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GIVEAWAYS Five rocking live bands, DJs, light-art installations and displays… You’ll find all of this, amongst other nifty treats in the extensively renovated ‘factory style’ printing press that is Lightspace, on Friday Nov 4. The Medics will be headlining Blacklight and they will be joined by Lunch Tapes, Pluto Jonze, Pigeon and Boss Moxi. Ben & Lucy, the main guy and girl behind Brisbane’s hottest new weekly haunt, Cobra Kai Club, will be in charge of deck-spinning duties. We have got one double pass up for grabs thanks to Sceneless! Entrants must be 18+. With a debut, self-titled EP under their belts and fresh off the back of their Parklife dates, Gold Fields are taking to the road in October and November to spread their frantic dancepop ‘n’ anthemic jams in venues across Australia. It’s been a hectic 12 months since the quintet seemingly burst out of nowhere at the tail-end of 2010. Gold Fields hit the ground running when their debut song Treehouse was plucked off triple j Unearthed and instantly added to high rotation. Their accompanying live shows quickly gained them a word-of-mouth reputation for being a high-energy combo of pounding drums, rhythmic basslines and herky-jerky dance moves. Thanks to Reckoning Entertainment we have five double passes to give away to their gig at Alhambra Lounge on Saturday Nov 5! Entrants must be 18+. Australian acoustic troubadour Chloe Hall returns from the UK with her brand new project Chloe & Silas. The acclaimed singer-

songwriter has teamed up with fiddle legend Silas Palmer (Women In Docs) for Chloe & Silas who embark on a national tour, supporting the release of their album - Spring Hill. The duo, who are being compared to celebrated folk legends; Simon & Garfunkel and Gillian Welch & David Rawlings, will bring a blend of uplifting harmonies and unique melodies to audiences. You can catch them Nov 6 at The Redlands IndigiScapes Centre, Nov 7 at the Nook Caffee Jindalee, Nov 8 at the New Farm Bowls Club, Nov 9 at the Red Hill Community Sports Club, Nov 13 at the Brisbane Powerhouse and Nov 19 at the Folk Rag Old & New Concert, Danish Club. To celebrate we have five copies of the album to give away! Festival of the Sun is taking place at Port Macquarie’s Sundowner Breakwall Tourist Park, Dec 9 and 10. Art Vs Science, Ladyhawke, Dan Sultan, Hungry Kids of Hungary, Floatingme, The Snowdroppers, Young Revelry, Brothers Grim, Guineafowl, King Cannons, The Delta Riggs, The Medics and many more will be playing at the festival. FOTSUN provides the rarest of ‘Aussie Backyard BBQ’ vibes like no other music festival. With onsite camping and cabin facilities, intimate staging, a 3,000 capacity and unique BYO policy (no glass rules apply), this will be a weekend to make some fond musical memories. We have got two double passes up for grabs, and the tickets include 2 nights camping. Entrants must be 18+.



Get your music industry news from The Front Line 10 Lowdown – news, opinions, tours, Backlash, Frontlash 12 Sydney songstress Lanie Lane is planning on a long and exciting career 16 The new Death In Vegas record is all over the place 18 Pete Murray explains the rationale behind his rockin’ new, non-breakup album 18 The Drones are showing a new, perhaps less athletic, side 18 It took a near breakdown, but The Vasco Era have absolutely nailed album number three 19 Rat Vs Possum have ditched the extra percussion 20 Despite his considerable production resume, Hernan Cattaneo still considers himself a DJ first and foremost 20 The Horrible Crowes sees Brian Fallon explore his darker side 20 High Violet is coming to an end for The National 21 Charli 2na tells us of his early artistic ambitions 22 One thing’s for sure, Nicky Bomba is feeling the love 22 Will the preconceived ideas of Australia ring true for ska kings The Planet Smashers? 22 The Fearless Vampire Killers worship a different Batman 22 Originality is paramount for Lee Mortimer 24 The next song The Bloodpoets will record might be their best ever 24

ISSUE 1550 On The Record has the latest, greatest and the not so greatest new musical releases Chris Yates spotlights the best (and worst) tracks for the week in Singled Out

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Get the scoop on what’s happening This Week In Arts We take a look at a few high and lowlights of this year’s Greek Film Festival Warrior could have gone either way, reckons Joel Edgerton Occupy The Looking Glass We try and find out why In Time is so serendipitous from Justin Timberlake and director Andrew Niccol Cultural Cringe gives us her BIFF highlights




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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: Georgia Dixon

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

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

DESIGN & LAYOUT Cover Design/Designer: Stuart Teague, Matt Davis 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


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Dubbed a legend by his peers, hip hop artist Robert Hunter passed away last week in a Western Australian hospice. He had been diagnosed with neuroendocrine cancer in 2009, while on tour in Adelaide and had continued to record and release material. In a statement, his mother Trish said, “I had 36 years with my beautiful son, he was the light of my life and I am so proud of what he achieved in the short time that we had him.” A charity hip hop album which Hunter had initiated is believed to be near release and features new tracks from Hilltop Hoods, Drapht, Chase and more. 100 percent of the profits of the compilation will go to CanTeen, with a focus on young people suffering from cancer.

AUSSIES PHOTOGRAPHERS FINALISTS IN AWARDS Australian music photographers have been recognised as finalists in the NME Music Photography Awards, with Melbourne’s Kane Hibberd – a finalist last year – back in contention. His shot of Calling All Cars, which featured on the covers of some Street Press Australia magazines has been listed in the Professional category. Sydney’s Mikey Hart has been recognised twice, thanks to a snap of Washington backstage before last year’s ARIAs in the Reportage category and crowds at the Future Music Festival in the Festival category. Melbourne’s Mark Boyle also appears in the festival category after he captured Die Antwoord’s Ninja crowd surfing at Perth’s Big Day Out.

PARTY STARTERS I OH YOU JOIN ILLUSIVE AS IMPRINT Emerging Melbourne label I Oh You have signed a deal with the Mushroom Group’s Illusive Label which will see I Oh You – home to Queensland acts DZ Deathrays and Bleeding Knees Club – become an imprint of Illusive. Recently adding Snakadaktal to its roster, I Oh You has recently secured the signatures of their two flagship bands on extended deals, with debut albums from both DZ and BKC – who both appeared in NME’s top 50 new bands of the year – due next year. It is believed the new deal will see I Oh You’s Johann Ponniah move into Mushroom’s Melbourne offices as Illusive will take care of distribution. Illusive’s Matt Gudinski said in a statement, “In a short period of time displaying constant passion and commitment to their artists and brand, the I Oh You boys have established themselves as one of the upcoming A&R shining lights in the Australian music scene and we look forward to developing their label and growing a long term and fruitful relationship with them.” Ponniah, who started the group throwing parties in Melbourne, offered, “When I first told my mum that after school I wasn’t going to university but instead was going to move to Melbourne, throw parties in my backyard and release my friend’s music, I think she wanted to bottle me, but when I called her up to tell her the good news about our new partnership with Mushroom and Illusive her response was simply one long sigh of relief… and to be honest, that probably says more about how dope this is than I ever could.”

MUSICIANS SUPPORT ‘OCCUPY’ MOVEMENT Blue King Brown’s Natalie Pa’apa’a and The Dead Kennedys’ Jello Biafra appeared at the Occupy Melbourne protest the night before police pulled down tents and moved protesters on. Talking to The Front Line while police actions were unfolding Pa’apa’a said, “Up until today police have had a good relationship with the protest... Now it seems the Queen is coming to town and [Melbourne] Lord Mayor Robert Doyle wants to sweep under the carpet any uprising… I think sending in riot police is not the way to deal with a peaceful protest.” With musicians becoming more involved in the worldwide occupy she said, “Blue King Brown will definitely be heading down there… to play and support the event in the future.”


FLO RIDA A NO SHOW AT FESTIVAL, CLUB SHOW Rap superstar Flo Rida failed to show up at Newcastle, New South Wales’ Fat As Butter festival Saturday, despite being in Sydney. He also failed to appear at a Sydney club show, due to happen at Mounties the same night. While Rida labelled his failure to appear as “unforeseen circumstances” on Twitter, Mounties released a statement saying that he was three hours late and then turned away because the venue “did not believe he was in a suitable condition to perform”. Fat As Butter promoter Brent Lean told The Front Line that they first got a message from the artists’ tour manager at 3pm, saying they were having issues with accommodation in Sydney – which the festival were not involved with. Due on stage at 5.10pm – and with a two hour drive – organisers attempted to re-shuffle the line-up without disrupting other headliners The Living End and Empire Of The Sun. It wasn’t until 4.45pm that Fat As Butter got in contact with Flo Rida’s entourage again to confirm that he was cancelling and they then had to inform the crowd – under half an hour out from his set. “It took us that long to get back in touch with them,” Lean said. On Facebook they put it down to “transport issues” initially, before Lean jumped in to comment, “We’re as upset as you are. We paid Flo to appear months ago and since he’s been on his Australian tour, he’s been an absolute Tonk. He’s been in Sydney today, and he’s had a hissy fit.” Today Lean told us, “Our obligation was to supply the ground transfers. So we had limousines in Sydney but he wouldn’t leave the hotel… We’re still trying to get to the bottom of it.” It is not yet clear exactly what the problem with the accommodation was. Lean said he believes it to be an artist issue and therefore doesn’t hold the tour manager or Australian promoter to fault. However they will be seeking a full refund of the fee – which was paid in full previously – and auxiliary costs due to the broken contract. “We’ll definitely be going for a full refund of our fee… We hope that everyone does the right thing and it’s not lawyers at 30 paces.” The Mounties statement read, “The club did everything in its power to meet the needs of Flo Rida and his management. From the demands for late specialty items in his dressing room, to offering to pay all transport expenses to get him and his entourage to the venue (after his own arrangements supposedly fell through),” they wrote. “Mounties [like the Fat as Butter Festival in Newcastle] pre-paid his performance fee in full. We were also contractually obligated to run the event as an all ages show so it is reasonable to assume that if these are the demands of the artist and his management, then they would respect the need to arrive to the venue on time.”

AUSSIES DOMINATE CHART ENTRIES A new Cold Chisel compilation The Best Of Cold Chisel – All For You debuted at two on the ARIA Album Charts this week, slotting in behind Adele’s 21, which has now charted for 39 weeks and been on top for 23 weeks. Two other debuts in the top ten were also local artists, Shannon Noll’s A Million Suns at 8 and Mark Vincent’s Songs From The Heart at 10. Lanie Lane just missed out on the top ten with To The Horses debuting at 12. Ensuring that the top five debuts this week were all local, Tonight Alive’s What Are You So Scared Of? managed 15.

TICKET ON-SELLERS VICTIM TO FRAUDULENT TICKETS Local ticket on-selling company Ticketman has admitted one in ten of their transactions had been victim to fraud after their March launch, but they’ve implemented a new system to curb the problem. In a statement last week the company’s CEO Ron Hodge said, “After a few months of operations we started seeing about one in ten transactions falling over because of undelivered tickets, thank you Australia Post, or sometimes just outright fraud.” Ticketman believe they have fixed the problem by changing their format, essentially now they’re a “message board” for tickets and encourage buyers and sellers to meet in real life to conduct transactions.

The news came a day before The Australian reported another ticket on-seller Ticketfinder had sold a number of fraudulent tickets through its system – some well above face value. A full-page advertisement from a number of production and touring companies and the live entertainment industry’s peak body Live Performance Australia that appeared in The Australian over the weekend warned punters against such tickets. Represented in the ad, Frontier Touring’s Michael Gudinski told the paper, “You’re getting me angry – I’m surprised it’s still going on... The complicated thing is there’s different laws in different states. We need this dealt with at a federal level.”

TINY RUINS CANCELS TOUR AFTER SERIOUS CRASH The serious motorcycle crash that forced New Zealand songstress Tiny Ruins out of her UK tour recently has also prompted the cancellation of her upcoming Australia and New Zealand tours. The accident, which happened early October while in Tanzania, resulted in Hollie Fullbrook (aka Tiny Ruins) sustaining a dislocated shoulder, a broken finger and numerous cuts and bruises. Last week her label Spunk issued a statement, “Fortunately her injuries are not life threatening, but Hollie has sustained broken bones and bad bruising which will prevent her from performing for a short period. Hollie wishes to apologise to those who’ve bought tickets, which are now available for refund from point of purchase in Australia and New Zealand.”

Street Press Australia (publishers of Time Off ) have announced launch dates for iPad versions of their existing stable of printed magazines. The iPad editions – which follow the launch of the iPad-only Three Magazine – will be in addition to the printed mags, which will continue to be produced. Street Press Australia Managing Director Craig Treweek said, “By launching an iPad edition of the magazines we’ll be broadening the distribution and readership of our existing mastheads significantly. We know our readers are early adopters of technology but they also value the printed page and so it’s fantastic for us to be able to offer them both formats.” Answering rumours that the iPad versions would replace the printed magazines Treweek said, “We will never allow the quality of the print magazines to be diluted and feel that this iPad venture, which has started so well with Three, will assure the future of the printed versions of the magazines in a changing environment for years to come.” Launch dates are: week commencing Monday Nov 7 – The Drum Media (Sydney), Monday Nov 14 – Inpress, Monday Nov 21 – Time Off and Monday Nov 28 – The Drum Media (Perth).

STONE ROSES REFORMATION SPARKED BY MANI’S MUM Despite numerous denials previously, The Stone Roses announced last week that they are reforming for shows and new material next year. With all four original members in the fold, John Squire said, “It was the loss of Mani’s mum that started the chain of events that brought us all to this room today.” The British press had speculated at a reformation around the time of the funeral, but bassist Gary ‘Mani’ Mounfield told NME at the time, “I’m disgusted that my personal grief has been invaded and hijacked by these nonsensical stories. Two old friends meeting up after 15 years to pay their respects to my mother does not constitute the reformation of The Stone Roses. Please fuck off and leave it alone. It isn’t true and isn’t happening.”

GUDINSKI, JACOBSEN IN MCM BOARD RESTRUCTURE As Julien Playoust, Vincent Donato and Greg Smith resigned and Michael Burgess stepped from Executive Director to Chief Operating Officer in a busy MCM Entertainment Group (MEG) board re-structure, Michael Gudinski and Philip Jacobsen joined the board as non-executive directors. Jacobsen was also appointed the Acting Chairman of the board. MCM are the largest independent producers and syndicators of radio and internet music content in Australia. CEO Simon Joyce said, “We are delighted Michael and Philip are joining our board, both of whom are well-acquainted with MEG and our operations... Michael’s knowledge and experience of the music and entertainment business is very significant for MEG, we will now benefit from his contribution and the financial and strategic planning skills that Philip Jacobsen also brings to the Board.”

Q MUSIC WORKSHOPS Q Music will be hosting workshops in in Brisbane and Toowoomba in November. Wednesday Nov 16 the Building Momentum workshop will be held at The Judith Wright Centre with Graham Ashton (Footstomp Music), Leanne de Souza (manager, The Medics) and Paul Watson (Dubmarine) speaking. It’s free, but you need to register online. Thursday Nov 24 the Finding Solutions business model masterclass features David French (Capricorn Investment) and Chanel Lucas (grant writer/performer) at Judith Wright Centre. It costs $88 for members, including lunch. Finally, M.A.R.S at Toowoomba’s Metro Cafe will host Getting Your Music Out There on Tuesday Nov 29, with Dominic Miller (manager, Texas Tea, Ben Salter), Jesse Barbera (manager The Cairos, Velociraptor) and Paul Watson. It’s free, but you need to register. Further information is available at, Waste Management & New World Artist Present


KING GIZZARD AND THE LIZARD WIZARD Thursday 27th October Byron Bay Brewery, Byron Bay, NSW Friday 28th October The Zoo, Brisbane, QLD Saturday 29th October The Zoo, Brisbane, QLD Friday 25th November Kings Beach Tavern, Caloundra, QLD Saturday 26th November The Coolangatta Hotel, Gold Coast, QLD Tickets on sale now from

She Prefers Older Men




In news that is sure to create as polar opposite reactions as their original tour announcement, New Mexico crunkcore act Brokencyde have stated that they won’t be playing their scheduled first tour of Australia this October. Citing a negative response from the lack of all ages shows scheduled for the tour, the band regret to pull the plug but promise fans they will be back in the future in venues more suitable for their age needs. All tickets for their listed performance at The Zoo on Thursday night can be refunded from point of purchase.

Legendary UK band The Stone Roses announced their reformation last week. Tickets for their first shows in their hometown of Manchester broke UK sales records, 220,000 of them sold in a mere 68 minutes. A world tour is planned for 2012. Mazzy Star will release a new single, Common Burn/ Lay Myself Down, at the end of the month. It is their first new music in around 15 years.

FOLK MOST MERRY The Woodford Folk Festival is like no other event in the country. It’s not just a celebration of music; it’s an entirely different way of life for a week between the Christmas and New Year’s holidays where you can lose yourself in any number of amazing activities, whether you’re an eco-warrior, a poet, an artist or just an open minded devourer of new experiences. This year sees it become even bigger and more diverse as it also encompasses the wonderful indigenous festival, The Dreaming. Music wise the bill is once again sensational. Gotye will be performing with a ten piece multiinstrumental all singing band, digitally triggering visuals on the big screens, joining him and his crew will be Canadian folk legend Buffy Sainte-Marie, pictured, Xavier Rudd, Cloud Control, Mountain Mocha Kilimanjaro, Eagle and The Worm, Owl Eyes, The Herd, Frank Yamma, BLAKWax, Jesca Hoop, De Pedro, Jordie Lane, Benjalu, Faux Pas, Elixir, Husky, Roesy, Andy Bull, Lucy Wise and The B’Gollies, Richard Wood, The Once, Dougie MacLean, Tuba Skinny, Pugsley Buzzard, Birdmann, Derek Llewellin, Sue Ray, Amelia Curran, Hiatus Kaiyote, Andrea Soler, Charlie Mayfair and Hanggai. It happens at Woodfordia from Tuesday Dec 27 until Sunday Jan 1 and a whole range of ticketing options are available, hit their website for more info.

A RUDE AND HERBAL HARVEST There has been yet another addition to the Harvest Festival, which happens in Brisbane in a mere few weeks time, this new announcement adding a little reggae to the day’s proceedings. Trojan Sound System – an offshoot of the legendary Trojan Records – tours Australia for the very first time as a part of Harvest. The label has been in operation since 1968 and continues to be one of the most vital purveyors of reggae, dub, rocksteady and ska on the planet. UK duo The Herbaliser will be bringing their renowned DJ set to Harvest this year, showing off the full realm of their varied musical interest – from jazz to dub to hip hop to soul and far more. As well as this, original members of The Family Stone will also DJ following their live set on the main stage! It happens at the Brisbane Riverstage and Botanic Gardens on Saturday Nov 19.

Meat Loaf has vowed to personally warn any artist booked to play future AFL Grand Finals to not do so, blaming the football league for his horrendous performance before the big game early this month.


SOUNDWAVE GETS RELIGIOUS You thought the first announcement was big. And, well, you were right. But the second announcement of bands for next year’s Soundwave festival is absolutely not something that ought to be scoffed at, with over 20 amazing bands from both overseas and at home coming together to really boost the punk rock and hardcore aspect of the fairly metal heavy bill. You’ve got Bad Religion, pictured, Strung Out, Staind, Wednesday 13, Unearth, The Pretty Reckless, Cathedral, Shadows Fall, Tonight Alive, Motionless In White, Break Even, Heaven Shall Burn, Your Demise, A Rocket To The Moon, The Ready Set, The Menzingers, Dream On, Dreamer, Kittie, Dredg, Attack! Attack!, The Smoking Hearts and The Summer Set to look forward to when Soundwave 2012 rolls around at the RNA Showgrounds on Saturday Mar 25. Tickets are deadset flying out the door at the moment so make sure you get one from OzTix, Ticketek or the Soundwave website immediately for $164.25.


American urban superstar Flo Rida failed to appear at both the Fat As Butter festival in Newcastle and an all ages show in Sydney at the weekend. Janet Jackson has left her Australian tour midway through to be with her family during the trial pertaining to the death of her brother Michael. She expects to be back for her Gold Coast show next week. Jenny Conlee, keyboardist of The Decemberists, is now in remission after undergoing chemotherapy for her struggle with breast cancer earlier this year. The 12th studio album from 77-yearold songwriting master Leonard Cohen will be called Old Ideas and released in January 2012.


COBRAS GET SCARY Those crazy mother fuckers at the Thursday night Cobra Kai nightclub have done it again! For the past few months they’ve been assembling some pretty amazing line-ups to take over Oh Hello! but this Thursday they step it up a notch, welcoming Sydney’s wonderful Jonathan Boulet to the venue for the first time. Boulet’s intimate set this week will serve as a bit of an early Halloween party, so make sure you have your finest costume ready. We suggest dressing up as any Sesame Street character at all. In support will be Magic Spells, Kate & Max and Some Knights. If you‘re a student and you show before 10pm you’ll get in for just five bucks, otherwise entry is $10.

SULTAN’S RETURN It has been a little while since we heard from Dan Sultan, the singer, songwriter and powerful rock band leader had an enormous year last year but has spent the majority of his time in 2011 doing seemingly anything that involves not coming to Brisbane – in fact we haven’t seen him up here since May of last year! That’s all about to change though as he has just announced one big show to happen in December, he’ll drop by The Hi-Fi on Friday Dec 9 to treat us to some of that soulful blues, roots, country and rock with that incredible voice of his leading the charge. Tickets are just $25 + bf from Moshtix, they’re available now and supports will be announced soon.

HITCHIN’ ONTO HEAVEN The Heavenly Sounds tour that female supergroup Seeker Lover Keeper are embarking on, which sees them bring their gorgeous songs into churches around the nation, has been met with an enormous response thus far, with a couple of the shows around the nation selling out already. It has just been announced that as well as these three lovely ladies (Sarah Blasko, Sally Seltmann and Holly Throsby), one lovely man by the name of Henry Wagons will be joining them, offering his own unique style of rollicking country music. There are still a few tickets left; St John’s Cathedral, (373 Ann Street, Brisbane) is the venue, Monday Nov 21 is the date and $60.50 gets you through the doors.

NEITHER LOOSE NOR TIGHT South Africa; not exactly a hotbed for rock’n’roll, we think you’ll agree. There is one band, however, who have done everything in their power to cast aside this preconceived idea about their homeland and have gone on to become one incredibly successful modern rock band since their inception way back in 1999. They are, of course, Seether, and they are heading back to Australia for a run of shows in support of their Holding Onto Strings Better Left to Fray record, which was released in May. They have been incredibly busy since the album’s release, hitting the road with the likes of Avenged Sevenfold, Three Days Grace and Three Doors Down across the United States. They’ll be in good form for their first Aussie shows in three years and you can see it all go down at The Hi-Fi on Tuesday Feb 7. Tickets are on sale from Moshtix from Tuesday morning.


With anticipation building after their victory in the 2010 In The Mix DJ polls, Canberra’s finest beat export The Aston Shuffle haven’t rest on their laurels. Delivering the utterly breathtaking album Seventeen Past Midnight, playing taste makers for a national audience as hosts of triple j’s Friday Night Shuffle as well as writing new material, maintaining momentum with new track Won’t Get Lost. Get those mad d-floor skills you’ve been working on at home ready (c’mon, we know) when the boys hit Oh Hello! Friday Nov 18. Sydney disco lads Rüfus support with tickets at the very affordable price of $19 through Moshtix.

A FOND FAREWELL House Vs Hurricane are about to head into the studio to cut album number two but unfortunately their current vocalist Chris Dicker won’t be making the journey with them, regretfully leaving the group to focus on personal projects. Make sure you give Dicker a final tour to remember by going mental for it when the Melbourne crew play an 18+ show at Thriller, Orient Hotel Saturday Nov 5 before giving the kids something to crow about when they take over Sun Distortion Studios for some all ages action Sunday Nov 6 with special guests at both shows The Bride. Tickets for the Sun Distortion show can be found on OzTix for $19 while for Thriller, pick your tickets up on the night and say “House Vs Hurricane” for cheap entry!

Australian indie rockers The Fauves release their tenth album Japanese Engines on Friday Nov 11, followed by their 11th album German Engines early in 2012. Never one to miss out on being a stocking stuffer, The 12th Man has announced the release of a range of t-shirts and talking merchandise in time for Christmas (and in lieu of a new record). Susan Boyle will visit Australia for the first time next month on a promotional jaunt. She’ll play the Today and X Factor television programs. Ex-Dead Kennedys frontman Jello Biafra made an appearance at the Occupy Melbourne protests last week to show his support. Morrissey is looking to sue NME for libel as he believes a 2007 interview portrayed him as racist and was defamatory. Syl Johnson has filed a lawsuit against Kanye West and Jay-Z, claiming a sample from his Different Strokes was used in their The Joy track from this year’s Watch The Throne without his permission. Much respected Australian hip hop artist Robert Hunter has passed away after a battle with cancer at the age of 36.

If you’re sick of festival announcements then just stop reading now, sad sack. For those of you who like having fun in your life, we are very pleased to announce the first round of acts announced for the next Blah Blah Blah festival, happening at the end of this year. Once again the organisers have pulled together a massive line-up of electro and hip hop acts from all over the world, as well as heaps of amazing Australian talent! You’ve got LTJ Bukem, pictured, A. Skillz, Borgore, Mantra, The Scratch Perverts, Elite Force, B-Complex, NAPT, Chasing Shadows, M-Phazes, Sietta, Eddie K, Spit Syndicate, Slyde, The Tongue and Truth all on the bill thus far and there is still more to come! This exciting boutique festival will this year be taking place at its brand new location of the South Bank Cultural Forecourt on Wednesday Dec 28; early bird tickets are now available through Moshtix for $77 + bf.

ADIEU, NIKKO Local dudes Nikko have been working awful hard of late, doing plenty of touring and playing a whole heap of local shows to almost blanket acclaim. The band have decided to take a bit of a different step now and very soon they will be making the big move to Melbourne to fight it out with the other bands down in that scene. We wish them all the best and are pleased to let you know that they will be playing a big hometown farewell show before they leave. At Woodland on Saturday Nov 5 the band will be playing in support of China’s kick arse Carsick Cars with fellow locals Keep On Dancins (who we believe are remaining in Brisbane for the time being) – it’s going to be fantastic and you’ll probably get a sneaky listen to a couple of songs from the band’s soon to be release second LP. Entry is $12.

THERE GO OUR HEORES This week sees the always welcome return of the wonderful Heroes For Hire to Brisbane, as they drop by to play two massive shows with some kick arse supports in tow. The band are here to smash out plenty of tunes from their Take One For The Team record, which has been going great guns since its release in May. The band have flown New Jersey’s I Call Fives out for the tour, the band one of the many, many hugely promising bands bringing back pop-punk on the US scene at present, while Brisbane’s own I Am Villain get in on the action for Friday’s show only, fresh from their recent national tour with Man Overboard. You can catch them playing an all ages date at Sun Distortion Studios on Friday evening (with Call The Shots and Sunsets) before they play Thriller at the Orient Hotel on Saturday night (with Closure In Moscow; tickets on the door) and Shed 5 Sunday arvo (with Friends With The Enemy, Take Us To Vegas and Knights Like These). Tickets for Friday and Sunday, which are both all ages shows, are available from OzTix for $23.50.


















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The lads from British India roll into town this week with singer and guitarist Declan Melia more fired up than ever as he celebrates the removal of a steel plate from his hand that stopped him from playing guitar early in the tour. They hit Byron Bay Brewery Thursday night and The Zoo on Friday and Saturday with support from Melburnian 60s scuzzy garage exponents King Gizzard & The Lizard Wizard and locals Death By Dance and Junkyard Diamonds. Tickets from OzTix are $28.60.

First it was announced that Bright Eyes was going to become an ongoing concern for Conor Oberst again. Then the release of their seventh record The People’s Key was announced, and when it did come out it became glaringly obvious that these guys are still fantastic. Then they announced they’d be joining us in Australia for the Harvest festival and now, just to cap off an amazing year for any Bright Eyes fan, they have announced that they will be playing a sideshow in sleepy little Brisbane town while they’re out here! Yep, get on down to The Hi-Fi on Thursday Nov 17 and you will be treated to a full club show from the boys. Tickets are available through Moshtix now for $66 + bf, get on board. Supports still to be announced.


DARREN’S BACK FOR CHRISTMAS You know that Christmas is nigh when Gympie’s finest Darren Hanlon announces his annual Christmas show. He has spent the most part of 2011 travelling throughout Europe and the US but there’s no way he’d ever miss his Christmas in Australia; the shows that go along with it have become an essential part of the summer season, much like the Boxing Day test and a heated discussion about Australia’s foreign policy with your Uncle Peter. This time around he has once again bringing a stellar international guest, with great American folkie David Dondero paying us a visit, he is the first artist to sign to Hanlon’s Flippin’ Yeah label, so there’s something of a quality guarantee. They play the Brisbane Powerhouse’s Visy Theatre on Friday Dec 23; tickets are available from the venue’s box office for $26.50.

GET GRITTY When it comes to cutting edge club music, you can always count on the White Rhino crew to deliver it to the ever-hungry Brisbane massive in spades and that’s exactly what they’ll be doing next weekend when they host a very exciting event at Barsoma on Saturday Nov 5. The gritty, worn down, muscular analogue swing of Jon Convex will pump through the club’s system as he shows off the amazing tracks he’s churned out both in solo mode and as one half of Instra:mental in the past 12 months or so. Joining in on the action is an all star cast including Si Clone, Fr1day, Irikanji, Lone Pariah and Arku, while new monthly club night Bright Future host the outdoor stage, showcasing Elroy 4.0, Jimmy Larcombe, Charlie Why and Mumbles.


Building from the momentum of their recent BigSound showcase, West End favourites Laneous & The Family Yah are making noise in the massive American market, tracks from their Scissors EP promptly added to 100 stations across the College Radio Network. The band have recently debuted as a four-piece, which seems to be going pretty damn well for them, so see what all the fuss is about when they head out for a bunch of dates, kicking their tour off at Woodland Friday Nov 4 before hitting The Brewery, Byron Bay Saturday Nov 5 and the following week at SolBar, Maroochydore, Friday Nov 11.



We’re all for the local lad deciding to moon the Queen, but doing so with the Australian flag clenched between his buttocks is a tad disturbing. Wonder if the poor old dear was as confused as we are by the gesture, there’s definitely mixed messages there…

We’ll still always be predominantly a print title, but it’s uber-exciting that Time Off is being launched onto the iPad on Nov 21! How cool is that? Now all we have to do is get our mitts on an iPad so we can read ourselves in all that tech-y glory. Stay tuned!



