCLONE. and electro rebels Crookers. And he’s actually remixed sometime rock chick Sarah McLeod’s White Horse.

ADDICTED TO BASS One of the biggest drum’n’bass labels to blow up in the last decade has undoubtedly been Shogun Audio, co-founded by DJ, producer and A&R head ED KEELEY (better known as DJ FRICTION). BRAD SWOB catches up with Keeley ahead of his Australian Shogun Sudio tour to reflect on the evolution of the shogun sound.

As a teen, Tyson was himself in a modestly successful rock band, Loki. However, by time they dropped their debut album, 1999’s Chyme, the drummer had discovered electronica and so his metamorphosis into a DJ began.

Keeley’s ear for exciting dance music has been tuned over years of DJing all around the globe and his three-deck sets are often the stuff of reverential awe among d’n’b fans. As he explains, often the thought process for selecting tunes for the dance floor and tunes to put out on the label are one and the same.

Tyson, who presides over the Vacation imprint, is showcasing his recent work on a new mix-CD – his first since The Underground 2010 (with Afrojack). Bass Kleph: Presents entails a techno update of $pend..., Tyson’s poptastic mix of Danny T and Oh Snap!!’s Whine Ya Waistline, and an earlier collaboration with D Ramirez, Pulse. Tyson does intend to cut an ‘artist’ album – at some stage.


he DJ has to constantly evolve musically as well as technologically, as Sydney’s Bass Kleph (aka Stuart Tyson) knows. Tyson started championing breakbeat, circa 2000, but, in today’s ever-hybridised dance scene, he’s now playing post-electro, techhouse and the again-hip straight house. “It would be difficult to pinpoint [my style] because I’ve changed maybe too many times,” the DJ confesses. “But where I’m at now I feel like is where I’m staying. I’ve felt the most comfortable with my music now. I did start out in breaks – I then went on to move through to fidgety, jackin’ stuff and then into electro-house and these days into tech-house and just even traditional house. [House] was something I always loved. When you’re into a genre like breaks, and you’re known for it, it feels a little hard to move away from it and completely change up all your music from what people expect of you, so I was probably a little bit slow in making the jump. But I’m very happy to be here now. It just feels right and the music is flowing – and that’s been showing itself in the results it’s been getting, too... It definitely reconfirms that I’m on the right path.” Indeed, the festival favourite is on a roll. Tyson is hot property on Beatport, with a remix of Joan Reyes’ Shakedown becoming his first No. 1 on the digital site last year, while he’s enjoyed hits in his own right with Keyboard Cat and I’ll Be OK. Another tune, 2009’s $pend My Money (featuring Stellar MC), crossed over into ARIA’s Dance Chart. Members of his DJ fan club include house purist Mark Knight, techno lover Fergie,

“What I would say is that my approach to A&R now is literally like if I listen to a tune and I get that feeling from it – the good feeling, and I like it and it’s part of what I want to release on the label – then that’s the only way I can really approach it,” he tells. “You know, I might put on a Rockwell tune and it will be totally different and totally out there but if I like it and it makes me feel good, then it’s going in the schedule. Same way if I put on one of The Prototypes’ tunes and it blasts the absolute shit out of me – then I throw it in the schedule. There are different emotions and that’s what I think is so good about music and that’s what I enjoy so much about the label. I think music should be all about bringing out different emotions out of you, know what I mean?”

“I really wanna do a complete traditional ‘artist’ album where you take a month or two off and go and hide somewhere in a random cottage and write a whole new album, but it’s just been a time constraint thing with the touring and all the tracks. It’s something I’m planning to do at the moment.” He hopes that Bass Kleph: Presents will “tide over” fans as “realistically” an album won’t materialise for at least a year. Currently sitting at No. 13 in the inthemix50 DJ poll, Tyson has, like Dirty South, emerged as an Australian superstar DJ abroad, touring Europe, the US, Asia and, lately, South Africa. “I was blown away,” he says of the latter. “The country is beautiful, the people are amazing and so psyched about dance music – the clubbing scene is great, too! I’ll definitely go back again.” Many DJs with a rock heritage grow nostalgic down the line. As it happens, Tyson, who chills out to reggae (he loves Fat Freddys Drop), has reconnected with his Loki cohort Chris Arnott. They’ve launched the BKCA project, with a single, We Feel Love, on Bass Kleph: Presents. Tyson laughs,” We’ve both kinda come full circle.”

WHO: Bass Kleph WHAT: Bass Kleph: Presents (OneLove Australia) WHERE & WHEN: Platinum, Gold Coast Saturday Jun 11, Alhambra Sunday Jun 12


MIKE MULHOLLAND, one of the newest members of the EMMURE family, reaches out from the tour bus to advise BENNY DOYLE that both he and the band cannot wait to make another brutal challenge at our beautiful landscape.

Keeley is clearly amped at the prospect of his imminent trip Down Under, which by no means is his first time on these shores.


bout six years ago is when I started the label and it was when my career was starting to get going basically as a DJ,” Keeley says down the phone whilst driving around the suburbs of London. “It was when things started happening for me and I wanted to have a label to run alongside it. At the time, other big DJs had their labels and I kind of wanted to do something a bit different. When I set up Shogun I wanted to release stuff that was different – stuff that I liked and thought was quite cool. I wasn’t really thinking about anything past that. Six years down the line we have come to a point where we’re turning the label into basically a multi-genre electronic dance music label. You look at the line up on the roster now from The Prototypes’ sound through to Icicle – we’ve got a complete cross-section of music. Whether it’s full on, in-your-face drum’n’bass, deeper and more funky sounds from Alix Perez or cutting-edge 140 dubstep from Icicle, the plan is to have a record label that excites people.”


“It really was,” he marvels. “We spent so much time and focused so much energy putting together the best record we could, to see it paying off is really exciting. Obviously we went in with the intention of writing a seriously heavy and sonically punishing record, but knew that it needed more than just to be intense heaviness. We spent quite a bit of time on the pre-production for the record, both at home and on the road. That really helped us solidify the ideas we had and allowed us to try out some different elements – like experimenting with some synths, using different tunings, and adding dubstep wobbles and such. From there we took it to our producer [Joey Sturgis], re-recorded the songs through the big boy gear, he did his Joey magic, and the rest is Speaker Of The Dead.” As the second album without founding brothers Ben and Joe Lionetti, Speaker Of The Dead has definitely solidified the present line-up for fans. “As a new member, I’d really do hope so,” Mulholland chuckles. “Mike Kaabe [drums] and I have been in the band for a couple of years and two records now, so I’d


“It’s important to us that where there’s Emmure fans, there’s Emmure,” Mulholland states in regards to the jammed dates covering both regional and city. “We’re working on hitting every corner of the globe – big cities or small. We don’t give a shit, we just want to play. We just got back from our first time in Russia and it was amazing. Right after we visit you guys and gals in Australia, we’re headed to south-east Asia for a few shows and then it’s back home to headline the All-Stars Tour [with Alesana and Bless The Fall] in the States. “Wherever we are though,” he finishes, “I’m going to try to find a kangaroo to hang out with that won’t punch me in the face or spit on me!”

WHO: Emmure WHAT: Speaker Of The Dead (Victory) WHERE & WHEN: Expressive Grounds, Gold Coast Friday Jun 10 (all ages), Thriller @ the Orient Hotel Saturday Jun 11

WHERE & WHEN: Monastery Sunday Jun 12

RICK FROBERG, guitarist and vocalist for New York indie rock powerhouse OBITS, tells DAN CONDON why he never listens to his own music and why they haven’t come to Australia.

“There’s things I wanted to do differently but I don’t think it really had anything to do with any criticism or expectations or even positive response,” he explains. “It’s not that I’m above that, I’m not, I’m just not capable of doing anything other than what I feel like doing, I guess. And I think the other guys are the same.” You can’t listen to Obits without being blown away by the guitars; they are the absolute base each song is built on and, while many critics believe this is due to a garage rock influence, Froberg says the musical pedigree of himself and fellow guitarist Sohrab Habibion is the main reason for this focus.

“We’re all still in touch with the Lionetti brothers though,” Mulholland continues, “there’s no beef or bad blood or anything like that. We hung out with Ben quite a bit this summer on the Warped tour. He was balancing being a part-time guitar-tech for Suicide Silence and being a full-time party animal.”

peaker Of The Dead, the fourth album from Big Apple deathcore titans Emmure, made an immediate impact in the American charts, debuting at #68 earlier this year. Guitarist for the band, Mike Mulholland admits that it was surreal to see the name Emmure next to Usher’s and Gaga’s on the Billboard 200.

WHO: DJ Friction


like to think we’ve found our footing at this point. Frankie [Palmeri – vocals] and Jesse [Ketive – guitar] are still the core songwriters, but everyone contributes when we write our music. On Felony [2009], I had come into the band at the very end of the writing process and only added a couple of parts, but this time around, I was able to bring a lot more to the table as far as guitar riffs and ideas went.

Currently on tour through Europe, doing punishing road time across state lines and borders is nothing new for the five-piece, sustained as Mulholland jests “by smoking heavily, eating tons of junk food and napping constantly.” Making their long flight to Australia count, the band are blasting through 11 dates in ten days during their speedy circumnavigation on the country and are also playing some slightly left-of-centre venues, an important way to repay the love shown for the second coming of Emmure and the legacy they are continuing with.

“I’ve been about four times actually,” he says. “I think I’m really looking forward to this tour the most because I’ve got all my artists coming with me. I think the parties are going to be great because people can expect to hear such a wide range of music out at the show. You’ve got Spectrasoul who will obviously do their thing, and they do their thing better than most. The Prototypes – I’m really excited for them to come out because they are just doing so well. Their sound is just smashing it. You’ve got myself sort of trying to play 360 – playing big smashers and playing deeper stuff. I’m sort of the middle ground. I’ll be the link between Prototypes and Spectrasoul. We’ll have a really good representation of Shogun Audio and what we’re all about which is basically 360 degrees of bass music.”


or a guy who has spent the best part of 25 years playing in some of the most revered bands in indie rock, Rick Froberg never sounds like he has a handle on exactly what it is he’s doing. It’s not that he has no interest in talking about his music – quite the opposite – he just doesn’t have any intention of capturing the zeitgeist of what makes his bands work. Moody, Standard And Poor is the second album from his latest project Obits and it’s another powerful, guitar heavy chunk of indie rock that Froberg, frankly, has no real opinion about. “I don’t really listen to any record I’ve ever been on, so that’s for other people to decide,” he begins. “I’d just be like ‘Oh, I fucked up there, that sounds bad’. I more look forward to playing the songs live than I do any record I’ve ever been on and this is no exception.” This is the guy who was in bands like Pitchfork, Drive Like Jehu and Hot Snakes, bands who made some incredible albums. Albums he never listens to? “No!” he hollers. “No way! Nope. Never touch it. I feel you record a version of a song and then there’s many permutations of it, it keeps mutating and I like the mutation thing. If I listen to the record I might start thinking it’s a definitive version or whatever, but I like to keep them living, the songs are different every time.” The band’s 2009 debut I Blame You was met with a generally positive response critically, but Froberg says this had no effect on the way he approached album number two.

“The guitar players – myself and Sohrab – are both guys who came up in the 90s which was a really guitar heavy time. It’s really not like garage rock, it sort of alludes to garage rock in some ways, but it’s really not like it because it doesn’t have the same aim. We use familiar things, old things, but it’s not garage rock. In some ways it’s more like a 90s band than it is a current garage band. We also play in minor keys a lot more than garage rock bands do.” Froberg definitely believes Obits to be the band most in line with his own musical preferences from throughout his career. “Other bands I was in was with other people had a tremendous influence on the outcome, people like John Reis and Mario Rubalcaba and Mark Trombino, they had their own thing,” he says. “I’ve kind of been the same kind of guitar player since but [Obits is] more oriented towards my biases and prejudices than the other bands were. It’s my default thing which is open chords and very rhythmic and more rock’n’roll oriented, I guess.” They’ve not yet visited our shores and, speaking to Froberg, it doesn’t instil confidence that Obits will be here any time soon. “Get someone to bring us over,” he says. “You need demand. I’d love to come back, we tried last time but didn’t get anywhere. But we’ll see, we’ll definitely try and do it.”

WHO: Obits WHAT: Moody, Standard And Poor (Sub Pop/Inertia)


IGNORANT’S IS BLISS Despite never touring outside the UK, seminal English anarcho-punk band Crass have had a lasting impact, and now founding member and vocalist STEVE IGNORANT has assembled a new team of cohorts to take the band’s classic songs on the road. DANIEL JOHNSON catches up with him on the eve of the tour.


rass formed in Essex in 1977, and disbanded in 1984 after releasing six albums together. The band’s 1978 debut full-length, The Feeding Of The 5000, has since become a classic, and is viewed by many as the birth of the anarcho-punk movement, but Ignorant says no one in the band expected Crass’ music or ideologies to have such an impact. “We had no idea of the impact we would make. When it first started, it was me and [drummer] Pen [Rimbaud], started off in the back room in the Crass house and all we wanted to do was play at people’s birthday parties or stuff like that and then it sort of picked up and more people joined and then we were still like, ‘We’re never gonna make it big, so we’ll just be as effective as we can’,” Ignorant offers. “I think this resurging interest in Crass is due to the internet and stuff like that, plus ‘cause I’ve been out there sort of plugging it for the last 30 years or whatever – well someone’s got to do it, might as well be me.” Ignorant believes another reason Crass’s music has had such longevity is because of the musically rudimentary approach the band’s members took and the fact that the anti-establishment lyrical themes are as resonant now as they have ever been. “When I was writing stuff for Crass I’d be like, ‘I’ve got this song called End Result’ and [bassist] Pete Wright


GETTING CARTER Having performed with everyone from Miles Davis to A Tribe Called Quest over the past 50 years, RON CARTER is unarguably one of jazz music’s more legendary figures. Ahead of his debut Australian tour, MATT O’NEILL tries to get the bassist and bandleader to admit it.

would be like ‘Right, how’s it go?’ And I’d pitch it to Pete, I’d go, ‘Right, it goes dum-dum-dum-dum-dum – I am a product.’ And Pete would go, ‘What, like this?’ And I’d go, ‘Yeah, that’s it, can you make it sound a bit more Clash?’ And then you’d get Penny Rimbaud, who’d go ‘I want the guitar to sound more menacing, so it’s an atmosphere.’

and perpetually cordial (albeit not to the point of being completely above making gentle fun of your correspondent), Carter nevertheless eschews all forms of conversational extravagance. Humility, pride, nostalgia, sentiment, ego – all are present and accounted for in his precise recollections but the bassist never allows such facets of his personality to, either in tone or topic, dominate the conversation.

“I think that’s why the sound of Crass is so unique, and I think that’s why the record stands out for what it is, because it was just me screaming out desperation, and just people who were never musicians just making a noise behind it... and that’s the weird thing about it to me, is that no one’s ever recreated that sound of Crass. I think that’s why it’s so unique, because it’s really a scream from the heart.”

“Let’s put it this way,” the bassist begins – responding to a question about his career’s development. “If I did have any regrets, I wouldn’t tell you about them. I try to keep my life private as much I can with the understanding that there is a fanbase and audience out there who want to know as much as they can about me. I try to give them as much information as I can comfortably handle them having about my personal life.

Ignorant says he decided to revisit Crass’ music after receiving a phone call to play a festival in Brixton a few years ago. “This guy phoned me and goes to me, ‘Steve, there’s a festival going on in Brixton, would you like to play?’ And I went, ‘Not interested!’. He phoned me back and I said, ‘Well I’ll think about it’ – meaning I’ll go to the pub and forget about it instantly. So anyway, he calls back and he hassles and in the end I thought ‘Well I’ve got to do something I haven’t done before, hang on a minute, I’ve got 30 minutes, The Feeding Of The 5000 record lasts about 30 minutes, I’ll just go on stage and do that!’ “I don’t know what the fuck it’s going to be like but I’m going to do the damnedest I can to give people a taste of what maybe Crass might’ve been like. All right, it’s a different band, it’s not the big Crass, but it’s going to be me up there on stage – that’s all I can do. ”I realise there’s loads of people that never ever got the chance to see Crass and I just thought, for one last time, let’s have a celebration of what it was.”

WHO: Steve Ignorant WHERE & WHEN: Prince Of Wales Hotel Friday Jun 10


ou could forgive Ron Carter for being somewhat self-aggrandising about his career. More so than most other musicians in the world, he’s earned the right to take considerable pride in his accomplishments as an artist. If nothing else, he’s one of the most ubiquitous artists in music history – reputedly boasting somewhere in the region of 2500 recording credits. Even ignoring that (admittedly quite impressive) statistic, he’s still a man of staggering achievement. In addition to performing with jazz legends like Miles Davis and Herbie Hancock, he’s also supported luminaries like BB King, A Tribe Called Quest and James Brown. He boasts a doctorate from the Berklee College of Music, lectures at the prestigious Juilliard School and sits on the board of directors for the Jazz Foundation of America. If anyone has earned the right to be a bit of a blow-hard, it’s Ron Carter. Good luck actually getting him to indulge in such behaviour, though. “I don’t spend much time listening to those kinds of conversations,” the bassist says matter-of-factly. “I’m trying to look for the notes and play good and it’s difficult to do that when you’re caught up in those kinds of views. If you do, you kind of miss the point of music – which is to have a good time and to find some form of music to help other people be happy. I don’t spend time listening to those kind of commentaries.” Indeed, it’s difficult to conceive of the musician suffering indulgence of any kind. Highly intelligent

“I mean – It’s not important, is it?” the musician queries. “No-one listening to a pop station is really interested about who created the song, or who the writers are, or who the engineer was or the type of compression used – they just like what they hear. Why can’t jazz have a similar style of misdirection? Why do we need to know all of these things that are just going to take people’s attention away from the music?” What one eventually discovers, in speaking to the musician, is an artist with a profound respect for the music industry’s capacity to corrupt its product. Behind the 74-year-old bassist’s polite demeanour and carefully selected phrases, there is a discernible sense of determination: ‘you won’t get me,’ Carter seems to say quietly. ‘You can praise me, celebrate me, give me all the awards you like – but, at the end of the game, I’m still going to decide. I will not be made a myth.’ “When I first started out, all I wanted to do was the best I could,” the bassist says of his ambitions. “Has that changed? No. I think a musician can always get better. If you’ve got an open mind and the technique to match your imagination, you can always improve.”

WHO: Ron Carter Trio WHERE & WHEN: QPAC Concert Hall Thursday Jun 9






(Matador/Remote Control/Inertia)


(Mere Noise)

David Comes To Life

BEN SALTER The Coward (Independent)

Ben Salter is no stranger to Brisbane punters – it would be practically impossible for anyone with even a passing interest in rock’n’roll gigs to have never seen one of the (probably) thousands of shows he has played either solo or with any of his multitude of bands. The Coward however precedes the first ‘proper’ solo album he has unleashed onto the public, and it’s no half-arsed affair. It’s one of Ben’s older tracks which you may have heard him strum away before, but with help in the studio from The Drones’ Gareth Liddiard it becomes a lush, multi-layered work of majestic low key pop that showcases the younger Ben’s knack for crafting simple songs with thoughtful lyrics and clever changes, that will have you hanging out for the long-overdue debut album The Cat which hopefully isn’t too far away now.

