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BOY&BEAR’S MOONFIRE Already armed with a swag of accolades, Sydney’s Boy & Bear are perfectly placed to take things to ‘the next level’ with their first full-length effort. The freshly-minted Moonfire finds Boy & Bear shifting effortlessly into darker, deeper moods; building huge atmospheres that owe as much to the intensity of bands like The National and Arcade Fire as they do to the sonic artistry of Neil Young and Bob Dylan. Dylan First single Feeding Line is already a Triple J staple and Moonfire guarantees more to come.





GIVEAWAYS Matthew McConaughey stars in the legal thriller, The Lincoln Lawyer, as a low-rent defense attorney named Mickey Haller. Most of the time, Mickey barely keeps his head above water, representing low-life clients and working out of the back of his car. He thinks he’s landed the case of a lifetime when he’s hired to defend a rich playboy (Ryan Phillippe) who stands accused of rape and attempted murder, and eagerly accepts his new client and the massive payoff that’s sure to come with him. But Mickey soon discovers that he’s become ensnared in a twisted plot where no fee in the world is high enough to pay for the deadly workload, and his only hope of survival may just lay in his own skills as a long-practiced doublecrosser. Thanks to Roadshow Entertainment we have five copies of The Lincoln Lawyer on DVD up for grabs! Available to rent and own on DVD from Thursday Aug 4. Jim Ward, founding member of seminal posthardcore band At The Drive-In and lead guitarist/ vocalist of Sparta will be showcasing his breathtaking debut solo record, Quiet In The Valley, On The Shores The End Begins this August along the East Coast. You can catch him at the Alhambra Lounge on Saturday Aug 13 supported by Jud Campbell. One lucky reader will score a double pass to the gig and a copy of the album! Entrants must be 18+. Pinback has grown to become one of the most

popular and well-respected underground pop bands of the last decade. Over the course of four albums in a dozen years the group has mined, perfected, done and undone more brilliant melodies in any one album than most bands can conjure in their entire careers. Their hybrid of pop, folk, rock, reggae and subdued funk creates its own unique subgenre. Don’t miss your chance to catch these indie stalwarts as they hit Australia for the first time. They play The Zoo Thursday Aug 18, and we have got two double passes to give away! Entrants must be 18+. What can performing Macbeth teach a bunch of young offenders? Will it be a Shakespearian version of Sinning for Dummies or will it teach them something positive about themselves? Macbeth for Wayward Girls is from the team that brought you Shakespeare’s Girly Bits, My Pet Human, Hamilton Hall the Musical and Tuckshop. The Front Row Theatre production tells the story of a group of ‘criminally convicted’ girls in a community service program, who put together their own version of the 400 year old tragedy. You can catch it at the Hamilton Town Hall Friday and Saturday nights from Aug 6 – 27 at 7.30pm and matinees 2pm Saturday Aug 13 and Sunday Aug 21. We have got a double pass up for grabs to the opening night on Saturday Aug 6! Please note: this play contains strong language and adult themes. Check out our Facebook page for more giveaways!



Get your music industry news from The Front Line 10 Lowdown – news, opinions, tours, Backlash, Frontlash 12 Boy & Bear are in it for the long haul 16 If there’s one thing Funeral Party can teach us, it’s that drinking in parks is always a good idea 18 Trivium are determined to remain the kind of metal band who does things differently 19 We get right inside the Dropkick Murphys’ new record Going Out In Style 20 The legendary Robbie Robertson gives us an insight into his recent unique creative process 22 It’s time to get to the bottom of why it’s taken so long for us to hear a new record from The Panda Band 23 Alan Boyle looks back on an exciting few years and looks forward to a few more 24 Things have fallen into place quite nicely for Helm thus far, but what does the future hold? 24 Cut Off Your Hands well and truly have their groove back 24 Blazin’ Entrails are a rockabilly band with a bit of a difference 24 We find out about the many strings to James Intveld’s bow 26 Oceanics have set their sights high 26 We find out the myriad experiences that have informed Joelistics’ solo debut 26 Forbidden have regained their focus are are back to their best 26 On The Record has the latest, greatest and the not so greatest new musical releases 28 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 28


Get the scoop on what’s happening This Week In Arts Ballet Revolución gives new meaning to the term Cuban Heels Cultural Cringe reflects on some of the bizarreness following Amy Winehouse’s passing If you’re as ignorant as we are, you really ought to try this year’s Iranian Film Festival The Looking Glass will teach you how to deal with performance art Sarah Ogden tells us about relating to her character in Moth Luisa Rossitto talks about pressure in the lead up to her Jungle Fever show









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Get the drum on all the coolest happenings in local music last week, this week and beyond in Live Dan Condon gets the dirt on the blues scene from the Roots Down Lochlan Watt gives you brutal metal news in Adamantium Wolf Sarah Petchell has enough punk rock to Wake The Dead Adam Curley cuts sick with another musical pop culture rant in The Breakdown Cyclone has the wide urban world covered with some OG Flavas 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 Contributing Editor: Dan Condon Front Row Editor: Daniel Crichton-Rouse Intern: Katherine Edmonds ADVERTISING Advertising Account Executives: Melissa Tickle, James Tidswell DESIGN & LAYOUT Cover Design/Designer: Stuart Teague ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Justin Grey, Mark Beresford, Adam Curley, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Sarah Petchell, Helen Stringer, Brendan Telford, Rip Nicholson, Cyclone, Amber McCormick, Brad Swob Front Row: Baz McAlister, Mandy Kohler, Lauren Dillon, Adam Brunes, Matt O’Neill, Mitch Knox,


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












through the label earlier this year. Last week they were also invited to release a new track on the inaugural compilation, Mad Decent Volume 1, which is available through Beatport. Kito, who had the honour of being handpicked by Beyoncé to complete an official remix for her, is also billed on the Mad Decent Block Party line-up which features Diplo, Das Racist and DJ Sega.

Damon Albarn looks set to bring his latest musical Doctor Dee to Australia for the Sydney Festival, after festival management confirmed they’d been to the Manchester International Festival to see it. The Blur and Gorillaz frontman collaborated with theatre director Rufus Norris for the opera, based on the life of 16th century alchemist, astrologer and spy John Dee. In a wrap up of the event the Manchester Evening News reported, “Dr Dee itself is also likely to go to Sydney.” Sydney Festival’s Program Manager Danni Colgan commented to The Front Line, “On a recent trip to the UK I saw Dr Dee, amongst many other exciting shows, at the Manchester International Festival. Damon’s created an exciting work! It would certainly sit very well within a Sydney Festival program and could well be something we would consider for future. In the meantime we’ll be launching our 2012 program on Nov 2.” Albarn performs live during sections of the show.

WEAR REGURGITATOR’S NEW ALBUM Regurgitator will release new album SUPERHAPPYFUNTIMESFRIENDS on PlayButton – a pin you can attach to your clothing and plug headphones into. The PlayButton features seven EQ presets and basic skip buttons. The album, out Friday, will also be released on vinyl, CD, cassette and as a digital download.

BIGGEST TOUR EVER ENDS The 360 tour from U2, which played to 7.1 million fans in 30 countries across five continents (including Australia) over 26 months, came to an end last week in Canada. It has been dubbed the biggest music tour of all time. Live Nation’s Chairman of Global Music and CEO of Global Touring Arthur Fogel said, “This tour was a brilliant success on every level and all involved should be extremely proud. U2 once again have set the standard for achievement – perhaps for all time.” The tour is considered the biggest in terms of box office gross and attendance.

RE-ENTRIES RULE CHARTS The ARIA Album chart featured a lot of movement this week, with Amy Winehouse and Cold Chisel both re-entering the top 50 en masse. Winehouse’s Back To Black re-entered at 6, a joint of Back To Black and Frank 18, and Frank made it in for the first time at 23. Chisel’s albums appeared in the form of East 19 and The Last Stand 39. The Living End was the highest debut with The Ending Is Just The Beginning Repeating at 3, behind Lady GaGa’s Born This Way at 2, and Adele’s 21 top, while Pnau managed 13 with Soft Universe. John Butler Trio’s Live At Red Rocks was 22 and The Ten Tenors’ Double Platinum 24.

MORE ACTS FOR INDIGENOUS AWARDS Iwantja and Song People Sessions With Shellie Morris have both been added to the line-up for the National Indigenous Music Awards, which will take place at the Darwin Botanical Gardens Friday Aug 19. Dan Sultan is billed to headline the event.

SYDNEY PRODUCER WINS GLOBAL AWARD New South Wales’ Celia Adams has had her album Wildflowers awarded the Production Of The Year award at the European Country Music Association Awards. The album was produced by Stuie French. Adams said, “I am so thrilled that my producer, Stuie French, has finally been recognised internationally for his incredible talents. Stuie is not only one of the finest guitar players in the world, he has absolute integrity when it comes to the albums produced at his Swingin’ Doors Studio in Sydney.”



LANIE LANE RECORDS WITH JACK WHITE Sydney starlet Lanie Lane has “finally” revealed that she recorded two tracks in Nashville with ex-White Stripes leader Jack White. Announced through her Facebook, the news was followed with a press release announcement. White produced Ain’t Hungry and My Man for Lane and played bass on the former, which goes to radio next week. Both tracks are to be released as a 7” single as part of White’s Blue Series, an initiative of his label Third Man Records. “It was an honour to be asked by Jack to record with him at Third Man,” she said in a statement. “I was so inspired by the whole process and by how raw and instinctively everything happened… I got so much out of the experience and I’m very proud of the end result.” Lane is signed to Ivy League locally and will release her debut album in October.

BIG SOUNDS FOR LITTLE MUSOS An offshoot of the BigSound music industry conference happening in Brisbane, Little BigSound is a one-day forum for young musicians looking to put their foot in the door of the industry. The day is designed to build skills and provide information to young people as well as generate networking opportunities. Taking place Saturday Sep 10 at The Judith Wright Centre of Contemporary Arts, the conference will run from 9.30am to 3.30pm with a showcase kicking off from 5pm to 8pm. Speakers and bands are to be announced, but tickets are on sale now through QMusic’s website.

SOUNDWAVE LAUNCHES RECORD LABEL 3WISE Soundwave, the promoter behind Soundwave, Soundwave Revolution and Harvest, has confirmed the launch of new record label 3Wise, which will focus on releases from international bands. 3Wise’s label manager Jeanna Sims joined from defunct label Stomp to lead the project over half a year ago. She told The Front Line that they won’t be solely focused on bands that Soundwave tours through its festivals, but instead that the label is “absolutely open”. As for local artists, Sims said, “Not as yet. But it’s not something that we’re canceling out.” 3Wise has releases from Fireworks (Gospel) and Zebrahead (Get Nice! ) out Friday, Vanna (And They Came Baring Bones) and Chelsea Grin (My Damnation) Friday Aug 12 and Iwrestledabearonce (Iwrestledabearonce EP) out Friday Aug 26.

RAVE FILM ENDS IN RIOT Meant to be the premiere of documentary Electric Daisy Carnival Experience (an American rave/dance music festival), the Hollywood gathering ended in riots last week. After the screening was cancelled, people moved to where DJ Kaskade was performing a block party set but did not disperse when it ended. According to the LA Times, police fired non-lethal beanbags into the crowd and set up a “mobile jail”. Amidst the drama Kaskade tweeted, “EVERYONE NEEDS TO GO HOME NOW! I DON’T WANT THIS TO REFLECT BADLY ON EDM OR WHAT WE ARE ABOUT. BE RESPECTFUL AND CHILL OUT!!!”

FRESHLY INKED Melbourne singer/songwriter Lachlan Bryan has signed to Core Music, and is currently in the studio recording his debut solo album with Rod McCormack. The frontman of The Wildes, Bryan’s solo album is set to feature appearances from Kasey Chambers, Bill Chambers, Catherine Britt and Kaylah Anne. Sydney’s electro-pop outfit Tales In Space has called on Mucho Bravado to take care of PR needs for the debut full-length album, which comes after two EPs. The first single from it is Paper Plane, out this week.

OPERA HOUSE RELEASES SHIP SONG TRIBUTE The Sydney Opera House has released the music video for their Ship Song Project, which has been 12 months in the making. Over that time artists performing at the Sydney Opera House were asked to sing Nick Cave’s The Ship Song under the directions of director Paul Goldman and arranger Elliot Wheeler in a tribute to the iconic venue. The music video has been released on the internet, with a fly-on-the-wall documentary, narrated by Guy Pearce, to air on Foxtel in the future. Artists featured include Neil Finn, Kev Carmody, Sarah Blasko, Angus & Julia Stone, Paul Kelly, The Temper Trap, Martha Wainwright, Katie Noonan, Teddy Tahu Rhodes and Daniel Johns with backing by the Sydney Symphony, Opera Australia, The Australian Ballet, Bangarra Dance Theatre, Bell Shakespeare Company and the Australian Chamber Orchestra. You can see the video at CEO of the Sydney Opera House, Richard Evans said, “We set out to create a tribute to the House’s role in the global creative community – a love song to creativity if you wish. We wanted to give people everywhere the opportunity to experience the creative genius that makes this place tick.”

PERTH DJS ON MAD RUN Little known on Australia’s East Coast, Perth DJs Kito and Reija Lee are threatening to become two of the country’s biggest names in dance. After signing to Diplo’s lauded Mad Decent label recently, the two (usually found collaborating) released a four track EP

Morrissey has found himself at the centre of controversy again, after making remarks on stage that compared the recent Norwegian massacre to animal cruelty. The staunch vegetarian was recently criticised for having security search fans for meat at a recent show and at a concert in Warsaw last week the 52-year-old said the massacre, in which 76 people died – many of them children – was “nothing” by comparison. Prior to his song Meat Is Murder he said, “We all live in a murderous world, as the events in Norway have shown, with 97 dead [now revised]. Though that is nothing compared to what happens in McDonald’s and Kentucky Fried Shit every day.” Following media coverage a spokesperson for the ex-Smiths frontman told the Guardian that “There is no more to say on the matter, thank you.”

EVERYONE WATCHING HAMISH & ANDY’S ‘DUD’ SHOW The new television show for radio comedy duo Hamish & Andy, Hamish & Andy’s Gap Year, debuted to strong ratings last week, attracting 1,456,000 viewers nationally. Critics were not as forthcoming though, with some suggesting that the show will be the latest in a string of comedy duds for Channel Nine this year. “Gap Year was the duo’s stab at a Tonight show. A very bad stab,” a Herald Sun review splashed across News Limited websites read. “It really was radio with pictures – big on talk, short on laughs. The opening was painfully slow.”

BIDDING FOR EMI UNDERWAY The deadline for those wishing to place bids for major label EMI was last weekend, with many of the bidders for Warner – which was sold in May – believed to have tabled bids. That includes Universal Music Group (after the recorded music operations), Sony Corp (for EMI Music Publishing to merge with Sony/ATV Music Publishing), BMG (EMI Music Publishing and catalogue masters) and Warner’s new owners Access Industries (to merge EMI with Warner). Other bidders are believed to include Platinum Equity and the Gore Group, MacAndrews & Forbes (billionaire Ronald Perelman’s investment arm) and Oaktree Capital Management. It is believed that Citibank, which is in control of EMI and its sale, will use these initial bids to gauge value and decide whether they sell it as a whole or as parts.

PEATS RIDGE: “WE’RE BACK” The Peats Ridge Festival is now accepting submissions from artists to play at the festival, with director Matt Grant telling this column that the event is back to a healthy size after “challenging” years. Applications are being taken at until Tuesday Aug 30. Expecting up to 1,000 applications, Grant said they’d received 50 on the first day and that applications are likely to make up 30 to 40 percent of the eventual line-up. “There’s not that many opportunities for artists to apply for festivals,” he said. “It’s a big part of the festival.” The festival takes place at Glenworth Valley over New Year’s Eve and was cancelled in 2007 due to extreme weather. Grant said, “It’s turning around now. It’s been challenging, [but] it’s been challenging for all festivals… We’re back to the size we were [prior], but it’s taken that time to do so.” The event will take place Thursday Dec 29 to Sunday Jan 1, with a line-up to be announced in “weeks rather than months”.


PUTTING THE COMMUNITY IN RADIO With 4ZZZ’s next RADIOTHON just around the corner, the station’s keen to remind you that they’re much more than just a radio station. As co-manager MICHELLE BROWN tells SCOTT FITZSIMONS, they’re part of your community.

(there’s also concession, band and passionate prices) for a year’s subscription. That not only allows listeners eligibility to prize draws and benefits, but provides them with the opportunity to get involved with the station. Public subscriptions are the bread and butter of community radio, and 4ZZZ’s Radiothon the biggest push to generate them. “We have the one annual subscription drive, that’s basically so we can really do that one concentrated push per year to try and get as many people subscribing,” says Brown. “They’re annual subscriptions, so it’s better to do it once a year and have other fundraising opportunities throughout the rest of the year. And I guess the idea is to concentrate in the lead up to get some really good prize as incentives for people to subscribe.” In recent years the average has been a little over 2,000 subscribers for the period, but with a huge prize list for the period they’re hoping to push well past that. “We’re always hoping for the best,” Brown laughs. “We’d be happy with 2,000 subscribers, but we’d be really, really happy if we could get 5,000 subscribers this year, that would be ideal. We’ve got $70,000 worth of prizes on offer, so we hope that we can raise over $70,000 in funds because that will really help us with running costs.


ith 36 years of history and approximately 95,000 listeners per week, community radio station 4ZZZ is ingrained in Queensland’s music scene (and as is characteristic of the state, it’s arguably more ingrained than equivalents elsewhere around the country). Not only a provider of fine tunes and events, 4ZZZ is an integral part of the community, a stance evident through its approach to this year’s subscriber drive, Radiothon.

our goals in the past 12 months is to make people focus on not just the radio, but about the community aspect of community radio. It’s not just about being on air, it’s about putting on events and fundraisers and offering incentives for local business and partnering. And I think that’s what we really wanted to concentrate on this year, and also with our theme Streets Of Our Town, to make people realise it’s not just about sitting, listening to your radio but getting out there, being pro-active, embracing community spirit.”

“We have realised in the last few years,” says the station’s co-manager Michelle Brown, “that, the same as the print and press, for radio also people are questioning whether its long-term existence will continue. And I guess one of

The drive begins this Saturday (kicking off at midnight following Friday’s launch party) and will run for ten days until Monday Aug 15. As a community station, 4ZZZ relies on the public pledging their support by paying $55

or independent media in Brisbane... It’s not just pushing the whole independent music, but it’s also the news and current affairs aspect and our specialist shows and how they support different groups. This year a lot of our shows are trying to organise special programs – getting in guests or going out, one of our shows is doing a broadcast from a backyard, and we’ve got another broadcast happening at the Chinatown mall with markets and things.” The station has a niche, summed up in key words like youth, alternative and independent, but they’re not niche within their scope. As much as music, news and current affairs have always been a big part of station. “It’s been a big part of our history, social commentary on things that are happening, especially in Southeast Queensland,” says Brown. “We never want to lose sight of that, because the station’s also about providing training and access to youth, so we have a lot of journalists who are at university do their internships here and they’re the ones gaining experience and broadcasting our current affairs.” So in exchange for their community service the station are asking for the public’s support in return. It’s no secret that it’s been a tough few years for radio.

“Back in the day before internet there were a lot of subscribers because there wasn’t so many outlets for people to show support. I guess the attention span these days of individuals is taken up by so much online that you’re fighting more to get into their consciousness. It has declined from the mid-90s to 2000s, but it has held a steady pace for the last ten years or so.”

“We’ve held it together,” Brown enthuses. “Our thing is only being able to pay two to three staff, and we’ve always wanted to grow that, but the funds are never there. We haven’t felt the hit but also haven’t felt the growth. Community radio doesn’t get any government funding and however many stations in Australia, over 100 community radio stations, are all fighting for the same grants.”

The community consciousness is exactly what 4ZZZ is aiming at this year, to remind and reinforce that they’re more than just a radio station.

Support community radio and 4ZZZ and subscribe during next week’s Radiothon – institutions like the Zeds can’t survive without your continued support.

“Our mission statement is about supporting not just on air, but our community and marginalised groups,” Brown continues. “Obviously [focused on] youth and alternative media, we’re definitely an independent media source and we really try and push that for people. Especially with our amazing news team, we really do offer a different

4ZZZ’s 2011 Radiothon – Streets Of Your Town – happens from Saturday Aug 6 to Monday Aug 15. Go to for more information.


IN BRIEF On stage in Warsaw last week, Morrissey caused great controversy by referring to the recent Norway massacre and saying “that is nothing compared to what happens in McDonald’s and Kentucky Fried Shit every day.”

GET GLITCHY It seems like Liverpool’s super pumped-up pop kids The Wombats were only just here, but that doesn’t mean we’re not excited about their return to Brisbane, which we’re pleased to announce is happening very soon! The band have always gone down well in Australia – and not just because of their name – their super infectious brand of jaunty indie-pop is incredibly fun and it goes down a treat in the live setting which we just can’t get enough of. Proof of that comes with the word that the band have already announced their return to Brisbane for a second run of dates on the back of their sophomore album The Wombats Proudly Present… This Modern Glitch. They will be joined by Sydney veterans Faker and up-and-coming super talent Owl Eyes when they burst into the Arena on Thursday Oct 13. Tickets are $79.90 + bf and available through Ticketmaster from Friday morning.

EKKA ROCKS AGAIN Oh man, Ekka is almost here. It means winds, it means the flu, it means more Bertie Beetles than any single human should ever consume in their life and it means it’s time to party! The organisers of Queensland’s biggest annual celebration have incorporated a seriously impressive musical element once again this year and have enlisted two big shot bands to make sure that Ekka rocks like never before. First up you have the mighty Grinspoon getting everyone fired up for a week-and-a-half of Ekka frivolity as they tear up the Auditorium on Friday Aug 12. Then, to close the festivities will be none other than Grammy award winning pop-prog Aussie heroes Wolfmother on Saturday Aug 20. These acts are included in your regular ticket price, so why not get amongst it?

IT IS DEAD, IT IS DEAD After seven years we’re all very sad to be saying goodbye to ABC TV’s Spicks And Specks, but at least we’ll get a chance to do so in fine style as they bring the Spicks And Speck-tacular up our way for two enormous nights of riotous entertainment. Adam Hills, Myf Warhurst and Alan Brough hit the road with house band The Spektors – comprised of Kit Warhurst, Gus Agars, Steve Hesketh – for shows that will incorporate music, comedy, trivia and even a bit of badly choreographed dancing! It plays the Brisbane Convention and Exhibition Centre from Monday Nov 28 to Wednesday Nov 30 and the Gold Coast’s Convention & Exhibition Centre on Saturday Dec 3. Ticket prices range from $65 to $99 and they’re available from Ticketek from Monday morning.

The Flaming Lips and Weezer are literally sharing stages in New Jersey and New York this week, setting up their gear alongside each other and playing song-forsong at the dualheadline shows. This has resulted in collaborative renditions of Weezer’s Undone (The Sweater Song) and Flaming Lips’ She Don’t Use Jelly.


MONKEYS COOLER THAN EVER Half a decade ago they were the most hyped band on the planet; but now, four records later, they have gone beyond that and become one of the most loved bands in modern indie rock. Not everyone thought that MySpace darlings Arctic Monkeys were going to go the distance, but they have certainly proved all naysayers wrong with their latest release Suck It And See topping charts all over the place and, more importantly, being jam packed full of ridiculously rad tunes. The band are still firing on all cylinders as far their live shows go, so it’s very exciting to hear of their return to Australia for the Falls and Southbound festivals, but even more so to hear that they are making their way up to Brisbane while in the country, playing the Brisbane Riverstage on Saturday Jan 14. Tickets are available from Ticketmaster from 9am Tuesday.


Mike Love has confirmed to Billboard that there is a new Beach Boys album planned for release to celebrate the band’s 50th birthday. Trips, the eighth album from influential underground punks Samiam, will be released on CD through Hopeless Records/UNFD and vinyl through Poison City Records on Friday Sep 16. It is only the band’s second album in over ten years. Those wishing to purchase SUPERHAPPYFUNTIMESFRIENDS – the new album from Regurgitator, which is released this Friday – can do so on CD, vinyl, cassette or Playbutton (a wearable button which headphones are plugged into to hear the music).

The initial bidding process for the sale of EMI is underway, with all major labels believed to be interested in buying the company.

EMBRACE THE HURT Once again Jack Ladder has cemented his place as one of Australia’s truly adored indie rockers with the very different, but very cool new record Hurtsville with his band the Dreamlanders. It is an honest record, sonically atmospheric and deep enough to really warrant plenty of repeated listening. It only makes sense that Ladder and co would hit the road with some fellow hyped Aussies and that’s just what they’re doing when they embark on a co-headline tour with Sydney’s Ghoul, who are also turning plenty of heads at the moment with their brand of electronic informed indie rock. Together they will bring a rich array of sounds to venues across the nation; up here they play The Loft, Gold Coast on Thursday Oct 14, the Step Inn Saturday Oct 15 and Byron Bay’s Great Northern Hotel Sunday Oct 16. Proudly presented by Street Press Australia.

STILL SWEET, STILL DARK With the release of their long-awaited self-titled album, the follow up to 2003’s Sweet Nothing, Tex Perkins and The Dark Horses proved they were more than up to the task of replicating what made their previous three albums so damn special. Perkins is still a masterful lyricist with an incomparable voice and the band play as tastefully as ever. Brisbane audiences were unfortunately let down by news that Perkins and co’s scheduled run of shows at the Twelfth Night Theatre had been cancelled, but it has just been announced that the band will indeed be launching the record in fine style in our city fairly soon, with a date booked at the Judith Wright Centre on Friday Oct 7. This will be followed by shows at the Mullumbimby Civic Hall on Saturday Oct 8 and the Caloundra Music Festival Sunday Oct 9. Also, Perkins stars in the hugely successful (and very, very good) Man In Black Johnny Cash show from Wednesday Aug 31 for just two weeks at The Twelfth Night Theatre.

AWESOME ALLITERATION They’re without a doubt the most promising heavy band to come out of Brisbane in a very long time and The Amity Affliction, pictured, are looking to cement their place as one of Australia’s finest live acts with another blockbuster tour set to smash up venues all over the nation this October with some very special guests in tow. The UK’s Asking Alexandria were a smash hit of this year’s Soundwave festival and it became pretty obvious that both of these aforementioned bands were going to work well together, thus exciting many kids of all ages about this forthcoming Fuck The Reaper tour. Opening things up will be the Gold Coast’s own Skyway and you can catch all three of these devastatingly good live bands at The Tivoli on Wednesday Oct 5 (all ages) and Thursday Oct 6 (18+). Tickets are available from Ticketek from Friday morning.


SECRET HAZE One of Brisbane’s most successful musical exports in history is the wonderful Darren Hayes and, even in a post-Savage Garden world, he is an artist in huge demand across the world for his undeniable pop music smarts. His fourth solo record Secret Codes & Battleships is set for release in October of this year and he is making sure his home crowds are among the first to hear these songs in the live environment as he embarks on The Secret tour throughout November. He will be dropping by The Tivoli on Saturday Nov 5; you can grab tickets through Ticketek right now for $60 + bf and when you purchase your ticket you can also grab yourself a copy of his Talk Talk Talk EP to get a bit of a taste of what’s to come.

The much-hyped Townsville-bred indie ensemble The Middle East announced their immediate disbanding onstage at Splendour In The Grass on Sunday evening. The ARIA charts saw a number of re-entries from both Cold Chisel and Amy Winehouse last week following the former’s tour announcement and the latter’s tragic death. Jimmy Barnes has been ordered by doctors to rest for four weeks after falling ill last week but is expected to make a full recovery in time to start rehearsals with Cold Chisel for their tour later in the year. Barnes underwent heart surgery in 2007. Otis Redding has appeared on the Billboard Hot 100 chart for the first time in over 42 years with his appearance on the new Kanye West and Jay-Z single Otis. Searing garage rockers Hot Snakes have reformed after splitting in 2005. Meat Loaf has collapsed on stage in Pittsburgh last week, it was later revealed to be an asthma-related fainting. He tours Australia in October and will perform at this year’s AFL Grand Final.

Probably best known to most as one of the founding members of the Bad Seeds, Hugo Race has, along with his ensemble True Spirit, released no fewer than 14 records in the past couple of decades. While he was born in Melbourne, Race has spent the vast majority of his time living in Europe and the USA so every chance that we get to see him out here ought to be treasured. He returns to Australia on the back of his first ever record as a solo singer-songwriter, this year’s stunning Fatalists and as such he is coming all by himself to perform just a couple of intimate shows. Brisbane audiences are lucky enough to get one of them, it happens at The Zoo on Thursday Aug 25. Tickets are available from OzTix now for $18.40.

ANOTHER NOTE Most probably know him as the keyboardist and guitarist for The Cruel Sea, but James Cruickshank has been busier as a solo artist in recent times. He has just completed work on his third solo album Note To Self, another release that sees him cement his reputation as the bohemian bard of the bush. He is embarking on a very brief Australian tour in support of the record before the Bangalow dweller heads back to Europe, where he has had both audiences and critics gushing over his records and live performances. You’ll be able to see him in action at the Byron Bay Community Centre on Thursday Aug 4 and the Beetle Bar on Friday Aug 12 (with The Stress Of Leisure and The Scrapes).

MINDS RACING How can you make this year’s Gold Coast 600 car race even better? Adding Simple Minds to the equation, obviously. Yes, the 600 Sounds music festival is on once again this year in conjunction with Queensland’s premier car racing event and they’ve once again pulled out a diverse range of acts to make sure everyone is well and truly entertained by what they see and hear. The Friday night will feature performances from the likes of Drapht, The Potbelleez, Bag Raiders, Tonite Only and Illy before some more classic acts roll out on the Saturday, that’s when Simple Minds will hit the stage along with Hoodoo Gurus, Masters Apprentices and Eskimo Joe. It all happens at Surfers Paradise from Friday Oct 21 until Sunday Oct 23; tickets for three days are just $136 and that, of course, includes all your car racing action as well. Bargain.

THE GUYS ARE DOLLS Ten years ago, you probably wouldn’t believe us if we told you the New York Dolls were making their way to Australia. But given the band made the trip out here back in 2007 you ought to believe it’s true that they’re coming back once again to lay down their sleazy brand of glam punk for us. The band have just released a brand new record by the name of Dancing Backward In High Heels, only their fifth record since form in 1971 (admittedly they did take almost 20 years off, but still...). The band will be in Australia on the back of that record but you can believe that they’ll roll out the classics like Trash, Jet Girl and Personality Crisis while they’re here as well. Don’t miss these genuine legends of punk rock when they return for a show at The Hi-Fi on Thursday Oct 13. Tickets are available through Moshtix right now for $49 + bf.

GURGE FOR KIDS While Brisbane alternative legends Regurgitator rip up clubs on their forthcoming Annual Sail tour, there will be kids all over the country super sad that they don’t get a chance to see one of Australia’s truly great live bands go at it. But none of them will be in Brisbane, as the genre bending band have just announced that they will also be playing an all ages show while they’re town! The band will be playing an afternoon show with support from Ball Park Music and The Jungle Giants – both local buzz bands of the highest order – at South Bank’s The Edge from 12.30pm on Saturday Aug 20. You can purchase tickets from OzTix right now for just $25 + bf.








































Basement Level - Wintergarden Centre Queen Street Mall - Brisbane City PH 07 3211 9881 FAX 07 3211 9890 Email

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


STIR THE POT You love the Ekka holiday, you love the races and you love dancing. Does this sound like you? Well you’re going to deadset blow your load when you hear that Australian electro-pop masters The Potbelleez have been announced as the special musical guests for this year’s enormous Exhibition Wednesday Races at Eagle Farm Racecourse on Wednesday Aug 17. Tickets start at $27 and go up to $105 for the best package; you can grab one from Ticketek right now.


DEVOTIONAL SONGS With them having been announced for a couple of southern festivals, we were really hoping that we’d get a chance to see The Triffids up in Queensland as well, and sure enough our dreams have come true. In a show titled The Triffids and friends present The Songs of David McComb the band will celebrate the life of one of Australia’s truly great songwriters through his many enduring works; reaching from the early days, through to his most popular material and even some unreleased gems from the latter part of his life. This two-and-a-half hour performance promises to be an incredible experience for any Australian music fan; it hits the Brisbane Powerhouse on Thursday Nov 24. Tickets are available from the venue’s box office right now for $60 + bf.

SIMPLICITY IS KEY Love them of loathe them, you can’t doubt that Simple Plan have managed to come up with one of the year’s catchiest tunes in Jetlag and the band are heading back to Australia in support of the hugely successful record it is taken from – their fourth – Get Your Heart On! Their modern, melodic pop-rock has been capturing the hearts of all age groups since their formation back in 1999 and the band truly are getting stronger as the years go on. When they are out in Australia this time around they will have two of our own most promising young acts in the same vein along for the ride in Tonight Alive and New Empire. Together they all hit The Tivoli on Friday Sep 30; tickets are available from Ticketek as of 9am Wednesday Aug 10.


The guys from Dream On, Dreamer have been busy recording their new album Heartbound, due for release on Friday Aug 5, and have also just finished a stint supporting Avenged Sevenfold, but somehow they’ve found the time to hit the road for another tour to celebrate. Their first single, Downfall, had been very well-received and doubtless the rest of the album will not disappoint, so don’t miss your chance to catch it performed live! They will be joined by special guests The Bride and Hands Like Houses for shows at the Orient Hotel on Tuesday Aug 16 and then an all ages show at Sun Distortion Studios on Wednesday Aug 17, tickets are available through OzTix and on the door.

A FINE FELINE You know him from The Gin Club, Giants Of Science, the Wilson Pickers and there’s a good chance you’ve bumped into him playing a solo set some time in the past 12 years or so. Well it has finally come time for Ben Salter to focus his energies on his solo endeavours with the release of his debut album The Cat. The record is out this Friday but critics have already taken it upon themselves to give him huge praise for what he has put together with the help of producer Gareth Liddiard and a host of fine guests, hell it was even our album of the week in last week’s Time Off. Salter has put together a band to flesh out these songs and he is taking them on the road for a full national tour in support of the album. Home state shows happen at Black Bear Lodge (as a part of BigSound Live) on Wednesday Sep 7, Maroochydore’s Sol Bar Thursday Sep 22, The Zoo Friday Sep 23 and Toowoomba’s Spotted Cow Saturday Sep 24. Proudly presented by Street Press Australia.