It’s not really a good look having the Victorian police smash the Occupy Melbourne protestors, you have to wonder about the need for such violence. Although for Victorian police they showed remarkable restraint, at least they didn’t just open fire…

Nashville legend Kurt Wagner is coming back for a heap of shows for the Sydney Festival – both solo and with the amazing Lambchop – so we have to cross all of our fingers and toes that he plays some Queensland dates while he’s down here. Gimme quiet…



It seems Charlie Sheen’s craziness is contagious, with Ashton Kutcher – who took Sheen’s place on that crappy show – posting a rambling video online about “the meaning of truth”. It’s not quite in the same ballpark as ‘tiger blood’ but it’s still pretty scary…

Great news that The Decembrists’ multiinstrumentalist Jenny Conlee’s recentlydiagnosed breast cancer has gone into remission. We wish her all the best and hope that in time she makes a full recovery…







SWAMP RAT Sat 12 Nov


THE GRATES Thurs 24 Nov




LANIE LANE has emerged from seemingly nowhere to become one of the hottest prospects on the Australian scene. She sits down with STEVE BELL and tells about going with the flow and embracing the random nature of the universe. Photos by CYBELE MALINOWSKI.



ydney songstress Lanie Lane seems to have the world at her feet at the moment. Some musicians toil away in obscurity forever without that th stroke of luck that brings all of their work to fruition, while others seem to get all of the breaks (although w obviously, as with all pursuits, to some degree you make your own luck in this game). But for the beguiling Lane, whose sultry retro stylings have her poised on the precipice of taking it to the fabled next level, taking these breaks in her stride is just how she rolls.

handful of gigs together – and some rehearsals – but before the album we only did one or two rehearsals max, and then just went in and played the songs. They play themselves these songs – they’re just great songs, they don’t need bells and whistles.”

woke up and apparently I’d said in my sleep, ‘Oh well, that’s what you get for falling in love with a cowboy’ – I said that in my sleep and the next day I was told so I wrote a song about it within half an hour. Usually that’s how I work – I don’t really take ages to write a song.

Lane’s style is at once familiar and impossible to put your finger on, a beautiful fusion of predominantly pre-war influences that tips its hat at a lot of styles without betraying any specific influences in the process.

While she’s been working around the traps for some years now, the last 12 months have been a revelation for Lane: she duetted with Tim Rogers on the You Am I single Trigger Finger, was picked as support on separate tours with Clare Bowditch and Justin Townes Earle and played before disparate yet equally receptive crowds the country over, handpicked by the one-and-only Jack White to go to Nashville to record a standalone single for his Third Man label, and has now released her debut long-player To The Horses, which has not only picked up rave reviews but which last week debuted at number 12 in the ARIA charts, a feat which would have seemed laughable this time last year.

“I think there is a bit of pre-war stuff – although it depends on which war you’re talking about,” she giggles. “It could be pre- both wars really. With my influences, I think you can hear that it’s a bit of a timeline really, all mish-mashed together so that it somehow flows well. And I think maybe because people used all those sounds separately, then to bring them together they somehow gel, even though I’ve got influences from 20s and 30s blues up until the 60s. I was listening to a lot of Motown when I grew up, and a lot of early blues and folk – really traditional folk, stuff my Dad would play on guitar.”

“Usually something will be on my mind or whatever, and hopefully I’m alone and suddenly you have this feeling and you need to just sit down with the guitar – you just kind of get this feeling that’s impossible to describe. Then other times you start singing something or you have a chord idea and you just sit down and really need to just write, because you can’t do anything else. It can be a problem if there’s someone else there – if it’s a close friend or something and they’re just hanging out then I can usually do it too, but I don’t like noise – I really need complete quiet. I don’t like someone humming in the background because it’s so distracting,” she laughs. “But if I have all the right elements in place – if I have my guitar and my little recording device and pen and paper – then I can write a song.”

That whole trick of cashing in on the familiarity of music from bygone eras without being derivative or in thrall to any of them can’t be easy – there must by nature be lot of intuition involved in the creative process.

Lane’s music is inherently sure to have a universal appeal, and she’s already began the process of sowing the seeds for overseas success, conducting a fairly extensive tour to Europe and the States earlier this year.

The album is a heady amalgam of country, blues, folk and rockabilly which – mixed with her wholesome pin-up girl looks and persona – has catapaulted her into the national consciousness, but – seemingly like most things Lane does – its eventual feel was more a matter of fate and happenstance than any major agendas on the songwriter’s behalf. “All that I wanted was to make sure that it was fresh and raw and not over-produced, so I just produced it myself,” she offers nonchalantly, as if this is the most normal path in the world for an artist’s debut album. “I didn’t want to get someone in who was going to try and make it sound like something it wasn’t, because it already had a sound. I didn’t need a producer, I just needed my band to play the way they always do – which is amazingly – and just record that. That’s all I needed – I had faith that this path was the best way to go. “I’d kind of done a few things with some producers before when working on EPs, and as great as those guys are, after doing that for a while I realised that it just felt wrong. I had to ditch that idea – I needed to just go, ‘Why am I trying to fix something that’s not broken?’ I didn’t even think of it in that way when I first got them involved, but then I just thought, ‘Oh yeah, producer – tick. You kind of need that’. But you don’t always need that – you’ve got to know what you want, and if that person isn’t going for that sound then you don’t use them. I think maybe down the track I might use a producer, but for right now it felt important to convey the sound that I’ve got without any interference.” Not only did Lane take the reins herself, but she and her band knocked off the recording and mixing in four days in a Sydney studio – no mean feat by anyone’s standards. “Yeah, there wasn’t much pre-production,” she continues. “I guess as that unit we’d only done a


“They play themselves these songs – they’re just great songs, they don’t need bells and whistles.” “That’s the thing: everyone is desperate to know what my influences are – and I think that’s normal when you’re beginning as an artist,” Lane ponders. “When you put out your first record they want to know what you love and that’s a great opportunity to tell people what your influences are – but I think it’s hard for me, because I don’t know how to pinpoint how this happened. To me I just wrote the songs and I recorded them the way that just felt right along the way – I’m always trying to be intuitive. I’m not trying to recreate something or copy something, but obviously there’s times where I’m playing a certain strumming pattern and it’s very much like a definitive rockabilly strum – that’s cool, but I don’t know where that came from because I can’t say that I grew up listening to that style in particular. I don’t even really know.”

“That was the first time, so it was just like putting the feelers out there,” she tells. “Luckily I have great management and everything who already have contacts so we could get booking agents to come, and they were really excited about it so I’m really lucky to have people overseas booking the tours and everything. We’ll see how it pans out. “I’m quite lucky really. It’s so early – I can’t really predict anything, it’s too early. I’m just going to go with the flow. I don’t want to make a plan – it’s too early. Even if you have a plan, especially in this business, so much can change and so much can come up. Like Jack White wants to record a 7-inch with me.”

Often when an artist’s songs seem effortless they’ll tell that in fact that this couldn’t be further from the truth – that the songwriting process is difficult and exacting – but with Lane it seems that the process really is quite painless.

Ah yes, recording in Nashville with Jack White – as with all of the recent leg-ups that Lane has received, this one seems to have just come from the ether as if it was meant to be, and the songwriter is more than happy to leave her fate in the hands of such higher powers.

“Yeah, it’s pretty easy,” she concedes. “I mean maybe if I tried to write a song right now I’d be, like, ‘Okay, get into a different zone’ – because you kind of get into different zones – but I usually write really quickly. Like that song ‘The Cowboy Song’ (That’s What You Get), I

“Yeah, it’s cool,” she reflects. “That’s what I meant before about how we just thought it was going well and it’s better to not have a plan – if you have a plan you’re cutting out the opportunities for other things to come in. I think you should just go, ‘You know what? I’m a free

woman, and I want to do heaps of stuff in my career and I want a long career and I’m just going to be open to cool stuff.’ So I don’t want to plan the next five years because it’s never going to work that way. You just have to be really faithful that things work organically. That’s just my philosophy, and it’s the same with the writing of the music and the recording of the music – it’s like my whole thing really is try and keep everything really fluid.”


While most people would be focused entirely on recording and releasing their debut album, obviously if someone of Jack White’s magnitude comes a knockin’ you have to answer the door. The White Stripes maestro liked what he heard of Lane’s work so invited her over to Nashville for a whirlwind recording session in his Third Man studio, with him taking the producer’s chair. The session resulted in a standalone vinyl seven-inch single – the stompin’ Ain’t Hungry and it’s waltz-y counterpart My Man – which, while not on To The Horses, are as strong as anything on the album. “He approached me,” Lane marvels. “I think that’s the power of music – when someone hears a great song and they want to connect with that person in a musical way and make something cool happen. I was like, ‘I can’t believe this is happening!’ He’s a rock god!” Incredibly, Lane wasn’t even nervous at the prospect of being whisked away out of the blue to work with one of the world’s biggest stars. “I think I was more just excited – I wasn’t really scared,” she tells. “I think when I first met him I walked into the studio and I was just in awe of how frickin’ cool the studio was, because everything just looks amazing – you can’t see a computer, it’s all to tape, it’s so cool. I got introduced to him and I was, like, ‘Wow, he’s taller than I thought!’, and then you just kind of get over it. You just play music – he’s like, ‘What song are we doing?’, and I just played the songs so we could get an idea of what was going to happen. I was still writing the chorus to Ain’t Hungry that morning – basically I had it, but I just came up with a better idea on the morning and just went, ‘Yes! That’s it! Great!’ So I was still learning it as I was recording – that’s how I like to do it. That’s how I did my album – it’s so much better. “I recorded the album in February, then added stuff to that on and off for the next couple of months, and then the Nashville sessions were in May – so we’ve been working on this all year and now we’re ready to start sharing it.”

WHO: Lanie Lane WHAT: To The Horses (Ivy League) WHERE & WHEN: Old Museum Thursday Oct 27, Mullum Music Festival Saturday Nov 24, Homebake, Sydney Saturday Dec 3


WHAT HAPPENS IN VEGAS… DEATH IN VEGAS have been on hiatus since 2004 – but they’re coming to Australia with a new album. MATT O’NEILL catches up with sole permanent member RICHARD FEARLESS (aka Richard Maguire) to discuss the project’s triumphant return.


eath In Vegas is a weird little project. There has always been something oddly unique about the band’s work that has divorced them from any form of simple pigeonholing. The project was birthed of the same mid-90s post-rave community as The Chemical Brothers and UNKLE and similarly devoted to a collision of rock, psychedelia and electronica – but has nevertheless stood apart from both those acts and their associated ilk for the better part of 15 years. “The Chemical Brothers and I both came out of the same scene. We DJed together at the same club – Heavenly – for like three-and-a-half years,” founding member Richard Maguire reflects of the group’s associations. “Even when we were DJing, we were completely different. They were obviously heavily into the whole big beat thing whereas I was always working with Chicago and Detroit kind of techno. So, even when we were supposedly in the same scene, we were still quite different.” It’s tempting to attribute such idiosyncrasy to the band’s relatively unique set-up. While consistently punctuated by collaboration and often presented in the context of a band, Death In Vegas is effectively the solo project of Maguire. Whereas the majority of his contemporaries were defined through a central creative pairing, Maguire’s work across Death In Vegas’ five studio albums has always been a product of his own individual vision. “I guess, really, it was always just an outlet for me as an artist; a project I could have total control over – artwork, music, everything” Maguire explains of the outfit’s history. “From the get-go, it was me and one engineer. When I started out, I didn’t know how to engineer records so I hooked up with a guy called Steve Hellier. That didn’t work out, though, so I hooked up with a guy called Tim Holmes and he’s been there with me on most of the records. “I think if you spoke to those guys, though, they’d all say the same thing – that Death In Vegas is Rich’s band. An engineer will always bring their own stamp to a musician’s work, but all of the ideas do come from me. There’s no set batch of musicians who tour with me. I’ve never done a band recording, so to speak. I’ve only ever brought in people when and where I needed them.” Recently released fifth album Trans-Love Energies is the project’s most confounding release to date. There are fractured elements of acid-house, folk, krautrock, post-punk, electronica and countless other experiments folded into its idiosyncratic tapestry – it could actually be Death In Vegas’ definitive statement to date. “I was in the States and, for one reason or another, I decided to move back to England and it just made sense,” Maguire says of the project’s return. “I actually had a whole bunch of material sitting around – some of it for Black Acid, some of it for other stuff – and I played it all to a friend and he told me it sounded like Death In Vegas and I should just release it all. Personally, I think this album is all over the place. “You know, the first track is kind of Syd Barrett, then it goes into space rock and then kind of hits an old house track,” the producer laughs. “It’s actually been a real relief to finally have it out. You know, I’ve always tried to make records with longevity, but if you’d have told me when I started that I’d be on my fifth album, I never would have believed you. It’s genuinely surprising what a massive chunk of my life it’s taken up.”

WHO: Death in Vegas WHAT: Trans-Love Energies (Portobello/Shock) WHERE & WHEN: Harvest Festival, Brisbane Riverstage and Botanical Gardens Saturday Nov 19


THE DUALITY OF BANDS On the eve of THE DRONES’ return from the wilderness, frontman GARETH LIDDIARD chats to STEVE BELL about the quiet/loud dichotomy and the different facets of his band’s peculiar muse.


evered Australian outfit The Drones have been absent from our stages for a while, but they’re on the verge of making a return, and you can expect a slightly different beast from the one that last graced us. When the touring cycle for their lauded 2008 album Havilah came to an end they took a break, frontman Gareth Liddiard and drummer Mike Noga embarking on solo skirmishes while bassist Fiona Kitschin and guitarist Dan Luscombe opted to busy themselves with other pursuits. Now their return has been preceded by a live DVD A Thousand Mistakes, and while this isn’t unusual in and of itself, this one comes with a twist: the opening section is a stripped-back live performance in a warehouse – The Fairfield Warehouse Session – which finds the band airing songs which don’t usually make it into the band’s fearsome stage show. This stunning performance showcases not just their songwriting and musicianship strengths but also shines a light on their incredible versatility, how they’re equally at home in the quiet zone as they are smashing decibels into your face in their normal dingy pub environment. And its very existence wasn’t a part of master plan but just one of those lucky accidents. “I keep all the masters and shit, so I’ve just got a box filled with heaps of live recordings and heaps of film stuff,” Liddiard recalls from his home in central Victoria, where’s he just finished constructing his long-discussed pizza oven from scratch. “Sometimes people will film a show but they don’t really do the audio recording properly, so it’s like, ‘What was the point of that?’, but once a year someone will film us and record the audio properly so I keep them, and eventually I had a bunch and thought, ‘Fuck, we should put these out’. We wanted to put something else on there, so we decided to put that Fairfield Session on there with shit that we never get to play. “It just made sense to add on something extra, because everything else was live in front of crowds, with same-y setlists. There’s heaps of shit that we never get to play because it’s either too weird or too hard to fit into a set – or because you need more people to play it, or the gear you need you can’t put it on a fucking Qantas jet or they’ll charge like a wounded bull. [Keyboardist] Steve [Hesketh] plays on (2005 albums) Wait Long By the River... and The Miller’s Daughter, but because we’re always poor we can never take him on tour with us. But we’re doing it for this tour – we’ll do it like that. We’ll be playing most of those songs.

part – whether you’re reacting against it or building upon it. But with the live stuff from this DVD we’ll do that Fairfield stuff when we play. It’s like when the Bad Brains reformed – the reformation was shit because they’re 50-something, and you’re meant to be an athlete to play that music. And same with The Drones too: if we kept doing all the really full-on punk rock, ‘yah, yah, yah’, ‘smash, smash, smash’ really physical stuff as we got older it would be stupid. Part of the Fairfield warehouse thing was to introduce another side to the band as well. So I don’t have to go to the gym for three hours every day.”

“We’ve played occasionally like that in the past. Obviously when we’ve recorded those songs on albums and when we’re doing rehearsals for those albums, but just live – it’s a fine art making a setlist, and sometimes you can’t fit in certain songs you think would be perfect ones to do but it just doesn’t work. It’s a frustrating thing.” Even the band’s more recent members – who have both been in the band now for years – weren’t familiar with some of the material that was dusted off. Like really not familiar... “There’s a song called Stop Dreaming [from The Miller’s Daughter] on there, and Dan and Mike had never heard it, because they didn’t play on it!” the singer marvels. “They’ve never bothered to even fucking listen to it! How lazy is that? They were like, ‘What album’s this off, Gaz? This is really good!’” Liddiard’s recent solo excursion – last year he released his debut album Strange Tourist to universal acclaim – played a role in his decision to take The Drones down this path less travelled. “Yeah that was part of it,” he admits. “It’s just given me confidence to play by myself and play so little – there’s so much of nothing in that solo stuff, so much space – rather than just smashing people over the head with this sonic fucking hurricane all the time. It’s given me more confidence to do the super-sparse music. That’s what the solo thing was – I just wanted to have nothing in the music, really empty music, and now I want to do more of that. “And it will have an impact [on songwriting] going forward. The last thing you did always plays a

There’s more to A Thousand Mistakes than just the stripped-back session – there’s a full show from Melbourne’s East Brunswick Club, plus another disc of live footage from all around the world. This is but the latest in a long canon of live material the band has released – are they proud of the onstage side of their armoury? “I don’t know,” Liddiard ponders. “I’m not saying we’re like Led Zeppelin or as good as Led Zeppelin, but you know that sort of band where the live thing is different to the recorded thing? We’re a bit like that. Some bands just sound the same no matter what they do, but we sort of jam it out... Things evolve too. Like if AC/DC did Back In Black now it would sound exactly like it did in 1980, but if we were doing something off our first album now it would sound super-different. It’s good to put that out there. And I like live albums, I often prefer them. If I listen to Velvet Underground or Hendrix or Led Zep or whatever, I prefer to hear them live. It’s just more honest.” And of course after touring so long in solo mode Liddiard is itching to get back into louder territory... “After doing all that acoustic stuff? Yeah, fucking oath!” he laughs. “Electric guitars are heaps easier to play. It’s the most genius instrument, they’re just kind of automatic. With the acoustic you have to fucking concentrate, and it’s harder to play because the strings are thicker and tighter, so going back to the electric is like playing rubber bands – it’s really cool.”

WHO: The Drones WHAT: A Thousand Mistakes (Shock) WHERE & WHEN: The Hi-Fi Friday Oct 28

NEW BEGINNINGS PETE MURRAY has tapped into a new energy for his fourth album Blue Sky Blue, a departure from his radio ballads of old. As he tells TYLER McLOUGHLAN, it’s been about doing exactly what he wanted to do and pushing his heart of rock.

to the point where you know you can’t really be together any more. You don’t want to end it, but you sort of have to.” So if Murray won’t call it his breakup album, what will he admit to calling it?


“I dunno – new beginnings!” he offers with a wry laugh.

“My first goal for this album was to write an album full of songs that I wanted to play live, loved playing live [and] had good energy,” says the down-to-earth bloke from Byron Bay over a soy latte with honey. “I’m well known for acoustic ballads because they’re the ones that get caned on radio. It’s sort of weird because we get a lot of people that come to the show and go, ‘Wow, I never expected this performance’,” Murray says of getting stuck with the common assumption that the radio hits of an album are an accurate reflection of an artist’s live show. “I didn’t want that to happen again. And this one I actually wanted to go: I want to do what I want to do – I didn’t want to put out anything in acoustic laid-back ballad style.”

“[Marty] was talking to the director going, ‘Mark a spot where you want me to stand and which way you want me to face’ and the guy just went, ‘Mate – it’s a rock clip, just do whatever. Just look mean’,” he laughs over Sacks’ professional approach. Murray had such a great time developing and shooting the clip that perhaps a film foray is on the horizon.

he music game has treated Pete Murray pretty damn well over the years. With three number one Australian albums, a swag of ARIA nominations and the most performed Australian work of 2005 to his name, Murray’s trademark acoustic singer-songwriter style has connected on a widespread level to make him one of the most popular Australian male artists of the past decade. Despite being onto a very good thing, Murray decided it was time for a change.

That’s not to say that Murray wanted to shun his past; rather he made steps to guarantee that the rock’n’roll element that has always been at the heart of his albums and live shows was not overshadowed by the acoustic anthems that radio stations and record companies alike love to love. Cue an overseas trip and the beginning of his rock evolution. “About 18 months prior to recording I got a producer’s list together and I only had one name on there – it was Tom Rothrock [Foo Fighters, Beck, Elliott Smith]. It wasn’t much of a list,” he laughs. “Then just before I went over I put a lot more guys on there and sent some stuff out to these guys and within 24 hours Tom got back to me and said, ‘I love the songs, I love your voice and I’d really like to work with you’. It was nice of him because he said, ‘You’ve actually brought me out of retirement’ because he hadn’t done anything for a number of years. “I went over there and I played some tracks to him just acoustic and he said, ‘You’ve got a really great 1970s Californian sort of thing happening with the songs’, and he mentioned a Doobie Brothers sort of a feel, and Steve Miller.” Rothrock told Murray what he already knew – that they could make a really good acoustic album. Murray defiantly shakes his head with the memory; the pair didn’t speak of the idea again.

A video clip for single Always A Winner shows that Murray is prepared to follow through with his theme of new beginnings; instead of the standard live beach approach he has previously been fond of, Murray developed a Tarantino-esque fight scene-styled clip complete with a car chase, a masked woman in a cat suit and good mate Martin Sacks (Underbelly, Blue Heelers) as the bad guy.

With initial plans to bring Rothrock out to Australia to record from Murray’s hometown, a visit to LA’s celebrated Sunset Sound studios changed his mind. “I went in, and just the history in that place is incredible!” Murray gushes. “So we spent a week at Sunset Sound doing bass and drums, a bit of guitar and then we did the rest at Tom’s studio up in LA Hills… It took me out of my comfort zone – it was great.” Another change that impacted Blue Sky Blue was the experience of a marriage breakdown after the release of 2008’s Summer At Eureka, though Murray is quick to correct that it’s not a breakup album. “Yeah, I don’t really like talking about that,” he says dismissively, despite the difficult time being a reference point on his album bio. “We couldn’t really avoid it and everyone’s asking questions about it… I didn’t mean to write it as a breakup album but there are songs on there that you could definitely connect to a break up. What I probably did in a lot of those times was change it so it wasn’t actually talking about me, I was just imagining someone else and putting myself in a different position and talking about that. But someone, a journalist I think it was, said if this is a breakup album, then it’s quite a happy one. I thought that was kind of nice,” he says cheerily. With lyrics such as “I have to let you go/Just like I want you to stay” (Let You Go) spread throughout the album, it’s hard to avoid the themes of heartbreak and life change of Blue Sky Blue. “I think that song’s probably going to, I guess, ring true with a lot of people. Even lines like ‘You’re like a poem that’s caught in my head’ – it’s like you’re so used to someone being there with you for however long it’s been that it gets

“I loved it. I would love to do an action movie, as long as there was a bit of comedy in it… I’ve done a b-side version of that song [Always A Winner], so I want to do a b-side version of the film clip…. So I’m rocking up in a bomb car, I’m dressed like this [points to his mulleted, sleazy suit wearing pal Pedro Murrallez on his Facebook fanpage], I’ve got an unattractive girl I’m trying to get back, and bad fighting!” Though getting back to the initial point, he adds seriously: “I didn’t want to do the whole singer, the camera, the sensitive stuff any more.” Even though the three-year period leading up to the release of Blue Sky Blue has been a tumultuous one, Murray is feeling relaxed and positive in the lead up to a 19-date national tour. “I’m feeling really good,” he admits. “It’s a nice change and that’s what I’m enjoying about it, so you know, if people like it then that’s great, if they don’t, that’s great too… For me I’m going to enjoy playing it live a lot more and that’s the main thing.”

WHO: Pete Murray WHAT: Blue Sky Blue (Sony) WHERE & WHEN: Bangalow A&I Hall

Wednesday Oct 26, Coolangatta Hotel, Gold Coast Thursday Oct 27, Eatons Hill Hotel Friday Oct 28, The Hi-Fi Saturday Oct 29, Caloundra RSL, Sunshine Coast Sunday Oct 30

RATTLED BY THE RUSH It’s been a hell of a ride leading to the release of THE VASCO ERA’s new self-titled record and as drummer MICHAEL FITZGERALD tells TYLER McLOUGHLAN, it took losing and regaining their frontman to find their most comfortable state of rock creativity to date.


he Vasco Era’s third album very nearly didn’t happen. In the period surrounding the release of sophomore effort Lucille, frontman Sid O’Neil packed up and fled to the sunshine state. Contrary to plan, the act of removing himself from Melbourne, the band and the music business prompted a flow of songs about moving on and letting go which became the foundation of The Vasco Era. “He kind of lost it after the second album,” admits drummer Michael Fitzgerald. “We got a really bad master back [for Lucille] and it sounded terrible and so he couldn’t handle it. And at that stage me and Ted had other things; we were at uni and concentrating on that so we had sort of distractions but he had nothing. He’d wake up in the morning and all our mates would be off at their normal day jobs and we’d be studying for uni or whatever, and he’d just wake up going, ‘Umm alright, how’s this music going?’ So he didn’t really have an escape from it… he thought well he might as well quit. But I think all he needed was a bit of space to go and collect his thoughts…” Fitzgerald reflects. “For years he had that kind of pressure on himself and we’d been talking to him [saying], ‘You gotta have something to move you away from it otherwise you’ll go crazy thinking non-stop about it’. I think it got to that point where he sort of went, ‘Nah, fuck this’ – but he’s good now. He’s good now that reviews have started coming and there’s been nothing saying we’re really horrible,” he says with a hint of relief.

it’s funner, we try and play as quietly as we can and enjoy it and laugh about who can be the quietest. That sort of dynamic shift, it’s more enjoyable. I guess that opposition in the performance is a good thing and with the album we were trying to make it more I guess similar to our live show, more relatable. The opposite idea, it just kind of occurs now because that’s just what happens with this band. You go loud, you go soft, you start screaming, you go loud again, you go really soft, probably put a guitar solo in and then all finish out of time with each other – that’s the idea!”

WHO: The Vasco Era WHAT: The Vasco Era (Era Records/Inertia) WHERE & WHEN: The Zoo Sunday Oct 30

“He kind of lost it after the second album...” The relaxed vibe of the new record finds middle ground between the raw nature of 2007 debut album Oh We Do Like to Be By the Seaside and Lucille’s cleaner rock approach, a point that is due largely to the removal of external pressures. “We’re now independent – we used to be with a major label, who were great to us. They were always pretty much letting us do what we wanted which was great but I think when you have such a huge machine behind you, you kind of create this perceived kind of pressure where we sort of felt like we had these expectations to deliver a certain style of song,” Fitzgerald admits. “Even though they weren’t forcing us to do anything, there was still that kind of feeling. And so now that we’re independent, the only pressure is just what we put on ourselves and that’s a good thing because you always try and do your best at stuff [particularly] if you don’t have anyone else to please but yourself.” With an unfettered mindset, The Vasco Era flowed easily. “This album itself is very organic or very natural – it just came out,” Fitzgerald explains. “It was relaxed. We were aiming to do something that wasn’t trying to be the next anything it was just trying to play. I think we were influenced a lot by Pavement and they seem like the most relaxed band you could ever be, [proving] that it doesn’t matter if you stuff up as long as the feeling or the vibe is there. And that was kind of the idea that we approached this album with.” With the guidance of producer Steve Schram (Little Birdy, Little Red, The Cat Empire), the trio recorded live and got each track done in full before moving through the album’s tracklist. Schram even coaxed lead single Child Bearing Hips into life after its hook was destined for a minor role. “That song used to be the bridge to another song, to that Every Boy Is The Same song. And our producer, we finished that song and he was like, ‘Yeah, that sounds pretty cool but why the fuck are you wasting that middle part? You could make a whole song out of that’. And we were like, ‘Nah we kind of like this song the way it is’,” Fitzgerald says. Cue the insight of an experienced producer with the nudge of alcoholic lubrication and the first taste of the album was born. “He gave us a bottle of Jamesons and said, ‘Just carry on with that riff’ – so that’s what Child Bearing Hips came from! Steve Schram, producer know-it-all!” he laughs. The single highlights O’Neil as a witty and intelligent lyricist, and one who can take the piss out of himself by asking: “Do they like boys with child bearing hips?” “…he does have these hips that look quite wide or something, or quite curvaceous. I guess a few people said it and he got it stuck in his head,” Fitzgerald says matter-of-factly about the song O’Neil wrote following his experiences with cool kids at cool parties. Tongue-in-cheek self-deprecation is a common theme throughout The Vasco Era which has in some ways been a tool in coming to terms with their place in the industry after the hype of singing to a major label as teenagers has long since evaporated. “I think a lot in this album is about that [theme],” Fitzgerald reflects. “And that’s due to this change that’s happened in our band and I think we used to have a lot of people talking in our ears about how we were going to be the next big thing or the next Nirvana or something like that; when you come from a small town and you’re young and naïve you kind of go, ‘Oh, well maybe that could happen’. So that added to the pressure that we had. Now we’re a bit older; old and wise I guess they call it! We’re a bit older and now we’ve realised it’s not ever a goal that we ever wanted, it’s just something that we thought might have been cool. We’re happy with just trying to write good songs now, or trying to get better at writing songs, I ‘spose.” The Vasco Era are renowned for their explosive live show, largely attributable to the playfully volatile dynamic that comes from an outfit comprised of a set of siblings alongside a childhood friend. As they prepare to embark on a 14-date national tour with Papa Vs Pretty, Fitzgerald notes that the audience will notice the new recordings bring the trio a huge jump closer to their live persona. “When we play, we always try and play quite loudly,” he says with an apologetic chuckle. “But then when we do play quietly, just because


LETTING EVERYBODY IN THE HOUSE PRIMAL INSTINCTS UNITE A HERNAN CATTANEO is one of the most respected progressive house DJs in the world. Ahead of his latest Australian tour, MATT O’NEILL speaks to Argentinean expatriate about the irony of his reputation.

RAT VS POSSUM confound audiences with their adherence to sonic jams that alternate from one set to the next. MATT KULESZA enlightens BRENDAN TELFORD to the inner workings of the band.