CODY SIMPSON On My Mind (Warner)

What the world needs now, or at least the Australian record buying public, is a new Justin Bieber. It makes sense, he’s just one little kid and he can’t possibly be everywhere that everyone wants him to be, might as well get the cloning machine and pump out one especially for Australia. Apparently he’s already massive in America, has had over 50 million YouTube hits, has seventeen squillion Twitter followers and got to meet Obama. So really, it doesn’t matter that his voice is autotuned beyond recognition, the amazingly forgettable song has been shat out of a pop writing production line, and he’s only 14. Still bound for superstardom! What a world! When will the madness end! etc etc

Toronto’s hardcore malcontents Fucked Up have spent the entirety of their existence eschewing their own genre – a constant flurry of 7” releases, splits and singles, with the occasional album in between, showcasing anything from short, sharp stabs to the ears to long languid suites, has them almost carving out their own sonic realm. They are too poppy for hardcore, far too hardcore for pop, yet their influence spreads over both like a solar eclipse. Damian Abraham et al continually refuse to play ball, instead offering up a double rock opera in David Comes To Life, without doubt one of the year’s best albums to date. Head to the website if you want the detailed story that fuels this concept album. All you need to know is that the “story” – a rumination on lost love, lost life, bitter rivalry and the power of redemption, set in a small fictional UK town in the 70s – is driven forth by 19 awesome, quintessentially Fucked Up songs. Abraham’s visceral throat tearing is the meaty cog that drives this machine, but this time complemented by Cults’ Madeline Follin’s endearing vocals to add much needed depth. The musicianship is as always breathtaking, breakneck, and, on One More Night, heartbreaking. There are some absolute standout tracks – the punk euphoria of Queen Of Hearts segueing into the brilliant The Other Shoe; the deceptively maudlin Remember My Name’s swirling outro... there are far too many highlights to share here. The two things to take away from this experience are that this is a rock opera that doffs the cap at others that have dared to travel this route – shadowy curios reek of Quadrophenia throughout – and that Fucked Up are one of the best bands in the world, hands down. ★★★★★ Brendan Telford

Hit After Hit

We all have at least one in our record collection; a dusty, scratchy old LP with a picture of a jukebox on the cover, promising to deliver us some of the greatest hits of yesteryear. One imagines Sonny Smith of San Francisco’s Sonny and The Sunsets has more than one and after a listen to their second record, the impeccably titled Hit After Hit, you wonder what made them decide to omit the ubiquitous Wurlitzer from its outer sleeve. This is the ultimate throwback record, there’s nothing on here that sounds even remotely modern, Smith has tucked into the finest songs of the past, chewed them up and spat them out in his own unique style; this is evident from the get go with the jaunty 60s garage pop of opener She Plays Yoyo With My Mind. It is also evident early on that, while they may sound like rehashes, they are pulled off with such respect to the conventions of classic pop that they still sound fresh and oh-so-alluring. Home And Exile channels The Beach Boys, the even more surfy The Bad Energy From LA Is Killing Me sounds like Duane Eddy could have been in the studio with them while Teenage Thugs and quasi-instrumental Acres Of Lust sound lifted direct from Nuggets compilations. There’s an overwhelming Jonathan Richman vibe pumping through these songs; Smith doesn’t really sound like Richman but he appears to have a similar knack for pop hooks and dear respect for music of the 60s. There’s nothing new about these songs and nothing new about replicating the sound of the 60s; but Smith’s skill as a songwriter means this is a vital slice of pop goodness no home should be without. ★★★★ Dan Condon

The End Of Everything

Brisbane’s Keep On Dancin’s have released an album so haunting in its fragile beauty and mesmerising in its drugged out shimmering pop that one could perhaps file it next to Eternally Yours and Xero’s Lust In The Dust as one of this town’s great LPs. Whilst the four-piece are indebted to the reverb-drenched creepiness of Jesus And Mary Chain particularly on opener Summertime, as the record continues Keep On Dancin’s craft an album that proves as unique as it is captivating. The inclusion of Ikettes/Ike Turner’s Your Love is Mine is reworked into a death march that echoes Rowland Howard & Lydia Lunch’s collaborations in the 1980s. The fact the band have reworked a classic into a funereal march that would befit murdering your wife or committing armed robbery with your lover is a testament to the band’s ability to create a sonic atmosphere that is as foreboding as it is romantic. The End Of Everything is foremost a work of dark romanticism and whilst moments like Beatlehead and There Goes Your Guy reveals the band’s penchant for 50/60s American girl groups, they truly shines on the achingly delicate Houston and The Birthday Party-infused Hewitt Eyes which despite being an ode to the b-grade actress is revelatory in its restrained aggression and the deadpan vocals of Jacinta Walker. Keep on Dancin and Sweet Baby serve as final reminders of Keep On Dancin’s remarkable ability to craft a record that upon first listen sounds as instantaneous and charismatic as the classic albums which influenced its own creation. Keep On Dancin’s have created an album that is revelatory in its ability to move between the quixotic and the damaged. It’s one of the most interesting and beautiful albums this town has seen in years. ★★★★★ Henry Garfield


The Ending Is Just The Beginning Repeating (Dew Process/Universal)

There’s a political message in the new track from the old men of Australian popabilly The Living End, it’s just not very clear what that is. There’s a lot of vague kind of references about mobilising the disgruntled masses, but for what? No idea. Anyway, the song itself is classic material from the group with a singalong chorus and that big punchy drum thing happening. The recording itself sounds like a million bucks, which is probably how much it cost to make considering the big industry guns that were brought on board to produce and mix it. Fans of the band will no doubt be very excited about the new album of the same title after this teaser.


Put Your Hands Up (Warner)

Kylie’s become increasingly less interesting as she gets older and less connected to any real kind of club culture or popular culture at all, but Put Your Hands Up is not down there with the worst of what she has been creating of later years, thanks in no small part to the songwriting of disco-electro mastermind Stuart ‘Jaques Lu Cont’ Price. This digital remix package includes a super-cheesy club work out from Pete Hammond resulting in a non-ironic return to Stock Aitken Waterman-era Kylie. More bizarrely than this retro re-visitation, hipster favourite Australian Muscles gets to put his own brand of squelchy synth bleeps and cool beats over the track giving it way more class than it actually deserves. It’s actually so interesting hearing these two interpretations of the song by such different producers, that it’s worth it for the novelty value alone.



Foster The People had the perfect makings for one-hit wonders. They blew in seemingly out of nowhere, provided a catchy track held together by a thin, laidback beat with whimsical lyrics about footwear that screamed of west-coast hipster cred, and had nothing else really to offer for the good part of a year. If they had disappeared before 2011 was even underway, they wouldn’t have been missed in the slightest. But then Helena Beat hit the airways earlier in the year and far from being a write-off, it was gorgeously infectious and complete with a massive chorus and anthemic electronics layered within its grooves, it justified prior interest in the three-piece. Genuine buzz has gradually built on the back of these two tracks, climaxing now with the release of Torches, one of the most consistent and downright fun albums you will bust a move to this year. Like a lot of great pop music, giving sad subject matter a happy twist is one of the buoyant strengths of Torches and remains an integral part of the package. Wrapping up the negativity of the world around in a big, warm blanket of positive beats, main man Mark Foster finds the perfect way to talk fear (Houdini), depression (Waste) and personal loss (Miss You), without needing to down a valium and vodka chaser. The fact that Pumped Up Kicks, the track that broke them globally from the bar scene of LA, is the weakest track on the album, is both a credit to the band’s pop abilities and a reflection on how much Foster’s songwriting has developed in a relatively short period of time. This album has blown any preconceptions out of the water and every spin only feeds the anticipation for their Splendour In The Grass slot this July. ★★★★ Benny Doyle

THE JAPANESE POPSTARS Controlling Your Allegiance (Virgin/EMI)

Bombs. Few of the emerging new breed of live electronic acts quite know how to craft them like Irish trio The Japanese Popstars, with their 2008 debut We Just Are overflowing with weapons to such an extent there were fears they were a one-trick pony – albeit a prodigiously talented and gleefully obnoxious one. Someone from Virgin clearly spotted method beneath the mayhem, so long-player number two Controlling Your Allegiance arrives via an unexpected major label push. Opening track Let Go gives you the impression We Just Are Mk II is on its way, robotic voices chanting over a generic electro house thud which pitches somewhere between Soulwax and Benny Benassi. Catapult shows more promise, its sidechained bassline grind coloured by hypnotic synth arps which dance around the edges and a lead which almost demands hands start reaching for the heavens in its honour. Then comes Song For Lisa, sometime Damien Rice accomplice Lisa Hannigan delivering as memorable a dance music vocal as you’ll ever hear over an uplifting chord progression which confidently declares “I am anthem, hear me roar”. Hannigan is just one of many guests (including Green Velvet and Biffy Clyro’s Simon Neal) bringing voice to the Japstars’ vision and easily the lowest profile. The Cure’s Robert Smith warbles his way through the widescreen splendour of Take Forever in trademark fashion, while Jon Spencer delivers just the right tone of nihilism over the dirty 3/4 stomp of Destroy and Editors’ Tom Smith comes across suitably fragile on album closer Joshua. Then in the midst of the crossover targets come the Chem Bros-esque Our Building Block and electro smasher Falcon Punch, which prove that The Japanese Popstars are still as much about shattering your ears as they are touching your heart. ★★★★

Gloria Lewis

WILLIAM FITZSIMMONS Gold In The Shadow (Nettwerk/Shock)

The release of Gold In The Shadow has reawakened some fairly well-founded comparisons between the work of the Pennsylvanian born psychotherapist-turnedsinger, and Bon Iver’s Justin Vernon. Fitzsimmons’ previous record, The Sparrow And The Crow, much like Vernon’s For Emma, Forever Ago, was also made in isolation; the process leading up to what was eventually his third album acting as a physic for the devastation he felt in the wake of a broken relationship. Here though, Fitzsimmons turns his fixations extrospective, constructing each track as a soft, understanding coo to the various sufferings of others’ grief, anxiety, depression, and pain. He’s very much like Vernon, still, in that his albums for people are a unique comfort. Writing music buffeted in the beautiful truth that sparseness can also produce a sound that’s lush, Fitzsimmons having that kind of voice that errs on a whisper; that timbre that aches softly of a particularly masculine suffering, one that’s steeped in the dichotomy of wanting to fix something that can’t be fixed. Like missives from soothing psychiatrist to patient, each song on Gold... acts as a sort of mood or ailment-specific remedy: Beautiful Girl, for example, sees Fitzsimmons coaxing someone away from the mindset leading to anorexia; on The Tide Pulls From The Moon he addresses the cycle of genetically inherited depression. And only tonally does the album suffer any. While the thematic tone is strong, and very precisely informed, the instrumentation that supports it, occasionally – like on Fade And Then Return – falls a little pallid, and obvious – that song in particular rather poorly recalling that glacial hinterland sound perfected by bands like The Postal Service. In all, still, it very much serves as its title would suggest. ★★★½ Sam Hobson






(Late Night Tales/Balance Music/EMI)

(Sacred Bones)

(Kill Rock Stars/Other Tongues)


Late Night Tales

Howlin’ Gang

If bringing something new to the dance music compilation is something of a mission impossible these days, breathing fresh air into the chillout genre is an even more challenging proposition. Late Night Tales is one of the few remaining survivors from a more innocent time when ‘after hours’ meant ‘recovery’ and not ‘epic kick-on’, doing so by steering clear of post-coital electronic bliss and enrolling selectors whose own exploits generate real emotion – think The Flaming Lips, Cinematic Orchestra or recent hosts Midlake.

Brisbane sleazehound reprobates Slug Guts have, for a supposedly devil-may-care band, taken off into the stratosphere since their inception out of a rundown house in Spring Hill a couple of years ago. Wowing the world with their ocular brand of devilish garage rock, they have churned out their second LP, Howlin’ Gang, on esteemed US label Sacred Bones. There are some differences the second time around, especially the passing of vocal duties from Jimi Kritzler to the depraved drones of James Dalgleish. Yet for the most part it’s business as usual.

Danish producer Anders Trentemøller now sits comfortably among such company, his metamorphosis from minimal-tech maestro to shoegaze electronica progenitor now complete after 2010’s cinematic opus Into The Great Wide Yonder. Fans of that release won’t be at all surprised by the overwhelmingly dark path he travels with his Late Night Tales entry, particularly if they already own his 2009 compilation Harbour Boat Trips 01: Copenhagen – in fact this set treads vaguely similar ground, albeit with a completely fresh selection of artists.

Howlin’ is the perfect opener, its nihilistic, bleak dirge the blueprint for Slug Guts’ mission statement. Dalgleish’s baritone slurs are catapulted forth alongside a serrated guitar hook and relentless bass – there aren’t any light moments to be had here. There are some clear highlights – the gravel rash trawl through the gutters that is Hangin’ In The Pisser, whilst the sped up toms rush Town Tied towards a depressed, apocalyptic finale. There are few changes in pace – this is primal rock teeming with desperation, desolation and death. Many of the tracks insist that they are leaving town and never coming back, inferring that the muse that fires the quartet’s musical chagrin – whether it is Brisbane or other stifling country backwaters – suffocates as much as it invigorates. There are slight changes in tempo – both Down In The Mornin’ Sun and Angie benefit from female guest vocals (Circle Pit’s Angela and Blank Realm’s Sarah respectively) which alleviates the blackness for just a moment.

The vibe is murky from the minute This Mortal Coil’s Waves Become Wings opens the session and the fog rarely threatens to clear, even when the Dane flexes his electronic chops on his remix of Chimes & Bells’ The Mole. Fuzzy haze continues to dominate through tracks from Low (Amazing Grace), Mazzy Star (Mary Of Silence) and Nico & The Velvet Underground (the classic Venus In Furs), like Trentemøller has sent the whole mix through an echo chamber which is at its most thunderous when he, Marie Fisker and Steen Jorgensen tackle Chris Isaak’s Blue Hotel. The dream state is so all-encompassing that only Paul Morley’s post-credits spoken word snaps you back into consciousness, a jolt that somewhat sours a beguiling if nondescript aural journey. ★★★ Gloria Lewis

But nihilism is Slug Guts’ bread and butter, and whilst a couple of tracks meld into each other, so close is their tone, what’s clear is that these boys are ready to put a double barrelled shotgun into the mouth of perceptions, give the world the back of their hands, and ride it all to hell – and I’ll be following in tow. ★★★★ Brendan Telford

Thao & Mirah

When opening track Eleven kicks off, it would be understandable for a casual listener to think they had just put on the new Tune-Yards album. In fact, the fingerprints of the avant-garde chanteuse (otherwise known as Merrill Garbus) are all over Thao & Mirah, the debut album by Thao Nyugen and Mirah Yom Tov Zeitlyn. Garbus is credited here as producer, as well as appearing on all but one track, and she is the glue that binds this wonderfully harmonious album into the quirky gem that it invariably is. Both Nyugen and Zeitlyn are solo artists in their own right, coming from different backgrounds and sonic atmospheres, yet this collaboration feels organic. Zeitlyn’s vocals stand out more than her compatriot here – her breathy cooing evokes Sarah Blasko’s musical range but with more sass – and this adds vitality to the jazzinflected brassiness of Rubies And Rocks and the ebbing dub of Spaced Out Orbit. Nyugen does offer a great track in Squareneck, a junkyard stomp that is disparate from the rest of the record yet, with the bombastic accoutrements of Garbus’ backing vocals and some great slide guitar, still becomes a stellar closer for the album. And then there is How Dare You, the only real track that has the two singular artists jousting within the one song, and it’s a cute number that has them trading lines over a simple drumbeat like a stripped-down Mates Of State. Yet Thao & Mirah still comes off as a snapshot of two friends, hanging out and writing songs, singing to and for each other, and that innate intimacy shines through. It is Garbus’ production that helps to fill in the cracks – cleverly understated in the more eloquent tracks, upping the flamboyance on the rambunctious offerings. ★★★½ Howie Tanks

Soundcrane The earthquake and ensuing tsunami and nuclear catastrophe that has besieged Japan in the past few months has been a devastating reminder of how futile life can be in the presence of a rampant Mother Nature. Australia knows that better than most of recent times. As the nation attempts to rebuild, Chris Perren of local instrumental outfit Mr Maps roped in a disparate bunch of Australian artists to record a Japanese track of their own choosing, all of which make up Soundcrane, a compilation designed to raise funds for those ravaged areas of north-east Japan. The bands in question range from local acts The Rational Academy, Tiny Spiders and No Anchor to members of The Boat People, Robert Davidson (of Topology) and sound artist Lawrence English, all offering interpretations of famous Japanese musical acts (Boris, Tenniscoats) to TV shows (Astroboy) and film scores (Spirited Away, Merry Christmas Mr. Lawrence). Sebu even covers some material from the Final Fantasy VII video game! And from such widespread realms, the result is surprisingly immersive and innovative. Personal highlights include Perren and Shem Allen’s elegiac Konayuki, Hazards Of Swimming Naked’s atmospheric instrumental Making A Cyborg (from Ghost In The Shell), aheadphonehome’s brilliant Supercar cover Aoharu Youth, and No Anchor’s slapdash, fun take on Boris’ Rattlesnake – without guitar, as they are wont to do... Yet this is a great compilation across the board, especially in the short amount of time the bands took in recording it, and a great deal of love has been poured into these renditions. A great compendium that is for an extremely good cause. ★★★★ Brendan Telford




THURSDAY 9 Full Metal Jacket — a superb ensemble cast falls in for action in Stanley Kubrick’s brilliant saga about the Vietnam War and the dehumanising process that turns people into trained killers. Joker, Animal Mother, Gomer, Eightball, Cowboy, and more — all are plunged into a boot-camp hell pitbulled by a leatherlung D.I. (Lee Ermey) who views the would-be devil dogs as grunts, maggots or something less. The action is savage, the story unsparing, the dialogue spiked with scathing humor. Full Metal Jacket, from its rigors of basic training to its nightmare of combat in Hue City, scores a cinematic direct hit. Opening night. Tribal Theatre until 15 June. Reservoir Dogs — Tarantino’s debut film. After a simple jewelery heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Opening night. Tribal Theatre until 15 June. When The Dead Heart Beats: A collection of works by Alex Gilles and Murdoch — over the past year Alex has collaborated with Murdoch to create a series of images of a more macabre nature which feature in their show. Based around Japanese demonology, the show’s centrepiece is the work When The Demon Knife Weeps, which measures three metres across by oneand-a-half metres high. Opening night. Nine Lives Gallery until 19 June.

SATURDAY 11 [title of show] — with just three weeks until entries close for the celebrated New York Music Theatre Festival, two gay nerds (g’nerds) Hunter and Jeff — together with their lady friends Susan and Heidi — set out to create a kickass show that will get lots of peeps (well, lots of peeps with loads of money) to like them. Nay, love them. Return season. Final day, 2pm and 8pm. Visy Theatre, Brisbane Powerhouse. Surrealism: The Poetry of Dreams — GoMA is the exclusive Australian venue for Surrealism: The Poetry Of Dreams, a landmark exhibition of surrealist works direct from the Musée national d’art moderne, Centre Pompidou, Paris. The exhibition presents a historical overview of Surrealism, charting its evolution from Dada experiments in painting, photography and film, through the metaphysical questioning and exploration of the subconscious in the paintings of Giorgio De Chirico and Max Ernst; to the readymade objects of Marcel Duchamp and Man Ray’s photographs. Gaining traction in the early 1920s, the movement’s development is explored through the writings of Surrealism’s founder André Breton and key early works by André Masson. Also

included is a remarkable selection of paintings and sculptures by surrealists Salvador Dali, Rene Magritte, Victor Brauner, Joan Miró, Alberto Giacometti, Max Ernst and Paul Delvaux. Film and photography are also represented throughout the exhibition, including films by Luis Buñuel and Salvador Dalí, René Clair and Man Ray. Important photographic works by Hans Bellmer, Brassaï, Claude Cahun, Dora Maar, Eli Lotar and Jacques-André Boiffard also feature. The exhibition is rounded out with late works that show the breadth of Surrealism’s influence, and includes major works by Jackson Pollock, Arshile Gorky and Joseph Cornell. Opening day. GoMA until 2 October.

SUNDAY 12 Edward Gant’s Amazing Feats Of Loneliness — This wickedly funny play by Scottish playwright Anthony Neilson is writing at its most exhilarating: a celebration of the magical, imaginative act of theatre. Director Sarah Goodes’ sparkling production uses extravagant costumes to create Gant’s wondrous worlds, co-designed by Renée Mulder and the Australian fashion house Romance Was Born. Think a mix of circus, glam rock, national costume, vaudeville, music hall, punk and high fashion. Final day, 1pm and 5pm. Roundhouse Theatre.

TUESDAY 14 Wunderkammer — hailed by critics as the hit of last year’s Brisbane Festival, Circa’s Wunderkammer returns to the stage by popular demand. Music, song, light and circus combine in this exquisite cabaret of the senses. Sexy, funny and explosive – Wunderkammer offers a sophisticated cocktail of new circus, cabaret and vaudeville with sideways glances to sideshow and burlesque; where moments of great beauty and outrageous humour jostle for attention. Opening night, 7:30pm. Judith Wright Centre until 18 June.

ONGOING Faustus — Queensland Theatre Company and Bell Shakespeare join to present this adaptation by Michael Gow and inspired by Dr Faustus. Powerhouse Theatre, Brisbane Powerhouse until 25 June. World Press Photo 2011 — the 54th annual World Press Photo exhibition profiles the globe’s top press photographers and showcases the world’s best press photos of 2010. World Press Photo is the leading international competition in press photography. Brisbane Powerhouse until 26 June.