What’s with the resurgence in children’s beauty pageants in the news? I thought that we’d established they’re the realm of terrible parents and perverts and crushing for a child’s development? Or was that us watching Little Miss Sunshine for the umpteenth time?

Another year, another great party for Splendour In The Grass. The weather was great, the bands terrific (for the most part) and all and sundry seemed to have an awesome time. Bring on the next instalment!!



Black Bear Lodge – the newly renovated bar at the former site of The Troubadour – opened last week and will be having live music soon! Huzzah! It was so great to walk up those stairs, and the memories of a million benders are still ingrained in the walls. Good times…

Such sad news from The Middle East that their fantastic Splendour set was to be their last ever show. Kudos to them though for making the hard call and not going through the motions, they really did have the world at their feet…


POOR JAMIE You have to feel for The Kills’ guitarist Jamie Hince, who was relegated by many all Splendour weekend to being the trophy partner of that skinny chick. A lot of the news reports about Ms Moss being in the country didn’t even mention his name…


Speaking of rejuvenated Brisbane venues, how cool is it that bands have started being booked at the Arena again? It was a travesty when that place stopped hosting live music, so cool to have another old mate re-open its doors…












In Australia and around the world, music fans and industry alike can’t wait to wrap their ears around the anticipated debut record from Sydney folk stars BOY & BEAR. As frontman DAVE HOSKING explains to TYLER MCLOUGHLAN, the quintet have been very careful in thinking outside of the box that detractors are so keen to shove them into. Photo shoot by CYBELE MALINOWSKI.


omentum is a strange beast in the music industry. Most artists find themselves in a position where they have too little of it to sustain a meaningful career, though the lucky ones find themselves with too much to go around. Sydney’s Boy & Bear have been swimming in the deep end of the latter category since their debut single Mexican Mavis made them the Australian poster boys of harmony ridden indie folk following early triple j support in late 2009, before they’d even had a chance to put an EP together. And though it’s true that Boy & Bear appeared at a key time when Australians en masse were rediscovering their love of folk sounds through the likes of international genre heroes Mumford & Sons, momentum and good timing will only get an artist so far without the backing of solid songwriting skills. “We did 120 shows last year,” says Boy & Bear front man Dave Hosking with a deep exhale. “We didn’t stop, like even when we stopped touring we were home writing and it was pretty full on. And then after all that, about six weeks before the record [was due to be recorded], I went on a bit of a writing binge and ended up rewriting about 80 percent of the record.” The late change of heart was a reactionary move to quell the speculation that Boy & Bear weren’t entirely a beast of their own making. It was a gutsy play, though considering the robust and varied flavours found within their debut album Moonfire – due to hit shelves this

week – it was a defiantly clever shift designed to supersede any preconceived notions of what is currently understood to be the trademark sound of Boy & Bear.

“All the shit we copped last year in regard to associations with so many other indie folk bands, we sort of learnt to take that in our stride but I really wanted to at least make somewhat of a statement on this record to really move away from that and to try and define more so what we’re about and what we can do,” Hosking admits. “And I think that a lot of last year was digging really deep into my listening catalogue as well as all the guys, and just pulling from much wider inspirations. You can’t do that overnight and it almost seemed that for six to eight months there were sort of ideas there, and different ideas there, that weren’t quite gelling. And for some reason come January, there was just a moment of clarity where everything came together and we had a good run and that literally is what the record is now,” he says with a sense of relief. Refreshingly, Hosking and his cohorts aren’t afraid to address the flack head on, instead drawing inspiration from it. “I was a huge fun of all those bands, those indie folk bands that came out of the States a couple of years ago – Midlake, Fleet Foxes, Grizzly Bear and Band Of Horses. I think there’s a danger in regard to, I guess being influenced by contemporary artists – you’ve just got to be really careful. Ironically Mumford [& Sons] weren’t really a part of that group, but came out at that time and probably from similar influences themselves. There was an association with Laura [Marling] because we played with and for Laura a couple of times, and met Marcus [Mumford] and then played with Mumford, and that’s cool – I think it’s natural; there’s gonna be tags and in our case they made sense. But like I said, you don’t want to build your career in the shadow of another band. That means going out on a bit of a limb and really trying to find your sound and what your band is about,” he says defiantly. With newfound clarity and a fresh set of songs to record, Boy & Bear needed a producer who could fully break them out of that folk alliance box. They found that producer in Joe Chiccarelli and added Blackbird Studios in Nashville to their ever-growing list of international destinations.

“We got Joe on board for what he did with The Shins and what he did with My Morning Jacket, and we wanted him on board because of what he could bring sonically; we wanted unusual sounds and we didn’t just want a big low end and big harmonies,” Hosking reveals. “We needed something to set us apart, again for the reasons that were stated, and I wanted to try and create something that felt different and tasted different. So for what he did on those records, he seemed like the kind of guy who could definitely bring something to the sound, and I think that was one of his strengths on the record that he did with us… Having Joe there, particularly his work in what he could do with electric guitars and the tones he could pull, was really useful in helping push those songs to be a little bit more robust and definitely get a little bit more of that rock element in there.” As well as doing some heavy work on the band’s overall musical approach, Hosking took stock of his lyrical methods, this time finding internal pressure a key driver. “Tim [Hart], our drummer, he’s a really great songwriter – he did some demos in the middle of the year and I just remember thinking how good these lyrics were and they were really fascinating. There was probably this healthy competitiveness to push each other and I think it sort of turned a corner for me to want to broaden my own writing style,” Hosking admits. “He actually wrote the lyrics to the song The Village. The record was full of slightly long dark songs and we wanted something bite-sized; it’s kind of like the Snickers on the record, like a little bite-sized something,” he laughs heartily, finding amusement in using a confectionary reference for the one-and-a-half minute album track that almost possesses a Paul Simon Graceland era feel. “You know like a party mix, like a little Snickers? It’s sort of sweet and disappears really quickly.” With the careful consideration the quintet have put into every aspect of their debut album, it’s interesting to note that they christened their biggest undertaking to date with the name of a crappy film about a bunch of truckers fighting in Mexico. Recalling the excitement of chancing a tour van with a DVD player, Hosking explains how a random selection at a servo became hugely significant. “It was horrible and ridiculous but we watched it, and in the end [bassist] Jake [Tarasenko] in his

usual way said, ‘Why don’t we call the record [after the DVD title] Moonfire’ and everyone laughed and thought, ‘That’s ridiculous’. But it just sort of hung around – it just stayed. And the danger is that when you do that, when you’re so used to calling the record Moonfire, it becomes odd to change it,” he laughs.

The rapid ascension within Boy & Bear’s two-year career trajectory rouses awe and respect in equal doses, especially if you rewind to this time last year when they were unexpectedly ushered onto Mumford & Sons’ Splendour stage. Few bands can boast such a gift of endorsement in their humble beginnings, never mind that even gaining a Splendour invitation for themselves was evidence of an unusually immediate yet widespread appeal. “I think we’ve spent most of our time just in a bubble… We’re so used to that sense of freefalling or sort of swimming in water that’s potentially out of our depth that we’re sort of learning to handle it without too much stress. And handle it relatively philosophically and just throw ourselves into it and do everything we can. If it comes off, it comes off – if it doesn’t, it doesn’t. At the moment it’s coming off; at the moment it’s working in our favour,” he admits candidly. As Hosking eloquently states in the album’s first single Feeding Line, he’s got his whole damn life to be somebody, and he intends to spend it trying to pin down a timeless record. “I’m not doing this so I can do a couple of years and play a few festivals and call it quits,” he stresses. “I want to do this for as long as I can, and maybe that’s why I feel like we work really hard to stay ahead of the game because I don’t want this to get snatched out of my hands. I think if we play our cards right, and I think that there will be some pretty big hurdles to come, but I think if we play our cards right we can do this for a long time.”

WHO: Boy & Bear WHAT: Moonfire (Island/Universal)

RAPID ASCENT Though it may appear that BOY & BEAR have hit the big time overnight, Time Off looks back at the career highlights so far that have sparked widespread attention for both their recorded and live history.


• The first taste of Boy & Bear, the song Mexican Mavis, hits triple j in September • Named triple j unearthed ‘Feature Artist’, the band win a performance at Homebake • Momentum keeps rolling nationally as they gain support slots with Angus & Julia Stone, and Hungry Kids Of Hungary


• Boy & Bear score the opening spot for Laura Marling on UK dates, with bassist Jake Tarasenko and drummer Tim Hart also doubling as members of Laura’s touring band. • Signed to Universal imprint Island Records


• Anticipated first record, With Emperor Antarctica EP is released, peaking at #63 on the ARIA charts • Boy & Bear score a Splendour In The Grass set, with a guest appearance alongside Mumford & Sons on the Amphitheatre stage • National support for Mumford & Sons

• Blood To Gold headline tour sells out nationally • Awarded triple j Unearthed ‘Artist Of The Year’

201 1 • Rolling Stone Awards ‘Artist To Watch’ • The Australia Day broadcast of triple j’s 2010 Hottest 100 songs lands a #45 position for Rabbit Song, as well as the surprise entry at #5 of their Finn Brothers tribute Fall At Your Feet • SxSW showcase in Austin, Texas • Debut album Moonfire released Friday Aug 5


DEAD CAN DANCE It’s been a lengthy inception for LA-based rockers FUNERAL PARTY but their debut album has finally landed. BEN PREECE gets the story from frontman CHAD ELLIOTT.


he American summer of 2004 – that was when vocalist and keyboardist Chad Elliott, guitarist James Torres and vocalist and bassist Kimo Kauhola first formed Funeral Party, drinking one night in a park in their hometown of Whittier, California. Borrowing their name from a song by The Cure, the band quickly developed a following thanks to their up-tempo powerhouse sound and aggressive and infectious melodies. “Man, that was forever ago,” Elliott exclaims. “The drinking in a park thing is when we started, when we formed. From there, we’ve been through so many things – we’ve been through a different name, we’ve been through different members, we’ve been through a different genre, we’ve been through everything.” Growing up in the sleepy suburb of Whittier, located on the outskirts of Los Angeles County, you had two choices – grow up and get a job or get the hell out of there. The band saw their music as a means to accomplish the latter and once decided, they set about to find their sound.

“It was more metal, emo or emocore and hardcore stuff around where we lived so it was uncommon for a band to play anything different,” Elliott recalls. “Luckily for us, when we had started there was a new scene with bands – any kind of bands, didn’t matter if you were metal or whatever – actually playing house parties. So we’d go to these parties and see these bands doing new kinds of styles of music that we didn’t even know of yet. One of the styles, in particular, was a dancier style and we saw how the crowd was reacting – they were really digging that kind of shit and we were digging it too – so we kind of thought that we should do something like this and what our take on it sounded like.” From there, a new sound emerged, something a little more postpunk and dance-infused that was their take on a sound that was exploding all over So-Cal and garnering partygoers from all over. They saturated the East LA party scene, often getting shut down by police and – still not really owning their own instruments and, by their own admission, only possessing about three songs – were invited by producer Lars Stalfors to record at The Mars Volta’s studio. “The reason we picked Lars was when we first did demos with him was because he was offering to do it for pretty much free and when we did it, we didn’t know what we wanted or how we were going to sound,” Elliott confesses. “We just pretty much went in there and he spent some time working with it after but when he gave it back to us, it sounded different to anything we could’ve thought like. There was this weird effect on my voice and on my guitar and he had his own blueprint in mind of what he wanted and so when we picked again, he had that blueprint again. So he kind of has a Funeral Party guide-book or something in his head.” Long story, short – they eventually emerged with a debut album called The Golden Age Of Knowhere. “The explanation behind the album title is pretty much me trying to name the album as if it was a book,” Elliott reveals. “It actually comes from two book titles, both influential books. One is Lord Of The Flies; I like the whole idea of the book, the whole concept of kids having to create a new society and getting it the way they want it. The other one is from the Golden Age Of Neglect and it’s a photography book by a skateboardist/photographer/artist named Ed Templeton – I really enjoy his stuff and his photography work always kind of expresses this youth-ism, he’s pretty old now but he takes really youthful photographs and they just scream out. At the time, when we were doing the album, those books were on my table in my bedroom the whole time – they were constant reminders of the feeling I was trying to experience at that time. “The whole idea of recording the first album was very foreign and very new to us,” he continues. “Lars, being a comfortable person we had worked with before, was the logical choice because we at least we’d have someone we were comfortable with in this weird situation. Our relationship with Lars goes back to the beginning days, he saw us at probably our third or fourth gig ever. We lost contact after that, he went off and did his other thing and when we heard about him again he was working with The Mars Volta.” The Golden Age Of Knowhere is Funeral Party’s debut statement and what a statement it is – brimming with walls of guitars, rolling drums and an intense energy that teeters on the aggressive edge, the album covers their seven year history as a band with songs that date right back to their origins. “There are songs that are the six/seven year thing – maybe three or four of them,” Elliott says. “The rest of them were all written in another period of time which is now actually about three years back, so those are the two mixtures; it’s pretty much half and half.” As the sole songwriter, Elliott is proud not only of the album itself, but also of the positive sonic direction the band is taking with their newer material. “The most forward thinking thing on there would be the very last song, the title track, just because we explored things we hadn’t explored yet, even putting acoustic guitar on one of the songs,” he considers. “The more openness of that song, how it’s not super-fast or gets straight to the point – it drags its feet in a beautiful way – shows the path we’re taking. We’re writing now and we’re writing more open, more breathable kind of things.” But getting the album together was just the first step in the band’s battle to crack something larger. Following the recording process, the band then had to learn to play the songs live. “There was a time when we couldn’t translate the songs live because they were so fresh and we were barely writing them to play them right,” Elliott tells. “We’ve played them so many times now, we have them nailed. We haven’t had any complaints about the live show versus the record intensity – we’ve heard the opposite actually, that the record sounds too pure and nice and on stage it’s very loud and distorted. We like to give a show every time.” Regardless, their seven-year life has shown them nothing short of a highlight or two. From supporting Julian Casablancas throughout the US to playing Fuji Rock, the highlights for Funeral Party are endless. “There are so many different highlights, I mean putting out the album was an amazing highlight – the reception of it and listening to our songs and knowing the album and seeing our album physically in our hands was crazy-awesome,” Elliott marvels. “Playing television for the first time and having a bunch of people from our own families recognise that and be happy and proud – that’s a completely different thing but a crazy time in our lives.”

WHO : Funeral Party WHAT: The Golden Age Of Knowhere (RCA/Sony) WHERE & WHEN: The Hi-Fi Tuesday Aug 9 18

HEAVY SURF They continue to be one of heavy metal’s fastest-growing bands, but lately TRIVIUM have felt it necessary to retreat to move forward. BRENDAN CRABB goes somewhere back in time with frontman MATT HEAFY.


scendancy, Trivium’s second full-length album created one hell of a stir upon release in March 2005. Bemoaned as second-rate, thrashed-up metalcore or another press-driven flavour of the month by detractors, while subsequently hailed as a blistering breath of fresh air within the metal world by others, the buzz surrounding the young Floridian quartet was nonetheless inescapable. Numerous magazine covers, high-profile tours, strong sales, rave reviews and much Headbangers Ball worship all fell the band’s way, creating endless online debate about their metal credentials. Regardless, Ascendancy was their breakthrough release, establishing them as serious players, and is still considered by many as their best record. Upon listening to their fifth and latest record In Waves, the members’ pre-release comparisons to Ascendancy are palpable. Vocalist/guitarist Matt Heafy emphasises that wasn’t the intention, but he’s audibly pleased with the outcome. “We’re definitely seeing a lot of people comparing it to Ascendancy,” he says. “We didn’t go into it with that idea, so if the people who got into Ascendancy are into it, that’s great. But it wasn’t like a conscious effort to go back into the past; we just wanted to do what sounded right. We wanted to make the songs we wanted to hear as metal fans, or even as music fans.”

YouTube “interpretation” spoofing the Ascendancy song Pull Harder On The Strings Of Your Martyr) is actually Australian and I don’t think he likes our band very much,” Heafy chuckles. “The funny part is, that’s one of the great jokes among the band, we think it’s funny and a lot of people have got into us from that. The internet has been great for us. We’ll release a song online, and people will already post a cover of it on YouTube within like an hour. It’s awesome that they’d pick up a guitar and learn a song that quickly. I posted on Twitter about 30-second samples of all the songs on the new album being posted on Amazon and it just got these huge reactions, it got so many comments really quickly. That kind of thing is great for us.”

WHO: Trivium WHAT: In Waves (Roadrunner/Warner)

The links to the past clearly filtered through to the songwriting process for their latest batch of songs.

“IF YOU’RE ALREADY INTO OUR BAND, YOU’LL KNOW WE DO THINGS DIFFERENTLY TO EVERY OTHER METAL BAND” “A lot of it was technicality taking a backseat to the actual music,” Heafy continues. “We wanted it to be all about the song. On In Waves, the title track, the chorus is essentially two notes on the one guitar string, with two words. We’ve never really done that before. It really showed that minimalism can say a lot more. When it got released online, some people were confused by it… Having that as the first track released from the album showed immediately that we’re doing something different. We still do the [guitar] trade-offs and we still do the guitar solos, but we really found our styles on this record. I realised I could do the shreddy stuff, but my solo style is more traceable to blues and stuff like that. There’s something about it that’s more back to Ascendancy, [which] had some very simple guitar parts. Corey [Beaulieu] has really tightened up as a guitar player, but he still does some technical stuff on this album. He can make really complex parts still have a lot of emotion… There’s still just as many trade-offs as before, [but] we really found our styles.” One thing differentiating Trivium circa 2011 from their formative years is the injection of some new blood. In Waves marks drummer Nick Augusto’s fully-fledged recording debut with the band, replacing former sticksman Travis Smith last year, who cited “personal issues” for his departure. As it turns out, this presented a raft of challenges for their new member, but was also a compulsory change in personnel which if not made might have ended Trivium’s golden run. “We knew Nick could accomplish whatever song style we wanted him to play,” Heafy enthuses. “We really challenged him. Some of the songs are simple, whereas other parts are more technical. He can play anything well and it can be really hard for a guy who can play anything to play something simple.” Was it literally make or break by the time of Smith’s departure? “Yes, it was,” Heafy says instantly. “The chemistry of the band is back together now; we had to make a change in the band for us to survive. Towards the tail-end of [2008 album] Shogun the chemistry wasn’t there anymore. The four of us weren’t getting along creatively anymore, we couldn’t write anything good. It’s not just Travis’ fault… I think he’s better off outside the band and he’s in a better place mentally. We wish him the best.” When Time Off queries as to whether they’ve had any form of contact with their former tub-thumper since the split, Heafy again responds quickly. “We haven’t yet. I’m sure we will speak to him; we haven’t had any contact since he left, but I’m sure we will at some point in the future.” Aside from touring plans (“We’re coming over to Australia and doing a Soundwave – I’m not sure if we can announce it, but it’s out there now,” he laughs) and music Heafy is currently enjoying (current favourites include Roy Orbison, Lady Gaga and Arcade Fire; “If you’re already into our band, you’ll know we do things differently to every other metal band”), there’s also that new release to promote. With record sales in free-fall and labels scrambling for any way possible to raise revenue, the 25-year-old stands by the quality of Trivium’s product in the wake of illegal downloading. “There’s no stopping it,” he says. “It’s unfortunate… You can’t really rip the feeling of having a vinyl, a poster, or a CD with incredible packaging. I do believe we’re giving more with our record. We put so much into the visuals; to experience it you would have to have a physical copy of the album.” When the band released the title track from In Waves online recently as a free download, the response was not surprisingly fanatical. Like countless other bands, in spite of lost sales the internet has been a vital tool for Trivium. In an ironic twist though, even those who have lambasted the band online have made major contributions to their worldwide success. “I think the person who posted the Boat! Rudder! song (a hilarious


THE BODY OF AN AMERICAN DROPKICK MURPHYS singer AL BARR talks to BAZ MCALISTER about the boisterous Boston band’s new record Going Out In Style, which chronicles the life and times of a fictional Irish-American everyman.


istening to the Dropkick Murphys’ new album is like going to a wake. That’s not as dreary as it sounds, though – we’re talking about the kind of wake they have when a cop dies in The Wire, and they lay his body out on the pool table at Kavanagh’s Irish Pub and sing Pogues songs until 3am. It’s the kind of rollicking, relentlessly celebratory wake where “at five o’clock in the evening every bastard there is pisskey”, to quote Shane MacGowan. Going Out In Style is a recollection of the life and times of Cornelius Larkin – Irish immigrant, Korean War veteran, longshoreman and union organiser – who has just passed away, aged 78. Cornelius never existed, but by the time you’re done listening to the record he’ll feel pretty real. “When we wrote the album tracks,” explains Murphys vocalist Al Barr, “looking at it, we realised we had this character in there, and one of us said ‘Wouldn’t it be cool to thread that character through the record?’. So that’s precisely what we did – and then we had an actual bona fide author – [Boston writer] Michael

Patrick MacDonald, who wrote All Souls and Easter Rising – come along and flesh out the character and give him a name, Cornelius Larkin.” MacDonald penned Larkin’s obituary for the album’s liner notes, and there’s even been talk of further life being breathed into Cornelius, with the author reportedly considering a book about his life. But how did he decide to hang the moniker ‘Cornelius’ on the poor fella? “Yeah, at first I was like ‘Cornelius?’,” Barr laughs. “But it is a cool-sounding name, and when you think about it, it’s a very old-fashioned, old-timey name and that fit the character we were looking at. Some of the songs, like Memorial Day, embody the spirit of our grandparents, that iron that – at least in American cultures – is missing from society today, the ability to face challenges and adversity and know how to deal with them, not just be running around going, ‘Oh my God my cellphone doesn’t work’, ‘Oh my God my GPS doesn’t work, what do we do, what do we do, what do we do?’. “I head Richard Dreyfus speak one time about his grandfather. He said his grandfather didn’t say, ‘Tell me what to do’, he said ‘I know what to do’. That generation really embodied that spirit of toughness and hanging in there. They faced all this adversity in two World Wars and the Depression. There’s a lot of that tenacity in Cornelius.” Barr says the record ended up being one that’s very close to each band member’s heart. A young Cornelius supposedly set sail for the greener pastures of America from a depressed and job-starved Ireland in 1949, seeking a better life. Many of the band members are Irish-American and many have similar stories within their own families that provided the material for Cornelius’s tale. “Writing from familiar points in our own lives, that’s what made it all seamless for us,” Barr says. “Cornelius immigrates from Ireland and fights in the Korean War even though he’s not a citizen – James [Lynch], our guitarist, his grandfather actually immigrated from Ireland, fought in Korea and won a Purple Heart, and he didn’t get his citizenship until years later. “We all put something into the process. Ken [Casey – vocals/ bass] and myself are the prime lyricists in the band but Matt [Kelly] the drummer writes some lyrics as well. The other guys flesh out the music, but Ken and I will also come up with melodies, too. There’s a real back-and-forth and it’s very collaborative.” This sharing of stories through song is the crux of the entire folk music tradition, a vital element of this band’s identity, and Barr says he is proud to be part of that. “That’s the folk music way – these songs get passed down, from generation to generation, and the stories get passed down with them. Hopefully we’re carrying the torch for that,” he says. Speaking of folk music, most Dropkick Murphys albums feature the band’s high-energy punked-up take on an old Irish classic – they’ve previously tackled prison ditty The Auld Triangle, a lament wellknown to Glasgow Celtic fans called The Fields of Athenry, and moved Ireland’s Spancil Hill to Boston in their ballad Fairmount Hill. They’ve sped up The Black Velvet Band and ripped through Captain Kelly’s Kitchen. So it was only fitting, perhaps, that on Going Out In Style they locked horns with a near-unassailable classic, The Irish Rover. “It’s surprising but over the years, we never really got asked to do The Irish Rover,” Barr says, “and we stayed away from it, actually, because the Pogues did their version, and it’s such an obvious one. But it was time for us to give it a shot, and we wanted to do it even faster than the Pogues and make it even more manic. Hopefully that carried over.” They also lay down a song which originated, of all places, in Broadway’s Ziegfeld Follies of 1913 – Peg O’ My Heart. On the record it’s addressed to Cornelius Larkin’s loving widow Peg, but Barr says the band really recorded it as a favour to his co-vocalist Ken Casey. “We did that one as a favour to Kenny, it was never intended to go on the record,” Barr recalls. “He came and said ‘There’s this song both of my grandmothers have been bothering me about, they’re both named Peg, can we just learn that song?’ and the band came up with a cool revamp of the music of it, and the producer really loved it, and said it had to go on the record. And of course, it ended up being the one that The Boss picked to sing on.” By which Barr means, of course, the album’s prestigious guest vocalist and friend of the band Bruce Springsteen. The Boss agreed to guest on the album before he’d picked the song he wanted to sing on; Barr says despite wanting to duet with the legendary champion of blue-collar America, he was desperately praying the great man would choose a track carried by the vocals of Ken Casey. “In some way it’s better that he did,” says the self-deprecating Barr. “I was kind of hoping he was gonna pick one of Ken’s songs, because I was really nervous – but for the band, it’s awesome to have him on the record. I’m totally stoked.” Barr says the band have been looking forward all year to coming down to Australia and introducing people to the new record. When they arrive in October it’ll be around the mid-point of a year’s extensive touring that kicked off around St Patrick’s Day and hasn’t let up since. All this has a rather bittersweet tang for Barr, who recently became a father. “I was looking at my daughter today –she’s two now, and I haven’t done the long haul tour since she was born,” Barr says. “It’s gonna be rough – rougher on me than on her, but that’s the nature of the beast. I don’t look forward to that. But the double-edged sword of this lifestyle is that we’re lucky and blessed to be able to do this, but when we’re home we’re home 24/7. It’s a feast or famine.”

WHO: Dropkick Murphys WHAT: Going Out In Style (Dew Process/Universal) WHERE: The Tivoli Wednesday Oct 19 20









TAKE A LOAD OFF Back with his first solo album in 13 years, music legend ROBBIE ROBERTSON tells STEVE BELL about friendships, indulgence and musical revolutions.


ome people could be excused for resting on their considerable laurels, yet just can’t seem to completely turn off that creative faucet. Take Canadian music legend Robbie Robertson, for instance: as a founding member of The Band, the songwriter was responsible for some of the most enduring songs of his generation, penning such classic tunes as The Weight, Broken Arrow and Up On Cripple Creek. They played with Bob Dylan extensively on the way to becoming one of the most revered bands of all time and inductees into the Rock And Roll Hall OF Fame, and after their dissolution Robertson embarked on an acclaimed solo career. In recent years Robertson seemed to be laying low by his lofty standards, until he recently emerged armed with his fifth solo album How To Become Clairvoyant. The album is one of the strongest of his career, and came from some impromptu sessions where the 68-year-old was just mucking around with a friend – of course, in this case that friend just happened to be Eric Clapton. “We were always just saying, ‘You know, we should

do something together sometime’,” Robertson recalls of the album’s beginnings. “So we would get together every once in a while and just hang out a bit, and then eventually we would pick up a couple of guitars, but with no particular purpose other than the fact that we just enjoyed one another’s music and one another’s friendship. And then by accident I ran across some of the stuff that we had started, and I mentioned that to him at a later date and he said, ‘I really felt like we had some good things started’, and that’s when he invited me to come to London. Even then he said, ‘Let’s just go in and see what happens. Let’s go into the studio, and we’ll get a couple of guys over here, and we’ll mess around and see if it goes anywhere’. “And that’s exactly what we did, and we ended up cutting all of the basic tracks, and it was at that point that Eric said, ‘Well, this is really obviously your record, because you’ve done most of the writing, and the direction that it’s going in and everything is really your thing,’ and he said, ‘I’m just thrilled to be able to be a part of it, and if you want me to sing or play – whatever you want, I’m in!’ And of course while we were doing that over there, Eric called Steve Winwood and said, ‘Do you want to come in and play on some tracks with us?’ Steve’s an old friend of mine too, so he came in and it just felt good. “It didn’t feel like labour, and it wasn’t unpleasant or anything like that, so I did that work over there with them, and then while I was there recording Martin Scorsese called me and asked me to help with the music for Shutter Island, and I came up with this idea to use modern classical composers for it, I thought it really suited the material. When I got back to Los Angeles after doing the recording I had to go right into working on that movie, and it was quite an extraordinary experience as well, because I knew some things about modern classical music, but by the time I finished working on that movie I was an expert – I thought that was a great learning process, and a privilege.

“It turned out to be one of the most enjoyable musical experiences in my life.” “Then when I came back to working on the record I felt really enlightened, and I knew what I wanted to do with these songs, I knew what I wanted to do to finish up the writing, I knew the other people that I wanted to cast to play on this because I was just working on a movie so I still thought I was casting people, only I was casting people to play musical parts. It really just all fell together in a magical way, and it turned out to be one of the most enjoyable musical experiences in my life.” It wasn’t just old music buddies that Robertson co-opted for the new album –a slew of contemporary artists ended up playing on the album as well. “I know about these people – I’m a curious person, so I know about a lot of music, I know what people are doing today, I know what’s really good, I know what’s really interesting,” Robertson explains, “so I just thought that for what I needed someone to do on this Madame X track, that Trent Reznor could do that really well. So I told him what I had in mind and he did it fantastically – it was perfect casting, because I don’t know anybody who could have done it as well as he did. And then when I wanted to do something in this song Axeman – this tribute to some of the great guitar heroes who inspired guys like me and who are no longer with us – I thought, ‘Who does the opposite of what I do?’, and then I thought of Tom Morello, because he’s an amazing guitar player but I have no understanding of what he does, so I thought, ‘He’s the guy!’ Everything fell in to place so easily.” Some new tracks such as When The Night Was Young are autobiographical in nature and address Robertson’s esteemed career, a first for the songwriter. “It used to feel really indulgent to me when people thought that their lives were interesting enough to write about,” Robertson admits. “‘Okay, I’m going to write a song about what happened to me today!’ And I would think, ‘You know what? Fuck you! I don’t care what happened to you, you’re not as interesting as what you think you are!’ But some people could do it great, and on this record I found a way of writing about personal things that didn’t piss me off, so I just went with it and that’s what it turned out to be. It was a great feeling in the end and that’s what’s opened the door for me – now I’m going to write my autobiography. “You’ve got to remember that to some extent all songwriting is personal, but it’s to what degree you put yourself into it, and what degree you make it, ‘Me! Me! Me!’. I started out really writing for the singers in The Band – I didn’t want to come in and say, ‘Hey, I’ve got a new song about me! Rick, why don’t you sing that one?’ Of course they’re personal, but they’re not personal in a self-indulgent way.” Even with the autobiography en route we can’t speak to the legend without asking about something from his incredible past – what about when The Band backed Dylan on his first electric tour and all hell broke loose? “Well yeah, that was a really unique situation,” Robertson chuckles. “I don’t know that anybody’s ever done that, now that I think about it. It was an extraordinary feeling on so many levels, and then at some point you just realise that you’re part of a musical revolution, and that you want to win the revolution. The idea was to stay in there and keep doing it until it started to work for people, you couldn’t say, ‘You know what, you’re right – this music is shit and I should stop doing it’. No! The idea was, ‘We’re right, you’re wrong, and you will come around!’ And that’s what happened.”

WHO: Robbie Robertson WHAT: How To Become Clairvoyant (429/Universal)


THIS VITAL CHARISMA It has been a while since Perth’s THE PANDA BAND rattled the cage of the Australian music scene. DAMIAN CROSBIE fills BRENDAN TELFORD in on the long gestation period of their new longplayer, Charisma Weapon.

outside influences added up. Our drummer left literally two weeks after we got back, then a few months after that our keyboardist left. I didn’t really quiz anyone when they wanted to leave, we knew the deal, and we are all still friends and that, so there are no hard feelings.” The future of the band may have looked shaky, but Crosbie, David Namour (bass) and Chris Callan (guitar, backing vocals, keyboards) were adamant that there was more fuel left in The Panda Band’s tank. “We started recording demos despite the changes with the idea of shopping it around,” Crosbie recalls. “Unfortunately that took a hell of a lot longer than we thought, so long in fact we got together and pushed forward ourselves. We had to form the band again – finding a drummer in particular, which stretched things out even further…yet here we are!” The elongated recording session has culminated in the creation of their second album, Charisma Weapon. Mixed by seasoned local producer Magoo and mastered by Steve Fallone (TV On The Radio, Yeah Yeah Yeahs), the album is not that far removed from what had come before, yet there are marked differences that harken back to the slightly tumultuous conception of the record.


here was a time in the mid-2000s when the Australian musical airwaves were constantly awash with the sunny sounds of The Panda Band. After the success of their track Sleepy Little Deathtoll Town, the Perth four-piece released This Vital Chapter (We’re Almost Not Even Here), which saw them gracing radio stations on both sides of the Atlantic, playing stages at South By Southwest and picking up festival slots in the UK and Canada. Then all went quiet on the Western front – at least as far as the Australian public was concerned. “We haven’t actually stopped going,” frontman Damian Crosbie asserts. “We spent a fair bit of time playing in the United States, around 2007, 2008, then after that we came back home and have basically been recording since then. It’s been a bit of a drawn out process, this one.” Such a long gestation period might suggest that there

have been some difficulties both within and outside of the band. Crosbie admits that this is partly true. “When we got back from the States, we were all in a different place,” he concedes. “I think that we individually had different ideas on what we would get out of our time over there – some of us had great hopes, and others weren’t too sure. I mean, we had girlfriends and families to consider, it becomes a strain. And it’s a difficult thing, being in a different country trying to do something when you are constantly poor. When there was no money left, it was time to push on home.” Arriving back in Australia didn’t make the life of the band any easier, however. “When we got back we had hit a fork in the road,” Crosbie continues. “We were at the end of our 20s, all of our friends were settling down, and all of those

“We recorded it all over the place, on our computers, wherever we could,” Crosbie explains. “We did a lot of it in America, but when we got back things changed. All we had were demos, basically. It became this notion of compiling all these ideas that we had over a four year period. Some of the ideas come from when we were recording the first album even, so initially it was all over the place. With Steve, as we had come back from the States fairly poor we couldn’t head back over to New York, it would have blown the budget for sure! So I’ve never met the guy – it was all done over the internet. Looking back on it, I can’t believe after all the uploading and downloading and changing of files, that nothing went wrong!” There’s a hidden steeliness behind the baroque pop stylings that highlights Charisma Weapon. The title itself hints at this notion of steely determination, although Crosbie is hesitant in providing any easy answers. “I’m not really telling anyone [the title’s meaning]!” he laughs. “I think that I wouldn’t be able to derive the best possible explanation for it. It’s a cumulative thing – a thought that I have for it in my head that I can’t really put into words, not adequately anyway. It’s just a perfect summation of the themes flowing in and around the album – it certainly wasn’t chosen at random. I can’t really remember exactly when it popped up, but it was fitting how these words came together and fit the

feelings behind the album. But other than that, I’ll keep a bit of mystery around it; see how that works for us!” It’s been a long hard road for the album to come out, but now that it is finally seeing the light of day Crosbie intimates that this in itself holds a certain degree of difficulty. “We’ve gone through a hell of a lot of issues, sitting amongst these songs for so long, and it certainly has helped us to know if the songs are any good, if we can wade through all of that and they still survive,” he muses. “Yet it’s been fairly hard to concentrate on the release of the album again – there was so much build up to get the thing mixed and mastered, that it felt really exhaustive and that we should be really be moving on. But now weare actually releasing it, we go out and play it. The only thing we can do is remain focused on the notion that no one else has heard it. “We have Scott [Howard – drums] on board; we are a totally different unit. It makes you listen to it all from their point of view, it becomes a jigsaw puzzle in how everyone will play it together, and that makes it all exciting and new again. It’s weird, because all of these issues have made me think back to the times when all of these songs were new, and how they came about, and why I wanted to write them in the first place. It sounds like it’d do your head in – and it can do – but you’ve got to really want to get your music across in a manner that both you and the audience care about.” “When I wrote [Sleepy Little Deathtoll Town] I was writing songs in the bedroom to amuse myself, that’s all. I hate to say it, but maybe I was a little more adventurous then? Or adventurous in a different way. You just didn’t care what anyone thought, or whether or not you sell albums. It seems like that initial spark; it’s hard to keep it pure. Running our own thing, we’re all too aware of the stresses and strains of being a band, trying to stay afloat and keep everything alive. But if you’re smart, you just keep growing. Now I think of what would be cool live. We started playing Daniel Pier off our first EP, and listening back to some of the musical decisions I made, it was madness! It was really exciting too, and it inspired me to try and not care so much, to combine the two, to embrace that more.”

