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N O W AVA I L A BL E O N I PA D • 2 9 AU G U S T 2 012 • 15 9 2 • F R E E .au







Brisbane Festival is an initiative of the Queensland Government and Brisbane City Council




































21, 23, 24 & 25 SEPT QPAC CONCERT HALL













GIVEAWAYS cinematic hospitality! The biggest festival of Russian cinema outside of Russia today, the Russian Resurrection Film Festival will kick off on Sep 7 at Palace Centro and run until Sep 16. We have got three double passes to give away that can be used for one session of your choice (not valid for opening night and special event screenings).

The award-winning new film from the producers of Incendies, Monsieur Lazhar is a profoundly moving story about a group of young schoolchildren coming to terms with the adult world well before their time, and the inspirational educator who transforms their lives. The story is set in Montreal, where the beloved teacher of a Year 6 class has abruptly passed away. Having learned of the incident in the newspaper, Bachir Lazhar, a 55 year-old Algerian immigrant, makes his way to the school and offers his services as a substitute teacher. Thanks to Palace Films we have ten double in-season passes up for grabs. In cinemas Sep 6.

Oh Mercy’s third and most colourful album to date, Deep Heat, is now in stores. The album features the tracks ‘My Man’ and ‘Drums.’ Thanks to EMI we have three copies of the album to give away! Die! Die! Die! are playing at The Zoo this Thursday Aug 30, and to celebrate we have a prize pack up for grabs! The winner will receive a double pass to The Zoo show and a copy of their latest album Harmony. Entrants must be 18+. If you’re outside of Brisbane, the band are also playing Elsewhere on the Gold Coast Aug 31 and The Spotted Cow at Toowoomba on Sep 1. Make sure you check them out!

From the weird and wonderful creators of Green Wing comes the equally weird and wonderful Campus. Campus is set in Kirke University, an ever-failing campus run by an extremely eccentric mix of staff. Thanks to Hopscotch Entertainment we have four copies to give away! It’s time to escape the winter chill and enjoy some warm, proud and passionate Russian


ISSUE 1592

W E D N E S D AY 2 9 A U G U S T 2 0 1 2

TIME OFF Foreword Line – news, opinions, tours, Backlash, Frontlash 10 Twerps are one of our favourite Australian bands, so we grabbed them to chat about their recent success 14 With a new line-up but the same hard working attitude, Die! Die! Die! are back 16 The Dream On Dreamer story just keeps getting more epic 17 Sydney’s Seekae discuss where they’re heading 18 The latest The Go-Betweens compilation is their most comprehensive yet 19 Locals The Stress Of Leisure have kept up a steady pace of releasing records with this year’s Cassowary 20 You simply can’t stop the force that is Katchafire 21 Dave Seaman is set to once again deliver fine electronic music to Brisbane audiences 21 Locals The Oyster Murders fill us in on their current plans 21 A lot of people are very excited about the forthcoming Apocalyptica tour 22 We welcome Sydonia back this week 22 The Gold Coast’s Jackson Dunn fills us in on his latest work 24 DarkLab give us an idea what to expect from their forthcoming shows 24 American pop punk dudes Cartel are


EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Contributing Editor: Dan Condon Front Row Editor: Cassandra Fumi Interns: Keagan Elder, Sophia De Marco ADVERTISING Advertising Account Executives: James Tidswell, Alex Iveson DESIGN & LAYOUT Cover Design/Designer: Matt Davis ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Ben Preece, Dan Condon, Daniel Johnson, Chris Yates, Matt O’Neill, Adam Curley, Lochlan Watt, Carlin Beattie, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Jake Sun, Helen Stringer, Brendan Telford, Rip Nicholson, Cyclone, Amber McCormick, Brad Swob, Siobhain McDonnell, Sky Kirkham, Bradley Armstrong, Carley Hall, Eleanor Houghton, 8 • TIME OFF

amped to be back in Australia 24 On The Record has the latest, greatest and the not so greatest new musical releases 26 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 26

FRONT ROW Check out what’s happening This Week In Arts We chat with none other than Wes Anderson about Moonrise Kingdom Kenny Wizz shares about what it means to impersonate MJ We chat to the director of Love, Will Eubank

28 28 28 29

BACK TO TIME OFF! 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 Adam Curley cuts sick with another musical pop culture rant in The Breakdown Cyclone has the wide urban world covered with some OG Flavas Go behind the music Behind The Lines


31 34 34 34 34 46

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























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In an urban secret-space, a stage for cutting-edge sound, multimedia and visual artists will entice those who seek an alternative experience at Under The Radar, Out The Back Of Metro Arts, running from Saturday 8 to Saturday 29 September. It’s a stellar line-up of acts, so let’s get straight into it: Saturday 8 sees Seja Vogal and The Phoncurves ($20); Thursday 13, The Harpoons and No Art ($20); Friday 14, Charge Group, The Rational Academy and !No Graves! ($20); Saturday 15, Oliver Tank and Elizabeth Rose ($25); Friday 21, Mosman Alder, Tiny Spiders, Minds and Airport ($15); Saturday 22, this week’s cover stars Twerps and Kitchen’s Floor ($25); Friday 28, Suicide Swans and Dom Miller ($20); and Saturday 29, Collarbones and Outerwaves ($20). The venue itself is open from 7pm Thursdays to Saturdays and from 5pm Sundays, and you can book your tickets via Qtix or


When ‘90s Australian stoner rock legends Tumbleweed re-formed a few years ago, nobody knew how long the reunion would last. Initially it was a nostalgia trip and a way of tying some loose ends, but the sound and energy was just too right so the reunion became a resurrection. There’s something about the chemistry between the original members, that makes it a vital creative force and it was just a matter of time before they began to write together again. Enlisting the services of Paul McKercher, Tumbleweed began recording their new album, and the sound is warm, fuzzy and raw – the result, awesome. Get a taste of this new breed of weed when they play Kings Beach Tavern (Caloundra) on Thursday 1 November; The Zoo on Friday 2 and The Spotted Cow (Toowoomba) on Saturday 3. Tickets via Oztix. has launched a new Spotify app that uses the Facebook Open Graph to find relevant music activity from your friends and make it instantly playable in Spotify.


Friday 12 October sees Evermore set to release their fourth studio album titled Follow The Sun – arriving after a three-year hiatus from the local scene, during which time they toured the world with Pink, then traversed the globe a second time to start the album writing process. The first single to be lifted from the album is the title track, a triumphant march of a song, one that in true Evermore style evokes a sense of grandeur, youthful energy, indomitable spirit and a constant yearning for human connection. It is best listened to in large groups and at maximum volume, which you’ll get the perfect chance to do Wednesday 19 September at The Zoo. Tickets via Oztix for the show, which is proudly presented by Street Press Australia.

Soundwave has sold out in Melbourne, Sydney and Brisbane and scalpers have been popping up on eBay ever since.


It’s easy to see how Festival Of The Sun has cemented itself as one of the mustattend music festival experiences on the calendar, and it returns Friday 14 and Saturday 15 December to the seaside location of Port Macquarie’s Sundowner Breakwall Tourist Park. With a limited 3000-person capacity, intimate single stage and a BYO policy, it’ll be a couple of fun days in the sun. The cracking line-up certainly doesn’t hurt either: Kimbra (pictured), Dead Letter Circus, Hermitude, The Datsuns, Busby Marou, Husky, DZ Deathrays, The Snowdroppers, The Cairos, Over-Reactor, Jackson Firebird, Nat Col & The Kings, Tin Sparrow, Dirty Little Rebels, The Mornings, Joe Robinson, Siskin River, The Widowbirds, Geoff Turnbull, Minnie Marks, Dirty Cash DJs plus one lucky triple j Unearthed winner to be announced. GA tickets go on sale from 10am Wednesday 5 September, and start at $160+BF, including two nights beachside camping. More info/tickets at Proudly presented by Time Off.