FILM REVIEW BRIDESMAIDS This is the film that will deservedly launch quirky Saturday Night Live comedian Kristen Wiig into the stratosphere. She’s been stealing scenes in movies for years, so it’s great to know she can carry one, too. Co-writer Wiig stars as Annie, who’s been best friends with Lillian (Maya Rudolph) since childhood. Lillian asks Annie to be her Maid of Honour, and also picks four freakish bridesmaids; Annie clashes with Lillian’s posh new friend Helen (Rose Byrne) who’s glamourous, and competitive. Having just lost her business and mired in an unsatisfactory relationship, Annie’s close to rock bottom – but helping organise the wedding might sink her deeper. Wiig and co-writer Annie Mumolo bring the funny relentlessly, crafting deft scenes of cringeworthy comedy and


knockabout farce, juxtaposing them with scenes that tug at the heartstrings. Irish comedian Chris O’Dowd (The IT Crowd) is brilliant as Annie’s potential new flame, a laissez-faire cop, but the whole show is stolen by Melissa McCarthy as Megan, the groom’s aggressive sister. Anchoring everything together is Wiig herself who has genuine chemistry with all her co-stars. With Judd Apatow in the producer’s chair and well-known TV comedy director Paul Feig helming, you know this will be a quality flick. Bridesmaids has a ready-made audience – anyone who’s ever been a bridesmaid or wanted to be – but its demographic is so much wider. Its humour is universal but not beige, and that’s a real achievement. The best comedy of the year so far. WHERE & WHEN: Screening in cinemas from Thursday Jun 16


ALL THINGS MUST PASS ANTHONY CAREW SPEAKS TO MICHELANGELO FRAMMARTINO ABOUT HIS FILM LE QUATTRO VOLTE, WHICH DOCUMENTS THE PASSING OF THE SOUL FROM HUMAN TO ANIMAL TO PLANT TO MINERAL. Michelangelo Frammartino’s Le quattro volte is a filmic circle: the cycle of life charted as it looks at the elements in a path of transmigration. Inspired by Calabrian superstition, the near-silent meditation begins with a man, who becomes a goat, then a tree, then ashes. In the very first ‘transition’ between man and goat, it becomes obvious that this is about reincarnation, because the old shepherd and the newborn kid look exactly alike. So, the question begs, then, how did Frammartino find a baby goat that looked exactly like 80-year-old non-professional-actor Giuseppe Fuda? “I can say: I chose a white goat, because only a white goat lets you, when it’s born, still see the pink skin underneath,” Frammartino says, laughing. “When a goat is black or brown or red, you don’t see it. But with a white goat, you can see that pink skin, the flesh under that white fur, so to me that meant you could see that past life underneath.” The 42-year-old’s family hails from Calabria in the South, and his film – whose title translates as ‘The Four Times’ – is steeped in rural superstition. The inspiration to make it came when Frammartino was travelling through the area. “It came from driving around this rural area in the South, watching jobs and people and celebrations that I didn’t know,” he recounts. “I was inspired by seeing these different things that were separate — the animals, the charcoal burners’ work, this strange tree celebration — but there was no connection between them, in my mind, in the beginning. “But after some months that I was there, it suddenly occurred to me that it was all so precise, this story: the man, the animal, the tree, the mineral; the full kingdom in celebration. Calabria is the home of the first-ever philosopher, Pythagoras, and he believed in reincarnation. So, I understood this film as the travelling of a soul between the four different kingdoms. It was strange, because I was not looking for this; it came to me as a revelation.” This was in 2007 — five years after Frammartino had made his debut film, 2002’s The Gift, in Calabria — but the filmmaker didn’t begin to toil away at the idea. Instead, he sat on it, and thought. “After this idea came to me, I waited one year to work on it,” he

says. “I didn’t understand why I wanted to work on a film about reincarnation, because it was not something that was important to me before. But it became important to the image, where what you see is not important to what you’re shooting: ‘I see a goat, but it is not a goat; I see and man, but it is not a man.’” Taking influence from “artists that explore cinema in an unconventional way”; from the way Béla Tarr uses animals, to how Jacques Tati sets man in opposition to man-made landscape, and Peter Fischli & David Weiss’s legendary short film The Way Things Go, where a narrative is told entirely through everyday objects. Though there’s set-pieces of chaos ensuing at a religious parade and goats running amok through a village obviously inspired by Tati, when Le quattro volte arrived it was rarely compared to such. Instead, it found itself, by quirk of circumstance (or fate, perhaps) arriving at Cannes 2010 at the same time as Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives; this two studies of reincarnation becoming, in critical eyes, twin pictures. In Melbourne, both have received unexpected seasons at ACMI based not merely on their own artistic strengths, but their strength in numbers. “For critics, there was a connection between the two films, so I met [Weerasethakul] many times,” Frammartino offers. “Our films often end up screening together. I was happy with this; for me, he’s a master, I love what he does, even though I think there’s a strong difference between our films. Largely, that I don’t believe in reincarnation, but Apichatpong really does believe in reincarnation.” Frammartino put those personal beliefs aside, though, when making Le quattro volte. For the film to work, he needed to believe in the rituals, beliefs, and superstitions on which his quartered narrative is based. In its opening, ‘man’ section, the old shepherd drinks dust gathered from his local church in the belief that it’s holy; and so, depicting such, Frammartino chose to believe it, this dust the very thing keeping this old coot alive. “There is a belief that the dust in the church is like a medicine,” explains Frammartino. “It’s a really ancient belief in the South of Italy, in Calabria and Sicily. When you see the dust in

the air, those little particles are the souls of the dead floating there. For Pythagoras, these are the smallest possible things you can see, on the line between the visible and the invisible, so they are the closest thing to the spirit world.” In a decision made to “give the viewer space”, Le quattro volte plays out without dialogue, often in near-silence. “I looked for a balance between man and other presences: animals, plants,” Frammartino says. “I feel that, as man, we place too much importance on ourselves. In cinema, man is always the centre of the story, all the other


things are always in the background. To me, it was important with this film to find a balance between man and all other things. It was easy to do this with the image, but I wanted to try to do this with the sound, too. So, I didn’t use dialogue; which is a way of keeping man at the centre. There are voices in the film, but these voices are not more important than the sound of the animals, or the fire, or the wind.” WHAT: Le quattro volte WHERE & WHEN: Screening at Tribal Theatre Thursday Jun 16 to Wednesday Jun 29


WITH HELEN STRINGER It’s great to go and see emerging artists. It serves many lofty purposes, not least of which is making me feel cooler for having done so. But seeing only emerging or alternative art is like watching nothing but obscure arthouse films and pretending to like them all. Sometimes, to drag out the analogy, you need to break up the obtuseness with some Bruce Willis saving the world; sometimes you need a blockbuster. A blockbuster art exhibition is a rare gem. It takes a bucket-load of money to convince an overseas gallery to ship priceless works of art to Australia. To make matters worse we’re not exactly renowned for being culturally refined or even particularly appreciative. So when a blockbuster comes to Brisbane, some of us get a tad bit over excited and buy season tickets for themselves and everyone they’ve ever met. Paying the rent be damned, Salvador Dalí is in town. This Saturday Surrealism: The Poetry Of Dreams opens at QAG: Salvador Dalí, Max Ernst, and René Magritte will be on show. Jackson freaking Pollock even makes an appearance. Coming from France’s divinely named

Centre Pompidou, Poetry Of Dreams is a massive coup for QAG and seeing it will no doubt involve surviving interminable queues and jostling for prime position in the hope of catching a glimpse of a Dalí. (The trick for a successful blockbuster trip is to go with an old person – the crowds will part to avoid possible hip-breakage; if you can find one willing to sit in a wheel chair, you’ve practically guaranteed your front row position.) In some cases, the desire to see these treasured objects outweighs any practical obstructions to seeing them, like not actual liking Surrealism in the first place. It’s of no matter to me that I don’t understand the appeal of Dalí or that I’m of the opinion that Marcel Duchamp is highly over-rated. It’s of absolutely zero consequence that I think the surrealists overintellectualised art and that the product is detached and unemotional as a result. Who cares? I still want to see them. It’s an odd phenomenon, to want to see something simply for the sake of seeing it. But I prescribe to a unfashionably old-fashioned belief that while it’s important to know what’s going on right now, it’s just as — if not more — important to understand what came before. Contemporary art is exciting, but it’s also ephemeral and seeing it, for me, simply doesn’t rival the satisfaction of seeing work that’s survived whims and fads. Which explains why I’m so enthusiastic to see an exhibition of a genre of art I don’t particularly like that I’m currently in a round of heated negotiations with my grandmother, attempting to convince her that allowing me to hire a wheel chair and push her around QAG will benefit the greater good of humanity. She continues to protest that her dignity is more important than my desire to beat the crowds, but

WUNDERKAMMER TAKE TWO Australian season before the troupe heads off to Berlin for an eight-month season. “There is such a variety of styles and acts throughout the show, from contemporary circus to burlesque, vaudeville, and sideshow inspired acts,” says Muntz. “Each ensemble member brings more of themselves into the different styles and interprets these from act to act, rather then playing defined roles.” “There is always so much happening,”

RUNNING FREE WITH METRO ARTS CURRENTLY AMIDST ITS FREERANGE PROGRAMME, HELEN STRINGER GETS IN TOUCH WITH THE COMPANY’S CEO LIZ BURCHAM TO FIND OUT MORE. It’s going to be a busy month at Metro Arts. Having kicked off their 2011 FreeRange programme over the weekend, the independent arts hub will be home to an eclectic range of performance artists and creators for the rest of June. The month-long programme spans the gamut of the artistic development process: from the incubation of an idea, to its development, and finally its performance. Metro Arts CEO Liz Burcham explains that while FreeRange will be showcasing the more developed works of three artist collectives, behind the scenes five FreeRangers will be busy testing and stretching their ideas with the help industry leaders Wesley Enoch, Dan Koop, Emily Sexton, Noel Staunton, and Fiona Winning. “Their job,” she explains of the group fittingly dubbed the Provocateurs, “is to drop in, to view, to be a sounding board, to provoke, to challenge; not to take over, not to step in the role as artistic director... They all come with a very different experience. Their job is to be able to go into a room and question and challenge.” While there are other artist development programs available, Burcham explains of FreeRange, “What’s unique about the environment is that it’s absolutely focused on being an environment to create new work and experiment and explore new ideas without pressure of outcome – and that’s what makes it different. Creative development happens all the time but often it’s put in a situation where you’ve got to reach a certain milestone and that milestone has an outcome. As soon as we have an outcome we have less opportunity to take risks. “We recognise that need for an environment that is absolutely set for exploring ideas,” she continues. “At

the end of FreeRange what the artists have is some validation that idea collaboration is valid and they can move to the next step. Out of that you can get the finished work.” After the success of previous years’ FreeRange participants, including the escapists’ hugely popular boy girl wall, it’s little wonder that 2011’s selection process was tough. “We were overwhelmed this year with applications, and thrilled that we were drawing applications nationally,” says Burcham. “It was extremely exciting. I have to say in selection terms I think it was the hardest selection I’ve ever participated in for Metro because we really could have supported at least double the number. Every application we’ve ended up choosing at some point...was put off the table. We’ve really focussed this year on reducing the number of artist collectives we support but deepening that support. You can bring more artists but unfortunately you don’t have more resources.” With FreeRange focusing on developing the creative process, not necessarily the finished product, as Burcham explains, “It validates that idea of putting resources right at the very early stage. Once you’ve been through a few hoops and a few stages, that support is there, but support at the stage where at the end of it you can still decide it’s a really bad idea? There’s not a lot of support at that stage. Most of that work happens by artists without infrastructure.” Thankfully, with FreeRange in its sixth year, Metro Arts is continuing to provide that much needed infrastructure, pushing those early ideas to fruition. WHAT: Metro Arts’ FreeRange programme WHERE & WHEN: Metro Arts throughout June AY RSD THU S RT STA




HELEN STRINGER TALKS TO CIRCA’S ALICE MUNTZ, STARRING IN WUNDERKAMMER, WHICH RETURNS TO BRISBANE NEXT WEEK. Gone are the days when circuses consisted of a few tired and harried animals forced to perform tricks under a steaming big top; the modern circus is a composite of performance styles that usually involves seemingly impossible feats of physicality. As Alice Muntz, ensemble member for Australia’s acclaimed Circa writes it’s no longer possible to run away with a travelling circus and expect success. Becoming a circus performer takes years of hard work. “For the majority of my childhood I went to the Flying Fruit Fly Circus School,” says Muntz. “I started a programme when I was six years old and was then accepted into the school when I was eight. I cannot really remember a time when I was not involved in some way with circus. The more I did and the longer I was surrounded with Circus the more I fell in love with it.” As for ever saying goodbye to the figurative big top Muntz assures, “Hopefully that won’t happen for a while but I really enjoy teaching circus passing on knowledge, and continue learning all aspects of circus from the skill to behind the scenes and backstage work.” After spending her formative years training and performing with the Flying Fruit Fly Circus, Muntz was selected

to further develop her skills in an exchange program with Montreal’s École Nationale de Cirque. “The biggest thing for me,” Muntz explains of her Canada experience, “was going from a youth circus in a small Australian town where I was one of the older students to a graduate programme. Everyone in that building was preparing for their career, so the intense desire to be the best was much more prevalent in comparison to the fun environment for kids that Fruit Fly offered.” Moving to the highly acclaimed Circa after finishing with the youth-based Flying Fruit Fly Circus has given the young performer the opportunity to further expand her skills. “When my time with Fruit Fly was finished, I wanted to be in a company that inspired and created such beautiful work that I could be challenged and grow as a performer and I’m thrilled to have found that at the age of 19 with Circa...I had seen a Circa show when I was 14 and loved it so much I went back the next night and was in awe all over again.” A hit of last year’s Brisbane Festival, Circa’s production Wunderkammer combines circus with cabaret, burlesque, and vaudeville; it’s stint at the Judith Wright Centre is the only



MONDAY, 13 JUNE 2011

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

10:30 AM, 1:00 PM, 6:30 PM, 8:35 PM

FRIDAY, 10 JUNE 2011


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

10:30 AM, 1:00 PM, 3:30 PM, 8:35 PM



10:30 AM, 1:00 PM, 6:00 PM, 8:15 PM

10:30 AM, 1:00 PM, 3:30 PM, 8:35 PM

WITH MANDY KOHLER It’s funny how time changes your perception on something which in itself is incapable of change. Places and history change with hindsight and lessons learned applied to events remembered changes their context. However, it’s still odd how time changes something that exists so autonomously as a song. A recording doesn’t change. It stays the same year after year with the notes exactly where you left them. Yet songs with messages that have always been clear can be suddenly more keenly felt just as those on high rotation can lose meaning almost entirely. It’s a subjective phenomenon and what might be right for you may not be right for some but reflecting on the music you identify with is a good measure of where your head’s at. Does Hootie And The Blowfish’s Let Her Cry make you feel sad? You are a teenage girl in the 90s or in a very unstable relationship. If it makes you feel like you’re trapped inside a box you can’t get out of, Triple M is the station of choice at your workplace as, in both tone and content, it’s the least offensive to the most


Muntz continues. “Watching the show, you find yourself for the majority being in a fugal state. Beginning to take in the overall action of what’s on stage, then you will find yourself watching the intricacies of bodies moving and then next moment you will be roaring with laughter. It’s funny, it’s sexy, and moving.” WHAT: Wunderkammer WHERE & WHEN: Judith Wright Centre Tuesday Jun 14 to Saturday Jun 18

amount of people. Those high rotation classics may have meant something once, presumably to the songwriter at least, but due to the over saturation of a select number of tunes on the airways you have to wonder things like, is the township of Bow River really that good? As a young person toughing it out in dead end jobs I understood where Jimmy was coming from on a visceral level but after hearing Bow River day in and day out, though his story of hope and struggle hasn’t changed a bit, I just couldn’t give a shit if the protagonist rots on that factory floor. But if a good song is a good song forever then there will still be some kid somewhere working the graveyard shift in some shithole who will feel the momentary sensation of escape when they hear it for the first time. And Triple M will still be around to ruin it. It’s not all ruin though, some songs come to life. Meatloaf’s Bat Out Of Hell was just one of the albums my brother used to torture my sister and I with as a kids. Six am that bastard was up every day blaring whatever rock’n’roll du jour he was into. As a fifth grader who stayed up ’til the small hours to watch Letterman I was not impressed with the wake up call. Revisiting the ’Loaf years later I find the lyrics to his songs often tender and hilarious. To wit Two Out Of Three Ain’t Bad, “I know you’re looking for a ruby in a mountain of rocks / But there ain’t no Coup de Ville / Hiding at the bottom of a Cracker Jack box.” Heartfelt and pragmatic as it is, if a friend conveyed a break up story whereupon this line was uttered, you’d just piss yourself. There are songs that will never get their share of radio play and that’s another great sadness. For those that endure and become to some like ghosts haunting the airwaves there will always be someone new to see, or rather hear, the flesh of them.



SUNDAY, 12 JUNE 2011 12:00PM, 2:00 PM, 7:00 PM, 9:05 PM





FRI-MON 10.45, 3.30, 6.45, 9.10PM





THU-TUE 10.10, 12.10, 2.15, 6.50PM

WED 11.30, 1.45, 4.00, 6.45, 9.00PM THU 10.45, 1.00, 3.10, 6.30, 8.45PM FRI 12.35, 2.35, 7.15, 9.25PM SUN 12.55, 3.10, 7.00, 9.10PM MON 12.55, 3.10, 7.15, 9.20PM TUE 10.45, 1.00, 3.10, 7.15, 9.20PM




WED 10.00, 12.50, 3.40, 6.30, 9.20PM THU 10.00, 12.50, 3.40, 6.35, 9.20PM FRI 12.55, 3.45, 9.00PM SAT/SUN/MON 10.10, 1.00, 9.00PM TUE 10.00, 12.50, 3.40, 6.30, 9.20PM

FRI 11.30 AM SAT/SUN 1.00PM



WED 11.40, 4.30, 7.15PM THU-TUE 3.05, 8.15PM




THU/TUE 10.45, 1.15, 3.45, 7.00, 9.20PM FRI 1.10, 3.30, 7.00, 9.20PM SAT/SUN 1.10, 4.50, 7.10, 9.25PM MON 11.00, 1.25, 3.45, 7.00, 9.25PM

OCEANS (G) WED 11.40, 4.00PM THU-TUE 5.00PM


PIRATES OF THE CARIBBEAN: ON STRANGER TIDES 2D (M) WED 10.30 (FRI BABES), 1.15, 6.45, 9.25PM THU 1.00, 3.45, 9.20PM FRI 10.00, 4.35 SAT-MON 10.15, 3.50 TUE 1.00, 3.45, 9.15PM

SNOWTOWN (MA15+) WED 1.40, 3.50, 8.15, 9.15PM THU-TUE 11.30, 4.20, 8.55PM


07 3852 4488


FRI- MON 10.30, 1.10, 3.50, 6.20, 9.00PM

ANGELE AND TONY (M) WED 10.05, 1.15, 2.50, 6.30PM THU-TUE 1.35, 6.35PM


WED 10.45, 3.25, 7.00PM THU 10.30, 7.00PM FRI-SUN 10.30 (FRI BABES), 6.30PM MON 1.10, 6.30PM TUES 10.30, 6.45



THU 11.30AM



FRI/ MON 12.10, 9.00PM SAT/ SUN 10.00, 8.50PM


WED 11.45, 2.00, 6.30, 8.50PM THU 2.45, 8.40PM FRI/ MON 4.40PM SAT/ SUN 4.10PM TUE 12.10, 9.00PM

WED 10.30 (GOLDEN LUNCH), 4.50, 6.40, 9.20PM THU 10.30 (BABES), 9.00PM FRI/ MON 2.50PM SAT/ SUN 10.20AM TUE 1.10, 8.40PM

THE HANGOVER PART 2 (MA15+) (NO FREE TIX) GET LOW (M) WED 10.15, 12.15, 2.20, 6.50, 9.00PM THU 1.40, 4.00, 6.40, 8.50PM FRI 11.00, 1.15, 6.30, 8.50PM SAT- MON 12.15, 2.20, 7.00, 9.15PM TUE 11.00, 1.15, 3.30, 6.20, 8.30PM


ORANGES AND SUNSHINE (M) (NO FREE TIX) BABIES (G) THU 10.10, 12.20, 2.30, 7.00, 9.15PM FRI/ MON/ TUE 10.10, 12.20, 2.30, 6.45, 9.10PM SAT/ SUN 12.20, 2.30, 6.45, 9.10PM


WED 10.10AM THU 4.50PM MON 10.40AM TUE 2.20PM

WED 12.30, 2.40, 8.40PM THU 12.30, 6.30PM FRI/ MON 10.00, 6.50PM SAT/ SUN 10.15, 6.30PM TUE 10.00, 6.15PM

WATER FOR ELEPHANTS (M) WED 1.15, 3.45PM THU 11.00, 6.20PM FRI 3.30PM SAT- MON 4.30PM TUE 10.30, 3.10PM


mixes comedy, with real insight, and is a film that teems with a stunning cinematic presence. Perfectly edited, and beautifully shot, it’s the work of an artist well-seasoned. “If anything, I think I’ve got a very distinctive, idiosyncratic style,” he begins, at first wary of being asked of his influences. “If anything, I find people have imitated me. I think my style’s come basically as an aversion to a lot of the traditional documentaries out there. And you talk about natural history, and what have you, and traditionally that’s glorious pictures with classical music, and a voice-over of a scientist waxing lyrical. If anything, my style has evolved in direct contrast to that, because I just find that’s quite a boring way of doing things.