Nevertheless, those hypothetically contentious zombie dance music pundits would actually have a point. While a proven success within the genre, Cattaneo has never quite belonged under its umbrella. His work – touching on everything from tribal- and tech-house through to classic breaks and rave – is simply too broad and egalitarian to be encapsulated by such a niche term.


at Vs Possum occupy a unique corner of the Australian musical scenery, endeavouring to create soundscapes that are at once confronting and immersive. The Melbourne-based quintet is renowned for their participatory sets, creating tribal rhythms and harmonies that have entranced audiences around the country. Yet as band member Matt Kulesza explains, it was important for the band to change their direction in order to keep things fresh for second LP Let Music & Bodies Unite. “That tour with [American band] Aa was the first time we had played any of those new songs live,” he recalls. “The songs were only a couple of weeks old and we were testing the waters, seeing if we would want to record them. A live show for us is the same as ten rehearsals all at once, so we can work out quickly what works and what doesn’t. It’s basically a live album with overdubs. After that tour we were confident with the songs and it all came together. The gestation from creation to putting the record out was super fast, like four months from writing the songs to having the record completed.” Let Music & Bodies Unite is somewhat of a departure for the band, as they eschew the auxiliary percussion for which they have been lauded for a more electronic bent. “When we started we had this whole idea about drums that we wanted to explore, including floor toms. It’s weird because we’d gotten this reputation as the band with all the floor toms, and we felt that maybe it had been done and was becoming boring, to us at least. Then there was this influx of bands that had these extra drums in them. I’m not saying that we started anything like that; it just was the environment that came about. So we all went and bought synthesisers and started exploring those sounds, And Aa was such an influence on that, the way we embraced those rhythms and took on such a percussive slant, yet when we finally got them out here to tour, we were moving onto a totally different sound!” Kulesza chuckles. “It’s just the way we work, I guess. Who knows, the next record may be just five guitars! We don’t really have any rules on what we have to do.” It is this sense of short attention span that continually informs Rat Vs Possum and pushes them to create new boundaries for themselves. “We all have these different influences that we want to introduce,” Kulesza asserts. “We aren’t a band that feels the need to rehearse over and over, we just really enjoy playing music together, so if we get bored we immediately look for something new. It’s a sense of evolving as a group. We’ll always endeavour to play what is fun and interesting to us at any given time, I don’t see why we should play in any other way.” It’s clear though that whatever the sonic medium, Rat Vs Possum will continually traverse the tightrope equilibrium between order and chaos in their own eclectic fashion. “Music is such a big part of our lives, we just love playing together. We’re lucky in that we are in the position that we are working on this weird, unspoken relationship where we understand each other implicitly. It’s a language you develop after playing together for such a long time. I feel like our songs are pretty simplistic to be honest, we have a base structure and then we jam it out until we feel it’s reached an appropriate crescendo. None of us are great musicians, we just have an instinctual way of playing together, and I think that’s the strong point of our band.”

WHO: Rat Vs Possum WHAT:Let Music & Bodies Unite (Sensory Projects)


Woodland Saturday Oct 29


“Well, I tend to mainly think of myself as a DJ,” he offers by way of explanation. “Today, every DJ kind of has to be a producer as well – and that’s really exciting – but, when I started, you were just a DJ. I really enjoy producing. I love it a lot. I just think I have a lot to learn. You know, my skills as a DJ are kind of at one point and my skills as a producer are kind of nowhere near that level.

s often as it has occurred in the past, there’s always been something strange about describing Hernan Cattaneo as a progressive house DJ. Few now living would disagree with Cattaneo’s position as one of the sub-genre’s most celebrated and accomplished performers. Given that dead people cannot actively express opinions, his position at the forefront of the sound’s proponents would appear almost beyond dispute. Even if the deceased were capable of disagreement, it’s unlikely that they could offer substantive evidence to support their views – and not just on account of being dead. Cattaneo can boast over 20 years of experience, club residencies everywhere from Argentina to Ibiza, six (!) mixes for definitive progressive brand Renaissance and the support of every heavyweight DJ of the past 15 years – from Sasha to Oakenfold.

“To be honest, I never pay much attention to that sort of stuff,” the DJ explains amiably of the title. “I started DJing very young and I always played all the different types of house – tech-house, tribal-house, progressive-house. I love to weave together all those different melodic elements. If you check on my playlists, you won’t find one style but many different styles. “I mean, I don’t mind if people choose to call me that. I think, at this point in time, you have to expect to be categorised somehow and, if that’s what people get out of music, I don’t really mind at all,” he adds. “It’s just never been something I’ve paid attention to or sought out as an artist. I don’t really think of what I do in those sort of terms at all.” This could be because Cattaneo’s evolution as a DJ largely predates several of the genre titles attached to his name. Discovering Chicago house through a friend’s American imports in the late-80s, the Argentinean was formulating his own voice as a DJ before dance music was even a marketable commodity in most areas of the world.

from the standard DJ. There is very little discussion of his record label Sudbeat and he downplays any mention of his work as a producer – despite his career boasting releases on Renaissance, Bedrock, Perfecto and countless other respected labels.

“Yeah, that’s interesting. I think, before I even began DJing, I kind of had a sound in my head. I didn’t even know the name of it,” Cattaneo muses. “It was like – I liked German stuff like Kraftwerk, American stuff like Prince and British stuff like Depeche Mode. When I first heard house music, it was like it all kind of came together. “You know, it took the energy of all of the European stuff and the soul and emotion of the American stuff and it kind of combined them,” the DJ enthuses. “I’m still most interested in those two aspects of music. I think if you look at club music now, it’s still those two sides that kind of define how it sounds. That’s all it really was about for me when I started.” In actual fact, it feels like an over-simplification to place any Cattaneo’s work within any kind of specific category. In spite of his accomplishments, Cattaneo doesn’t really seem to possess any agenda as an artist outside of providing an enjoyable experience for the audience. Concepts of genre, public persona and media profile don’t really seem to be a concern for the DJ. “I didn’t really start this with the idea of being some huge DJ who toured the world. I actually feel very lucky that I get to do this for a living,” he explains. “You have to remember, when I started in Argentina, there were no successful DJs. There were no superstar international kind of people that had gone before me. If we knew the name of a DJ, it was because he was a local.” In conversation, Cattaneo tends to shy away from discussing anything that would differentiate him

“It’s something that I think about a lot,” the DJ muses. “Because I know that I obviously can’t keep partying around the world forever. I mean, it’s always been hard work but, as I get older and become more of a family man, it just doesn’t become realistic. I know, eventually, I’ll probably have to look towards composing for film or producing for other artists and that sort of stuff – but that actually excites me a lot as well.” Really, Cattaneo doesn’t fit under any particular banner because his interest in his work is so simple. He merely wants to provide exciting musical experiences for people to share and enjoy. It may sound trite but, in all honesty, it seems to be the only concern the DJ really has about his entire career. In spite of all of his accomplishments, Cattaneo views himself as little more than a servant of the dancefloor. “It’s funny. I remember when I first discovered this music, I used to drag people back to my house and play them records I’d got. I just wanted to share this music with other people,” the DJ reflects with a laugh. “I was so amazed when I started to discover that other people liked the parts that I liked and thought the same things I did. It really blew my mind, you know? “I just think it’s kind of funny. Years later, I’m still pretty much doing the same thing. The crowds are a lot bigger and you’re working with a kind of much bigger collection of sounds but that’s all it comes down to, really – I just love hearing a piece of music and wondering if people are going to like it or imagining what it will do on the dance floor and watching what happens when I finally play it. It’s just so exciting!”

WHO: Hernan Cattaneo WHERE & WHEN: Barsoma Sunday Oct 30 (sunset set)


For his new project THE HORRIBLE CROWES The Gaslight Anthem’s frontman BRIAN FALLON embraced the quieter things in life and sought a more atmospheric sound. He tells STEVE BELL about turning your back on expectation and just following your muse.


or years The Gaslight Anthem’s frontman and songwriter Brian Fallon has made no bones about his admiration for New Jersey neighbour Bruce Springsteen. His band has long incorporated Springsteen’s Jersey Shore sound into their punk rock hybrid – although they’re hardly beholden, owing as much to The Clash and The Replacements as they do to The Boss – and they’ve even had the opportunity to play with their idol, both as support and onstage, Springsteen joining them at Glastonbury a few years back for a run through their The ’59 Sound. So when Fallon decided to take an excursion away from his day job and record a quieter, more atmospheric project with long-term guitar tech Ian Perkins, you’d have assumed he would have taken a lot of courage from Springsteen’s acclaimed 1982 album Nebraska, itself a trip away from his big band sound into more acoustic terrain, the album puzzling people at first but eventually being accepted as a high water mark on Springsteen’s inimitable canon. But you’d have been wrong... “I don’t like that record,” Fallon admits somewhat tersely. “I don’t like it. I like that song Atlantic City but that’s it. Everybody loves that record, but I hate it, I don’t know why. I don’t even think I’ve listened to Nebraska all of the way through. I think I did once, and then was like, ‘This is boring, I’m out of here!’ I don’t like it, and I tell him that too. I’ll be, like, ‘Yo Bruce, I think you’re pretty rad, but there’s a few missteps in the old track record’.” What you’d give to be a fly on the wall during that conversation. It matters little though, because for his new project The Horrible Crowes and their debut album Elsie, Fallon and Perkins look towards a whole different set of inspirations, looking towards darker and more moody contemporaries such as Greg Dulli (specifically The Afghan Whigs), Tom Waits and PJ Harvey for a new direction, one miles removed from the arena-punk of their day job. “I knew exactly what we were going for before I did it,” Fallon recalls. “That kind of stuff has been sitting there for so long that I just wanted to do it. I loved The Afghan Whigs before I loved The Clash – they were such an early inspiration for me. I just kind of by accident happened to stumble upon them – I heard that song Gentlemen on MTV really early, and all my friends were, like, ‘This is stupid’, and I was, like, ‘No this isn’t stupid, it’s epic!’ Then I went out and bought all of their records – the

now I came back strong for Elsie, and then I continued writing so I have ten songs in the bag for the new Gaslight Anthem record, and it feels pretty good. Although we’re not going to be recording them until the winter.” Did Fallon have to change his mindset much writing for The Horrible Crowes – is it difficult reaching for the atmospheric instead of the powerful?

old ones and the new ones. I was stunned – I thought they were the best band in the world and nobody knew about them. So it’s been sitting around for a long time that I really wanted to do something like that.” Often when frontmen from a rock outfit head off on a tangent one of the triggers is a batch of songs that they felt didn’t fit their band, but Fallon explains that all of the songs on Elsie were written specifically for the project. “This was all new stuff, written just for this record, we started from scratch,” he continues. “Usually I don’t have many songs laying around – now I do, but before I didn’t. I don’t know, when you’re setting out as a writer, in the beginning you tend to only write when you have a record to write for, and that’s not really that good, because then you’re not writing in that whole interim – for two years or whatever between records – and then you have to start all over again and you end up with writer’s block, and you have to start from scratch. “It’s like if you were a boxer and you only trained during your matches and then never trained when you were off, you would just get pummelled in your first couple of matches back, which is what happened to me last time. So for [2010 The Gaslight Anthem album] American Slang I was like Rocky in Rocky III when I should have been like Mr T, and then I got beat up really bad. But

“If you have your mind focused on what you’re doing at that specific time, I think it’s okay,” he ponders. “You don’t write at the same time for both things – if I’m writing for the Crowes it’s one mindset, and you almost become a character. You finish that thought before you go and do The Gaslight Anthem. But musically I always wanted to do a record that was slower and quieter, so it wasn’t hard to do that – it wasn’t like, ‘Oh, I want to put a big chorus here!’, it was more, like, ‘I don’t need to put a big chorus here because I really don’t want to’. It was a little bit easier, it wasn’t really so much like training, whereas now I’m having to train myself to go back the other way to the big choruses. But I’m starting to realise that that’s okay – you don’t have to have a chorus if you don’t want to. You can just be free and be creative and people will like it, I think, because they like what I did on this record, and on this record there was no rules.” Fallon is adamant his experience writing more atmospheric music will flow on into future Gaslight Anthem material. “Yeah, I think it will,” he posits. “I got the chance to do some things that perhaps I was too afraid to do with The Gaslight Anthem – and some things you just wouldn’t do with The Gaslight Anthem – but now people are saying things like, ‘Oh, well Behold The Hurricane, I think that could have been a Gaslight Anthem song’, and I’m, like, ‘Yeah well that’s awesome, I didn’t know that then!’ I was, like, ‘Ah, Behold The Hurricane, it’s too slow, it can’t be a Gaslight Anthem song’, but then people were saying it could be, which expanded my mind about what a Gaslight Anthem song has the potential to be. So look out, because I’m going to get weird!”

WHO: The Horrible Crowes WHAT: Elsie (SideOneDummy/Shock)

END OF THE TRAIL “Some audiences are better singers,” THE NATIONAL’s guitarist SCOTT DEVENDORF tells ADAM CURLEY as the Brooklyn band prepare to wrap up their exhaustive High Violet world tour with another Australian visit.


t would be insensitive to call it even a bittersweet turn, but it’s no unhappy outcome for Australia that we’ll be visited by The National for a second time this year due to a rescheduling of shows in Japan. The Brooklyn-based band were here to play at Sunset Sounds and The Falls and Southbound festivals last summer and were due for appearances in Japan before the March earthquakes and tsunami struck. Now, with the flight from the States too long to justify touring only one country, they’re on their way back to join the esteemed line-ups of the Harvest and Gathering shindigs and headline shows in Perth and Adelaide.

The gigs will also be the group’s final international appearances in support of their dense, hi-fi fifth album, High Violet, which has had them globetrotting for the past 18 months. A short tour of the US will wrap things up officially before some time off over the American winter, but it’s not too early for bassist and guitarist Scott Devendorf (who makes up one-half of one of the two sets of brothers in the band) to be reminiscing about some of the odd places they’ve found themselves during their High Violet road tenure. “We played a lot of heavy rock festivals in Europe,” he says with a short laugh and a sigh. “In summer we played a couple of German festivals with… ah, I’m trying to think – The Mighty Mighty Bosstones were playing. Quite a pairing.” He laughs more openly this time. “They were great, actually, it’s just that playing festivals sometimes, it’s such a strange combination of bands and it doesn’t make any sense at all. We didn’t play anything crazy like the metal festivals or anything. They would not book us for those.”

“There has been some talk,” Devendorf responds. “I mean, I don’t know what kind of time frame… We’re at an interesting point because we’re kind of at the point where we’re about to disappear off the radar for a bit. I don’t know. I mean, we’ve been asked if we’d be interested in doing some support for vote-registration campaigning and we said we wouldn’t want anything more. We’re definitely up for doing, you know, we’ve done [vote registration campaigns] Rock The Vote and HeadCount in the past. “If he asked us we’d be interested, but we’ll see how it goes. We’ll see if he asks us.”

WHO: The National WHEN & WHERE: Harvest

Festival, Brisbane Riverstage and Botanical Gardens Saturday Nov 19

It’s hard to imagine a festival that wouldn’t welcome The National to its bill right now. Following international exposure from their support of Barack Obama’s 2008 presidential campaign, High Violet launched the band’s partnership with 4AD (after it merged with their former label Beggars Banquet) and found widespread radio play for singles Bloodbuzz Ohio and Conversation 16. They played Later… With Jools Holland and The Late Show With David Letterman, then backed Obama live once again after his mid-term address in Wisconsin last year. It’s fairly safe to call them one of rock’s biggest recent success stories. That they can be so many things to so many people – inspirational political soundtrackers, rock festival drawcards and, on record, sometime maudlin balladeers – is testament to the increasing prowess of The National, who formed after Scott Devendorf met singer Matt Berninger at university in Cincinnati in 1991. At their best, however, they’re all three at once, which was seen at those January Australian theatre gigs. Ending their sets with a rallying, acoustic rendition of High Violet closer Vanderlyle Crybaby Geeks, with Berninger going sans mic and coaxing the audiences into a singalong, they were memorable and rousing live moments.

“There’s an interesting chance for everyone to work together more in the studio and not be so collage- and sketch-oriented and be a little more productive with the writing process.” “We have done that for a lot of shows,” Devendorf tells when asked if that closing moment is a staple of their live sets. “We didn’t do that a lot over the summer because we were playing festivals and that’s kind of hard to translate into the moshy feel sometimes. But we’ve been trying to [close with] that because it’s enjoyable for us and it’s kind of different to the sonic assault that is the record. “Some audiences are better singers,” he continues, laughing again. “Some are more familiar with the song, too. It’s interesting to play because sometimes it does work better than others. Sometimes it’s just like… people are generally either very quiet or are very loud and sing along. Sometimes, occasionally, there’ll be some jerk who’ll shout stuff in between [the vocals], which is always hilariously distracting.” Generally, he says, their current live set is a half-and-half mix of High Violet tracks and older material, primarily songs from 2007’s Boxer and their 2001 self-titled debut. “We try to expand the set [beyond High Violet] a bit. I think as we play more and more shows, too, people ask a bit for the older songs, so we try and comply. Sometimes we feel like, ‘Okay, we’ve included the songs people want to hear,’ and then somehow we miss the one that people are yelling out for. It’s like, ‘Argh, we played that last night!’ or whatever.” Australian keys player Padma Newsome, who was once a regular touring member of the band but sat out the last local tour, will again not be joining them here this time around. Devendorf gives a diplomatic “there’s always potential” response to the question of Newsome’s future involvement, going on to suggest that the touring life perhaps didn’t agree with their Australian connection. As for writing for the next album, Devendorf points to the beginning of the new year as the most likely time when work will begin – or, as he puts it, they’ll start “bashing out some sketches”. The band’s workshop-heavy writing process certainly doesn’t lend itself to fast album turnarounds, though Devendorf says they’ll be trying to amend that process with their sixth record. “I think next time, if anything, we’re going to try to adjust the process a little bit and try and work more together,” he says. “Things do tend to get a little abstract for a while in that initial [period] of writing and I think it becomes a little… it just takes a long time. It gets frustrating for us, I think, because we spend a lot of time working on everything early on. There’s an interesting chance, I think, for everyone to work together a little bit more in the studio [for the next record] and not be so collage- and sketch-oriented and maybe be a little more productive with the writing process.” Of course, 2012 will also welcome (and we use the term loosely) more presidential campaigning in the States. Will The National again be onboard the Obama train?


SUCCINCT OR SWIM A founding member of Jurassic 5 and Ozomatli, hip hop veteran CHALI 2NA (born CHARLES STEWART) enlightens CARLIN BEATTIE on his career. Today recognised by his music and sound, Stewart is releasing his work as an identification process – as a story and a key to the life and career of Chali 2na. Discussing his debut, 2009 solo release Fish Outta Water; Stewart connects the dots through the thesis of his works to now.


MATT COLLYER from Canada’s kings of ska THE PLANET SMASHERS fills in the blanks with CHRIS YATES regarding the band’s first tour of Australia, and talks about his curiosity to see which of the tall tales about Australia he has been fed over the years are in fact true. Australian ska fans are a ridiculously dedicated bunch, relentlessly supporting their favourite groups as the genre falls in and out of the public consciousness, as all genres tend to do from time to time. Collyer says that Canadian fans are bred from the same cloth.

“Fish Outta Water was designed to show the different facets of who I am as a person, more so than just the Verbal Herbal Master that you see. A lot of people knew me from Jurassic 5 and knew that I was ‘the deep voice guy’, ‘the tall guy’, ‘the blah, blah, blah’… They didn’t know that I was a person. So I wanted to show that. Before then, Fish Market [2004] was kind of like retail – a mass quantity of things that are high quality that I have to display to the people. Basically it said, ‘Let’s have some fun chilling with 2na.’


t the moment I’m in Los Angeles, doing domestic shit,” Charles Stewart declares through a low rumble. His words resonate in their iconic timbre before being cut short by the artist’s laughter. An assuredly facetious remark from the artist known as Chali 2na, given the weight he rests on family and family life. “I’m a very family-oriented person,” Stewart states. “I put God first, family second and all of the other things at the side third. All this expression of music and everything has been a blessing, but it’s not the be all and end all to who I am. My family keeps me going. They keep me wanting to challenge myself, from an artist’s perspective. It’s a beautiful thing.” Since childhood, a pursuit of the arts has been Stewart’s singular professional aspiration, however it was the visual arts and culture of the underground hip hop scene that first seized his interest. “Art was always my mission,” the man affirms. “I always wanted to be some kind of artist. When I was in elementary school I was, like, ‘I’m going to grow up and be a famous artist… somehow,’ but I perceived this to be from the visual art perspective. I stumbled onto music. It was like the visual art was my wife and the music was my mistress – and my mistress got pregnant.”

“Recently I’ve been working on a project that I’ve tentatively called Against The Current. It’s a five-piece – five EPs that are put together and let out over the course of the year to make up one big project. It’ll be five different aspects of who I am. The first component will be a piece of the other ones, to show you what’s happening. The next four will be one electronic, one will be really organic sounding (as far as live instrumentation), one will be Caribbean-based and one will be straight hip hop based. I’ve been diligently working on that and chiseling at it for the past year. You’ll start hearing songs from it by the end of this year. But it definitely is a 2012 release.” With the weight of experience behind him, Stewart reflects on his past and the direction it points him now. “I don’t regret anything,” he stresses. “I’m happy that I was chosen to be a part of [the industry] and that people will look up to me as an O.G. in this game. I was able to watch hip hop escape from New York – like Kurt Russell, so to speak. I’m not an extremely commercially successful cat when it comes to selling records and being out there. But, one thing I have that a lot of these candy rapper dudes don’t have is longevity. I’ve been around for more than 20 years – and that, to me says a lot. It says more than enough. I just want to discover how far I can take this.”

WHO: Chali 2na WHERE & WHEN: Island Vibe Festival,

North Stradbroke Island Sunday Oct 30, The Hi-Fi Friday Dec 9


Although his career is firmly rooted in music, NICKY BOMBA, master of ceremonies for the ISLAND VIBE ALL SKA JAM, certainly makes a good case for tourism and events spokesperson of Island Vibe. He applies his pitch to BENNY DOYLE.


like to call it Minjerribah, that’s its Indigenous name, I don’t really know Stradbroke?” he states with wry irony on his past experiences at the festival location. “It’s a beautiful island; it’s got Myora Springs and every time I go I feel like I have to rebaptise myself in the springs on the way. But it’s just glorious really because everything is walking distance, y’know? It’s got its own ecosystem, its own vibe, because it’s away from the mainland it hasn’t had [man’s footprint], it’s got something special about it – something raw. And beautiful beaches y’know, it’s very wild. You’ve just got to have a bit of respect for nature there because as pristine and as beautiful as it can be y’know, it can also be dangerous and I like that, I like feeling the rawness of nature. And reggae music and beaches and the colours – it all goes hand in hand.” Although he’s on a well-deserved break after a busy 12 months as drummer for John Butler Trio, Nicky Bomba is still perpetually driven towards his music through one outlet or another. Under the banner of the Island Vibe All Skas, Bomba will be making sure the weekend has the celebratory send-off deserving of such a beautiful part of the world. Last time he was a part of Island Vibe was in 2009 but as chief conductor of the Melbourne Ska



’m a virgin, it’s my first time,” Matt says excitedly from his office in Montreal at Stomp Records, where he spends his daytime hours running the label he founded in 1994. “Honestly I don’t know what to expect. I’m really excited, the entire band is. It’s a first for everyone. Obviously through the years we’ve played with quite a few different Australian bands, and they always tell us different things (laughs). Our stereotypes are numerous and probably very wrong. It should be really fun.” After it’s suggested that maybe everything he has heard is true, he adds that some of the (mis-)information has been gleaned from those fine purveyors of Australian-ness, The Porkers. This could explain a lot... “Through the years we’ve played a lot of shows together. I actually saw The Porkers ages ago on a Warped tour back in the 90s I think, is that even possible?” he puzzles. “Anyway it was one of the first ones. Lately the band I know the most is [Melbourne group] The Resignators. They’ve been over to Canada three times and we’ve played with them a few times, as recently as July this year. It’ll be fun to see those guys again and actually go on the road with them. They’ve really put this tour together, they’re facilitating all our backline and all our travel, hooking us up with a place to crash in Melbourne – it’s pretty cool!”

“I think it’s just innately a reflection of the musical form itself,” he says candidly of the fans’ unwavering dedication to ska. “It’s about having a good time, it’s about having fun. You go to a ska gig and you’re bound to dance and sweat more than you would at any other sort of show. There’s a certain amount of entertainment value that people just know they can tap into when they go to see ska bands. It’s a pretty accessible form of music as well. There’s no crazy time-count changes or anything like that. I think that people who are into ska music are relatively open-minded people and they just want to party.” Descent Into The Valley Of The Planet Smashers is the band’s first recording in over fi ve years – quite a long break compared to the approximately two year gaps for their other records. Collyer says that the time off gave them an enthusiasm to get back in there and smash it up all over again. “We took a break after 2007,” he explains. “We just slowed down and went our own ways for a couple of years. In 2009 we started playing again, and about this time last year our drummer [Tim Doyle] said, ‘Alright! It’s time!’ Let’s do a new record!’ We never actually broke up, it was more of just a pause. We toured our asses off from 2001 to 2007 and it takes its toll after a while. It wasn’t like work this time, everyone was like, ‘This is awesome to get to do it again!’ It’s kind of like that old photo album that you haven’t looked at in a while, and re-living it. It was all just the good stuff, there was none of the stress, none of that stuff that for whatever reason drives you crazy.”

WHO: The Planet Smashers WHAT: Decent Into The Valley Of The Planet Smashers (Care Factor/MGM)


Jubilee Hotel Thursday Oct 27

HAPPY ACCIDENTS SEAN AINSWORTH of Melbourne garage rock slayers THE FEARLESS VAMPIRE KILLERS tells CHRIS YATES that the origin of the band’s album title, Batmania, has little to do with a certain caped crusader and a lot more to do with local history.

Orchestra, he has no problem in leading his band of merry musicians, no matter who they are or where they are from.

a rehearsal room and then called in some big guns to pull the whole thing together.

“It just flows and it’s very communal,” he observes. “It’s about creating that kind of unified feeling with the audience and the band. It’s not about me saying, ‘Hear my songs, buy my album’. It’s really about creating this circle of energy between the audience and the band, where everything is happening before our eyes and anything could happen. And I think at that type of festival [Island Vibe], musicians are very giving, everyone is, like, ‘Yeah no worries, I’d love to do that and help out’, y’know? I’ve never really come across anybody who goes, ‘Oh, how much do I get?’, they all love to be involved. But especially towards the end of the night of the festival, it’s like a finale, a celebration of the weekend – that’s a good thing.”

“The mixing also took a long time,” he continues. “We had to send the record over to America via the internet, because we got Lars [Stalford] from The Mars Volta to mix it and he was really good, but it was hard because we were a long way away from it at the time.”

Thirty years into his career and Bomba’s performing schedule is more packed than ever before. It’s an incredibly fortunate position to be in but it poses the questions – when does it all stop for Nicky Bomba? Is there an end to his musical timeline? With nothing but warmth in his voice, the musician explains that with the right balance, the Bomba train will continue rolling on into the sunset. “Having hours of the day where I’m being creative, having hours of the day where I work, having hours of the day where it’s just serenity, and then each day is just a universe within itself,” he states of his current mantra. “Recently when I was touring with John [Butler], every day was just a whole new approach and a whole new cleansing type of thing. It was refreshed everyday and that’s important. I’d enjoy a daily ceremony to bless the day. I’ll rub a little bit of sage and ring some bells – it only takes five minutes – but it’s a really beautiful way of saying, ‘Glad to be alive, glad to be living where I’m living now and glad to be making music’, and just an appreciation of that is amazing.”

WHO: Nicky Bomba and the Island Vibe All Skas WHERE & WHEN: Island Vibe Festival, North Stradbroke Island Sunday Oct 30

Ainsworth says that they wanted to hand over the mixing to someone else, not just to get a wellknown name in the credits but also to try a different approach than they did with their first EP.


ur guitarist [Al Marx] knows a lot of facts about everything, and one day he just told us that Melbourne used to be called Batmania, and suggested we call the album that. I liked it, and it’s kinda cool because it’s about Melbourne, and we’re from Melbourne, and also the Vampire Killer thing you know? It just fitted in nicely with everything. John Batman discovered Melbourne, well there was nothing here then but still. There’s a Batman station and a Batman bridge – it’s all still there.” The band spent a lot longer recording their album than they expected it to, but Ainsworth said it was kind of accidental that the project turned into an album at all. “Originally we were just going to record all the songs we had at that time,” he says. “We weren’t really planning on doing an album, it just kind of happened because the recordings turned out really well, so we thought we should release them all. Being an independent band we had our own little speed bumps along the way – it took a lot longer to finish than we thought it would, and money always gets in the way as well. We got the main tracks down in about three days, just knocked them out, it was the overdubs and all the tiny little things that took a long time.” To keep the recording costs to a minimum, they put down all the basic tracks for the record in

“Yeah, we did our EP solely by ourselves, and it took for-fucking-ever. Everyone’s opinions get in the way and they fight over the mouse,” he laughs. “I just wanted to give it to someone who knew what they were doing – a professional who knew the program off by heart and knew how to get the right sounds. Give it to him to do the hard work and we could just influence him and tell him how we wanted it to go. It was a lot better, but I think next time we make a record we want to be there in the mixing room while he does it. It was a bit painful going back and forth trying to explain in words what we wanted from the sound.” One of the unexpected perks to getting Stalford to mix the record was that The Fearless Vampire Killers were invited to support The Mars Volta last time they came to Australia. Sean confirms that despite Stalford’s impressive track record, the real reason they wanted him to do the mixing was because of his genuine enthusiasm for the band. “We did it [with him] was because really, he was the only one who was really enthusiastic about mixing the record. We gave it to some people in Melbourne and some other parts of the world but Lars’ mix was just really on the money. You always get better results from someone who’s really enthusiastic and wants to do it.”

WHO: The Fearless Vampire Killers WHAT: Batmania (Shock) WHERE & WHEN: Old Museum

Thursday Oct 27 (supporting Lanie Lane)


LIFE IN THE FAST LANE SPREADING WINGS In the past five years, LEE MORTIMER – aka ‘Sawtooth Suckah’ – has morphed from fledgling producer to a rising star. Ahead of his latest Australian tour, MATT O’NEILL speaks to the UK DJ about his rapid ascent.