Seminal hardcore band Refused will tour Australia in November, playing an all ages show Sunday 11 at Eatons Hill Hotel. The band’s 1998 album The Shape Of Punk To Come: A Chimerical Bombination – which they broke up shortly after releasing – is considered a definitive work. Rufus Wainwright will begin his upcoming Australian tour a married man after he weds his fiancé Jorn Weisbrodt just a few days before the tour kicks off Saturday 8 September. He plays QPAC Concert Hall Wednesday 12. Sydney band The Preatures have signed to Mercury Records for a five album deal. They play BIGSOUND, support Deep Sea Arcade and will also be back for Valley Fiesta.


Something For Kate are delighted to announce that they’ll embark upon their first national Australian tour in five years to mark the release of their new album Leave Your Soul To Science. With the first single from the album, Survival Expert, giving an excellent indication of the adventurous and eclectic nature of the forthcoming album, the trio last week previewed new songs to a lucky few hundred fans at the Annandale Hotel in Sydney and Northcote Social Club in Melbourne. Both shows sold out within minutes, sending the clear message that one of the country’s finest live acts have been sorely missed. Joining them on the road will be Ben Salter (Giants Of Science/The Gin Club) in solo mode – fresh from taking out the esteemed Album Of The Year award at last week’s QMAs for his debut solo album The Cat – and he opens proceedings for their Saturday 13 October show at The Zoo. Tickets via from Friday.


The Australian Music Group, the company that owns major musical instrument retailer Allans Billy Hyde, has been entered into receivership by one of its major creditors.


Already announced as co-headline at this year’s Meredith Music Festival, UK spacerock giants Spiritualized are doing a run of sideshows, including The Hi-Fi on Tuesday 4 December. Jason ‘Spaceman’ Pearce and co. were last in Aus’ in 2011 presenting their magnum-opus Ladies & Gentleman We Are Floating In Space for two special shows at the Sydney Opera House Theatre. Now they return with a new album, Sweet Heart Sweet Light and their same all-encompassing live performance. Tickets are $48 plus BF from Oztix, Moshtix and the venue, available from Monday 3 September.

Bloc Party were the week’s highest debut in the ARIA Albums chart – their latest release Four entered at number three.


The line-up for this year’s Valley Fiesta has been announced, and it’s a pretty epic one that will see Fortitude Valley’s streets and venues transform into a bustling hub of music and live entertainment from Friday 26 to Sunday 28 October. This year’s format is a return to the event’s original roots, with the focus purely on music. Hip hop icons and two-time Grammy Award-winners Arrested Development headline, and will be joined by The Medics (pictured), Aston Shuffle, Violent Soho, Deep Sea Arcade, Wolf & Cub, Young Men Dead, Mitzi, Flume, Aydos, Palindromes, Andrew Lynch, Glass Towers, Belligerents, Hey Geronimo, LL Cool James, Cub Scouts, Midnight Tango, Elizabeth Rose, Op-Thomas Prime, Tim Fuchs, Muscles, Sweepless, Jeremy Neale, Danny Cool, Kate Martin, Founds, Baby Making DJs, Royal Blood, James Wright, Gung Ho, The Preatures and The Ladyboyvalley Five. Visit for more info.


Following her anticipated Australian debut at Meredith Music Festival, Canadian visionary Grimes announced an East Coast tour this December – unfortunately demand was so high that the entire tour has already sold out. The Montreal-based artist – real name Claire Boucher – will headline The Zoo Saturday 8 December in support of her 2012 record Visions. Hopefully this tour’s quick-fire success will ensure that she visits again soon for those unlucky enough to have missed out.


Announcing the forthcoming release of their new album The May King & His Paper Crown with a selection of limited edition pre-order packages, Drawn From Bees are embarking on a national tour to celebrate. Since inception, this band have consistently challenged orthodoxy – from their first four records being a chapter in the Elementary Tales For Boys & Girls box set to their latest long-player, a record that delves into love, loss, murder and betrayal. The album is officially released Friday 21 September, and they play Jet Black Cat Records on Wednesday 10 October, The Loft (Gold Coast) on Friday 12, Spotted Cow (Toowoomba) on Saturday 13, Brisbane Powerhouse on Thursday 25 and Beach Hotel (Byron Bay) on Thursday 22 November.













































FAT $15







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

THE TEMPO HOTEL 388 Brunswick St, Fortitude Valley. 18+ ID Required. Management reserve the right to refuse entry. TIME OFF • 11


It’s almost upon us, and now BIGSOUND has released their BIGSOUND Live and conference programs. Live has filled out its line-up with some last minute additions including Mia Dyson, Strangers and two triple j Unearthed winners, to be announced soon. Tickets for the event are selling fast with 120 bands for $70 including Clare Bowditch, The Aston Shuffle, Closure In Moscow, Oliver Tank, The Beards, Loon Lake, The Jungle Giants and more. The speakers for the BIGSOUND conference have also been boosted with the late addition of Rdio’s Scott Bagby, Richard North from Google/YouTube and The Tea Party’s Jeff Martin. Tickets for BIGSOUND Live are available through Oztix for just $45+BF for one night (60 bands) or $69+BF for both nights (120 bands). Full delegate passes for BIGSOUND are also now available through the BIGSOUND website. More info including party details via

Last seen in 2011 performing their era-defining album Screamadelica in full, Primal Scream return to Australia this summer armed with classics, fan favourites and brand new songs. With long-time bassist Mani departing to re-form The Stone Roses, Debbie Googe of My Bloody Valentine has picked up the bass to join singer Bobby Gillespie, guitarist Andrew Innes, keyboardist Martin Duffy, drummer Darrin Mooney and guitarist Barrie Cadogan. The band’s new album is close to completion and features input from Andrew Weatherall, David Holmes, producer Tom Elmhirst (Amy Winehouse, Adele) and My Bloody Valentine guitarist Kevin Shields. Heading to Australia for the Meredith Music Festival, the band will also play The Tivoli on Monday 3 December.


Aussie electro duo The Aston Shuffle return from a year in the studio with the first taste of their sophomore album release – the epic and aptly-titled single, Can’t Stop Now. Only a year-and-a-half ago the boys cemented their place as the next wave of Australia’s emerging electronic elite with their debut album release, Seventeen Past Midnight. As heart-onsleeve as it is hands-in-the-air, get a dose of the new track and their revamped live show Friday 26 October at Elsewhere on the Gold Coast and Saturday 27 at Valley Fiesta. They also play the upcoming BIGSOUND Live showcase on Thursday 13 September.


Sydney outfit Knievel return on Friday 14 September with new album Emerald City, their first in a decade, and in the lead-up to its release, the new single Through The Rainbow Dark is at radio now. In addition to this, Knievel’s back catalogue of albums including We Fear Change, No One’s Going To Understand In My Way and more will be made available digitally for the first time on Friday. Knievel is the long-term creative outlet for ARIA-winning producer Wayne Connolly who performs vocal and guitar duties along with original members Tracy Ellis, Nick Kennedy and Tim Kevin – they play their album launch in Brisbane on Friday 26 October at Hideaway.