Emmy for two of his previous films, been nominated for a BAFTA, and now returns to our shores with the sequel to his much lauded 1988 hit, Cane Toads:

An Unnatural History. Deeply in touch with the landscape, its people, and that tragicomic vermin that seems hell-bent on colonising it, Cane Toads: The Conquest

“Certainly within that, and within the stories I present I quite often create a story structure that’s reminiscent of something [else]. So, within [Cane Toads: The Conquest], there’s elements of a road movie, there’s elements of a dramatic comedy. You know, you could say that the toad was an alien, you could say that the toad was Terminator — there’s even an acid trip sequence in there which reminds me of Easy Rider,” he says, laughing, trailing. “But I can’t think of any one documentarian or non-fiction filmmaker that has influenced me,” he continues. “Obviously, we can see by example, whether it’s John Grierson [whose films so predated documentaries, that they were instead called ‘actualities,’], or Peter Brook,” he rushes, “some of these people, the way they’ve used their craft is exciting, but, I think, of all of the film-makers out there the one that I just cherish, and the one that I just love, is Jacques Tati.” And now it all begins to

make sense. Comedy is an essential ingredient in Lewis’ work. “Films like Jour de fête, Playtime — I love all of them. I’m a huge fan of [his], [because] his comedy comes from portraying the idiotic observations of daily life.” It’s put to him that his love for Tati, then, could be cited as something of an ‘influence’. “Not so much,” he teases. “I try and rationalise it and I think what it is, is that I’m allowed to be comedic, or I’m allowed to be irreverent by my choice of subject. I’m not making a film about Mother Theresa. A cane toad, in the idiotic blunder of its introduction, and the many disperate, funny stories [surrounding it], allows me to have a slightly irreverent, or counterpoint point of view. It allows me to do that because it’s just not such a ‘worthy’ subject [like other] non-fiction people make.” But Mark sells himself short. Cane Toads: The Conquest was a painstaking love-affair of a project; one which, from early-on he knew he wanted to shoot in 3D. “I wish I could go back to that point in time,” he muses, mysteriously. “We decided to go 3D at a time when there was no such thing as a 3D documentary, and certainly it was one of the world’s first digital, 3D non-fiction features. At that stage even Avatar hadn’t come out. It was just an instinct. One of the buzz words they use for 3D is this word, ‘immersion.’ It’s no longer about things jumping out at you from the screen — though we do have fun with that — it’s about immersing the audience in a different world, or a different point of view. So I really thought that the 3D or the stereo tool would make a vastly more

entertaining visual experience for the audience. But the stories have to be good to start with, the 3D does not make an ordinary film good, but it does certainly give a value-add to a good film.” Talk turns inevitably to another man strutting the festival circuit with his 3D documentary feature. Has Mark seen the new Herzog? “I’m actually quite friendly with Herzog, and his producers. In fact, one of them – we’re working on a 3D film at the moment! Werner made that film [Cave Of Forgotten Dreams] I think about a year after I finished mine, he came to see my film! Not only that, but he called me up the next day, and it was a delightful experience because he said such wonderful things about it.,” Mark pauses to try and recall the man’s exact comments; his recollection sounds fittingly Herzogian. It’s no surprise that the director loved Toads, what with its fetishist amphibian fixation, and many leering animal close-ups… “But he’s had his 3D experience,” he laughs, “I think he’s still, like a lot of us, not quite sure which direction 3D is headed. I think the other thing with 3D that people don’t think about is that only certain content suits [the medium.] We’re still all discovering that, I think it worked with Werner’s film, I think it worked with Wim Wenders’ dance film, and concert films, music films, horror, science fiction…but there’s a lot of stuff I’m a little bit suspicious about.” That was a nod to Baz Luhrman’s latest. WHAT: Cane Toads: The Conquest WHERE & WHEN: Screening in selcted cinemas now


SEALS MEMBER/ROLE IN BAND; Nick Schwarer – guitar


We’ve had the current line-up for six months but have been kicking about in some form for two years.


Euan moved to Brisbane from Edinburgh in 2009 and put out an ad looking for people to start a band. I saw the ad and gave him a call, mainly because he was from Scotland. Andy came into the picture on drums after the first drummer we had disappeared, he was Indonesian and spoke very little English. We met Dim when she worked with Andy (she was his boss). She liked our music and would come to gigs so when we discovered she could play keys she was in.


If we put on LCD Soundsystem then The Beach Boys then Kasabian then everyone would be grooving happily in their seats.



I’ve been inspired over the last few years by the likes of The John Steel Singers, Violent Soho, Yves Klein Blue, Ball Park Music and Hungry Kids Of Hungry… to name a few. I’ve been influenced by the flavour of music they all make, and also seeing them grow from the early stages to really make waves has been pretty encouraging. It’d be rude not to mention the big three of Custard, Regurgitator and Powderfinger, they were really hitting their straps in my formative years when I was first getting into

music. My Dad had Regurgitator’s record Unit and I quite clearly remember listening to that in the car and learning some exotic new words to take with me to primary school.


I think it certainly plays a part. There are some amazing bands kicking around Brisbane at the moment; Charlie Mayfair, Inland Sea, Last Dinosaurs (also see above) and they constantly inspire us to lift our game. From what I see the arts is not only accepted in Brisbane these days but it’s really encouraged. Old people say that wasn’t the case 20 or 30 years ago so I think we’re really shedding that reputation. In terms of the city itself, there’s always the urge to escape it and see the rest of the world but then when you’re away you realise how great a place it really is.


I like to think that it’s been responsible for more make outs. It’d be nice if listening to us gives people the

urge to make romance. Can’t say I’ve seen it happen at any shows but that doesn’t mean it doesn’t happen. I can’t imagine why we’d be responsible for anyone breaking up, unless some guys have ditched their girlfriends in the hope of courting Dimity.


The Amazing Race (Australian version). We are all fairly athletic, smart and competitive and being in a band has helped us to be able to communicate well in tense situations.


We’re releasing our second EP Castaways on Friday Jun 17 at the Zoo. After that we’re shooting off for a month to play some shows around England and Scotland where we’ll also get to meet Euan’s nearest and dearest. Once we’re back I reckon we’ll be writing and demoing and setting the wheels in motion for an album. Seals play The Zoo on Friday Jun 17. Photo by ALEX GILLIES.



BAD MANNERS: Step Inn Jun 15 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



SEEKER LOVER KEEPER: Mullum Civic Hall Jul 15

If you’ve paid any attention to music press over the past few weeks you’ve probably already got the story of Pajama Club ingrained in your brain; the legendary Neil Finn and his wife Sharon would grab a bottle of wine, head to his rehearsal room and jam out on drums and bass. They put together a nifty collection of tunes and decided to record them and now Pajama Club have morphed into something of a real band with an eponymous record ready for release soon and a couple of new members (kiwi muso Sean Donnelly and Brisbane’s own Alana Skyring) filling out the live sound. We get the first official taste of their live show this weekend, so all Finnactics and curious parties ought to head out to one of these shows to see what it’s all about. Byron Bay’s Glass Towers support.

SEBADOH: The Hi-Fi Sep 22

Last Dinosaurs @ Old Museum pic by John Taylor


VENTS: Spotted Cow Jul 21, Step Inn Jul 22

music could be described as definitively physical – as more corporeal – then Last Dinosaurs tonight are the evening’s dose of brooding metaphysics. With a measured, and more technically demanding sound, their unwound guitars spin a surreal fuzz into the emptying room; the vocals switching from crooning, and plaintive, to terse, and obstinate. Time And Place feverishly collapses into Honolulu, in which their guitars – incredibly – sound like sparring steel drums, before a particularly well-realised nod to the 80s ballad stands out as a closing highlight. SAM HOBSON


As bodies move up the stairs to slowly add to the sparsely fi lled room, The Gold Coats humbly begin their set without any real fireworks or fanfare. Although the three-piece don’t have much to offer in the way of track variety or sonic punch, there are some nice, earnest little folk ditties to be found such as Stories, a track that recalls Cat Power in its nervous yet coy nature. Counting Steph Hughes from triple j’s Home and Hosed in its members was always going to see The Gold Coats as a curiosity worthy of a look, and although they don’t really take you away with their set, they are harmless and tuneful enough to provide a brief opening stanza that slowly starts to build the anticipation for An Horse’s first Brisbane show in almost three years.


PEZ, MAYA JUPITER, 360: The Spotted Cow Jun 9, Never Land Bar Jun 10, The Hi-Fi Jun 11 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 DEAD LETTER CIRCUS: The Zoo Jun 16 MARK SEYMOUR: The Tempo Hotel Jun 16, Joe’s Waterhole Jun 17, Lonestar Tavern Jun 18 AIRBOURNE: Villa Noosa Jun 16, The Hi-Fi Jun 17, Coolangatta Hotel Jun 18 JACK LADDER AND THE DREAMLANDERS: Alhambra Lounge Jun 17 EVIL EDDIE: Step Inn Jun 17, Sol Bar 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 JOSH PYKE: Beetle Bar Jun 24 COERCE: Sun Distortion Studios Jun 24, Fat Louie’s Jun 25 FIREBALLS: Shed 5 Jun 24, The Hi-Fi Jun 25 KARNIVOOL: The Hi-Fi Jun 24 & Jul 4, Coolangatta Hotel Jun 25, Caloundra RSL Jun 26 SKIPPING GIRL VINEGAR: Old QLD Museum Jun 24, Great Northern Jun 26

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

INTERNATIONAL EMMURE: Expressive Grounds Jun 10, Thriller (Orient) Jun 11 STEVE IGNORANT: Prince of Wales Hotel Jun 10 THE PAJAMA CLUB: Great Northern Jun 11, The Zoo Jun 12 BAD MANNERS: Step Inn Jun 15 CRUEL HAND: Byron Bay YAC Jun 15, X & Y Jun 16, Sun Distortion Studios Jun 17 ONYX: Step Inn Jun 16 CUT OFF YOUR HANDS: Alhambra Jun 16 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: Arena Jun 26 MICAH P HINSON: X & Y Jun 29 THE BLACK ANGELS: The Hi-Fi Jun 30 TY SEGALL: Woodland Jul 7 TINY RUINS: Black Bear Lodge Jul 14 RISE AGAINST: BEC Jul 18 DOOMRIDERS: The Zoo Jul 22 RANDY NEWMAN: QPAC Jul 22 NO USE FOR A NAME: The Zoo Jul 23, Coolangatta Hotel Jul 24 ENRIQUE IGLESIAS, PITBULL: BEC Jul 25 AVENGED SEVENFOLD: BEC Jul 28 FORBIDDEN: Jubilee Hotel Aug 4 FUNERAL PARTY: The Hi-Fi Aug 9 OWL CITY: The Tivoli Aug 15 PINBACK: The Zoo Aug 18 LIAM FINN: The Zoo Aug 27 TITLE FIGHT, TOUCHE AMORE: Old Museum Sep 8 ABOVE & BEYOND: Family Sep 16 SUZI QUATRO: Twin Towns Sep 17 & 18, Empire Theatre Sep 20, Events Ctr Caloundra Sep 22 SEBADOH: The Hi-Fi Sep 22 CHRIS CORNELL: QPAC Oct 15 STEELY DAN, STEVE WINWOOD: Sirromet Wines Oct 23 MAD SIN: The Hi-Fi Nov 3, Shed 5 Nov 4 KINGS OF LEON: BEC Nov 8 K.D. LANG: Riverstage Nov 22 DOLLY PARTON: BEC Nov25 & 26 ELTON JOHN: BEC Nov 30



A quiet, wintry stillness hangs tonight over The Old Museum’s looming, brickwork spires. Inside its iron gates, footsteps crunch on the white-rock garden – like snow – past a rudimentary printout reading “…’round the back, and up the stairs.” On the ceiling of the terraced room beyond that swims a holographic projection of shifting, psychedelic nebulas. At our feet, through faded glass, a yellow light glows dimly, like torch-flame bouncing around some forgotten oubliette. At last, openers The Jungle Giants quench the cold with a thunderous, riff-lovely indie-rock pomp. Deeply infectious hooks are pumped blood from punchy, angular guitar-work, as the space-clouds above spin like a giant mood-ring. There’s an ineffable happiness to their sound; a distinctive, sanguine glow that’s neither too earnest, nor false – it elevates; synesthetic, transcendent, and infectious.

It dawns, then, as the place fi lls in lieu of The Belligerents, just how big the room is; a testament to the great but subtle use of such an expansive space. Each draped in shocks of long-hair, and all wearing some nightmare variation of Hawaiian shirt, the band’s motivated, vital, and propulsive. Winning single These Hands skips its maddening disco rhythm around the room, the boys’ lost in the fluidity of making music together. Bye Bye Bye, nebulises into Such A Crime before the drunken swagger of Take Me Back rounds out the totality of their set. Ball Park Music’s immeasurably charming Sam Cromack, next, leaps atop the stage, spreading his arms out in a Ringmaster’s ‘ta-da!’ as the band behind him drum up an annunciatory storm. The proletarian Rich People Are Stupid opens their vibrant set, Sam’s vocals shrill but warm; life shooting from his fingers like mini orgasms as he gesticulates the track’s each finite modulation. A sound like indie-retrofitted surf-rock flings into the tremendous All I Want Is You, before the blunt existentialist epic Sad Rude Future Dude bottles rapture with nostalgia. The strobes behind them catch the band’s mad antics in stop-motion, as Sam closes with a crowd-run to the rapturous iFly. Last Dinosaurs, after BPM, are playing to an exhausted crowd. Cranking the volume-levels up to booming, the band play a dense, comedown-yang to the bubble-gum joy of the previous set. If BPM’s

After their support slot for The Big Pink last year failed to make it further north than Sydney, An Horse are more than overdue to give Brisbane a night to remember and the now packed room at The Zoo attests to the local pair’s popularity in their hometown, despite rarely acknowledging it with a live performance. With opener Trains And Tracks cutting through the sea of angular haircuts with speed and agility, Kate Cooper and Damon Cox immediately highlight a deep-seated chemistry and platonic connection that is embedded far beneath their minimal indie music. With limited avenues to take their tunes down, the two-piece juxtapose their songs by combining walls of noise with sharp, jagged beats, subtle strums with huge fi lls. Each tune, although linking in with its predecessor, feels fresh and invigorated and the performance is thrilling because of this. The intertwined drums and guitar seem to punch at you in one movement, highlighted on Letterman approved Camp Out and Not Really Scared EP cut Postcards. But although Canada and the States can be pretty much be called the band’s home territories now, it still remains strange to hear such a nasal tone coming from one of our own. However in that college rock sound mould that has made Tegan And Sara and Best Coast so popular recently, it suits the tunes, and is essentially a fickle fault from an otherwise faultless set, Walls another cracking highlight off the new album. While there is no theatrics or production to speak of – not even a backdrop or shifts in the lighting colours and textures, the music and the musicians behind provide more than a satisfactory experience tonight, the performance value of the pair engaging the crowd far better than a set full of played out gimmicks ever could. Counter time at Skinny’s seems a lifetime ago for these two world-beaters. BENNY DOYLE

thinks nothing of pairing plummeting emotional lows alongside her more upbeat offerings, such is her intriguing confidence.

Dandy Warhols @ The Tivoli pic by Stephen Booth

Kindred’s languid shuffle beat signals that Run For Love has been reworked into a slower burning number for the road as Wasser and Wood punctuate the song’s natural flow on keys by making a beautiful spectacle of its simple four-note hook. Th is leaves room for an extended outro during which Wasser takes to an effect-laden mic to vocalise the screaming guitar riff of the album. It’s these unconventional touches that place the New Yorker in a class of her own; that she is so entirely representing a complexly layered album in trio mode is nothing short of wondrous. The physical dexterity of Wood who covers Moog Bass and two keyboards, and the brilliantly lithe backing vocals of both men go some way to explaining this, though the cake belongs to Wasser whose mere presence makes a room feel full, and cherished. Returning alone for an encore, Wasser plays a simplified and far more touching live account of Human Condition on keys before ending on the slowly articulated lyrics of the title track ballad of JAPW’s first album, Real Life. It’s a flawless finish made extra special considering this is only the third back catalogue track to appear in the set amongst the entirety of The Deep Field (including iTunes bonus Say Yes). As Wasser beats a path to the merch desk to smile, shake and sign before much of the crowd has even left the theatre, this wonderfully magnetic woman who has just bared all onstage finds time to share herself, just a little bit more, off stage. TYLER MCLOUGHLAN



A quick search on Google may reveal that there are a few bands named Los Huevos out there in the world, but if tonight’s set is anything to go by it is doubtful that any are more impressive than these Brisbane lads. Like surfing a wave through the panoramas of early Leone, they provide a ride that is an indulgence of the most fun variety. Their set is of descent length for a support but nobody seems anxious to hurry them along and after a good few rounds of 60s shakin’ they say farewell to a well-deserved round of applause. With all four members situated along the front of the stage The Dandy Warhols kick into it with the usually magnificent Be In and then continue to move through the motions with a few favourites, but as can be the case with their sets it takes some time for the energy to really start flowing. It has been less than a year since they were here, so pulling a string of hits out of the bag is never going to be enough. As they should surely well know – a trip soaked solely in nostalgia is never going to take you very far. Nevertheless things get going during the fi fth song Holding Me Up, and as always the majesty of I Love You really opens up the sky and showers the entire crowd in a terrific wash of psychedelic sound and vision. A preview of The Wow! Signal shows the Dandys still have that uncanny ability to write simplistic yet exciting pieces of music and when a solo Courtney Taylor-Taylor does Everyday Should Be A Holiday it becomes apparent that his voice is actually sounding better than it has in years. The reminder that these four are not the types to be swallowed up by the monotony of their own success rings loud and clear. With the Dandys there is always a constant shift back and forth between the furious, psychedelic rock-band and the alternative pop-machine. It’s this very blend and balance that connects them to such an audience and so it is that they leave us after two hours with the contrasting offerings of Pete Int. Airport, Boys Better and Country Leaver. Journeys of fortune and misadventure are relayed to us throughout their records but when they’re in town and on stage, above and beyond most, The Dandy Warhols know how to make the crowd feel like they’re sharing in the best part of it all. JAKE SUN



While the floor here at Boondall is still quite empty, Melbourne duo Gypsy And The Cat take to the front fringe of the gigantic stage, backed by two extra band members they are cramming their small set with as many tracks as possible. The synth-pop and 80s dance moves of Xavier Bacash do well to fi ll the lulls but even hits Time To Wander and Jona Vark just seem to get lost in the expansive arena and fail to hype any attendees.