WHO: The Panda Band WHAT: Charisma Weapon (Bam*Boo/MGM) WHEN & WHERE: Great Northern Hotel, Byron Bay Friday Aug 5, Globe Theatre Saturday Aug 6



ALAN BOYLE’s latest single Highway Of Dreams has just been nominated for a Queensland Music Award. In celebration, he’s hitting the road. MATT O’NEILL catches up with the Irish expat to discuss his remarkable career to date.


CALEB MERREY of Perth rockabilly act BLAZIN’ ENTRAILS speaks to BRENDAN TELFORD about playing Greazefest and the filmic nature of their creative process. Another interesting factor is the recent addition of a Theremin.

“Yeah, the idea is basically throw your shit at the wall as much as you can in the hopes that some of it will stick,” Boyle says with a laugh. “And some things clearly have. You know, Vanda and Young and the International Songwriting Competition are both pretty prestigious ordeals. I kind of take those sorts of things as signs that I’m going in the right direction as far as songwriting and recording and that sort of stuff goes.” One could logically infer that Boyle’s streak of good fortune is directly related to his change in location. It would be more accurate, however, to say that Boyle’s fortunes can be traced to the shift in focus prompted by the change of location. The singer-songwriter has barely stopped working since his arrival in Brisbane. Even now, having just recently secured a nomination for the Queensland Music Awards, Boyle is launching a single, preparing a tour and recording his debut album.


lan Boyle’s career is a testament to what an individual can accomplish with the appropriate level of focus. Having spent years tinkering with songwriting in his native Ireland (as well as casual busking around Europe) with only modest results, Boyle’s relocation to Australia and subsequent reassessment of priorities saw him swiftly transformed into one of the more remarkable success stories to have emerged from Brisbane in recent years. “It’s always been the goal for me to make music my career – but I never really figured out how it was going to happen until recently,” the singer-songwriter explains. “It was only when things started rolling here that it all seemed to come together in my head. You know, I started gigging interstate, supported a few names, got a fair bit of support. It kind of went from a bit of a lark to something a little more seriously.” Since relocating to Brisbane three years ago, Boyle’s career has progressed at a rate of knots. In 2009, the singer-songwriter was the recipient of Billy Thorpe Scholarship Award, shortlisted for the Vanda and Young Songwriting Competition and nominated for a QSong Award. In 2010, Boyle was a finalist in the 2010 Telstra Road to Discovery. So far this year, he’s been a category finalist in the International Songwriting Competition and nominated for a Queensland Music Award.

“I don’t know. I do think my location has a profound effect on my songwriting – what I’m feeling and what I’m writing about,” the singer-songwriter muses. “I think I see Brisbane a little differently to people who have grown up here. You know, I grew up in Ireland and lived around Europe and so I have a bit of a different perspective on the place, I think. It seems like a city on the cusp of being a real metropolitan place. It still has this nice lazy charm to it, in a way. “You know, I’ve been doing this music thing here for about three-and-a-half years now and it’s been going really well,” he elaborates. “I’m about a third of the way through recording the album with Magoo at Applewood Studios and it’s been shaping up really well. It’s pretty much all written and planned out in my head, I recorded some tracks in January, will record some more in October and then wrap it all up in January for a 2012 release. I’m really happy with it all so far.”

WHO: Alan Boyle WHAT: Highway Of Dreams (Independent) WHERE & WHEN: Sol Bar, Maroochydore Friday Aug 5, Hervey Bay Whale Festival Saturday Aug 6, Queen St Mall Saturday Aug 27


Gold Coast art-rockers HELM are about to embark on their latest tour – amidst a flurry of changes. MATT O’NEILL speaks with guitarist/vocalist LUCAS STONE about the band’s ongoing evolution.

“Yeah, that has raised eyebrows,” Merrey laughs. “I’ve wanted to include one for a while, and have been incorporating it into the band over the past year. I remember seeing Led Zeppelin on TV with my dad as a kid and just loving the idea of the Theremin. When I bought it, it was basically an experiment, but about a week ago we used it in the set for the first time, and it sounded fantastic. We run guitar effects through it too, so that it sounds like I’m channelling spirits or something.”


or a band that has only been together since 2009 and in its current formation for less than two years, Blazin’ Entrails have carved an indelible mark into the Australian rockabilly scene, their sound and performance spewing forth frivolous vitriol that on page looks juxtaposition, but in reality is a potent combination. “None of us were effectively rockabilly fans when we started out,” frontman Caleb Merrey starts. “We have all had our share of bands. Yet I’ve had friends in rockabilly bands for the past five or six years now, I have owned a few Gretsch guitars since I returned from the States some time ago, and I really loved the idea of playing a double bass. So when I picked one up in 2006, and with my mates in rockabilly bands, it was a natural progression. Still, we never intended to actively become a rockabilly band – we inhabit that world, and embrace it, but we are definitely influenced by many other influences and interests, which I think widens the appeal.” These wider influences have helped to mould the Blazin’ Entrails aesthetic, yet the songwriting process might surprise most. “I love bands like Iron Maiden, and I’m a massive film fan,” Merrey continues. “I’m certainly not living in a 50s revivalist atmosphere. If anything I would say that horror films are my biggest influence. I used to watch loads of them when I was a kid. My first movie memory was of Jaws at a local drive-in, peering over the back seat, and that really affected me. When I write now I picture, build a short story or film in my head. Our first song Hail Satan was an entire film in my head when I wrote that. If I can’t envision it in that way, it won’t ever progress into anything worthwhile.”


“It’s weird. We honestly had no intentions of pursuing this seriously when we first started out,” guitarist and vocalist Lucas Stone says of the band’s successes. “I come from a band called Tension. We were a serious metal band and we actually did quite well in the Australian scene between 2002 and 2006. We moved down to Melbourne from the Gold Coast but then pretty much disbanded. “We came back home and sort of just canned it. I put my guitar down, focused on a trade and my business, had a baby and basically didn’t write a song for two years,” Stone continues. “When my baby girl arrived, though, I got some inspiration and I just started jamming with friends. Six months later, we’d written and released our first album. We played our first ever gig for that release.” It’s tempting to attribute the band’s modest successes solely to their music. A heady blend of ringing atmospherics and crushing aggression, Helm’s output touches on the same moody majesty as fellow Australian success stories The Butterfly Effect, Cog, Karnivool and Dead Letter Circus. Former Cog drummer Lucius Borich has even signed on to record the band’s next single.


“We’re going through a period of change, yeah,” Stone reflects. “It’s been hard because, you know, Helm was a band of mates first and foremost. Some of the friendships in this band stretch back 15, 20 years almost. Still, it got to a point where the guys simply couldn’t juggle work, family and the band. We couldn’t ask them to screw their bosses and families over just for us. “Still, things are shaping up,” the guitarist says optimistically. “We’re working on the album. We’ll be showcasing a couple of songs from it on this tour.”

WHO: Helm WHERE & WHEN: Miami Tavern Shark

Bar Saturday Aug 6, Billy’s, Gympie Friday Aug 12

Blazin’ Entrails are making their way over to Brisbane for this year’s Greazefest, something that has the band champing at the bit. “I haven’t actually been to Brisbane before,” Merrey admits. “We have meets in Perth, but nothing to the extent that Greazefest creates. It’s just going to be a great time to see a bunch of similar bands and to start up a dialogue with them, as well as to meet some of the punters. It will be an amazing challenge to be involved in a bigger scene. As long as we can get everyone dancing to songs about girls’ heads in freezers, then we will have met our expectations!”

WHO: Blazin’ Entrails WHAT: Los Barstos (Independent) WHERE & WHEN: Greazefest,

Rocklea Showground Friday Aug 5

It feels like quite some time between drinks for New Zealand’s CUT OFF YOUR HANDS but, with a new record on the shelf, they are at it again. BEN PREECE chats to frontman NICK JOHNSTON. maybe one. But that didn’t work out for whatever reason and we felt we weren’t doing it for any other reason aside from going through the motions so we just had a break. It wasn’t a clichéd hiatus at the time when we said we were breaking, we were just keen to not do it at all. There’s enough crap music out there, I didn’t want to contribute.” Hollow was recorded and self-produced at the Auckland home of drummer Brent Harris’ parents. They had previously recorded their 2006 debut EP here and had decided to attempt to recreate some of that magic once again. “At the end of the day, I didn’t know if there was going to be a whole bunch of people knocking down the door wanting this record to come out,” Johnston reveals. “We’ve been very surprised in the last couple of weeks with the attendance at these shows, perhaps we underestimated the amount of work we put in when we were touring. We expected no one to give a shit.

“I don’t think we ever really go into writing a song or an album with any particular intention,” Stone says of the band’s creative processes. “Basically, I just dick around on the guitar or throw ideas around in my head at work and race home and get them down and then we just kind of jam it out. After writing songs for over 20 years, I just kind of go with what comes out.” It’s this kind of knack for the direct that’s allowed the band to flourish over the past three years – particularly in times of hardship. The band’s upcoming tour, for example, will see them contending with the departure of founding drummer Mat Wilton and guitarist Scott Ireland – in the middle of the writing process for third album Vol. 3.

“Rockabilly is a lifestyle, generally, so it will never truly go away,” he concedes. “There’s always been a demand for it over here. It’s never been a huge demand, it’s still underground in many respects, but on any given night where rockabilly bands converge, there will be people there to see it. In fact it will be the same faces at almost every show – we hardly change our set list either, so it’s not the fact that people are coming to see something new that draws them out, it’s the environment that rockabilly inhabits.”


“Everything we do is a progression. I’m really proud that we haven’t made any backward steps as a band just yet. We’re trying to offer Australian rock fans something different,” Stone asserts. “To be honest, I’m still kind of surprised Lucius got back to me when I asked if he’d record us. Tension toured with Cog years ago and I just thought I’d hit him up and he’s actually really keen for it.” The real distinction of the band, though, actually lies in the attitudes behind their music. While delivering quite layered and complex sounds, Helm are blessed with a laudable work ethic and an unpretentious love of music that’s provided them with a focus and directness quite atypical within their style. Both the band’s performances and their songs are direct and effective.

elm have done quite well for themselves over the past three years. Formed in 2008, the Gold Coast outfit have managed to release two critically acclaimed albums (2008’s Vol. 1: Keelhaul and 2009’s Vol. 2: The Winter March), tour throughout both Australia and New Zealand while performing alongside such respected acts as Shihad and FloatingMe.

Perth has an active rockabilly scene, one that Merrey believes has an enduring and addictive outlook.


ollowing something of a dream “round one” with their 2008 debut You & I, New Zealand’s Cut Off Your Hands have experienced somewhat of a slow start following up. Back in the day, they had media from around the world scrambling to lavish praise on them, and none of it has died down for their second record Hollow. “It’s great to finally have it out,” frontman Nick Johnston enthuses of the new album. “There was a couple of times there when we were meant to have it out so yeah, it’s good to get there. It’s awesome getting back out there though, we’ve played a handful of shows [recently] and it’s been great to play a whole bunch of new stuff, they’ve been feeling great and going down really well. “We’ve been touring non-stop since the band started from about 2006 to 2009. In that time when the last album came out, we were dropped by our UK record label and then we had half the band leave and change over and without even taking any time out, we literally flew in friends of ours who were replacing the old guys and were back on the road in a few days time. We just got tired really and at the end of 2009, we attempted to make the record, it would’ve been all different songs except for

“It’s good to have a point of focus so that everyone can be aware of what we’re trying to do,” he continues. “It might not be a band or a genre even, it could be a specific mood or whatever that we’re trying to create for each song. I’ve found that certain records – regardless of who the artist is, what their genre is or their look or whatever it is that is associated – just tend to be more influential and helpful.” And moving forward on the live front – recently witnessed by many acolytes old and new at Splendour In The Grass – you can expect something a bit different from Cut Off Your Hands. “It is a bit different,” Johnston explains. “I’m playing guitar a bit more and Mikey’s come back to play with us again so it’s the same old band we toured back then from the start. I think the energy has changed a lot – there’s still an excitement to playing, we’re definitely not twee or relaxed or anything. But it’s just different – before I was climbing on things and everything felt more violent and aggressive, but now there’s just a real groove to it and that’s a huge part of the new songs as well.”

WHO: Cut Off Your Hands WHAT: Hollow (Inertia)


ROCKABILLY RENAISSANCE MAN For the first time since 1989, rockabilly maestro JAMES INTVELD is hitting Australian shores. He chats with DAN CONDON about juggling passions and being Johnny Depp.


TZU frontman and new soloist with his album The Voyager, JOEL ‘JOELISTICS’ MA tends to paint his hip hop in various abstract colours as seen from an outsider’s perspective. The MC de-constructs his music to RIP NICHOLSON as best as he can without an easel and brush. Tracks like Modern World, Madmen and Sooner Or Later cover so much of his experiences – the album written across time zones and language barriers, from new cultures to new colours in global transit, with the lyrics laced in upon the weary traveller’s homecoming.

“The Palomino in those days was one of the major hot spots for entertainment and it had many movie stars just hanging out there on a nightly basis,” he tells of the now-defunct venue’s glory days. “One night Charlie Pride showed up and got up to sing a few songs. Another night Jerry Lee Lewis showed up to do the same thing. You never knew who would show up. It was a great place to see some of the bigger acts in rock’n’roll and country music.


ames Intveld isn’t your regular rockabilly musician, he’s enjoyed a career that has so far seen him play in Dwight Yoakam’s band, direct a feature film, tour the world with his own bands and even lend Johnny Depp his vocal cords. Yes, in John Waters’ 1990 cult classic teen musical Cry-Baby, Intveld was the voice behind Johnny Depp’s dreamy face in all of the musical numbers. Intveld admits, however, that he didn’t get the kind of exposure some may have expected. “Overseas it was a minor hit but the movie didn’t do all that well in the States so it didn’t help my career as much as it could have,” he says. “You have to remember that Cry-Baby came out before the big Johnny Depp boom. If it were released today it would be another story all together. The soundtrack did fairly well in Europe so it helped a lot when I first toured over there.” In 2005 the Intveld directed Miracle At Sage Creek was released, but he explains that his film pursuits have since been pushed to the side. “When I moved to Nashville six years ago it pretty much took me out of the movie business,” he explains. “I knew that would happen but I was adamant about focusing on my music career. Living in LA gave me film opportunities that I don’t have in Nashville.” Everyone has to get their start somewhere, but few musicians can profess to beginning their career at one of America’s most legendary venues, the Palomino Club.

“When I first got my band together we played there on a weekly basis either opening for some bigger act like Buck Owens or just a roots night with four other bands. I learned to play behind a lot of touring acts like The Coasters, The Drifters, Big Jay McNeely, Brenton Wood. We had the Ronnie Mack’s Barn Dance there every Tuesday Night and it was always packed with tons of country and rock’n’roll acts. It became home base for a lot of musicians like myself. If you didn’t have a show somewhere on any given night you would just head down to the Palomino to see who was playing there that night.” It seems pretty obvious that Intveld is itching to release a follow up to his 2008 record Have Faith and he promises it’s in the works. “I’m in the process of putting songs together for a new album,” he reveals. “I’ve written a few new songs and I’ve got a few others started but it’s been hard to find time to write because I’ve been travelling so much. I really need to make a new album and I can feel myself getting antsy about it.” As for the Greazefest show, Intveld says he’s pulling out all the stops to make sure Australia gets to see him at his best. “I’ll have my US band with me so that means I can play any song I feel like,” he says. “They are a top notch, exceptionally talented group of musicians, I sacrifice a lot to bring them overseas but it’s worth it to me. I want to give a quality show every time I perform and that’s why I like to carry my own guys.”

WHO: James Intveld WHERE & WHEN: Greazefest, Rocklea Showground Saturday Aug 6


Grinding to a halt during nu-metal’s glory days, Bay Area thrashers FORBIDDEN are now truly re-activated, reinvigorated and giving it all they’ve got once more. Guitarist CRAIG LOCICERO gets historical with LOCHLAN WATT.


riginally, our time was up. It was just finished. We didn’t realise it was done even before it was done, and we just kept going, and kept trudging along during the dark days of metal that we call the early-mid 90s. It probably came to a head once we finished Green,” he says of their fourth 1997 fulllength, “and half of us were happy with it, and the other half were begrudging because they didn’t have much to do with it. I was happy with it personally, because I felt like it was a good example of how angry we were, but at the time that we’d finished I felt like we blew all the anger out. It was finished, it was over, there was no anger left.”Fast forward a few years, and his attendance of a screening of metal documentary Get Thrashed sparked a fire in Locicero’s belly. The band needed to happen once more, and 2008 saw the band play reunion shows across Europe and America. The line-up was gradually reconfigured until it was ready for another album, the group releasing Omega Wave in 2010 through the essential Nuclear Blast Records. “It’s put us back into some serious cred,” Locicero proudly states. “Many people really like the record a lot, and it keeps growing. People are getting into it more and more, the longer it’s out, and discovering it later, and that’s really awesome to watch. It’s a grower. It’s an album that has songs where some are immediate, and some you just have to listen to a few times. It’s not that they’re super progressive, but there’s a lot of melody, there’s a lot of things coming at you at the one time.” Formed under the name Forbidden Evil in 1985 before shortening it in 1987, the band found their feet in quite a different musical climate to the one they are operating in today. Just how vast are the differences within the thrash metal movements of the 80s and today? “Originally, we all had a separate bunch of influences and it was much easier to define. What we were into


“A lot of the lyrics were written when I got home,” he reveals. “So the lyrics really were about how travelling made you more aware of where you came from. I felt a lot more Australian when I was overseas more so that when I’m at home. So it took that to really be able to analyse the culture I came from and to sometime both romanticise it and criticise it and be able to look at it for what it is.”


f I woke up some day and suddenly became deaf, I’d become a painter,” announces Ma, decisively. “I like to think in colours when I write the music and when I write beats I try to balance the musical frequencies with frequencies of colour.” When asked how a book of rhymes would look when accompanied with art he states, “I see it splashed with plenty of colour and heavy textures. I would Jackson Pollack the shit out of it.” The former MC/guitarist from rap group TZU, Joelistics has always kept his artistry dressed from a closet of coloured and cultural cloaks from around the globe. The second-generation Chinese-Australian went from picking apples in the furthermost fields of Tasmania to teaching English across China to a Mongolian orphanage and travel-writing through Paris. Forever the traveller, Ma breathed in so much cultural air and celebrates his findings through The Voyager, his first solo LP. “I tried very hard not to be the tourist. Everywhere I went I lived for a long time, I settled in China for six months, settled in Paris for six months and found some stable accommodation and work. I studied Mandarin and French when I was living in both places and made it a lifestyle. In Mongolia, I did some work in a French-speaking orphanage which was cool – it was a total stand out of places that I went to,” says Ma with a smile to his voice. “When I was in Paris I hadn’t seen the Eiffel Tower for about three months. I’m much more of a traveller than a tourist.”

Newly-released single Head Right finds Ma narrating from an outsider’s perspective, as a multicultural Australian who has always found it hard to assimilate and frankly prefers to stay on the peripheral for creative license to his art. “The sentiment within Head Right is more about not judging a book by its cover in a cultural sense because the world is such a mash up of culturalisms in that you can find every colour of a human being in every country and they will somehow be native to that place as well. “It’s still very much a part of being a second-generation or non-Anglo Australian,” admits Ma on feeling left out of the Australian culture. “I feel like an outsider within hip hop, I feel like an outsider within the culture I live in, probably equally because I choose to be outside of that mainstream or the obvious paradigms, I prefer that position. And it’s a choice sometimes to not want to fit in – both musically and in artistic outlook. It gives you a lot of creative freedom with the art and in life it gives you a crystallised observational position to look at things.” Ma closes in a laugh, “We were never flag-waving Aussies, that’s for sure!”

WHO: Joelistics WHAT: The Voyager (Elefant Traks/Inertia) WHERE & WHEN: SolBar, Maroochydore

Thursday Aug 11, Spotted Cow, Toowoomba Friday Aug 12, Step Inn Saturday Aug 13, Sprung Festival, Brisbane Riverstage Saturday Oct 15


Gold Coast indie-rockers OCEANICS have been going from strength to strength in recent years. Ahead of their appearance at this week’s 4 Walls Festival, MATT O’NEILL speaks to frontman ELLIOT WESTON about the band’s ambitions.


ceanics are a curious bunch. The Gold Coast indie-rockers’ blend of ambition and humility is quite perplexing. Since making their live debut early last year, the band have managed to perform at the Big Day Out, showcase at Brisbane’s prestigious BigSound conference and secure support slots with both rising local luminaries like Ball Park Music and Deep Sea Arcade and acclaimed international outfits like The Like – all before releasing debut EP Get Friendly, Mistress Maybe earlier this year. musically was different, we liked things like The Beatles, Iron Maiden, Black Sabbath, Black Flag you know? It was much, much less stuff to choose from. So it’d mean there was much less influence in what you’d have in your surroundings. God, the devil, nuclear war and Ronald Regan was what we had here. “But then you fast forward to the 90s, metal had changed, rap metal had become really big, death metal was probably the only big genre in regular metal, and then you had bands that survived that like Slayer and Pantera, and then all of a sudden you’re moving on to White Zombie and everything else, and it was kind of like, ‘Huh?’. It wasn’t really all that metal except for a few things. So there was no climate for us to survive through that. Even Testament wanted to change their name. Exodus and Death Angel broke up.” A topic he is clearly passionate about, Locicero requires no prompting to continue. “You go to now, and there’s this whole retro movement, which is very cool, and very... very retro. It can’t possibly be what it was. There’s no comparison to the way things used to be, as opposed to how they were, and the influences are so vast, with the internet, you have millions of billions of other things you can write about or focus on or concentrate on in your life. So to become this really focused band and not lose track of what you are in there is a lot more tumultuous than it was when we were younger, when all we had was music, hanging out, partying, and playing music.”

WHO: Forbidden WHERE & WHEN: Jubilee Hotel Thursday Aug 4

Elliott Weston, however, is not satisfied. The band’s frontman, Weston is hardly dismissive of Oceanics’ considerable accomplishments to date – one could certainly never accuse the amiable guitarist and vocalist of a lack of gratitude – but he nevertheless seems consistently reluctant to award such achievements too much importance. Whenever discussing Oceanics’ fortunes, the frontman does his best to shift focus from the band’s past and present to their future. “Well, nothing really major has happened yet,” Weston says guardedly of the band’s career. “I don’t think we’ve accomplished too much. We’ve played some really fun gigs and had some cool stuff happen for the band but I think we’re capable of achieving much more. We’re just trying to keep the ball rolling with new songs so people keep interested. right now we’re really just focused on jamming and working on new material.” One could feasibly attribute Weston’s attitudes to the band’s lengthy gestation. While only performing live for the first time last year, the origins of the band can actually be traced back to 2005. Oceanics originally began as a partnership between Weston and high school friend Jackson Haswell. It took the band nearly five years to evolve into their current incarnation. Given such a protracted evolution, Weston’s tendency to focus on the Oceanics’ future is understandable. “We’re going to be recording our second EP in the next two months. Next year, we’re planning on releasing a pretty epic album – different tempos, different vibes, stuff like that,” the frontman says of the group’s plans. “I’m hoping that we’ll get a lot more attention with our second EP. I mean, the songs on our first EP were the first songs we’d ever written. I think our writing process has changed and it’s a lot more pedantic. We’ve rewritten a song four times to get it right for this next EP.”

That said – the actual reasoning behind Weston’s surprising humility seems less concerned with the band’s past and more related to their vision for the future. Put simply, Oceanics feel like they can accomplish a great deal more than they already have as a band. At one time intent on being a sports teacher, Weston threw away his initial vocation in favour of pursuing music on a career basis and there’s an unshakeable confidence to the musician that suggest his band just might do it. “It wasn’t really a serious concern when we started out. We didn’t really start taking it seriously until probably after we played the Big Day Out. For a long time, we were just jamming and mucking around in Jackson’s bedroom,” Weston laughs. “Music wasn’t always the goal for me. I wanted to be a sports teacher when I was younger but I woke up one day and just realised I didn’t want to do it. Music just sort of found me, I suppose. “You know, I think we’d like to be a big Australian band,” the musician says bluntly. “We’re not all that bothered about becoming world conquerors or going overseas but we’d all love to just become one of those well-loved Australian bands that everybody knows. I think that’s really our major goal for the future.”

WHO: Oceanics WHERE & WHEN:

4Walls Festival, QACI Saturday Aug 6, Spotted Cow, Toowoomba Friday Aug 12






(XL/Remote Control)



Leader Cheetah should be from Nashville, Tennessee; the Mississippi Delta, the prairies of Canada. Essentially, anywhere except Adelaide. They summon a soundtrack to dusty and remorseful bars, the types of saloons where men would remove their hats at the sight of a lady and where the staff are always tipped generously. Their sophomore LP Lotus Skies is a beautiful relic of domestic Americana that never sounds contrived nor played out, only engaging and pure.

Although Dayve Hawk started recording the material that would become the second Memory Tapes album Player Piano directly after he put the finishing touches on his breakthrough debut Seek Magic, from the opening moments of the Musicbox(in) intro it’s obvious that the new record is an entirely different beast. Thick stereo echo bounces around your ears with a gramophone scratch dirtying up what sounds exactly like a melancholy music box, playing its sad tune for the millionth time.

There’s barely a bar, a chorus or a bent note that fails to add colour and feeling to the album, tracks like Midnight Headlights and Our Love immediately acquainted even on their first spin. Daniel Crannitch’s voice is an easy target to pin this homeliness on but all four members are to be equally lauded, their ability to bring individual glory without washing out each others’ parts is as much to do with chemistry and talent as it is the spacious production of Scott Horscroft (Little Red, The Sleepy Jackson). Even when the tempo lifts on Dark Stands Over, there is still a great deal of respect in their sound, which in a world of raging egos, is a rare commodity.

It’s almost a shock when Wait In The Dark kicks in moments later. Bright and bubbly, a mélange of happy steel drum sounding instruments and bright, shiny synths cascade into each other while the beat trundles along, occasionally making way for short bursts of instrumental madness. Hawk sings like a bird, his ethereal highpitched voice floating above everything else despite being buried deep in the mix and drowning in reverb. The tumbling drums are ever-present throughout the album, but on the verses of Today Is Our Life they take centre stage – it’s like he’s slowly revealing all the elements that will come together by the albums closing outro.



The two hottest rappers on the planet hook up for a ridiculously cool track that should cement Pusha as the new saviour of hip hop, if indeed hip hop needs one. The Neptunes’ beat is as good as any that Pusha has used for his group Clipse (a duo with his brother Malice who famously get first dibs on all Pharrell William’s beats), and better than most. Stark, minimal and slightly ominous, it’s clear how much Tyler’s own production has been influenced by the hard-edged shit that The Neptunes do best. Despite the mostly justifiable hype over Tyler and his Golf Wang, Trouble On My Mind is Pusha’s show and he’s on point and synched beat perfect with his slow rap that says so much about his game plan without saying much at all. Tyler’s verse is complementary yet secondary, but gives Pusha some breathing space and shows he’s got the balls to bring it with someone who has clearly been a massive inspiration.


Bringing The War Home (Fat Wreck Chords)

I Googled cobra skull just to see what one looked like, and just like I suspected it’s just like a regular garden variety snake skull. I guess that cool neck shit they have is just skin or scales or whatever. Anyway, Fat Wreck still exists apparently and are still releasing music that sounds like all the music that has ever been released by Fat Wreck. This should be a testament to their stick-to-it-iveness but unfortunately it’s just so goddamn boring. Fast 90s style punk rock with vaguely political overtones and hints of ska diluted via misguided Clash influences. If there’s still like a Warped tour or whatever, these guys are no doubt gonna be looked after.

There’s a long list of notable instances where a hitherto unremarkable band is artistically written off by many, only for them to create an album so left of field from their previous offerings that the result proves to become a critically-lauded watershed moment. British band The Horrors’ sophomore effort Primary Colours definitely fits this mould – if anyone tells you they predicted that the London quintet would cast aside their petulant goth art pretensions with an album that showed grace, pomp and refinement, ending with a krautrock jam, they are lying. Skying, The Horrors’ third offering, is a more linear progression for the band, but no less impressive. This is evident from the first few seconds of opener Changing The Rain – the lush sounds the band turned to a few years ago are even more fully realised here, the textures silky smooth, lead Faris Badwan’s vocals echoing down the line before exploding amidst a production that any mid-90s Britpop heavyweight would have been proud of. You Said is as maudlin and disdainful as Morrissey when he still pretended to like his bandmates, whilst Monica Gems could be Suede channelling Bowie via your choice of mid-00s British NME-sponsored acts, yet easily outshadowing them. Single Still Life still packs a considerable punch some months after hitting the airwaves, its looped tape effects, simplistic-yet-insistent drumbeat and 80s melodramatic synth lines augmenting Badwan’s wavy wording in the verses, and straightforward anthemic chorus. None of Skying changes the world – yet in a bizarre way it does. This is The Horrors’ modus operandi now – instead of aping their admittedly expansive record collection, they are smashing it to bits to find the treasure inside and making it their own. The more things stay the same, the more The Horrors change. A very accomplished album. ★★★★½ Brendan Telford



Boot-scooting indie country like only bands from Melbourne who dress as cowboys and live in hip urban inner city suburbs can deliver, Immigrant Union’s jaunty number about wanting to dance and stuff is upbeat and barndance dosey-do ready. Oh yeah, and the singer is the drummer from The Dandy Warhols, and there is a guy from Uganda in the group as well, so the immigrant thing is not just a clever name, and they recorded the album is Oregon so I guess at least they’ve all been there. Somehow it still sounds like just another country group, disappointing especially since the Portland meets Melbourne should add up to something more – almost bizarre it sounds so ordinary.


Truth (feat. RZA) (Inertia)

If there’s one way to make you come across as less of a beardy folk hippy, especially if you are a beardy folk hippy, it is to hook up with Wu-Tang Clan mastermind RZA for a record. Actually, Alexander Ebert can’t really be accused of too much hippyness, his group Edward Sharpe And The Magnetic Zeros manage to cover a lot of ground without falling into any kind of genre pigeonholing and Truth certainly shows that he’s open to a lot more on top of the eclectic nature of his quite excellent group. You may have heard this already in the season opener this year for Breaking Bad, and if you haven’t, it means you didn’t watch it, which means you are wasting your life.



Go Go Chaos

(Lemon Tree Records/Shock)

Without having heard the sounds of Bonjah, most music enthusiasts would be able to identify them as one of those hard working roots bands that are constantly connecting with people the old-fashioned way, building their fanbase one person at a time. Whilst this continues to be true of the Melbourne quintet, nominated for APRA and AIR industry awards for their debut album Until Dawn, they are covering some exciting and unexpected new ground on their sophomore effort Go Go Chaos. Leaving behind some of the stereotypical rootsy funk elements of old, Bonjah are now busy exploring how mainstream sounds and structures suit their well-honed genre skills. The change is noted from album opener Lady Listen, though as subtle tribal elements bolster the tight cymbal heavy percussion and underlying bass groove, Bonjah ascertain they’re not walking away from their roots completely – they’re just finding a more unique way of expressing their own version of it. The White Line is a rollicking foot-stomper that smashes a dirty blues guitar together with the dynamics of solid country percussion. It’s fun as hell and obviously written with a dancing, sweaty audience in mind. Something We Should Know at first channels the indie folk leanings of the likes of Boy & Bear, though the niceties give way to thickly distorted rock guitars and the ever-creative percussion skills of drummer James Majernik who can almost create a melody out of a beat. The album’s title track, a spacey and morose piece which heads into dreamy electro territory, is the highlight perhaps for being the most uncharacteristically Bonjah.