For the first time in eight-and-a-half years, Madlib returns to Australian shores. Madlib’s production talents are unrivalled; there is no genre of music he hasn’t touched successfully. Be it his Jazz fondlings for Blue Note, his Latin album Jackson Conti, hip hop production for Mos Def, Ghostface Killah, Talib Kweli, De La Soul and more, broken beat (DJ Rels), soul (Erykah Badu) and everything else in between, Madlib has always led the pack. His DJ sets are known for taking in all of these influences and more and reflect his most recent output, some 13 original albums and DJ mixes under the header Madlib Medicine Show. He returns down under with long time colleagues and friends in the original party rocker J Rocc and Stones Throw legend Egon, and together they play Coniston Lounge on Thursday 25 October, tickets via Moshtix. 12 • TIME OFF



Despite already being one of the hottest tickets in town, Last Dinosaurs’ upcoming Satellites Tour has stepped up a notch as they welcome The Jungle Giants to the bill. The recent release of their EP She’s A Riot solidified the group’s position as a standout up-and-comer and has seen them litter the country with sell outs on their own recent tour. A special Zoom Remix EP from Last Dinosaurs is also available for purchase by ticket buyers only and includes a handful of remixes of their guitar-driven anthem. Presented by Time Off, you can catch the bands Saturday 13 October at Alhambra Lounge for a special under-18s matinee show (2pm), and Friday 19 at The Hi-Fi. Tickets via Oztix and

Shock Records veteran Ian Bennett has launched a new record label Breakaway Recordings, with the first signing Harvest Presents-bound Ozomatli. Brisbane eight-piece band The Good Ship have a new manager, Tim Price of Pricewar Music, and a new publishing deal with ABC Music Publishing. Synth-pop veterans Pet Shop Boys will release their new – and 11th – album Elysium on 14 September via Parlophone/EMI.





There are only a handful of bands that people regularly talk about never getting the chance to see live. It burns in their soul and gnaws at them incessantly, and one band that fits perfectly into that category are Refused. Announcing at the start of the year that they are indeed not fucking dead, the reunion shows have been stunning fans across the world, with Metal Injection exclaiming “There was just pure raw hardcore and another incredible moment of music history!” Now long suffering Australian fans get their turn – Refused are as vital as ever and will be touring down under, playing Eatons Hill Hotel on Sunday 11 November for a licensed all-ages show. Tickets via Oztix from Friday.

Rogue Traders member James Ash has signed to top ‘EDM’ label Neon Records under the solo moniker Jealous Much?. Neon is home to the likes of Skrillex, Knife Party, Flux Pavilion and more in Australia.


Red Bull Bedroom Jam 2012 entrants will now also be competing for a spot on the Homebake line-up. Head to redbullbedroomjam. to get involved.

It seems people are pretty excited about Harvest Festival, with news that Melbourne has already sold out and announced a second event. And now they’ve got even more reason to be excited, as they’ve beefed the line-up even more to join the likes of Sigur Ros, Beck, Ben Folds, Mike Patton’s Mondo Cane, Grizzly Bear, Beirut, Cake, The Dandy Warhols, The War On Drugs and more. The second announcement almost warrants its own festival, and includes: LA outfit Silversun Pickups (pictured), British bandits Dexys Midnight Runners, the formerly more phallic Crazy P, Welsh indie-poppers Los Campesinos, New Jersey eight-piece River City Extension, goth-punks Dark Horses, and Sydney’s Winter People. Given that Melbourne’s first date is already sold out, we suggest you don’t mess about when it comes to tickets for the Brisbane show, Sunday 18 November at City Botanic Gardens. Tix via, Oztix and Ticketek.

The BIGSOUND schedule has been finalised, with some new names popping up Rdio’s Scott Bagby, Richard North from Google/YouTube and The Tea Party frontman Jeff Martin. Head to for all the relevant info. Two members of Russian punk band Pussy Riot have avoided detention by authorities by fleeing the country. Other band members have been convicted of “hooliganism motivated by religious hatred” for their political protest in a Moscow church last February.

Last week we announced Deep Sea Arcade’s massive Granite City tour which hits town midNovember, but now we have news that the Sydney five-piece indie-rockers are bringing their trademark ethereal sound to Treasury’s Livewire Bar for a free performance at 9.30pm, Friday 14 September. If you can’t wait months to hear them smashing out tunes from their recently-released debut album Outlands, here’s your chance!


Earth’s mightest band and “clever girls” (Jurassic Park fans will get the reference) Velociraptor emerged as a three-piece in late-2008, only to eventually transform into their prime form of 12 strong. The result is underlying garage pop gems brought to life by an orchestra of guitars and gang vocals galore. They embark on their World Warriors Tour beginning Wednesday 12 September at BIGSOUND. From there it’s over to Sydney before returning Thursday 11 October to play Alpha Beta at The Coolangatta Hotel (Gold Coast), Friday 12 at Alhambra Lounge, Sunday 14 at Sunday Safari at Buddah Bar (Byron Bay), and finally an all-ages show at The Hive on Saturday 27. Tickets via Oztix. Proudly presented by Street Press Australia.

The Exchange Hotel will be playing host to the UK’s one and only Bodyrox on Thursday 13 September. Due to The Exchange’s launch of the new GAP Thursdays brand, they’ve spared no extravagance in booking a range of exciting upcoming acts and DJs, kicking off with the UK duo. The electrohouse pairing of Jon Pearn and Nick Bridges released their second album earlier this year, Bow Wow Wow, and this will be the last show of their Australian tour. Local resident DJs Heavensent, That Swedish Guy, Azza and Han Yolo support.



We thought the Taliban were boogeymen relics from the past but obviously they’re still ruling the roost in Afghanistan, Islamic insurgents beheading 17 people this week for partying and listening to music…

You gotta hand it to Converse – watching Royal Headache smash it up in a decrepit boxing ring with an endless stream of punters hurling themselves off the top turnbuckle into the crazed mosh before them was incredible…





We survived the Lady Gaga episode (just), but we’re not going to deny being a bit sad to learn that Justin Bieber is making a cameo in an upcoming episode of The Simpsons. We won’t fully throw up until we’ve seen it though…

Life’s all about swings and roundabouts right? Balancing the icky news that Beeb is visiting Springfield is the awesome intelligence that none other than Tom Waits will be immortalised in yellow this season! Although, it may be harder to portray him as stranger than he already is IRL…

BRAND LOYALTY Can it be true? Are Russell Brand and Spice Old Woman Geri Halliwell really bumping uglies? That should be illegal, what if they breed a hell spawn of vapid ego-fuelled super babies, which end up with her music talent and his comedic sensibilities (ie morons)? Won’t somebody think of the children!