As a DJ takes to the stage to fi ll ten minutes with club remixes, a countdown draws down the lights to reveal a mass of glowing Greek pillars and a lighting array that appears to descend the Entertainment Centre below the ocean for a golden sea shell to rise from the stage holding Kylie Minogue, and of course, the applause is positively deafening. As she descends down to the stage floor with Aphrodite, the sheer size of the performance becomes overwhelming; with armies of dancers, a wraparound runway, acrobats hanging from the ceiling and giant video screens, it’s difficult to imagine this playing anywhere but Vegas. It’s expected that there are constant homoerotic connotations of semi-naked men and cheers from the crowd whenever female dancers leave the stage, but the focus still remains tight on the pint-sized popstar as she cuts her way through the faultless dance routines of Wow and Spinning Around, all the while holding her amazing vocal lines. As Minogue rises on a giant spinning roulette wheel of dancers for a jazzed down version of Slow, it is not only an amazing sight but a captivating sound and the night’s moment to beat so far. As tonight is the Aphrodite tour, it’s no surprise that the majority of the set is taken from the namesake album, but a tasty inclusion of 90s gem Confide In Me sits well alongside the dance numbers. After taking a request of Locomotion, Minogue dances her way backstage for an encore break before once again rising from the stage behind a wall of water jets shooting the BEC roof and firing off into the crowd through holes in the runway. A hard act to top, but as the 15 foot water fountain rises up from the middle of the crowd, covered in dancers for All The Lovers, it cements this show as one of the biggest that has ever come to our town and even for a nonbeliever, it is a complete spectacle. MARK BERESFORD


A demure Leroy Lee is tonight’s lone opener armed with an acoustic guitar, a rootsy folk style and some very awkward stage banter. These days it’s hard to seem original playing the looping game, though Lee’s softly articulated vocal is made far more interesting amidst a loop of strums which bed slide embellishments and weeping violin sounds on the excellent Drawing Smoke. Joan Wasser slinks quietly through the Globe with drummer Parker Kindred and keys maestro Tyler Wood in tow, appearing on stage seconds later with a cup of tea; it’s an unassuming entrance, though as the white jump-suited Wasser takes her place behind the keys and leads her band into The Action Man with a downward spiraling riff, Joan As Police Woman is suddenly in the house. It’s a pleasure to watch as she literally bounces off the vibes of her band mates in lead single The Magic from her new album The Deep Field which has her showcasing a more band-oriented vision of the soulful funk that has previously existed amongst pensive piano balladry. Handling a guitar as confidently as her keyboard, Wasser does hard and fast on 2008’s Hard White Wall, whimsical and floaty for Flash and

“I’m a fuckin’ walkin’ paradox,” spits Tyler, the Creator on massive hipster hit Yonkers. Tonight he shows us exactly how he lives so dichotomously. Local DJ Sampology puts serious energy in from the second the needle drops. It’s a quality mix of crowd pleasers and left-of-centre tunes, showing his good taste and willingness to play to audience while perhaps educating a little. The crowd are gradually worked into a frenzy by the set’s end and as enjoyable as his Shout rerub, Roots Manuva/Nena/Jay-Z mash up and Rick Ross tracks go down, the chants of “Wolf Gang” are deafening and it’s clear he needs to step aside. Tonight we see Odd Future Wolf Gang Kill Them All as a young, hungry collective tasting fame for the first time; it’s the ultimate test of the hype machine and awfully exciting to be a part of. They kick off with Sandwitches, Tyler, the Creator leaping into the heaving mosh pit as the crew bound around the stage, their energy infectious and intoxicating. There’s good understanding between the members early on but there’s little finesse – they don’t heed dynamic nearly enough which means some of tonight’s most anticipated tracks are buried under booming bass and cluttered, hollered verses. Th is is particularly unfortunate for tracks that rely on the subtleties of their production; the aforementioned opener and Domo Genesis’ fantastic stoner anthem Rolling Papers particularly. On the flipside it actually works in their favour on a slammer like MellowHype’s Fuck The Police or the furious Radicals. Tyler is the clear gang leader, but tonight it’s Mike G who impresses most on the mic. His performance is generally laid back, but his delivery is so strong and his flow so smooth that he towers above the rest of the gang. The set is heavy on Tyler’s material – Burger and Bastard definite highlights, though new single She makes us wish crooner Frank Ocean had made the trek over. Don’t worry, no catch cry is left alone; hipsters joyously screaming “Free Earl”, “Kill People, Burn Shit, Fuck School” and the ubiquitous “Swag” at every opportunity; the “paradox” alluded to earlier begins here. While their “Wolf Gang” chant sounds so frightening, its “Golf Wang” complement is quite the opposite. Fact is, OFWGKTA aren’t really all that menacing; their energy projects more of a goodtime, party vibe than a fearful one. Their homophobic, rape-happy, misogynistic lyrics are still detestable, but it’s all show. They lack the psychopathy their lyrics have you believe they possess. Th is is obviously a very good thing, but the fact we might now understand and accept the validity of a lyric like Tron Cat’s “rape a pregnant bitch and tell my friends I had a threesome” is astonishing. The final part of this “paradox” is that their youth is possibly the greatest thing they have going for them, while also being their biggest downfall. Their stark enthusiasm is what is missing from hip hop – particularly in a live sense – today (they even cartwheel), but they’re too hyperactive and this prevents them from delivering as best they can. There are kinks to be ironed out; but if they stay on track, this crew could be one of the world’s biggest and best bands before long.

TOUR GUIDE SPARKADIA: Birdee’s Jun 27 GEORGIA FAIR, DANIEL LEE KENDALL: Ric’s Jun 30, The Loft Jul 2, Railway Friendly Bar Jul 3 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 THE WINDY HILLS: The Brewery Jul 1, Coolangatta Hotel Jul 2, Noosa Surf Club Jul 8, Brisbane Powerhouse Jul 16 WAGONS: Spotted Cow Jul 1, The Hi-Fi Jul 2 OSCAR+MARTIN: The Hangar Jul 2 BELLES WILL RING: Sol Bar Jul 7, Step Inn Jul 8 ART VS SCIENCE: The Tivoli Jul 9 SNEAKY SOUND SYSTEM: Family Nightclub Jul 9 JINJA SAFARI: Alhambra Lounge Jul 14 SEEKER LOVER KEEPER: Civic Hall Mullumbimby Jul 15 SHORT STACK: The Tivoli Jul 15 & 16 THE PANICS: The Zoo Jul 16 JAYTECH: The Met Jul 16 THE POTBELLEEZ: Chalk Hotel Jul 21, LaLaLand Jul 22 VENTS: The Spotted Cow Jul 21, Step Inn Jul 22 CLARE BOWDITCH: Joe’s Waterhole Jul 22, Old QLD Museum Jul 23 PAUL KELLY, PAUL GRABOWSKY: Riverstage Jul 23 THOUSAND NEEDLES IN RED, FLOATINGME: The Hi-Fi Jul 23 DAMIEN LEITH: Jupiters GC Jul 29 JAMES BLUNDELL, CATHERINE BRITT: Coolum Hotel Jul 29, Hinterland Hotel Jul 30, Jimboomba Tavern Jul 31 JORDIE LANE: Beetle Bar Aug 4, Joe’s Waterhole Aug 5, Mullum Civic Hall Aug 6 REGURGITATOR: Great Northern Aug 18, Coolangatta Hotel Aug 19, The HiFi Aug 20, Kings Beach Tavern Aug 21 DIESEL: Redlands Sports Club Aug 19, Norths Leagues Aug 20, Springlake Hotel Nov 3, Twin Towns Nov 5 ASH GRUNWALD: Coolum Civic Centre Aug 21, Beach Hotel Aug 25, Coolangatta Hotel Aug 26, The Hi-Fi Aug 27 FELIX RIEBL: Byron Bal Community Ctr Aug 24, Old Museum Aug 25 GURRUMUL: BEC Sep 1 THE CAT EMPIRE: The Zoo Sep 29 & 30, The Tivoli Oct 1


COOLY ROCKS ON: Gold Coast/Tweed Heads Jun 3 - 13 RED DEER FESTIVAL: Mt Samson Jun 18 LAUNCH IT!: Surfers Paradise Jun 18 LIQUID ARCHITECTURE 12: Brisbane Powerhouse Jul 1 FLAVOURS OF SKUZZ: Jubilee Hotel Jul 9 with Hoss, HITS, Dick Nasty, Slug Guts, Undead Apes, Velociraptor, Blank Realm, Narwhals, Los Huevos and more QUEENSLAND MUSIC FESTIVAL: Statewide Jul 15 – 31 SPLENDOUR IN THE GRASS: Woodfordia Jul 29 – 31 with with Coldplay, Kanye West, Jane’s Addiction, The Hives, Pulp, The Living End, The Mars Volta, Regina Spektor, Bliss n Eso, Pnau, Mogwai, DJ Shadow, Glasvegas, The Grates, Devendra Banhart and the Grogs, Modest Mouse, The Middle East, Kaiser Chiefs, James Blake, Kele, The Vines, Elbow, Eskimo Joe, Noah and the Whale, Children Collide, Thievery Corporation, Cut Copy, Isobel Campbell and Mark Lanegan, Bluejuice, The Kills and more GYMPIE MUSTER: Amamoor Creek State Forest Park Aug 23 – 28 REGGAEFEST: Missingham Park Sep 17 – 18 THE GATHERING FESTIVAL: Old Museum Sep 17 SOUNDWAVE REVOLUTION: RNA Showgrounds Sep 24





“As of late, we’ve just been gigging and writing like crazy,” Lysiuk explains. “We finished a little Southeast Queensland tour last month, performing in some really sweet venues around the Gold Coast, Byron and Brisbane. We also recognise the importance of writing as much as possible and have been trying to develop our harmony/folky/souly sound.” An important exercise for any up-and-coming band, no doubt; as Avaberee’s profile rises, they’ll increasingly find themselves on line-ups for events such as Red Deer next to increasingly interesting bands. They’re even in the midst of recording an EP and have interstate travels planned – and it seems they can’t wait. “Red Deer Fest is a chilled out weekend festival, situated just outside of Samford,” Cavanagh clarifies. “This year it’s playing host to a number of awesome new and upcoming Brisbane acts and we’re really looking forward to being a part of it! We got involved in the event after playing a set at Lock n’ Load’s ‘Red Deer Loaded Sundays’ event back in March.” “We’re all really excited about being on the same bill as Brisbane bands such as Dubmarine, The Cairos and Blame Ringo,” offers Lysiuk. “This year’s Red Deer line up is pretty spesh so we’re really keen for a weekend of sweet, sweet, tunes.” The ladies of Avaberee are all set to hold up their end of the bargain with their impending set, and things seem to be shaping up intriguingly. “With our music, people will be able to chill out and just listen,” Bufalino says. “If people haven’t heard us play before, they can expect three girls and lots of harmonies. Our style is hard to put in a few words, so they’re just going to have to be there and hopefully enjoy what they hear!” WHO: Avaberee WHERE & WHEN: Red Deer Music Festival, Mt Samson Saturday Jun 18


ON THE ROAD AGAIN So The Gin Club are on the road again this month. Why you ask? No particular reason. But who cares, because they’re bringing some great Aussie talent along for the ride. The group will be joined by relatively new Melbourne rockin’ soul outfit, Harmony, pictured, who have quite the musical pedigree with members from The Nation Blue, The Ukeladies and Mclusky gracing their line-up. Indie songstress, and karaoke enthusiast, Laura Imbruglia will also be gracing us with her presence on each of the Ginners undoubtedly awesome shows. The tour reaches our neck of the woods when it hits The Spotted Cow in Toowoomba on Friday Jun 17 or you can catch them on at The Zoo on Saturday Jun 18. Tickets for The Zoo show are available through OzTix right now for $21.45.


After taking out the inaugural Exposed competition at Ric’s Bar last year, local boys No Quarter are fast becoming hometown celebrities garnering a dedicated flock of followers. This rocking four-piece put on an impressive live show and their energy on stage is infectious; as evidenced by the sold out launch for their debut EP late last year. But that’s old news, the boys can’t wait to get back in the studio to record their next single and it’ll be ready just in time for their upcoming show at The Zoo, where they’ll be supported by The Secret Silence, Alibrandi and MofoIsDead on Friday Jun 10, tickets are $12 on the door.

Queensland’s Day Out is fun-fi lled day packed full of free entertainment held at Southbank Parklands on Sunday Jun 12, the culmination of Queensland Week celebrations. Now everybody knows you can’t celebrate without music, so the organisers have put together a line-up of some of Queensland’s best and brightest bands to really get this party started. The Flumes, Kooii, Miguel, Greshka and The Lamplights are all playing the Cultural Forecourt Stage over the course of the afternoon bringing Brisbane some good humour and great music. Get your dancing shoes on and bring the kids, the party starts at 11am. Oh, and did we mention it’s free? Well it is, so even if you’re homeless you can come along.


Admittedly and unashamedly unhinged garage rockers Gooch Palms have announced that they’ll be joining the already jam-packed line-up for Flavours of Skuzz at the Jubilee Hotel next month. Kat and Leroy join the likes of Hoss, HITS, Straight Arrows, Dick Nasty, Slug Guts, Velociraptor, Blank Realm, Feathers, Boondall Boys, Narwhals and many more. Buy your pre-sale tickets through OzTix for only $25. Come on, that’s heaps cheaper than Splendour. Head on down to the Jubilee Hotel on Saturday Jul 9 for some dirty, messy fun. Or just to see if Leroy’s wearing pants.


Still bummed you couldn’t make it to Bluesfest? The Palmwoods Hotel on the Sunshine Coast may have just the thing for you when, on Saturday Jun 18, they host the next instalment of Palmwoods Got The Blues. The Mojo Bluesmen kick the show off at 5.30pm with their own brand of dark and dirty, unscripted blues; followed by east coast veterans Bluesville Station, before the evening is capped off in fine style by Mojo Webb, one of Brisbane’s finest bluesmen, with his kick-arse four-piece band. So if you’re at a loss for what do that Saturday night, why not hit the coast for an unforgettable night of blues music. Entry is free!


You may have already heard that New York metal outfit Emmure are headed Down Under. The group, joined by Shinto Katana and Dream On, Dreamer, are set to weave a path of destruction down the east coast of Australia this June. And just when you thought the show couldn’t get any more intense, they’ve announced that Poseidon and In Hearts Wake will be joining them for a piece of the action. Th is motley crew of metal musicians promise to deliver a high energy performance without skimping on the aggression – for a head-banging good time, get down to Expressive Grounds on the Gold Coast on Friday evening; tickets are still available through OzTix for $30.60. The three touring bands also play the Orient Hotel on Saturday night; tickets are available from OzTix for $18.40.


Rambunctious redhead Erin-Louise is at it again, bringing her bizarre-yet-endearing stage presence back once more to Ric’s Bar in the Valley. Well known around town for her pairing of innocuous jazz-pop melodies with amusingly offensive lyrics, Erin-Louise’s live show is interesting to say the least. So if peculiarity is your thing and you appreciate good humour, this is definitely one for the diary. Pencil it in, Ric’s Bar on Friday Jun 10, with support from Gold Coast up-and-comers Woe And Flutter. The madness begins at 8.30pm and if you need any more information head to


“Greshka initially started playing ‘straightahead’ klezmer; jewish music from Israel, America and Germany,” Bonetti explains of the band’s aural heritage. “Over time, as new tunes were written and members changed our style slowly shifted more towards complicated compositions that can be enjoyed by music-savvies and non-savvies alike.” Amidst the complexities of the songs are the naturally opposing musical ideas – metal mixed with jazz; a little classical against Balkan grooves. “That’s mostly due to my contrary nature,” Bonetti admits. “If I think the song is becoming too predictable I like to steer the audience away, optimally somewhere unexpected. I also dislike the restrictions of genre – it’s impossible to describe any band in one to three words and I’d hate it if we became generic or predictable. Although we predominantly play klezmer and chochek (brass band music from Serbia) flavoured music, if you listen to a set you’ll hear elements from heaps of genres.” A prime time to do so would be this month – Greshka have a number of appearances scheduled before they knuckle down to finish work on their album Gipsie Tears Part 1: Extraction, due in August, and they kick things off with this weekend’s Queensland’s Day Out event.

THEY’RE SO COOL Eclectic pop outfit Streamer Bendy have achieved great success this year with their single You’re So Cool. Surprised? You shouldn’t be. With its catchy beat and light-hearted lyrics, it’s tough to get the song out of your head. Now, after spending a fair whack of time overseas, the group is finally back in Oz, with some more equally catchy tunes to share. Come down to The Hi-Fi on Wednesday Jun 8 to catch them in action for the first time in a long time, they will be supported by Tourism and The Party Shark. Tickets are available through Moshtix now for $16 + bf.

“Queensland’s Day Out is simply a celebration of Queensland!” Bonetti says cheerfully. “It’s a recognition ceremony of Queensland’s disaster heroes, followed by free entertainment, music and workshops! We always look forward to festivals and events like these – after working for most of your life to get good at playing music nothing is more rewarding than seeing people enjoy it. Besides, what better way to celebrate being a Queenslander and everything about Queensland than to be in the outdoors with mates listening to and enjoying live music?” WHO: Greshka WHERE & WHEN: Queensland’s Day Out, South Bank Parklands Sunday Jun 12, Home Festival, Raymond Park Sunday Jun 19, The Zoo Wednesday Jun 29


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

Revered psychobilly trio, Nekromantix, have emerged from the depths of isolation to unleash their latest sonic creation, What Happens In Hell, Stays In Hell. This album careens into stores on Aug 5 via Hellcat Records. Led by the charismatic rock’n’roll rebel Kim Nekroman and his legendary coffin bass, the Nekromantix have emerged as preeminent purveyors of the modern psychobilly sound, an intoxicating mix of surging punk and reverb soaked rockabilly. The new record offers up frantic, energetic romps like lead off track Bats In My Pants, the ominous anthem Sleepwalker With A Gun and a tribute to the immortal Hollywood horror legend with Bela Lugosi’s Star. I know I’ve already written about the new Coerce record, Ethereal Surrogate Saviour, which will be available on Friday Jun 17. If you were lucky enough to hear the album stream a couple of weeks ago through their Soundcloud page, then you know just how good the album actually is, and if you missed it the first track Rain Parade is available digitally. To add for the hype of the album, the tour (that was originally supposed to feature Sex Wizard but now appears to not) will hit Brisbane on the weekend of Jun 24 and 25. On Friday Jun 24, Coerce hit will play an all ages show at Sun Distortion Studios with Nuclear Summer, Nice Guys, Acid Snake and The Wolf At Your Door. Then on Saturday Jun 25, the band heads to Fat Louie’s where they play with the brilliant Fires Of Waco, Ironhide, Nice Guys and Capeweather. One of Australia’s most promising up-and-coming hardcore bands, Dream On Dreamer, will be releasing their debut album this winter. To be released on Jul 22, Heartbound is the culmination of the positive attention the band has had since the release of their Hope EP through Boomtown Records, which was followed by an invitation to take part of the Australian leg of the Take Action

Tour 2010 alongside Attack Attack and Pierce The Veil, as well as playing and touring relentlessly around the country. Dream On Dreamer have also been announced as one of the main supports on the Emmure and Shinto Katana tour that commences this weekend, with shows on the Gold Coast and in Brisbane. First up, on Friday Jun 10 Emmure, Shinto and Dream On Dreamer hit the Gold Coast for an all ages show at Expressive Grounds with In Hearts Wake and Poseidon. Then on Saturday Jun 11, the tour moves to an 18+ show at Thriller in Brisbane, unfortunately with no local supports. Tickets for both shows are still available through Oztix. One thing that came out of the Destroy Music shows (and recent social media stalking) is the news that I Killed The Prom Queen are back and will most definitely be writing, recording and releasing a new album in 2012. On his Twitter page, Jona Weinhofen made the short announcement that said, “Everyone follow my other band @iktpqofficial. We’re writing a new album for 2012 and will be doing some more touring then.” Obviously, there is no specific information as to the album beyond the fact that this will be the first release with new singer Jamie Hope (formerly of The Red Shore). A few awesome new albums were released last week, including new ones from Fucked Up, Flogging Molly and Face To Face. Now this week, sees three of the most hyped releases for this year. First up is the new one from City & Colour, titled Little Hell. This comes fresh off the back of Dallas Green’s completely sold out Australian tour back in April. As well, Frank Turner’s England Keep My Bones, will also be available in stores, and having heard this album from doing promo with him when Frank was here earlier this year, I can say that this is his best album yet. Finally, All Time Low will release Dirty Work. Make sure that you check these guys on Soundwave Revolution this September and October. Don’t forget that general release tickets to Soundwave Revolution are now on sale. For Brisbane, these are available through the Soundwave Revolution website, OzTix and Ticketek.