Lotus Skies

Further high water mark’s include the flamenco western of title track Lotus Skies and the lush harmonies peppering Dead In A Dream, while the soloing of Dan Pash seems to be an undercurrent of guitar highlights that continually runs throughout. Accomplished in their musicianship, inviting with their compositions, and effortlessly assured with their execution, Leader Cheetah have more than delivered on their promising debut (2009’s The Sunspot Letters), usurping it with a deep album full of rich tunes and unshakeable melodies. Don’t be surprised if this album spins in your stereo for months – you definitely won’t be the only guilty party. ★★★★

Benny Doyle

While the songs are almost exclusively upbeat and feel fairly lightweight, especially Offers, Sun Hits and Worries, the subject matter is dark and conflicts with the superficial happiness. Even when the music is a little more subdued and slow such as on Yes I Know, it still doesn’t come close to the other-worldly spookiness of the Seek Magic set. The record is more organic, sounding less like an electronic record and more like a pop band. An unconventional pop band certainly, but the album is much more song focused, while still maintaining an atmosphere and sound unique to the established Memory Tapes sound, even if it’s a little happier, at least on the surface. ★★★★ Chris Yates


Organ Music Not Vibraphone Like I’d Hoped (Jagjaguwar/Inertia)

Spencer Krug is one musician that seems relentlessly intent that his audience are taken on a ride – oft-times against their will. Whilst his first major band, Wolf Parade, received much commercial success, Krug’s voice was identifiable by its strangeness, further accentuated by the intricate arrangements he laid underneath it, leaving it to his other bandmates to bring the pop hooks and whimsy. Likewise, with Swan Lake Krug provided the more opaque facet of the Canadian indie supergroup. He always seems to be imposing some set of restrictions on his muse, which at times provides amazing intuitive melodies and rhythms, and at others merely perplexes and frustrates. His new guise – Moonface – is unlikely to change that. Bringing out an epic EP a few months back called Dreamland: Marimba And Shitdrums (made up of marimba and shittily recorded drums), he follows it with a fulllength opus just as honest in its moniker. Meant to be a droning prism of headnumbing passion, Krug cannot help himself, instead fusing his cracked pop genius to the mix for unexpectedly catchy results. The instrumental breakdown in the outro to opening track Return To The Violence Of The Ocean Floor is the analog equivalent of a Beirut hoedown – calamitous but ultimately poppy as all get out. Likewise, the spectral, droney opening to Whale Song (Song Instead Of A Kiss), deepened by Krug’s iconic vocals, coalesces into a kaleidoscope of soaring ice particles, a powerful Bowie trip caught in an arctic Emeralds-esque no man’s land. Everything is organ-based – everything – yet this is undeniably a record of melody.

Take Go Go Chaos on a road trip and explore Bonjah as they themselves go on a journey of self-discovery. From start to finish, it’s a fabulously rewarding trip, for both the band and the listener alike.

That said, it is a little elongated even at 37 minutes, which begs the question – why does Krug insist on shackling himself? Once he finds the happy medium between freedom and restraint, we may have the best record known to man – until then, these consistently weird yet very good albums will suffice.


★★★★ Howie Tanks

Tyler McLoughlan

Player Piano

COM TRUISE Galactic Melt (!K7/Beatbroker)

It’s immediately obvious where graphic designer-cumelectronic musician Seth Haley – aka Com Truise – is coming from. Dude has spent a LOT of time watching sci-fi and medium budget action movies from the 80s, and decided that’s what a band in the far off land of the future in 2011 should sound like. It’s basically the original Terminator soundtrack set to a lo-fi 80s dance beat, as if that movie was about a rooftop cocaine party instead of a sometimes nude killer robot from the future. Combining end of the world-style pulsing doomsday synths with the optimism of medium-tempo dancefloor party starters, he’s created a soundscape that seems like the future promised to us in Bladerunner has arrived, without the murderous replicants and flying cars. It doesn’t wallow in nostalgia or expect the listener to have an in-depth knowledge of 80s electro or John Carpenter: interestingly, the record doesn’t actually play that much like a soundtrack at all. Other than the slow subsonic rumble intro that kicks off the record, Terminal, most tracks are fully-formed in their own right and other than the obvious sonic similarities don’t feel like a set. A few tracks like VHS Sex rely on a vocal sample to help them out, but this is rare, with Haley letting the gurgling synthesisers do the talking. Air Cal opens up the sonic palette a bit, letting in some high frequency string sounds add some airiness. There’s also moments of borderline glitchiness, Ether Drift being the best example of this working well. On the whole the album sounds great, but it does feel like something is missing, like listening to Rush Rush by Giorgio Moroder without Debbie Harry to pretty it up. Even still, it’s loaded with great sounds and a captivating atmosphere. ★★★ Chris Yates









The Big Roar

It has been a long time coming for the Welsh trio, but here they are with their first record, The Big Roar. After starting with a minute of metallic clatter that sounds like either falling hailstones or the last sputterings of an overheated engine, the opening seven-minute opus The Everything Spectrum Of A Lie is rampant noise, a full on assault of guitar led forth by Ritzy Bryan’s soaring vocals. It’s a brave move to musically throw all their eggs in one basket as they do here, for this opening track is effectively their entire album and sound. For all intents and purposes, when Bryan sings “The dangers of showing any kind of weakness” she is singing the band’s mission statement.


Note To Self

When Cloak and Dagger comes at you all sexy rasp, minimal drum beat and modernised Edge-style guitar line, Mona make their mission clear in barely one minute of music. These guys are more than ready to pick up the baton of mass singalongs as soon as Bon Jovi and Bono are ready to pass it on, the tunes practically leaping from the speakers with a production sheen glistening aurally with every beat and note.

James Cruickshank hits out with Note To Self, his third solo outing, and the former The Cruel Sea guitarist has added some real crushed-glass edge to his rustic blues sound. Never to be confused with some of the more iconic voices that paint the Australian musical landscape, Cruickshank uses such limitations to his advantage, taking more than a leaf out of Tom Waits’ notebook to create eight songs of elegiac charm.

Although many will dismiss this debut album from the young four-piece as tripe – an amalgamation of mass marketed rock’n’roll from the last 30 years – when Mona do hit their mark, like on juiced up number Teenager, it’s hard not to get caught up in the musical hyperbole and let the big oohs and ohhs run right through you.

Opener A Little Moonlight offers a slow waltz into isolated realms, a plaintive number that plays to Cruickshank’s strengths masterfully. Blue Falcon is a mawkish, somewhat contrived ode to the beastly automobile, but is erased with the bizarre flourishes he adds to the pop whimsy of Ooh Las Vegas. The genre jumps again to an authentic soul doo-wop, and Invisible Tattoo makes for a delightful change of pace. Yet it is in the more melancholic numbers that Cruickshank really inhabits the role of the bruised troubadour. Chrome Wings is an amazingly dark number, programmed beats and slight warbling guitar augmenting his most Waits-like growl, the foreboding emanating throughout every second and sound. His cover of George Harrison’s Within Without You is also a masterstroke, taking a Nick Drake minimalism to the classic that adds unexpected resonance.

This outlook proves to be a double-edged sword however. Whilst their dream-pop tinged explosions are still evident, most notable in closer The Greatest Light Is The Greatest Shade, the band have cut the lightness of tone and embraced the beauty of noise, for better or worse. On The Everything Spectrum Of A Lie, Austere and Whirring, this approach is an awe-inspiring one. Yet when they miss the mark, like on tracks such as The Magnifying Glass, they come away looking like they are trying to account for weaknesses in their sonic make up. This is further heightened by the fact that four tracks on The Big Roar are older, previously released songs.

However, as with most albums of this nature, every time the self-titled release threatens to go to places challenging and fresh, Mona play it by the rules, opting for safety over substance. Lean Into The Fall has a fantastic drum groove that feels like it could run down the track at any moment, but then, you are dealt one of the more bland choruses of the album. Listen To Your Love comes out swinging with a distorted bass riff before the stock chorus and bridging verses keep the tune in all too familiar territory.

Nevertheless, this is a solid album that shows a band embracing both shoegaze and melody in an anthemic setting that, whilst needing refinement (particularly when trying to craft a short, punchy track), is nevertheless occasionally breathtaking, all the while highlighting an amazing (and wonderfully loud!) live band that will hopefully continue to grow into the big rock shoes they’ve chosen for themselves.

Unabashed with their anthems and grandeur, Mona are made for a huge audience, however they sound like every band that has filled stadiums before them. Yet with their youthful vigour and underlying sexual nature, these Tennessee rockers could quickly win a million fans and hearts in the process, and we the general listener, whether it’s for good or bad, wouldn’t have the slightest chance of stopping them.

★★★★ Brendan Telford

★★½ Benny Doyle

Note To Self is an album that showcases the arrangements that Cruickshank is known for, yet the chopping and changing of genres doesn’t always help the album to gel as a complete unit. That said, there are some undisputed diamonds amongst the rough that make for a deserved listen. ★★★½ Howie Tanks


It’s difficult to pinpoint the peculiar allure of WIM, a Sydney quintet who have been building a backlog of praise for their brooding folk-pop since the release of an EP a few years back. That this admiration has been earned largely on the merits of their live show rather than through clever marketing campaigns and garish social media tactics goes some way to explaining the appeal. WIM have built a moody atmosphere to traverse a debut album that relies equally on a base of guitar and keys. Like a bowerbird, they specialise in texturising their nest with all things in the key of blue, from mandolin, brass, accordion and lush choir-like backing vocals, though largely avoid the sparkling decorative effects that usually enamor the bird. Colussus and See You Hurry provide eerie yet stunning introductions, menacing enough to be a soundtrack to a chase through a damp, dark forest. On the flipside, 60s swagger creeps into Something For You and Monster And Me. Elsewhere America sneaks in some country vibrancy across its tempo and guitar sounds. What’s missing from this formula is the chance to get up close and personal to singer Martin Solomon, due to his often aloof lyrics of winds and willows, rivers and reeds. There’s no disputing his ability, particularly as he switches between a lazy Thom Yorke drawl on Colussus’ carefully-considered interplay of keys and strings, to the sweeter lilt of John reminiscent of Josh Homme in his quieter moments. This is a stylishly crafted album from WIM that sets an incredibly high bar in terms of arrangement and production considerations for other bands contemplating their debut longplayer. Accomplished, rich and in brief moments even jolly, WIM demonstrate exactly why immediacy is for suckers. ★★★★ Tyler McLoughlan



ARTS WEDNESDAY 3 Australian Poetry Slam: Brisbane Heat – Speak, scream, howl, whisper, or sing your original poem at the first heat of the Queensland Poetry Slam 2011 competition. You have two minutes to make your mark with the mic and impress the judges – selected randomly from the audience. If you think you’ve got what it takes, sign up 30 minutes before slam kick-off. The evening will also feature a performance by band The Stress Of Leisure. Turbine Platform, Brisbane Powerhouse, 7pm. Boats – Classic storytelling, breathtaking puppetry and physical theatre combine to create a magical show that is enchanting audiences throughout the USA, Ireland, New Zealand and Australia. Closing night. Judith Wright Centre. Moth – highly-charged Green Room award winning production commissioned by Melbourne’s Malthouse Theatre and Arena Theatre Company, written by young playwright Declan Greene, directed by Chris Kohn, and designed by Jonathon Oxlade, about youth, angst, love, suburbia, and everything in-between. Opening day, 11am and 7pm. Visy Theatre, Brisbane Powerhouse until Saturday. Water Wars – play looking at the ever-present tension between two competing human instincts – the instinct to survive, to save yourself and bugger the rest of them. And the instinct to protect a stranger – the instinct that brought out the mud Army, the instinct to save the herd, the community – to self-sacrifice. Opening night, 6:30pm. Roundhouse Theatre until Saturday Aug 20.

THURSDAY 4 Cabaret – bringing together a stellar creative team lead by Zen Zen Zo Artistic Director Lynne Bradley, this production will be a no-holds barred portrayal of the politics and sexuality that characterised the subversive and decadent cabarets of the last days of the German Weimar Republic. Opening night. Cremorne Theatre, QPAC until Saturday Aug 20.

FRIDAY 5 International Gala 2011 – Queensland Ballet’s International Gala is a showpiece of the best classical and contemporary dance. Guest dancers: Hao Bin and Meng Ningning, Rainer Krenstetter and Krasina Pavlova (Staatsballett Berlin), Tyrone Singleton and Ambra Vallo (Birmingham Royal Ballet), Kenya Nakamura and Tomoko Takahashi (Singapore Dance Theatre). Opening night. Playhouse, QPAC until Sunday 7. Surrealism Up Late – late night gallery viewing and entertainment. Tonight: NSW band Alps. GoMA, from 5:30pm.

SATURDAY 6 QLD Pops Orchestra: Cinema Sensations – the great scores of Australian film including music from Picnic At Hanging Rock, The Man From Snowy River, Priscilla Queen Of The Desert, and many more. Former Hollywood composer and trombonist William Broughton will be a special guest. Concert Hall, QPAC, 8pm.

MONDAY 8 Schubert String Quartet – principal members of the Australian Chamber Orchestra, including artistic director Richard Tognetti, perform the music of Schubert, Bach, Stravinsky, and Webern. Concert Hall, QPAC, 8pm.








know the films of Abbas Kiarostami,” I meekly offer, “and that’s about it.” I’m embarrassed that before we talked, I had to make a list of exactly what of his I’d seen, in case she called me on it. Don’t get me wrong, I’m versed enough on the director, and have thoroughly enjoyed his films – I think A Taste Of Cherry is nothing short of sublime, and Ten is a masterclass in minimalism, and political storytelling – but I’m no scholar. Nor have I – and here, I’m ashamed again – made an effort to seek out the cinematic efforts of his countrymen. As beautiful, and revelatory as his films were, I’d succumbed to easy, populist programming – and DVD sales at JB HiFi – and had only fleetingly dipped my toes in Iran’s rich, cinematic waters. But, as it turns out, I was not alone in my ignorance. “Regrettably, in Australia [awareness] is not very high,” Geroe almost sighs. “Kiarostami – I consider him one of the greats of world cinema, and I think that’s the problem; we don’t hear of many in the next tier, and there really are a lot of them.


“I was fortunate enough when I [worked] at BIFF to be invited to Tehran, to their festival, about ten times,” she explains, tracing the origins of her exposure to the country’s cinema, and the impetus for forming a festival thereafter exclusively for Iranian films. “It actually started after the [September 11, 2011 attacks on] Twin Towers, I was shocked by the bias and prejudice in Australia – and everywhere, I suppose – and I thought that I’d like to do a program that focussed on the Middle East.” “And Iran, of course,” she continues, “was really the only major cinema at that time – I think Turkish, and Egyptian cinema are now making enormous headway, as is Palestinian cinema – but at that stage it was the only one, so it was a major focus.” “[So] I went over there,” she finishes, “and I realised just how complicated the whole scene was. I mean, the films are really, really interesting,” she laughs, “[they] kept me fascinated for ten years!” Which, in a rather broad way, brings us to now; just a few days away from IFF’s opening in Brisbane. Scheduled then to show in Canberra and Adelaide, the festival boasts a refined collection

of Iran’s best, along with a spotlight on recently jailed Iranian director Mohammad Rasoulof, whose films, Geroe gushes, “… are these beautifully shot, gorgeous-looking political allegories.”

Amy Winehouse was buried in Edgwarebury Cemetary in North London last week and, expected as her ultimate demise was, it’s still strange that she went out with a whisper. That quietness of her exit, as much as the loss that comes with it, is a human tragedy, as when any known drug addict dies, because there was so much warning, and the loss was preventable. Yet, like an iPod or a cheap car, before too long she was expected just to stop. But Winehouse wasn’t a throwaway machine, she was a person with all the pain and privileges that comes with it right up until the very last second when she slipped off this mortal coil. Until that time, her future was unwritten by fate though very much speculated upon in ink.

I remember seeing Welsh songstress Duffy at V Festival and thinking, “She’s like a white Amy Winehouse,” an odd thought, perhaps, but I couldn’t rephrase it any more accurately. As Russell Brand noted, Winehouse possessed “a voice that seemed not to come from her but from somewhere beyond even Billie [Holiday] and Ella [Fitzgerald].” Like Billie, Winehouse’s addiction got the better of her. No doubt countless fans have said the little prayer that non-believers say every time her name was used in relation to drug use, “I hope she makes it”, because the ability to come back from the brink and rebuild is one we’d all like to believe we have. Most of us dare not test those boundaries but we know they’re there. Robert Downey, Jr. managed to live long enough to rebuild his reputation and career from ashes


On how she made the selections for this, the festival’s debut, she’s rather profound, noting that the country’s cultural politics can’t help but be echoed in their cinematic outlook. “Their films, I find really interesting – both aesthetically, and in terms of how they reflect social issues. I just find that at the moment, [Iran] is really the site where politics are being worked out. “From my perspective [too], it was about showing the diversity of Iranian cinema. But it’s also about ridding some of the misconceptions people have about Iran. It’s not the kind of poverty-stricken third-world country that people perceive it to be. It’s just at the mercy of a regime that changes its public image.” WHAT: Iranian Film Festival WHERE & WHEN: Brisbane Powerhouse Thursday Aug 4 to Sunday Aug 7

British filmmaker Joe Wright made a name for himself with period dramas Pride & Prejudice and Atonement, before hopping across the pond to make The Soloist, starring Robert Downey, Jr. and Jamie Foxx. Now he takes on the action genre with Hanna, a revenge thriller starring Saoirse Ronan, Cate Blanchett, and Eric Bana. Kenetic is perhaps the best word to use to describe the film, with its pounding soundtrack from the Chemical Brothers cut perfectly to the footage. Thanks to Universal Pictures, we’ve four copies of the soundtrack on vinyl to giveaway (the vinyl’s a rare promo-only pressing) along with an in-season double pass. For your chance to win head to the giveaways section of



t may have cost him two hips but right now Aaron Cash’s dance career couldn’t be better. One of Tap Dog’s founding members, Brisbane born Cash is about to take the monumental show, Cuba’s Ballet Revolución, on the road. The last nine months have seen him developing the work he has co-choreographed with the Cuban choreographer, Roclan Gonzalez Chavez. “I never honestly considered myself as a choreographer,” Cash says. “This has sort of fallen in my lap.” Cash is adorably modest about his achievements. “I never thought I’d be doing something on this scale,” he says. “I’m, like, the guy who started out by taking out the garbage and is now running the company!” This is from a man who was handpicked to dance in Cher’s show, which he did for ten years before going on to duet with Twyla Tharp in the ’90s and then work with ballet legend Mikhail Baryshnikov. The original idea for Ballet Revolución, a monster show fusing every glorious dance form that comes out of Cuba, from classical ballet to salsa to mambo,

came from two producers in London, John Lee and Mark Brady. Lee is an old friend of Cash’s. “I worked with him about 15 years ago in London on a show, as an actor,” reminisces Cash. “He said, ‘I can’t pay you but I can get you drunk every night.’ That led to a long-time friendship.” The training and expertise of the Cuaban dancers is like a gift to Cash. “It’s as though someone’s handed you the Alvin Ailey Dance company and said ‘go create,’” he continues. “They make my stuff look better than me! Everything is freshly created for this show. All new stuff. I bring a more western commercial element to the show which works nicely next to Roclan’s classical contemporary style.” Cash says that Roclan is the ‘young hot commercial thing in Cuba right now’. “His thing is moving a big number of people around the stage. He’s a salsa dancer with an eye for the stage; he knows what he wants. He’ll do a mambo piece deconstructed, fused with commercial elements fused with contemporary ballet. The music is all

Latin American. It blends really nicely.” Cash elaborates on his artistic process. “I’ll hear a piece that inspires me,” he says. “Something intensely moving. I hear a piece of music and it makes me want to move in a certain way. Each piece, within itself, has its stories, the music ...” He has found inspiration from just being in Havana. “It’s romantic; you get caught up in their history, the ambience ... At the Hotel Presidente there’s this old couch with

a floral design, I looked at the pattern and imagined seeing that from the auditorium, with dancers.” The thrill of working with the Cuban dancers comes through loud and clear. “Cubans have this ferocious love of dance,” Cash enthuses. “It’s unique. Cubans are very musical, amazingly talented, incredible percussionists; they really hear the music. They all salsa. Even your local taxi driver is a better salsa dancer than most other people.

They have an aura of smoothness, of coolness. They dance ‘in the music’. And they do it more uniquely than any other country. Totally in the moment. Musicians call it ‘being in the pocket’. I’m just getting this, at 42.” WHAT: Ballet Revolución WHERE & WHEN: Concert Hall, QPAC Wednesday Aug 10 to Friday Aug 12

but those kinds of success stories are too few to believe that the end justifies the means.

but in the space of eight days a lot of folk developed a taste for edgy soul music. Considering these numbers we should expect a best of/rarities release before Christmas. So be it. If there are CDs in the future, this minor frenzy will filter into a long lasting appreciation when Winehouse’s music is unearthed by generations to come, rummaging through their parents’ music collections for signs of humanity.

A friend of mine once told me that in retail circles, when a celebrity dies, R.I.P. stands for Rush In Product because posthumous popularity equals easy money for those stocking the wares of the deceased. Not surprisingly, that’s the case this week with Winehouse. Her breakthrough album Back To Black topped the charts in the UK, her debut album Frank gained its highest placing ever in the UK, coming in at number five, and the ARIA charts reflect a similar trend with both albums charting well. It’s expected, but still a little strange considering Winehouse doesn’t have a huge back catalogue to plunder. Those two albums have both been around for the better part of a decade



Though Winehouse appeared to walk to the end of a path she’d been on for years, it’s important to remember that she was a person with free will, and not an iPod designed with a use by date. Who’s to say she wasn’t a hair’s breadth away from an epiphany? Perhaps, rather than doomed, she was just very unlucky.



WITH HELEN STRINGER I was once chased through King George Square by a group of performance artists. To make matters worse these performance artists were dressed as nightmarish clowns and were attempting to attack me with animal-shaped balloons. I’d like to say I handled this situation with dignity and escaped their balloon-onslaught like the bona fide adult that I am, but this would be a lie. Instead I started crying and ran away. Unfortunately the attack clowns outnumbered me. Even more unfortunately they could run faster than me. In the face of this performance art assault I was forced to retaliate. Being hugely articulate in times of desperation this retaliation involved singling out the smallest clown and screaming “fuck off” at very close proximity. There may have been some spittle. It was not my proudest moment and it did lead me to develop a phobia of performance art. Phobias are debilitating, particularly when they begin to encroach upon your everyday life. So in the spirit of recovery, I decided to treat my phobia with the tried and tested method of exposure. Not being one to shy away from psychological treatment I decided that merely watching vast quantities of performance art was insufficient; I had to learn the art-form. I turned to YouTube, and as quick as you can type “how to be a performance artist”, there appeared a series of instructional videos made by an apparently “acclaimed” performance artist named Athena Reich (here’s hoping she’s a comedian).

First off Athena Reich tore her way out of a garbage bag, before answering the question, “What is performance art?”. According to Ms Reich it’s “everything and nothing,” which is not particularly helpful. Perhaps her explanation of writing for performance would be more illuminating? Her advice here was invaluable: put on a tutu, lie on the floor, and write with a crayon, free from “the burden of society” which could cause me to do something truly terribly like use punctuation, which she advises against. Fair enough. Next up this pedagogic genius informed her student that performance art should incorporate the five senses; in order to fulfil all five, how about having your audience walk through a sheet of spiky nails? Because that would hurt a lot Athena, and possibly result in litigation. Skipping through “Should You Collaborate?” and “Using Props” the real substance – and the turning point in treating my phobia – came from Athena’s lesson, “How to be Outrageous in Performance Art.” It’s possible that Athena confused “outrageous” with “ridiculous”, but I was there to learn and learn I did. What did she suggest? “You could do jumping jacks in a bikini” or perhaps “climb a ladder and jump onto a trampoline while conjugating verbs”. My phobia was completely cured, however, the moment she suggested that I “take a lump of lard and sculpt a chicken.” Frankly, I can think of few things funnier than watching someone sculpt poultry out of animal fat in the name of performance art. GS NIN REE 3 C S 1 IVE ST LUS GU EXCOM AU FR




laying in your hometown has got to be one of life’s highlights for a performer. Sarah Ogden, who plays Claryssa in the much loved play Moth by Declan Greene, is a Brisbane girl. And Moth, an Arena Theatre/ Malthouse co-production, is travelling northwards. “I can’t wait to take it home,” she says. The actor plays a dysfunctional youngster in a role, she says, she knew she could nail. “When my agent rang and said they wanted to see me, I was ecstatic. I was that girl.” Even before the audition, Ogden was drawn to Claryssa. “I was a bit of loner,” she remembers. “I spent a lot of my time at school at drama class, or reading science fiction and fantasy; I wasn’t connected to the cool set or the pop world; I was in my own world. And I was struggling. I was very unhappy as a teenager at various times.” The friendship between Claryssa and Sebastian in the play has resonances in Ogden’s own history. “Either I had one strong friendship and it was us against the world, or I was on my on,” she adds. Moth has been a hugely successful production with two sell-out seasons at The Malthouse. Although dealing with the subject of teenage mental illness, Ogden says Moth has broad appeal. “The play appeals to a wider age range than the age range it’s aimed at. Everyone knows what it is like to be alone. Everyone at some point in life AY RSD HU T RTS STA

feels like no one understands them. It is a story about people, not a story about mental illness. Hopefully it opens up conversation – about how we deal with people’s mental illness and what we can do to ensure tragedies like this don’t happen.” Ogden was closely involved in creating the character of Claryssa, an ‘emo wiccan artfreak’. “I was really conscious of how I was approaching it, creating a three-dimensional character and not going for some stereotypical teenage role, not wanting to insult or demean people of that age,” she says. Details in Greene’s script kept popping up to remind Ogden of how close her own memories of adolescence are to the experiences of her character. “So many little things ring true for me: the candles, the incense, the doona cover with zodiac signs on it, the Doc Martens [her own, from the time]. If I was 15 now I’d be in the emo set,” she says. “Chris [Arena’s director Chris Kohn] really allowed us to shape the characters,” the actor continues. “Having such an influence gives you a real sense of ownership of the work; it’s precious to you. It’s a lovely way to work, to have made it together. The script wasn’t developed when we first walked into rehearsal room! It was in draft form. It had been through several development processes already; Declan had been talking to high school


students. He was in the rehearsal room the whole time. We hadn’t quite figured out how the play was going to end. It’s finished now. We know what it is!” Ogden describes Moth as a ‘beautiful and funny play’. “Declan Greene has a nasty and acerbic sense of humour; great energy,” she notes. “The characters are retelling the story – they and the audience are trying to put the pieces together. It jumps around on stage. You’re not sure where this train is heading! It’s a touching story, mired in tragedy, told in a contemporary way Reprising Claryssa, Ogden reckons, is like “flopping into an old pair of jeans. It was great. There are always one or two extra things that mean it’s never quite finished. There is enough to keep me interested and engaged; it’s not as though I am doing the same old thing again. I know my work is good. I know people enjoy the production – there is a sense of ease and confidence in opening night. It’s lovely to have such a challenging and meaty role,” she continues. “It’s not often an actor is given so much control over the success or failure of a piece. 60 minutes on stage and it’s all in the hands of two performers. It’s a big challenge to be mentally prepared for that, twice a day.” She has fond memories of performing for school groups at the Sydney Opera House. “It was fabulous performing for a room of 200 school-age kids,

with all that joy of having an afternoon off school.” An entire audience of teenagers responds differently to the work, she notes. “There are huge differences between young audiences and adult audiences – people laugh in different places. The adult audiences go ‘oh they said ‘facebook’’. They’ll laugh at the fact that it is a text message whereas for the kids it’s about the content of the message.” Ogden says audience responses have been palpable. “They are actually engaged – they come out of it in a completely different place from when they went in.” Moth is going to travel the regional centres. “It will be interesting to see how it plays in different places, in regional areas, muses Ogden.”It’s one of those plays you can take anywhere. It’s not set in any particular place or city. Sebastian and Claryssa are not inner city hipster kids.” In her own life, Ogden says that playing Claryssa may have brought her closer to her partner. “It’s such a drain on your emotional responses; my partner’s had to understand that, what that is like. He’s seen the play five or seven times and says he has cried every time!” WHAT: Moth WHERE & WHEN: Brisbane Powerhouse until Saturday Aug 6








SUN 4.00PM

RISE OF THE PLANET OF THE APES (M) (NO FREE TICKETS) THU-MON 11.00, 1.25, 3.45, 7.00, 9.25PM TUE 12.15, 2.30, 4.45, 7.00, 9.25PM




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(NO FREE TICKETS) THU-SAT/MON/TUE 10.00, 11.50, 1.40, 6.00, 7.45PM SUN 10.10, 12.00, 2.00, 6.10, 7.50PM


(NO FREE TICKETS) WED 11.00, 1.25, 3.45, 7.00, 9.20 PM THU/SAT/SUN/MON/TUE 10.00, 2.10, 7.15, 9.25PM FRI 12.20, 2.35, 7.15, 9.25PM


WED 11.55, 2.15, 6.45, 9.10PM THU-MON 1.15, 8.55PM TUE 1.15, 3.45PM



WED 10.45, 12.45, 2.45, 7.00PM (SOLD OUT), 9.00PM THU/SAT-TUE 12.10, 4.25, 6.20PM FRI 10.20(BABES), 4.50, 6.45PM

WED 11.05, 1.15, 6.45, 8.45PM THU-TUES 12.40, 5.10, 9.30PM



WED 10.45, 3.15, 6.30, 8.45PM THU-MON 11.00, 2.15, 6.40PM TUE 11.00, 2.15, 9.20PM


WED 10.30 (FRI BABES), 3.45, 6.30PM THU/SAT-TUE 10.05, 2.35, 8.15PM FRI 10.05, 2.35, 8.40PM




5 DAYS OF WAR (MA15+) WED 4.45PM


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BALLET DE L’OPERA NATIONAL DE OF GODS AND MEN (MA15+) BEAUTIFUL LIES (M) PARIS: CHILDREN OF PARADISE (CTC) WED 10.30 (GOLDEN LUNCH), 3.45, 6.30, 9.00PM WED 9.45, 2.15, 9.30PM THU- TUE 12.00, 2.20, 6.50PM THU 1.00, 2.50, 9.30PM (NO FREE TIX) SAT 11.30AM SUN 1.00PM



LOVE CRIME (M) (NO FREE TIX) THU/ TUE 11.00, 4.00, 6.20, 8.45PM FRI/ MON 11.00, 4.00, 6.30, 8.45PM SAT 2.15, 4.20, 6.30, 8.45PM SUN 10.50, 4.00, 6.30, 8.45PM

THE CONSPIRATOR (M) WED 12.45, 4.40, 7.00PM THU 10.20AM FRI/ MON 10.20, 9.30PM SAT 10.30, 9.30PM SUN 11.00, 9.30PM TUE 10.20, 9.30PM


WED 10.00, 3.20, 6.15, 8.50PM THU 10.30 (BABES), 4.50, 7.15PM FRI- TUE 10.10, 4.30, 7.00PM

FRI- MON 12.30, 2.30, 9.00PM TUE 12.30, 2.30, 9.20PM


WED 12.10, 2.30, 9.20PM THU- MON 10.00, 4.45, 9.20PM TUE 10.00, 4.45PM


WED 11.40, 4.10, 6.50PM THU 12.45, 3.30, 9.00PM FRI/ MON 12.45, 3.30, 6.20PM SAT 1.00, 6.20PM SUN 3.40, 6.20PM TUE 12.45, 3.30, 9.20PM







RISE OF THE PLANET OF THE APES Rise Of The Planet Of The Apes is an origin story-cum-prequel to the 1968 classic Planet Of The Apes and its sequels, which envisage a world ruled by highly advanced, talkin’, horseridin’ simians where humans are the underclass. And it’s amazing how much of an underclass you will feel when you come out of Rise. Given the relentless acts of narrow-minded shitbaggery perpetrated by the humans in this film, you’ll struggle to think of one good reason why apes shouldn’t take over the Earth. Humans are doomed, and rightly so. Watch this film and you’re siding with the damn dirty apes all the way. James Franco is in earnest and serious mode as Will, a medical researcher seeking a cure for Alzheimer’s and testing his prototype drug on chimps. When it all goes wrong he finds himself raising the sole surviving chimp, Caesar (Andy ‘King Kong’ Serkis monkeying


around again with CG motion capture) at home. But Caesar is getting more intelligent by the day and has other plans. There are a few problems with this film’s believability – I tuned out when Franco puts clothes on Caesar and starts taking him for walks, but you could equally well do so when they start talking in pidgin English sign-language. Will’s vet girlfriend has absolutely no function in the plot bar lazily making sure a female role is in the mix somewhere, and Tom ‘Draco Malfoy’ Felton is in danger of getting typecast as ‘smarmy, malicious little shit’ if he takes many more roles like the chimp handler here. But the CG apes (by Weta Digital) are largely pretty good, the film looks fantastic, and it has more than a few subtle nods to the originals for the real fans. The third act is a full-on ‘great ape escape’ and the ensuing rampage is hugely fun to watch. WHERE & WHEN: Screening in cinemas from Thursday Aug 4 BAZ McALISTER

risbane-based artist Luisa Rossitto has already made a splash in the art world with her own take on traditional watercolours. Rossitto’s distinctive works are imbued with an undeniable contrariness, both delicate and sinister simultaneously. This compelling style has not gone unnoticed; she’s picked up a swathe of accolades along the way and is now back in Brisbane after a sojourn in New Zealand, preparing for her second show at Ryan Renshaw Gallery, Jungle Fever. “The art scene there is very small,” says Rossitto of her time in New Zealand, “so it tends to be free-form and multidisciplinary, but while I was there I think the thing I missed the most was the light and I suppose part of that is colour; colour is different. Besides being freezing and having to have a heater and a blanket in the studio all the time,” she laughs, “I think the biggest change in my work has been the colour being back here again.” She might be one of the lucky few able to pursue her art commercially, but, she explains, her beginnings as an artist were unplanned, “I never really planned on being an artist

despite deciding to go to art school. That was just so I could prolong doing what I was enjoying doing probably more than anything else. I suppose I was one of those kids who could never stop drawing and just wanted to make a mess...But it’s all worked out rather great.” A part-time librarian, Rossitto explains that her day job is far from an impediment on her work as an artist. “A big part of my work is collecting images,” she says, “So I’m pretty lucky to be in a job that facilitates that quite nicely...What I end up doing a lot of the time is a drawn collage of found bits and pieces. I have a really big file of images that I’ve been collecting for well over ten years now. I guess the impetus for where a work starts is often an image that I’ve photographed or found in an old book or sometimes in a trash mag or sometimes it’s a still from a movie, but often a found image is the leap off point for a finished work.” As for whether working under pressure for a commercial gallery affects her work, Rossitto is typically unfazed. “There’s pressure to make something,” she says, “But for me I need that, so for me pressure can be a force for good. As much as it

can be something to get you worried. I’d like to think I’d be making work either way.” Her upcoming show Jungle Fever again plays with some dichotomous relationships: beauty and savagery, as well as the more obvious contrast between the delicacy of watercolour and the content of the paintings themselves. “A lot of it is about the vague space between good and bad,” Rossitto explains, “And the things that can go either way...Particularly with thinking about ‘fever’; it’s an altered state that’s supposed to be

a sickness but it’s also when a lot of people experience divine inspiration and inspired moments, for some people that used to be a religious experience or ecstasy. So casing it within this jungle environment, being beautiful but also savage.” WHAT: Luisa Rossitto: Jungle Fever WHERE & WHEN: Ryan Renshaw Gallery Friday Aug 5 to Saturday Aug 20

AUG 3 Y A D S E N D E 8-W



SOME JERKS MEMBER/ROLE: Simon Walker – drums

HOW LONG HAVE YOU BEEN TOGETHER? We had our first jam in May 2010.