Jesus: after

So have we all seen the botched Spanish fresco of Jesus that the nice old lady “restored”? Christ almighty, what was that lady on, we want some! The finished restoration stands by itself as one of the great pieces of art in modern times…

The CBD’s premiere

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Ger Fennelly 12PM Johnny Jump Up 4PM Wasabi 8PM Monday 3rd B-Rad 8PM Tuesday 4th Woody Lives Here 8PM

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Live music 7 nights a week TIME OFF • 13

Melbourne outfit Twerps are finally coming back up north to rock the Out The Back component of this year’s Brisbane Festival. Frontman Marty Frawley talks to Steve Bell about being part of a thriving scene, being inspired by your friends and turning on curious hipsters.


he term ‘underground’ can be a pretty nebulous concept when bandied about in music circles, but there’s no doubting that the loose coalition of bands forming the Australian indie underground at the moment have made the scene the most vibrant and exciting that it’s been for years, perhaps even decades. Bands from all around the country such as Royal Headache, Dick Diver, Scott & Charlene’s Wedding, Kitchen’s Floor, Peak Twins and Nova Scotia – to literally name check but a few – are making massive inroads on their own terms, secure amidst a vibrant and thriving community of likeminded bands and discerning punters who aren’t being dictated to by the large radio stations and tastemaking conglomerates of yesteryear. It’s impossible to pinpoint precisely, but most of the scenes seem traceable back to the genesis of Eddy Current Suppression Ring in Melbourne a few years ago, who seemed to inspire a generation of bands with their DIY approach and sensibilities as much as they did with their visceral music. And at the vanguard of this new wave of lo-fi elite is Melbourne quartet Twerps. Formed back in 2008 by frontman and chief songwriter Marty

Frawley and bassist Rick Milovanovic – eventually rounded out by guitarist Julia MacFarlane and drummer Patrick O’Neill – the band last year dropped their debut self-titled album, a brilliant piece of dreamy slacker pop as effortlessly artful as it is instantly accessible. It’s a brilliant first up effort, but the Twerps seem just as excited about what’s happening around them to their friends’ bands as they are their own bubbling success. “Yeah, those bands are just killing it,” the affable Frawley enthuses. “Yesterday I was on my way home listening to the new Bitch Prefect record, just going, ‘I can’t fucking believe how good this is!’ I’ve got a local section in my record collection – an Australian section – and there’s maybe twenty-five of my friends’ records that are in there, and they’re basically all stronger than any of the records that they play on triple j. They have more lifespan, they sound more true to what they’re doing – like the Total Control record and anything that Eddy Current did – it’s pretty amazing how much is happening. It’s a pretty inspiring time to be around.

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on the iPad

“There’s also a good community in Sydney, plus the scene around the Kitchen’s Floor dudes up in Brisbane. It’s kind of scary, there’s a new Sarah Mary Chadwick record coming out – Julia used to play with her in Batrider – and there’s the new Bitch Prefect record coming out, Dick Diver’s album came out when ours did, it just hasn’t stopped. I thought maybe it was just going to be one busy year [in 2011], but it’s still continuing and it’s so cool. I think everyone is inspired by everyone else, and as bad as it sounds it just shows that you don’t need big radio stations behind you. Everyone’s playing good shows, and just doing it. It’s really exciting.” As with the indie lo-fi movement that sprung up in the early-‘90s, a whole new generation of bands have stumbled across the timeless beauty of the Flying Nun sound, the stable of bands that sprung up around Dunedin back in the early-‘80s. Just as bands like Pavement, Superchunk and their ilk got turned on by acts like The 3Ds, The Verlaines and The Clean two decades ago, a new generation of acts are now drinking from the same well and so far the results are just as shambolic and exciting. Twerps even cite The Clean’s gem Anything Could Happen as being a template for their eventual sound.

Zealand, and he put on this song by [former Tall Dwarfs frontman and Flying Nun staple] Chris Knox called Not Given Lightly and I really liked it, and that was like one of the first songs I’d got into where it wasn’t mainstream,” Frawley recalls. “I was like, ‘This is pretty cool,’ because I grew up around lots of pretty cool music, but when you’re eighteen you go through a pretty weird stage. But when I met Rick he knew everything about music – he’d worked in a record store – and once he found out I liked that song he showed me the whole scene that it came from. He showed me a lot of the Flying Nun stuff, and I guess Anything Could Happen is one of the standout tracks from the era – it’s rambling and very simple, but it’s got a good hook, and that’s what we loved about it. To this day we always say that that’s our song. “Then a couple of years ago the Flying Nun scene suddenly became really cool, and it’s not like we were latching onto that, it was already the stuff we were listening to. It was quite funny to see people in America like Bradford Cox from Deerhunter talking about Flying Nun. We get labelled with the Flying Nun thing a bit – and Julia’s from New Zealand – but sometimes I think it’s just because I can’t really sing and some of those bands

sound a bit tone deaf or something, but it’s not like being stamped with something daggy. I think it’s pretty badass.” Of course there’s more to the Melbourne band’s sound than this one influence – Brisbane legends The Go-Betweens are another clear antecedent (see sidebar) – but it’s a sound that’s put them in good stead, their justannounced US trip later in the year set to be their third trip to the States, where they’re gaining some serious traction. “It’s going to be pretty exciting to go back again and catch up with all our friends, we’re superpumped. We went last year [for the first time] and did [industry showcase] South By Southwest, we were there for six weeks and no one knew who we were, we only had our little seven-inch out. Before that we’d just had a tape on a label that a guy that we knew from Wet Hair put out. It was a lot easier the second time, especially fightingwise and not wanting to strangle each other,” Frawley laughs. “We’ve all worked out each other’s boundaries pretty well now I think. I mean we’re all best friends, but [when you’re on tour] it only takes a few hours to make you realise that you can’t stand someone for a day.”

mentions happened earlier this year when Twerps hit the road with Real Estate, and it was on this sojourn that they started to make real inroads, no doubt helped by their ubiquitous online presence. “Because the tour was with Real Estate we were playing pretty big shows – some shows were to 1200 people, and some were 300 – but it didn’t matter because the kids got right into it,” Frawley tells. “They were appreciative audiences which makes you enjoy what you’re doing, and makes you think that you’re not wasting your time. It was crazy, some nights kids would be yelling out for songs off our seven-inches – kids knew who we were and were singing along to our songs, even though we’re from a long way away. It’s pretty crazy what the Internet can do. “I think we’ve always used that to our advantage pretty well – you just put out your music and if people like it that’s awesome – but it’s definitely a tool to exploit. Obviously songs go on blogs before they go out in the record store nowadays, and a lot of the bigger blogs have been pretty friendly to us. If it wasn’t for stuff like that – songs being on Pitchfork and stuff – then probably no one would know who we are. And getting that coverage overseas makes us a bit better known here. It wasn’t until we did some stuff overseas that a lot of people here decided to give us a shot, but that’s cool. You can’t just be some band that comes out of nowhere, I feel that we’ve done some hard yards.” But before they get their passports ready, Twerps are coming up to Brisbane for the Out The Back component of the annual Brisbane Festival. Twerps have only been here once before – for Frankly Festival at Brisbane Powerhouse last September – and at that stage they hadn’t even released their album into the world. “I don’t think [it was out], no,” Frawley remembers. “I think maybe we’d had a few songs on Pitchfork or something – it’s funny when that happens, you just notice a lot of young dudes [in the crowd] with their arms crossed, checking you out. Like, ‘Is this cool? Should I be here?’ I remember there were a lot of young guys there doing that. But we didn’t really get to do an album tour because we all work pretty full-time at our jobs. I think that was the first time that we’d ever [played in Brisbane], so we’re really excited about this trip. We’ve got some new songs so hopefully we’ll remember how to play some of the old ones, but it’s going to be cool. I can’t wait.” WHO: Twerps WHEN & WHERE: Saturday 22 September, Out The Back @ Metro Arts, Brisbane