This Friday evening get down to Sun Distortion Studios in Albion for a mixed up slab of all ages metal. Progressive metalcore champions Infinite Thought Process, heavy hitters Torn Asunder, booze moshers Greenstreet, Swedeinspired Through Plagues, technical weirdos Mr Painful Memory and newcomers Lion’s War will be tearing it up from 6.30pm for $12. After that, make your way to the next suburb over to attend the debut of this city’s favorite metal club at its new venue the Jubilee Hotel! Of course we’re talking about Monstrothic here, who will host Melbourne thrash metallers In Malices Wake as part of their The Thrashening album launch tour. They’ll be joined by local prog lords Dead Letter Opener, as well as Bane Of Bedlam and Malakyte. It’ll cost one $10 with doors from 8pm, and you won’t even have to leave the venue to go have a smoke. Bonza! Next Wednesday Toowoomba natives Acacia release their debut EP of darkened symphonic metal blends, Black Skies Dawn A New Age, at the Step Inn for a free show with Through Plagues, Demoniker and Phoenix Incarnate. Wollongong noise’n’party merchants Totally Unicorn will join forces with Brisbane tech heads Ironhide for the Get Chilled or Tie Dying Tour in July. Queensland shows on the eight show trip include Sun Distortion Studios on Saturday Jul 2 with Marathon and more, and Sunday Jul 3 at the Ipswich Community Centre with Only Sleeping and Idylls. Post-rock/metal geniuses Russian Circles have confirmed their first ever Australian and New Zealand tour thanks to Heathen Skulls. The group, which features ex-members of Botch and



BOMBINO – ADADEZ (FUSE) Omara Moctar, better known as Bombino, is one of the most exciting Tuareg musical talents kicking around West Africa these days. He was forced to flee his native Agadez – a small city in Niger – for Algeria in the heat of the early-1990’s Tuareg rebellion (look it up) but returned to the city in 1997 to pursue a career in music. This was all well and good until 2007, when another Tuareg rebellion was sparked; this time shit got extra serious. Guitars – often seen as an instrument of rebellion by the Niger government – were banned and a couple of Moctar’s musician friends were executed. Understandably Bombino went into exile again; this time one country west to Burkina Faso where filmmaker Ron Wyman tracked him down after hearing some cassette recordings of his music. After some convincing, Wyman got Bombino to agree to record his music “properly”. What has resulted is Agadez, Bombino’s first solo record and a release that really shows the sheer proficiency of this incredible guitarist. There’s so much to enjoy about this record; his blazing playing being the most obvious thing, but the deep drone that underpins each song is just utterly entrancing, this matched with the sparse rhythmic handclaps and traditional hand percussion and the almost chanting vocals makes comes together to make a record that you can absolutely lose yourself in. Turn off the lights, throw on Adadez and you can feel the Saharan sand between your toes and see the flames of the campfire dance around in your mind. The only way you can enjoy this record is by surrendering yourself to it, so don’t bother if you’re just going to throw it on in the background. A truly engaging release and, if nothing else, essential listening for all guitarists.

VARIOUS –ABSOLUTE BLUES AND FOLK COMPILATION (VALLEYARM) The best way to find fresh blues and roots music is by getting off the couch and into the many bars around the city that foster local blues and roots talent. But there are a lot of acts out there and it can be discouraging to head to a show and end up disliking what’s on display. This is where a release like the ValleyArm Absolute Blues And Folk compilation is so useful; it puts bands in touch with new audiences and vice versa. Here you’ve got old favourites like Lloyd Spiegel and Pete Cornelius, internationals like Canada’s Ross Neilsen & The Sufferin’ Bastards and a diverse bunch of acts who you may not have heard, from the trashy garage blues of South Australia’s The Amcats, to the super smooth Keri McInerney to the haunting Celtic act Wheelers And Dealers. You probably won’t like everything here, but that’s what makes the release important, it acts as something of a sampling platter. You can get it now through iTunes, BigPond Music and Guvera. Hit for more info. JIMI BEAVIS – NO NEED TO DENY IT (INDEPENDENT) You can’t get away from Jimi Beavis on the local scene, he’s everywhere! A couple of years of hard gigging has done wonders for this young talent and now he has finally released his first EP, with the help of a hot shot band behind him. The thing that I like about this release is that he is channelling some really cool Chicago blues quite authentically and with proficiency, but vocally he is not trying to pretend to be anyone but himself. He sounds like a dude from Brisbane, talking about seeing his missus down the shops with another guy, drinking away his woman problems and lamenting the fact that not having a ute may have been the root of his relationship woes. It’s a sad and sorry affair lyrically – but this is the blues, so everything is pretty much in order. The recording kinda sounds like you’re listening to him at the pub (well, a pub with a great sound system), there’s a fantastic energy that pumps through the EP that sets it apart from a lot of Australian blues releases that try and take the grit out of the performances. Next time you see him playing, go up and buy a copy.

Pop culture therapy with Adam Curley

Metal with Lochlan Watt Russian Circles

Blues ‘n’ roots with Dan Condon

These Arms Are Snakes, will appear at The Zoo on Sep 10. Melbourne/Adelaide band Coerce has been announced to support a handful of shows down south, but there is yet no word on any other supports. Ticket details are expected to be announced in the coming fortnight. Sydney power bros LORD recently made two new film clips, but want their fans to decide which one to release first. They’ll soon be posting two status updates, one with the track title Set In Stone, and the other Forever. Whichever one gets the most likes will be the first to see a release. You can get involved in the process over at There’s a new local band forming by the name of Die Glocke. Featuring ex-members of Beijing Tank, the tech/mathy group recently locked in a drummer and is currently on the search for a vocalist, with hopes to hit the stage before the year’s end. Check out a bunch of e-drum tracks and perhaps chuck a scream over them at Scott Moss, formerly of Minus Life, has left his new group Tria Mera after a handful of shows this year, the most notable being their appearance at the local installment of the Soundwave Festival. In his official statement the vocalist said, “I regret to say I have had to step down as singer for the band. Due to ever growing demands in life and work the band was always coming last and I believe they deserve better than that! Thanks to everyone who came to shows and sorry to the people I have let down!” The singer will reportedly play one final show with the group that is yet to be announced, but the search for a new singer has begun. A statement from the remaining members reads as follows: “we’re looking for aggressive clean vocals and strong clear/enunciated screams. We want someone with their own sound, who can dedicate themselves to the band, rehearse at least once a week, and be ready to tour. Previous experience is favourable, though we need a strong stage charisma. We can also provide backing tracks for practice and to record over.” Interested parties can contact

It probably wasn’t sheer enlightening coincidence that a failed trek around both independent and chain bookshops in search of a book I’d read an excerpt of online came directly after a boom in talk of the future of the book in Australia. First, in mid-May, came science writer James Gleiks’ closing address at the Sydney Writers Festival, then talk of changing technologies and reading patterns was all over the Melbourne’s Emerging Writers Festival, and a special on the uncertain future of physical books on the ABC’s First Tuesday Book Club made sure discussion of the seemingly impending revolution was televised. No doubt subconsciously spurred on by all this (often worried) chatter about change, I chose not to head straight for the Book Depository and instead go and spend some money in an actual shop owned by an actual Australian. A novel idea, and not a bad pun. Three bookshops later (including a sad but comedic incident involving a crashing Borders search station and a smiling staff member who informed me that the inventory had stopped being updated when “the news” had broken), I was eventually told that the book I was after was a month off an Australian release and that it could be ordered in from overseas for me or I could place a copy on hold. Either way, I was going to have to wait, go back to the store and end up paying about $15 more than I would if I ordered it online myself. It all sounded very familiar. Throughout the ongoing conversation about technological changes in the publishing industry, leading to changes in the way people get, interact with and think about written words, not once has anyone equated these developments to those the music industry has been experiencing for 15 or so years. So much of the debate over where the publishing industry should go and what it means for both readers and writers mirrors debates that have been had (over and over and over) in the music world and, already, are being settled by levelling trends in artist, consumer and corporate behaviour. The publishing industry could particularly learn a thing or two about the potential for independent labels to find wider audiences (significantly, this year has seen independent UK label XL Records have massive worldwide success in both digital

and physical sales with Adele), the rewarding of innovation in publicity, which has been largely placed back into the hands of artists, and the ways in which ‘consumer behaviour’ has changed drastically from being largely passive to being hugely and beneficially active and interactive. There still isn’t much stable behaviour in the music industry and though some people would have everyone think there never will be again, history suggests otherwise. However, taking stock of the changes that have occurred raises a few areas that are currently particularly sloppy. Entrepreneurs and suits, please feel free to correct the following: Though most music listeners now have information coming from every direction, there is nowhere for individuals to collate that information for personal reference. I’ve just listened to a track I liked on an artist’s Bandcamp and want to keep an eye on them; there’s an album I read about being released in a week; there’s a gig on this weekend that I’m considering going to; someone told me about this band but I don’t have time to look them up right now; I like this label but I always forget to check if they have anything new out. All this information is currently floating around in our heads, left to be overtaken in a split second by the next piece of information, and the next. A sleekly designed personal space in which to collect increasingly disparate information sources would be extremely helpful. Facebook and music doesn’t go together. Artist pages are annoying to use and the constant influx of event and page invitations is an intrusion on the way most people view the use of the network. Email is increasingly viewed as less of a private function but, again, there’s nowhere for that information to be stored. Currently many artist pages are spread across Facebook, Bandcamp and MySpace, and none are comprehensive or clean enough (though Bandcamp wins hands down). There’s still no one-stop online store for Australian releases. There isn’t even an Australian music section of iTunes. There is also no one-stop online destination or store for music videos, Australian or otherwise. There might be licensing hassles, but that is just ridiculous.



with Cyclone

Hip hop has many ‘godfathers’, but none loom as large as Gil Scott-Heron, who died in New York the other week at 62. The spoken word poet (and musician) is credited as a ‘proto-rapper’. He presaged conscious hip hop – acts such as Melle Mel (with The Message), KRS-One, Public Enemy, the Native Tongues collective and Nas. Indirectly, he also foreshadowed those gangsta rappers like Tupac Shakur instilling their work with a critique. Even Eminem has paid tribute to Scott-Heron. The Chicago-born Scott-Heron spent his formative years in Tennessee with a maternal grandmother who encouraged his piano-playing. On her death, Scott-Heron rejoined his mother in New York. He barely knew his Jamaican father, Gil Heron – Glasgow Celtic’s first black footballer. Scott-Heron attended Lincoln University, but didn’t complete his studies, instead focusing on writing. Before his first album, 1970’s live Small Talk At 125th And Lenox, he published a novel, The Vulture. Scott-Heron’s transition into cult recording artist was influenced heavily by The Last Poets, who performed at Lincoln. Yet this ghetto griot was more musical. Scott-Heron bonded with instrumentalist Brian Jackson at college. Jackson was involved in his seminal albums Pieces Of A Man and Winter In America which, with their fusion of jazz, blues, R&B and soul, pre-empted acid jazz, neo-soul and trip-hop. Scott-Heron articulated a postCivil Rights disillusionment, albeit with ironic incisiveness. He’s most famed for The Revolution Will Not Be Televised, the original on Small Talk... It’d become the B-side for Home Is Where The Hatred Is, a song alluding to the addictions that were to be Scott-Heron’s undoing. Michael Franti referenced The Revolution... for The Disposable Heroes Of Hiphoprisy’s Television, The Drug Of The Nation. Scott-Heron’s biggest ‘hit’? The Bottle. Scott-Heron’s output slowed in the 80s. He consistently expressed confusion and ambivalence

A monthly exploration of the upfront side of clubland with Alfredo Lange about any association with hip hop – as apparent on Message To The Messengers from 1994’s Spirits. Nevertheless, his work has been widely sampled. “I don’t want to tell you how embarrassing that can be,” he admitted to The New Yorker last year. “[But] ‘long as it don’t talk about ‘yo mama’ and stuff, I usually let it go. It’s not all bad when you get sampled – hell, you make money. They give you some money to shut you up. I guess to shut you up they should have left you alone.” ScottHeron gigged alongside Common and guested on Blackalicious’ Blazing Arrow. But perhaps, as Greg Tate has suggested, Scott-Heron was his own genre. He regarded himself as a “bluesologist”.

Welcome to Progress Report, a column that does exactly what it says on the packet: explores emerging trends and music from the heart of clubland. This ain’t no hipster blog though – Progress Report will always take time out to smell the roses and critically examine trends, rather than jump aboard them, NME-Bandwagon style.

In later years Scott-Heron struggled with cocaine dependency. He wound up in jail in the early 2000s for possession. In 2010 Scott-Heron presented I’m New Here, his first album in 16 years, on the British label XL Recordings, with owner Richard Russell, a fan, producing. Russell had visited him at Rikers Island. “This is Richard’s CD,” ScottHeron again told The New Yorker. I’m New Here, the title track a Smog cover, was praised for its avant-garde (and dubsteppy!) leanings. Lyrically, it’s fragmentary, reflective and confessional. The xx’s Jamie Smith oversaw this year’s very postmodern remix album, We’re New Here. “I was writing letters to him because he doesn’t do e-mail,” Smith told NME of their exchanges. They’d also hang out. Scott-Heron was “an intense guy”, Smith noted. Kanye West has consecutively sampled Scott-Heron. Who Will Survive In America, the powerful finale on My Beautiful Dark Twisted Fantasy, (indulgently) samples him. In turn, Scott-Heron’s On Coming From A Broken Home borrows from West’s Flashing Lights.

A quick survey of the landscape and one cannot step away from the term ‘dubstep’. It’s become so ubiquitous and overblown that even those producers within the genre have sought to distance themselves from the ridiculous hype. Critics dismiss it as music that is largely unrelated to house, and is termed ‘breaks for kids with ADD’.

In a blog Russell remembered his “hero”: “He had a fierce intelligence, and a way with words which was untouchable, an incredible sense of humour and a gentleness and humanity that was unique to him.” Above all, Scott-Heron was uninterested in “the trappings of fame and success”. Bling-free.

The beauty of clubland’s engine is that it keeps ticking over in multiple directions. No sooner is one style of music’s funeral held, and three other styles are queuing up waiting to fill the void. They also bring different cultural aesthetics to the table, and this is an aspect that this column will also explore.

The positive side of dubstep is bringing a return to bass-heavy music and a British urban flavour. Traditionally, British urban music has turned out some of the most exciting variants of music in the past 20 years, and those pushing dubstep to its limits (eg Burial, Joy Orbison, Skream, Benga) have graced us with some of the most beautiful and innovative music of the past few years. Post dubstep is a clumsy term, but is a useful way of distancing producers from the noisy caricature that “dubstep” has become (Skrillex and Rusko, we’re glaring in your direction). Leading the charge of decent post-dubstep/UK Bass music is South London’s SBTRKT, obviously not fond of using vowels after a bad experience on Wheel Of Fortune. What they lack in words, they make up for with a stunning self-titled LP out in late June. Don’t call it dubstep though – it is much more. The ‘old is now new again’ theme is very 2011. House music has returned back to its late-80s

beginnings, a glut of simplistic and minimal tunes being released, with DJs attempting to return to simpler times and bring back that party vibe (sorely lacking in a lot of clubland). An example is a series of cuts by the mysterious ItaloJohnson. These are only available on vinyl and pretty difficult to track down. Four have been released so far – all different colours, yet with no names! Some of the better touring DJs such as Spencer Parker and Paul Woolford have been giving them a right thrashing. One scene always bubbling away defiantly is that of progressive house. Whilst not exactly floundering away, the prog scene hasn’t been garnering attention like its deep house and dubstep cousins, and Spaniard Henry Saiz’s mix of youth and talent has been a shot in the arm. His new Balance019 double mix CD could very well do for the progressive scene what James Holden’s Balance005 did some eight years ago. The Spaniards, when not teaching the world a football lesson, are also handing us a musical lesson, as Saiz’s countrymen Marc Dosem can attest to. The young chap’s been bubbling away for a couple of years now, racking up single releases and remixes on several high profile labels before hitting us with a double LP called Parallels, to be released through Technasia’s Sino label. If you’re looking for more of that electronic sound that crosses from the dancefloor to the lounge room and back, than go no further than Pitto, a Dutch artist championed by Joris Voorn on his recent Australian tour, and signed to his Green label no less. His album Objects In A Mirror Are Closer Than They Appear drops in late June and it’s lovely. For the record, he is not a Meatloaf fan. Our villains for the month are several, none less than Swedish buffoon trio Swedish House Mafia. Try Googling Axwell’s interview with the UK’s Daily Star. Anyone up for throwing eggs at Axwell at his next gig? Get in touch through the magazine.




Folk and jazz-inspired instrumental rockers Ghost Notes are thrilled to be launching their debut album By Cover Of Night to their home crowd in a couple of weeks’ time. Recorded over five days in Brisbane’s Old Museum Concert Hall, the album’s sound is as immense as the venue but still eerily tender; it takes you on a journey. Ghost Notes are headlining at the Beetle Bar on Saturday Jun 18 for the launch, in the process kicking off the fi rst ever Hangar Th e Beetle nights, being run by Lofly Records each month. They’ll be joined by fellow Brisbane acts McKisko, The Scrapes and Melbourne’s Mountain Static.


Deya Dova has come a long way since beginning to play music in her home in the Nullarbor Desert in Australia’s south, having now played almost every major festival in Australia, as well as some in France, Japan and Switzerland. The combination of her stunning vocals along with tribal beats, house and electro grooves create a truly unique musical fusion and translates into an electrifyingly theatrical live performance that you can’t help but dance to. Deya Dova plays The Buddha Bar in Byron Bay on Friday Jun 10, along with DJ Afreeka and special guests. Doors open at 7pm and tickets are $20 on the door.


You may have seen them supporting Switchfoot and/or Good Charlotte already this year, but the guys in Sydney rock outfit New Empire are only just beginning, with a defi nite eye on securing as many high profi le support slots as they can. The latest has just been announced; the band will appear as the main support for the much loved Owl City when they make their debut Australian visit in August. You can catch them in an all ages show at The Tivoli on Monday Aug 15; tickets are available from Ticketek right now for $63.


With their new single Anomaly released and no doubt fi lling the iTunes playlists of many cool dudes around the internet (it can be on yours too if you just ‘Like’ the band on Facebook, just quietly) Gold Coast alternative rockers Stellar Green are capitalising on this with a few shows this month.






BEST IN SHOW After the success of their third birthday rave, White Rhino are bringing Brisbane the next instalment of cutting edge electronic music presenting a live performance showcase to exhibit some of Australia’s most promising artists. Still riding high after the successful release of his EP, Dizz1, pictured, will be giving audiences a taste of his upcoming debut album, while Brisbane duo Science Project will be launching their new EP Under The Sun on the night. They’ll be joined by Brisbane drum’n’bass legends, Speaker Wrath and Dot.Ay, fresh from the BLIP Festival in New York. You can also expect awesome DJ sets from Milesago and Pro Fried. It all happens at Barsoma on Friday Jun 10 and it’s absolutely free to get in. The trio are kicking off their campaign on home ground with a show at the Miami Tavern Shark Bar on Saturday night, before hitting the Hamilton Hotel in Brisbane alongside fellow rockers Helm on Friday Jun 10 and then wrapping it up somewhere in between with a big one at the Springwood Hotel on Saturday Jun 11.

Russell’s numerous records are amazingly well designed little musical gems. The man himself says the DIY thing started young for him. “It all really started with the local bands that I looked up to as a little kid. I miss the days of homemade, 4-track recorded demo tapes with crudely photocopied cases and imperfect production. I was a total music nerd so I would be on a mission to find every recording by a band I liked and I found that I almost always preferred the raw demo versions of songs. I’m just trying to find a balance between that lo-fi home recording sound of old whilst still using more modern tools like MIDI-controllers and laptops.” What about the prolific thing? Russell says it’s about keeping himself entertained. “I just get bored really easily and the fact I’m not aiming for perfection also helps to keep momentum going. I can appreciate a nicely produced record, but it doesn’t excite me like a rough and raw, warts and all recording does. I couldn’t imagine sitting around fiddling with songs to make them perfect. They would just feel forced and more contrived the more you did. So I guess a lot of it has to do with the way I work, just trying to get my ideas out and not second guessing – sort of like automatic writing.” And Russell says that his upcoming gigs are a little like godsends for him. “Shows like Home Festival and UnConvention are great for performers like me who have no group of similar bands that you can jump on bills with. It’s really hard having your own unique thing. Events like these that welcome a real array of different music are vital for genre-less geeks like me surviving.” WHO: Jhonny Russell & The Mystery School WHAT: Practical Mysticism In Modern Living/ Chansons De Geste (Independent) WHERE & WHEN: UnConvention postparty Boundary Hotel Saturday Jun 11, The Loft, Gold Coast Saturday Jun 18, Home Festival Sunday Jun 19

“As for the acid all I can say is that to quote George Jones ‘I’m just a country boy trying have a good time’. There have been many memorable experiences throughout The Lobsters spiritual scuttle from naked vomiting all over some Lismore motel to pissing in a child’s bedroom in an unnamed location. From playing with X to nobody on the Gold Coast, getting paid $25 and then winning $600 at Jupiter’s while I was blitzed out of my head. The blurst of times.” For anyone lucky enough to have heard Lobster Prophet’s Tropical Alien record, Lee says the live show is different, but not. “It was pretty much recorded live so I guess it still sounds similar, but we might kick into an Alice Cooper song or the Chambers Brothers or Roky Erickson. We try dress in suitable Hindu attire and preach a sermon of hate and intolerance then at the climax we all hold hands and teach everyone how to love again. There also seems to be an up swell of really ugly women at our shows.” And Lobster Prophet have been described as having a distinctly Brisbane sound. Does Lee agree with this? “I think Brisbane does have a sound. For ages I used to call Brisbane Crap Pop City because nearly everything that reached national attention from here was crap kitsch sugarcoated angular quirky shit or depressing folk rock with a hard on for The Band. What us and our ilk are is dirty punk rock’n’roll, loud abusive and usually drunk... you know like the naked guy trying to barter with door staff. It comes out of using limited equipment, recording in weird spaces with cassette 8-tracks and reel to reels. No big production values here. Garage punk psych or whatever you want call it is very primitive music.” WHO: Lobster Prophet WHERE & WHEN: Rock’N’Roll Abattoir, Step Inn Friday Jun 10


Is this your fi rst foray to Brisbane? If not how many times have you performed in our midst. It will be one of Pajama Club’s first shows! So yes, our first time in Brisbane in this band, but members include Neil Finn, Sean Donnelly (‘SJD’, NZ), and myself (ex member of The Grates).