Vic and I met after a Fondelles gig about six years ago. We played together in Kewpie Doll, and when that split up, we wrote some songs, and went looking for a guitarist. I’d known Will for awhile from hanging around in bars, and early 2010 I took Vic to see his other band Los Huevos.


Like most people, we have eclectic tastes, and would all be happy to listen to a big variety of stuff, but for the purpose of this question, maybe The Cramps...



Half-pint Brawlers, It’s about a midget wrestling troupe, and we are all quite small...



All the ones who just keep on doin’ it for the love of it, for the sheer joy of creating shit, and playing good shows. The Hick, the Pineapples, HITS etc etc.

Bobsled... again we are all small, light, and aerodynamic...and you get to sit down, and wear a cool figure-hugging suit...



I don’t think the place itself does much, but some of the people help. There are some good music communities out there, supporting each other, and entertaining each other.

IS YOUR BAND RESPONSIBLE FOR MORE MAKE-OUTS OR BREAK-UPS? WHY? Make-outs, it’s a pretty happy vibe...

CD launch on August 12 upstairs at the Step Inn, a few Brisbane shows, and some in Sydney, and then start recording an album in January. Some Jerks play Step Inn on Friday Aug 12 and The Crown Hotel on Sunday Aug 14 Photo by TERRY SOO




JORDIE LANE: Beetle Bar Aug 4, Joe’s Waterhole Aug 5, Mullum Civic Hall Aug 6 WOLVES AT THE DOOR: Alhambra Lounge Aug 4 ALPS: GOMA Aug 5 THE PANDA BAND: Great Northern Aug 5, Globe Theatre Aug 6 PAUL KELLY: Great Northern Aug 6 BEATLES BACK2BACK: QPAC Aug 9 MAT. MCHUGH: Byron Bay Theatre Aug 11, SoundLounge Aug 12, Old Museum Aug 13, Coolum Theatre Aug 14 THE BEARDS: Great Northern Aug 11, The Zoo Aug 12, Sol Bar Aug 13 GRINSPOON: Ekka Aug 12


JORDIE LANE: Beetle Bar Aug 4, Joe’s Waterhole Aug 5 THE PANDA BAND: Great Northern Hotel Aug 5, Globe Theatre Aug 6

INTERNATIONAL FORBIDDEN: Jubilee Hotel Aug 4 JOHN ‘00’ FLEMING: Platinum Aug 5 THE GET UP KIDS: The Hi-Fi Aug 5 PUNKS JUMP UP: Neverland Aug 6, Bowler Bar Aug 6 FUNERAL PARTY: The Hi-Fi Aug 9 JIM WARD: Alhambra Lounge Aug 13 OWL CITY: The Tivoli Aug 15 U-TERN: Bowler Bar Aug 16 D.I.M: Arcade Creative Aug 17, Platinum Aug 19 BALANCE AND COMPOSURE: Kill the Music Aug 18, X & Y Aug 18 BATRIDER: Step Inn Aug 18 JESUS JONES, THE WONDER STUFF: The Tivoli Aug 18 PINBACK: The Zoo Aug 18 ALEX SMOKE: Barsoma Aug 20 CHIHEI HATAKEYAMA: Judith Wright Aug 25 BIG BOI: The Tivoli Aug 26 NIGHT VISION: Family Aug 26 TIMES NEW VIKING: Woodland Aug 26 JASON SIMON: Tyms Guitars Aug 27 (afternoon), Old Museum Aug 27 LIAM FINN: The Zoo Aug 27 YOU ME AT SIX: The Tivoli Aug 27 ANBERLIN: The Hi-Fi Sep 2 MAN OVERBOARD: Globe Theatre Sep 3 THE CASUALTIES: The Hi-Fi Sep 8 TITLE FIGHT, TOUCHE AMORE: Old Museum Sep 8 ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD: The Hi-Fi Sep 9 JOE: Jubilee Hotel Sep 9 SUICIDE SILENCE: The Tivoli Sep 9 THE BLACK SEEDS: The Zoo Sep 9 NICK WARREN: The Met Sep 10 RUSSIAN CIRCLES: The Zoo Sep 10 MYCHILDREN MYBRIDE: X & Y Sep 15, Eagleby Community Hall Sep 16 ABOVE & BEYOND: Family Sep 16 RINGWORM: Step Inn Sep 16 MONSTER MAGNET: The Hi-Fi Sep 17 SEBADOH: The Hi-Fi Sep 22 CONGOROCK: Electric Playground Sep 29, Platinum Sep 30 AKRON/FAMILY: GOMA Sep 30 SIMPLE PLAN: The Tivoli Sep 30 MONO: The Hi-Fi Oct 5 MEAT LOAF: BEC Oct 6 THE TREWS: Brewery Byron Bay Oct 6, The Zoo Oct 7, Spotted Cow Oct 8 POUR HABIT, SMOKE OR FIRE: Miami Tavern Oct 8, Step Inn Oct 9 NEW YORK DOLLS: The Hi-Fi Oct 13 THE WOMBATS: Arena Oct 13 CHRIS CORNELL: QPAC Oct 15 & 17 AESOP ROCK, KIMYA DAWSON: The Hi-Fi Oct 16 DROPKICK MURPHYS: The Tivoli Oct 19 THE TALLEST MAN ON EARTH: Brisbane Powerhouse Oct 21 THE BUSINESS: Prince of Wales Oct 29, Shed 5 Oct 30 LADYSMITH BLACK MAMBAZO: QPAC Oct 30 FOLK UKE: Mullum Civic Hall Nov 2, Joe’s Waterhole Nov 3, Old Museum Nov 4 KINGS OF LEON: BEC Nov 8 DOLLY PARTON: BEC Nov 25 & 26 ELTON JOHN: BEC Nov 30 FOO FIGHTERS, TENACIOUS D: Metricon Stadium Dec 10 ARCTIC MONKEYS: Riverstage Jan 14 ROGER WATERS: BEC Feb 1 & 2 ROD STEWART: BEC Feb 22


MAT MCHUGH: Byron Bay Theatre Aug 11, The SoundLounge Aug 12, Old Museum Aug 13, Coolum Theatre Aug 14 JIM WARD: Alhambra Lounge Aug 13 JESUS JONES, THE WONDER STUFF, THE CLOUDS: The Tivoli Aug 18 CALLING ALL CARS: Beach Hotel Aug 18, Tempo Hotel Aug 19, Coolangatta Hotel Aug 20 THE HERD: Great Northern Hotel Sep 1, Coolangatta Hotel Sep 2, The Hi-Fi Sep 3 BASTARDFEST: Jubilee Hotel Sep 3 EAGLE & THE WORM: BigSound Sep 8 BONJAH: Great Northern Sep 8, The Zoo Sep 9, Sol Bar Sep 11 GANGSTER’S BALL: The Tivoli Sep 10 ANDY BULL: The Loft Sep 9, Solbar Sep 11, The Spiegeltent Sep 13


LEADER CHEETAH: Elsewhere Sep 15, Alhambra Sep 16, King’s Beach Tavern Sep 17



Kansas City punk rockers The Get Up Kids have long had an affi nity with Australian audiences, which is why so many people were stricken by grief when the band pulled up stumps back in 2005. It was with great excitement that they were welcomed back to the fold when they announced their reformation in 2008, and this grew even more fervent when they released their comeback album There Are Rules earlier this year. Now they’re coming back to play us these new tunes live – this ain’t no nostalgia trip kids, this is a great 90s band back and firing and at the top of their game, so check ‘em out this Friday night when they kick off their Australian tour at The Hi-Fi with help from City Riots and We Set Sail. It’s emotional but it ain’t emo...

BEN SALTER: SolBar Sep 22, The Zoo Sep 23. The Spotted Cow Sep 24

SEBADOH: The Hi-Fi Sep 22

ESKIMO JOE: The Tivoli Oct 9 THE WOMBATS: The Arena Oct 13 JACK LADDER: The Loft Oct 14, Step Inn Oct 15, Great Northern Hotel Oct 16 ILLY: Sprung Festival Oct 15 HEIRS, ALCEST: Globe Theatre Oct 20 TALLEST MAN ON EARTH: Brisbane Powerhouse Oct 21 FOLK UKE: Joe’s Waterhole Nov 3, Old Museum Nov 4 spinning solo on stage and in the shortest span of time has managed to drop in every pro mix technique under the sun. The bellowing bass is rattling the lighting fixtures with Go Deep, Springer and Shimmy Shake but its Motif’s technique that becomes a hell of a show. A giant, seething crowd amasses for New Zealand-born wunderkind Kimbra. And live, her voice is simply unleashed. Blasting us with the Bjork-ian a-cappella vocal percussion of Settle Down, she breaks only to coo about her excitement before soaring off into new single Good Intent, a Stevie Wonder-esque slice of groovy, lounge-noir.

Warpaint @ Splendour In The Grass by Stephen Booth


WOODFORDIA: 29.07.11 – 31.07.11 FRIDAY 29.07.11

There’s been a lot of conjecture about this year’s Splendour In The Grass, with the tickets not selling out immediately leading to ruminations on everything to the venue and the calibre of the line-up, but on arrival at Woodfordia a massive and colourful throng has emerged for the annual celebration and certainly no-one seems to be complaining. The site is as picturesque as ever and the weather remains gorgeous, everything pointing towards a massive weekend to come. Winning a slot to open Splendour via triple j Unearthed, Brisbane lads Millions are wide-eyed and stoked to be here to make the most of their wildcard entry in front of an early throng. Citrus has elements of dreamy pop, grounded by a solid rhythm section, and when they close on triple j favorite Those Girls, the possibilities now seem endless for the quartet. Melburnian eight-legged disco party World’s End Press have sure drawn themselves a crowd, which is particularly impressive given their very un-disco timeslot. It doesn’t take long to see why – between vocalist/guitarist John Parkinson’s unflappable enthusiasm, synth/keysman Rhys Richards’ jagged white-boy moves, and visual and aural spectacle of tandem acoustic/electronic percussion work from drummer Tom Gould and bassist Sashi Dharann, there’s no shortage of entertainment. They naturally shine on Faithful, though are enjoyable throughout, with even new songs receiving a healthy response. One of the local Morton Bay acts, Julz & the Grimly Beats – a sight for early festival-going eyes, dressed in bright red skinnys, and mammoth aviators – kick

things off with Your Soul, a track that blends with their easy, roots sound a warm, 60s pop sensibility. Loss Of Consciousness manages to make bongos melancholy, whetting nonetheless for the band’s upcoming debut LP. With an irreverent “Let’s play some songs, ay?”, UK sextet British Sea Power jump right into their mid tempo Britpop. Straddling discordance and more sedate indie rock, with Scott Wilkinson and the leather capclad Neil Hamilton sharing vocal duties. It is Hamilton’s songs that hold the most bite today, Mongk II a particular highlight, with the instrumental breakdowns providing a caterwaul of noise that is held in check by Abi Fry’s tempered viola. Marques Toliver may cut a lonely figure but the largerthan-life personality that accompanies his violin and his voice has fans and newbies alike digging his vibes. Using the soulful Step Back And Remember as a device to sneak TLC’s No Scrubs into the set, Toliver switches to auto-harp and finger clicks, sounding like a far cooler, improvised version of John Legend. Despite the early timeslot, the tent is packed for Melbourne MC Illy who’s joined on stage by M-Phazes on decks. The energetic hip hop duo get the crowd jumping with Cigarettes and It Can Wait before Illy throws in a mix of Where Is My Mind by Pixies and MIA’s Paper Aeroplanes – an odd choice but it definitely works in the festival setting. Jinja Safari are a band whom, from stage to stage, just get better. As first-timers last year, they were ‘shitting themselves’, but this year they’re back, seasoned, and with that incredible new single Hiccups. From trippy, Floydian psychedelics, to the wonderful Forest Eyes, and a brief clamber up the giant stage’s side to throw a maraca, the band bring a sense of crazy that kickstarts the day’s sunny mood. Bringing the club sound with him, Wax Motif is

Opening with Kosciusko double Lost My Nerve and Control, Jebediah slot their fresher cuts within layers of classics like Harpoon and Leaving Home, not so much encouraging as demanding your voice and volume. Chris Daymond’s guitar tones are as nasal and individual as the evergreen vocals of Kevin Mitchell, the band bringing a sound, not so much unique, as now a complete part of Aussie rock heritage. Leaving the beautiful climes of England’s Lakes District may seem crazy, but the newly-synthesised Wild Beasts appear to be experiencing a new lease of life, ready to share with an eager Splendour audience. Focusing on latest album Smother, the songs are aided by new member Katie Harkin and underpinned by Hayden Thorpe’s soaring vocals. Reach A Bit Further was the best blend of 80s melancholia and beat-heavy pop, whilst All The King’s Men rose the tent’s energy levels through the roof. The black-clad duo known as The Kills seem to be struggling slightly as the afternoon sun blasts the stage, with Alison Mosshart constantly dragging her hair to block the light, but they still manage to slam and grind their way through Heart Is A Beating Drum and Satellite with the pair laying down a jaw-dropping audible feast of layered experimentation. While a few are here to spot a member of their entourage, the majority are enjoying the wails of Baby Says. This year’s great young electronic hope, James Blake confuses many and upsets some while proving to be a complete revelation to those open and willing to join the Brit on his journey into the expansive beat beyond. Beautifully challenging and progressively emotive, tracks off his debut LP such as The Wilhelm Scream and Unluck lull a false sense of security before Blake and his two bandmates turn the screws, the bass practically blowing your jacket clean off. Kato does his best to get the blood flowing again after Blake. His DJ set turns up the volume and allows people to get back on with their heavy dancing. Warpaint are the perfect prospect as the Friday twilight descends and from the get-go the LA quartet

(featuring the incredible drumming talent of Aussie Stella Mozgawa) create a sexy psych-rock ambience. Front ladies Emily Kokal and Theresa Wayman trade drawn out guitar interludes and vocals, playing mouse to Jenny Lee Lindberg’s searching basslines. Undertow is a singalong highlight, though the warmth of Billie Holiday cuts through their uber-cool set to reveal their knack for a good melody.

The Hives @ Splendour In The Grass by Stephen Booth

Without being unreasonable, this is simply not a festival-calibre performance from Glasvegas. For a start, the mix is awful – or the style’s not suited to the acoustics – and while we could argue that’s not really the band’s fault, the absurdly banal songwriting on offer surely is. It’s all root notes and boredom, topped off with ineffectual warbling from frontman James Allan, who wings it looking disoriented and sleazy. The people still get behind Geraldine and Euphoria, Take My Hand. Unsure why. The Black Seeds are using the particularly up-tempo crowd to road test some new material as their breezy dub sound is turned up a notch with scattered drum beats and a piercing brass addition setting the mood perfectly. The band weaves in and out of Love Is A Radiation, Slingshot, and So True with vocalist Barnaby Wier unable to wipe the smile off his face. Everyone seems keen on getting some Boy & Bear action as the tent is filled and then some. The folk group’s set is filled with songs from their forthcoming album and even though they’re falling on fresh ears the crowd is still lapping them up. The Rabbit Song and Feeding Line are enthusiastically received but it’s Crowded House’s Fall At Your Feet that’s the favourite with the crowd, easily overshadowing the band. Walking to the amphitheatre it’s hard not to be distracted by what sounds like an animal feast behind a large white fence, which is in fact the Curious Creatures art instillation with strange projected animals reacting to punters approaching the screen. It seems to have more than a few stupefied and inebriated wanderers distracted. Australian festival veterans Eskimo Joe hit the stage mid-afternoon to deliver their clean cut hits to an enthusiastic crowd. Older singles Older Than You and From The Sea are performed with ease and flow seamlessly, and new singles Love Is A Drug and When We Were Kids from the band’s forthcoming album Ghosts Of The Past signify a strong return to form for the hardworking Perth band. Black Joe Lewis and the Honeybears come out all guns blazing; the entire band is proficient both individually and as a unit, but it’s the scintillating scream of Lewis himself and the constant on point lead guitar of Zach Earnst that’s most striking. While it’s pretty high energy throughout, She’s So Scandalous takes things down a notch while the rollicking Booty City and the incredible Sugarfoot get arses shaking. When the five dapperly dressed members of The Relatives appear onstage to help with the final ten minutes of the set – including a great Let Your Light Shine – the energy hits fever pitch, everyone’s grins widen and the dance floor doesn’t stop writhing. Does It Offend You, Yeah? turn it up to put on an electrifying high energy set that sees them offer up a few songs which they claim they never play for other crowds; gotta love the special Splendour treatment. The slower moments don’t go over quite as well but they are few a far between and the cover of Nirvana’s Aneurysm is enough to totally expel them from the mind. They squeeze as much sweat out of us as possible and then bring it all home with the joyous The Monkeys Are Coming. Modest Mouse are experts at making ugly things sound untraditionally beautiful. It’s apparent tonight in nonsensical, wonderful opener Dance Hall, in early favourites Gravity Rides Everything and 3rd Planet, in Good News… throwbacks The View and Bukowski, and a generally on-target selection of more recent songs. Still, Brock and co. seem to have slightly misjudged their audience – there are some notable omissions, and a rather bizarre choice not to end with Float On, but toke one song over the line for a less memorable finish. D-Cup is as good as any house DJ trying to keep a crowd entertained when they have multiple other things vying for their attention. His NuDisco sounds with power synths make him sound like a watered down Daft Punk but for the few people sticking around for the next act it seems enough to keep them entertained. The sugar coated hooks and the odd word thrown in add a bit of excitement but for the most part he sounds pretty average. Gotye comes to Splendour with a terrific new single. Somebody That I Used To Know is the Heart’s A Mess we all quietly feared he couldn’t recreate. To a massive crowd, and atop a stage literally made of drumkits, he powers through new song Smoke & Mirrors before darting off into State Of The Art, another newbie which sees the man trying his hand at autotune, every synthetic part of his sound miraculously recreated live. He’s then joined by Kimbra in closing for That Great Single. Near entrance two – map marking: giant pineapple – and nestled cosily within the twisty, boutique confines of Splendour’s Very Small Mall sits the festival’s very own cinema. Chiselled rudimentarily from a giant shipping container – screen at the back – punters can sit on scattered beanbags atop sticky Astroturf, and treat themselves to a screening of films like Donnie Darko and Ghostbusters. Free popcorn, too.

A criminally sparse crowd greet perennial pop pests Bluejuice, but those present are treated to a band at the top of their game. With neon lines running rings around your eyes, the Tron like visuals combine with back-up singers, added percussion and an unmatched performance zeal from the Sydney boys, the killer show full of promising new tunes and harmonies that are world-class, no better highlighted than on audacious closers Vitriol and Broken Leg. They’ve been on stage not much more than a minute, but as the lead riff of Main Offender blares through the Splendour Ampitheatre, The Hives have everyone in the palm of their hands. More specifically, frontman Howlin’ Pelle Almqvist is running the show. Typically energetic, the band mix the set up to incorporate a bunch of (incredible sounding) new material, all the hits – including particularly rousing renditions of Walk Idiot Walk and Hate To Say I Told You So – and a few unexpected delights, such as Hail Hail Spit’n Drool from 1997’s Barely Legal . Everything from their dapper dress, the puppet string backdrop (a nod to progenitor Randy Fitzsimmons), Almqvist’s unwavering hilarity and the ramshackle garage pop sound is flawless and proves that The Hives could well be the perfect festival band. Glaswegian post-rock luminaries Mogwai immediately make their gratitude known for those who have stuck around in lieu of some more grandiose entertainment (fishsticks, anyone?). We are thanked in more ways than just verbally as the audience’s faith is unflinchingly rewarded: astonishingly lush and ultra-refined compositions from a wide era bless countless eardrums, from Rano Pano and Hunted By A Freak to I’m Jim Morrison, I’m Dead and Auto Rock, all the way to the transcendent glory of epic closer Mogwai Fear Satan. It’s a tough ask to challenge for attention with Kanye, but DJ Shadow has always revelled in difficult, confronting situations, and his set to close out the Mix Up Tent reflects this. The few who witness it are privy to an amazing array of tunes that perfectly frames the realm within experimental instrumental hip hop that Shadow reigns over. There is some new material on display tonight that is extremely exciting also – a great closing act. With the stage now prepared for what looks to be the return of Jesus Christ, Kanye West emerges from the crowd with Dark Fantasy in a visual that explodes the hillside crowd. The controversial crowned king of hip hop is running through a catalogue that would put most to shame as he jumps from Monster to Flashing Lights to Through The Wire, all while the crowd is stunned by fireworks, roasting light rigs and a troupe of ballet dancers. While the set plays majorly to the man’s ego, if you have the talent to hold an empty stage in front of 30 thousand people, then you’re doing it right.

SATURDAY 30.07.11 Nearly no-one’s here for Tourism this-morning, which is a crying shame, because, despite the distinct air of hangovers and sore limbs, the band play some fantastic jangle-pop. With a drummer dressed in a bear-suit onesie, and the empty hills bouncing back their tremendous sound, it’s nice to think the gig ‘exclusive’ over ‘ignored.’ After realigning minds, bodies and souls with the Tai Chi workshops being conducted at the Temple Stage, it is time to get into Ghoul. Playing at 11am has its hurdles, yet the experimental quartet sidestep them marvellously, creating one of the most mesmerising sets of the weekend. The simple guitar/bass/drums combo is augmented by effects, insanely addictive tribal rhythms and Pavle Vizintin’s amazing soulful vocals. And to believe it’s the first show they’ve played together in six months is astounding. An amazing surprise. A gorgeous jolt back in time, Lanie Lane gets her showgirl hustle on with a husky set full of big-barrelled blues and swampy melodies that is the most soothing of wake-up calls. Seemingly forever on the road, Lane is assured and enounced both with her guitar work and well-delivered storytelling, recent single Like Me Meaner nailed as is signature cut What Am I To Do?. The enigmatic Toni Toni Lee is mixing to a modest crowd, though they seem no less into it. With a strong

electro funk sound, Lee cuts back and forth from 2 Phreeky to Invert and manages to drop a few small homages to Nate Dogg in the meantime. Kiwi indie poppers Cut Off Your Hands saunter onstage before launching into a set that alternates between sunny, jangly pop and more windswept fare, yet prove to be a languid, laidback listen. Showcasing a few tracks off latest album Hollow, Expectations closes it out with a vitalising shot to the central nervous system, its inherent spikiness a harbinger of what’s to come. Sydney buzz band Guineafowl deliver moderately catchy indie pop music to a half-full GW McLennan tent. Songs from the band’s debut EP Hello Anxiety are performed well and with precision, though the collective’s most recent single Little Fingers comes across as lacklustre. Frontman Nick Meredith and his band show promise with a confident and assured performance, but at times Guineafowl’s live show misses the mark sonically. Proving they’re the perfect festival addition, Tim & Jean fill the synth quota for the day with their 80s-style pop. With Jean’s fresh-faced energy and the fact that each song is more upbeat than the last, it’s impossible to stand still. The obligatory cover, Fleetwood Mac’s Everywhere, is met with cheers of recognition but it’s Like What and Veronika that are the favourites. The Mix Up DJs have a hard time kicking straight in from the last act who have inevitably just dropped their latest or biggest single, though Cassian, known for his remixes of the likes of Empire Of The Sun and Bag Raiders, has no trouble fitting in. Starting with a smooth soulful mix and heading into 80s synth pop territory, Cassian provides a sweet bag of danceable treats. Rapskallian Dancers are just what the doctor ordered after a long cold night of camping, encouraging anyone within ear shot to get up and stretch those sore muscles. Warming up with some simple dance stretching, the dancers soon get their Bali funk which becomes a whole lot of fun for participants, and viewers, alike. Dananananaykroyd are here to raise the bar in the insanity ranks, and as usual they don’t disappoint. The Scottish rapscallions tear the stage apart, with wild antics including tossing about a pineapple (?!). Audience participation is also a prerogative, with duelling vocalists Calum and John acting as puppeteers, finally orchestrating a giant communal hug. Despite the frenetic goings-on, it never gets in the way of the music, which is tightly wound and infectious. Not quite spice combing and camel riding on the soft sand of Asilah, the Mo’ Rockin’ Wine Bar still offers a welcomed escape from the hustle and bustle of drink lines, dusty dawdlers and depraved disco derelicts. With a range starting at your Splendour ‘cleanskin’ all the way to the class of Moet, it proves to be the ideal oasis to actually converse with the people you’ve come to the festival with, rather than dance like the silly little monkeys we essentially all are. Still one of the men to see for the weekend, the happy disposition of Gareth Liddiard, while unnerving at first, is a pleasant change that fills the gaps between the pure brilliance of The Drones gems Oh My and Sharkfin Blues along with the solo work of Strange Tourist. The simple and mesmerising presence of Liddiard is the perfect start to the afternoon, even if he has forgotten about The Smiths. Things are very slick in the Mix Up tent as Fitz and The Tantrums work through a bunch of tracks from their Pickin’ Up The Pieces record. They’re clearly well honed, which suits at times, though one can’t help but wish on occasion that there was a little more grit to the performance – occasionally it feels a little too Boz Scaggs, not enough James Brown. Rich Girls and L.O.V. are smooth as silk and a cover of Eurythmics’ Sweet Dreams (Are Made Of This) goes down well, but the driving closer MoneyGrabber stands head and shoulders above the rest of the set. In the wake of Dananananaykroyd almost the entire green – Mona’s crowd – lifts, and shuffles off. “Let’s buttfuck the party,” yells their singer, unperturbed, as the wirey band from Nashville flex into some meaty, Kings Of Leon-inspired southern melancholic rock.

TOUR GUIDE JAMES CRUICKSHANK: Beetle Bar Aug 12 KHANCOBAN: X & Y Bar Aug 12, Brisbane Powerhouse Aug 13 - 14 DEAD LETTER CIRCUS: Parkwood Tavern Aug 13, The Zoo Aug 16 DREAM ON DREAMER: Billionaire Aug 16, Sun Distortion Studios Aug 17 CALLING ALL CARS: Beach Hotel Aug 18, Tempo Hotel Aug 19, Coolangatta Hotel Aug 20 REGURGITATOR: Great Northern Aug 18, Coolangatta Hotel Aug 19, The Hi-Fi Aug 20, Kings Beach Tavern Aug 21 SEEKAE: The Zoo Aug 19 THE VASCO ERA: SoundLounge Aug 19, Alhambra Lounge Aug 20 WOLFMOTHER: Ekka Aug 20 ASH GRUNWALD: Coolum Civic Ctr Aug 21, Beach Hotel Aug 25, Coolangatta Hotel Aug 26, The Hi-Fi Aug 27 FELIX RIEBL: Byron Bay Community Ctr Aug 24, Old Museum Aug 25 OWL EYES: Brewery Byron Bay Aug 25, Sol Bar Aug 26, Alhambra Lounge Aug 27 THE BEDROOM PHILOSOPHER: Brisbane Powerhouse Aug 25, Spotted Cow Aug 26 THE VINES: Great Northern Aug 25, The Hi-Fi Aug 26 COLOURED STONE: Step Inn Aug 26 GURRUMUL YUNUPINGU: BEC Sep 1 THE LIVING END: The Tivoli Sep 1 & 2 ZOE BADWI: Platinum Sep 2, Family Sep 4 BEN SALTER: Black Bear Lodge Sep 7, Sol Bar Sep 22, The Zoo Sep 23, Spotted Cow Sep 24 BIRDS OF TOKYO: Rumours Sep 8, Coolangatta Hotel Sep 9, The Hi-Fi Sep 10, A & I Hall Sep 11 BONJAH: Great Northern Sep 8, The Zoo Sep 9, Sol Bar Sep 11 GLENN RICHARDS, DAN LUSCOMBE: Mullum Hall Sep 8, Sol Bar Sep 9, Old Museum Sep 10 ANDY BULL: The Loft Sep 9, Solbar Maroochydore Sep 11, Spiegeltent Sep 13 ELIXIR: Brisbane Powerhouse Sep 9 & 10, Mullum Civic Hall Sep 23, USQ Arts Theatre Sep 24 FRENZAL RHOMB: Arena Sep 9 ED KUEPPER: Brisbane Festival Sep 15, Sound Lounge Sep 16 LEADER CHEETAH: Elsewhere Sep 15, Alhambra Sep 16, Sol Bar Sep 17 STONEFIELD: Byron Bay Beach Hotel Sep 15, Brisbane Powerhouse Sep 17, The Zoo Sep 17 MARK SEYMOUR: Hervey Bay Hotel Sep 16, Kings Beach Tavern Sep 17, Bramble Bay Bowls Club Sep 18 SPARKADIA: The Tivoli Sep 17, Coolangatta Hotel Sep 18 JOSH PYKE: Great Northern Sep 22, Coolangatta Hotel Sep 23, The Hi-Fi Sep 24 KIMBRA: Speigeltent Sep 23 ARCHITECTURE IN HELSINKI: The Tivoli Sep 25 THE CAT EMPIRE: The Zoo Sep 29 & 30, The Tivoli Oct 1 THE AMITY AFFLICTION: The Tivoli Oct 5 & 6 TEX PERKINS & THE DARK HORSES: Judith Wright Ctr Oct 7 ESKIMO JOE: The Tivoli Oct 9 THE JEZABELS: Great Northern Oct 12, USQ Oct 13, The Tivoli Oct 14, Coolangatta Hotel Oct 15 JACK LADDER AND THE DREAMLANDERS: The Loft Oct 14, Step Inn Oct 15, Great Northern Oct 16 MY FRIEND THE CHOCOLATE CAKE: Joe’s Waterhole Oct 14, Brisbane Powerhouse Oct 15 HEIRS: Globe Theatre Oct 20 COLD CHISEL: Stockland Park Oct 29, Gold Coast Convention Ctr Oct 30, BEC Nov 1 THEY WILL HAVE THEIR WAY: QPAC Nov 7 SPICKS AND SPECKTACULAR – THE FINALE: Gold Coast Convention Ctr Dec 3

FESTIVALS GREAZEFEST KUSTOM KULTURE FESTIVAL: Rocklea Showground Bar Aug 5 – 7 4 WALLS FESTIVAL: QACI Aug 6 WINTERBEATZ 2011: Riverstage Aug 20 BASTARDFEST: Jubilee Hotel Sep 3 BIGSOUND LIVE: Fortitude Valley Sep 7 – 9 FRANKLY! IT’S A POP FESTIVAL: Brisbane Powerhouse Sep 10 REGGAEFEST: Missingham Park Sep 17 – 18 THE GATHERING FESTIVAL: Old Museum Sep 17 SOUNDWAVE REVOLUTION: RNA Sep 24 PARKLIFE: Botanic Gardens and Riverstage Oct 1 CALOUNDRA MUSIC FESTIVAL: Kings Beach


Regina Spektor, though we’re all weary and sore, is a refreshing sight. All in tight black, and alone on the stage with a synth, grand piano, and an electric, she coos, big eyelashes batting into Folding Chair. On The Radio jaunts into the sweet Blue Lips, before she attempts a song so old she spent the jetlagged hours of yesterday piecing it together from YouTube clips. Adorable.


In just over a decade, Pnau has gone from a studio fiddle to a dancefloor epidemic, the crowd in a spasm over the Nick Littlemore and Peter Mayes fronted live band that now commands all in its path. With an unrelenting bass edge under layers of colour, the days of dancing fruit are long gone but the tunes still remain class, Wild Strawberries, Lover and Embrace all flooring in their bounce and hook-filled bravado.

Pulp @ Splendour In The Grass by Stephen Booth Through driving scorn-song and gravelly ballad the band prove themselves strong, if a little familiar. Opening with Mace Spray, The Jezebels hit full stride immediately, cutting a brooding rock path through a dynamic set in which new single Endless Summer shows a glimpse of uplifting. Old favourite Disco Biscuit Love identifies Hayley Mary for a unique female vocalist who is able to make her dramatic high notes resonate as clearly as the lower capability of her register. The front lady is a total pro these days, with a stalking swagger she covers the whole stage, taking time during the breakdown of closer Dark Storm to tell the crowd they’ll be back in October. Now a typical festival band, Children Collide are ripping apart their set as they dive heavily into their debut The Long Now to warm the crowd. The newlytrimmed Johnny Mackay introduces a special guest as a Gretsch White Falcon emerges with a Chris Cheney attached to boost the sounds of current single Loveless, and what is still a phenomenal closer in Fire Engine. Foster The People have travelled a long way to deliver a serve of their Los Angeleno indie pop to the enthused masses, but after a few songs it’s honestly kind of hard to see what all the fuss is about. Sure, they write a solid enough pop tune – Pumped Up Kicks is catchy as hell (and a clear winner), while Houdini and recent single Helena Beat nurture involuntary bopping urges – but it’s not executed in distinct enough a manner to be sustainably intriguing. While out of place, the Lat Cantina Mexicana is certainly embraced, with a full Mexican food hall and a stage that is alternating between guest DJs and a traditional Mariachi band: it’s a strange and wonderful place to whittle away sometime between sets. Alex Burnett, the heart and soul of Sparkadia, expresses his enthusiasm for having made it on to the stages that he as a punter watched only five years ago, and he and his band make the most of the opportunity presented to them. They energetically tear through a string of crowdpleasers that includes old favourite Talking Like I’m Falling Down Stairs and China as well as a super-soulful rendition of Mary. It’s genuinely uplifting to see a band relishing their Splendour moment this much. A tripped out spoken word leads into a progressive tech bass storm, as Hoodrat & Dangerous Dan play a set far removed from the dirty electro that put their DJ collective, Bang Gang, on the map. Stage diving, echoed out basslines and inventive tweaks, glitches and fades are all on the menu and please trust Time Off when we tell you that everyone present truly ate well. No stranger to the Splendour stage, Kele seems to have developed a certain affinity to the festival’s crowd and performs with the highest level of passion and excitement. The more synth-driven sound of his solo material sits as a wonderful contrast with the Bloc Party classics and the crowd laps them all up with delight. He states, “This is my favourite festival in the world; and that’s not even a lie” Muscles, unavoidably, comes off as a bit of a douche. His crowd, unrepentant, seem similarly inclined. With his name in broken Hollywood font behind him, the large DJ pumps out slamming, gooey beats almost as big as his ego. Fist pumps and bro-jumps follow. The particularly uninspired single Koala has three shambolically-seamed koala-suits mince the stage. Three of Australia’s most revered chanteuses join forces to become Seeker Lover Keeper, a masterclass of soulful folk musings that proves to be every bit as tantalising as it sounds. Sarah Blasko and Sally Seltman take on dominant singing duties tonight, although Holly Throsby’s vocals and instrumentation are paramount to the direction of the set. In fact it is a Throsby-penned track, Rely On Me, that has the most presence in what is a beautiful show. Showing everyone how it’s done, The Grates take to the stage bursting with energy. Sporting a light-up dress, singer Patience Hodgson runs out, rocks out, rips off half her skirt and just doesn’t stop moving. Twice jumping into the crowd, her infectious energy gets everyone jumping in 19-20-20 while the vocals on Change are just dripping with sincerity.