WHO ARE YOU? “I met Rick working at this video store, and I’d been working with this guy called Tim who was from New

This second States tour that Frawley

THE GO-BETWEENS BRIDGE Twerps admit to having been influenced by Brisbane’s The Go-Betweens, but Marty Frawley has even earlier memories of the great band, his late father Maurice Frawley – a staple around the Melbourne music traps back in the day – having played in Grant McLennan’s solo band during their hiatus in the ‘90s. “Yeah, totally man – Rick [Milovanovic – bass] said the other day that they’re his favourite band outright,” Frawley admits when asked about The Go-Betweens’ influence on the Twerps’ aesthetic. “I also like Robert Forster’s solo stuff and Grant McLennan, even though Grant McLennan kicked my fucking Sherrin [the brand of football used in the AFL] into a tree when I was a kid. I had a new footy, and my dad was touring with him and playing guitar for his new record, so he came over and we went to kick the footy, and he kicked it into a palm tree and we lost it. For years after that I was always cursing his name, until I got older and realised how great his music was. My dad was giving him shit about being from Brisbane and not being able to kick, and then a bloody fire truck had to come down to try and get it out and it got bogged – it was just a total wreck of a day. But because they knew who he was it was all cool. “When we went into the studio we had songs that obviously had that Go-Betweens sound – no song is written intentionally to be like that – but when we’re going into the studio we send the producer some songs we like just to give an idea, and Jack [Farley – producer] knew some tricks like chucking acoustic guitar behind tracks like Dreamin, just to make them sound more like The Go-Betweens. They’re definitely an influence. I think we wear our hearts on our sleeves pretty hard.”


HARMONIOUS RESURRECTION Slowing down has never been in Die! Die! Die!’s musical playbook. Brendan Telford talks to drummer Michael Prain about reaching breaking point and starting anew.


here was a point in the mid 2000s when you couldn’t blink without New Zealand’s Die! Die! Die! gracing an Australian stage, spitting vitriol and angular noise at all and sundry. The trio’s relentless touring and anarchic live presence meant that the band built up a reputable and rabid fanbase, aided and abetted by three favourably received LPs (2005’s eponymous debut, 2008’s Promises Promises and 2010’s Form) and a brace of smaller releases. Yet despite the frenetic nature of the band’s aesthetic and the burnout such energy often leads to, it always seemed unlikely that the band – Andrew Wilson on guitar and vocals, Michael Prain on drums and Lachlan Anderson on bass – would ever temper their vision or ease up their fevered drive. Yet, it seems, even they are not impervious to the dreaded

drain of endless touring, so much so that the fact that their fourth album, ironically titled Harmony, didn’t seem a likely proposition. “We had a few road bumps last year,” Prain acknowledges. “We were on a large European tour that was on the back end of releasing Form, as a record label distributed it over there, and in between all the shows we got some recording time where we did most of what is Harmony, and it all became a bit too much. We all realised that we needed a small break from each other, which in a lot of ways has been really good for us for it’s allowed us to think back over the past year and what we had achieved, and to see how much we loved this record that we had made. The break allowed us to be excited about things again, about playing and releasing new material.” It’s clear that Die! Die! Die! are alive and raring to fight another day, yet Prain admits that it was a close call. “Once you have been touring with the same three people, sharing space all the time, it can become too much. You need to have some sort of separation from all that. So when we came back last year we all agreed we needed time apart, and it was one of the best things for us. I never wanted to be in a band that becomes something that isn’t exciting, that becomes more like work, and your band are your work mates. It needs to be this really exciting and creative thing that you are doing alongside your friends. It’s what our band has always wanted to be, an extension of our friendship. So to turn around and say ‘Hey, I don’t want to see you for the next couple of months’ showed us how things were, and led us to becoming hungry for the band once again.”

There’s more to this story on the iPad Cancelling tours and unofficially going on hiatus didn’t however prevent Anderson opting to bid them adieu to return to Melbourne. As luck would have it, Wilson and Prain were able to find the perfect replacement in a likeminded soul. “We asked Michael Logie, who used to be in The Mint Chicks, and he immediately jumped on board. He jumped on bass and it came together really easily. In most ways nothing has changed in that regard, which was really surprising. When you’re in a three-piece band it is quite skeletal in how much each member influences the sound. However with Michael it instantly clicked. It’s proven to be a natural progression.” Harmony itself doesn’t show any of the stresses that lay behind the scenes. If anything the band’s fourth longplayer is their most consistent and adventurous yet, tempering the aggression with some fuller, shoegaze elements that amplify Wilson’s songwriting without letting the inherent tensions of the band’s aesthetic to taper off. “We recorded it all at Blackbox Studios in France, then got it all together and did some overdubs here in Auckland at the end of last year,” Prain explains. “We had Chris (Townend – Portishead, Tim Finn) producing and engineering it, and we travelled to his home studio in Tasmania to polish it off. So it was put together in three locations, which made it seem like a jumble and at one stage we weren’t even sure if it could come together, but the end result has proven to be beneficial.” The name Harmony came in retrospect, and couldn’t be more apt. “It’s funny because when we left things it all felt a little strained,” Prain concedes. “But after the break we listened to these songs that we had recorded and it all fits together so well. There was nothing forced there, it all felt so natural. When looking at our albums in the past, people have often shied away from one of the quintessential Die! Die! Die! sounds, which is the quite extreme feedback-drenched guitar. Chris was the opposite; he would push the sound further, which has made the songs really urgent, learning to not be afraid to push the tempo past what feels comfortable. We felt excited about playing these songs - everything was in its right place once again.” Because of this extrapolation of tension and claustrophobia, Harmony tends to be a feverish grower of an album, burrowing under the skin rather than bludgeoning the ears – for every nihilistic moment such as No One Owns A View, there are moments like the title track where the boundaries within which the band can explore shift markedly. “The best thing about albums from my favourite bands is that they have that initial hook, but the rest of the album stays with you,” Prain admits. “We have always hoped to be able to provide something that is a little more than an immediate fix; that holds a deeper meaning. And it also came from taking a step back, being forced to sit on these songs for a few months and not revisit them for a period of time. We could come back with a clearer objective of what we wanted to achieve, could cut songs that didn’t fit that mould, and it’s made something altogether stronger than it might have otherwise ended up as.” It is clear that Prain is re-energised, and the favourable response to Harmony has him ready to hit the stage once more. “We have been playing these New Zealand shows and they have been electric, so we are ready to grab all this energy and push forth with it. We have a realisation that we have to all be on the same page for things to work, something that seems simple but unless you are aware of it it can wear you down. We made our own record label for this release (Records Etcetera) to make sure that we are the ones in control of our own destiny. We know what we want from this and what we don’t want, and what we want most is for it to be fun, for it to be a party. Only good things can come from that.” WHO: Die! Die! Die! WHAT: Harmony (Records Etcetera) WHEN & WHERE: Thursday 30 August, The Zoo; Friday 31, Elsewhere, Gold Coast; Saturday 1 September, Spotted Cow, Toowoomba 16 • TIME OFF

KEEP YOUR DREAMS Dream On, Dreamer began with a bang in 2009 – and they’ve never really slowed down. Ahead of their inaugural national headline tour, Matt O’Neill catches up with bassist Michael McLeod to discuss the Melbourne post-hardcore outfit’s unstoppable momentum.


ichael McLeod is being diplomatic. He’s discussing his band’s debut album, Heartbound. Released in 2011, Heartbound elevated his band Dream On, Dreamer from promising members of the Australian underground to global contenders. Distributed through legendary hardcore label Rise Records, it introduced Dream On, Dreamer to appreciative audiences here and abroad. Strangely, McLeod appears to be almost badmouthing it. “Definitely, at one stage, we were all so proud of it. It was something we were happy with at the time and obviously we produced it for a reason,” the bassist reflects. “But, since it was released, we’ve had a lot of critics go through the pros and cons of it. We definitely take everything the kids say about our music onboard and we’re hoping to really step it up on the next album with a more mature sound.” To be clear, it’s not a bad album. Not even close. Quite frankly, it’s kind of brilliant. A clear product of the modern post-hardcore landscape, Heartbound saw Dream On, Dreamer bring together both post-hardcore standards and idiosyncratic experimentalism to craft a record that seemed to sit comfortably within its genre while also expanding that genre’s boundaries – polished choruses crashing into almost math-core breakdowns.