In the midst of their Sunny Day tour to celebrate the release of new EP Wings, THE BLOODPOETS’ frontman TOM MURPHY takes some time out to teach TYLER McLOUGHLAN a lesson on how looks can be very deceiving.

contracts and uploading files for download sites. I started it back in 2007 I think. It was originally a vehicle to release my own tunes and spiralled from there. I just want to keep putting out music I love and leave a bit of a legacy. When I’m not working on the label I’m producing or remixing.”

struck me as: ‘stop being a posing wanker and write what you feel!’ And that stops us in the industry – people say we don’t network well and that we should be achieving more but it’s just because I don’t like to be a posing fuckwit. I don’t hang out at all the cool spots all the time or I don’t try to write a song that will match the industry. I just do what I do and if people like it, that’s great,” says the frank songwriter.

Yet, a little over five years ago, Lee Mortimer (or Sawtooth Suckah, as he has also been known) was practically anonymous. Originally boasting little more production experience than tinkering around with a Commodore 64, Mortimer didn’t begin to approach his dance music career seriously until around 2005 – and, even then, didn’t truly break through to the broader consciousness until his 2009 collaboration with Laidback Luke, Blau!. “2005 probably is about right. Before that I did play around on a Commodore Amiga but it was just basic stuff like playing with loops and old rave samples,” the DJ says of his origins. “It definitely got me excited about making music though. I just wanted to have a tune signed to a label! Once that happened I just wanted it again and again. I still work one step at a time. I feel I’ve done alright for myself but you’ve got to keep pushing for more. There are always bigger things to do.”


ee Mortimer is currently something of a ubiquitous figure within dance music. As a DJ, his sets have graced clubs from Singapore to London – including a monthly residency with Ministry of Sound in the latter. His work as a producer has been endorsed by such high profile players as Claude VonStroke, Plump DJs and Tiesto while his skills as a remix artist have decorated releases from acts as mainstream as Franz Ferdinand and The Futureheads. In addition to all of this, meanwhile, Mortimer has also been responsible for one of the most celebrated artist-run labels of recent years. Boasting releases from such names as Andy George and Foamo – not to mention the endorsement of electro-house kingpin Laurent Garnier – Mortimer’s Wearhouse Music imprint has been the final guarantee that the UK DJ’s name be tattooed across every aspect of the dance music community for the foreseeable future. “I do have the most fun DJing I think,” Mortimer says of his various roles. “The label takes up a lot of time and I guess has the most elements that can be boring like sorting


It’s a genuinely meteoric rise by anyone’s standards – but it’s particularly remarkable given Mortimer’s considerable idiosyncrasy as a producer. The DJ’s productions tend to draw from such a wide array of influences as to make categorisation both lazy and problematic – but still recognition follows Mortimer’s work. His latest release, for example, My Body/Yes showcases elements of hip hop, electro, house and breaks but has already been endorsed by Drop The Lime and Diplo. “I think a lot of people would be able to hear a track of mine and know I made it. Basslines obviously are a big feature in my tunes,” Mortimer says of his work. “Innovation to me just means being original. So many tracks now are almost carbon copies of the last big hit. One big tune spawns 20 similar copies. You’re better off not listening to other tunes and just make what you feel like. If you’re good enough and original enough then your tunes should get heard.”

WHO: Lee Mortimer WHERE & WHEN:

Family Saturday Oct 29

Following 2009’s debut longplayer Polarity, new EP Wings highlights another interesting contradiction for The Bloodpoets.


or those unfamiliar with The Bloodpoets, you’d be forgiven for assuming the Brisbane four-piece to be a bunch of death metal knuckleheads given a name that lends itself to hardcore affiliation. And their current promo shot does nothing to dissuade the imagination from thinking the four faux blood-soaked bandmates have just had a party where beer chugging is out and drinking the blood of small woodland creatures is in. Though as the group’s vocalist and guitarist Tom Murphy explains, no animals were harmed in the making of The Bloodpoets. “It’s really simple and people always ask that question!” laughs Murphy when probed on the choice of the band name. I started the name just playing acoustic with my brother, John. Because he’s my brother, he’s blood and because we’re songwriters, we’re poets. People respond to it differently – ‘It’s obvious you’re not speed metal or a goth band so why’d the fuck do you call yourselves The Bloodpoets?’ For other people it’s the perfect title.” With brother John no longer in the musical picture, Murphy carried on the name to create a band of rock persuasion on the pop spectrum rather than the metal one. “I don’t like the idea of The Bloodpoets writing songs about hate. I like to the think the concept is now of writing in blood, writing your convictions and being definite about what you’re saying and making sure what you do write is going to be your core. Inadvertently it

“We named it Polarity because the songs were just opposites; we moved from one style to another, heavy and fast. Wings – it just felt so light and the feel was very broad,” says Murphy, highlighting the change of style with the incredibly bright, brass-infused romp of key EP track Sunny Day. “Wings the song itself was the catalyst of it – it really started everything off,” he says of the track that has been sitting on the backburner after not fitting into the scope of their debut album. “Polarity was all about energy and speed and aggression and beauty and it didn’t have something that could be as melodic and soundscape-y and as wall of sound-y as Wings. So we just held it off a little bit.” Following the Sunny Day tour that takes The Bloodpoets as far south as Launceston, Murphy is plagued with the problem of writing material that doesn’t quite fit neatly into the band’s current output. “I’ve written my best song ever! I wonder if it’s the best song I’ll ever write?” Murphy ponders excitedly. “I’ve written it and it’s ready to go and people won’t believe it came from us. It goes for a minute-and-a-half and it’s basically just screaming my head off but it’s just so fucking catchy, it’s great. I’m absolutely champing at the bit to start recording the next album which will begin in December, so that song will be the first song we look at.”

WHO: The Bloodpoets WHAT: Wings (Independent) WHERE & WHEN: Beetle Bar Saturday Oct 29






(Ed Banger/Warner)

(Royal Stable/Spunk/EMI)


Audio Video Disco

JAMES BLAKE Enough Thunder (Universal Republic)

It wasn’t enough that Blake shocked everyone at the start of the year by branching out from his experimental, minimalist dubstep roots and made a record of ‘actual songs’ with his heavily-effected voice at the centre. He then had to go and confuse all those new fans with the Order/Pan release – a return to the style of his earlier work. Now before the year is out he’s back with another EP of tracks that echo the work of his self-titled album, while still exploring new territory using a palette of not very much at all. Opening with Once We All Agree, a track with no beats whatsoever, Blake works the space between the tracks again, before filling in some of those spaces ever so slightly on We Might Feel Unsound. The biggest leap on here is the cover of Joni Mitchell’s A Case Of You, which he keeps as a straight-up piano ballad. Enough Thunder reaffirms Blake’s ability to experiment and still make his weirdness totally accessible.


I Wanna Dance With Somebody (EMI)

Canadian crown wearers These Kids Wear Crowns have made the bizarre decision to cover Whitney’s pre-crackhead bubblegum number I Wanna Dance With Somebody, and the end result is incredibly stupid. If it was the Bloodhound Gang, then it would be kind of funny, but they treat the laughable subject matter with a seriousness it does not deserve, stripping the original of whatever small amount of soul it had and running the whole thing through a computer which has a ‘tasteless 90s electro’ preset. It’s depressing to think we live in a world where this sort of thing can still be possible. Oh the humanity etc.

It’s a completely different electronic music scene today to the one that saw the release of Justice’s debut album in 2007. Electro only needed one major hit to throw it to the masses and Justice did that with the Simian remix We Are Your Friends, and their album, †, cemented them as the Greatest Electronic Act of the 2000sTM. With Audio Video Disco, the French duo has largely kept to the same formula: 70s disco strings, huge orchestral hits, large doses of distortion, echoes of Goblin and catchy-as-fuck riffs. If their debut was a disco-driven space opera ripping apart its retro influences and samples, Audio Video Disco goes beyond the infinite spanning millennia, all the way back to the dawn of man and into not-yet-imagined future. Where Justice stood alone in 2007, in 2011 there are shades of their peers throughout the record – in particular SebastiAn and Kavinsky. No more is this apparent than with the album’s opening track, Horsepower – an overture of the coming 40 minutes, which contains the best riff of the album, sounding something like Daft Punk’s Derezzed. Indeed, if Space Invaders were to be adapted into a film, this is the song you’d expect to hear over its epic battle sequence. As for drops, none come better than on Canon, which slam dunks into the funkiest four minutes of the album, while Parade draws on Queen, Justice delivering on the implied message that they will – and how! – rock you. Audio Video Disco layers on stratospheric levels of atmosphere, funk and Italo disco, largely shying away from the floorbelters that made † the club behemoth it was. Showing no sign of mellowing or selling out, Justice has returned with the biggest and boldest album of the year. ★★★★

Wolfroy Goes To Town

You Can Listen, You Can Talk

There is no holding back Will Oldham. The inimitable antifolk sage releases so many EPs, singles, collaborations and incarnations of his craft that it is very difficult to keep tabs on what – or indeed who – he is at any given time. Yet as Bonnie Prince Billie, Oldham rarely changes the form beyond the staple rustic folk rambler armed with an acoustic guitar and a dusty, empty room with which to play it. On latest album Wolfroy Goes To Town, the M.O. remains intact, yet Oldham has pulled some likeminded alums in to colour in the edges, with surprising results.

Singer/guitarist for Carsick Cars, Zhang Shouwang, seemed to be using the first Carsick Cars album from 2007 as a vehicle to take his experimental soundscapes and twist and shape them into what could loosely be described as pop songs. Very loosely maybe – there’s still plenty of moments where sonic freakouts override the hooks and bits where the band get carried away on their own momentum and turn into some kind of juggernaut. But the whole thing sounded, for want of a better description, double-happy.

The most notable change is the hushed harmonies provided by noted songstress Angel Olsen, her soft vocals acting as a hunting, ethereal counterpoint for Oldham’s rustic compositions. New Whaling is the earliest indication of this magical partnership, Olsen’s voice whispering underneath Oldham’s like a spectral afterthought. Elsewhere, Quail And Dumplings plays more like a random jam session that breaks into something more boisterous, and Cows stretches out its climax into a drifting coda that evokes Low in its hushed resonance. New Tibet and Quail And Dumplings both employ the word “fuck” for very different reasons – the former as a shock that underscores the wistful, weary nature of the narrator; the latter to highlight the ramped passion inherent in the narrator’s impoverished situation – and rather than offer coarseness add resounding depths hitherto untapped.

There’s a darkness that lurks below the still somewhat shiny surface of You Can Listen, You Can Talk, even if it takes a while to reveal itself. With producer Wharton Tiers involved, Shouwang has been able to further indulge his obvious reverence for Sonic Youth and while this is an easy reference point, it’s when his own musical voice develops on this that things get very interesting. The second track Dear Friend builds up from a very simple and very pop bassline, with more and more guitars layering over the top making a patchwork of criss-crossing melodies with Shouwang weaving his vocals effortlessly through the gaps.

Oldham is an astute, wily lyricist, and despite his multitude of personas never loses sight that it is this that is his strength. Wolfroy Goes To Town may not waver from the chosen path, but it certainly helps build other trajectories for Oldham to traverse in the future. ★★★★ Brendan Telford

Daniel Crichton-Rouse

The third track (whose Chinese character translates to Hope according to Google) uses a backwards guitar as a driving force for the melody of the song, and although it’s not the only time this technique is used (it’s almost omnipresent on the album actually) it’s particularly effective in this case. Shouwang delivers his vocals in the style of another of his heroes on Invisible Love – he captures the essence of Lou Reed’s lyrical style while avoiding coming across as an imitator. The whole record is a document of the evolution Carsick Cars have undergone since their debut, and it’s more developed, sophisticated and satisfying from every angle. ★★★★ Chris Yates


Sleep With The Fishes



From their self-titled debut EP Brisbane’s Velociraptor are back with another shot of straight-up garage rock without gimmicks or bells and whistles. A massive ensemble of folks who get together and smash out this grimy, messy good rock’n’roll, Velociraptor have done a good job of capturing a slightly ramshackle live sound on the EP, and with its chorus of backing vocals and stopstart jerkiness, Sleep With The Fishes is one of the standout tracks in the collection. There’s a depth and level of character to this band that suggests they have definitely dug deeper than the obvious modern influences and they’re clearly having a bunch of fun playing this stuff – it’s pretty much impossible to avoid having fun while listening.

RED HOT CHILI PEPPERS Monarchy Of Roses (Warner)

It’s 20 years since Blood Sugar Sex Magic – the Chili Willies have constantly dipped in and out of pop territory during that time as they try to work out what kind of band they should be. But this disco-light funk pop is really something else. It has a few weird breakdowns and there’s some almost distorted guitar thrown in on some of the randomly-pasted-together sections but the whole thing comes across as the kind of tragic disco that made people hate disco. I think they have a new guitarist again, and it’s weird how much this has always affected their sound, and how nothing they have done without John Frusicante has been any good at all really. Disastrous, even by their own patchy standards.




Following a seemingly flawless run of singles and EPs, Megan Washington’s middling 2010 debut album I Believe You, Liar – while tremendously successful both critically and commercially – couldn’t help but feel like something of an anti-climax. It just lacked a spark.

Mylo Xyloto

Following the pomp and grandeur of Viva La Vida, Coldplay’s fifth studio album opens with a dreamy, xylophone-laced, 43-second title track that feels like an inappropriately placed postscript, until it collides with Hurts Like Heaven, a ripping, quick-step mingle of intricate keys, snare smacks and The Edge-styled guitar licks in which Chris Martin sounds like he’s grinning; perhaps it’s the slight protest angle which has him “armed with the spray can soul” as the first point of reference to the album’s graffiti-styled artwork. It’s a WTF moment when Rihanna pops up on Princess Of China to trade lyrical clichés with Martin: “I could have been a princess, you’d be a king” – really? No doubt it will still become a commercial radio hit, though the electro stomp is intriguing because of the guidance of Sigur Rós’ Takk sample that introduces an undercurrent of Nordic tension. Along with the graffiti there is also talk of two protagonists Mylo and Xyloto who fall in love in the midst of a dystopian society. It’s heavy stuff, though the former influence is the most obvious – hell, Mylo Xyloto is Coldplay’s14-track graffiti project. A couple of vibrant signature pieces prove highlights (notably the double piano/guitar riff routine of Charlie Brown, and the Yeah Yeah Yeahs-like tension of Major Minus), whilst samples, guests (including Howling Bells’ Juanita Stein), atmospheric interludes and ‘Enoxification’ from Brian Eno run a thread between them. It’s a great idea in theory, though the risk is that you wind up with a whole wall of stuff to look at with no clear reference points for context. Mylo Xyloto is full of Coldplay’s trademark ambition, covering a spectrum of sound from unadorned keys and quirky synth, to out-and-out rock and frenzied electronica, though it’s quite a baffling listen in terms of sonic juxtaposition. Still, it’s by no stretch a dull listen. ★★★


Tyler McLoughlan


Insomnia – Washington’s pseudo-follow-up to Liar – is a more satisfying release. Supposedly conceived to stand outside of the Washington canon (as an extension of some mysterious side-project the singer is working on behind the scenes), Insomnia does what Liar should have – it surprises. The sound is still identifiably that of Washington and her main collaborator (drummer/producer John Castle) but substantially more is done with it. It’s obvious from the opening one-two punch of singles Holy Moses and Plastic Bag (arguably her two best singles to date) but it isn’t until Skeleton Key that things actually start to get risky. A slow-burn built on a solitary cycling piano figure decorated by droning synths and mournful cello, Skeleton Key is a stylistic touchstone for the majority of the record in that it’s as much a work of texture as it is songcraft. It doesn’t even have a chorus. While mildly more digestible, subsequent numbers Public Pool, Letterbox and the especially brilliant Sentimental Education follow a similarly stripped-back and evocative theme. One does grow somewhat tired of the bittersweet atmosphere but there is ultimately enough viscera to maintain interest Surprisingly, Washington’s lyrics – Holy Moses and Plastic Bag exempted – are among her most brutal and vulnerable work to date. One does feel like she could push her talents a little further afield. Specifically, it would be interesting to hear her break away from the sound of John Castle. Still, for a record that is supposed to be an aside, Insomnia may be Washington’s most satisfying body of work to date. ★★★★ Matt O’Neill


Kinshasa One Two (Warp/Inertia)

With five days in the Democratic Republic of Congo, Damon Albarn challenged himself to record and produce an album in under one week. Alongside a collective of overseas producers (including T-E-E-D, Dan The Automator, Richard Russel and Actress), Albarn succeeded in his goal. The product of the aptly named DRC Music venture is Kinshasa One Two. Crucial to the album is Albarn and company’s collaboration with the Congolese musicians and performers invited to work on the project. Fusing Western production with both the traditional and contemporary sounds of the Congo, Kinshasa One Two provides a 14-track sonic gallery of constant creative energy. To an extent, DRC Music picks up where Albarn left off with his 2002 exploration of West African music: Mali Music. Supported by Oxfam, both endeavours feature the former Blur and Gorillaz frontman utilising local musical talent as tool to raise awareness and support for African artists. As a record, Kinshasa One Two offers an experience laden with crossover blends. Electro, funk, trip hop, ambient, jazz and pop grooves bubble throughout the album’s 51-minute spin – and while the vigour of the composition is relentless, the cohesion between the tracks can at times fall flat. With this said however, the fact may be that Albarn is creating a modern format for music production release, and with this a new listening experience; one in which the listener is yet to fully realise. The possibility of this notion becomes all the more apparent, as Kinshasa One Two is allowed to repeat and linger in the listener’s head, confirming the achievement of this collaborative creation. ★★★★

Carlin Beattie


(Truth Inc. Records)

The Gold Coast’s Lynchmada last offered new material in 2007, so clearly their second full-length To The Earth has been a long time coming. The five-piece have blended many influences, and rather than jumping across and converting to newer trends it seems Lynchmada has simply taken on board little bits and pieces from the general progression of popular metal (whether it be ‘nu’, ‘core’, or ‘thrash’) over the past decade and mixed them in with the foundations that the band formed above. Expertly mixed by American metal legend Zeuss, To The Earth is immediately huge and crisp, without any sacrifices in the realism department. While it’s undeniable that they’ve always loved Will Haven, the echoes of melodies from the Deftones can be found on the final track Relic, and their affinity for the heavier style of bands like Chimaira is apparent on Blackout. Slightly more modern styles show themselves in the form of Gothenburg-style riffs on Broken Bones, hints of Misery Signals-style technicality leave their mark on Throat Of Stone, and an almost Cult Of Lunainspired atmosphere has snuck into opener What Fresh Hell is This?. The band even explores their acoustic side with the truly chilling lamentations of City Of Lungs. Despite the above examples, it’s not like the band is simply playing to a different style on every different track. Whole and concentrated, the 51-minute and expertly crafted blend can be called the band’s own. Joel Harris’ unique, raptor-suggesting scream and undeniably stellar melodic control well-and-truly set the band apart from their peers, and every emotion on display is undeniably real. Nearly ten years on from their formation, and although with a vastly different line-up to their original incarnation, Lynchmada has finally released an album completely worthy of the hype they found themselves riding many years ago. ★★★★

Lochlan Watt


Everything Is Boring & Everyone Is A Fucking Liar (POD/Inertia)

Naeem Juwan, the MC, voice and face of Philadelphia’s Spank Rock, has aimed for the outer galaxy with Everything Is Boring & Everyone Is A Fucking Liar. The first Spank Rock record in five years, Juwan has moved away from the sole production support of XXXChange, enlisting a host of knob twiddlers including Mark Ronson and Savage Skulls. But this album lives and dies on the production work of Alexander Ridha, aka Boys Noize. The German DJ is the only thing here, apart from the Santigold syrup of killer single Car Song, that is really to be revelled in. His intricate background work is at such a degree of ‘next level shit’, you can almost pass over the lyrical and songwriting shortcomings of the album... almost. That’s not to say there isn’t some fun to be had on this sophomore release. The Dance is TV On The Radio railing MDMA whilst jamming on Dear Science material, #1 Hit is a squelching stomper, while the Henessey Youngman skit is full of gold one-liners like “...slow-grinding on some shortie and her arse look like a cupcake factory” and “Henessey, my little sister thinks your cute, I won’t be mad if you hit it”. Listen to the record on a crisp set of headphones and the album really comes to life; waves of synths, gunfire drum machines and all sorts of other morphing sonics twist and wrap themselves around the off-kilter rhymes. It’s doubtful whether Spank Rock is worth the hype that surrounds seemingly everything he does. But by aligning himself with a overtly talented cast, he is at least trying to make the most of his buzz while it’s still there. This album is brash and kinda stupid – but most guilty pleasures are. ★★★

Benny Doyle





Brisbane Dog House In this day and age of bands tied up in the fashion, style and temperament of a culture intensely dedicated to being considered hip, it can be a refreshing notion to immerse yourself in something that lurks at the opposite end of the cultural spectrum. Shrewms would never endeavour to be trend-setters, or indeed popular. But as can be witnessed from Brisbane Dog House, they can play kickarse gutter punk rock with enough rocket fuel to send a plethora of cardigan-kitted chin scratchers into the sun. Drawing influence from Australian thuggish punk icons such as Powder Monkeys and Cosmic Psychos, Brisbane Doghouse does its best to level any and all preconceptions to the ground. Gregor Mulvey hunkers behind the drum kit, his vocals ripping layers off his throat yet down with abject glee. It isn’t all balls to the wall – Naked Heart offers a bluesy, classic rock respite, but this four-piece is all about kicking out the jams. Wild And Loose and Kicking The Dog is the perfect one-two rasping punch to the eardrums, New Farmed Eskimo unashamedly kicks holes in the wall, and 2nd Best is revitalising in it rolling rhythms. Funnily enough, the weakest track on here is the sole cover, their rendition of Devo’s Mongoloid a perfunctory inclusion here, missing the vitality that the live show normally brings with it. Sure, there isn’t anything new on Brisbane Dog House, but that isn’t what Shrewms are attempting to replicate. Shrewms is a band all about kicking arse and taking names, and on this debut longplayer they do exactly that. ★★★½

Brendan Telford


It’s been a fine year for local releases, and Dreamtime is adding to the stellar collection. The trio – Tara Wardrop, Catherine Maddin and Zac Anderson – create jam-based rambles through the sonic ether, and Dreamtime perfectly captures that exciting process in its entirety. Bermuda is a coalescing cesspit of swirling guitar, unremitting drumming and Maddin’s brutally repetitive basslines, all spewing Anderson’s chanted vocals forth on a foaming tsunami of cleaving noise. This is the shortest song too, which is hard to fathom considering the myriad ideas unleashed in its playing time. EvePt 1 + 2 is a more groove-laden monster, surfing the waves of languid psych abandon before cascading in a molten shower of determined fury. The beauty of this elongated track though is that it never feels like it is even near coming off the tracks and careening into an unholy mess – these sounds are tight. It’s great to have a song called Gympie, especially when it sounds like Dead Meadow – Anderson’s guitar untethered, Maddin’s bass rumbling with heady intent, Wardrop’s crashing cymbals as inherent as they are incessant. This is a true rock wig-out, swinging from hallucinogenic to bruising to bruised without anything feeling forced. Slag forges forth, engulfing drone and krautrock inflections on its way to a particularly effective outro (this is what desert rock would be like with more barbiturates), whilst Robe is Dreamtime’s mission statement personified. They may not want to be labelled with the psychedelic tag and all that comes with it, but Dreamtime stands as one of the highest quality releases of its kind this year. When you want to listen to its sinuous grooves ad nauseum without needing to utilise the heights of hallucinogens, you know you’ve smashed it out of the park. ★★★★½ Brendan Telford




John Waters: This Filthy World – described as a vaudeville act, this show celebrates the film career and obsessive tastes of the man William Burroughs once called “The Pope of Trash”. Focusing on Waters’ early artistic influences, his fascination with true crime, exploitation films, fashion lunacy, and the extremes of the contemporary art world, this joyously devious monologue elevates all that is trashy in life into a call to arms to filth followers everywhere. This Filthy World will also draw on material from Waters’ most recent book, Role Models. Powerhouse Theatre, Brisbane Powerhouse, 7:30pm.


Often I Find That I Am Naked – dating in the 21st Century is complicated. With so many possible avenues to meet Mr Right, how many disastrous speed dates, mobile games and online fabrications must the modern woman endure? Originally produced by Jo Thomas and the Judith Wright Centre to rapturous response in Brisbane in 2009, Often I Find That I Am Naked now returns to the Judith Wright Centre to round off a 48-venue national tour. Opening night, 7:30pm. Judith Wright Centre until Saturday Oct 29.


CSTD Dance Extravanganza – concert honouring and celebrating the achievements of CSTD students and teachers throughout Queensland. Dancers from around Queensland will perform a variety of dance styles to produce a spectacular evening of dance. Concert Hall, QPAC, 7pm. Cult Cuts: The Shining – a family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future. A Kubrick classic. Tribal Theatre, 9pm. Repeats tomorrow night. Cult Cuts: Troll 2 – a family vacationing in a small town discovers it is inhabited by goblins in disguise as humans, who plan to eat them. Known as one of the worst movies ever made. Tribal Theatre, 10:30pm.


King Arthur & The Tales Of Camelot – a ballet by Francois Klaus with the Queensland Symphony Orchestra. Klaus has created a thrilling ballet which chronicles the life of this legendary King. From his early years under the protection of the mighty Merlin, to the cruel betrayal by those he loved best, and eventually, his final battle with the villainous Mordred, the story of the one true King of the Britons is brought vividly to life in bold and expressive dance. Closing night. Playhouse, QPAC. QYO Finale Concert – an evening of popular themes from films and for big

band, inspiring music for wind orchestra, and excerpts from the great symphonic repertoire. Concert Hall, QPAC, 7pm. The Room – Johnny has everything – a successful career, an apartment in San Francisco, his best friend Mark, his fiancée Lisa and a birthday approaching – until Lisa and Mark begin an affair. One of the last chances you’ll get to see this on a Brisbane screen, we thinks. Tribal Theatre, 10:30pm.


Hell Bent – Halloween in West Hollywood, two guys making out in a park are interrupted by a serial killer. Later that night, a group of gay kids decide to visit to the site of the murders. Tribal Theatre, 6pm.


QI Live – host Stephen Fry and Alan Davies are joined by a line-up of celebrity panellists (to be announced prior to each show) present QI Live in Brisbane. The world’s most impossible TV quiz, on stage. Opening night, 8pm. Concert Hall, QPAC until Wednesday Nov 2.


Short+Sweet Theatre Festival – the largest ten minute theatre festival in the world. Each year Short+Sweet Theatre presents over 300 of the best ten-minute plays from local and international writers in our festivals worldwide, utilising the talents of the best young and established directors, actors and technical personnel to create some of the best theatre on the planet. Opening night, 7pm. Judith Wright Centre until Saturday Nov 12.


Monstrous Regiment – the country of Borogravia is at war. A lot. It happens when leaders are fanatically obsessed with banning ‘abominations’, like jigsaw puzzles, sneezing, and the colour blue. Polly Perks disguises herself as a boy in order to join the army, and find her missing brother – and soon discovers that sometimes to do a man’s job, what you really need is a woman. The next exciting installment of the Discworld series is a must for fans of author Terry Pratchett. Brisbane Arts Theatre until Saturday Nov 5. Ruben Guthrie – Ruben Guthrie is on fire. He’s 29, he’s the creative director of a cutting-edge advertising agency and he’s engaged to a Czech supermodel. He pours himself a drink to celebrate, a drink to work, a drink to sleep and one spectacular night he drinks so much he thinks he can fly... Ruben Guthrie is the fabulous new comedy from Australian actor and playwright Brendan Cowell. David Berthold directs a brand new production of this award-winning comedy with a cast led by Underbelly star, AFI and Logie winner, Gyton Grantley. Roundhouse Theatre until Saturday Nov 12.

GIVEWAY WIN A DRIVE PRIZE PACK! In what is without doubt the raddest. most stylish and brutal film you will see this year, Danish director Nicolas Winding Refn (the Pusher trilogy, Bronson) makes his Hollywood debut with the slick’n’sexy Drive. Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can’t help falling in love with his beautiful neighbour Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).



SHINING THE SPOTLIGHT ON GREEK CINEMA THE 2011 GREEK FILM FESTIVAL STORMS INTO TOWN THIS THURSDAY. ANTHONY CAREW RUNS THROUGH SOME OF ITS HIGHLIGHTS. The Greek Film Industry was one of the few international brands that used to make you feel good about Australian cinema; the annual Greek Film Festival existing only to play to the ex-pat audience, not because of any – and I mean any – artistic need. But that notion died the day – two years ago – when the GFF got to screen Yorgos Lanthimos’s Dogtooth, one of the truly great artworks of the 21st Century. In the absence of Lanthimos’s just-shown-in-Venice-and-Toronto follow-up Alps, this year’s Greek Film Festival screens Attenberg. It comes from Lanthimos associate Athina Rachel Tsangari, and features Lanthimos himself acting as a pseudolove-interest. It also shares that same sense of bizarre, self-contained logic; creating a strange cinematic world that demands the audience adhere to such strangeness; with a definite sense of shit-stirring and crowd-baiting in play. Tsangari’s oddball tale is effectively a ‘nature documentary’ on the Homo sapiens, a species lost in a decaying society; man’s fall from a peak of hyper-capitalist prosperity symbolised by crumbling, weathered architecture. The idea of the dying capitalist metropolis is alive in global cinema’s documentaries, yet few features have been so alive to this as Attenberg, even if its study in such is seriously oblique. In its dying world, death is alive in the narrative, too, with our heroine’s father terminally ill, accepting his mortality, dismissing the comforts of religious storybook eternity and proceeding with a lack of ceremony, and a few scraps of dignity. Amongst all this death, said heroine – at turns awkward and transcendent, a 20-something dame somehow a virgin, a deep thinker who at times seems painfully simple – must find life; make sense of existence; reconcile her animal nature with her

intellectual sentience. Tsangari’s debut feature amounts to a provocative, odd, philosophically-weighty psycho-sexual comedy that will charm and annoy. The lost-20-something-girl-associal-misfit gets a more proscriptive depiction in 45m2. Its heroine really isn’t that odd: she merely wants to not live with her mother, not work a shitty job, and not feel like a lost soul. The film’s title refers to the bedsit space that provides her liberation, and its narrative chases after the 600-euro generation; kids on minimum-wage, shuffling between McJobs, living a treadmill existence where their only value is as consumers. It’s rich source material that could make for mighty drama, but none of these themes really seem in play, or like they really matter; instead, it feels like you’re marking time until it’s artistically justified for the leading lady to take her clothes off. Shooting vs Shooting also pisses away a brilliant subject: exploring casualties of journalists in the Iraq War; this once-protected species of respected observational neutrality now becoming a target for each side of the warring divide. It sounds great, until you get stuck watching its televisual aesthetic, blunt editing, and hysterical musical cues. The music is far better in another doc, My Sweet Canary, a piece of sojourner cinema in which an Israeli, a Turk, and a Brit go touring through Anatolia, Macedonia, and Greece playing Rebetiko music in tiny bars; their traipse tracing the life path of Roza Eskenazi geographically, musically, and spiritually. WHAT: Greek Film Festival WHERE & WHEN: Palace Centro Thursday Oct 27 to Sunday Oct 30

FILM REVIEW After a heist intended to pay off Standard’s protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). But when he realizes that the gangsters are after more than the bag of cash in his trunk – that they’re coming straight for Irene and her son – Driver is forced to shift gears and go on offense. Thanks to Pinnacle Films we’ve ten Drive in-season double passes and the film’s poster to giveaway. For your chance to win a prize pack, head to timeoffmag.