For a seasoned DJ, Ajax struggles to find his flow early on. It seems like he lets a track play just long enough for people to work up a dance groove before unceremoniously changing direction, although this does subside as his set progresses. There is, however, a palpable lack of intensity – every time a song winds up, he drops the beat and it’s hard not to feel a little unfulfilled that the previous movement didn’t really go anywhere. Rinse. Repeat. Over at the eastern side, next to the mysteriously quiet Tipi Forest, appears a cluster of barefoot figures, all simon-says’ing the contortions and evocations of hum, om, and ra from a central mystic. People gather, fleetingly, to see what’s going on. “Hippies” drifts an utterance, “weird” floats another. However you put it, there are people here, meditating, whilst in the background some guy drops his pants with the words ‘slut drop’ painted across his bare behind, and techno beats untz across from the ever-hour Mix Up stage. Isobel Campbell and Mark Lanegan are a pair that each possess a rich performance history and though there’s no doubting their onstage chemistry which oozes sweet yet rugged appeal, the festival stage seems a scary prospect to them as they continually comment on the noise bleed from Architecture In Helsinki. Campbell sits and stands as her cello duties permit, offering the sweetest of womanly voices to Lanegan’s indecently masculine bass vocal, which comes across like the Cookie Monster’s deep rumble in Something To Believe. Melburnian joy collective Architecture In Helsinki bring six whole bodies’ worth of goodness on stage with them as they deliver a rapid-fire ream of new songs from latest album Moment Bends. Synchronised dances, handclaps, a somewhat newfound 80s groove wrapped around their pop core, and a palpably infectious demeanour see the band through in visually and aurally captivating style. By the time they reach the set’s climax with Heart It Races and Contact High, the euphoric throng is barely containable. The Mars Volta give fans even more reason to protest against their label’s decision to push the release of their new album back as they assault the crowd with a half dozen complex and manic songs. The psyched-out Broken English Jam is simply dazzling and although long time keyboardist Ikey Owens is absent the band still gels as magically as ever. Inertiatic ESP brings things back to familiar territory and then they finish in fine style with a devastating version of live favourite Goliath. Although they are dropping sun-stroked cuts like Bag Raiders Sunlight, behind a backdrop of creepy black and white vintage visuals, The Aston Shuffle give the stock fluoro/rainbow theme a refreshing shake. Challenging yet fun and danceable, it is exactly what the disco doctor prescribed for the time and place, Your Love a hands in the air heaver. Gomez is proof that regular visits are repaid with fans aplenty; their pristine shared vocals being as much of a drawcard as their crossover rock sounds. Ben Ottewell’s husky croon demands the audience to “calm down and get straight” in the opening refrain of How We Operate, and it does have that effect indeed. Here Comes The Breeze becomes an epic jam song, highlighting the importance of non-standard percussion for the British quintet whilst bassist Paul Blackburn channels The Bee Gees in the funkiest moment of their set. Focusing heavily on the dub and reggae sides of their material, Thievery Corporation are in fine festival form for the entirety of their set. They deliver a sound that is as smooth and soul-soothing as dance music comes and their visual projections are some of the most impressive of the whole weekend. After Warning Shots wraps up the faultless set it becomes apparent that one hour is not nearly enough. Kicking things straight off with Second Solution, The Living End bring an incredible amount of energy and showmanship to the night. Filled with passion and intensity the boys knock out hit after hit including Prisoner Of Society and West End Riot, barely leaving time to breathe. They still manage to get up to their usual antics on stage though with guitarist Chris Cheney performing a perfect solo while perched precariously on Scott Owen’s double bass.

Jane’s Addiction don’t let the thin crowd dissuade them from delivering anything less than a truly epic show. Chris Chaney returns for bass duties and tonight the band sound stronger and more energised than they have in years. Classics such as Ted Just Admit It, Mountain Song and Three Days still pack the punch and newbie End To The Lies shows much promise for the forthcoming album. By the time the steel drums of Jane Says ring out over the hills, the rock legends have made their mark on the festival and made amends for pulling out two years ago.

SUNDAY 31.07.11 Mosman Alder are the proof that you reap the rewards for rising early. The Brisbane band’s penchant for soaring elegiac atmospherics concocts an evocative moodscape, perfect for a Sunday morning comedown. Jasmine is a wonderful track, accentuated by Robyn Dawson’s beautifully lilting violin. There is enough bluster here to for any discerning rock aficionados. Lead Valdis Valodze looks chuffed to be playing Splendour – by this performance, it could become a staple. While the coffee black, bare basics stage setup of Alpine doesn’t lend itself to a colourful experience, tracks like Heartlove and Villages brighten the morning with a joyous sheen. Certainly some of the harmonies between Lou James and Phoebe Baker need tightening on the big stage, but when you bounce with the playful carelessness these Melbourne kids have, the occasional wild note is more than forgiven. Brisbane’s electro party newcomers Pigeon are impressive from the outset with their five multiinstrumentalist members plus a horn section for this energetic performance. An odd choice to cover, Phil Collins’ Another Day In Paradise, works brilliantly as a warped siren song to the early starters wandering past, dropping beats deep and throwing riffs from iconic sax songs left, right and centre. The only song Pigeon have released thus far, Apex punctuates an already dynamic, high-energy set littered with live percussion plus beats, with a rap or two thrown in for good measure. Hoops, the collective female posse made up of Nina Las Vegas, Anna Lunoe and Bad Ezzy mix an eclectic selection of dancehall, hip hop and indie jams that are almost as outrageous as their outfits. With three people doing a one woman job, the girls have plenty of time to dance – and even take a photo or two – especially as it seems like Nina is carrying the team. APRA Presents: Songwriters Speak is a casual exploration into how some of the festival’s performers each tackle their art. Alexander Gow from Oh Mercy in his humorously flippant manner discusses how he is strictly a solo bedroom writer, getting into the songwriting game as a teenager enamored with Prince’s Cream filmclip. Wally De Backer – aka Gotye – dispels the myths on that song, Somebody That I Used To Know, explaining that it is the amalgamation of experience rather than one relationship gone wrong that inspired his writing. Heather Shannon, keyboardist of The Jezebels shows and tells the process of writing new single Endless Summer with her three co-writers. Charlie Chux gets the early crowd moving with his outthere styles. He pushes beats through a psychedelic wash to deliver a DJ set that is a gift for any morning trippers. Grouplove are perfectly infectious and joyously humble in their amalgamation of folk, rock, fuzz and indie with a surf washed Californian gloss. Keyboard pixie Hannah Hooper trades harmonies with slack-jawed frontman Christian Zucconi to curl tracks like Lovely Cup and Naked Kids through the sunshine. It is the set climax of Colours though, which showcases the musical kinship these five talented transients share. Hailing from Southern California, indie popsters Young The Giant are an impressive unit, utilising the sunstruck milieu of their home to punchy pop anthems. Affiliated to the current swathe of acts that adhere to late 50s doowop, the band infuse it with a wilful charm that comes across as vivacious rather than precocious. The screams of delight after a few of the tracks highlights this, and the boys walk off having left a giddily appreciative crowd in their wake. With the keyboard and bass guitar pushed too high in the mix, the sharp, refreshing guitar lines, the centrepiece of The Holidays songs, are unfortunately numbed, the pop magic distilled. Fan favourites like Broken Bones and 2 Days are as well received as their high radio rotation would suggest but it’s a surprise reworking of TV On The Radio’s Wolf Like Me that saves an otherwise pedestrian set. Hungry Kids Of Hungary are five blokes that aren’t

afraid to show off their sensitive side, kicking off a funfilled set with the impeccable harmonies of China Will Wait and Window Shopper. And they’ve even brought gifts – an array of blow-up balls that sit demurely on stage until drummer extraordinaire Ryan Strathie goes into a percussion frenzy mid-Let You Down to allow the band to deliver their gifts to a thankful crowd that add their own balloons and bubbles to the frothing pit of excitement. Coming Around is the fittingly grand pop gesture that closes the Kids’ first and certainly not last Splendour appearance.


Fine Adelaide exports Leader Cheetah make use of a violinist early on, but sadly the effect is totally lost either because it’s not an electric violin or it simply isn’t loud enough in the mix. Either way, he looks convincing enough. The lads are still fairly heavily plugging sophomore LP Lotus Skies, though they do delve into their back catalogue for “an old one from 2008”. Honestly, though, a country-home, folksy, acousticheavy set at this point is basically one long lullaby. French electro pop trio Yelle manage to translate amazingly well in Australia despite front lady Julie Budet singing exclusively in her own language. It helps when she wears a head-to-toe lycra body suit, accentuates the cuteness of her Frenchness with regular merci beaucoup’s to the crowd’s delight and encourages everyone to dance like a child during Comme Un Enfant. Budet’s perfectly times dance moves are a joy to watch – an irresistible partner to their quirky music. It could be the jet lag, but London lads The Vaccines get off to a bit of a slow start and it takes until halfway through the set until they look like they’re comfortable on stage. Even though their sound doesn’t revolutionise the world, the angsty guitars, simple drumbeat and over-exaggerated and incredibly loud bass on songs like Wrecking Bar and If You Wanna are enough to get the crowd dancing. The Splendour Forum is still drawing big numbers with Wil Anderson taking up the stage with a lengthy monologue on veganism that causes a few mothers to quickly rush their toddlers out as Anderson colourfully chooses his words before settling in with Wil Does Parky as he runs through the stories of The Grates bouncy ball Patience Hodgson. It’s immediately obvious that today Liam Finn is putting on a rock show. A blazing psyched out intro makes way for somewhat more harmonious, but still revved up rock’n’roll. Making full use of the stage, his electric guitar and a second drum kit, Finn looks in his element and his band seem happy for him to take centre stage, ably abetting the ferocious material. New single Cold Feet is as tame as things get before Finn closes things out with some squalling theremin and one last massive drum break. Cloud Control work the day time crowd over with a fun set that is full of sentiment. Bass player Jeremy Kelshaw is unable to be present as he has just had a baby girl so the band invites everybody to celebrate her birthday party as Kelshaw appears on screen holding his daughter up in Lion King tradition. Giant coloured balls filled the crowd and the celebration continues right through to the end of closer There’s Nothing In The Water We Can’t Fight. It wouldn’t be an authentic festival experience without The Herd dropping by with their brand of political hip hop to shake up the undercover racists and promote hugs amongst strangers, and with songs like 77% and their cover of Redgum’s I Was Only 19, they certainly inspire a bit of patriotism. No territory is sacred for the eightpiece, as MC Urthboy checks in that everyone is having a grand time: “Are you feelin’ good in your vaginas and your balls?” With a big reaction to new single Signs Of Life, that’s affirmative, thanks Urthboy. Sweet Lord, dear Jesus, Oh Mercy! Way to bolster the energy levels! Spurred on by frontman Alex Gow’s confidence and obvious levels of enjoyment, the Melburnian quartet do nothing short of deliver – their sound is crisp, their mix is sure. Okay, we can still hear The Herd nearby (a fact Gow alludes to by giving a shout-out), but we can hear Oh Mercy better. Stay, Please Stay is an obvious favourite among the Mercy elite, but then, they don’t really falter at all. It’s all feeling very twenty-ten again as The Vines are once again playing a Sunday afternoon slot, but they don’t seem to have changed their set list much from the last year either. Their catalogue is still strong with Get Out and Ride setting the right tempo, abetted by the warm embrace of Outkast’s Ms Jackson, but we’ve seen it all before and the crowd lets it show. Drapht is in his element today as he runs through tracks from his latest album with Sing It (The Life Of Riley) as he feeds from the energy. Increasing the presence with a live drummer on stage it seems he is still known as ‘the other hip hop act’ for the weekend, but Drapht continues to push with We Own The Night and Drink Drank Drunk to put his own stamp on a blistering set. The Middle East open their astounding performance with the steady swell and eventual crash of Black Death 1349, straight into an energetic Jesus Came to My Birthday Party. The Darkest Side is performed with harrowing grace, Jordan Ireland and Bree Tranter’s gently swelling vocals met with applause in the brimming GW McLennan tent. As the song comes to a close, the band announce “this is our last show ever” and launch into Bob Dylan’s I Shall Be Released, a homage to The Last Waltz and a signal of their own. They achieve


a devastatingly brilliant dynamic throughout and play with purpose. Group vocals and driving guitars steer Blood and Hunger Song into an epic territory, while the gentle longing of As I Go To See Janey brings home the loss of one of Australia’s most promising bands, performing the finest and final set of their short career.

Kanye West @ Splendour In The Grass by Stephen Booth

Coldplay @ Splendour In The Grass by Stephen Booth

Fresh from the release of the fantastic Build A Rocket, Boys Elbow can do no wrong. With Guy Garvey as their sweet, angelic-voiced frontman, the charming band seem a blissful anomaly amidst all the things that ail one at a three-day festival. The Birds is a soaring highlight, as is the erudite and love-forlorn Bones Of You before they band climax with the otherworldly Tower Crane Driver. Poor Light Year. Yes, they’re both wearing t-shirts emblazoned with their own logo on them and, admittedly, the main gist of their act is several indistinct house beats delivered at the same BPM all flowing in and out of each other in routinely “oh so techno” peaks and troughs – but nobody deserves to have the next act on the line-up audibly soundchecking away backstage while they’re trying to perform. Ultimately, the lack of etiquette awkwardly scuttles the vibe, and it’s a pity. Before Noah and The Whale even step on stage, the crowd bonds over singing the entirety of Queen’sBohemian Rhapsody played instrumentally over the sound system. Once finished, the English folk band is warmly welcomed as they take to their instruments with enthusiasm and delve through their back catalogue, but it’s clear to see the majority of people are only here to hear one song and that’s the finale, L.I.F.E.G.O.E.S.O.N. Friendly Fires waste no time in becoming one of the festival highlights for a packed tent, opening with a onetwo off their self-titled debut, Lovesick and Jump Into The Pool, all hazed out in blues and reds under the primary coloured wings of their Pala parrot mascot. Layered percussion, tropical brass blasts, rash dance moves, electrocution guitar licks – the St Albans lads have it all. Paris and an extended closer of Kiss Of Life leaves the dancefloor in knots. Typically the act that can start any night off right, tonight Kaiser Chiefs are missing the spark we’ve seen on previous visits to our shores. Their set list is sounding the best it’s ever been with Everyday I Love You Less And Less, Modern Way and Angry Mob to name a few, but the long haul flight appears to have defeated them as it isn’t until the final Oh My God that their show comes together.


The Panics begin their set at sundown, testing out some new tracks on a slowly amassing crowd. Effortlessly perpetuating that affected-Australiana sound they’re known for, the great band pace a long and thoughtful set, peppered with old and new, rich and regal. Flight Facilities do their job to keep the groove going between the larger acts however their set never really manages to be a success on other levels. A spin of Daft Punk’s Around The World is never unappreciated but for the most part they are just not kicking enough for the busy time of night. Cut Copy soon take to the stage with synth, samples and thunderous bass galore, turning the mosh into a frenzied pit of writhing bodies from the start. Dan Whitford’s vocals are crystal clear as he mans the synth and impresses with a fair few of his own dance maneuvers. Doubling their energy and intensity continuously, Cut Copy are one hell of a great live band and as Hearts On Fire and Need You Now become known, the crowd match the band’s enthusiasm becoming even more frenzied – if that’s at all possible. Reformations are hit and miss, but the inclusion of Pulp on the Splendour bill is met with an intense sense of anticipation. Jarvis Cocker doesn’t feel the pressure, first toying with the crowd with a quirky light show

before bringing the band on to play an incendiary set of hit after hit. No one else has been able to make awkwardness as endearing, infectious and funny as Cocker, and these tracks are as exciting as they were on their inception. The massive crowd is incredibly vocal, but saves the best for the perennial Disco 2000 and Common People. A full five piece band accompanies freak folk poster boy Devendra Banhart as he closes out the GW McLennan tent tonight, and while the crowd is scant, they all enthusiastically lap up an excellent set. As a frontman Banhart is a bizarre and very alluring mix of casual and menacing, exuding serious swagger but in the most approachable of ways. I Feel Just Like A Child is a powerful end to the set, very slick and utterly beguiling. The Mix Up tent is closed out with Bliss N Eso. With their constant chants for BNE to get into the Splendour vibe, the guys churn through their songs like men on an evangelical mission. Current favourite Family Affair came out early to many punters’ delight, whilst Down By The River and Addicted also got a workout. The Sydney lads keep on going from strength to strength, and finish the festival with inimitable style At last, the gargantuan Coldplay are upon us. With a light show to kick the hubris out of Kanye, the

supergroup begin with new track Hurts Like Heaven, as the giant stage is dwarfed by a set of fireworks that spear from its top, and spiral into the sky. The big screens behind them turn into repeaters, as Yellow reminds us that they were once that little Brit-pop band. The stunning In My Place next has the crowd singing and swaying along, and frontman Chris Martin remarking that it alone “makes the plane-flight worth it.” At their most U2 yet, the band then switch into Major Minus, the song a lot more convincing played live than as we’ve previously heard it. Everybody finds The Scientist easy to love, next, before the stomping Violet Hill and its gorgeous middle-eight outro segues into a cleverly disguised God Put a Smile Upon Your Face. Another newbie, Us Against The World, sees the fanfare dimmed down to just a spot on Martin and Berryman as they harmonise and lullaby the besotted crowd, but then that too jump-scares into the booming Politik. So adept at playing live, the mega-band manage to make these wellknown songs still sound fresh. The festival couldn’t have found a better nostalgic note to finish on. So there you have it – yet another triumphant gathering, as splendid as any of its esteemed predecessors. We don’t know yet where next year’s instalment of Splendour In The Grass will take place, but most people seem to be of the opinion that as long as it happens at all then that’s just fine with them. MARK BERESFORD, DAN CONDON, BEN DOYLE, SAM GILBERT, SAM HOBSON, MITCH KNOX, TYLER McLOUGHLAN, MIKI POWER, JAKE SUN, MEL TICKLE, BRENDAN TELFORD, RACHEL TINNEY



Perth duo Wolves At The Door just released their sophomore EP Wolves At The Door II a mere few days ago, which has really kicked them into gear once more. The pair, James and Ash, are understandably bursting to play their new tracks live and what better way to do it than with a national tour? The Holes In The Sky tour will be showcasing the five tracks of their latest release and promises a series of hypnotic and sensuous live performances. The duo reach Brisbane this week with what is bound to be a very special show at Alhambra’s party-night Lambda on Thursday Aug 4.



SUPER DREAMY AND UNIQUE PERTH OUTFIT WOLVES AT THE DOOR ARE MAKING QUITE A SPLASH LATELY  TONY MCMAHON CATCHES UP WITH VOCALIST AND GUITARIST ASH HENDRICKS TO FIND OUT WHAT ALL THE FUSS IS ABOUT. “We find it interesting how often we get compared to certain bands that people assume have been direct influences to us, though a lot of the time we haven’t heard of the bands they’re referencing,” says Hendricks, talking about the origin of the band’s sound. “Obviously we’re influenced by a lot of bands, but not in such a direct manner. Our tastes are so broad when it comes to music that we find we draw from lots of different genres as opposed to just one or two. We’re very open to all sorts, so I guess that filters through and has lead to a sound that although is not unclassifiable, it’s a bit hard to define completely as one particular genre.” For anyone lucky enough to have heard their records, WATD are beautifully produced. What implications does this have for seeing them live? It’s all energy, according to Hendricks, just a different kind. “The live version is definitely more raw than the recorded versions. That said it’s not very heavily produced on the recordings. We probably feel that we can make the songs a bit more beautiful and atmospheric when we’re recording. When the live show comes around, I guess the

BOXED IN performance element is introduced, so we feel like a little more energy in the set doesn’t hurt.” WATD are departing for the rest of their tour soon after their Brisbane show, and they’re probably worth catching while venues such as Alhambra can still hold them. “The John Steel Singers recommended Lambda to us and said it was a great night, so we’re really excited about that. Also looking forward to seeing The Dead Leaves play. We’re only in town for the night of the show so we don’t really have much time, but we plan on making the most of the time we have.” WHO: Wolves At The Door WHAT: Wolves At The Door 2 (Independent) WHERE & WHEN: Alhambra Friday Aug 5

It would appear there’s no rest in sight for the Boy In A Box gang, having just wrapped up touring with British India and still earning mass airplay of their track Glitter, Gold, Ruin. Barely stopping to catch their breath, the Melbourne-based band are hitting the road yet again supporting Californian dance rock outfit Funeral Party on their upcoming Australian tour. Boy in a Box open for Funeral Party at The Hi-Fi in Brisbane on Tuesday Aug 9, tickets are $49.90 + bf through Moshtix.


The Crown Hotel is continuing to host plenty of awesome acts from all over the place each weekend, but this Sunday’s event is particularly special as they welcome their first ever international act to their illustrious stage. Destination Cervo are a blues-punk band straight outta France and they’ve chosen the Lutwyche rock den to make their next appearance in Brisbane. For good reason too, it’s free entry, the vibe is good and the drinks are always flowing. They will be joined by an all star cast that includes The Surfari Krishnas, Pastel Blaze and The Snatch – who will also be using this show to launch their brand new CD! The good times start rolling from 2pm, don’t miss out!

Dubbed one of Queensland’s best kept secrets, guitarist and songwriter Asa Broomhall is too good to be kept under wraps. Broomhall has built up quite a following with his catchy lyrics and unique melding of bluegrass, folk and rock, consistently putting on stellar performances as a soloist as well as with a full band in tow. Broomhall will be playing with his band on Sunday Aug 7 at Ric’s Bar from 7pm, then a solo performance at the Gympie Music Muster on Tuesday Aug 23 at 5pm on The Blues Stage, and finally performing as part of a duo at Twin Towns on the Gold Coast on Friday Aug 26 from 5pm.


Gold Coast alternative rockers Stellar Green are thrilled to be releasing their debut EP, so thrilled in fact that they’re taking the show on the road to celebrate. The Imperium Rising tour will see the trio playing gigs all over the shop, so there’s no excuse to miss out: starting on Wednesday Aug 3 at Club 299, then Buddha Bar in Byron Bar on Thursday Aug 4; followed by the USQ Bar in Toowoomba on Thursday Aug 11; then the Hard Rock Cafe on the Gold Coast on Friday Aug 12; and finally back to Brisbane on Friday Aug 26 for a big show at the Tempo Hotel.


It’s been on the verge of opening for a number of weeks now and we’re pleased to tell you that Black Bear Lodge is now open for business. Tap beer, vintage vinyl, comfortable surroundings and a soon to be launched live music program are just a few of the reasons why you should get yourself up to the old Troubadour, we reckon it’s pretty impressive. It’s open from 6pm during the week and 4pm on the weekends.

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RADIOTHON 2011 Brisbane community radio station 4ZZZ will be kicking off its annual Radiothon festivities Aug 6 –Aug 15 this year with the 2011 theme Streets Of Our Town, showcasing the city’s fabulous streets, malls and laneways.



The Vampers sound combines elements of swing, jazz and punk, not something one hears every day. Macrae says it’s mostly about the varying tastes the band members have. “I guess it was more the influences of each member of the band. We each bring something different and amalgamate many styles that we enjoy. For example, Austin (drums) loves hardcore, Long Gone Tom (bass) loves fast melodic skate punk and I love swing jazz/ rockabilly. We all love psychobilly.” Having said that, Macrae goes on to point out that swing + jazz + punk doesn’t necessarily = psychobilly. “There are many different psychobilly bands with different sounds depending on their origins and backgrounds. Generally, most European psychobilly bands base their style on fast, crazy, surf rockabilly guitar riffs with energetic vocals, and later incorporated horror aspects into their image. American psychobilly bands tend to base their style on the poppy punk scene, going for a more commercial trend. Some of the more technical bands and artists like Reverend Horton Heat will mix a bit of a jazz surf influence into the style to create more versatility.” When it comes to talking about how excited he is to be playing at GreazeFest, Macrae indicates that it’s a true honour, but that it’s not just about the music. “It will be an amazing experience. Greazefest is one of the biggest shows to play in the Australian rockabilly scene. Not only is it a lot of fun and great exposure, but it’s also awesome hanging out with your mates in a hotrod and music-infested showground.” And finally, when it comes to describing a Vampers live show, Macrae gives the best possible response. “The Vampers live show is an energetic, versatile and fun experience. I guess my best answer is just come watch us and decide for yourself.”

After years of anticipation Brisbane indie pop outfit Extrafoxx have finally finished laying down some of their cheekiest and catchiest tunes for their debut self-titled album, which has just been released. And yes, the album even includes their infamous track (of the same name) paying tribute to Queensland’s very own Big Pineapple as well as a horde of other tracks featuring their signature mix of catchy synth pop and rock sounds. The official launch will take place at the Beetle Bar on Friday Aug 19 with support from Little Lovers and Undead Apes.


Self-proclaimed art-a-billy musician Jefrey Siler is a man with a mission; he took to YouTube with a Rockethub Fan Funding campaign hoping to raise enough money and presumably moral support to make a new record and lo and behold after just two months his Yellow Means Infection! record was born. Now it’s time to reimburse his fans for their support, and he’s doing just that with his upcoming tour promoting the release of this long-awaited album. To bear witness to a live show full of ‘heart, humour and humility’ that is sure to be like nothing you have ever seen before head to Cartel on Caxton St on Thursday Aug 11, The Loft on the Gold Coast on Friday Aug 12 or The Buddha Bar in Byron Bay on Saturday Aug 13.


It was five years in the making, but progressive rocker Ben Craven is back in the spotlight with an album that looks as good as it sounds. As part of the album’s final touches, Craven enlisted the help of UK visual artist Roger Dean famed for his work with Yes and Asia, to name just a few. To celebrate this long-awaited release, Craven is holding an official launch for his latest prog-rock offering Great And Terrible Potions at the Caxton Hotel in Brisbane with special guest Luke Sorenson, on Friday Aug 12. Craven has also released a limited edition of vinyl copies of the album complete with a traditional gatefold sleeve featuring the Roger Dean artwork and you can grab it from his website right now.

WHERE & WHEN: GreazeFest, Rocklea Showground Sunday Aug 7

After touring Australia near continually off the back of their first two albums, Gold Coast outfit Helm decided to take a well-deserved break and focus on putting together album number three. But now they’re back and hitting the road once again for their Rising Tides tour this month! Helm will be joined by Hammers, Tyrants! and Drawcard at the Miami Tavern on the Gold Coast on Saturday Aug 6 and then they’ll be playing Billy’s in Gympie on Friday Aug 12 with Tyrants! and Epidemic Over. Tickets for both of these shows are available through OzTix or on the door.


With less than a week to go, 4ZZZ’s 2011 Radiothon has got us here at the station jittery with excitement. We’ve split up our prizes just like the Olympics! GOLD All Under 18’s, Concession, Full and Passionates who subscribe or pledge during the ten days will go in the GOLD Prize draw. GOLD MUSICIAN All Band, DJ and Solo Musician subscribers will be entered into the draw to win one of two amazing Major Prizes. SILVER By Subscribing on the corresponding day, all Under 18’s, Concession, Full and Passionate subscribers will go into the daily prize draws. BRONZE All Under 18’s, Concession, Full and Passionate subscribers who subscribe and PAY online during Radiothon will be automatically entered in a draw for one of these. LUCKY DIP! We have heaps of lucky dip prizes for anyone who subs during the ten days! RADIOTHON 2011 EVENTS Opening Night Set in Brisbane’s iconic Tribal Theatre and accompanying forest laneway, the Streets Of Our Town opening night event is set to begin 4ZZZ’s Radiothon with a running start on Friday evening Aug 5 from 6pm. The event will put together some of the greatest new, unusual and exciting local acts over two stages, one outside in the leafy surrounds and the other on the floor of the vintage theatre. With live music from Gentle Ben & His Sensitive Side, Per Purpose, Extrafoxx, Big Strong Brute, Primitive Motion, Curlew, Sky Needle and Cannon, it promises to be a night full of entertainment and we are gearing up to announce this original and enticing line-up very soon! Lunch With 4ZZZ 4ZZZ will also be presenting a day in Chinatown mall, Lunch With 4ZZZ on Saturday Aug 6 from 8am to 4pm. Featuring markets and live music from midday with The Mouldy Lovers, Winter Solstice, Panda & The Bears and Rudekat Sound, plus a special live broadcast of the event. Lunch With 4ZZZ will be a relaxing fun filled day of street culture!

Cassia play the Orient Hotel on Friday Aug 5 How did you get together? Sean Hayter (guitar/vocals): ““The three of us were playing around Brisbane in a few different bands, but we’ve known each other for a while. Late in 2009 we decided to try out a couple of songs in a rehearsal space and it just seemed to click.” Sum up your musical sound in four words. “Heavy ambient progressive rock” If you could support any band in the world – past or present – who would it be? “Nirvana” You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? “The Beatles – White Album” Greatest rock’n’roll moment of your career to date? “Being recognised by a folk duo at the Radison Resort in Fiji whilst drinking Fiji Gold” Why should people come and see your band? “What else would people do?”




Over ten fundraising days, 4ZZZ will be colouring the airways and Brisbane’s fantastic outdoor spaces, encouraging 4ZZZ listeners to get involved – out and about – in the streets of their vibrant community.

Of course don’t miss out on your chance to win daily during Radiothon from the $70,000 prize pool! Just visit the 4ZZZ website to checkout all the prizes and your chance to win:

WHO: The Vampers

The New Breed is the brainchild of Sunny Side Events and The Sunday Washup and its premise is simple; it’s an event that gives young up-and-coming musicians a chance to take to the stage at The Hi-Fi; one of our city’s premier live music venues. Saturday Aug 13 will see five of Brisbane’s best and brightest bands show you what they’ve got. Featuring all girl punk trio The Ovaries, Brit-pop meets Bris-pop up-and-comers Camels In Croatia, indie oddballs Yo Yo Ma, rockers Fibreglass Yeti and the chilled out, psychedelic sounds of Shady Bliss. So come down to The Hi-Fi and see five great bands for only ten bucks. Damn that’s good value!


Aug 3, 1969 – Carl Wilson (of The Beach Boys) is indicted for failure to report for civilian duty in lieu of serving two years in the army. Aug 4, 1966 – A ban of the broadcast of any and all Beatles records on most US radio stations goes into effect. The ban is in response to John Lennon stating that the band was now more popular than Jesus Christ.

LAST HURRAH Sydney metal heads Recoil V.O.R. have spent the first half of the year supporting some amazing international hardcore and metal talent, and their hard work seems to be paying off as the four-piece get their chance to take the US by storm this October. Luckily for us, they’re not going anywhere without saying goodbye, so they’re announced their last Australian tour for this year. Th is is your last chance to see them tear up the stage before they weave a path of destruction along the US west coast – the guys play the Jubilee Hotel on Friday Aug 19 and then the Springwood Hotel on Saturday Aug 20.

Aug 5, 1992 – Jeff Porcaro (of Toto) dies of cardiac arrest at age 38. He was spraying insecticide in his yard and developed an allergic reaction that triggered the heart attack. Aug 6, 1987 – The Beastie Boys sue the city of Jacksonville, Florida for including the phrase “mature audience” on their concert tickets and ads. As if... Aug 7, 1991 – Charges of assault and property damage are filed against Axl Rose (Guns N’ Roses) in connection with a riot during a show in St. Louis, Missouri. Aug 8, 1970 – Janis Joplin buys a headstone for the grave of blues singer Bessie Smith. Smith was one of Joplin’s idols. Aug 9, 1991 – Rick James pleads innocent to charges that he imprisoned, tortured and sexually assaulted a woman in his California home.

TWO IS BETTER THAN ONE Who is your favourite South African flautist? If you’re trying to tell us it’s not Wouter Kellerman then you can get outta town! Th is man knows how to blow and has put together some multicultural delights on his brand new record Two Voices, which he is heading to Brisbane to launch next week – he’ll be bringing his awesome ensemble along for a big show at the Brisbane Jazz Club on Thursday Aug 11. The record has already picked up the prestigious 2011 South African Music Award for Best Instrumental Album and it won’t be long before a wider Australian audience catches on to his unique brand of world music. Tickets are available from the venue’s box office right now for $25.


GOING DUTCH It seems there’s much cause to celebrate for Brisbane fourpiece Holland; in a short space of time they’ve been signed to a major label, recorded their debut single slated for release soon, and now they’re hitting the road on a massive east coast tour. Audiences will get a chance to hear their latest offering No Control, a track they say ‘forms the backbone of their dreamy live set’ when the guys play the Beetle Bar on Friday Aug 26, then SolBar in Maroochydore on Saturday Aug 27, The Rails in Byron Bay on Sunday Aug 28, The Spotted Cow in Toowoomba on Friday Sep 2, and finally The Loft on the Gold Coast on Saturday Sep 3.

Best record you stole from your folks’ collection? Rolling Stones – Exile On Main St First record you bought? I have no recollection and I am not willing to lie or insult the bountiful intelligence of street press readers. Record you put on when you’re really miserable? Arthur Russell – First Thought Best Thought LP. An excellent record by a 1980s pioneer of ‘AIDS techno’. Record you put on when you bring someone home? At this point, after many years, I no longer need music to get laid but if I did it would be either Areski and Bridget Fontaine or Sybille Baier –

Colour of Green LP. Th is is assuming we were making love as opposed to hate sex or meth sex, which in that case neither of the aforementioned records would suit at all. Who writes these questions? Most surprising record in your collection? Beasts Of Bourbon – Black Milk LP or some other dated artifact of late-80s Australian pub machismo. Last thing you bought/downloaded? Subway II – UK band mixing Italo disco and house music. Slug Guts launch their Livin Evil live album upstairs at the Step Inn on Saturday Aug 6


James O’Brien, of Brisbane indie favourites The Boat People, may have relocated to Melbourne but he certainly hasn’t forgotten where he came from. And to prove it, he’s going it alone putting on an intimate solo performance for his Brisbane fans and friends at The Hi-Fi’s Vinyl Bar for Nanna Night on Wednesday Aug 10. O’Brien will be showcasing some rarely performed Boat People tracks in two sets kicking off at 7.30pm, with some very special guests joining him on the night. If you think Melbourne gets all the good gigs you’re dead wrong, make sure you don’t miss this one!