“All of a sudden, we’d just punch out three songs, without even thinking, and just be infinitely happier with them,” McLeod laughs. “I think that’s really what we’re looking at doing with this record. Not tiptoeing or overanalysing; just do it. I think, sometimes, politicians will deliver speeches that have taken weeks to write and get nowhere – and then on the spot they’ll just nail it. “I mean, that’s what you want to hear, isn’t it? Realism. Honesty. Something that’s not too over-produced or over-analysed.” WHO: Dream On, Dreamer WHEN & WHERE: Thursday 30 August, Tempo Hotel; Friday 31, Paddington Community Hall (all ages)

“It’s actually a real priority for us to stick out like that,” McLeod comments. “You know, I think we take a lot of pride in how we tackle our sound and how we tackle our lyric writing. There are so many bands out there who are in our genre and our sound who do sound fairly similar. We want to keep up with the times but we want to be able to bring our own little Dream On, Dreamer spin on it.

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“You know, we take a lot of care in writing our music and writing our lyrics. We concentrate on it all a lot and we really just hope that allows us to come out with something that’s a bit different,” the bassist elaborates. “I actually think, when people heard our album was released through Rise, they thought we were a bit generic – like another keyboard-breakdown band – but I think you can hear we have our own take on things.” Still, McLeod’s attitude towards his band’s debut album very much speaks to Dream On, Dreamer’s outlook as a band. In a word; unrelenting. The band were formed in Melbourne in 2009 and have progressed with almost unbelievable velocity ever since. Not only did they release their debut album within two years; they secured an international following equally as rapidly – they’ve actually just returned from an extensive US tour. “We haven’t really been home for awhile, actually,” McLeod laughs. “That tour was amazing. We made a lot of friends over there. It’s always so strange and so incredible to find yourself doing what you love on the other side of the world and having people appreciate it. I mean, the first time we went to the States was just bizarre. We had kids who knew our names and what we were into individually. “Like, even some crazy kids who had Dream On, Dreamer lyrics tattooed on their body. It was unbelievable,” the bassist continues. “It was absolutely next-level stuff. I think, through having stuff like Facebook and Twitter and stuff like that, it’s a lot easier for bands to reach out and connect with people around the world. We’re absolutely stoked with how we’re received in America at the moment. Blown away.” Again, it comes back to that outlook. Dream On, Dreamer, from the outset, have been both unflinchingly ambitious and unstintingly brutal in their work ethic. You can hear it in how McLeod discusses his band’s approach to their sound. You can hear it in how McLeod views the band’s exceptional debut album as simply another opportunity to improve. You can see it in their meteoric progression from formation to international acclaim. “It has moved in leaps and bounds. It’s really been quite full on. We’ve all worked very hard and sacrificed a lot to get to this level,” the bassist reflects on their success to date. “I think, starting this band, we didn’t really have any idea it would get this far and I think we all feel like we can actually still take it a lot further. I do think, though, that when we formed the band, we did all want to take things more seriously than we had before as musicians. “You know, we’d all been in bands previously. I think we all kind of looked at Dream On, Dreamer as our sink-or-swim kind of moment,” he muses. “It’s been incredible. We’re all so close now and we make sure to keep a real level head about our success. You know, we’ve gotten a lot further than we ever thought we would and we’re just going to keep on that path and see how far we can take it and what we can really do as a band.” He doesn’t speak with any kind of hyperbole or arrogance. Dream On, Dreamer – contrary to the implications of their name – are a very practical band. It goes hand-in-hand with their unforgiving approach to their own work and their meticulous musical output. In discussing the changes the band are making for their next record, for example, McLeod doesn’t discuss insecurities or possibilities. Dream On, Dreamer know their next step. “Well, I just think Heartbound was a lot more polished than everything that came before it – which will happen when you get more money to record than you had before – but, for this next album, we’re going back to that rawer sound. We’re even thinking quite seriously about recording to analogue,” the bassist explains. “You know, the way records used to be made. Not quite so clean and digital. “I mean, it’s funny. When we started writing the new album, we were really careful. Really, really cautious. You know, we wanted to get it absolutely right and we looked at everything really closely – and it just wasn’t working. We got to the point where we’d be building a song for a month and just kind of going, ‘Hang on a minute, shouldn’t the song be coming a lot more easily than this if it’s a good song?‘ and actually just scrap it.

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AURAL ANDROIDS Electronic explorers Seekae endeavour to erase the distinction between human and synthetic musicianship. Alex Cameron discusses his theories with Brendan Telford.


ydney’s Seekae have superseded perceived notions of niche audiences by taking their fusion of frenetic live instrumentation with stark electronica into the mainstream consciousness, attracting ever increasing crowds that straddles many musical touchstones. The trio – Alex Cameron, George Nicholas and John Hassell – take pride in the fact that they are utilising the aesthetics of electronica through the “limited” prism of live instrumentation.

leaving slight errors, little ‘happy accidents’. A lot of the grooves in these tracks are a result of that, from layering takes over time and highlighting a little of the human error in there, so those mistakes are made to happen because the samples become flawed in a way.”

“We’ve been kicking around for five years now, since we left high school, and [2011 album] +Dome was a reaction to having played a lot live, and having played with instruments,” Cameron explains. “We wanted to create something new to us, so the songs are us recording with real instruments, real takes, then sampling from them and changing them, intentionally

“When we were eighteen, nineteen, we wanted to make this stark music that was mainly digital or synthetic in nature. So our first record encompassed that – it was very electronically based and surrounded by synthesisers and percussion, taking away the human element as much as we could. But then we felt we wanted to do the opposite, we wanted something that sounded like a robot trying to imitate a human. At least for me, I think that is what electronica should be – overproduced, computersounding pop songs, but that are yearning to be human. Computers should sound like a big performance, because for me computers and technology are the roots of our time and culture – it’s ingrained into us, and that should be reflected in the music.”

This unique viewpoint of seeking out the groove inherent in the music through a Jenga style of construction and composition may have been a kneejerk reaction to the rigours of being lumped with limited scope when handed a live instrument, but it’s also been a reaction to the staid nature of the live electronic experience. It’s an approach that took some time to come into focus for the band, yet the end result coalesced from a unique perspective.