BAND: Pajama Club MEMBER/ROLE: Alana Skyring/ touring drummer Home ground: New York (current residence), Auckland (rest of band’s home/for rehearsal), Brisbane (grew up in) Describe your live music/performance style as succinctly as possible. Tight rhythm section, supporting expressive guitar melodies and eclectic, sometimes grinding keyboard lines.


Please relate your impressions of performing in our fair city. Fun and supportive crowds who are ready to dance. What can we expect different this time around? New style of music to what we usually play. Open-ended songs and new roles. Has anything exciting been happening in your world of late? Getting ready for the album release – shooting videos, pictures, and working on the new set. Pajama Club play the Great Northern Hotel, Byron Bay on Saturday and The Zoo on Sunday.


SIX PACK SOUTH OF THE BORDER Before they disappear back into the recording studio, Tijuana Cartel have announced a string of headlining shows to launch their new single Letting It Go. These will be the band’s final live shows before their national album launch tour in September so is this is one not to miss. The four-piece have an intoxicating stage presence and this is the perfect opportunity to get a taste of their upcoming third album, complete with some electro pop and rocking grooves. There are plenty of chances to catch them live; the boys play Sol Bar in Maroochydoore on Saturday Jun 11 and Sunday June 12; The SoundLounge. Gold Coast on Friday Jun 24; and Buddha Bar in Byron Bay on Saturday Jun 25.

4ZZZ’S PAPER DRIVE Th is June your radio station needs you! Here at 4ZZZ we have heaps of Rock, plenty of scissors but paper is scarce! One of the biggest expenses at 4ZZZ is paper costs so we are putting the call out for donations of office printing paper. You can drop your bundles at the station, 264 Barry Pde in The Valley Monday to Friday’s between 10am and 4pm or Saturday’s 12 to 3pm. Join the 4ZZZ Paper Drive and donate during June for that warm fuzzy feeling!


WINNER! The winner of our April/May subscriber incentive prize is Matt Schrader. Matt has won a Westender bike from sub-discount outlet The Bicycle Revolution! All Matt did was subscribe to 4ZZZ in May to win! Keep your ears and eyes out for more incentives coming up in the next few months.


“Yeah, we managed to win it out of 50 bands!” Abraham enthuses. “It definitely showed us we’ve got a loyal army of fans willing to come out and support us even on Sunday nights. Definitely instilled a confidence within the band that we have something people want to hear and see so we want to bring it to as many people as possible.” From the sounds of things, they’ve been working hard to make that possible: with a new single under their belts and an upcoming headline spot at The Zoo, it’s all systems go for No Quarter. “We’ve been writing some rockin’ new tracks and can’t wait for people to hear them,” Tango offers. “Highlight of the year so far is recording a single called Psychotic Highway out at Airlock Studios. We also got to meet and hang out with Ian Haug of Powderfinger while we were there.” “We really enjoyed our time out at Airlock Studios and would like to record our new tracks out there,” Barrett says. “Hopefully before the end of the year.” In order to help bolster the excitement for the night, the band have gone to lengths to make sure fans can get their hands on the single in preparation for big sing-along action on the night. “Our new single Psychotic Highway is ready to go when we headline The Zoo. It will be our opening song and will be available as a free download from our Facebook page,” Shipp says. “We are pumped for this show,” Abraham concludes. “It will be our biggest yet and we wanna rock it harder than any we have before. It will definitely be full of energy and our best show yet, seeing as how we have a proper stage to rock on; plus some freebies!” WHO: No Quarter WHAT: Psychotic Highway (Independent) WHERE & WHEN: The Zoo Friday Jun 10

Y’ALL COME BACK NOW Rattlehand and their guitar-pickin’ brand of alternative country music have stayed clear of Brisbane for far too long now. But now after much anticipation they’re coming back to Queensland this July and they’re bringing Melbourne band The Wildes with them. Also on the line-up are Q Song winners Duke Wilde Band. For a toe-tappin’ good time be sure to get to the Step Inn on Friday Jul 15 or The Loft on the Gold Coast on Saturday July 16. And stay tuned, Rattlehand will also be playing a series of shows at the Brisbane Powerhouse in August.

After receiving a great deal of qualified applicants for the Finance, Administration and Volunteer Coordinator, 4ZZZ has our new staff member Michelle Padovan starting this week! We welcome her to the Zed family.



Is Bleeders representative of the rest of what we’ll hear on Calder’s album?

Pat Tierney plays QSM Live: Indie Weekend at Queen St Mall on Sunday Jun 12 (11.30am)

LAMBDA, IT’S YOUR BIRTHDAY... It seems like only yesterday Lambda burst onto the scene, making Thursday nights at the uni pub a thing of the past, but obviously it’s been longer than that because Lambda’s celebrating its first birthday on Thursday Jun 9. Bust out your party hat because this promises to be the biggest birthday party since Jesus’, they’ve even extended a personal invitation to Bill Murray to attend! No, we’re not kidding. Gold Coast locals Oceanics, pictured, Brisbane boys Millions and Bragging Party kick off the party before Lambda’s favourite DJs take over. Special guests Hungry Kids Of Hungary (DJ set) and Wolfgang DJs might even make an appearance behind the decks. Th is is an event worthy of much celebration, even if Bill Murray doesn’t show, so see you at Alhambra Lounge!

“The songwriters I’ve always admired are the ones who put a lot of thought and creativity into their lyrics and music. My songs always come from a very personal place, and for me honesty is the backbone that holds everything together. While a lot of my music is about direct experience, a lot of what I write and find exciting about songwriting is the act of creation, creating a character, or place, and telling a story. And even though this person is made up, or that scenario didn’t actually happen that way, the feeling I’m trying to express or the thoughts I’m trying to get across are always very important and truthful to me.”

Sum up your musical sound in four words. Pat Tierney (vocals/guitar); “Folky, bluesy, soulful goodness.” If you could support any band in the world who would it be? “Kasabian, then party on afterwards.” You’re being sent into space and there’s only room to bring one album – which would it be? “Ben Harper – Live From Mars.” Greatest rock’n’roll moment of your career to date? “Probably the Acoustic In The Park Festival in ‘09. It was a great day and there was a big, appreciative crowd on hand and some great artists performing.” Why should people come and see you? “To find something new and share it with your friends and family and buy a CD.”

“It’s representative of one aspect of the album, but the emotional palette is pretty broad. I chose it because I wanted to challenge myself and release something that wasn’t safe. It’s dark and moody, fairly involved emotionally, and over five minutes long, and that doesn’t exactly scream radio friendly to me. But it’s true to what my music is. I’m actually very surprised and flattered at how well it’s been received so far.” When will we see the album then? Not surprisingly, given how much Calder cares for his work, not until it’s ready. “On one hand, the album is so relevant to me as a person now, so it’s something I’m really keen to get out there and share with people, but you also want the music to reach as many people as possible, and that involves being patient and taking the time to build an audience. It’s just a matter of finding the right balance between the two and releasing the album when the time is right.” WHO: The Trouble With Templeton WHAT: Bleeders (Independent) WHERE & WHEN: Brisbane Powerhouse Sunday June 12 (afternoon), Beetle Bar Sunday Jun 12 (evening)


WED 08

Cuttooth, Planet Fiction, Stormchasers, Skypilot Tempo Hotel Dog And Dry, Stephen Carmichael X & Y Bar Gavin Boyd Kerbside Iretro Elephant & Wheelbarrow Pilots Of Now, Bitty Booker, Black As Blue The Zoo Streamer Bendy The Hi-Fi The Bowery Hot Five With Mal Wood The Bowery Vegas Style Sin City Nightclub

THU 09

16th Century, The Dark Bower, Not Pictured The Beetle Bar Abby Skye O’Malleys Brisbane Boys And Girls X & Y Bar I Can’t Believe It’s Not The Satellites The Bowery J Boog The Hi-Fi James Johnston Overlander Hotel - Main Room Jazz Night, The Root Note, + Special Guests The Loft Chevron Island Katch Kerbside

Mescalito Blues, Candice Mcleod, DJ Valdis Ric’s Rob Cini Elephant & WheelbarRow Ron Carter Trio, Elixir Feat. Katie Noonan QPAC Ron Carter Trio, Elixir Feat. Katie Noonan QPAC Concert Hall St Augustus Cartel Bar Steve Skinner, Guriguru The Music Kafe The Abby Skye Show Mick O’Malley’s The Decoys, + More Tempo Hotel The Medics, The Honey Month, Babaganouj The Zoo Thelma De Melo, Ellie Hopley, Zeb Howell, Kim Sheehy Elsewhere

FRI 10

1927 Springwood Hotel 2 Not Out Criterion Dalby After Glow Alderley Arms Hotel Amos Pella, Berst O’Malleys Brisbane Andre Mols, Bluescorp, Blind Lemon, ANgela Fabian The Hi-Fi Andrew Baxter’s Blues Extravaganza Joe’s Water Hole Eumundi

Australian Foo Fighters Show Bribie Island Hotel Blame Ringo The Powerhouse Bliss N Eso River Stage Bob Mouat Southern Hotel Toowoomba C4 Jimboomba Tavern Chris Botti, Sarah Mckenzie The Tivoli Dan England Transcontinental Hotel Danny Cool, Ben Reeve, Matt Fraser Kerbside Dizzl, Dot.Ay, Science Project Barsoma DJ Randyandy Narangba Valley Tavern Duck Duck Goose, Starfuckers Bowler Bar Dynamic Duo Fibber Magee’s, Toowoomba EmmUre, Shinto Katana, In Hearts Wake, Poseidon, Dream On, Dreamer Expressive Grounds Emmure, Shinto Katana Expressive Grounds Erin Louise, Woe & Flutter, DJ Valdis, DJ Wildebeats Ric’s Fat Albert Broadbeach Tavern Helm, Mirror World, Stellar Green Hamilton Hotel

Joe Camilleri Fusion Villa Noosa Kristian Berardi, JameS Sherlock Brisbane Jazz Club Locky, Venus Envy Elephant & Wheelbarrow Mahi Artz, Yorke, Cold & Need, Nidhi Krishnan The Loft Chevron Island Mick Danby, Playgiarythm Tempo Hotel Native Aliens Palmwoods Hotel Natt Dunn Gazebo Restaurant, Hotel Urban No Quarter, The Secret Silence, Alibrandi, Mofo Is Dead The Zoo Pez, 360, Maya Jupiter Neverland School Fight, Desmond Cheese, Brompton Road The Beetle Bar Steve Ignorant, Acid World, Dregz, D Rouser Prince Of Wales Hotel The Green Sinatras Miami Tavern The Jet Boys, Strawberry Fist Cake, The Murderballs, Bunt Spotted Cow The Radiators, Two Way ActIve Benowa Tavern


pity seem more glorious. Otherwise anything by Superchunk helps me bounce back up again.

Best record you stole from your folks’ collection? Johnny Cash At San Quentin. I used to listen to A Boy Named Sue repeatedly on my parents’ turntable as a young fella. The dark humour and violence obviously appealed to me, along with the fact that it annoyed my mother (sorry mum). I had to swipe the record for my own collection later! First record you bought? Apart from a couple of dodgy compilation ‘hits’ records, U2’s Unforgettable Fire is the first album I can remember consciously seeking out and buying. I still enjoy the album... beautiful moods, lush, and not too much of Bono’s grandstanding. Record you put on when you’re really miserable? The Cure’s Disintegration. Doesn’t exactly lift the mood but sure seems to make the wallowing in self

Record you put on when you bring someone home? Considering this album had a part to play in the formative moments of my current relationship, I would have to say Youth Group’s Shadowland. It is one of those albums that holds special memories and feelings for us both. Most surprising record in your collection? Hmmm... I’ve got a lot of trash picked up at garage sales and op shops. I’ve been working on my Tijuana Brass collection lately, including a few Christmas albums. Last thing you bought/downloaded? I have recently downloaded Tall Buildings’ Light The Shallows – a beautiful indie guitar album from a band made up mostly of previous members of Gersey who are responsible for one of my all time favourite albums, Storms Dressed As Stars.

The Shrewms, Lobster Prophet, The Money, The Royal Family, DJ Human Jukebox Step Inn Tom Piper, Pete Smith, Mr Sparkles, DJ Andee, Nick Galea, Paul Bell, Sharif On Sax The Met Tyson Faulkner, Mr Perkins, Glenn Esmond Coolangatta Hotel Undead Apes, Tiny Spiders, Tiny Migrants, Aniki, Danny Cool, Maggie Collins X & Y Bar

SAT 11

1927 Kallangur Tavern Bliss N Eso Lake Kawana Community Centre Bounce, Superfreak Tempo Hotel British Invasion Tribute Show Hard Rock Café Chris Sheehy Band, Lilly Rouge, James Dean Jackson, Zeb Howell The Loft Chevron Island Danny Cool X & Y Bar Downlode Broadbeach Tavern Gentle Ben & His Sensitive Side, The Art, The Keep On Dancin’s, Bixby Canyon The Zoo Hannah Macklin & The Maxwells State Library

Helm Albany Creek Tavern Jabba Elephant & Wheelbarrow Joe Camilleri Parkwood Tavern Juzzie Smith, Simon Asquith Soundlounge Currumbin Kristen Berardi, James Sherlock Arts Centre Gold Coast Last Call, Hello Hokkaido, The Metric System, Dameena Globe Theatre Laz Smith Narangba Valley Tavern Matt Southon Buddha Bar Michelle Brown Duo Maroochydore Slsc Mirror World Royal Exchange Hotel Mr Sparkles, Roman, Mandy Onassis, Jason Rouse, DJ Malcolm, Harvey, Dik, Pete Smith, Nickgalea The Met Muir Bros Miami Tavern Nigel Jones Palace Hotel Pacha Mamma, Gowie, DJ Valdis, DJ Cutts Ric’s Pez, 360, Maya Jupiter The Hi-Fi Pony Loaf, Yoke & Pixel, Prefontaine The Beetle Bar Punkabilly Festival, The Jet Boys, The Flangipanis, Strawberry Fist Cake, The Scam, Bunt, The Vampers, The Murderballs, More Prince Of Wales Hotel


Jun 8, 2000 – Sinead O’Connor

reveals that she is a lesbian in an article published by Curve. Jun 9, 1969 – Brian Jones announces he is leaving The Rolling Stones. Jun 10, 1977 – Joe Strummer and Topper Headon of The Clash are arrested for painting the band’s name on a wall in London. Jun 11, 1966 – Janis Joplin debuts on stage at the Avalon Ballroom in San Francisco. Jun 12, 1965 – The Beatles receive their MBE (Most Excellent Order of the British Empire) awards. Jun 13, 1992 – Future US President Bill Clinton criticises Sister Souljah for making remarks “filled with hatred” towards whites. Jun 14, 1961 – Patsy Cline sustains serious head injuries and a fractured hip in a car accident in Madison, Tennessee.

Purple Sneakers DJs Neverland Scul Hazzards The Beetle Bar Second Gear Fibber Magee’s, Toowoomba Slynk, Senor Rudekat Kerbside Snez Alchemy Café, Sth Grafton Solar Rush Newmarket Hotel The Jet Boys, Strawberry Fist Cake, The Murderballs, Bunt, Alla Spina 4ZZZ Carpark Pajama Club Great Northern Hotel Byron Bay The Radiators Deception Bay Tavern The Replicants, Meridan O’Malleys Brisbane Th riller, Emmure, Shinto Katana, Dream On, DReamer Orient Hotel Tom Richardson Project Queen Street Mall Tom Richardson Project Verve Café Tyson Faulkner Hamilton Hotel

SUN 12

1927 Hinterland Hotel After Glow Dublin Docks Tavern Aussie Rebels Reunion Tempo Hotel Big Guy, Little Guy Blue Pacific Hotel Blind Lemon Ric’s Block Party DJs Elephant & Wheelbarrow Brisbane Big Band Brisbane Jazz Club Clark Brick Waterfront Hotel D Rouser, 50 Bags, Alla Spina, The Flangipanis, Nothing But Trouble The Music Kafe Drunk Mums, Sexypie X & Y Bar Family Of Strangers, Joel Myles, The Dashounds, The Royal Laundry Queens Arms Hotel Geoff Rayner Dog And Parrot Tavern Grand Atlantic Woodland Hemi Kingi Trio The Joynt

Husky, Montpelier, The Trouble With Templeton The Beetle Bar Irish Sessions O’Malleys Brisbane Joe Camilleri Hamilton Hotel Lissy Stanton Band & The Cbg Nimbin Hotel Pat Tierney Queen Street Mall Paul Bell, Mr Sparkles, Pete Smith, DJ Andee, Nick Galea, DJ Malcolm, Mandy Onassis, Jason Rouse, Sharif On Sax The Met Purple Sneakers DJs Birdee Num Num Rushmore Envy Hotel Snez Yamba Street Café Sunday Bloody Sabbath Sessions, Brent McmuLlen, + Special Guests The Beetle Bar Syd Wilson Benowa Tavern Ten Dmc, Dirty Clouds The Electric Playground The Bagman Redland Bay Hotel The Jet Boys (Jp), The Flangipanis, The Scam, Dna Spray, Crookedface Shed 5 Burleigh Heads The Pajama Club, Glass Towers The Zoo The Radiators Coolum Beach Hotel The Satellites The Bowery The Trouble With Templeton The Powerhouse Tom Richardson Project Railway Bar, Byron Bay Wasabi Miami Tavern Shark Bar

MON 13 Gyptian The Hi-Fi Minor Birds, The Howls Ric’s

TUE 14

Arcade Made, Penguin Kings Ric’s Casey Fogg Elephant & Wheelbarrow Folk N Pop Escalate, Marc Cheeseman, District Of East, Rush Hour Soul, Rareicorn Tempo Hotel The Goodwills, Spot The Dog The Bug

Grand Atlantic play Woodland on Sunday Jun 12


Any special guests going to make an appearance during your tenure? “The band’s new line-up is already filled with special guests! Tony is back after a recent overseas jaunt with The Boat People, as well as Greg and Andrew from Montpelier, who’ll be lending us their skills. And yes, there are other peeps in the mix for a gig too.” What is it about the venue that makes you want to do a run of shows there? Pete Kilroy (guitar/vocals): “We actually did our album launch at the Powerhouse last year and had such a great time that we were itching to get back. The place has a chilled vibe and a great sound, and with good venues being like gold in this town at the moment we feel privileged to be playing there.” Same set every week or mixing it up? “Well, the whole show is brand new, so we’ll see how we go. Slow and boring songs are no longer welcome in the set. We’re doing a lot of writing at the moment so we’re sure it will evolve over the month.”