MIDNIGHT IN PARIS Woody Allen’s recent Euro-travelogue instincts come out in full force for Midnight In Paris, in which Owen Wilson joins the long line of actors saddled with the task of Allen-mimicry playing Gil, a Hollywood screenwriter and aspiring novelist holidaying in Paris, with his fiancee Inez (Rachel McAdams). Being a woman in a Woody Allen film, Inez is a gorgeous but unpleasant shrew, written with no redeeming qualities aside from the ability to deliver the occasional Allen-zinger, so Gil strolls the Parisian streets at night while she hangs out with her friends. The film picks up considerable steam when the clock strikes midnight

during Gil’s stroll, and he’s magically transported back to the Paris of the 1920s, where the bespectacled Wilson is greeted to the likes of the Fitzgeralds, Picasso, Dalí, Buñuel, and many others. All are impersonated to perfection, with Corey Stoll’s mercurial take on Hemingway being a particular showstopper. Gil – and by extension, Allen – questions both his talent as a novelist and his nostalgia for a bygone era he was never a part of, and it’s through these historical digressions that the film becomes a very on-the-nose rumination on what it means to look back. Indeed, the ultimate theme is delivered in a monologue that counts as a spoiler of the ending, which really just shows

FROM THE KINGDOM TO THE RING AUSTRALIA’S RISING INTERNATIONAL FILM STAR, JOEL EDGERTON, TALKS TO GUY DAVIS ABOUT BEING A WARRIOR. Okay, so you’ve got two estranged brothers, each battling their own individual demons and struggling under their own burdens. You’ve got their father, desperate to make amends for a drunken, abusive past. You’ve got a supportive but worried wife. You’ve got a kid with a medical condition. And you’ve got a no-holds-barred mixedmartial-arts throwdown with $5 million prize money at stake. Taking all those elements at face value, it’s hard not to agree with Joel Edgerton when he says that his new movie Warrior “could have been


dripping with cheese”. And while this hard-hitting melodrama does deal in larger-than-life situations and archetypal characters, it’s also got integrity, impact, and soul to spare, making it a crowd-pleaser in the vein of The Fighter or even the original Rocky. The fact it’s been cast with sterling actors like Edgerton, Inception’s Tom Hardy, and Nick Nolte, all delivering full-blooded performances, doesn’t hurt either. For Edgerton, it’s director Gavin O’Connor’s approach that lifts Warrior to a loftier realm. “There’s a certain


WITH HELEN STRINGER The Occupy Wall Street (OWS) movement has finally arrived in Australia with protesters congregating in Melbourne, Sydney, and Brisbane. It’s not clear what this movement hopes to achieve; there’s no unified position beyond “damn the rich, the government, and everything else that annoys me today”. While I agree with the general sentiment that life is horribly inequitable, this kind of mass disorganisation driven by unfocused anger makes for a farce so absurd I’m hoping the occupation is permanent just so it can continue to amuse me. What does OWS want? Nobody knows, least of all them. Being unable to decipher the point of all this occupying, I decided to ask for an educated opinion from someone in the firing line. I contacted a source on the ground, a New York investment banker no less, and attempted to have the movement explained. According to my banker in the war zone the protesters have largely congregated in the wrong place: apparently the big banks moved out of Wall Street after September 11. As per whether or not they’ve had any impact on her ability to continue to make money for the one percent (1%) under attack, the only disruption she could think of was getting stuck in traffic on her way back from IKEA while half the Brooklyn Bridge was taken over by protesters angry about ‘global warming, capitalism, and government’. To add to the hugely entertaining absurdity artist and Wall Street Occupier Paul McLean recently wrote an article for online magazine Artinfo titled “How Occupy Wall Street’s how filmsy the whole thing is as a narrative. But then, context is everything: I suspect the disproportionate praise for Midnight In Paris has to do with the poignancy of seeing Allen, among the most antiquated of filmmakers, finally delivering a critique of his own nostalgic tendencies (a critique undermined by the sense that the story

Protest Is Taking Art Back From The Richest 1%”. According to McLean the occupation is a step towards reclaiming art for the majority and a move towards an ideal future where there’s no distinction between the 99 and the 1 percent. There’s no discernible explanation for how this is going to happen, beyond a lengthy anecdote about cardboard placards, but he seems to think that the art world is run by malign oligarchic forces determined to suppress the democratic qualities of artistic expression; the art world, he insists, is undemocratic. Giving art back to the masses sounds great in theory – everyone gets a Picasso! – but it might be a tad bit difficult to implement and I’m not entirely convinced that an influx of cardboard signs, as he suggests, will be a catalyst for change with a radical influence on the art market. The art world, moreover, in which the very valuable is owned by the very few is perfectly democratic; ‘democracy’, contrary to popular belief, is not a synonym for ‘fair’. The issue is that McLean has an idea about how he would like the art world to operate but absolutely no feasible suggestions as to how to get it there; on a larger scale, the same can be said for his OWS compatriots. Yelling very loudly that the system is unjust is all well and good, but what do you suggest we replace it with? To paraphrase Winston Churchill, democracy is a terrible idea, but it’s still a hell of a lot better than the other options we’ve thought of thus far. could be taking place any time in the last 50 years, excoriation of Tea Party republicans nonwithstanding). See it for the featherweight charms, and look elsewhere for true insights. WHERE & WHEN: Screening in cinemas now IAN BARR

road this movie could have taken, this preposterous kind of route, and it really is Gavin who steered it in a direction that makes it work,” says Edgerton, currently back in Australia filming Baz Luhrmann’s The Great Gatsby. “When you meet him, he lives and breathes his movies, and he creates a social environment on and around the set of his movies that ensures everybody is on the same page. He’s a great collaborator and he’ll include anyone he needs in order to make the thing better. He’d fly the best UFC [Ultimate Fighting Championship] trainers to Pittsburgh to give us advice; he employed a real referee to play the referee in the movie. Anything he could for the sake of authenticity, he was going to do it.” Neither Edgerton not his co-star Hardy were as high-profile as they currently are when O’Connor tapped them for the roles of combative brothers Brendan and Tommy. But the filmmaker was looking for actors unencumbered by star baggage, says Edgerton, and “I know Gavin saw in me the right energy for what he needed for Brendan, just as he saw qualities in Tom that were right for Tommy”. “For Brendan, Gavin wanted someone who could express that sensitivity and vulnerability of someone who didn’t back themselves enough, someone who had the capability but not the confidence, and for Tommy he wanted someone with that pain, that destructive and self-destructive quality, and the vulnerability underneath all that. Brendan is the kind of way in for the audience – he’s a stable, relatable guy who’s trying to keep his family afloat. In a way, though, I had to invert my own experience to relate to these brothers’ situation because my own brother” – filmmaker Nash Edgerton – “and I are well close and I’ve had a fairly harmonious family life.” Edgerton’s currently among Hollywood’s crop of rising leading men – he was on the short list to take over the title role in the Bourne franchise from Matt Damon, and he’s been announced as the lead in Hurt Locker director Kathryn’s Bigelow’s upcoming project about the hunt for Osama bin Laden – and he says he has Warrior to thank for his new-found heat. “Things changed for me a little bit because of Animal Kingdom [and] also because of this movie – when Gavin was putting it together and people were starting to get an early look at it, people started to get a little more interested in the work I was doing,” he says. “It’s really cool because I feel like I’m in a good position to take advantage of those opportunities now that I’m a bit older and wiser...maybe.” WHAT: Warrior WHEN & WHERE: Screening in cinemas from Thursday Oct 27



WITH MANDY KOHLER There are many great film festivals in Brisbane nowadays – French, Italian, Iranian, Spanish – but there’s one longrunning local festival that takes clippings from all of these sumptuous cinema landscapes and hangs them together in a world view mash up. Yep it’s BIFF time again. The Brisbane International Film Festival is in its 20th year and with 135 films in the programme it’s going


to be tough to pick a handful to actually see. With that in mind this week Cringe is pouring through the programme for some promising treats. This Is Not A Film (In Nist Film) (Iran) Accused of colluding in gathering and making propaganda against the regime, Iranian director Jafar Panahi is currently appealing a six-year jail sentence that includes a 20-year ban on filmmaking and talking to the press. This Is Not

TIME IS MONEY TOM HAWKING FINDS HIMSELF DISCUSSING OCCUPY WALL STREET WITH JUSTIN TIMBERLAKE AND DIRECTOR ANDREW NICCOL, APROPOS OF THE DUO’S NEW FILM IN TIME. “Is it a socialist film? Um… I’m not stepping into that one.” The hitherto unflappable and ultraprofessional Justin Timberlake looks mildly uncomfortable for the first and only time today. He’s here at a swanky LA hotel to field questions about his new film In Time, a dystopian fable about a world where time quite literally is money, a world where people can theoretically live forever – but in reality, apart from a few mega-rich people with literally aeons in the bank, everyone ends up living from day to day, spending every day working for the right to live another. Without giving too much away, the film finds Timberlake’s character pairing with a rich Patty Hearst-esque heiress (played by Amanda Seyfried) to do a little compulsory redistribution of wealth. The film was written and directed by Andrew Niccol, who’s responsible, amongst other things, for Gattaca. In DL DGG IDB  H GI HI6

Time revisits many of the themes of Gattaca, most notably the idea of a world where an entrenched minority rig the rules of an ostensibly meritocratic society to reinforce their position and create a system that preserves their position forever – quite literally, in this case. If In Time’s not socialist, it’s definitely a fairly brutal satire on modern capitalism, an exploration of a world where the ultra-rich maintain their position at the direct expense of a disenfranchised and downtrodden majority. As such, it’s arrived at a perfect time, given the ongoing Occupy Wall Street protest in New York and the various offshoot occupations around the world. And so, as the discussion turns to Communism and how American audiences might react to a film that’s basically about redistributing wealth, Timberlake chuckles and deftly steers the conversation toward the general air

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Melancholia (Denmark) Lars von Trier is consistently controversial and notorious for torturing his female leads. Though 2009’s Antichrist was von Trier’s official crack at horror, it’s hard to name a film of his that doesn’t also induce that familiar gut wrenching feeling the genre invokes. That said, von Trier has claimed Melancholia as being close to of timeliness that surrounds In Time, rather than its political agenda. “You should ask Andrew [Niccol] what he knows that we don’t know,” he says with a smile, “because I don’t know how long ago he wrote this movie; but it’s really serendipitous.” When we get to speak to Niccol a little later in the day, we decide to do just that. The director, who’s a thoroughly affable interviewee, is rather more forthcoming with his politics than his leading man is – “If you want to know anything about my politics, you can just watch my movies,” he says quietly. He smiles when we ask about the resonance of In Time’s themes: “People say, y’know, I must have some crystal ball. I really don’t.” Instead, he argues, the film’s themes – rich and poor, supply and demand – are ultimately universal ones. Niccol clearly has a liking for placing his modern-day political allegories into futuristic settings: Gattaca explored the idea of a future where the rich could preserve their position by eugenics, selecting the most favourable genetic make-ups for their children, while reality TV satire The Truman Show – for which he wrote the script – was also originally set in the future, before Niccol reworked his idea into a more contemporary environment at the request of director Peter Weir. Niccol explains his liking for sci-fi environments stems from the possibilities they provide to make concepts real in ways that mightn’t work in a literal setting. “I think it’s much easier to talk about now if you go to another time,” he says. “It lets people off the hook – if you set something [in a] contemporary [context], people are judging it: ‘Oh, that’s not exactly right’. [By using a futuristic setting], you can extrapolate a little bit more easily.” Despite In Time’s obvious conceptual similarities with the rhetoric of the Occupy Wall Street movement – this is a film, after all, whose world quite literally embodies the 1 percent / 99 percent divide, revolving around the moral conundrum that for some to be immortal, many have to die – neither Niccol nor the star of his film say


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DRIVE (MA 15+) NO FREE TICKETS THU-SAT/MON-TUE 11.30, 1.45, 4.00, 7.15, 9.25PM SUN 12.05, 2.10, 4.15, 6.30, 8.45PM





WED 10.15, 12.20, 2.25, 4.30, 7.00, 9.10PM THU-SAT/MON/TUE 10.15,

mainstream American cinema. Kirsten Dunst stars as Justine, a woman whose wedding is not going to plan, meanwhile a planet hurtles towards Earth. Attack The Block (UK) Kicking off the festival on opening night, Attack The Block is the feature debut by Brit Joe Cornish. Cornish is half of comedy duo Adam and Joe whose hugely popular BBC radio show went global as a hugely popular podcast. The story follows a gang of South London hoods who take measures to defend their tower block against aliens. The film’s tag line reads “Inner City vs Outer Space”. With Edgar Wright producing it’s bound to be a good’un. Phase 7 (Argentina) Taking their time realising that they’ve been quarantined in their apartment, married couple Coco and Pipi are taking the end of the world in their

JAMIE KILSTEIN Visy Theatre, Brisbane Powerhouse, 22/10/11 Brash New Yorker Jamie Kilstein takes stand-up comedy to the level of a true artform. He’s the anti-hack, fresher and more original than almost any other comic on the circuit. Watching him power through a tightly scripted bit is something like watching a musician, rather than a comedian. It’s all about cadence and rhythm and Kilstein lets the bit inhabit his body, stomping his feet for punctuation as he rumbles swiftly and powerfully onward like the freight train in that Tony Scott movie, weaving words in original ways into darkly poetic imagery. His politically-charged and bang up-to-date humour goes hand in hand they’ve been to Zuccotti Park or any offshoot occupations. Timberlake expresses measured solidarity with the movement: “You have to know what’s going on. I support what’s happening. I think it’s time. Am I political? I don’t know what that means. But you can’t be upset about what’s happening if you choose not to have a voice. You have to pay attention. You have to be a part of it. Disagreeing with the establishment and making your voice heard… I don’t think there’s anything wrong with that.” In view of this, it’s perhaps not surprising that Timberlake says the film’s themes were a strong part of what attracted him to the role. “I felt this movie had a bigger voice than just a sci-fi action thriller. I thought it was very smart. It’s a very sensitive story … and if I don’t have that feeling [with a role], I probably won’t do it.”



WED 11.30, 1.45, 7.15, 9.25PM WED 11.00, 3.15, 6.30, 8.40PM THU-SAT/MON 11.15, 1.30, THU-TUE 2.30, 6.25, 8.35PM 7.00, 9.15PM NORWEGIAN WOOD SUN 12.20, 2.30, 7.15, 9.25PM (MA15+) TUE 11.15, 1.30, 6.30, 8.45PM WED 12.10, 8.30PM AUTOLUMINESCENT (M) THU-TUE 12.00PM


THU-TUE 12.50, 3.15, 6.30, 8.45PM THE CUP (PG) WED 10.30, 12.40, 7.00, 9.15PM THU-SAT/MON/TUE 11.00AM

CRAZY STUPID LOVE (M) WED 10.45, 1.15, 8.40PM THU/FRI 1.15, 6.30, 9.00PM SAT 1.15, 9.00PM SUN 4.30, 7.00, 9.20PM MON 1.15, 9.05PM TUE 1.15, 9.25PM

Crawl (Australia) One of the local contributions to the programme, Crawl picked up three major awards at Screamfest in LA last week (Best Cinematography, Best Actress, Best Director) before its even had an Australian screening. It follows the saga of a plan gone wrong when a Croatian hit man bodges a job in small country town, inadvertently dragging an innocent waitress into the crossfire. Screening at the BIFF drive in, Crawl is showing right after another film to catch, the Ryan Gosling-starring/Nicolas Winding Refn-directed Drive.

with nerdy cracks about the Teenage Mutant Ninja Turtles and Lost. About two thirds of the way through the gig, Kilstein takes it down a notch and goes into confessional mode, quietly spinning stories of his rebellious youth and his falling-out with his father. It’s a different side to the charismatic comedian from his relentless rants, but just as affecting. It’s a pleasure to see a clever comic with heart, brains and balls sell out a room in Brisbane. Special mention must also go to his support act, local comic Damien Power, who’s limbering up with some wicked new material for his next hourlong show and registers high on the laughs-per-minute meter with tonight’s savvy comedy crowd. BAZ MCALISTER But ultimately the role was a challenge to him as an actor. “I just saw this character as an everyday man. I saw this guy as someone who’d been pushed too far and decided to fight back. I think people will relate when they see the movie. I liked how simple the character was, and how [his] values were more morally sound than any other characters I’ve played.” For his part, meanwhile, Niccol comes across more politically world-weary: “I don’t vote,” he confesses at one point during our conversation. “I’m too cynical about the political system. There’s a saying: ‘If voting changed anything, they’d ban it.’ I vote with my films.” WHAT: In Time WHERE & WHEN: Screening in cinemas from Thursday Oct 27

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12.20, 2.25, 4.30, 6.45, 8.50PM SUN 10.00AM SUN 10.20, 12.20, 2.25, 4.45, RED STATE (MA15+) 6.45, 8.50PM WED 2.40, 6.40PM CONTAGION (M) (NO FREE THU-TUE 4.35PM

stride. The apocalypse isn’t so taxing until their neighbours start to panic. If we’ve leaned anything from Argentinian cinema it’s that everything is scarier in Spanish. At the same time, Phase 7 sounds a bit Shaun Of The Dead. Win win.






A Film was made while Panahi was under house arrest, and the film was smuggled out of his house on a USB stick hidden in a cake. Filmed in 2010, This Is Not A Film recounts a day in the life of Panahi while he awaits trial.



WED 1.15, 4.25PM THU-TUE (FRI BABES) 10.50AM THE GUARD (MA15+) WED 2.50, 4.50PM THU-SAT/MON-TUE 3.40PM SUN 10.15AM



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07 3852 4488




12.30, 2.30, 4.30, 6.30, 8.30PM THU 10.30 (BABES), 12.40, 2.40, 4.40, 6.45 (SOLD OUT), 9.00PM FRI- TUE 10.30, 12.40, 2.40, 4.40, 6.45, 9.00PM

SAT 10.40, 8.50PM SUN 10.40, 6.30PM MON/ TUE 11.00, 3.50, 6.20, 8.50PM







THU/ FRI/ MON/ TUE 10.00, 12.10, 2.20, 6.30, 8.45PM SAT/ SUN 10.00, 2.10, 4.15, 6.20, 8.40PM





WED 1.30, 3.45, 6.45PM THU/ FRI/ MON/ TUE 1.45PM SAT 4.50PM

WED 11.30, 1.45, 6.20PM THU/ TUE 11.30, 4.10, 9.15PM THE EYE OF THE STORM FRI 11.30, 9.10PM (MA15+) SAT 12.00PM WED 12.00, 2.30, 8.40PM SUN 12.00, 9.10PM MON 11.30, 4.00, 6.15, 8.30PM THU / FRI/ MON 1.30PM WED 11.00, 4.00, 9.00PM THU 11.00, 4.00, 9.10PM FRI 11.00, 3.50, 6.20PM






Adam. Violinist and trash can soloist. Utterer of inaudible obscenities.


Since early 2009-ish. Had our first jam in a rat riddled sharehouse in Woolloongabba…a typical Brisbane start.


My girlfriend worked with Ryan’s mum. I was bitching and moaning about finding a guitarist to play with and she told me about Ryan and I checked out his work with other groups, got in touch, gave him some of my shitty (read: awesome) bedroom recordings and Bob’s your tea-totalling, countrysinger uncle!


Vans are for cowards. We fly most of the time… if we drive it’s shortish distances… Ryan did insist, on a drive through Lismore, that we ONLY listen to Grinspoon…we tend to go for geographically appropriate music…



The Saints, Laughing Clowns, Portal, Astriaal, Mouthguard, The Go-Betweens kind of; for me certain figures in Brisbane’s classical music community have been more of an inspiration… too many to name them all here but I’ve grown up around some incredible musicians, John Rogers, John Curro, Michele Walsh… people like that.

WHAT PART DO YOU THINK BRISBANE PLAYS IN THE MUSIC YOU MAKE? A person’s environment naturally has a massive effect on their art… for me the vast expanses of land, the suffocating heat, the mountains, the characters and of course the cavernous Pacific Ocean.



Probably break-ups because most people seem to find it so goddamn depressing… I think that’s special. People will make-out to any old rubbish – Morbid Angel or something… causing a break-up however, now that’s a special skill…


Grand Designs. Ryan could help me turn my apartment into an 11th Century Hindu temple replete with mod cons, open plan living and giant Vishnu statue…


Our second album Kali Yuga Sunrise out in November via our imprint Planet Of The Scrapes and San Francisco’s All Is Number Records, on very limited CD, reasonably limited vinyl and online. Find us on Facebook or check out The Scrapes launch Kali Yuga Sunrise at Juggler’s Art Space on Friday Nov 25. Photo by TERRY SOO.




THE DEVIL WEARS PRADA, WE CAME AS ROMANS: The Hi-Fi Oct 26 & 27 TAYLOR DAYNE: Twin Towns Oct 27, Kedron Wavell Memorial Club Oct 28 THE PLANET SMASHERS: Step Inn Oct 27 MATTHIAS TANZMANN: Barsoma Oct 28 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 JOE PUG: Old Museum Nov 2 MAD SIN: The Hi-Fi Nov 3, Shed 5 Nov 4 SHAPESHIFTER: The Hi-Fi Nov 4 SIDNEY SAMSON: Family Nov 4, Platinum Nov 5 CARSICK CARS: Woodland Nov 5 THESE KIDS WEAR CROWNS: The Hi-Fi Nov 5 DESTRUCTION: The Hi-Fi Nov 6 KINGS OF LEON: BEC Nov 8, Gold Coast Convention Ctr Nov 9 GOOD CHARLOTTE: Eaton’s Hill Hotel Nov 12 CHILDREN OF BODOM: Arena Nov 13 THE CASUALTIES: The Hi-Fi Nov 13 BRIGHT EYES: The Hi-Fi Nov 17 BLIND IMAGE: Jubilee Hotel Nov 18 CUT OFF YOUR HANDS: Alhambra Lounge Nov 18 DJ KRUSH: The Hi-Fi Nov 19 CLAP YOUR HANDS SAY YEAH: The Zoo Nov 20 DAEDELUS: Bridge Club Nov 23 THE DYNAMITES FEAT CHARLES WALKER: The Zoo Nov 24 DOLLY PARTON: BEC Nov 25 – 27 HTRK: The Bridge Club Nov 26 MISFITS: The Hi-Fi Dec 2 GUITAR WOLF: Step Inn Dec 3 OFF!: The Zoo Dec 4, Sun Distortion Dec 6 UNKNOWN MORTAL ORCHESTRA: Alhambra Lounge Dec 4 MUDHONEY: The Zoo Dec 5 FUTURE OF THE LEFT: The Zoo Dec 6 GANG GANG DANCE: Powerhouse Dec 6 KURT VILE: Woodland Dec 8 THE INTERNATIONAL SWINGERS: The Zoo Dec 9, Coolangatta Hotel Dec 10, Kings Beach Tavern Dec 11 FOO FIGHTERS, TENACIOUS D: Metricon Stadium Dec 10 XZIBIT: Shooters Nightclub Dec 11 EXPLOSIONS IN THE SKY: The Hi-Fi Dec 13 FRANK FAIRFIELD: Judith Wright Ctr Dec 15, SoundLounge Dec 16 OPETH: The Tivoli Dec 15 KOOKS: The Tivoli Jan 2 ALOE BLACC: The Tivoli Jan 3 CRYSTAL CASTLES: The Tivoli Jan 4 PETE ROCK: Alhambra Lounge Jan 6 J MASCIS: SoundLounge Jan 7, Brisbane Powerhouse Jan 10 FLEET FOXES: The Tivoli Jan 10 & 11 GROUPLOVE: The Zoo Jan 10, Great Northern Jan 11 BEIRUT: The Hi-Fi Jan 12 ARCTIC MONKEYS: Riverstage Jan 14 THE DAMNED: The Hi-Fi Jan 19 TUNE-YARDS: Brisbane Powerhouse Jan 22 SEETHER: The Hi-Fi Feb 7 INCUBUS: Brisbane Convention Ctr Feb 10 JESSIE J: Riverstage Mar 1 BON IVER: The Hi-Fi Mar 15 - 17


PETE MURRAY: A & I Hall Oct 26, Coolangatta Hotel Oct 27, Eatons Hotel Oct 28, The Hi-Fi Oct 29, Caloundra RSL Oct 30 BRITISH INDIA: The Brewery Oct 27, The Zoo Oct 28 & 29 CLOSURE IN MOSCOW: Miami Tavern Oct 27, Great Northern Oct 28, Hotel Orient Oct 29 JONATHAN BOULET: Oh Hello Oct 27 LANIE LANE: Old Museum Oct 27



THE HI-FI FRIDAY OCT 28 It seems like ages since Melbourne rock behemoths The Drones visited these here parts, but it probably ain’t that long – just seems that way because they’re so awesome and we miss them. Possibly for this very reason the magnanimous bunch recently released their epic live DVD A Thousand Mistakes, part of which found them playing a stripped-back set of the brilliant quieter songs in their catalogue that we don’t hear that often for a myriad of reasons. They loved that experience so much that they’re taking it on the road, so this Friday night finds them smashing The Hi-Fi with a super set incorporating both all of their hard-rockin’ fury plus their restrained side – the two sides of The Drones coin which make them so friggin’ amazing. That ain’t enough? Well they’re being joined on the night by Adalita, the former Magic Dirt mainstay who’s spent the bulk of this year transforming herself into a solo force to be reckoned with. You don’t get bills of Aussie rock much better than this – don’t take our word for it, get along ‘cos you’ll be spewin’ in your boots if you miss it!

Okkervil River @ The Hi-Fi by Terry Soo

PRESENTS LANIE LANE: Old Museum Oct 27 THE PLANET SMASHERS: Jubilee Hotel Oct 27 THE VASCO ERA: Coolangatta Hotel Oct 29, The Zoo Oct 30, FOLK UKE: Joe’s Waterhole Nov 3, Old Museum Nov 4 BAYONETS FOR LEGS: X&Y Bar Nov 3 SKIPPING GIRL VINEGAR: Joe’s Waterhole Nov 4, Beetle Bar Nov 5 BLACKLIGHT: Lightspace Nov 4 NIKKO: Woodland Nov 5 GOLD FIELDS: Alhambra Lounge Nov 5 GYROSCOPE: The Zoo Nov 16 GUINEAFOWL: Beach Hotel Nov 16, Spotted Cow Nov 17, The Zoo Nov 18 CLAP YOUR HANDS SAY YEAH: The Zoo Nov 20 THOUSAND NEEDLES IN RED: The Zoo Nov 25, Mansfield Tavern Nov 26, Coolangatta hotel Nov 27 JEBEDIAH: The Hi-Fi Nov 25 RARE FINDS 2011: The Zoo Dec 3 MUDHONEY: The Zoo Dec 5 FUTURE OF THE LEFT: The Zoo Dec 6 KURT VILE & THE VIOLATORS: Woodland Dec 8 FESTIVAL OF THE SUN: Port Macquarie Dec 9-10 EXPLOSIONS IN THE SKY: The Hi-Fi Dec 13 THE KOOKS: The Tivoli Jan 2 ALOE BLACC: The Tivoli Jan 3 THE JIM JONES REVUE: The Zoo Jan 3 GROUPLOVE: The Zoo Jan 10, The Northern Jan 11 FLEET FOXES: The Tivoli Jan 10 and Jan 11 BEIRUT: The Hi-Fi Jan 12 THE DAMNED: The Hi-Fi Jan 19 JESSIE J: Brisbane Riverstage Mar 1 FUTURE MUSIC FESTIVAL: Doomben Racecourse Mar 3



A big curtain bathed in blue greets punters as they enter the cinema-esque, oddly booze-free Powerhouse Theatre tonight. Old Man River handles the confronting job of solo opener with good humour as he litters his slightly derivative set with amusing anecdotes alluding to his well-travelled past and ability to spot hilariously fi lthy religious signs in India. Without his usual backing band, his set doesn’t lack for enthusiasm and effort in front of a very standoffishly polite crowd. You’re On My Mind echoes George Harrison’s My Sweet Lord with its “my loves”, with the most affecting part of the set being a sans-PA front of stage version of Long Way From Home.


“Hi, I’m a folk singer. I play in The Drones, but I’m only the drummer...” So begins the opening set by the white jacket-clad Mike Noga, extremely fun and immersive despite the best efforts of a relatively rude audience more interested in talking than listening. Noga, with help from Bridget Lewis (The Gin Club) on cello and vocals, cuts a swathe through his The Balladeer Hunter record, with M’Belle, Piss On A Butterfly and older tune All My Friends (Are Alcoholics) highlights. His guitar is clear and his harmonica leads invoke the spirits of the troubadour greats that he idolises. With the dogman figures from the I Am Very Far cover art looming large over the stage, the alt-folk behemoth that is Okkervil River amble on stage to rapturous applause. Anyone concerned their set might be marred by crowd attitude or band fatigue (this being their last show on the Australian leg of their world tour) is appeased with the confidence and verve that oozes from Will Sheff et al from the very beginning. For Real is the second song pulled out of the bag tonight, highlighting the lofty heights they’re attempting to scale, and its rousing crescendo is a harbinger of things to come. The band play a beautifully shambolic John Allyn Smith Sails, after which Sheff laments not going

hard enough on this tour. It’s evident they are making amends tonight. Each member is in their element – Lauren Gurgiolo alternates between guitar, mandolin and banjo with ease, in thrall to the music; whilst Justin Sherburn’s keyboard flourishes, Brian Cassidy’s hooks, Michael St Clair’s incredibly multi-instrumental dexterity and Cully Symington’s limber drumming all combine to create a veritable beast of a live band to fuel Sheff ’s heady, verbose stories. Sheff himself is in full fl ight also, his vocals at once sensitive and unhinged. Bassist Pat Prestorius’ vocal input on The Valley offers a thunderous counterpoint to Sheff ’s wailing and Symington’s thumping, yet it’s when the band leave Sheff to his own devices to tackle A Stone where the set climbs to the level of sublime – a more emotive, awe-inspiring rendition has never been played, Sheff embodying the song entirely. The band return for Mermaid and Your Past Life Is A Blast, whilst the crowd clapping that buoys Our Life Is A Movie Or Maybe is magical. An encore seems too much to ask, yet we’re treated to one that raises the roof further off its foundations, culminating in the winning Unless It’s Kicks. Sheff may have collated an amazing band to breathe life into his songs and vision, but he is undeniably Okkervil River, and the consummate performer leaves The Hi-Fi elated and well-and-truly sated.