Despite its experimental nature, the inbuilt groove inherent in +Dome struck a chord, and after its release was critically lauded on a global scale, garnering Seekae a tidal wave of unexpected adulation from critics and fans alike. Cameron is perplexed about the origin of their success, especially in the climate of the current music scene. “I think about it a lot to be honest, it’s something that we’re conscious of because for a while there it felt like we were rotting away,” he muses. “Then for some reason where there wasn’t a lot happening before, suddenly there are lots of people coming to your gigs. It felt quite odd. So I’ve pondered why people would like us and respond so well to our music. I think for the most part people are starting to really associate with electronic sounds. When it had its first rush at the beginning of the ‘70s and ‘80s, it was a confusing thing for a lot of people and I think that’s why it was only partly successful, because it was a new sound and people were confused people as to how a computer could make them feel something emotionally. I think it’s a bit different nowadays; everyone has grown up with computers, with everyday electronic use. I’d love to just put it down to the music we make, but I think it would be naïve that it’s not also to do with the audience.” Cameron furthers these thoughts by stating that such a connection to Seekae’s sonic aesthetic could be placed under a different umbrella. “I don’t necessarily agree with this idea, but I feel it’s partly true, that electronic music has become attractive because it’s seen as more accessible than an artist with live instrumentation,” he offers. “When you see someone on a laptop – and I’m definitely not saying anyone, especially us, hide behind laptops – but you see that as a basis for creating music, whilst it’s very mysterious, it’s much more attainable than watching someone shred on a guitar. When you see that you might think that it’s amazing because they are massively talented and trained and it’s something you will never be able to do, yet the mystery of electronic music stems not on what you can’t do, but what you possibly can. I think that’s where a lot of electronic experimentation comes from, where a lot of the interest comes from, because it’s like seeing music being played and you have no idea where it’s coming from or how it’s being made. It doesn’t come from dexterity or years of practice, it comes from an entirely different realm that maybe people find more relatable, or at least attainable.” With the ideas of ingrained familiarity and mysterious attainability potentially driving more people to flock to electronic music, the success of Seekae then isn’t about the medium they chose to traverse within, but how they use these elements to their own means. “There are two different ways we go about it,” Cameron explains. “Sometime it starts with a groove, or a percussive idea. If the percussion is strong enough, we’ll make that into the sample and then be minimal with the melody. Then there are other times where there are pieces of music that have been written on the piano or synthesiser, in which case you have to be careful with the percussion because you don’t want to flood it. And knowing where to go on either case, it takes tact. It’s definitely something we are still working on, but as far as searching for the emotion, it’s in discovering the sound and warmth of the tone. Our songs take a long time to write, it’s extremely rare that we can bang one out in a couple of hours. Everything is considered, and I think that is what people like about those records in that they are full and lush, yet anything goes.” The inclusion of lyrics and vocals is not taboo, instead it’s yet another musical dimension that Seekae wish to incorporate and hybridise. “We subconsciously find new ways to make the music we make, yet I don’t find it necessary to say the same thing twice,” Cameron believes. “People like our music because of one record, and that’s great, but they will never get another record like that again. I see adding vocals as a new way of saying something, which sounds weird but is true for us. Nevertheless adding vocals is like trying to orchestrate a new instrument, one that you’re unfamiliar with. It’s always about searching for that one thing that works for us, and it’s always a challenge but always a fulfilling one. To stand still creatively – I don’t even want to imagine what that would feel like.” WHO: Seekae WHERE & WHEN: Saturday 1 September, The Zoo 18 • TIME OFF

BIG BAD BIRD On the eve of The Stress Of Leisure’s fourth album Cassowary being unleashed on the Queensland public, creative lynchpin Ian Powne talks to Steve Bell about why creepy stories from close to home are more inspiring than creepy stories from afar.


he mixing notes that The Stress Of Leisure’s frontman and songwriter Ian Powne gave to esteemed engineer/producer Magoo when he was gearing up to mix their fourth album Cassowary tellingly contain a pie chart outlining the proportions of the album’s various themes: the ‘Death/Survival’ slice is the biggest, followed closely by ‘Queensland Tropics’ and ‘Love/Lust’ with ‘Ennui’ and ‘Nightclubs’ bringing up the field. A somewhat strange thematic mix, one would imagine, but one that seems totally natural for Powne and his crew. “I’m a bit embarrassed about the ennui,” the singer laughs. “That’s ennui in there, and that’s a bit too serious, earnest singer-songwriter crap – so I think I’d swap that with nightclubs and make nightclubs have a bigger portion than ennui, but that’s just probably me being defensive.” Powne certainly has an idiosyncratic approach to his craft, an inkling confirmed when divulging how the whole Cassowary project came into being. “I put titles on a page – album titles or something – and if I like an album title I’ll usually stick with it,” Powne concedes of his songwriting process. “Cassowary was just a name that I kept coming back to and I got fascinated with it. Everyone I speak to about it ends up going, ‘This bird is awesome!’, so it just kind of had its own energy. I thought I’d use that energy for the overall working title of the project, and I’d just think, ‘What does it mean having Cassowary as the title?’ and after that I’d just fill it in from there. “So the thought process was basically; ‘Obviously it’s a tropical setting, so I’ve got to put more tropical imagery in there’ – not force it, but let it come naturally – which is why you’ve got song titles like Sex On The Beach, even though it’s not directly set on the beach the title alone makes you think of that tropical imagery. And songs like Shark Killer and Scuba Dive Honeymoon Hell, they’re all playing on that imagery of the tropics. I guess the more you delve into something the more it makes sense at the time. I guarantee in two years time I won’t be able to explain any of this, I won’t know what I was thinking.”

which has really influenced this writing – things like Talking Heads’ Fear Of Music [1979], The Fall’s Hex Enduction Hour [1982], X-Ray Spex’s Germ Free Adolescence [1978], Wire’s Chairs Missing [1978], Devo’s Freedom Of Choice [1980] – those sort of things I think, tying in with the Holy Trinity, that’s where you get Cassowary. I really love that late-‘70s sound. I must have grown up with that ingrained in me, so that drier sound from the ‘70s to the ‘90s to now must really work for me.” WHO: The Stress Of Leisure WHAT: Cassowary (TSOL Recording Co) WHEN & WHERE: Friday 31 August, Beetle Bar

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There’s more to this story on the iPad This instinctual approach has paid handsome dividends – Cassowary a great follow-up 2010’s underrated Soft Approach album – but Powne stresses that it wasn’t always about following gut feel. “There are things that were a bit more forced that still worked though,” he continues. “A song title like Endangered Species is obviously a direct link to the cassowary being an endangered animal, but that was more thinking about how The Flaming Lips’ [1999 album] The Soft Bulletin was all about keeping death away and the race for the prize – doctors and scientists trying to create a cure for cancer – and I think our last two albums have all been swept up in that death and survival play-off; it’s an ongoing theme in what I do, which is another reason why it fits so instinctively.” Previous The Stress Of Leisure albums all seemed to be set firmly in the urban realm – songs such as House And Garden, Death On The Magic Mile and Apartment To Apartment all dealing with inner-city issues – whereas Cassowary is definitely and fittingly located in the tropics. “It’s a deliberate kind of push up north, because when you think of your own backyard and what’s happening, there’s so many interesting stories that are set in Queensland that I think the rest of the world finds interesting as well,” Powne offers. “If you look at the setting for Scuba Dive Honeymoon Hell, it’s obviously starting from Tina and Gabe Watson and their case. Not necessarily about it, it’s more about how the public get swept up in these stories, like the recent Baden-Clay murder case. It’s the stuff that’s happening in our own backyard which I find fascinating. So I guess it was a deliberate push away from the city, and looking more across Queensland – it is quite a distinctive state within Australia, there’s people with very set ways which makes for interesting stories I think.”