Favourite position at the venue when you’re not on stage? “You can’t go past the mezzanine. It’s such a great building. Oh, and maybe the bar. Cider on tap if we remember correctly!” What have you been up to of late? “We’ve been recording popular rock’n’roll songs with Matt Redlich (Hungry Kids Of Hungry) for our debut EP, which is due out later this year. We we we so excited.” Blame Ringo play Brisbane Powerhouse On Friday Jun 10, Friday Jun 17 and Friday Jun 24 (free shows from 6pm)

BEETLE BAR 350 Upper Roma St. Brisbane










































It’s a win/win situation





BIRDEE NUM NUM Sunday Purple Sneakers Djs

BOWLER BAR Friday Duck Duck Goose, Starfuckers

COOLANGATTA HOTEL Friday Tyson Faulkner, Mr Perkins, Glenn Esmond Saturday Rushmore

ELEPHANT & WHEELBARROW Wednesday Iretro Thursday Rob Cini Friday Locky, Venus Envy Saturday Jabba Sunday Block Party Djs Tuesday Casey Fogg

FUSION VILLA NOOSA Friday Joe Camilleri

GLOBE THEATRE Saturday Last Call, Hello Hokkaido, The Metric System, Dameena


HARD ROCK CAFÉ Saturday BrItish Invasion Tribute Show

MIAMI TAVERN Friday The Green Sinatras Saturday Muir Bros Sunday Wasabi

MICK O’MALLEY’S Thursday The Abby Skye Show

QPAC CONCERT HALL Thursday Ron Carter Trio, Elixir Feat. Katie Noonan

RIC’S Thursday Mescalito Blues, Candice Mcleod, Dj Valdis Friday Erin Louise, Woe & Flutter, Dj Valdis, Dj Wildebeats Saturday Pacha Mamma, Gowie, Dj Valdis, Dj Cutts Sunday Blind Lemon Monday Minor Birds, The Howls Tuesday Arcade Made, Penguin Kings

STEP INN Friday The Shrewms, Lobster Prophet, The Money, The Royal Family, Dj Human Jukebox

SURFERS PARADISE BEER GARDEN Friday Superfreak Saturday Venus Envy

THE BEETLE BAR Thursday 16th Century, The Dark Bower, Not Pictured Friday School Fight, Desmond Cheese, Brompton Road Saturday Pony Loaf, Yoke & Pixel, Prefontaine Saturday Scul Hazzards Sunday Sunday Bloody Sabbath Sessions, Brent Mcmullen, + Special Guests Sunday Husky, Montpelier, Th E Trouble With Templeton

THE HI-FI Wednesday Streamer Bendy Thursday J Boog Friday Andre Mols, Bluescorp, Blind Lemon, Angela Fabian Saturday Pez, 360, Maya Jupiter Monday Gyptian

THE TIVOLI Friday Chris Botti, Sarah Mckenzie


Friday No Quarter, The Secret Silence, Alibrandi, Mofo Is Dead Saturday Gentle Ben & His Sensitive Side, The Art, The Keep On Dancin’s, Bixby Canyon Sunday The Pajama Club, GlaSs Towers

Saturday Danny Cool Sunday Drunk Mums, Sexypie

VERVE CAFÉ Saturday Tom Richardson Project

WOODLAND Sunday Grand Atlantic

Wednesday Pilots Of Now, Bitty Booker, Black As Blue Thursday The Medics, The Honey Month, Babaganouj

4ZzZ FM NOW PLAYING 1. By Cover Of Night GHOST NOTES 2. The End Of Everything KEEP ON DANCINS 3. Sport RE:ENACTMENT 4. The Deep Field JOAN AS POLICE WOMAN 5. I Am Very Far OKKERVIL RIVER 6. Are You Entertained/Friends In Danger BLONDE ON BLONDE 7. Leaving My Hairdresser THE BEDROOM PHILOSOPHER 8. 100 Lovers DEVOTCHKA 9. The Jungle Giants THE JUNGLE GIANTS 10. Turn Me On THE GRATES

CHANNEL [V] VIDEO MUSIC CHART 1. Party Rock Anthem LMFAO FT LAUREN BENNETT & GOONROCK 2. Rolling In The Deep ADELE 3. Give Me Everything PITBULL FT. NE-YO, AFROJACK & NAYER 4. All Of The Lights KANYE WEST 5. Own This Club MARVIN PRIEST 6. From The Music THE POTBELLEEZ 7. Judas LADY GAGA 8. We Run The Night HAVANA BROWN 9. Run The World (Girls) BEYONCE 10. Feeding Line BOY & BEAR


Arabia Mountain BLACK LIPS Rock & Roll Submarine URGE OVERKILL Total Clarity AGAINST ME! Some Were Meant For The Sea TINY RUINS Secret Rituals THE GRATES England, Keep My Bones FRANK TURNER Hit After Hit SONNY & THE SUNSETS Those Shocking, Shaking Days VARIOUS ARTISTS Smoking In Heaven KITTY DAISY & LEWIS Keeping Time JENNY DEE & THE DEELINQUENTS


X & Y BAR Wednesday Dog And Dry, Stephen Carmichael Thursday Boys And Girls Friday Undead Apes, Tiny Spiders, Tiny Migrants, Aniki, Danny Cool, Maggie Collins

CLUB GUIDE WED 8 Maggie Collins: X&Y Bar Jam Night with Open Mic: Alloneword


J Boog, U-Ali, Pwish Miusik, Lil T, Jagarizzar, Tuff Tumas, Yanny, Doxz: The Hi-Fi Lambda Lambda Lamba Alhambra Love Cats Student Night: Alloneword

FRI 10

Big B: Shooters Bossy feat. Sharif, Mr Sparkle: Bamboo Classixx, Mitzi DJs, Tropics & Edson, Audun: Elsewhere Danger, K.Oh, Noy, Jmac, Killafornia, Alex Terrell, Wil E: Monastery DJ Sheep and Nikk C: Alloneword DJs Sonny Federa, Benn Hopkins, Jason Rouse, Matt Kitshon: Zuri Hello Australia DJs: Coco Kayli, GeeCee, Kids On Camera, Hertz, Olie: Family Nightclub Kurk Kokane, Profesa, Kurrupt, Pedestrian, Arctic + More: Electric Playground Luca Antolini, Steve Hill, Hektic, F&E, Karma: Family Nightclub Masif feat Steve Hill & Luca: Family Nightclub Midnight Tango, Zach Salar, Pipes, Ill Kid: Alhambra Tom Piper, Pete Smith, Andee, Nick Galea: The Met DJ Danny Cool: X&Y Bar White Rhino, Dizz1, Dot.AY, Science Project: Barsoma

SAT 11

Bass Kleph: Platinum Coyu, Adam Swain, Rikki Newton, Alex James, Patrick Stewart: Barsoma Dcup, Brett J, Pipes: Alhambra Disko Diva, Pete Smith, Andee, Nick Galea: The Met

Denzal Park, Habebe, Tim Plunkett, Jason Moreley, Jeremy Illiev: Family Nightclub DJs Benn Hopkins, Matt Kitshon: Zuri Lazrtag, Murray Brown, Karma, Wahoo, Jessie Weyand, Kandiman: Electric Playground Mr Sparkle, Roman: Bamboo Mandy Onassis, Jason Rouse, Malcolm feat. Ellie, Harvey: Coco Nu Disco/House DJs: Alloneword Pez, Maya Jupiter, 360: The Hi-Fi Charlie Hustle, Danny Cool: X&Y Bar Sun Control Species, Tranceducer, Digital Divide, DJM, Xen, Midium + More: Step Inn

SUN 12

Bass Kleph, Baby Gee: Alhambra DJ Havana Brown, Courtney Act, Vanity Faire, Harry K, Karma, Alexei Paige: Family Nightclub Rio Lobotomy: X&Y Bar Friction, SP:MC, Diamond D, Hydrophonics, Erther, De La Haye, Antrax: Monastery Guy J, Sasha Le Monnier, Rodskeez: Barsoma Hook N Sling, Andee, Pete Smith, Nick Galea: The Met Paul Bell, Mr Sparkle: Bamboo Jason Rouse feat Sharif D, Malcolm feat Ellie, Mandy Onassis: Coco Purple Sneakers Full Moon Party: Birdee Num Num Shooters Winter Wonderland DJs: Shooters Ten DMC, Dirtie Cloud DJs, Benibee, Too Shoes, Ill-Kid: Electric Playground

MON 13

Gyptian + guests: The Hi-Fi Trivia and Bar Wars: Birdee Num Num

TUES 14 Deach + guests: Shooters





Now available locally through Australian distributor Jands, the Shure SE215 Sound Isolating Earphone features a Dynamic MicroDriver for a warm, detailed sound with enhanced bass; a detachable, Kevlar-reinforced cable with formable wire that allows for easy replacement and secure, comfortable fit onstage or wherever, and sound isolating sleeves in multiple sizes that provide up to 37 dB of isolation as well as a customised fit.

CREATING THAT DAPTONE SOUND Listen to any of the records that come out of the Daptone Studios in New York City, whether they be from Daptone Records artists like Sharon Jones & The Dap-Kings and The Budos Band or Amy Winehouse and Norah Jones, and you know they’ve been cut in the same space with the same audio aesthetic. It’s nothing to do with either the latest in ProTools technology but then it’s also not about having the latest or best in vintage valve or analogue gear, as house engineer and producer Gabriel Roth made clear to me recently in a long distance conversation about just what makes the Daptone sound what it is. “The key to the approach, as simple as it sounds,” Roth explains, a musician himself though he did study a little audio engineering in college, alongside some music theory and history, “is mostly just to try to find musicians that sound good. Doing something on an eight-track tape machine as opposed to a computer, for example, the important different is not really in the technology itself, it’s not that, ‘Oh, but the tape sounds so much warmer and the digital thing doesn’t have these frequencies’. “I understand those arguments and stuff but I’m not really that dogmatic as far as the whole analogue/ digital thing. I’m a lot more comfortable with tape, I don’t use any computers, but the more fundamental difference in the approach is when you’re recording to an eight-track tape machine, it obliges you to be more competent in your craft. It means the musicians have to play better, the arranger has to make the arrangements work, because you can’t go back at the mix and say, ‘Let’s leave the strings in and take the vibraphone out,’ if they’re on the same track. So the producer has to know, before the record’s made, what they’re trying to do, really have that idea of what everything should sound like and how things should be mixed together and who should lay out of the bridge, that the tempo’s right and the tuning’s right, the engineer has to get the sounds right because what’s going on tape is what’s going on the record.”

SOUND BYTES The new album, The Rock And The Tide, from Joshua Radin, was produced by London-based Swede Martin Terefe (James Morrison, KT Tunstall, Ron Sexsmith) at his Kensaltown Recording Studios as well as Little Big Room in Nashville, and mixed by Mark Endert (Maroon 5, Rhianna).

WA duo TIM & JEAN have just filmed the clip for their next single, Don’t Stop, and MICHAEL SMITH was there to see them in action.


NSW central west five-piece RVQ travelled to Camperdown to record their debut, Monkey Minders, at Free Energy Device Studios, with Richard Belkner, the album then mastered by Meredith Brooks at Farout! Productions. Nick Dalton of Half A Cow Records recently put his producer’s hat on and took young Sydney band The Kill City Creeps into Damien Gerard in Balmain to mix and master their debut EP. Dereb The Ambassador’s eponymous debut CD was recorded to tape by producer Tony Buchen using only pre-1970s gear at Electric Avenue Studios in Camperdown. As it happens, Buchan – whom singer, songwriter and player of, the masenko, Dereb Desalegn, met back in 2006 when he was working with Melbourne songwriter and drummer Nicky Bomba, now with The John Butler Trio – is a student of classic Ethiopian soul music.


How that relates to freezing your nuts off in the Bondi Icebergs pool is, one supposes, what poetic licence is all about. Either way, it’s a long way from the genesis of either the song or the album from which it comes, Like What, which was recorded in the still just 17-year-old Capotorto’s bedroom at his dad’s place in Mandurah, a coastal town south of Perth.

“We’re using 5D and 7D Canon cameras, both for above water and we’ve got an underwater photographer who’s also using a 7D,” Sally Quade, the clip’s producer, who, with director Ben Jae, owns the production company, Silo Collective, based in Bondi, explains. “They’re stills cameras but you can obviously use them for moving picture, and it just means there’s a lot more versatility in the movement that you can capture, so they’re just great for a shoot like this where we have to keep crew minimal and there’s a lot of movement in a short amount of time. “There’s a whole range of reasons why you don’t use film anymore. The turnaround for pop videos has to be pretty quick and using more mobile cameras is just such a dream. You achieve a lot more in a shorter amount of time than you would if you had to use a film camera, where you have to do a set-up, pack up everything up, do another set-up. So this just allows a lot more versatility and it’s really perfect for a music video that has to be shot in one day – and in this case one morning.” The crew began filming at 6.15am, when the sun came up and the pool was empty and continued as it slowly filled with the rising tide and those crashing waves until Ayre and Capotorto were completely immersed. “The editor will then transfer all the files and start compiling everything and within the next two weeks we’ll have the whole edit done and delivered. We won’t use the sound recorded today of course, but you synch in the actual song and we also speed up the track so it’s double-time, so they do 50 frames per second when they shoot with the faster track. It just gives a better product. Ben came up with the storyboard for the clip.”

Silo Collective is still a very new production company, this Tim & Jean clip only their fourth so far, their first being Own This Club for Marvin Priest, with Tony Prescott sharing directing duties, as he did when they then went to Cambodia and shot Heartbreak Made Me A Killer for Short Stack. The clip before this shoot they did Havana Brown’s We Run The Night. Their previous clip, for I Can Show You, saw Tim & Jean sweltering out in the desert in 40 degree heat, something they were obviously missing as they sat on a bench shivering between takes answering Time Off’s questions. Obviously, when the guys wrote Don’t Stop, early in 2010, they were still coming to terms with their sudden popularity courtesy of being Unearthed by triple j, let alone thinking about the visuals that might attend it in a clip. “It was like the third last song we wrote,” Ayre explains, “and it was kind of good to get something that was not about a girl. This is more about things that people can take in different ways. It’s political; you get the people in the streets protesting but when you see crazy stuff in South America or Africa, you see the stuff

“We had just one or two keyboards at the time and we’d just sort of dance around and make songs,” Capotorto explains. “We recorded the album on a small interface into an M Box. We did the first couple of songs, Like What and Come Around, on Garageband, and then moved on to Ableton, which is really good for jamming – you can do things really quickly. So we had pretty simple MIDI set-up, a really dodgy M Audio mic and a Rode NT1A, which has a really high frequency hiss in it, but we didn’t know – somebody just told me that!” “We recorded all the vocals with no pop filter,” Ayre continues, “and we took all the pops out. We got it to a point where we thought, ‘Yeah, sounds alright!’ and then took it to an engineer and he just did some fine tuning and mixing, but really basically just sounding quite similar to the way Jean had it. It’s amazing how little gear we used.” At the suggestion of their manager, who also manages The Panics, Tim & Jean headed off to Soundtrack in New York to have the record mixed by an expat Irishman, John O’Mahoney, who’s worked with David Bowie, Bob Dylan, Coldplay, The Strokes and Metric, with Greg Calbi then mastering it at NYC’s Sterling Sound. “All the production was ours,” Capotorto adds, “just using our ears not really knowing what we were doing. He ran it all through this big analogue desk and had these analogue compressors.” The album, Like What, and single, Don’t Stop, are out now through Universal.


The Harrow & The Harvest, the new album by Gillian Welch, was recorded at her own Woodland Sound Studios in Nashville, Tennessee and produced by David Rawlings. Luke Escombe and his band The Corporation recorded the bulk of their new as-yet-untitled album in a studio called Panoramix just out of Byron Bay, owned and operated by, according to Escombe, “an eccentric Frenchman named Bertrand Lalanne,” who has spent the past couple of years building it. In fact, he’s knocked his house, which is about 20 metres from the studio, down, which explains why Escombe says the first single, Drop Tha Bomb, off the album was recorded “in the hills, next to a pile of rubble and a swamp”!

they do, the way they fight for freedom. I watched a movie called City Of God, a true story, and it makes you realise we’re pretty lucky to be in the situation we are. So the song is mainly for the people who are in those situations just not to stop, to keep fighting, not just in politics but in general life, standing up for your rights.”

here’s a little bit of sun coming through the high cloud over Bondi Beach, but it’s giving keyboards player Tim Ayre and guitarist Jean-Christophe Capotorto – aka WA electro-pop duo Tim & Jean – much relief. They’re in the Bondi Icebergs ocean-fed pool fully-clothed cavorting around a Farfisa organ floating precariously in the water as waves crash over the pool’s edge, Ayre holding a 50s-style mic on a piece of stand, and they’re miming, soaked to the skin and freezing, to their next single, Don’t Stop, pumping out of a poolside ghetto blaster, while two cameramen, one above water, the other in a wetsuit, below, capturing the action for the clip that will accompany the release of that single.

see what kind of heat it’s packing you will notice the highly improved tone. This is provided by both the extra drive and the mods to the ‘tone’ section which allow you to vary your tone from everything between metallic and rough, whilst still sounding natural and smooth unlike many of its other challengers in the market. Cosmetically there aren’t a whole lot of differences to the original, besides the footswitch. The model reviewed had a larger and different coloured LED to that of the original. The best part about the cosmetics is that they sport a big Toyroom logo to let your friends and bandmates know that you don’t mess around with your tone! If you take your overdrive seriously, the Toyroom modded SD-1 is definitely the way to go. Ryan Mortimer

The Boss SD-1 is known as the compact pedal that annihilates all of its rivals in terms of build quality and tone. While it is not the most commonly modified pedal, Toyroom has decided to show us what this pedal can really do with a bit of TLC, mad scientistantics and some solder. Straight out of the factory you can be sure that this pedal will offer you a virtually bulletproof casing. If this isn’t enough for your resistance worries you will be overly satisfied to know that there is a limited five-year factory warranty. While the modifications aren’t overly obvious, whilst making eyes with the pedal you will start to become very familiar with its workings. You will firstly notice the original footswitch has been replaced with a much more durable, button-push styled switch similar to that of an amp channel selector or a big muff. Once you plug Toyroom’s version of the SD-1 into your chain the modifications are obvious before you even stomp on the switch. The added true-bypass works well, showing no signs of extra noise messing around with your sound. Once you stomp that bad boy and

Supplied by Toyroom Music; available from and Allans Music.

JET CITY JA20H – MODDED BY TOYROOM This review could be summed up in less than two paragraphs quite simply, because who wouldn’t want a Soldano designed amp for less than $1500 (or thereabouts)? Yes, that’s potentially less than a quarter of the price. Who wouldn’t want the craftsmanship and exotic tone created by none other than the one and only Mike Soldano? Instead of stopping with the ever-evident “I want one, tell me how?” let’s dive deeper into this seemingly impossible task. Soldano is now involved with Jet City amplification, allowing them to create a whole new line of amplifier heads and combos at a sizably decreased price to the original due to being manufactured in China. Don’t run away because it’s a Chinese built product, the JCA20H is constructed of 16 gauge rolled steel and loaded with audio-grade metal film resistors… I mean come on, did you really think Mr. Soldano would put his reputation on the line for nothing?

The signal path is short and simple, running through your standard bass, middle and treble controls, master volume and presence controls and also a gain knob which is quite possibly the big seller on the JA series. The gain in this amp can turn a seemingly pristine guitar tone into an aggressive crunch or even a deadly growl! Toyroom’s addition of the “amplitube” knob on the back of the head allows you to even further send your guitar tone to the deep depths of hell giving you a brutal, Mesa challenging, tonal punch in the face. With the option of two 8ohm outputs or one singular 12ohm output, this head is ready to roll with nearly any cabinet setup you may be planning. It also features switchable power for use between countries which can be extremely helpful also. The added switches allow you to shape your tone from thin to full and dry to wet whilst also allowing you to switch off the mods completely meaning you are free to use the amplifer in its modded or factory state. Toyroom has hit the nail on the head with this series of modifications on the JC20 Head. We should all be waiting on the edge of our seats for the next line of products they release… It’s going to be insane. Ryan Mortimer Supplied by Toyroom Music; available from and Allans Music.



SONS&DAUGHTERS NEW ALBUM MIRROR MIRROR Glaswegian band Sons & Daughters are set to drop album number three. Mirror Mirror moves away from the dense guitar-rock of their Bernard Butler-produced The Gift and finds them delving into darker, post-club territories. With Optimo’s JD Switch at the helm, Sons & Daughters unleash their inner beats (hey, they had previously covered Adamski’s Killer). Album teaser Silver Spell recalls the eerie percussive minimalism of Shriekback and sets the tone for their new life through the looking glass. Band members admit they’ve been influenced by both Argento’s Italo horror classic Suspiria and an unhealthy interest in gory murders. Death becomes them…



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Time Off Issue #1530  

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

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