Some twinkly Swedish-recorded folk welcomes the scruff y singletted miniature Stephen Dorff lookalike that is Kristian Matsson – aka The Tallest Man On Earth – to the stage as he immediately exerts his awesome presence on the sold out venue. Prancing around the stage like an upright Gollum with guitar, you can’t help but be awestruck by the strength of his manic vocal delivery, like Bob Dylan crossed with a gravelly Louis Armstrong. After two incredible opening tracks from 2008’s Shallow Grave – I Won’t Be Found and The Gardner – he opens up to what will be the first of many personal musings, this one recalling Brisbane’s special place in his heart when he hit The Troubadour on his last visit, which was the first time he’d been out into the world. A searing Troubles Will Be Gone is introduced with “this was just me totally lying to myself”, which further hints at a lot of his music’s tortured origins. A gorgeous Love Is All is dedicated to the loud drunken Scotsman in the audience who is the exception in this otherwise deathly silent room: Matsson comments on the polite silence which greets his songs, but it is merely a mark of audience respect for the power of this one man’s incendiary performance. His explosive voice seems to unveil much more range live than on his recorded output, with the bluster of his at times frazzled punk guitar tone belying his folk troubadour reputation. The sublime melodies of The Dreamer sees him crouch over his guitar as his weight pushes his chair backwards, an indication of his full performance immersion. Following other highlights such as King Of Spain and Pistol Dreams he closes post-encore with a spine-tingling version of Nico’s These Days. Thrilling stuff.



Faker @ The Zoo by John Hudson Taylor

long-running Love & Rockets – thus winning the hearts and minds of any nerds in the audience just two songs into his set. Lucero have a gentle, melodic sound, fusing that lazy, occasionally mournful Tennessee country twang with an occasionally faster, more upbeat, almost ragtime sound. Their more melancholy songs like Drink Til We’re Gone and Hey Darlin’ Do You Gamble won’t help the Murphys fans pounding whiskey feel any less maudlin, but Nichols’ beautiful, considered, poetic lyrics spin vivid yarns that delight those paying attention. But then it’s “Let’s go Murphys!”, and from the get-go the Dropkick Murphys make it clear that tonight they’re all about their new songs. The setlist is heavy with numbers from new album Going Out In Style and frontmen Al Barr (looking more Irish than ever with shaven head and flat-cap) and Ken Casey are keen to teach us the words.


It’s not exactly a packed house early at The Zoo tonight, but the dozen or so that are here have wandered down the front to have a listen to Sydney four piece Rockets, their mashing of garage sounds with a strong southern edge instantly evokes images of early Followill sounds, but it pushes too far into tribute territory as even their own Madeline and Toad begin to just feel like covers, luckily the swagger and confidence that they exhibit onstage still radiates a charisma that helps punters overlook the influence inherent in their sound. Next up local lads Hey Geronimo take to the stage, fronted by Pete Kilroy of Blame Ringo; the group’s energy is contagious as they whip through Dreamboat Jack and Dan Kelly Song. In what will likely become more than just a side project for most of these guys, they have a blast onstage, dropping in a stomping cover of The Beatles’ Hey Bulldog and bringing bearded rap wonder Danaj onstage to confuse and delight the crowd. Faker take to the stage to a warm welcome – to be expected given this is their first headline tour in three years – but they don’t reciprocate as they wade into a subdued start of down-tempo dance. With frontman Nathan Hudson standing frozen behind a guitar, before deciding to wake up slightly for Are You Magnetic? – though his ‘waking up’ still consists of a string of murmured and mumbled lyrics that impress no one in-between sporadic bursts of energy. The majority of their latest material seems to go down like a lead balloon, as the crowd appears confused by the concept of how a band that explodes with party singles such as Hurricane, Teenage Werewolf and Sleepwalking can be shifting backwards into 80s emotional synthpop? With the exception of Dangerous, their new sound is not hitting the spot as Hudson rapidly cuts back and forth between superb entertainer and heartbroken prepubescent schoolgirl. It seems to have finally taken its toll as the closing of This Heart Attack hits, as crowd members start randomly making their way to the stairs for a sad end to a disappointing show. MARK BERESFORD


At first, it seems an odd mix, but Memphis band Lucero stride out in support of the Dropkick Murphys to prove they’re just as punk in their own way, thank you very much. It’s their first ever show in Australia and quietly-spoken frontman Ben Nichols is clearly stoked to share his songs with the polite and perhaps unexpectedly restrained crowd. After laying the lively The Devil And Maggie Chascarillo on The Tivoli, he confirms it’s about his favourite comic book – the

The band opens with the speedy strains of Hang ‘Em High as Barr prowls the stage in front of a giant backdrop depicting the heraldic arms from the album cover, then it’s into the glorious celebration of grassroots punk rock that is Sunday Hardcore Matinee. From there, they rip through the high-energy Deeds Not Words, the jaunty Climbing a Chair to Bed and foot-stomping union anthem Take ‘Em Down. Diverse, catchy, memorable – the new stuff is a mark of a band on top of its game. Echoes on A Street marks the start of some more wellworn tracks, and when Barr blows the dust off Boys On The Docks it sparks a full-blown crowd singalong. But it’s soon back to the new record as Ken Casey croons trad classic Peg O’ My Heart and the Murphys put their stamp on The Irish Rover with a bold, fast and tight version. The first words of Barroom Hero serve as a call to the sweaty faithful to slam their way to the front and by the time the heraldry drops to reveal a pirate flag and the band hoist sail on I’m Shipping Up To Boston, the mosh is what you’d expect at a Murphys gig. Al Barr tips his flat cap to an Aussie classic in his final song, a well-received cover of AC/ DC’s TNT. All that’s left is for the band to trot out their somewhat businesslike, traditional encore of Kiss Me I’m Shitfaced and Skinhead On The MBTA. It wouldn’t be a Murphys gig without them – and while the Bostonians can get away with a set so laden with new songs, changing up Kiss Me... and Skinhead... is inconceivable. BAZ McALISTER


Performing with what is perhaps their most stripped-back appearance yet – without the usual brass section, synth, tripped out projections and a complete disappearance of vocals – post-metallers From Whence It Come prove within minutes that they can still be still really heavy and hypnotic. There are a handful of moments earlier in the set where the band’s two drummers experience slight issues in synchronising with each other and all four of the band’s long-haired guitarists, nonetheless the players are soon locked in with each other and the band’s wall of tone triumphs. ‘Neath are up next, opening up with a brand new song that builds and broods in their typical style. In place of their regular bassist David Lingard is Sam Alcock, but if it weren’t for the noticeable differences in beard preferences and vocalist Boyd Pott’s introduction of the Defamer member amongst their ranks, the fi ll-in status would have gone unnoticed. Expressing the notion that the sooner they finish the sooner the audience will get to see the touring bands, they wind up their brief yet well-timed set up with The Small Untruths. Melbourne’s Heirs take to a stage flooded by smoke and burning with orbs of golden light. Exerting brilliance through the utmost precision and control, the band essentially steals the show with their hypnotic blend of abstract influences and unwavering

stage presentation, through which drummer Damien Coward can barely be seen. Playing a selection of songs mostly from their Hunter 10” and Fowl album, synth player Miles Brown almost stands above his band when he takes to his theremin and crafts stunning leads right out of thin air. With the stage now glowing a brilliant fairy-blue, singer/guitarist and solo project co-ordinator Neige leads the full-band live incarnation of Alcest through a set that finally has the Globe Theatre’s audience largely on their feet rather than their rears. Far from the raw implications of the term ‘black metal’, Alcest’s embodiment of shoegaze and post-rock influences into their sound proves to be transcendental for some and simply silly to others. With the almost-falsetto vocals often failing to cut through the mix, the set is then cut short after five songs due to the Globe’s time restrictions, the French band finishing up with Percees de Lumiere. LOCHLAN WATT


Following the insistence of a series of paper arrows stamped across the Valley’s outer hills, like forest creatures coalescing at a clearing of celebration and light, come we punters to tonight’s warehouse party. Inside, swathes of thin white cloth drape dramatically from the ceiling; an art-deco spider’s web that sways softly in the evening’s cool. The boutique accoutrements continue as the room framed within the drapery is scattered with small, white drums around workbench-styled wooden tables. A thick, artificial fog chokes the air. The enchanting Magic Spells take the stage first – looming large and refreshingly unadorned at the warehouse’s far end. A tentatively titled Ghost Hunter begins their set; the band comprising of four frontwomen and their male drummer, their sound a ghostly thundering of bare percussion, and gypsy-like vocal harmonies. Shrill guitars, lapped at by loping drums and apathetic vocals sway from sexy to surreal as things ring a little tinny in the odd cement cave this end of the ‘house. A sprawling, spluttering beat next, that’s wet with a caterwauling vocal stumbles obnoxious and blind into a sound like punk, but wrung-out. Locals Gung Ho bring some punch and bass to tonight’s proceedings, with a sound that’s wild, and flailing; familiar, and yet uncomfortable. From dirge-y surf-song – something like The B-52s, but fronted by Robert Smith – to blistering spaz-out, the tight outfit are abrasive and aff ronting in all the right ways. Tourism, following a fiddly warm-up launch into a series of crumbly, Mars Volta-like riff s. Behind them glows a giant, Christmas-light facsimile of the letter ‘T’, and on stage, the guys are dressed like seacaptains, and all wear masquerade-ball masks. Their crumbling riff s change gears and begin to clamber atop a pile of heavy, melodic detritus, before that too shifts, becoming a flanged-out ode to 60s cool. Fittingly finishing on Vacation – a track that’s like bluegrass with muscles – the band’s final hurrah is the ringing they leave in everyone’s ears. The quickly greatening headliners The Belligerents are up last, and just as manic-looking as ever. As the dim house-lights flick to strobe, the energetic band – all different heights bobbing madly at their positions – fling straight into the whining Take A Bow, wilfully losing the track to a spiralling, disco-infused psych-out. These Hands follows that; the track’s sharp, angular vocals steering its pulsing rhythm around every corner of the expansive sound-space. A new song, following that, features a commanding tom that shoots guitar lines with a wobbled spin like uncoiled springs from the track’s centre. She Calls The Shots begets the crowd favourite Such A Crime before closing on Infatuation, another newbie – this one their most avant-disco yet.


THE GRATES: Spotted Cow Oct 27, The Tivoli Oct 28, Great Northern Nov 16, Coolangatta Hotel Nov 17, Kings Beach Tavern Nov 18 HEROES FOR HIRE: Sun Distortion Oct 28, Thriller Oct 29, Shed 5 Oct 30 THE DRONES: The Hi-Fi Oct 28 COLD CHISEL: Sunshine Coast Stadium Oct 29, Gold Coast Convention Ctr Oct 30, BEC Nov 1, 2 & Dec 13 THE VASCO ERA, PAPA VS PRETTY: Coolangatta Hotel Oct 29, The Zoo Oct 30 SKIPPING GIRL VINEGAR: Gold Coast Arts Centre Nov 3, Joe’s Waterhole Nov 4, Beetle Bar Nov 5 GOLD FIELDS: Elsewhere Nov 4, Alhambra Lounge Nov 5 HOUSE VS HURRICANE: Thriller Nov 5, Sun Distortion Nov 6 BOY & BEAR: Kings Beach Tavern Nov 9, Coolangatta Hotel Nov 10, The Tivoli Nov 11 & 12 KING CANNONS: Sol Bar Nov 10, Beach Hotel Nov 11, Old Museum Nov 12 HUXTON CREEPERS: The Hi-Fi Nov 11, The Brewery Nov 12 X: Lennox Hotel Nov 11, Beetle Bar Nov 12 GUINEAFOWL: Beach Hotel Nov 16, Spotted Cow Nov 17, The Zoo Nov 18, Sol Bar Nov 19 GYROSCOPE: The Zoo Nov 16 BUSBY MAROU: Empire Theatre Nov 17, The Hi-Fi Nov 18 DIG: Old Museum Nov 17, SoundLounge Nov 18 EMMA LOUISE: Sol Bar Nov 17, The Loft Nov 18, The Zoo Nov 19 THE MISSION IN MOTION: Beetle Bar Nov 17 DICK DIVER, ROYAL HEADACHE: Woodland Nov 18 CLAIRY BROWNE & THE BANGIN’ RACKETTES: The Joynt Nov 20 SEEKER LOVER KEEPER: St John’s Cathedral Nov 21 THE GETAWAY PLAN: The Hi-Fi Nov 23 JINJA SAFARI: Oh Hello Nov 24, Great Northern Nov 25 THE TRIFFIDS: Brisbane Powerhouse Nov 24 HERMITUDE: X&Y Nov 25 JEBEDIAH: The Hi-Fi Nov 25 THOUSAND NEEDLES IN RED: The Zoo Nov 25, Mansfield Tavern Nov 26, Coolangatta Hotel Nov 27 PAUL DEMPSEY: The Zoo Dec 1 SCREAMFEEDER: Woodland Dec 1 DAN SULTAN: The Hi-Fi Dec 9 HOWLING BELLS: Great Northern Dec 14, Joe’s Waterhole Dec 15, Alhambra Lounge Dec 16 DARREN HANLON: Powerhouse Dec 23 THE CHURCH: Brisbane Powerhouse Dec 23 THE JIM JONES REVUE: The Zoo Jan 3


ISLAND VIBE FESTIVAL: Point Lookout, Stradbroke Island Oct 28 – 30 2 HIGH: Brisbane Powerhouse Oct 29 GOLDEN DAYS: Coolum Beach Nov 19 – 20 HARVEST : Botanical Gardens Nov 19 MULLUM MUSIC FESTIVAL: Mullumbimby Nov 24 – 27 STEREOSONIC: RNA Showgrounds Dec 4 FESTIVAL OF THE SUN: Sundowner Breakwall Tourist Park Dec 9 & 10 BLAH BLAH BLAH: South Bank Dec 28 NO YEARS: Brisbane Powerhouse Dec 31 BIG DAY OUT: Gold Coast Parklands Jan 22 LANEWAY: Alexandria Street Fortitude Valley Jan 28





Touching down in three quarters of our states and territories during October, November and December for a slew of shows, Lachlan Bryan is going to be a busy, busy boy in the near future. Out in solo mode and away from his normal gig fronting Melbourne alt-country merchants The Wildes, Bryan has just recorded his debut LP with some help from Bill and Kasey Chambers as well as domestic country queen Catherine Britt, and is giddy to be bringing these songs plus select Wildes material around to share with Australia. He’ll be in the southeast corner for a few shows beginning with X&Y Bar Wednesday Oct 26, Joes Waterhole, Eumundi Friday Oct 28, Upfront Club, Melany Saturday Oct 29 and finally, Vinyl Cafe Sunday Session at The Hi-Fi Sunday Oct 30.


Recalling the freewheeling grooves of decades past with the sort of modern roots, folk blend that has plenty of ears in a modern audience, Costa Rae have a new album Shot From The Moon, and want to come and share it with their Queensland friends. Making a nice long weekend of performances while they are up here, the Sydney three-piece will be entertaining fans at the Beach Hotel, Byron Bay Thursday Oct 27, The Joynt Friday Oct 28, SolBar Maroochydore Saturday Oct 29 and as part of Fret Fest, SoundLounge, Gold Coast Sunday Oct 30.


Name Of Artist: Lachlan Bryan. Homeground: Melbourne. Describe your live music/performance style as succinctly as possible: It’s country/folk. Fly By Night (first single) is gothic roots rock. I like to tell anecdotes throughout the performance. Try to keep it light. Is this your fi rst foray to Brisbane? If not how many times have you performed in our midst. No, I’ve been a couple of times before. Please relate your impressions of performing in our fair city. The gigs have always been fun. Though the first time I came with The Wildes I got locked out of my hotel and had to try and sleep in the park – I got an interesting perspective on Brisbane nightlife to say the least.

What can we expect different this time around? Th is is really my first solo tour, though I am bringing along my trusty sidekick Melody Pool. The sound will be very traditional country – which ironically is now considered alt-country. Has anything exciting been happening in your world of late? Brisbane will be my first stop on the way home from performing and writing in Nashville, Tennessee and Austin, Texas. I’m playing at the AMA association Americana Festival with a handful of Australians and a stack of my American heroes. Lachlan Bryan plays X&Y Bar on Wednesday Oct 26, Joe’s Waterhole, Eumundi Friday Oct 28, Upfront Club, Maleny Saturday Oct 29, Vinyl @ The Hi-Fi Sunday Oct 30


Being scared has never been so fun (or loud). Punk HQ on the Gold Coast, Shed 5, is putting on Fright Night, a haunted event full of pure evil. Expect the walls to be painted red when Sydney hardcore quintet Northlane attack the stage with a lengthy eight band support bill including the likes of All My Friends At Sea, Armada In The Dusk and Emerald Vale. Get out to Arundel Friday Oct 28, tickets are $20 on the door and the best costumes can win some epic prizes on the night!


Not to be confused with the greatest golfer and ladies man of our generation, Tiger & Woods are a European disco force, the guys just as sexy and notorious as their iron wielding namesake. Off the back of some major slots during the recent northern hemisphere summer, the pair are coming to encourage the moves at Bowler Bar Friday Oct 28 with support in the form of Graz, Tim Fuchs, Private Velodrome plus more to be announced. Pick your tickets up right now through Moshtix and get early the bird price of only $13 until numbers are exhausted.


To mark the release of their latest EP Wings and lead single Sunny Days our very own The Bloodpoets are taking their clutch of new tunes out on the road. Blending more traditional rock sounds with playful elements and instrumentation like saxophones and trombones, the four-piece are an aural pleasure that are just as enjoyable on the eyes. Get along to Beetle Bar Saturday Oct 29 to be part of the fun with ticket prices starting at $15, or pay a bit more and for only $18 you can get a copy of the Wings EP included to pick up on the evening. Tickets available now through OzTix.


Progressively growing from more than humble beginnings eight years ago, SCoRCHeR FeST is, for the first time in the event’s history, taking over a whole weekend with loads of music and good times. Check out The Mimes, Dakota, The Winter of Reason, Lab 64, Sharzy & Supa Trio De Isles, Benny D Williams, Robbi Mostina, Hostile Little Face, Convicts, Forever Road, Shanghai Times, Alpine Fault, Crossing Red Lines, Elemental Burn, The Intrepids, Daddy Long Legs, TrashQueen, Cecilia and Gabriel Brandolini, Sencabah, Jackson Dunn, Not Of Th is World, Distortion, Anonymous Zeitgeist, Planet Fiction, Icarus Complex, Instinct Theory, Where I Stand and In Your Last Moment who are all a part of this massive show which happens at The Country Life Hotel Kin Kin (30 minutes outside of Noosa) Saturday Oct 29 and Sunday Oct 30. Pick up your tickets via the festival website (; priced at $20 per day or $45 which covers the two days and camping.


Melburnian micropop madame, Kikuyu (aka Sez Wilks), has just released her debut album, Hunter Gathered, and she’s wrapping up her warm vocals and Italian organ into a sweet bundle, and venturing up to Brisbane! You can catch her for free alongside Scraps at Ric’s Bar on Monday Oct 31 or down at The Rails, Byron Bay on Tuesday Nov 1.

HEARTS WILL FLUTTER Th ings are getting serious now for Gold Coast post-rock foursome Woe & Flutter. It started with a neat showcase at BigSound to get mouths yapping. Then taste-making Sydney label Ivy League got onboard, signing the youngsters, and now we are on the cusp of their debut five-track EP release, full of the sort of killer, low-end indie numbers that gained them attention in the first place. Check out what all the hype is about when the band play Coolangatta Hotel, Gold Coast Saturday Oct 29 and The Zoo Sunday Oct 30 as support for The Vasco Era and Papa Vs Pretty. Ears will surely be ringing after those shows!



SIX PACK OH LADIES! The Beetle Bar’s monthly ‘Ladybug’ showcase is gathering quite the reputation for being a fantastic night out with consistently varied bills full of great local musicians. Back again for instalment number five, the line-up is a cracker. Curated by Skye Staniford, the songwriter will perform alongside Prr (Ruby Roberts and Tim Steward), pictured, Pascalle Burton, Hannah Jane, Avaberee, Ghostboy and The Vaginabillies. Tickets are available on the door for $10 with all the goodness happening Thursday Oct 27 from 7.30pm.







“It feels more focused to me,” Moss begins, explaining the biggest points of difference between this new material and previous EP Fifteen Thirty Three. “I think the four tracks on the last EP were from four different corners of what we do. The new stuff is more centralised and has more of a collective identity. I think there’s been a bit more of a minimal approach to the writing of the tracks as well. They’re still quite dense in parts, but a lot of the tracks kind of flow with this repetitious, dreamy hypnotic kind of thing.” Dreamy it may be, but this whimsical indie the band have returned with certainly seems to be working for them, Sometimes being warmly received across all forms of media. Moss talks about where they’re at with the upcoming release on their own label, We Swimmers. “We’ve been co-producing with our good friend, Tim O’Halloran, at his studio, The Alamo, here in Melbourne which has been working out really well,” he says. “We’ve been taking a lot more care this time around which has been a huge positive. Just allowing us to be more specific on each track and explore different elements that we probably haven’t in the past.”

Coinciding with Bandana Day, a nationwide push to raise funds for cancer research and increase awareness of the disease, Bandana-Rama will take over Beetle Bar Thursday Nov 3 to raise profits for cancer charity Canteen. Donning their best bandanas will be acts such as Holly Terrens, Fibreglass Yeti, The Rockefeller Frequency and The Royal Artillery while punters can purchase a whole host of different style fabric do’s for $5. Tickets for the night are priced in the way of a $10 donation on the door, so get down and throw your support behind a fantastic cause to help tackle cancer head on.


As if The Grates weren’t reason enough to get along to their upcoming Summer’s Breath tour, they’re now being joined by some mighty fine comrades, so get excited if you’re already going or get a damn ticket if you haven’t done so as yet. You already knew that Last Dinosaurs would be joining them for every show nationwide, and depending on which show you choose, you’ll either see surf-powerpoppers, Dune Rats, or indie-rockers The Medics as well. Starting the tour with a bang tomorrow night at the Spotted Cow, Toowoomba followed by The Tivoli on Friday Oct 28 , both of these shows with Dune Rats opening. They’ll then be back around for shows at The Northern, Byron Bay on Wednesday Nov 16, The Coolangatta Hotel on Thursday Nov 17 and then to the Kings Beach Tavern, Sunshine Coast on Friday Nov 18, where they’ll be joined by The Medics.

Bonding over sonics and diets, The Alamo sound is far more friendly than history would show. “It’s been great,” Moss gushes, “we’re currently finishing off all the tracking here now. Tim and Dave [his assistant] have been really easy to work with and it’s been really creatively liberating. They’re always on board to try any ideas anyone so we’ve tried a whole lot of different production with every track that’s making the songs a lot more sonically interesting. They also share a similar passion for fried dim sims and ginger beer.” WHO: I, A Man WHAT: Sometimes (single) (We Swimmers) WHERE & WHEN: SolBar, Maroochydore Friday Oct 28, 2High Festival @ Brisbane Powerhouse Saturday Oct 29 (3pm)


TWIN QUARTET Put on your dancing shoes because the Voltaire Twins have just released their new EP, Romulus and they want to invite you to a celebration party in support of it! The indie electro outfit will play one gig at Woodland on Friday Oct 28 to launch their brand spanking quartet of tracks, joining the Perth four-piece will be dance-rockers Rivalry. Doors open at 9pm and entry is only eight bucks.

“This year we’ve been using to really try and find out how the new dynamics of this band are going to work, not just on a musical level, but a live one as well,” Ferguson offers. “The new direction we are taking requires so much more effort on our part to get it how we want it. 2012 is when we are going to really try and hit a little harder and show people what we can do. Our new stuff is a totally different entity and is allowing us to do things we would have never even tried on Ruins.” Devastatingly brutal, the Brisbane five-piece are looking to bring the fear with their first full-length, a creation experience that Ferguson admits to being an immense eye opener. “We really are trying to make a conscious effort to write songs to the best of our ability,” he says. “We wrote our EP when we were all still learning our instruments more or less, and we have all grown so much since.” This growth includes venturing down the evercurious Swedish distortion style of Djent. “Djent, amongst other styles, have become a massive influence on all of us,” Ferguson offers, “it has opened up an entire new spectrum for us and we intend to take every advantage of it. Bands like Elitist, Volumes and Structures, amongst others, have blown our minds, and we are writing this album whilst picking up the pieces. Our main aim is to create music that intrigues, and by the use of things such as different time signatures as well as syncopated rhythms, we hope to make something that pricks the ear and gets people interested in it on a deeper level than just the catchiness of a breakdown or lyric.”

“Yes!” Smith exclaims excitedly when asked if his fellow Northlane crew will be donning some costumes for their Halloween headline slot. “But if I told you I’d ruin the surprise. Last year Nic [drums] dressed up as Hellboy, Jon [guitar] was the dude from V For Vendetta, I wore some stupid mask and cape, our old bass player had a black metal getup [on] and I think Adrian [vocals] was something evil but I can’t remember. Th is year there’s more of a theme and it will tie in with something we’ve done fairly recently...” Smith eludes. Discoveries is the new record from the band and Smith is quick to admit there were increased challenges to create an LP of consistent quality as opposed to an EP. “To write a successful album you need to have more depth to your songwriting and your songs need to each have a point of difference and a memorable hook,” Smith explains. “It’s easy to write a five-track, balls out EP, but if you try to replicate that over ten or more tracks it just gets boring. I guess this forced us to experiment and expand our sound to make a CD that’s more varied and it’s been very rewarding.” Fans can expect a glut of this exciting new material at all their upcoming shows around Southeast Queensland. “We’ll be playing very little old stuff,” Smith tells. “The new songs go down very well live, although people still love to be able to sing along to the old songs they know. We’ve been mixing it up over the last nine months or so with new material to see how people received it and it all seems to be fitting really well together.” WHO: Northlane

WHO: Midnight In Alaska

WHAT: Discoveries (Independent)

WHAT: Ruins EP (Independent)

WHERE & WHEN: Railway Hall, Toowoomba Thursday Oct 27, Shed 5, Gold Coast Friday Oct 28, Mt Gravatt PCYC Saturday Oct 29, Sun Distortion Studios Sunday Oct 30 (all shows all ages)

WHERE & WHEN: Mt Gravatt PCYC Saturday Oct 29 (all ages), Sun Distortion Studios Friday Nov 4 (all ages)

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MELBOURNE MICROPOP ARTIST KIKUYU, AKA SEZ WILKS, HAS RELEASED HER DEBUT ALBUM, THE IMPOSSIBLY DELIGHTFUL HUNTER GATHERED. TONY MCMAHON FINDS OUT ALL ABOUT WHAT QUEENSLAND CAN EXPECT. an album with it. Hunter Gathered is the result of one woman’s want to turn an unloved electronic organ into something new. It’s restricted in its instrumentation, small in its production cost (by music industry standards) and many of its sounds have a peppy little 8-bit/chiptune vibe.” Given the seemingly simple nature of her sound, the music on Hunter Gathered should make for a pretty honest show. Wilks agrees, but says she also wants to hit the beach when she’s in the Sunshine State.

“We all sing and we were pretty conscious of making the harmonies a feature of the album,” says Downey, talking about blending Cali harmonies with a uniquely Australian delivery. “I think that was something we were keen to develop further going into the project. When [producer] Tony Buchan first heard the demos he was kind of drawn to the songs with the big harmonies and he said it reminded him of a lot of 70s Cali bands like Crosby Stills & Nash and that kind of vibe. I don’t think we’d ever really thought of it like that, but it gave us a bit of direction to reach for. In the mix Tony went nuts with his 70s tape echo, which gave it even more of that vibe. As far as being uniquely Australian I guess we can’t help that, it’s just who we are, except for Fernando, who is uniquely Brazilian.” Shot From The Moon strikes one as distinctly summer music. Was this a conscious decision on the band’s part to make music that sounded like this, or was it something organic? The


latter, Downey tells us, but it also has a lot to do with Costa Rae’s environment. “No it wasn’t a conscious decision, I guess that just comes from us all living on the beach and enjoying the lifestyle that brings. We’re pretty lucky really to live where we live and get to do what we do, so maybe that shines through. I personally didn’t think of it as summer festival music. I mean, the subject matter in a lot of the songs isn’t necessarily light, however, listening to the album it does have that kind of mood about it and lots of people have mentioned it.” WHO: Costa Rae WHAT: Shot From The Moon (The A&R Department) WHERE & WHEN: The Joynt Friday Oct 28, SolBar, Maroochydore Saturday Oct 29, Soundlounge, Gold Coast Sunday Oct 30

“For me,” says Wilks of her relatively unknown genre, “‘micropop’ is as much an approach to creating music as it is a musical style. It’s a way of working that gives new meanings and uses to things that have been overlooked or are outdated. It also harnesses how the imagination is triggered by small things, everyday happenings. In these ways it echoes the aesthetic of the Japanese art movement of the same name. My work as Kikuyu started when I found an old Baleani electronic organ in a second hand shop. It’d been gathering dust in the corner and the moment I saw it I decided to write

“I like working within some limitations, whether they’re to do with process or instrumentation. Focusing the record on one organ and keeping in mind that I had to be able to translate it live with the use of only two hands had me facing problems similar to early video game composers: limited ‘channels’ to create full sounding pieces of music. My live set-up is super simple: the Baleani organ and a loop pedal. And an audience: I’ve taken to looping them into my show. I’m look forward to meeting people at my shows and hopefully getting an afternoon or two at the beach. I’ll be the tall one dragging a coffin-sized case down your main street – with a smile.” WHO: Kikuyu WHAT: Hunter Gathered (Independent) WHERE & WHEN: Ric’s Bar Monday Oct 31, The Rails, Byron Bay Tuesday Nov 1


Best record you stole from your folks’ collection? I pinched my father’s entire record collection (sorry Dad). He and I both love Steve Miller Band’s Fly Like An Eagle and The Doors’ Morrison Hotel but for argument’s sake I’ll say Reg Livermore’s Betty Blokk Buster Follies. First record you bought?