Nathan Kaye is a man of many musical talents, which have been put to damn good use on both the national and international stage playing alongside members of Blue King Brown, George and The Beautiful Girls, just to name a few. He’s garnered a reputation as a crowd favourite in and around Byron Bay for his dynamic live performances, producing Australian blues and roots with a psychedelic twist that’s guaranteed to blow your mind. And his upcoming performance promises to be no different when the Nathan Kaye Kollective take over The Rails in Byron Bay on Saturday Aug 6 from 7pm.


If you’re the kind of person who prides themselves on being all over the hottest new up-and-coming DJs before they become super famous globetrotters, then you really need to make sure you’re all over this year’s Brisbane leg of the Red Bull Th re3style Competition. Basically, a bunch of DJs are handpicked and invited to showcase their skills at a massive party, where industry insiders will make the call on who is the night’s best, with the winner pocketing a cool thousand bucks in cash. The best thing is, punters get to see it all unfold and also get a special set from none other than Ajax, so you’ll have to make sure your dancing shoes are fully operational. The party hits Arena on Friday Aug 12 from 9pm.

POP AND LOCK IT IN Thanks to the crew at Collision, this Saturday night promises to be absolutely off the hook! Old school hip hop and new school glitch hop collide in an explosion of early hip hop and electro goodness, along with some fresh new school crunk. Kicking it off at 9pm Resistor will be taking a trip back in time, digging out some old school hip hop; then electro addict Wrongutang takes the stage before Blunt Instrument, pictured, and Hifi re will also be busting out some heavy underground electronica and new school glitch hop for your listening pleasure, before Resistor take the stage again with Hifire to finish off the night with some downbeat action. It’s all happening at the Step Inn’s Corner Bar on Saturday Aug 6 from 9pm and it’s absolutely free!


Paddington’s newest venue the Dowse Bar has plenty of great stuff happening this week. Steve Grady, Alastair McRae (Inland Sea) and Jeremy Neale (Velociraptor et al) all invade the joint with acoustic guitars in hand from 8pm on Thursday night before Kate Jacobson of Texas Tea fame takes the reins from 4pm on Sunday afternoon. Entry to both shows is free and there’s plenty of reasonably priced food and drink to get amongst as well.



SOUNDSLIKEBRISBANE INDIE LABEL SHOWCASE LABEL NAME: Starving Kids NAME/ROLE: Brett Wood – manager FOUNDED: 2004 CURRENT ACTS: The Medics, Transvaal Diamond Syndicate, Steve Grady and Bang Bang Boss Kelly ALUMNI: The Winnie Coopers, The Paper & The Plane, Ellington, Brown Bear, Dextor’s Conscience

The Snatch’s sound has been described as northern beaches with punk guitars, but singer/songwriter/guitarist Mickey Bristow says it’s more about the fun. “We’ve always tried to create our own sound based on what we all bring to the band as players. There are definitely punk influences in the guitar playing and that’s a lot of fun, but there is Aussie pub rock too. It’s a dirty rock style with memorable melodies, cheeky vocals, big riff s and a good beat. To us that’s a great recipe for a rockin’ good time.” Talking of fun, bassist Stav Tsolakides is a big fan of The Radiators, as is everyone at Time Off. “The Rads have great songs and they don’t sound like anyone else. Mick’s vocals and songwriting have a definite Aussie sound to them and carry on from bands like The Radiators, Midnight Oil and Radio Birdman without copying them. The Snatch just writes the songs that come naturally to us and that means it’s rocky, a bit quirky and upbeat.” According to drummer Damon Joel, The Snatch’s new single actually has a long history. “I’m In The Band is a song that has been there from our first show. We never intended to record it, however the audience reaction has been so strong that we decided to release it leading up to our next EP, which we’ll be recording soon.” In parting, guitarist Lochie Bovill gives punters a sneak preview of what to expect at the single launch. “Punters can expect to see four guys doing their thing with passion and energy that includes the audience in the fun. It will be upbeat rock’n’roll with snotty vocals, dirty guitars, memorable songs, and a dash of humour. We won’t be holding back, our aim is to give this single a good kick off and hopefully turn more people on to what we’re doing.” WHO: The Snatch WHAT: I’m In The Band (Independent) WHERE & WHEN: The Crown Hotel Saturday Aug 7



ROLE: Brett Wood – manager

BRIEF HISTORY: In late 2004, four mates got together over a few beers with a dream of starting a record label to assist developing local artists. They had no idea what they were doing but they knew they wanted to do something. In 2005 SK released its first product Acoustics and Stones – Volume One; which was a collection of songs recorded in our barely better than home studio. The artists on that initial CD included Charlie Thomson, who is now emcee with The Winnie Coopers, Dan Van Zutphen (The Paper & The Plane), and Steve Grady (Inntown). We pressed 500 units and sold them all. With a little more knowledge, confidence and blind faith in what we were doing we launched the label by signing The Winnie Coopers and released their debut

Being Diff erent. Since then we have helped more than a dozen emerging artists release their product to the world. We’re kind of happy where we sit right now. LABEL FOCUS: We focus on local (Brisbane and surrounds) bands although we have signed a couple of regional acts in The Medics (Cairns) and Ellington (Gladstone) so we tend to stretch the borders some times. Our main goal is to work with young and emerging artists in an effort to raise their profile and help them get the most out of their talents. We’re not genre specific, our history of releases indicates that; we’ve worked with Aussie hip hop, alt-rock, altcountry, rock, pop and post-punk and we wouldn’t rule out working with any other genre in the future. The number one criteria is that as a label we must be passionate about the music we release and be able to build a relationship with the artists.

SHOWCASING BANDS: Pop rockers Fushia (winners of this year’s National Youth Week Song of the Year gong for single Nocturnal) will be bringing the party vibe; Transvaal Diamond Syndicate will get the crowd stomping along to their blues rock; and young grunge/punk upstarts Bixby Canyon will open the night with some raw and harsh 90sinfluenced rock. Starving Kids’ showcase is at The Crown Hotel, Lutwyche on Saturday Aug 6


“My car had just blown a head gasket and I was up for some serious money to fi x it when I got the call to play, so from the word go I was really excited. The whole experience was fantastic and

Firstly, let’s hear a bit about this exciting new genre of Art*A*Billy. “Growing up in North Carolina, I was really used to hearing story-based songs and had always loved the chugga-chugga of rock-a-billy. But what I found came most natural is writing songs where I used my somewhat obtuse sense of humour to describe sentimental situations. The ‘arty’ side is that I try and make it adventurous. The ‘Billy’ side is my attempt to write songs that tell a different side of a familiar story.” Humour was undoubtedly an important factor when writing the songs, but the creative process wasn’t as contrived as you may think.


And what was it like performing it at the Gold Coast Titans game? No problem, according to Wilson, and the bucks came in handy.


IN THE PIPELINE: Transvaal Diamond Syndicate mini-album, Sins Of The Blessed in August. Fushia’s second EP late-2011 early-2012. Bang Bang Boss Kelly’s second EP November 2011.


“The majority of the songs on Far Away and Something Old, Something New were very personal,” says Wilson, talking about how his new single represents a move forward. “The albums were almost autobiographical. I’ve been playing those songs for a while now and I’m over talking about myself. I decided I would try and write the next album as an observer, so the new songs are my take on what’s happening around me. Fix is a commentary on a relationship break-up between two very close friends. It was awful how it all happened and I just wished that they could fi x it all up at the time.”


walking out onto the ground was a huge buzz. The nerves kind of went at that stage and it was just business as usual. It was great to get a huge cheer from the crowd at the end.” What will be the difference between performing at the Titans game and Solbar? Not much, really. “I’m lucky to be having Alan Boyle and Steve Grady opening the night with their respective bands. The crowd will have been very spoilt by the time we come out. I suppose all gigs are the same and sometimes it’s easier to play in front of a huge crowd than in an intimate venue. The SolBar has been pumping since it re-opened and the crowd is always big and ready to enjoy live music, so it will kind of have a similar feel to the Titans crowd.” WHO: Drew Wilson WHAT: Fix (Independent) WHERE & WHEN: SolBar, Maroochydore Friday Aug 5

“Yellow Means Infection! wasn’t cooked up from some recipe. Please don’t paint (or baste) me with that brush. Humour is a great and an often-overlooked ingredient to art, because it’s usually either overdone or absent. Humility is a very attractive quality; I’m trying to attract people away from an evening of reruns to see us this Thursday! As far as heart goes, ya gotta speak from the heart to speak to the heart. But technically if my stuff gets sentimental, it’ll fall under the “Heart*A*Billy” section of yer local Record Bar, be warned!” Siler ends with a thrilling story from the road. “Last night we got back from the lovely ten hour drive from Melbourne to Sydney. On the floor of my car I found a single sock made by No Fear. I ask your readers this: have we as a race grown so desperate to prove our unending courage that we need it printed on our footwear? I broached the subject with my bandmates, inquiring to whom it might belong, but they all denied any knowledge. I found that cowardly, which is contrary to all that No Fear stands/ stood for. My quest for truth continues.” WHO: Jefrey Siler WHAT: Yellow Means Infection! (Independent) WHERE & WHEN: Cartel Thursday Aug 11, The Loft, Gold Coast Friday Aug 12


Hardcore and punk with Sarah Petchell. Email punk news to Since it’s inception as a festival, Soundwave has been a household name when it came to all things punk, metal and hardcore. Since the first festival, subsequent Sidewaves and countless tours, the operation has sought to diversify, and now they are bringing the same passion they have for touring artists to releasing records through their own label, 3Wise Records. The label will be dedicated to releasing world-class music from a handpicked roster of talented artists, starting with Fireworks and Zebrahead. The record I am the most excited about is the new one from Detroit pop punkers, Fireworks. The band will release their second album, Gospel on Friday.. The release will feature Australia only bonus content, including the Bonfires EP and two bonus tracks. It looks like Channel [V] has finally heard the cries of fans of heavy music everywhere and has created a show that will be dedicated to the best in punk, hardcore, metal, metal-core, post-punk, post-hardcore... well, you get the drift. Due to hit screens on Monday nights from 10:30pm, this 90 minute slice of all things fast, heavy and fun will feature exclusive interviews, backstage passes to renowned festivals like Soundwave, the latest an greatest videos from acts like Rise Against, Parkway Drive, The Amity Affliction, Anthrax, Bring Me The Horizon (the list goes on…) and will keep you in the know on all things heavy from around the globe. The first episode will go to air on Monday Aug 15 and will be guest programmed by American hardcore punk rockers, Rise Against, who were recently in Australia. Supports have finally been announced for the Title Fight and Touche Amore tour that will be heading around Australia this September. You should all by now have heard the new Break Even track, Hell’s Gates, so you will be well familiar with it when they inevitably play it during their set as the national support on this tour. But perhaps the best thing about this particular support announcement is the fact that each city will be having its own local support as well. In the case of the Brisbane show at the Old Museum on Thursday Sep 8, the position of local support will be filled by Headaches.

Also announced this week was the news that Brisbane’s Deceiver would be signing with Sydney-based hardcore label, Dogfight Records. Deceiver are a five-piece metal/hardcore band made up of ex-members of xThe Warx, Strength Through Purity, Sink Or Swim, Crime Scene and Before The Throne. They released a demo around six months ago, but are in the process of recording their debut record to be released around mid-October this year. If you’re a fan of Bury Your Dead or The Ghost Inside, check these guys out, and stay tuned for more information. KVELERTAK SOUNDWAVE REVOLUTION Q&A So they’re not entirely punk or hardcore, but Kvelertak are a fucking cool band. So we subjected Erlend to our quick Q&A. What are you most looking forward to about heading to Australia for Soundwave Revolution? Hanging out in Australia! I’ve never been there, but we’ve already been promised BBQ, koalas and weed. The unholy trinity! Who are you most eager to check out on the bill? Danzig, Watain, Alice Cooper and Van Halen. What is something that no one knows about your band? That we don’t actually drink mead (mjød) as it’s way too sweet and sticky. But our Viking ancestors seemed to enjoy it. Do you have any rituals or superstitions that you have to stick to before you go onstage? If so, what... Yes, after the ritual known as soundcheck/ linecheck, we all take a collective dump in the nearest toilet, then without washing our hands, we do the football-thing where we huddle up and yell “Ooooooo, Kvelertak!”. What is your dream festival line-up? I just said this in a different interview, but I can’t come up with a better answer. The big 4 (+1), hehe.

This Friday evening at Monstrothic Vyrion launch their new album. A blackened progressive metal band with a Scandinavian influence, two tracks from the self-titled release entitled Mortal Frame and The Decision can be streamed at either or at The group, which currently features members of who have done time in Phalanx and Violent Green, was formed by the ultimate headbutter and also singer/guitarist Dale J Williams. The band will play with After Earth, Acorea and Ignire The Chamber, with entry costing one $10 from 8pm. If you happen to be needing a metal fix on the Gold Coast this Friday, The Miami Tavern should sort you out. Sydney group Datura Curse are making their way up to play with local melodic metal group Erase The Thought, Medusa’s Mirror and the originally named 4 Dead In 5 Seconds. It’s $10 from 8pm. A bunch of metal and hardcore bands get together for an all ages affair at Sun Distortion Studios on Saturday evening. Catch When Words Collide, A Violent Alibi, Road To Ransome, The Last Outlaw, The Endless Pandemic and Revelations from 6pm for $10. Feel like some free metal next Wednesday evening? Head over to the Step Inn and catch the return of self-proclaimed ‘progressive death groovers’ In Death, Western Australian melodic metallers Empires Laid Waste, Epileptic Fist Fuck and the first show from new band Tazer Torture from 7pm. Vocalist for Melbourne goth rock/metal veterans Catwitch, Kieran O’Reilly, has lost the struggle he’s been fighting against bowel cancer since 2009. A fund-raising show was organised to help him on Jul 23, only for O’Reilly to pass away five days later. Catwitch formed in 1992, releasing three full-length albums and EP, the most recent being Burn in 2007.


Ry Cooder

News of a new Ry Cooder record is always welcome as far as I’m concerned; he rarely fails to deliver work that isn’t of the highest quality. 2008’s I, Flathead wasn’t exactly his finest record, but I still thought it was of a pretty damn high standard and I love the challenge he sets himself to stick with a given theme. His new release Pull Up Some Dust And Sit Down (due through Nonesuch/ Universal Friday Sep 9) is said to be “13 simple tools for citizens under siege” and some of the themes of the tunes sound suitably odd; but who doesn’t want to hear a song called John Lee Hooker For President, or hear what Jesse James would do to Goldman Sachs if he were around today? I haven’t heard the record yet, but I’m looking forward to it, particularly after hearing first track No Banker Left Behind – a kooky dust bowl ballad – and Quick Sand, a darker, grittier tune that tells the story of Mexicans leaving their country for a better life. Hopefully these tracks will be somewhat indicative of the rest of the album. We’ll have to wait and see... You might have heard by now that country legend Glen Campbell has become quite ill of late, he has been diagnosed with Alzheimer’s Disease and has recently gone public about his struggles with this illness. In his comments, he has announced that he will be throwing in the towel on his music career after 50 years of activity in the business, which has brought him wide acclaim, a huge number of gold and platinum records and multiple Grammy awards. Before he hangs up his hat for good, he will release one final album by the name of Ghost On The Canvas, which will be released through

Thrillhill/Inertia on Friday Aug 26, a record that sees him matched up with a host of incredibly impressive names in contemporary music such as Paul Westerberg, Jakob Dylan, Robert Pollard, Teddy Thompson, Chris Isaak, Dick Dale, Billy Corgan, Brian Setzer, Rick Nielsen, Roger Manning and The Dandy Warhols. I have been lucky enough to have a sneaky listen and it’s clear that there has been a hell of a lot of work put into this record, Campbell’s voice sounds absolutely fantastic and it’s heartbreaking to know that this is the final chapter in such an illustrious career. But it’s great to hear him going out on such a high note. There’s a great deal of introspection lyrically, apparently Campbell wrote much of the record himself, which just adds to the power of the words held within. Of course, if you don’t like his slick, radio ready country music, this won’t change your mind – but one feels that this record could well see Campbell enjoy more credibility than ever. You’ll have to forgive the vagueness of this blurb, but sadly there’s not too much info available at the moment. What I can tell you is that we can expect a brand new record from the great Jeff Lang in September through ABC Music/Universal and he will be embarking on a national tour with his partners in crime Grant Cummerford and Danny McKenna following its release. That’s pretty much all I know, but I’m pretty excited all the same. Another great Splendour In The Grass has come and gone and I’m pleased to report that there were a few great sets that could loosely fall under the “blues and roots” banner. Black Joe Lewis and The Honeybears turned in a very solid set of southern blues boogie and, while I question the fiscal responsibility of flying over five band members for ten minutes of show time, Dallas’ The Relatives lifted things so much at the set’s conclusion to make for a truly special experience. Devendra Banhart was impressive in full band mode, Fitz and The Tantrums had the moves but seemed a little too slick for my liking, while Thievery Corporation were a pleasant surprise, bringing some much appreciated deep, heavy dub and reggae. Here’s hoping we’ll see all of the above back here for club shows soon.

Pop culture therapy with Adam Curley

Metal with Lochlan Watt Truth Corroded

Blues ‘n’ roots with Dan Condon

Western Australian progressive metal group Voyager recently announced a deal with US based label Sensory Records. The label will officially release the band’s fourth full-length, entitled The Meaning of I on Oct 11. However, the band is planning to have the album available when they play at ProgPower USA in Atlanta on Sep 16 alongside such bands as Dream Evil, Therion, Sanctuary and more. The group, which was formed in 1999, will also play a show in New York on Sep 11 with Creation’s End. Following the addition of ex-Hesperus guitarist Karl Hartwig to their line-up, IRONHIDE has released their new video for Daydreams Of Chaos. The clip was shot and edited by David Blackley of Her Name Is Murder Productions. With Iain Gilbert of the ill-fated Six Nightmares Productions having begun to refund people for their prior pre-orders, the band also recently launched their own pre-orders for the 12” version of their debut album Create/Collapse/Repeat, this time through MONOLITH, a label run from within the band. Limited to 150 copies in black, red and yellow, all of the above can be sussed through Sydney post-metal band At Dark have some leftover shirts from their Brisbane trip last weekend. Designed by the ever-inventive Dase ‘Beard’, a musician who has done time in Encircling Sea, Whitehorse and Worms of The Earth among others. Get in touch with Adelaide’s Truth Corroded have signed with Ultimhate Records for the European and Japanese release of their latest album Worship The Bled on Sep16. A European tour from the band is expected in early 2012. Anthony Oliver, ex-vocalist of From These Wounds, has left The Fevered after only two shows due to being unable to commit himself to the band’s upcoming touring plans. No official word has yet come forth on where the band plans to go from here. Death metal troopers Defamer are well into the recording of their second album, with the drum tracking recently wrapped up by engineer Ean Redman. It is set to indeed be an intimidating listen.

“Death by misadventure.” That’s what the coroner reportedly decided upon investigating the cause of death of The Rolling Stones’ guitarist Brian Jones in 1969. In fact, Jones drowned in a swimming pool, his heart and liver enlarged by drug use. The coroner’s description, however, says a lot more than the hard facts about the way the public and media view ‘rock stars’ whose addictions and illnesses lead them to early graves. Misadventure – those devilish scallywags. It’s not only those in the so-called ‘27 Club’, either, though membership certainly helps. The club is, of course, the rock group Jones is most famous for founding aside from the Stones. The club’s original members, who all died within two years of Jones, all at the age of 27, are Jimi Hendrix, Janis Joplin and Jim Morrison, but membership is open to those with enough fame (or, better, ‘notoriety’). There is, it seems, no cap on numbers. Kurt Cobain was given a VIP card when he died by his own hand in 1994 and, of course, Amy Winehouse became the first musician since that incident to be publicly granted the privileges that lie beyond the club’s velvet rope. Respected news services and trashy tabloids, professional bloggers and casual Facebook and Twitter users welcomed Winehouse to the fold. She’s one of them now: the tragic rock’n’roll elite. The privileges of membership are many and varied. Besides an un-ironic bottomless rider thanks to fans leaving bottles of booze, packs of cigarettes and the occasional joint outside former residences or on top of headstones, members of the 27 Club can look forward to forever being known as ‘the real deal’. Their early deaths become symbols of how authentic their art was. They did not calculate their path to fame, they became famous because of their unbridled personalities. They could not manage their own genius. They weren’t human as we are human: they were voices for the darkness within us all, sent down from some star-making deity who delights in schadenfreude. None of the realities of mental

illness or addiction – let alone the realities of the way the music industry works – apply here. There are other reasons why members of the club, or any musicians who die young, are more likely to enjoy endless careers. Their musical outputs are small enough for even fair-weather listeners to be familiar with them and, therefore, feel some kind of connection. Usually, the artist has died before they can create anything that diminishes the standing of their most successful works – because we all know that famous artists who have imperfect ideas are no longer worthy of unconditional adulation. (Imagine, as morbid as it is, if Alanis Morissette had suffered the same fate as Winehouse six years after her own smash-hit record at the age of 21 in 1995 instead of releasing unsuccessful follow-ups.) They will never appear on the cover of Who or OK! Magazine telling the story of their road to sobriety, to self-acceptance, to healthy living. But that’s the tabloid story – the story many ‘real’ music fans deride, safely knowing we aren’t like ‘them’. Well, we, too, have our own legacy of unrealistic idolisation of dead musicians. For many in our camp, the pain and fury and loneliness they sang of will never be questioned. It will never be not true, not powerful. Winehouse’s second, multimillionselling album of 2006, Back To Black, is likely to be pored over by many for years to come, its lyrics analysed and it, ultimately, held up as a portrait of Winehouse’s every thought and emotion: the thoughts and emotions of someone who had such strong thoughts and emotions that they couldn’t live. The thoughts and emotions of someone truly more special than most. Addiction? Mental illness? Disease? Those strange, sensational things? Well, if we must admit to those, to face up to the truth behind the lives, then surely we can also admit that those oddities, those curious afflictions, added to their artistry or were at least mere symptoms of their overbearing greatness. They are forever youthful, forever attractive and forever fantastically tortured. So tortured and so tied to their art that they’re dead. They really lived it, man. That misadventure.

OGFLAVAS With Cyclone

Back in 2008, when OG Flavas interviewed Adele Adkins, then depicted as one of music’s ‘nu Amys’, she compared Amy Winehouse to her blues idol Etta James, whose heroin addiction has long been rendered into myth. “Part of her charm is the stories you read about her,” Adkins said of Winehouse. “Charm” is a peculiar choice of word here – and yet Adkins used it again innocently in her online tribute to Winehouse. “I don’t think she ever realised just how brilliant she was, and how important she is, but that just makes her even more charming.” The media is still under the sway of Winehouse’s ‘charm’, glamourising the Brit soulstress’ troubled rock’n’roll life, even as it macabrely lauds her entry into the 27 Club, of which Janis Joplin is also a member.

Winehouse had attended the Sylvia Young Theatre School, Billie Piper a pal, but maintained she was kicked out. She signed a label deal as a teen. From the outset, the aspiring jazz singer demonstrated that she wasn’t the kind of artist who is easily controlled or contained. 2003’s relatively MOR debut, Frank, revealed a subversive humour on Fuck Me Pumps, but Winehouse expressed ambivalence about it. Channelling Ronnie Spector, and enamoured of 60s soul, she came into her own with the confessional, cathartic and dark Back…, inspired by a (brief ) break-up from Fielder-Civil. Winehouse found a sympathetic collaborator in Mark Ronson (she’d sing his hit Zutons cover Valerie) and reunited with Frank’s Salaam Remi.

Winehouse’s reviled ex-husband Blake FielderCivil was blamed for introducing her to Class A drugs, the pair seen as Sid and Nancy reincarnated. However, the media – and popular culture – likewise played a role in Winehouse’s decline. She battled alcoholism and drug addiction but, well before 2006’s breakthrough Back To Black, Winehouse was a victim of body bullying and suffered from eating disorders. (She claimed to be bipolar.) Winehouse’s “fearlessly hilarious and blasé” attitude, as Adkins put it, was nihilistic. “The more insecure I feel, the more I drink,” Winehouse once said. “And, the more insecure I feel, the bigger my beehive gets.” In 2007 OG asked Winehouse about dealing with the tabloids’ coverage of her. “I just like going out and having a good time,” she responded casually. “It doesn’t really bother me. I’m quite a positive person, so I don’t tend to see a lot of stuff like that or focus on it. It’s obviously not that bad. I think it’s funny.”

Winehouse revalidated individualism, opening the door for Lady GaGa and, closer to home, Jessie J (who’s copped flack for her healthy lifestyle!). She liberated Rihanna. With Back…, Winehouse ushered a vintage soul into the global mainstream – though she wasn’t wholly responsible for any revival. That began with the 90s neo-soul movement and D’Angelo – but, as Lauryn Hill and others dropped out, Winehouse sustained it. She was a grungy alternative to Alicia Keys. Significantly, Winehouse made British soul viable, a disillusioned Lewis Taylor having quit. Pop ‘It Girl’ Lily Allen is indebted to her. Other increasingly bland ‘nu Amys’ followed (cue: Pixie Lott). Meanwhile, Winehouse praised her gifted Melbourne “mate” Daniel Merriweather to OG.

The industry, too, exploited Winehouse’s selfdestructive behaviour. She admitted surprise to OG that Universal chose Rehab as a single: “It’s not really a safe bet for a record company!” That ‘rebelliousness’ became her marketing angle. Indeed, Winehouse emerged as the public was tiring of manufactured popsters like Britney Spears, who’d struggle with celebrity herself. Winehouse was the antithesis of the reality TV pop star – she was honest, authentic, street.

The Camden resident wasn’t unproductive musically in the years since Back…, which won the Mercury Prize and several Grammys. She toured Brazil in January, prior to that disastrous Serbian date. Alas, Winehouse never did record a Bond theme, but she lately covered Lesley Gore’s It’s My Party for Quincy Jones’ Q Soul Bossa Nostra and dueted with Tony Bennett on the standard Body And Soul. She was reportedly working towards a third album. And Winehouse launched a boutique label, Lioness Records. Her goddaughter Dionne Bromfield presented her first original album, Good For The Soul, in early July.


A monthly exploration of the upfront side of clubland By Alfredo Lange Four Tet

Off and racing into Progress Report this week, as we countdown to the end of the world. It could be through America’s possible inability to solve the debt crisis, the coming economic meltdown in Europe, or yet another music festival being added to the burgeoning calendar. What about the carbon tax though? How will the festivals cope with a tax increase? Coming soon to Progress Report to explain this, DJ Tony Abbott and MC Joe Hockey. They’ll be playing the same record, over, and over, and over again. So, hands up all those who go to nightclubs and want to hear something different from the same ten songs that get played ad infinitum. I see a sea of hands! Good, keep reading, and just remember that the lazy DJ who plays this crap is the Tony Abbott of dance music. If you’re not across the latest round of remixes of Radiohead, get there. Remixers du jour Jacques Greene and Caribou apply their winning touch to Lotus Flower and Little By Little respectively. They both cast a pretty sheen over their respective mixes, making Thom Yorke’s voice even more melancholic and beautiful than ever. Kindred spirit of Caribou, Four Tet, has been chosen by Fabric to mix the 59th installment in their long-running mix series. It includes unreleased Four Tet material, field recordings from Fabric and more, including a track that I wasn’t even able to obtain an original for! After a mix for the Pod or car? Point your internet search engines to Quivver’s June Mix, the Cosmonauts July Top 10 Mix, or Richie Hawtin vs Plastikman’s XL8R Podcast. Whilst Groove Armada may have said goodbye to live shows in 2011, they’re going to re-define

the realm of the DJ and perform as DJs over a series of shows around Europe during the Northern summer. Getting back to their roots of playing house music, the duo are launching Red Light, letting the duo have control over the sonic experience through live jams, re-edits and more. On the more experimental tip, Apparat, last seen touring Australia in 2010, has arrived with new album, Devil’s Walk. The album was conceived during a trip to Mexico in early 2010, with collaborators Joshua Eustis (of Telefon Tel Aviv), FredoNoguerira and Patrick “Nackt” Christensen. Eclectic and melodic as always, settle your cattle though, because it’s not out till late September. On a techy tip, Brazil’s Gui Boratto has been quiet of late, but has returned with a screamer of a future techno anthem in The Drill on the German Kompakt label. Australia’s major cities are fast becoming epicentres for disco, with labels and producers kicking major goals. Agent 86, Late Nite Tuff Guy, Fromage Disco, Michael King and Youth are all hotter than hot at present. Whilst disco nights may still be few and far between, our production expertise runs deep. Hopefully clubland will take note. The first Progress Report spent much time skirting around ‘the dubstep issue’. The conclusion was: there’s a lot that is good, but not much is getting play at the clubs. It’s the mindless drivel that seems to dominate, but the same could be said for much of popular music today. So, with dubstep being on the heart foundation tick list, the latest album from UK producer Clueless makes the grade. Torrid Affairs revives parts of the 2-ste sound of the early 00s and marries it up with sweet 2011 dubstep production. So where are our villains of the month? First off, Afrojack, for collaborating with Pitbull. It’s not creative, and it’s not clever. Secondly, that bloody shuffling song. More nonsense. Last, but not least, the abysmal opposition to same sex marriage. The gay scene in America brought us disco and house music, and for that, they have dance music’s eternal gratitude.