AGM 4ZZZ is your community station and this year we are 36! If you’re a subscriber and would like to be involved in the voting in of our new Board of Directors, come along to our Annual General Meeting on Wednesday Nov 2 from 6.30pm. The Annual General Meeting will be held at the premises of Visible Ink, 5 Green Square Close, Fortitude Valley. If you are interested in becoming a director of Creative Broadcasters Ltd. there are a few legal and personal issues you need to consider before being nominated or nominating someone. Please visit the 4ZZZ website to find out more or email

1985 Comes Alive! Cruel Summer (Bananarama), One Night In Bangkok (Murray Head), Wild Boys (Duran Duran), The Neverending Story (Limahl) and George Smilovici’s I’m Tuff routine. Record you put on when you’re really miserable? If I wake up on the wrong side of bed Dolly Parton’s Love Is Like A Butterfly puts me in a fantastic mood. It’s foolproof. My cat, Dolly Parton Staniford, loves it too.

Record for when you bring someone home? Bill Callahan’s Supper or The Go-Betweens ’ 16 Lovers Lane or 16 Horsepower’s Olden. But I never bring people home. Honest. Most surprising record in your collection? Your Favourite Christmas Carols by Julie Andrews and/or Aerosmith Pump. Last thing you bought/downloaded? I only learned how to download a few weeks ago. It was mixes of the new We All Want To album. Skye Staniford curates Ladybugs 5 at the Beetle Bar Thursday Oct 27. We All Want To play SolBar, Sunshine Coast Thursday Nov 3, Sky Parlour, Gold Coast Friday Nov 4, Spotted Cow, Toowoomba Saturday Nov 5 and Dowse Bar, Paddington on Thursday nights in December.

AWARDS!! The Voxies, the CBAA’s annual awards presentation, will take place at the 2011 Conference Gala Awards Dinner on Saturday Nov 19. The Voxies recognise the achievements of stations and their volunteers, both on and off the air. 4ZZZ is a finalist in the following categories: Excellence in Training – Training in the Community Contribution to Indigenous Broadcasting – Indigi-Briz Best Station Promotion, Sponsorhip or Fundraising Campaign – Monthly Incentives: 4ZZZ Paper Drive

FUN-RAISERS! Get ready for Hanky Panky – a juke joint jumpin’ night of Hank Williams’ songs. A 4ZZZ fundraiser event at the Beetle Bar on Friday Oct 28 starring Pete Martini & The Freight Jumpers, with very special guest vocalists, we are gonna honky tonk to songs written by one of the greatest country music icons ever!


It’s not all carved pumpkins, lame costumes and trick-ortreating at The Hive this year for Halloween, as power-rock trio Greenthief are dropping by at the end of their Vultures tour and for extra fright on the night, garage-punk rockers Bixby Canyon, The Missing and newcomers Sparrow’s Gallows will also grace the stage. Festivities kick off from 6.30pm on Saturday Oct 29, its all-ages and a tenner gets you in.

YO DJ – SPIN THAT WHEEL! Just when you thought you had seen it all from a DJ, Cutloose turns up ready to blow your mind completely. Th ink a plethora of musical genres, a spinning wheel, audience participation and the element of surprise for every single track. The punters spin the wheel of chance and whichever track it lands on, Cutloose better be ready to drop that shit. He presents the Wheels Of Genres tour at Alhambra Lounge Friday Oct 28. And things get better for you party monsters with admission completely free. Doors open at 8pm.

A LOCAL BATTLE OF MINDS Recalling great songwriters and scarred troubadours of the past, Dan Flynn’s guise as Major Chord has been striking just that with his album Psychic Civil War. Looking to build on the momentum created by cracking singles Tomorrow Night and Two Young Lovers, Flynn has been garnering consistent airplay around the country’s community stations, ABC’s Radio National Tim Ritchie going as far as proclaiming it an album of the year contender. Under the afternoon sunshine, check out Major Chord at Dowse Bar, Paddington, Sunday Oct 30 from 4.30pm. Perfect tunes for a perfect setting if you ask us.


Hardcore and punk with Sarah Petchell. Email punk news to Toy Boats

So the second Soundwave 2012 announcement has come through and if there wasn’t incentive enough for you with the first announcement, then the second announcement has definitely come through with the goods. Joining the already super line-up of bands will be the prolific Bad Religion, the legendary Strung Out, metalcore superstars Unearth, British hardcore act Your Demise, German metalcore legends Heaven Shall Burn and The Mezingers, among many others. To top it off, we all know that one of the criticisms that is levelled at the Soundwave organisers is the fact that asides from local openers, there rarely are any other Australian bands on the bill. Next year FOUR Australian bands will be playing the entire festival. Joining Heroes For Hire will be Perth’s Break Even, Sydney pop punk act Tonight Alive and Melbourne’s Dream On, Dreamer. Hopefully this is a trend that will continue for future years as Australia definitely has enough talent to stand up there with the best of the international acts. Supports were announced this week for the Take One For The Team tour that will (finally) celebrate the release of Heroes For Hire’s excellent new album. As you already know, joining them on the road will be I Call Fives and I Am Villain. The tour begins this week, but tickets are still available. Anyway, joining the tour on the first day (Friday Oct 28) at Sun Distortion Studios in Brisbane for an all ages show will be Call The Shots and Sunsets. Then on Saturday Oct 29 there is an 18+ show at Thriller night club with Closure In Moscow kicking things off. Then finally on Sunday Oct 30, Friends With The Enemy, Take Us To Vegas and Knights Like These will be opening the all ages show at Shed 5 on the

Gold Coast. If you’re a fan of pop punk, this is definitely for you. Resist Records announced this week that the most recent addition to their roster of artists will be Byron Bay singer-songwriter Hugo CostinNeilsen, otherwise known as Toy Boats. Having started out as the singer for local hardcore act Dead Ends, Costin-Neilsen has transformed from angst ridden hardcore youth into a talented singer songwriter that cradles hope, heart and purity along with his youth. Emotional, yet definitely not wallowing in self-pity, and channelling lo-fi simplicity, think the grace of Bon Iver and everything you love about Bright Eyes minus the emo agony. Keep any eye out for his debut through Resist early next year, and in the meantime, head to the Toy Boats Facebook page for a free download of 2A.M. Bones (what I guess is a mini EP sampling his work). While we’re on the topic of new signings, brilliant US-based label Rise Records have announced that Daytrader are the newest addition to their rapidly growing roster. The Queens, NY-based band have cited influences the likes of Jimmy Eat World, Sunny Day Real Estate, Saves The Day and Hot Water Music, and having undergone a recent lineup change their forthcoming Rise Records debut is set to be one of the most anticipated releases of 2012. The band are set to enter the studio in the coming months to record with Matt Sapone (Brand New, Taking Back Sunday) for the release that’s expected next autumn. While Agent Orange have postponed their Australian tour, another classic punk act have taken up the mantle with the announcement last week that the prolific and absolutely classy The Damned will be touring the country as a part of their international run of shows to celebrate their 35th Anniversary this January. Led by original members in guitarist/singer Captain Sensible and theatrical singer Dave Vanian, this tour is one that I am actually really excited about. Tickets are on sale now for the show at The Hi-Fi on Thursday Jan 19.

Melbourne grimmos Sanguinary Misanthropia will be headlining Monstrothic this Friday night in support of their latest “ultra limited” tape EP Et Lux Perpetua Luceat Eis. It is the band’s first and only Brisbane performance of 2011, and will feature support from Lustration, Demon Reich and Vilifier. Doors are at 8pm, the poster doesn’t tell you how much it is but you could presume between $10 and $15, and remember to bring the biggest frown you can muster. Having recently announced their breakup, Victorian deathcore group State Of East London have been unable to come good on their promise of a final tour. Instead, they’ll be playing one final show on Nov 26 at the Narre Warren Learning Centre in Melbourne with Northlane, Trainwreck, In Heart’s Wake, Sienna Skies, Hallower and Boris The Blade. Tickets are $14 if you grab a pre-sold through Moshtix. Thanks to Welkin Entertainment, Sonic Forge Festival will go ahead at The Esplanade Hotel, Melbourne, on Nov 26. The show is a charity event for The Centre of Hope, Haiti, and will this year feature Queensland acts Lynchmada and The Schoenberg Automaton alongside Romania’s Negura Bunget and fellow Aussies Dreadnaught, Eye of The Enemy, Chaos Divine, A Million Dead Birds Laughing, Aeon Of Horus, In Malice’s Wake, Eyefear, Cirlces, Ouroboros, Okera, Orpheus, Elysian,


Endless Boogie

The main announcement of bands announced for the Golden Plains festival in Meredith a couple of hours out of Melbourne has dropped and there is an enormous amount of music for the open-minded blues and roots fans among you. I’m enamored with the line-up so here are just a few of my highlights; Let’s begin with Chic featuring the great Nile Rodgers; a legendary disco act that I frankly consider to be one of the only disco acts worth listening to. They were heavily steeped in the funk and soul that came before them and were hugely influential on the genesis of hip hop in the late-70s and early-80s. Then you’ve got Endless Boogie, a New York outfit made up of a few music nerds in their 40s whose band sounds exactly as their name suggests (plus, their name is ripped from a John Lee Hooker record, so they get extra points right off the bat). Their songs are long, they are repetitive and they are absolutely entrancing. It’s a fired up electric blues that takes the best parts of bands like Canned Heat, Creedence Clearwater Revival and Coloured Balls and just jams the hell out of it for a long time. I caught the band at SxSW a couple of years back; don’t miss them when they return. Charles Bradley is another artist coming to us from the flawless Daptone label; that’s a guarantee of quality if you’ve ever seen one. He started cutting singles for the label about ten years ago – when he was already in his early50s – and just released his debut record at the start of this year, with a hot shot Daptone band backing him up. Word is he has players from the Menahan Street Band and Budos Band playing

with him on this tour; it’s going to be amazing. Add to that the beautifully miserable folk of Bonnie ‘Prince’ Billy (who’s here with his buddies The Cairo Gang backing him up), one of the greatest garage rock bands on the planet right now in Black Lips, folk duo First Aid Kit, as well as the previously announced Roky Erickson and Bon Iver and a whole bunch more you can check out on their website. It happens in Meredith from Saturday Mar 10 until Monday Mar 12. Here’s hoping for plenty of sideshows while these amazing artists are in the country! The great Eric Bibb is once again returning to Australia for a series of dates in the early part of next year. Bibb is here all the time, sure, but he still manages to play absolutely jawdropping shows each and every time he visits. His latest record Booker’s Guitar is gorgeous and he has just fairly recently released a DVD by the name of Don’t Ever Let Nobody Bring You Down, Guitar Artistry of Eric Bibb, which I haven’t seen but very much look forward to. You can see him this time around when he drops by the Gold Coast’s SoundLounge on Friday Mar 2 and Lismore’s Star Court Theatre on Saturday Mar 3. The tour takes him all the way through until the end of March, which means he could play Bluesfest, but I don’t think it’s likely he would be sticking around in Australia with no shows booked for over a week. We’ll have to wait and see! On a local note, the Gold Coast’s SoundLounge is hosting a big night of diverse blues and roots music on Friday night, a damn good excuse to get out of town should you be a city slicker. The Barleyshakes will be there plying their brand of Celtic-influenced traditional folk, while the wonderful Lil Fi will be back up north (she’s based in Melbourne at the moment) running you through a set of her much-loved blues tunes which have been a favourite among Queensland audiences for many, many years now. You can grab your tickets from the venue’s website right now for $16 + bf or grab one on the night for $18. I’ll be jotting down a few words about Lil Fi’s new live record soon, so stay tuned for that (if you want).

Pop culture therapy with Adam Curley

Metal with Lochlan Watt Sydney’s most talked about new name in metalcore, Northlane, hit Queensland hit this weekend for a run of shows. They’ll play The Railway Hall in Toowoomba on Thursday, Shed 5 at The Gold Coast on Friday, The Mount Gravatt PCYC on Saturday with The Construct, The Endless Pandemic, As Paradise Falls and Midnight In Alaska, and at Sun Distortion Studios on Sunday with The Construct, Villa Rise, All My Friends At Sea, The Endless Pandemic, Armada In The Dusk, The Evening and Endworld. All shows are $15 and all ages. Head over to YouTube to check out Northlane’s awesome and dare we say ‘djent’ styled track Dispossession, taken from their forthcoming debut album Discoveries. The album is due out in early November through UNFD.

Blues ‘n’ roots with Dan Condon

Synthetic Breed, Arbrynth, Black Orchid, The Automata, Hemina, Naberus, Unrtuth, King Parrot, Whoretopsy, Odiusembowel, Phil Para & Band and more promised to come. Tickets are available from OzTix for $20.


Melbourne-based post/black metal group Encircling Sea will make their debut journey to Brisbane for two shows at the end of the year. Catch them for free at Fat Louie’s on Dec 2 with IDYLLS and the first show from Hope Drone – a band featuring Patrick Ruggles, Karl Hartwig and Francis Keil of the now-defunct IRONHIDE. They’ll then play at Sun Distortion Studios on Dec 3 with The Matador, Nuclear Summer, Courting Pandora and Fvck Mountain for ten dollars. Another bunch of metal bands have been added to the Soundwave 2012 line-up – get stoked on Cathedral, Unearth, Shadows Fall, Heaven Shell Burn, Kittie, Dream On, Dreamer and Staind being amongst the second announcement. Infinite Thought Process has finally cranked out some new material, releasing their new track Dawn Of Man on their Facebook page over the weekend. The Sunshine Coast-based progressive metalcore group recorded the shred fest at RTD Studios. Melbourne progressive/Meshuggah worship group Circles will soon release a new video clip/single for the track Eye Embedded, which also appears on their debut EP The Compass. The single will be packaged with of course the video clip and original version fo the song, a remix, two b-sides and a new instrumental track. Keep an eye out around Nov 14. IDYLLS recorded a new song and a new video clip to go with it last week thanks to Her Name Is Murder Productions. You can expect it to surface online in the coming weeks, with a full-length due early-mid 2012. Featuring members of Dyscord, the Perthbased studio project Pointbreakdown have released their new EP Utah. Self-described as “combining elements of rock, surf, death, skydiving, bank robbing and sexwax,” you can have a listen a

Following on from her Swimming Pool single and remixes of 2010, Sydney’s Catcall has released the excellent first single from her upcoming debut album, The Warmest Place. It’s called Satellites (out through Ivy League) and its SPOD-directed clip has been passed around and given a lot of love the past week-and-a-half. As that’s happened, The Breakdown has been engaging Catcall’s Catherine Kelleher in some pop therapy via email… Hi Catherine. So I’ll jump off with this: Satellites has that kind of ‘love-life’, ‘wanna go to the beach’ quality about it, but there’s some yearning too. Do you aim for that balance of ecstasy and loneliness in you music? “I never do it intentionally but it seems to be the feeling or vibes that I get drawn to. Loneliness and then warmth/love is definitely a common theme that I seem to be treading on the album overall. I find being in love can be a fairly isolating experience, so maybe that’s why there is a melancholic feeling in the music.” Are there things you do/have done intentionally as a songwriter? Do you have any songwriting ‘secrets’? “At the moment in my songwriting I’m trying to paint more abstract pictures lyrically, like with

the last two tracks that have been released. But sometimes songs are just a lot more direct, and simple in what it’s trying to achieve. I’m always trying to just be completely true, never to try too hard to be something that I’m not. I don’t know if I have any ‘secrets’ to songwriting, but I guess a lot of the best stuff comes from the first take. So when I sit down and write a vocal line over some beats for the very first time I literally just improvise the lyrics and see what my stream of consciousness comes up with, and that’s always influenced by the vibe and mood of the music I have to play with. This is always recorded, and I’ll do a bunch of those before I start moulding the first demo.” Are you telling me you improvised “Goosebumps all over, nipples harden” from your 2010 single Swimming Pool? I wish my stream was that sexy. “That lyric came out of the very first demo I did for Swimming Pool! I don’t remember if it came out of the first take but I definitely remember [the lyric] ‘Do you see my face’ coming out of the very first one! And the lyric ‘This is for my body’ came from the very first go at writing Swimming Pool!” I really like that last lyric. It was unfortunately a bit surprising to hear coming from a woman, though – that kind of ownership of sexuality. Do you think at all about what you do ‘as a woman’ working in pop and dance genres? “I have thought about it. I think the main thing for me, especially in relation to female sexuality in music, is to represent something understated, and real. Going for a way less overt vibe rather than the all up in your face ‘sex’ that a lot of women like to push in pop. The main thing is, for me, to always do something that appeals to me and never to do something that tries to appeal to other people because I reckon you end up just putting something really fake and boring out, rather than honest.” Nice. One last question: now that you’ve had time to think on it, are we satellites or meteors? “I think we’re both. ;)”



WED 26 D3 Amigos Latin Dance Party: Casablanca

Frat Club: Pete Smith, Mark Z: Regatta Hotel Miss Wild Heat 1: Brett Allen, Apollo Flex: Shooters Tone Def: Doors

OGFLAVAS Urban and R&B news by Cyclone

Everyone is doing urban-dance, even Joe Jonas. It’s not as OTT as LMFAO, but Jonas’ Love Slayer, the Danja-produced teaser from his solo debut Fastlife, is obviously inspired by club culture. “I wanted to make this album something a club DJ would listen to,” Jonas enthuses in the presser. Curiously, Love Slayer’s lyrics contradict his clean-cut, pro-abstinence, evangelical Christian image. Jonas actually has Lil Wayne on a remixed Just In Love – Disney goes gangsta! Chris Brown co-wrote the forgettable power ballad See No More. But OG prefers the bizarre auto-tuned trance of Kleptomaniac. Championed by Diplo, Spank Rock – originally centred on MC Naeem Juwan and Alex “XXXchange” Epton – were early blenders of hip hop, electro and house, only dirtier. They internationalised their Baltimore (Bmore) club steez with 2006’s LP YoYoYoYoYo on Big Dada. Among Spank Rock’s fans? Thom Yorke. The irony is that, while Epton has roots in Baltimore, he resides in New York, and Juwan is from Philadelphia. Regardless, we finally have a second Spank Rock album, the self-released Everything Is Boring And Everyone Is A Fucking Liar – and Spank Rock is now an alter-ego for the solo Juwan. Much has happened in that five years: nu-rave came and went, baile funk had its moment and mainstream urban morphed into electronic dance. Fortunately, Juwan has maintained his live profile, being popular here in Oz. The booty MC teamed with Benny Blanco for an EP. He’s also had cred cameos on Neon Neon’s brilliant Stainless Style, NASA’s underrated The Spirit Of Apollo and Mark Ronson’s expansive Record Collection (The Bike Song). On Everything… Epton, who’d often bail on Spank Rock shows, offers just one full song, The Dance, which sounds like it’s sampling The Cure. He’s currently busy with a career of his own, producing the likes of Kele Okereke. A lot of the music is handled instead by German techno stalwart Boys Noize (Alexander Ridha), a punkier (He made a minor contribution to Kelis’ future-disco Flesh Tone on’s label.) Ridha masterminds the album’s banging

(yet subliminal) first single, Energy, referencing the Krautrock Can. It’s very Clipse. Ridha and Ronson both worked on the bipolar #1 Hit, halfsynth-pop, half-noise. Sarcastic title aside, Juwan’s ambition is evidently to be a countercultural pop star – a US Tinie Tempah (he has modelled for Alexander Wang). More satisfying is the breezy Car Song, featuring Santigold, also taking forever with her follow-up. Car Song is nothing like Spank Rock Mk I, but it has all the hallmarks of a crossover hit. The problem with Everything… is that Ridha favours generic minimalist European rave, Juwan shedding his old ‘Bmore’ identity. Back in 2007 Epton, distancing Spank Rock from the Bmore scene, described their music to OG as “American kids ripping off European kids ripping off American hip hop.” That’s very accurate today, but not so cutting-edge, given that the ubiquitous and David Guetta are churning out that shit, too, as well as Timbaland’s old protégé Danja. Tyler Pope, !!!’s bassist, is responsible for the most experimental track, Dtf Dadt, an acid wig-out, Juwan sounding like Prince rapping. (Epton helps.) Mid-year Pitchfork reported that Spank Rock had recorded with Pharrell Williams, but there’s no sign of him. Guests are kept to a minimum – apart from Santigold, notably New Orleans bounce star Big Freedia appears on Nasty. When Juwan isn’t grinding or partying, he’s rebelling… against something. He channels Public Enemy and Rage Against The Machine on the protest rap Turn It Off. Word is that Juwan was once an aspiring ‘conscious’ MC, but he’s more like a new Flavor Flav than Chuck D – an eccentric. Ultimately, Everything… is confusing, Juwan in the throes of reinventing himself, and the Spank Rock “formula”, post-Bmore hype. He may even have been superseded by Odd Future’s Tyler, the Creator who, for all his novelty status, is putting a fresh urban twist on the music of Washed Out, Beach House and Broadcast. Still, overcooked album or not, Spank Rock will rock the crowds this festival season.


THU 27

Jonathan Boulet, Magic Spells, Kate & Max: Cobra Kai Karaoke In The Front Bar: Casablanca Lipstick: The Heritage Love Cats: Alloneword MBar Thursdays: Vita, DJ Climate: Fitzy’s Loganholme

Quarterdeck Nightclub: Emerald

By Alfredo Lange David Guetta

SUMMER HATING Summer is upon us and just prior to the festival onslaught, this column comes to you after watching my home country, France, lose the Rugby World Cup to the dreaded AllBlack menace. At least the rate of domestic violence will be down for a while in Kiwi-land. Women of New Zealand, be thankful. Yet again, DJ Mag have held their infinitely crap Top 100 DJs poll, and it has generated the predictable amount of controversy. Moreso this year, because taking over the number one spot is a chap who has polarised the dance music community – Mr David Guetta. Not content with grinning like a buffoon, Guetta has worked with some of the current biggest names in pop music, all whilst writing deceptively simple house music backgrounds for them to lay their Melodyne and auto-tune laden vocals over. A previous columnist spotted him on Channel 7’s Sunrise, and he was pretending to DJ. The fact that he has been so successful irks many who remember the early-2000s version of Guetta, who was a polite chap that made decent house music, albeit a tiny bit on the commercial end. It’s been hard to reconcile old Guetta with the most recent version, who claims he is taking dance music to the masses, but in reality it’s pop music. Pop music incorporated electronic dance music some time ago, although why Guetta’s brand has suddenly consumed popular music is unfathomable. His music is not played by a large amount of house music DJs, and nor do most of his fans like any house music other than the pop he produces. Predictably then, Guetta has a lot of haters. This was evident when the Dutch crowd at DJ Mag awards ceremony booed him. Not just quietly,

but loud enough for the MC to interject. Guetta himself looked a bit uncertain, and the scene was reminiscent of a tribe casting out a member. The crowd seemed to convey a message that “he’s not one of us.” Whilst this may betray an elitism creeping into dance music, it also demonstrates that there has never been such a wide schism in dance music. Consistent superstar John Digweed explains: “The scene over there (America) is like the rest of the world now, split into two scenes – the commercial big hits party DJs and the cooler underground DJs who push the more cutting edge sounds.” Previously, there was some cross-pollination. The mainstream took ideas from the underground. Now they look like spinning in completely different directions. Guetta is at pains to namecheck his underground roots when interviewed by DJ Mag for his award, and states that an underground scene in dance music is “exploding also.” I don’t see this; perhaps in other countries this is happening, but club closures and diminished attendances at underground nights all over the world suggests Guetta’s assertion is flawed. Cast a look at the rest of the Top 100 list and you’d be struggling to know who some of them are. Perhaps big in their respective countries/scenes, many of them are relative unknowns anywhere else. How they got to those positions is as much of a mystery as they are, and in five years time it would be a surprise to see any of them still in the top 100. “And your point?” you scream, like a bogan mother being told gambling is ruining her family’s life. The point is that people place their faith in the Top 100 Poll. They book DJs on the strength of this fraud. They are people you should be booing. They are the people you should be sending a big box of dog shit to in the post. After you do, give some love to new albums from Surkin (house and techno), Camo & Krooked (drum n bass), Tiger & Woods (disco edits), BNJMN (electronica) and Space Dimension Controller (galactic funk). They deserve more attention than the DJ Mag popularity contest.


The Barleyshakes, Lil’ Fi: Sound Lounge The Brewery Nightclub: Andee J: The Brewery

SAT 29

Afro Disa, Joe T., DJ Misqo, DJ Levi: Casablanca

DJ Pickles, DJ Natural: Hertitage Hotel MBar Saturdays: DJ DC: Fitzy’s Loganholme Minx, Rhys Bynon, Double Trouble: LaLa Land

Popalicious: Turbine Platform

Too Damn Glam: Bluffsta, Mister P, DJ Flo, MC Fortafy: Republic

The Planet Smashers, The Resignators, The Funaddicts: Step Inn

FRI 28

Afro Disa, Joe T., DJ Misqo, DJ Levi: Casablanca

Danny T, Jovito, Tooshoes, Funky Cold Anita, Migs, Rudemood, The Narcotics, The Chad Blaster, Reggiegray, Tenjo, Lowparse: Electric Playground

DJ Pickles: Heritage Hotel

Drinks On The Deck: Lounge Bar Safari

Hankypanky: Pete Martini & The Freight Jumpers: Beetle Bar Heaven The Axe, Ironbird, Our Last Enemy, Hellfire Pass: Shark Bar

Impossible Odds:


Woodland Bar

Snitch: X&Y Bar Too Damn Glam: Brett Allen, Apollo Flex, Tredman: Shooters


Voltaire Twins:

Memorial Club

Funk Ferret: Swingin’


Vision Friday: DJ Flo, Bluffsta, Mister P, MC OP: Republic Vision Friday: DJ LP, Mister P: Rendezvous Tone Def: Doors

Rat Vs Possum, Toy Balloon: Woodland Bar Sensation Club: Brett Allen, Apollo Flex, Tredman: Shooters Sensation Club: Ea Kut, Mister P, DJ Jay Oh, Trippa MC: Republic

Sensation Saturday: Masta K, DJ LP: Rendezvous

Touch Saturdays: Otto, Dezastar, EA Kut, MC Loudmouth Len: Fitzy’s Loganholme Thriller: Hotel Orient

SUN 30 Daniel Webber, Discrow: LaLa Land Hernan Cattaneo: Barsoma

Lick: Whitney Mixter, Juicy, Lezlee, Asha: Zuri Bar

Nightmare on Melbourne Street: DJ Della, Pete, TeeJay, Dollypop, Mr Moy, Y-Fi, DJ Harley: Fox Rooftop

Sweet Sunday Session: Masta K: Rendezvous

MON 31 Industry Night:

“Driving to Melbourne was a great test to see how we would cope travelling together. We got way too drunk, we were almost killed by a giant eagle on the Great Dividing Range, we hardly slept in four days and we came home not sure if we were still a band or if we had all called it quits. So all and all I’d say it was a great success!” Keevil says that not only is the new single a departure from Tyrants’ super successful first EP, it’s also a taste of things to come with the approaching album. “Show Me Your Heart was written a few months after we released the EP. It’s a glimpse into where we’re heading in terms of genre. We want to bring in more of a classic rock element to give our songs a timeless sound as opposed to a ‘flavour of the month’ approach. The new songs will showcase an overall calm and collected vibe, which comes as the band develops continuity and matures in its approach to songwriting. The EP was a great step for us in terms of treading water, whereas the album will be a much more solid and non-cliché approach to music.” Talking of Tyrants’ first EP, it went to number one on the Australian iTunes metal charts, but Keevil was sceptical at first. “I actually had no idea the EP was doing so well until a friend messaged me. I thought he was fucking with me at first until he sent a screenshot of the charts. It started at around 40-something and kept climbing until reaching number one later that same day. I was stoked to see something we created from scratch be doing so well. Having that kind of exposure when we were basically only starting out was a huge benefit and gave us a great confidence boost.” WHO: Tyrants

The Loft

Heritage Hotel

WHAT: Show Me Your Heart (Independent)

Mitch Davis & The Dawn Chorus, I a Man: Sol Bar Nubi, And Oh: LaLa

The Smart: Sugarland

WHERE & WHEN: Mansfield Tavern Saturday Oct 29, X&Y Bar Wednesday Nov 16


Oarsome Fridays: Paul Bell, Mark Z: Regatta Hotel

Shooters Halloween Party: Brett Allen, Apollo Flex: Shooters


TUE 01

Envyus: DJ Dezastar, Eakut, Bluffsta, Oscar, DJ Owe, DJ Premix, DJ K-otic: Shooters

Karaoke In The Front Bar: Casablanca


4ZZZFM NOW PLAYING 1. Sleep With The Fishes VELOCIRAPTOR 2. Fortune INLAND SEA 3. Hunter’s Moon FEATHERS 4. Twerps TWERPS 5. Only In Dreams DUM DUM GIRLS 6. About The Spirit/Smoke Alarms NIKKO 7. New Start Again DICK DIVER 8. So Many Things EDDY CURRENT SUPPRESSION RING 9. Cover Your Ears THE FLANGIPANIS 10. III: Real Pain Supernova NO ANCHOR

CHANNEL [V] MUSIC CHART 1. We Found Love RIHANNA 2. Sexy And I Know It LMFAO 3. Somebody That I Used To Know GOTYE FT. KIMBRA 4. Act Yr Age BLUEJUICE 5. Without You DAVID GUETTA FT. USHER 6. Cinema BENNY BENASSI FT. GARY GO 7. Pumped Up Kicks FOSTER THE PEOPLE 8. Feel So Close CALVIN HARRIS 9. You Make Me Feel COBRA STARSHIP FT SABI 10. Love On Top BEYONCE


WED 26

8 Ball Aitken Press Club Allied March, Word Of The Weak!, Crocrat Zebra Pig Club 299 Blessed Are None, Crywolf, The Evening Shed 5, Gold Coast Bom Gosto Glass Bar & Restaurant Lachlan Bryan, Melody Pool, Rattlehand X & Y Bar Mark Sheils Royal George Nanna Night Wednesdays: Drawn From Bees Vinyl Bar, The Hi-Fi Open Mic The Music Kafe Open Mic Night The Loft Chevron Island Pete Murray, M Jack Bee A & I Hall Bangalow The Bowery Hot Five With Mal Wood The Bowery The Devil Wears Prada, We Came As Romans, Dream On, Dreamer The Hi-Fi The Quims The Tempo Hotel Tiny Spiders, You In Reverse Ric’s

THU 27

Alla Spina, Sub Electric Ric’s Ang & Brendan, Mo’s Religion, Stoner Pony, Love Like Hate, Blind Dog Donny The Music Kafe Ballad Boy Loving Hut Blessed Are None, Crywolf, Northlane, Villa Rise Toowoomba Laurel Bank Hall British India, King Gizzard and The Lizard Wizard, The Frowning Clouds, Betty Airs The Brewery Closure In Moscow, Awaken I Am Miami Tavern Costa Rae The Beach Hotel, Byron Bay Dram, Black Ghost Party, Dougal Binns & The Wino’s Tatt’s Lismore Driven Fear, Closure, Army Of Champions X & Y Bar Ingrid James Quartet Turnaround Jazz Club Jabba Irish Murphy’s Brisbane

Karl Williams The Arts Centre Gold Coast Ladybugs: Vaginabillies, Golden Virtues, Pascalle Burton, Prrrrrr, Skye & Ghostboy, Hannah Jane, Avaberee, Skye Staniford The Beetle Bar Lanie Lane, Miss Little, The Fear Less Vampire Killers Old Qld Museum Lincoln Mackinnon, The Good Ship Dowse Bar Pete Murray, M Jack Bee Coolangatta Hotel Seen, Seen DJs Bowler Bar Taylor Dayne, Andrew Lawson Twin Towns The Decoys, Who Is John The Tempo Hotel The Devil Wears Prada, We Came As Romans, Dream On, Dreamer, This City Ignites The Hi-Fi The Grates, Last Dinosaurs, Dune Rats Spotted Cow The Root Note The Loft Chevron Island Trad Irish Session QLD Irish Club Tyson Faulkner Broadbeach Tavern

FRI 28

Acoustic Sessions Kings Beach Tavern Andrew Baxter, Lecia, Mike Beale The Loft Chevron Island Australian Foo Fighters Show Caboolture RSL Beauty & The Beats Locknload West End Benson Tan Narangba Valley Tavern Big Boyz CBX British India, King Gizzard And The Lizard Wizard, Death By Dance The Zoo Byron Short Transcontinental Hotel Closure In Moscow, Awaken I Am Great Northern Hotel Byron Bay Costa Rae, Turner The Joynt Cutloose Alhambra Lounge Dan England Everton Park Easy Come, Tiger & Woods, Graz, Tim Fuchs, Private Velodrome Bowler Bar

Epidemic…Over, The Drive, AMB, You Say When, Arctic, Stellar Green, Presence Of Mind The Tempo Hotel Fat Chance, Distance To Planets, Blind Dog Donny The Music Kafe Friends Of Friday Appreciation Society: Screamin’ Stevie’s Australia Crown Hotel Lutwyche Green Jam: Jesse Green Trio QPAC, Melbourne St Green Greenthief Irish Club Hotel, Toowoomba Hanky Panky - Hank Williams Tribute Night: Pete Martini & The Freight Jumpers, John Meyer, Bertie Page, Emmie Lou Wilkins, Mitch Humphrys, Michael Errol Ray Pearson, Pony The Beetle Hemi Kingi Trio The Morrison Hotel Heroes For Hire, I Call Fives, I Am Villain, Call The Shots, Sunsets Sun Distortion Studios Island Vibe Festival: Chali 2na, Blue King Brown, Opiuo, Dubmarine, Grace Barbe, Bobby Alu, Impossible Odds, and more Point Lookout, Minjerribah Jabba Surfers Paradise Beer Garden James Johnston Kenmore Tavern Joel Turner, Jimmy Z Rum Jungle, Brackenridge King Louie Band Kirra Beach Hotel Lachlan Bryan, Dan Lyons Joe’s Water Hole Eumundi Marcus Mercer Meadowbrook Hotel Mark Pradella & The Bazkatz Brisbane Jazz Club Mark Sheils Boathouse Tavern Matt Southon Maleny Hotel Matthias Tanzmann Barsoma Michelle Brown Caloundra Bowls Club Mitch Davis & The Dawn Chorus, I, A Man Sol Bar, Maroochydore Moon Ranch Gilhooley’s Chermside

Northlane, All My Friends At Sea, Armada In The Dusk, Emerald Vale, The Endless Pandemic, The Lane Cove, As Paradise Falls, To The Teeth, Final Vow Shed 5, Gold Coast Pete Murray, M Jack Bee Eatons Hill Hotel Selenite City Brisbane Powerhouse Theatre Solar Rush, Jonny Goodwin Hamilton Hotel Spook Hill, Lincoln (Cash) Howe Prince Of Wales Hotel Taylor Dayne, Andrew Lawson Kedron Wavell Services Club The Barleyshakes, Lil’ Fi Soundlounge Currumbin The Drones, Adalita The Hi-Fi The Grates, Last Dinosaurs, Dune Rats The Tivoli The Massive Fergusons, The Springhillbillies Royal Mail Hotel Goodna The Radiators, 1.1.1. Racehorse Hotel The Residents: The Stress Of Leisure Brisbane Powerhouse Turbine Platform The Shake Up, Boss Moxi Ric’s Transvaal Diamond Syndicate, Tinian’s Boy, Jaffer, The Moderns X & Y Bar Voltaire Twins Woodland

SAT 29

2high Festival: Bang Bang Boss Kelly, Colourfide, Dyan Tai, Pat Tierney, I, A Man Brisbane Powerhouse Airwolf Bowler Bar Bob Mouat Southern Hotel Toowoomba British India, King Gizzard and The Lizard Wizard, Junkyard Diamonds The Zoo Club Zed: 1.1.1., The Full Fudge, Midnight Prophets, Dj Doomy Crown Hotel Lutwyche Cold Chisel, Grinspoon Sunshine Coast Stadium Costa Rae, Rokeby Venus Sol Bar, Maroochydore DJ Chamo, DJ El Toro, DJ Memo, La Tropa Latina Jubilee Hotel DJ PP Alhambra Lounge

Electric Horse, Awaken I Am, Tyrants, Take Us To Vegas, Alibrandi, Far From Paris Mansfield Tavern Epidemic…Over Lennox Heads Point Hotel Ger Fennelly, Jabba Irish Murphy’s Brisbane Greenthief, Bixby Canyon, The Missing, Sparrow’s Gallows The Hive Hernan Cattaneo Barsoma Island Vibe Festival: Chali 2na, Blue King Brown, Opiuo, Dubmarine, Grace Barbe, Bobby Alu, Impossible Odds, and more Point Lookout, Minjerribah Lissy Stanton, Hemi & 2 Stroke, The Buzzbees, Rear Vision, Connor Cleary The Music Kafe Lynchmada Burpengary Hall Midnight In Alaska Mt Gravatt PCYC Moondogs Gypsy Blues Band Maleny Hotel Pear & The Awkward Orchestra Jet Black Cat Records Pete Murray, M Jack Bee The Hi-Fi Popalicious Brisbane Powerhouse Turbine Platform Punxie & The Poison Pens, Goldstool, Myrtle Place The Tank Hotel Rat Vs Possum, Toy Balloon Woodland Sarah Collyer The Arts Centre Gold Coast Scorcherfest: The Mimes, The Winter Of Reason, Lab 64, Benny D Williams, Convicts, Forever Road, Dakota, and more Country Life Hotel Kin Kin Sharny Russel Princess Theatre Stars Of Thursday Locknload West End Sue Bond Jazz Quintet Brisbane Jazz Club The Bloodpoets, Young Griffo, The Drive, Galapogos The Beetle Bar The Business, Plan Of Attack, Mouthguard, Topnovil Prince Of Wales Hotel The Decoys, Stifler’s Mum The Tempo Hotel The Havelocks, The Roshambos Ric’s The Idea Of North Brisbane Powerhouse Theatre The Ride, Veralyn, End Of The Race, Rachel Clark The Loft Chevron Island The Vasco Era, Papa Vs Pretty, Woe & Flutter Coolangatta Hotel Thriller: Heroes For Hire, Closure In Moscow, I Call Fives Orient Hotel Yeshe Byron Cultural & Community Centre

SUN 30

50 Lions, In Hearts Wake, Hopeless, Relentless, Ghost Town, Fires Of Waco, Deceiver Byron Bay High School 8 Ball Aitken Royal Mail Hotel Goodna


Acoustics On Sunday: Beth ‘N’ Ben, Tom Carty Brisbane Square Library Bambina Bambino The Tempo Hotel Bec Whitehead, Jazz It Up Bond University Bluesville Station Bearded Dragon Tavern Cold Chisel, You Am I Gold Coast Convention Centre East Journey Brisbane Powerhouse Fretfest: Costa Rae, Rokeby Venus Soundlounge Currumbin Ger Fennelly, Mic Travers, Jabba Irish Murphy’s Brisbane Heroes For Hire, Friends With The Enemy, Take Us To Vegas, Knights Like These, I Call Fives Shed 5, Gold Coast His Merry Men Ric’s Island Vibe Festival Point Lookout, Minjerribah Lachlan Bryan Vinyl Bar, The Hi-Fi Ladysmith Black Mambazo QPAC Concert Hall Live Spark: Sue Ray, Charles Jenkins Brisbane Powerhouse Lucas Price, The Butch Patrick’s, Anthony J Cox, Dyan Tai, Hivemind, Trash & Treasure The Music Kafe Pete Murray, M Jack Bee Caloundra RSL Sabrina Lawrie, Major Chord Dowse Bar Scorcherfest Country Life Hotel Kin Kin Sunday Bloody Sabbath Sessions The Beetle Bar The Business, The Scam, Plan Of Attack, The Lost Cause Shed 5, Gold Coast The Ride Locknload West End The Vasco Era, Papa Vs Pretty, Woe & Flutter The Zoo Young Conservatorium Big Band & Jazz Ensembles, Tropical Dance Orchestra, UQ Big Band Brisbane Jazz Club

MON 31

Kikuyu Ric’s Open Stage, Travelling Jam The Music Kafe

TUE 01

Alex Jones, The Local Residents The Tempo Hotel Cold Chisel, You Am I Brisbane Entertainment Centre Glenn Esmond Wharf Tavern Helen Rowe, Chris Jack, The Switch The Bug Hemi Kingi Trio Boardwalk Tavern John Farnham QPAC Lyric Theatre Kikuyu Railway Bar, Byron Bay Marcus Mercer The Palace Hotel Melissa Western Brisbane Jazz Club Out Of Abingdon Diana Plaza Hotel Something Whiskey The Music Kafe

TIME WARP Oct 26, 1965 – The Beatles are awarded the MBE (Member of the British Empire) medals. Oct 27, 1975 – Bruce Springsteen is featured simultaneously on covers of Time and Newsweek. Oct 28, 2007 – US country legend and Grand Ole Opry regular Porter Wagoner passed away in Nashville after suffering from lung cancer. Oct 29, 1998 – East Bay Ray, Klaus Flouride and D.H. Peligro – all former members of the punk icons Dead Kennedys – file suit against Jello Biafra, claiming that the former lead singer had diverted money owed to the other band members for his own use. Oct 30, 1982 – Paul Weller announces the breakup of The Jam. Oct 31, 1988 – Debbie Gibson holds a séance at her Halloween party to contact the spirits of Liberace and Sid Vicious (presumably separate attempts)... Nov 1, 1993 – Flavor Flav (of Public Enemy) is arrested for allegedly trying to shoot another man in a dispute over a woman. William Drayton (Flavor Flav’s real name) is charged with attempted murder, possession of a weapon and reckless endangerment.


Fever Pitch launch their I Came Here Just To Argue EP at X&Y Bar on Friday Nov 4 How did you get together? Dion Shaw (vocals/guitar): “We all went to high school together. But it wasn’t until last year, when I bumped in to Jake when he was working at a bakery and somehow we found out we both wanted to play in bands and it kind of went from there. Our drummer, Blair, always said if I ever started anything up to give him a call – so that’s exactly what I did.” Sum up your musical sound in four words. “Hardcore indie pop grunge.” If you could support any band in the world – past or present – who would it be? “Michael Jackson, and I would make sure I get to guest star in one of his songs for a dance off.” 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? “This is probably the most ridiculous question I’ve had to answer in an interview. I just feel like it would be a lot simpler to bring an iPod! But I think, if the whole band were on board, probably Lady Gaga’s Monster.” Greatest rock’n’roll moment of your career to date? “This one is difficult because we aren’t that rock’n’roll. But one day earlier this year I was walking along the street and this guy stopped me and asked if I was the lead guy from Fever Pitch. I said yeah, and he was sort of stoked and shook my hand and told me how much he liked us. Not that rock’n’roll but I was stoked!” Why should people come and see your band? “Why not?!”


LAST CALL with dave Jacobs and the Prodigal Sons + CHRIS TIMMS




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Le Party Soul with DJ Redbeard (8pm) Tiny Spiders (9.30pm) + You in Reverse (8.30pm)

Alla Spina (9.30pm) + Sub Electric (8.30pm) + DJ Valdis from 9pm



DOWNSTAIRS: DJ Valdis (8pm) with The Shake Up (9pm) + Boss Moxi (8pm) UPSTAIRS: DJ Wildbeats (8pm)

DOWNSTAIRS: DJ Valdis (8pm) with The Havelocks (Newcastle) (9pm) + The Roshambos (8pm) UPSTAIRS: DJ Cutts (8pm)

$26 PRE AND $32





His Merry Men (2 sets) 8.30pm

Kikuyu (9.30pm) + Scraps (8.30pm)




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Good Charlotte drummer Dean Butterworth, who has also worked with Ben Harper, Morrissey and The Used, is coming to Allans Music + Billy Hyde’s Southport store 7pm Monday Oct 31 to present a clinic. It’s free but register your interest in attending to ensure a place by logging into the Allans website.

FENDER COVER COBAIN Hot on the heels Gibson releasing the Krist Novoselic Signature RD Bass, Fender has released their limited edition Kurt Cobain Jaguar guitar as part of their ongoing Artist Tribute series. Meticulously modelled by Fender craftsmen on the battered left-handed 1965 Jaguar that the late Nirvana singer, guitarist and songwriter wielded, the detail is exceptional, right down to the last unusual detail, including an alder body with Road Worn aged finish and hardware treatment, bound fretboard with pearloid dot markers, Stratocaster headstock shape with 50s-style “spaghetti” logo under the finish, DiMarzio humbucking DP103 PAF 36th Anniversary neck pickup and DP100 Super Distortion bridge pickup, triple-knurled “chrome-dome” knob configuration (volume-volume-tone), three-position toggle switch, black chrome Adjusto-Matic bridge and Gotoh sealed tuners, the unique electronics and controls already in place when Cobain acquired the guitar in 1991. Accessories include a black textured hard-shell case and a Kurt Cobain book featuring a stack of photos and commentary by Charles Peterson and an insightful interview with Nirvana guitar tech Earnie Bailey.

SOUND BYTES Brisbane black metal duo Thrall took themselves off to LM Studio in Osaka, Japan, to record the drums for their latest album, Vermin To The Earth, out end of the month, with Ippei Suda (Corrupted), then did the guitars, bass and vocals at The Gate in Margate, Tasmania, with Trent Griggs, who also mixed the album, Jack The Bear (aka Tony Mantz) mastering it at Deluxe Mastering in Melbourne.


Probably best described as languid psychedelia, New Jersey three-piece REAL ESTATE took to a converted barn to record their new album. Bass player ALEX BLEEKER talks to MICHAEL SMITH about it.


was really good at helping me find that. We used a couple of different amps and then blended them together to get the perfect sound that we wanted. We played him some Fleetwood Mac bass lines and said this was like what we were after and ended up with a Fender [Silverface] Twin Kevin had modified to get a little more low end in, and then we also used an old Gibson [G-115] 4x10 amp/bass cabinet that worked really well too. We didn’t use my own amp on the record but I have a vintage Ampeg from 1976, that feels, like, really powerful and really warm, this old tube amp.”

ew Jersey three-piece Real Estate recorded their new album, Days, over five months in a remote New Paltz, New York State barn converted into a 24-track analogue tape/ProTools studio, Marcata Recording, originally set up by The Walkmen in 2000 and relocated from its original Harlem address. It’s owned and operated by producer Kevin McMahon, who, as well as producing records for Real Estate, Titus Andronicus, Airwaves and New Zealand’s Die! Die! Die! (Locust Weeks and Promises Promises), also engineered and mixed Swans’ Look At Me Go and My Father Will Guide Me Up A Rope To The Sky. The core sound of the band, which formed in 2008, is based on the interweaving guitar lines of guitarist Matthew Mondanile and singer, songwriter and guitarist Martin Courtney, but, as bass player Alex Bleeker explains, that was only the beginning. “Martin and Matt started using space echo pedals that would emulate a nice, warm tape delay, so that sort of like shimmery guitar sound sort developed naturally in a way that we were jamming, and we decided to keep things pleasing and melodic. So that sort of developed on the [2009 self-titled] first record and we didn’t want to stray too far from that on our second record, but obviously we wanted to keep moving forward. So I see it visually in a way of like broadening the brushstrokes a little, deepening that tone.” That self-titled debut album was recorded at home, so, as Bleeker adds, “We weren’t necessarily able to get this crisp, pristine vocal sound that we wanted so it made more sense to bury the vocals in the mix a little bit,” something they haven’t had to do with the luxury of recording in a real studio, albeit a rather unorthodox one. “Connected to the barn that’s been converted into a recording studio is this giant old grain silo, and we actually were able to rig that up and turn it into a natural reverb tank. So a lot of the vocals and a lot of the reverb sounds that we got for the vocals are blended with dry takes.”

As for the choice of studio itself, “Our producer on this record and who also runs this studio, Kevin, we’ve known him for a long time. He recorded some early work of Martin’s actually and I interned for him when I was like 18, so he was the most professional person that we had an actual relationship with, somebody that we knew comfortably. We didn’t want to totally go with a sleek, shiny, LA chromed-out big money studio sort of feel. This was definitely like a do it yourself version of a professional studio squeezed into a barn. “So rather than those pedals we were using to emulate that analogue tape delay, this time we actually got to use the real thing [Roland Space Echo RE 301 and Echoplex Tape Delay]. So there’s like a ton of real tape echo all over the record, and we were able to run everything through Kevin’s super nice old analogue preamps and stuff, and he does a lot of recording to 2” tape [Studer A80 mark 4 and Otari mtr 90], which we used for all the drum tracks and some of the bass. “I’ve always been attracted to that sort of almost like muted bass tone, really rounded sounding, and Kevin

When the band began recording, it wasn’t actually with any idea that McMahon, who sees his facility as “a concept more than a place, that specialises in old school technique, gear and huge reverberant spaces mixed with a working knowledge of performance, modern/ digital technology and production”, as his website blurb describes it, would produce. It seems he basically evolved into that role as the recording proceeded. “Initially it was just this guy’s gonna help us record this album and we’re gonna pay him” is how Bleeker describes it, laughing. “Slowly over time he was able to take that more traditional role of producer. He was able to push the performances and come at things with an objective ear, be really involved in the hands-on process, so we just felt comfortable all together deciding that that’s really what was going on.” While the drum stool is now filled by Jackson Pollis, who replaced Etienne Pierre Duguay, he joined after the album was recorded, Courtney and Mondanile covering some of the drumming along with drummer Sam Franklin from Big Troubles. Since recording, Real Estate have also brought in a keyboards player, Jonah Mauer, for live work, covering the keyboard parts Courtney recorded for the album as well “little third guitar lines and slide guitar parts that we wanted to be able to incorporate.” Days, released on Domino through EMI, is out now.





MAKE YOUR NEXT MUSIC VIDEO AT QPIX: Fantastic film studio/equipment/crew - all under one roof in Annerley. Special Rates for local artists plus FREE initial consultation from experienced producer.

DJ AVAILABLE- ANYTIME -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 15373

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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

Manager wanted for established artist, industry experience preferred. Brisbane based but looking for the right one Australia wide. Ph: Justin 0467448963 iFlogID: 15871

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

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

WAVELENGTH RECORDING. $350/day (BYOE) $550/day (Eng inc). Best Value for money. Guaranteed international quality. SSL console. Acoustically acurate mixing and recording. Freelance Engineers & Producers welcome. Free Assistance. Ph 0404066645 iFlogID: 15602

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


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SOUND & MUSIC RemmosK live @ the Valve Bar Tempe - 06-11-11. For lovers of pure unashamed rock, be sure to catch this gig for full bragging rights. iFlogID: 16061


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

ROLAND RD150 The RD-150 is a superb digital stage piano with 88 keys, 24 outstanding sounds, 64 voice polyphony and numerous other functions that will prove useful to performing artists, music students and teachers alike. This instrument is in excellent condition and comes with a sustain pedal and a specially made very very heavy duty hardware case. iFlogID: 16027


AMPS Laney GH120 Guitar Head 120 watt.2 channel.f/ out.very punchy. great tone.UK made.VGC.$350. Ph.0428744963.Cooroy iFlogID: 13021

Peavey Bandit 80watt 12” guitar combo 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made. VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019

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. $430 iFlogID: 15335

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 $400 iFlogID: 15337


BASS Gibson Epiphone SG Bass guitar. solid mahogany.great fat tone. VGC.$400.Ph.0428744963.Cooroy. iFlogID: 13029

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

DRUMS USED DDRUM 5 PIECE DRUMKIT Used silver finish DDrum Diablo Punx 5 piece kit with blue rims. Stock heads on all drums, bit worn but still in good shape. Standard hardware and cymbal stands included. Kick pedal is a single Pearl PEP990 kick pedal. Cymbals and drum throne not included. $650 ono. Contact Ash on aislingshanahan86@ iFlogID: 15978

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

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GUITARS Fender Pink Paisley Strat. genuine 1980’s.all case. great tone/action/condition.very rare.$1500 ono.Ph.0428744963. Cooroy iFlogID: 13027

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI pickup. $2,400 including delivery. iFlogID: 13086

KEYBOARDS Kawai ES6 digital portable stage piano with travel case and stage stand. Condition as new. $2000. Pick up from Albury or other arrangements possible - iFlogID: 16079

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

HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings. Contact Chris 0419272196 iFlogID: 15173

MASTERING Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15156

Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15162

OTHER ++ play more chinese music - love, tenzenmen ++ iFlogID: 14468

Free music workshop on “Building Momentum” held Nov 16 in Fortitude Valley. Three experienced industry speakers. Limited numbers so bookings required through www.qmusic. iFlogID: 16034

Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see iFlogID: 15452

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line! iFlogID: 15737

AUDIO / ENGINEERING 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

POSTERS GOLD COAST & NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www. iFlogID: 14678

RECORDING STUDIOS ALCHEMIX RECORDING STUDIOS Inner Brisbane city Recording Studio. Record, mix, mastering, duplicate. Established 1998. Large studio with lots of Vintage Gear & the latest in Digital Technology. Obligation free studio tours available,. PH: 0407 630 770 E-Mail: sound@alchemix. WEB: www.alchemix. iFlogID: 15600

Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152

Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160

Wavelength. Best Sound in town. Engineers/producers/students, 20% off day rates. Classic SSL and outboard gear plus the best mixing room in town. Quality Guaranteed. 0404066645. iFlogID: 16115

REPAIRS Drum-In-Tensions - your local mobile Drum and Percussion service and repairs for Brisbane, Gold Coast and Northern NSW. Free quotes available. Call Timo now on 0402 980 602. iFlogID: 14888

TUITION ATTENTION: MUSIC CREATORS Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. iFlogID: 15062

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

GUITAR LESSONS BEGINNER to ADVANCED INNER CITY NEWTOWN guarantied guitar playing in days not years all styles Hendrix-Zeppelin etc. Music CD’s teaching tools supplied. Teaching guitar 10years + 0405 044 513 iFlogID: 13973

Guitar Lessons. Rock, Blues, Jazz, Folk. Teaching studios in the Brisbane area at The Gap and Samford. Rob’s Guitar School. Ph 3289 8020. www. iFlogID: 14011

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

on a freelance basis. Very reliable. Call Timo on 0402980602.

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

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Professional Bass Lessons, 15 years experience, all styles, Hamilton Brisbane, $50 hour, $70 hour and half, 0405 483 058.

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We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196

SINGER Attractive 25 year old female singer (trained) searching for covers band to either join or create. Prefer pop, country, modern funk, reggae beats contact me on pebblesandbam@ iFlogID: 15826

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Professional bass lessons, rock, funk, slap, groove, blues, walking, theory, scales, chords, riffs. Nudgee Rd, Hamilton. All levels, kids to adults (Blue Card Holder) or 0405 483 058. iFlogID: 14622

Professional bass lessons, teach rock, funk, slap, groove, blues, walking, picking, theory. $50 one hour, $70 hour and half, $90 two hours. Blue Card Holder, or 0405483058. Hamilton, Brisbane. iFlogID: 15474

VIDEO / PRODUCTION Be part of RemmosK’s video shoot @ the Valve Bar, Tempe - 06-11-11

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D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@iinet. ph:0404716770

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Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries iFlogID: 13827

MUSICIANS WANTED BANDS indie humstrum and drum open mic night. every wednesday night from 8pm at the manly hotel drums p.a. provided just bring your guitars and sticks. call chris for details 0414340954. cambridge parade Manly iFlogID: 15254

open mic jam night. @ hogans wellington point every thursday night from 8pm. solo or bands welcome p.a. and drums provided bring your guitars and sticks call chris for details 0414340954. iFlogID: 15256

Post-Hardcore/Pop-Punk/Metalcore Guitarist/Bass Looking For Others (Brisbane) To Join/Form A Band. Think a mix of D.R.U.G.S, EscapeThe-Fate, Falling-In-Reverse, DreamOn-Dreamer, Parkway-Drive, Atreyu, Behind-Crimson-Eyes. Have Gear & Extra Contact Matt On; 0451673733 or iFlogID: 15715


MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit email

Looking for bassist interested in making art rock, influenced by ethos of bands such as StoneRoses, JoyDivision, Verve, Suede, NickCave, Ride, Pixies, Radiohead Doors, Oasis, Smiths, Blur, Pulp, etc...



iFlogID: 13825

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

TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired.

iFlogID: 16018

Energetic drummer needed to form a progressive heavy rock band in Bondi area. Are you serious, determined and able to drive the rhythm section whilst still keeping a groove? Call:0414399413. iFlogID: 14934

Looking for a drummer interested in creating amazing music, influenced by ethos of bands such as StoneRoses, JoyDivision, Verve, Suede, NickCave, Doors, Smiths, (although by no means exclusive). andrewblomberg@hotmail. com/0406386566 iFlogID: 16020

Looking for Drummer. preferably someone open to all music styles for an original experimental project. Must be willing to tour Europe and Japan. call Sean on 0450536223 iFlogID: 15921

WHO ARE YOU? Are you a reliable Metal Head into Conspiracies who plays Drums or Guitar? CONTROL NEEDS YOU... Contact: 0423 350 259 iFlogID: 15071

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

looking for guitarist with live show and recording experience, someone who is willing to tour overseas and play original music. influences Meshuggah, Radiohead and Mr Bungle. Phone Luke on 0415440003 iFlogID: 15923

Post-Hardcore/Pop-Punk/Metalcore Guitarist/Bass Looking For Others (Brisbane) To Join/Form A Band. Think a mix of D.R.U.G.S, EscapeThe-Fate, Falling-In-Reverse, DreamOn-Dreamer, Parkway-Drive, Atreyu, Behind-Crimson-Eyes. Have Gear & Extra Contact Matt On; 0451673733 or iFlogID: 15713

SINGER 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

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



SERVICES GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see iFlogID: 15450


Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@ or see www.

18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767.

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered.

iFlogID: 14261

iFlogID: 13864

iFlogID: 13358

Post-Hardcore/Pop-Punk/Metalcore Guitarist/Bass Looking For Others (Brisbane) To Join/Form A Band. Think D.R.U.G.S, Escape-The-Fate, FallingIn-Reverse, Dream-On-Dreamer, Parkway-Drive, Atreyu, Behind-Crimson-Eyes. Have Gear & Extra. Contact Matt On; 0451673733 or matts.msn@ iFlogID: 15711

OTHER Percussionist - Professional Freelance Percussionist with 20 years professional experience playing both nationally & internationally. Looking to perform with professional musicians

iFlogID: 13611

Chasing ORA, an established Female Fronted Indie Rock band is looking to recruit a talented drummer. Northern Beaches based. Must have pro gear, own transport, relevant influences. Check out Chasing ORA’s music at chasingora. If this is something you can be passionate about register your interest by email at Please provide examples of your playing and as much detail as possible on your background. iFlogID: 15956

Free online and print classifieds Book now, visit

OTHER Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see iFlogID: 15454

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

Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@yayabings. iFlogID: 15175

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 BEGINNER to ADVANCED INNER CITY NEWTOWN guarantied guitar playing in days not years all styles Hendrix-Zeppelin etc. Music CD’s teaching tools supplied. Teaching guitar 10years + 0405044-513 iFlogID: 13975

GUITAR TUITION. Bris. 30 yrs experience. Beginners a specialty. 0406017022 iFlogID: 13494

MUSIC TUITION- Guitar, Bass, Drums, 5 String Banjo. Catering for all ages, private one on one lessons. Rock, Blues, Country, Jazz, Slide, Finger Picking. Sutherland Shire. Contact Terry- 0402 993 268 iFlogID: 15166

P&O DJ CRUISE P&O and DJ Bootcamp present, 8 day, 3 island professional DJ Cruise # 2. Nov 26th, 2012. Book early and save. iFlogID: 15754

WANTED OTHER Extras for RemmosK video shoot @ the Valve Bar, Tempe - 06-11-11 iFlogID: 16065


Inner Brisbane city Recording Studio. Record, mix, mastering, duplicate. Established 1998. Large studio with lots of Vintage Gear & the latest in Digital Technology. Obligation free studio tours available,. PH: 0407 630 770 E-Mail: WEB: iFlogID: 15600

Time Off Issue #1550  

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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