WED 03

Bom Gosto Glass Bar & Restaurant Chemical Cascades, Stone Chimp, Short Life, Skulldragg Step Inn DJ Redbeard, Tiny Migrants, Main Street Brats Ric’s Free Sunny Irish Murphy’s Brisbane Mace Fibber Magee’s, Toowoomba Mark Sheils Royal George Nanna Night Wednesdays: Kellie Lloyd Vinyl Bar, The Hi-Fi Open Mic The Music Kafe Open Mic Night: Anthony Branagan The Loft Chevron Island Pools & Trumpets X & Y Bar Ramjet Royal Exchange Hotel Stellar Green Club 299 The Bowery Hot Five With Mal Wood The Bowery The Quims The Tempo Hotel Tyson Faulkner Fiddlers Green

THU 04

Ballad Boy Loving Hut Benjam Victory Hotel Blues Jam Broadbeach Tavern Boys and Girls X & Y Bar Catherine Traicos & The Starry Night Railway Bar, Byron Bay Flying Solo & Jam Night Basement 243 Forbidden Jubilee Hotel Glenn Esmond Coolangatta Hotel Hot Gossip: Goodnight Midnight, Burning Brooklyn, Mayfair, For This Cause, Chasing Ghosts Club 299 I Can’t Believe It’s Not The Satellites The Bowery Jabba Irish Murphy’s Brisbane


James Cruickshank, La Resonance Byron Cultural & Community Centre Jazz Night: The Root Note The Loft Chevron Island Jazz Singers Jam Night Brisbane Jazz Club Jordie Lane, Mike Noga, Pear & The Awkward Orchestra The Beetle Bar Joshua Hatcher Quartet, Paula Girvan Trio Turnaround Jazz Club Julien Wilson Trio, Pescadores The Arts Centre Gold Coast Legless, DJ Valdis Ric’s Louise Jackson Limes Hotel Marita Mangano, Only Just, Cartoon Physics, HD Blues, Connor Cleary The Music Kafe New Manic Spree, Joel Myles And The Jetpack Academy The Brewery Open Mic QLD Irish Club Phil Hancock, The Catchment, Samantha Perren & The Later Dates The Zoo Sarah McLeod, Rokeby Venus The Tempo Hotel Solar Rush Gilhooley’s Chermside Stellar Green Buddha Bar Steve Grady, Alastair McRae, Jeremy Neale Dowse Bar The Smart Wharf Tavern The Wallace Acoustic Duo, DJ Michael Sidewayz Mick O’Malley’s Venus Envy Woody’s Surf Shack Well Hungarians Fibber Magee’s, Toowoomba Wolves At The Door Alhambra Lounge Woody Elephant & Wheelbarrow

FRI 05

Abby Skye, Missionx Jupiters Casino Adrian Keys The International Hotel Akasa Sherwood Services Club Alan Boyle, Drew Wilson, Steve Grady Sol Bar, Maroochydore Amos Pella, Jabba Elephant & Wheelbarrow Andrea Soler Queen Street Mall Bands Of Your Town - Grant McLennan Fellowship Award Concert: Helen Franzmann, John Busby And Chris Dale, Greg Charles, Danny Widdicombe, Andrew Morris The Judith Wright Centre Blowhard, Destination Cervo, Pastel Blaze Prince Of Wales Hotel Bounce, Stifler’s Mum The Tempo Hotel Brad Stokes, Jabba Irish Murphy’s Brisbane Carole Marco The Lido Café Restaurant Caxton Street Jazz Band Brisbane Jazz Club Chester Horse & Jockey Warwick Comicbook Hero Newmarket Hotel Dan England Hervey Bay Hotel Daryl Braithwaite Springwood Hotel Datura Curse, 4 Dead In 5 Seconds, Erase The Thought, Medusa’s Mirror Miami Tavern Deon Powter Meadowbrook Hotel Dick Desert, Midnight Son & The Crime Scene, Sensible Pets, Red Lover Dead Basement 243 DJ Added Value Logan Diggers Club Double Jack CBX Duck Duck Goose Bowler Bar Fat Albert Surfers Paradise Beer Garden Flangipanis, Shrewms, Strangers, Sled, Bottlecock The Beetle Bar

Greazefest Kustom Kulture Festival: Jason Lee Wilson, The Starliners, Miss Teresa & Her Rhythmaires, The Blazin’ Entrails Rocklea Showground Hodads Parkwood Tavern James Johnston Stadium Bar & Grill Jeff Carter Victory Hotel John 00 Fleming Platinum Nightclub Jordie Lane, Mike Noga Joe’s Water Hole Eumundi Lounge Party Gilhooley’s Chermside Macka Taigum Tavern Madworld The Music Kafe Magic Mountain, The Cairos After Party, The Cairos DJ Set Woodland Mark Sheils Bonnyview Hotel Melancholy Mechanics Nudgee Beach Hotel Monstrothic: Vyrion, Speedlab, Acorea, Ignite The Chamber Jubilee Hotel Mr Perkins CBD Hotel Nathan Kaye Kollective Australian Hotel New Manic Spree, Joel Myles and The Jetpack Academy, The Headland Peddler, Candice Mcleod The Loft Chevron Island One Eyed Pilots Wharf Tavern Out Of Abingdon Diana Plaza Hotel Powerplay Capalaba Sports Club Ramjet Hinterland Hotel Rawr Vanity, Burning Brooklyn, Bright Lights, My Escapade Globe Theatre Russ Walker Burleigh Heads Hotel Sarah McLeod, Dan Parsons, The Firetree Soundlounge Currumbin Sasta Irish Music, 3 Days Off Mick O’Malley’s Scott Dean Club Hotel Waterford Stellar Green Tatt’s Lismore Superfreak Royal Exchange Hotel

Surrealism Up Late: Alps Gallery Of Modern Art The Cairos, Glasshouse, The Belligerents, The Dead Leaves The Zoo The Febs Coolum Beach Hotel The Geoff Green Trio The Point Restaurant The Get Up Kids, City Riots, We Set Sail The Hi-Fi The Jimmy’s Cleveland Sands Hotel The Kamikaze Thunderkats, The Jawalks, Dj Valdis Ric’s The Panda Band Great Northern Hotel Byron Bay The Residents, Rattlehand Brisbane Powerhouse Turbine Platform The Smart, Solar Rush Hamilton Hotel Treva Scobie Southern Hotel Toowoomba Tyson & Shake Lansdowne Tavern Vertigo Racehorse Hotel Viper Room Albany Creek Tavern Wasabi Broadbeach Tavern

SAT 06

4 Walls Festival: The Last Dinosaurs, Matt Corby, Oceanics, Montpelier, Vasy Mollo, The Founds, Cold And Need, More QLD Academy Of Creative Industries Abby Skye Full Moon Hotel Sandgate Adrenaline The Hi-Fi Adrian Cunningham Brisbane Jazz Club Adrian Keys Brisbane Brewhouse Akasa Qld Lions Soccer Club Battleaxe, Breach Enemy Lines, Datura Curse, Stone Fox, Brewzer, Dead End Kings, Lagerstein, Nemesystem, More Step Inn Bec Plath, Sunshine Ensemble, Natasha Johanna The Beetle Bar Brooksy & Co Newmarket Hotel Byron Bay Writers’ Festival: Paul Kelly, Ange Takats, Sean Sennett, Brian Cadd Great Northern Hotel Byron Bay Cinema Sensations Tribute To Australian Film QPAC Concert Hall Dan England The Palace Hotel Daryl Braithwaite Lone Star Tavern, Gold Coast Dave Ritter Gilhooley’s Chermside

Dean Watkin, Russ Walker Hamilton Hotel Destination Cervo, The Fred Band, Pastel Blaze, Surfari Krishnas Prince Of Wales Hotel Ger Fennelly, Jabba Irish Murphy’s Brisbane Greazefest Kustom Kulture Festival: James Intveld, Paulie Bignell & The Thornbury Two, Scotty Baker, West Texas Crude Rocklea Showground Helm, Hammers, Tyrants, Drawcard Miami Tavern Helm Miami Tavern Shark Bar Ingrid James The Lido Café Restaurant James Johnston Rum Jungle, Brackenridge Jessica Holz Queen Street Mall Jordie Lane, Mike Noga Mullumbimby Civic Centre Love Hate Rebellion, Jane Doe, Annie Lou, Just Tori Basement 243 Mace Southern Hotel Toowoomba Mark Bono Manly Hotel Meridian O’Malley’s Irish Bar, Mooloolaba Method Palmwoods Hotel Mr Perkins Wharf Tavern Nathan Kaye Kollective Railway Bar, Byron Bay New Manic Spree, Joel Myles and The Jetpack Academy, The Kidney Thieves, Simone Pitot & The Albums The Zoo No Right Turn Elephant & Wheelbarrow Punks Jump Up Bowler Bar Punks Jump Up Neverland Quiet Hostility Billy’s Beach House Scenic Tour, Rear Vision The Music Kafe Science Project, Maddest Kings Alive, Godinpants, Dot.Ay, WTEM Contortionist Warehouse Six-String Theory, Alter Egos The Tempo Hotel Slug Guts, Hits, Blank Realm, Keep On Dancin’s, Hex Step Inn, Upstairs Solar Rush Victory Hotel Soundslikebrisbane: Bixby Canyon, Transvaal Diamond Syndicate, Fushia Crown Hotel Lutwyche Stellar Green Salt Bar Kingscliff South Step It Up, DJ Valdis Ric’s

Steve Fothergill, Superfreak Mick O’malley’s Stiffler’s Mum Fibber Magee’s, Toowoomba Sue Bond Jazz Quartet Woombye Pub Taylor, Mark Boulle, A Beggar’s Second, Fiona Franklin The Loft Chevron Island The Baker Suite W/ Paul Grabowsky, Cows At The Beach The Judith Wright Centre The Big Boy Narangba Valley Tavern The Cairos, The Belligerents Buddha Bar The Jimmy’s Nudgee Beach Hotel The Octhkies, Harvey Satan Woodland The Panda Band, Montpelier, Silent Feature Era Globe Theatre Venus Envy Surfers Paradise Beer Garden Vertigo Broadbeach Tavern Wasabi Royal Exchange Hotel

SUN 07

3 Days Off Broadbeach Tavern Adrian Keys Brisbane Lions Club Asa Broomhall, Exposed Sundays: The Cornerstone Section, Clifton Hill, Le Suits, Blue Honey Ric’s Ben Eaton Newmarket Hotel Block Party DJs Elephant & Wheelbarrow Brass Roots Live Brisbane Jazz Club Brooksy & Co, Monkey Business Victory Hotel Dan England Blue Pacific Hotel Dean Watkin Eatons Hill Hotel Destination Cervo, The Snatch, Pastel Blaze, Surfari Krishnas Crown Hotel Lutwyche Ger Fennelly, Johnny Jump Up, Jabba Irish Murphy’s Brisbane Greazefest Kustom Kulture Festival: The Rechords, The Flattrakkers, Pat Capocci Combo, The Creepers, Pia Anderson, The Vampers, The Sugarshakers, More Rocklea Showground Hannah Macklin, The Well Alrights, Yolk & Pixel The Zoo Jackie Marshall, Heath Cullen Black Box Theatre James Johnston The Code Bar & Nightclub

Joel Myles And The Jetpack Academy Spotted Cow Kate Jacobson Dowse Bar Lauren Lucille, Abby Skye Waterloo Hotel Lauren Moore Queen Street Mall Naomi Closter, Leela Varghase, Club 27, Something Whiskey, Canadian Embassy, Istanbul Gypsy Groove, Nothing But Trouble The Music Kafe Rushmore, Russ Walker Oxford 152 Stairway, Venus Envy Royal Exchange Hotel The Blackwater Fever Tym Guitars Tom Carty The Tempo Hotel Treva Scobie Southern Hotel Toowoomba Tullamore Tree Mick O’malley’s Viper Room Miami Tavern

MON 08

Andrea Soler, PXP Duo, The Uncanny, Ronaldo, Immigrant The Music Kafe B-Rad Irish Murphy’s Brisbane Jackie Marshall, Heath Cullen Brisbane Powerhouse Turbine Platform

TUE 09

Beatles Back2back: Mark Seymour, Irwin Thomas, Jon Toogood, Rai Thistlethwayte, Dean McGrath, Tim Morrison QPAC Concert Hall Funeral Party, Boy In A Box The Hi-Fi Hard N Heavy Escalate: Rareicorn, The Mental Charms, Northern Dart The Tempo Hotel Katie Wighton, The Poachers The Bug Lauren Lucille, Dave Spicer Locknload West End Mark Sheils Woodford Hotel Rob Cini Elephant & Wheelbarrow Russ Walker Royal Exchange Hotel Steve Case, Sub Electric, The Verge The Music Kafe Tyson Faulkner Fiddlers Green Woody Lives Here Irish Murphy’s Brisbane





































ALHAMBRA LOUNGE Thursday Wolves At The Door

BOWLER BAR Friday Duck Duck Goose Saturday Punks Jump Up

BRISBANE POWERHOUSE TURBINE PLATFORM Friday The Residents: Rattlehand Monday Jackie Marshall, Heath Cullen

COOLANGATTA HOTEL Thursday Glenn Esmond


Friday Amos Pella, Jabba Saturday No Right Turn Sunday Block Party DJs Tuesday Rob Cini

Saturday Byron Bay Writers’ Festival: Paul Kelly, Ange Takats, Sean Sennett, Brian Cadd


Wednesday Free Sunny Thursday Jabba Friday Brad Stokes, Jabba Saturday Ger Fennelly, Jabba Sunday Ger Fennelly, Johnny Jump Up, Jabba Monday B-Rad Tuesday Woody Lives Here

Friday Surrealism Up Late Alps

GLOBE THEATRE Friday Rawr Vanity, Burning Brooklyn, Bright Lights, My Escapade Saturday The Panda Band, Montpelier, Silent Feature Era



All You Can Eat Sushi: Zuri Bar Cockatoo Club Members Party: The Beat Megaclub Frat Club: Pete Smith, Mark Z: Regatta Hotel ILoveHouseMusic: Brett Allen, Apollo Flex: Shooters Club Pools and Trumpets, Papperbok: X&Y Bar Squark Open Mic Night: Birdee Num Nums Tone Def: Doors Nightclub


Glamorou$: Zuri Bar MBar Thursdays: Vita, DJ Climate: Fitzy’s Loganholme Notorious B.I.R.D: Birdee Num Nums Thursdays: The Beat Megaclub Too Damn Glam: Bluffsta, Owe, Mister P, MC Premix: Republic Too Damn Glam: Brett Allen, Apollo Flex, K-Otic: Shooters Club


Anna Sonnenburg: Zuri Bar DJ Pickles: Heritage Hotel Fluent Form, Geko, Discourse, Jake Biz, Bigfoot, Dwizofoz: Step Inn Friday Arvo Social Club: Birdee Num Nums InTheMix Awards Tour: Danny T: Hotel Metropole Mark Brown (MYNC), And Oh!: LaLa Land Masif Fridays: BK, Steve Hill: Family Nightclub Nick Jay: The Beat Megaclub OneLove Dubstep Invasion Tour: ShockOne, Glove Cats: Family Nightclub Provocateur: Zuri Bar Steele Justice Presents: Skyway, Promises, Closure, Vin Steele, DJ Audun: Elsewhere The Tom and Jarry House Party: Never Land Bar DJ Stone, Rogers Room, New York Downstairs: X&Y Bar Vision Friday: Bluffsta, Ea Kut, MC Premix: Republic Vision Friday: Craig Obey, Brett Allen, Apollo Flex: Shooters Club YoPlay: The Safari Party: Temple Bar



JUBILEE HOTEL Thursday Forbidden

Friday Monstrothic: Vyrion, Speedlab, Acorea, Ignite The Chamber

MIAMI TAVERN Friday Datura Curse, 4 Dead In 5 Seconds, Erase The Thought, Medusa’s Mirror Saturday Helm, Hammers, Tyrants, Drawcard Sunday Viper Room


MICK O’MALLEY’S Thursday The Wallace Acoustic Duo, DJ Michael Sidewayz Friday Sasta Irish Music, 3 Days Off


80s vs 90s: Love Hate Rebellion, Jane Doe, Annie Lou, Just Tori: Basement 243 Adrenaline: The Hi-Fi DJ Pickles, DJ Natural: Heritage Hotel Hip hop vs Glitchhop: Resistor, Wronutang, Blunt Instrument, HiFire: Step Inn Corner Bar MBar Saturdays: DJ DC: Fitzy’s Loganholme Metric Presents: YokoO: Barsoma Mucho Reggaeton: DJ Chamo: Uber Nightclub Peewee Ferris: The Beat Megaclub Porter Robinson, Murray Brown, Karma, Wahoo, Jessie Weyand, Kandimann: Electric Playground Punks Jump Up!: Never Land Bar Regatta Saturdays: MC Bossy, Paul Bell, Marky Mark Z, Scotty R, DJ Tom Walker: Regatta Hotel Rhys Bynon: LaLa Land Saturday Sessions: Birdee Num Nums Saturdays at Zuri: Zuri Bar Sensation: Brett Allen, Craig Obey, Apollo Flex: Shooters Club Sensation: Owe, Juno, Mister P, MC Premix: Republic Super Pocket Music Festival: Science Project, Maddest Kings Alive, GodinPants, Dot.AY, WTE: Contortionist Studios The Immigrant DJ Set: Family Nightclub The Saturday Night Show: Brett Sellwood, Giv: Elsewhere Aniki, LL Cool James: X&Y Bar Touch Saturdays: Ea Kut, Dezastar, Masta K, MC Loudmouth Len: MyBar


Daniel Webber, Discrow: LaLa Land Boss Moxi, Sorry Socrates: X&Y Bar Boylesque: Family Nightclub Sunday Night Royale: Dean Woodward, Stretch Paper Cranes: Elsewhere Sunday School Art & Music Showcase: Native Dog, Ryzer, Burntables: Little Beans


Industry Night: Heritage Hotel Mad Hatters Tea Party: The Heritage Trivia & Bar Wars: Birdee Num Nums

Saturday Steve Fothergill, Superfreak Sunday Tullamore Tree

QPAC CONCERT HALL Saturday Cinema Sensations Tribute To Australian Film Tuesday Beatles Back2back: Mark Seymour, Irwin Thomas, Jon Toogood, Rai Thistlethwayte, Dean McGrath, Tim Morrison

RIC’S Wednesday DJ Redbeard, Tiny Migrants, Main Street Brats Thursday Legless, DJ Valdis Friday The Kamikaze Thunderkats, The Jawalks, DJ Valdis Saturday Step It Up, DJ Valdis Sunday Asa Broomhall, Exposed Sundays: The Cornerstone Section, Clifton Hill, Le Suits, Blue Honey

STEP INN Wednesday Chemical Cascades, Stone Chimp, Short Life, Skulldragg

Saturday Battleaxe, Breach Enemy Lines, Datura Curse, Stone Fox, Brewzer, Dead End Kings, Lagerstein, Nemesystem, More

SURFERS PARADISE BEER GARDEN Friday Fat Albert Saturday Venus Envy

THE ARTS CENTRE GOLD COAST Thursday Julien Wilson Trio, Pescadores

THE BEETLE BAR Thursday Jordie Lane, Mike Noga, Pear & The Awkward Orchestra Friday Flangipanis, Shrewms, Strangers, Sled, Bottlecock Saturday Bec Plath, Sunshine Ensemble, Natasha Johanna

THE HI-FI Friday The Get Up Kids, City Riots, We Set Sail Saturday Adrenaline Tuesday Funeral Party, Boy In A Box

THE JUDITH WRIGHT CENTRE Friday Bands Of Your TownGrant McLennan Fellowship Award Concert: Helen Franzmann, John Busby And Chris Dale, Greg Charles, Danny Widdicombe, Andrew Morris Saturday The Baker Suite W/Paul Grabowsky, Cows At The Beach

THE TEMPO HOTEL Wednesday The Quims Thursday Sarah McLeod, Rokeby Venus Friday Bounce, Stifler’s Mum Saturday Six-String Theory, Alter Egos Sunday Tom Carty Tuesday Hard N Heavy Escalate: Rareicorn, The Mental Charms, Northern Dart

THE ZOO Thursday Phil Hancock, The Catchment, Samantha Perren & The Later Dates

Friday The Cairos, Glasshouse, The Belligerents, The Dead Leaves Saturday New Manic Spree, Joel Myles and The Jetpack Academy, The Kidney Thieves, Simone Pitot & The Albums Sunday Hannah Macklin, The Well Alrights, Yolk & Pixel

TYM GUITARS Sunday The Blackwater Fever

VINYL BAR, THE HI-FI Wednesday Nanna Night Wednesdays, Kellie Lloyd

WOODLAND Friday Magic Mountain, The Cairos After Party, The Cairos DJ Set Saturday The Octhkies, Harvey Satan

X & Y BAR Wednesday Pools & Trumpets Thursday Boys and Girls

SIX PACK STELLAR GREEN HARD WORKING GOLD COAST ROCKERS STELLAR GREEN HAVE BEEN TOURING FAR AND WIDE IN SUPPORT OF THEIR DEBUT, SELFTITLED EP. DRUMMER SEAN DALTON FILLS TONY MCMAHON IN ON LIFE ON THE ROAD AND THE VAGARIES OF THE FESTIVAL CIRCUIT. “It’s a pretty awesome opportunity to be able to travel around Australia and play your music to people,” says Dalton. “It’s brought us closer as a band and is helping us grow as musicians. With the little sleep you get on the road you have to push yourself hard and learn to run off adrenalin. It’s been really cool meeting all the other bands that are out of our own state as well. Australia has some great musicians and it’s been an eye-opening experience to share the stage with some of them.” According to Dalton, the festival scene, where Stellar Green have been making quite an impact lately, is a whole different deal to regular pub gigs. “Yeah we’re hopefully going to be playing a bunch more festivals, but it’s always interesting to see the array of musicians at festivals. A lot of artists treat them differently to ordinary gigs. There’s always that band that are hammered drunk or high and then there’s other musicians shitting themselves because of the larger crowds. It’s always a pretty different environment.” For the big, hometown launch of their EP, Stellar Green will be treating punters not just to songs from the record, but some new material as well. What’s more, said new material might not be exactly what fans have come to know and love. It also seems that there is an album in the works.


Bogan Bingo: Birdee Num Nums Envyus: DJ Dezastar, Bluffsta, Oscar, DJ Owe, DJ Premix, DJ K-Otic: Shooters Club Indie 500 vs Loaded: The Heritage Cairns

“We’re using this opportunity to road test some new material, which will hopefully end up on our album we’re working towards for early next year. The songs are a little more alternative than our EP, but they are evolving as time goes on. We’re looking forward to doing some more writing and working in the studio once this tour has wrapped up.” WHO: Stellar Green WHAT: Stellar Green (Independent) WHERE & WHEN: Club 299 Wednesday Aug 3, Buddha Bar, Byron Bay Thursday Aug 4, USQ, Toowoomba Thursday Aug 11, Hard Rock Café Friday Aug 12, Tempo Hotel Friday Aug 26



It’ll be cutting it a bit fine, but if you’ve been performing your original music anywhere in Australia, you’re entitled to royalty payments, which is why you should be signed up with the Australasian Performing Rights Association (APRA). It costs you nothing to join and they collect those performance royalties for you; all you have to do is report your live performances by going into APRA’s website and fill out the Live Performance Returns (LPR) section for the financial year. For this past financial year, submissions close Wednesday Aug 31 and, recognising these can be a bit confusing, APRA is hosting an LPR Connecting Members meeting at the Brisbane office, 3 Winn St, Fortitude Valley 6-8pm Tuesday Aug 23 where your local Writer Services representative Chris O’Neill will guide you through the process. While it’s free, it’s best to book a place, so call (07) 3257 1007 or email


Always the most contentious piece of equipment in any recording situation, professional audio headphones always seem problematic, so it’s good to see Shure on the case as always. Designed specifically for professional audio engineers and in-studio use, the new SRH940 Headphones “deliver accurate response across the entire audio spectrum for smooth high-end extension with tight bass” while their superior transient response provides for minimal distortion. The collapsible, lightweight design with premium-padded headband offers superior comfort and portability. The headphones come with two detachable cables (straight and coiled), while a replacement set of velour ear pads ensure a long product life. You even get a hard zippered travel case and a threaded ¼” gold-plated adapter.


These days more the designer than merely sportsrelated footwear manufacturer, Converse has just opened a community-based state of the art recording studio in Brooklyn, New York City they’ve called Rubber Tracks where, would you believe it, artists can sign up to record their songs for free. New York/ New Jersey artists Aabaraki, Majuscules, GIC & Funk Face, Andre Henry and Super Rocket Car are the first off the block to utilise the studio, and applications run in three-month windows with applications accepted online at the Converse website.


Steve Vai’s Brisbane clinic Thursday Oct 13 will be held in the Queensland Conservatorium Theatre. Tickets are available from the Thump Music website. The latest single, Truth, from Alexander Ebert, frontman of Edward Sharpe & The Magnetic Zeroes, was recorded during a break from touring with the band in his Los Angeles bedroom, using a mic, an M-Sudio direct box, a guitar, a Lowery organ, a clarinet and a violin. Veteran rock producer Peter Blyton (Choirboys, Keith Urban) spotted NSW Central Coast duo QPD at a Sydney Northern Beaches band competition and was impressed enough to take them to former BB Steal frontman Craig Csongrady’s Misty Mountain Studios to engineer, produce and mix their debut album, Yes Or No, which Steve Smart then mastered at 301 Studios Sydney.


GETTING THINGS PERFECT ADALITA keeps Time Off a diary of making her new video for the track Perfection. Includes unexpected fireworks, white outs and a lucky lyrebird. Day one was a brisk 7am crew call. Director Adam Harding, assistant Dane (who also took the pic you see) and myself left Melbourne at 7am. Our first stop, Neerim South, was a 30km detour south from Baw Baw. We had to pick up our snow chains here. Basically they’re a set of metal chains that fit around your car tyres and it helps them grip the snow and the black ice so you don’t have an accident.

Anyway, we went back to our room and watched a bit of TV. Lord Of The Rings was on. And then the bar downstairs started pumping out some terrible dance music until about 5am in the morning.

The drive up was beautiful. Blue sky and swathes of green forest. The road got very curvy and Dane and I got so car sick we had to pull over and get some fresh air. Little bits of snow started to appear on the roadside and here and there avalanches of boulders lay across parts of the road. We even saw a lyrebird, a male with his tail feathers all puffed out, gracefully crossing the mountain highway in front of us. Finally we passed the main gates and got directed to a big open car park. Lots of families decked out in their ski clothes stood around emptying their cars and getting ready to walk to the resort. We had a lot of gear to lug so I persuaded the car park dude to let us use the top car park so it wasn’t such a long trek to our accommodation. A nice woman at our lodge let us check in early too. Our room was tiny with little bunk beds. We had our own little bathroom and a TV mounted on the wall. We had bags and cases and gear everywhere. I did my make up while Dane made toasted sandwiches and Adam got the film equipment ready. Finally at about 2.30pm we were ready to do the first shots. Outside into the cold mountain air there were lots of holiday makers shushing about on their skis, snowboards and toboggans, absolutely loving it. Lots of little snowmen everywhere too. We walked around to one of the ski runs and set up. It was disappointing that there wasn’t any snow cover on the trees, but the blue sky and afternoon light was still nice and there

But it was Saturday night and someone from across the dining room yelled out that there would be fireworks. As soon as they started, Adam sprinted upstairs and grabbed his camera. We stood outside and watched them go off for about 15 minutes. It looked pretty spectacular but I couldn’t stop thinking how scared the wildlife must’ve been upon hearing such a frightening racket. I don’t reckon they should have fireworks anywhere near such a delicate ecosystem, especially endangered species like the mountain pygmy possum.

We woke up a little disheveled and grumpy. Toasties for breakfast and then checked out. We dumped all of our stuff in the car but kept all the film equipment that we needed for the rest of the day. We stepped outside of the lodge and into a whiteout. It was snowing! And the trees were covered in it.

was snow everywhere else. We got a couple of shots amongst the trees but to get there we had to walk up these snow covered embankments which would give way in some spots and you’d be waist deep in a hole. Just before the sun went down, we found an open plain with a partly frozen river running across it. I walked amongst the scenery while Adam filmed and then we did a few close ups with a beautiful bluish evening light playing out in the background. Adam was really into these shots, which gave me a good indication that we’d gotten something at last. The daylight had faded completely so we went back to our lodge. It was a relief to be back in the warmth. I felt like hanging out in the dining room downstairs so we all went and sat by the fire and had chips and beer. It was only 8pm and we were ready for bed.

We filmed all day, everywhere. On hillsides, in trees, on the plains, on the ski runs, in drifts and banks and showers of snow. And it just kept coming and got colder and colder and darker and darker. Our fingers were frozen like stone and we had to shield the camera lens and Adam from snowflakes all day with a big plastic sheet. After filming our last shot, we scouted around for the snow chain guy who fitted them onto the car for us. Halfway down the mountain road I had troubles taking off one of the show chains. I missed one of the hooks and it got wrapped around the axle. I got down on the muddy road with a torch and finally unhooked it. For a while there I thought we were going to spend the night. Oh and we saw the lucky lyrebird again, same spot, crossing the road. Watch out for Perfection on your computer/ multimedia device/TV screens soon. Adalita plays BigSound Live Wednesday Sep 7 – Thursday Sep 8

GEAR REVIEWS ELECTRO HARMONIX – HOLY GRAIL PLUS Reverb. It is one of the most sought after and commonly used sounds by guitarists of all genres. Due to its frequent appearance in contemporary music, there are a slew of companies producing their own take on the reverb effect. The Electro Harmonix Holy Grail is an aptly titled front-runner in this sea of doppelganger effects and is considered an essential for most guitarists. It gives your instrument that wonderful washed out reverb/echo sound that is synonymous with popular recordings from artists like Jeff Buckley, to more modern sounds heard in rock and indie music today. The Holy Grail is a very simple unit with a three-way switch allowing you to choose between Spring, Hall, and Flerb, with a ‘reverb’ dial that allows you to control the decay amount of the effect you have in the mix. Enter the Electro Harmonix Holy Grail Plus, a new take on the classic model, with an added glorious and bright ‘Room’ setting, bumping up your choice to four styles of reverb

in total. What is most appealing about this new model is the extra added dials that allow you to control more parameters of the effect. First the ‘blend’ dial, allows you to control the output amount of your direct signal in contrast to the effect level of the reverb. When this dial is maxed out, your direct signal is almost completely absent, leaving you with something sounding like your amplifier is at the bottom of a deep well. The second dial is ‘amount’ and has the same function as the ‘reverb’ dial on the original Holy Grail, which basically allows you to control the decay level on the reverb effect. Perhaps the most interesting of the four settings on this pedal is the ‘Flerb’ setting, which is basically a flanger with reverb effect that can give you some spacey sci-fi sounds, in this setting the ‘amount’ and ‘blend’ dials control the depth and rate of the flanger effect and the level of the effect in the mix respectively. Overall, if you’re looking for a far more versatile take on the classic Holy Grail, this pedal will certainly not disappoint. Adam Reilly Supplied by Music 440; available from


Print & Online Classifieds Options Categories NEW!


EMPLOYMENT ADMINISTRATION Drummer wanted for Sydney Grunge Band. In Carlingford/Paramatta area 24 years and under. Influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13938


D iFlogID: 13500

Additional words 10 cents each.

WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940 iFlogID: 13234

Line 6 Flextone (Multi Effects) 75Watt Bought for $1450, selling $850. looks brand new, great clean to heavy buy or test Call Nathan on 0423-197-252 iFlogID: 14230



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Male singer/ rhythum accoustic guitarist seeking duo partner with quality backing tracks. Briz south side 0404494740 iFlogID: 14611

STAGE AND SOUND HIRE We at the Music Cavern supply equipment such as P.A Systems, Stages, Microphones, Speakers, Lights and more. If needed we also provide our services with our Stage and Sound crew for any given event like Festivals, Party’s, Conferences, ect. iFlogID: 14686 VIA STUDIOS has 10 spacious, airconditioned, soundproof studios with 500w PA’s. Central location, flat load, fully equiped shop, backline for hire and lockable storage makes it a pleasure for all! Book now Ph: (07) 3252 1127. Come see what the fuss is all about. iFlogID: 13689


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


50c Rock sensation Monannlisa Wilde needs someone to coordinate design, printing, online & social media, radio, TV. Everything an indie rock band needs to promote themselves. Need brains, initiative, organisation. Contact: monannlisa@ iFlogID: 14595



SOUND & MUSIC RemmosK live debut @ the Valve Bar - Tempe - 01-09-11. For lovers of pure unashamed rock, be sure to catch their inaugural gig for full bragging rights. iFlogID: 14534


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original 1960’s.2 2/12 matched cabs. HUGE sound.perfect condition.Aussie made.$1200 ono. Ph.0428744963. Cooroy. iFlogID: 13025







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

OTHER RECORDING EQUIPMENT FOR SALE TASCAM DP-02CF combines 8-track recording with Portastudio™ interface. Designed for musicians who want to record quickly and have fun. WWW.TASCAM.COM FOR FEATURES/ OVERVIEW $250 +POSTAGE CALL PONE 0430597676 iFlogID: 14347

STUDIO GEAR CAD M9 - CARDIOID SINGLE TUBE CONDENSER MICROPHONE. Included: 1x30 ft. microphone cable, MV200 analog power supply, carrying case & suspension shock mount. Great working condition, regretful sale. $460 iFlogID: 14303 Samson 8 Piece Drum Microphone Set. Included - 2x C01 LCDs 3x Q-Toms with rim mount clips, Q-Snare with rim mount clip, Q-Kick, C02H Mini Pencil Condenser $450 beckcains@ iFlogID: 14305






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Les Paul Custom Epiphone White, goldtop hardware. plays beautiful and gives a great full sound. comes with gator hardcase and fender straps-W-straplocks. retail $1800 selling $950!!! call Nathan on 0423197252 iFlogID: 14232



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


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GIBSON EPIPHONE SG BASS GUITAR. solid mahogany.great fat tone.VGC.$450. Ph.0428744963.Cooroy. iFlogID: 13029

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TUITION DRUMMER AND DRUM LESSONS Drum Lessons avaliable in Gladesville Teach all Levels, ages and experience. Played for 16 years. I studied at Billy Hydes Drumcraft, Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 13703


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MUSICIANS AVAILABLE DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. iFlogID: 13230

I’ve been Drumming for 19 years, been in the industry for 8 years mainly rock influences such as Led Zeppelin, Lenny Kravitz, Motley Crue & BuckCherry. Also love Jazz, Soul & Funk. I have played for Evermore, Lisa Mitchell, Neon, Shaman Son, Rocket Science, Velveteen Sky & Vynal Flare, Also played 2010 Playground weekender with Brian Jonestown Massacre, Lupe Fiasco & Regular John, Looking to join a kick ass band Pro Gear & Transport. Contact me if your interested! Cheers Anthony iFlogID: 14810 TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired. www. iFlogID: 14261

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SONG WRITER RemmosK live debut @ the Valve Bar - Tempe - 01-09-11. For lovers of pure unashamed rock, be sure to catch their inaugural gig for full bragging rights. iFlogID: 14609

MUSICIANS WANTED BASS PLAYER New three piece needs a third pieceBASS player who isn’t scared of solos and melodic work. Sounds like Tumbleweed, Custard, Magic Dirt. Rehearsing at Marrickville. Call Poncho 0414184301 iFlogID: 14283

LEAD GUITARIST WANTED! You MUST be an outstanding male lead guitarist! Rehearsing at Wetherill Park N.S.W. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers etc. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Will: 0413 772 911 iFlogID: 14333 NOEL GALLAGHER required for SYDNEY based OASIS cover band. Must have good gear, transport and band experience. Lead ability not essential. Good vocals. Call karl 0415 877 918 iFlogID: 13432

KEYBOARD Keyboard player wanted for Funk cover band. Rehearsals weekly at Ultimo, ready to start gigging very soon. Give us a call! iFlogID: 14484

SINGER Female Lead Voaclist Wanted with transport, good presentation, reliability, age 20-32, vocal range/versatility/experience singing all cover styles. We’re a fun/party cover corporate band that performs some clubs, and black tie events. iFlogID: 14666 GOSPEL SINGERS WANTED for nondenominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088

BEAUTY SERVICES ELIZABETH VO MAKEUP ARTISTRY servicing all parts of Sydney, specialising in media, fashion, video and print. Please email for any enquires: iFlogID: 14658

THE LETTER L DESIGN Looking for a unique visual edge for your bands identity? The Letter L offers something different from the rest of the design crowd. Original digital work, typography,illustration and retouch services available. Check out or email lauren@ iFlogID: 14654

GRAPHIC DESIGN Full Colour Band Posters @ Amazing Prices 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 Go to WWW. BLACKSTAR.COM.AU for a full price list iFlogID: 13768 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact or see iFlogID: 13864 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. iFlogID: 13611

SINGER-SONGWRITER WANTED! You MUST be an outstanding male singersongwriter! Rehearsing at Wetherill Park N.S.W. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers etc. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Will: 0413 772 911 iFlogID: 14327

SONG WRITER SINGER-SONGWRITER WANTED! You MUST be an outstanding male singer-songwriter! Rehearsing at Wetherill Park N.S.W. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, selfmotivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers etc. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Will: 0413 772 911 iFlogID: 14329

OTHER Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact or see iFlogID: 13862

TATTOO Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410 iFlogID: 13613

TUITION GUITAR LESSONS BEGINNERS-$25HR 1xFREE-LESSON guarantied guitar playing in days not years taking the frustration out of learning. Music CD’s teaching tools supplied. teaching guitar 10years + SMS 0405 044 513 iFlogID: 13975 GUITAR TUITION. Bris. 30 yrs experience. Beginners a specialty. 0406017022 iFlogID: 13494

DJ Looking for a cool DJ to work with in forming a killer club act with live drums/ percussion. Call Al on 0400 909 633 iFlogID: 14052

DRUMMER Can you groove? Guitarist and bassist looking for determined drummer to form a heavy rock, funk blues driven jam band in the Bondi area. Preferred age: 16-24. Call Andrew: 0414399413. iFlogID: 14410

GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407

PA / AUDIO / ENGINEERING NEED HELP WITH THE SOUND FOR YOUR BAND RECORDINGS, LIVE SHOWS, FILM, OR GAME? Don’t hesitate to contact me. I’m a qualified freelance Sound Engineer available all hours, with equipment. Prices negotiable. iFlogID: 13603 Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details;, Chris 0432 513 479 iFlogID: 13943

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

POSTERS Poster distribution for Music & Arts on the Gold Coast & Northern NSW. Fast, efficient and reliable service at a competitive price iFlogID: 14678



Yes the studio and gear are doing great, like always, we are here to provide you with the best in recording, mixing, mastering and cd replication services. Email us with your questions. Happy to help. Established 1998. Large studio with lots of Vintage Gear & the latest in Digital Technology. PH: 0407 630 770 E-Mail: au WEB: iFlogID: 14618

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Time Off Issue #1538  

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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