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Musically Cassowary is a strong offering, the first to sound completely like a cohesive band effort while not betraying The Stress Of Leisure’s origins as a solo project for Powne and his writing. “I guess it takes a while; when new people come into a band I think you immediately feel the strength of the way they play and the feel of it, but you don’t necessarily get the character of it straight away,” he reflects. “I think the last 18 months has been a way of saying, ‘Hang on, how do I get everybody interacting? How do we get that collaborative feel of a band moving together instead of just that singer-songwriter perspective?’, which I think the other albums have been more grounded in. This one has been a more concerted effort to get Pas [Burton – keys/vocals] working more in terms of the keyboards and the synth lines, and Ben [Moore – bass] and Jess [Moore – drums] mould into their own feel now as well. “The more you play with people, the more you understand how they work best, so with that in mind the aim was to get everyone feeling good about the songs. When you get a good feeling from the songs, they end up with their own energy and end up easier to play and record. So it’s more collaborative – at the end I guess once I’d worked out the direction of the album I sought more collaboration to bring that vibe out more, and everyone ended up contributing specific parts to the process.” Powne’s sonic inspiration for this batch of songs goes beyond the key players that have informed his past work, delving further back in time to find a template for his musings. “I think it evolves all the time but I love Pavement, The Velvet Underground and The Go-Betweens – they’re my Holy Trinity,” he offers of his musical heroes. “But I love so many other things; at the moment I’m really into The Fall, Talking Heads and Wire. I think this album’s sound – and the sound that I think I’m getting most comfortable playing with the four of us – is that late-‘70s post-punk and early-‘80s new wave feels. I think it’s that aesthetic in the last couple of years

New album ‘Sweet Heart Sweet Light’ out now through EMI |


LOVE GOES ON! With new compilation, Quiet Heart, shining a torch on the career of his revered former outfit The Go-Betweens, Robert Forster tells Steve Bell about traversing the road less travelled and why he thinks their music will stand the test of time.


t’s hard to reconcile the image of two young friends in late-‘70s suburban Brisbane trying valiantly to unlock the magic of the music that captivated them amidst the oppressive heat and even harsher socio-political environment of the time, with their eventual band The Go-Betweens, whose urbane and literate music made them global cult figures, revered for (in their own words) “that striped sunlight sound” which became so distinctive throughout their long and decorated career. Of course, history tells us that the bond forged by those two friends and confidants – Robert Forster and Grant McLennan – all those years ago was cruelly ripped asunder when the latter passed suddenly in 2006, just as the second phase of the band’s career was threatening to take sail and perhaps

even afford them the commercial success that had forever eluded them, even while they were being critically feted all over the world. We’ll never know where the ride would have ended had it not been for McLennan’s tragic passing, but thankfully we still have The Go-Betweens’ beautiful music. They left us with nine studio albums – six from their initial period of existence between 1977 and 1989, and three from the twilight phase that began with their reformation in 2000 – plus a swag of compilations and live efforts, and now they’re adding their first completely career-spanning retrospective, Quiet Heart, to that canon. “It was a long process – we actually started this around September last year,” the eternally debonair Forster recalls of the compilation’s genesis. “A lot of work goes into it – you think, ‘Oh well, we just have to write sixteen or seventeen songs on the back of an envelope and mail it off to EMI’ – but various members of the band were involved in the selection process, plus there’s a live album, so you’ve got reel-to-reel tapes from 1987 in Vienna... it takes time. There were no serious hitches or anything – it was quite a smooth process – but it just took time. So that’s the physical side of things. On the emotional level it was great. Just listening to the albums and tracks and singles – it was a pleasure working on it.” Other compilations have covered The Go-Betweens’ career before, but never one mixing together songs from the disparate eras, and Forster stresses that they did their utmost to make Quiet Heart a release befitting the band’s considerable legacy. “The packaging was important – I’m very happy with the way that it looks and it feels, and I’m very happy that [US Rolling Stone senior editor] David Fricke has written some amazing sleeve notes for it. A lot of attention has gone into it, so it’s not just the record company picking sixteen tracks and a generic cover of a rose with a raindrop on it, and it’s called The Go-Betweens Ultimate Collection in a plastic case, and that’s it. I think there’s a whole process behind it which has come very much from the band – it’s a personal record. The band’s hands are on this release.” The inclusion of the bonus disc, Live In Vienna, is important from Forster’s perspective not just as a document of The Go-Betweens in the live realm but also as a complementary device to help get a more rounded handle on the band’s career.

There’s more to this story on the iPad “Quiet Heart is obviously studio cuts, and there’s a lot of attention to detail, which is fantastic, but what I love is having something sitting beside it, which is just the band on fire and wild in Vienna one night in 1987, where you just get twelve tracks in an hour. So [on one hand] you get eighteen tracks culled from almost 25 years of recording in various studios in different countries, and then you get this very kinetic livewire night of mayhem in Vienna, so it’s a balance. The band’s this – which is the studio – but live the band was also that. Plus it gives us a chance to put in tracks like The Wrong Road, [The House That] Jack Kerouac [Built] and The Clarke Sisters – tracks that we would have had to fight to get onto Quiet Heart.” In recent times, as well as continuing his solo career and making promising excursions as a producer, Forster has forged a name as an astute rock critic, writing for The Monthly and even releasing an incisive collection of his music criticism, The Ten Rules Of Rock And Roll. Did he glean any significant insight about his own band when poring over its history for Quiet Heart? “Oh, tons! When I was listening to it one thing that sticks in my mind which has come to me about the band – and this is just a random thought from over the last month – was how there was an unorthodoxy built into the band right from the start, and I don’t think we ever deviated much from that. Grant wasn’t a musician – I taught Grant to play the bass, and he was like nineteen and had never been in a band before – so it sort of starts like that, it starts with friends and one friend teaching the other. The Go-Betweens are not five guys meeting and starting a band, who had met each other around practice rooms and had been in gigging bands and pulled advertisements off rehearsal room walls. The band is quite unusual from the start, and then Lindy [Morrison] joins – a woman drummer, she was already in her late-twenties by that time and had already had a number of careers – so that’s another unpredictable choice coming into the band. And it just goes on from there – it was just different right from the word go with The Go-Betweens. It’s not a normal career at the start, and we pretty much follow that all the way through.” Forster is justifiably proud of The Go-Betweens’ legacy, and is hopeful that the music that he and his bandmates made will resonate through the ages. “It does and I think it will. I think the work is too good, and I think we’ve done enough of it – we did nine albums, there’s depth of catalogue there. I still think that The Go-Betweens are criminally underknown, and maybe with this filtering process the band will become potentially in fifteen years far bigger than they are at the moment. There is that chance. But one thing that I see – and I’m proud to see – is that I read reviews from around the world of other bands, and I see The Go-Betweens used as a reference point. I find it quite extraordinary, if only because I know how I felt – and still feel, but especially when I was younger – about bands that I loved, and wanted The Go-Betweens to sound like. That the way I felt about Talking Heads in 1977 might be the way that someone feels about The Go-Betweens in 2012 is very gratifying and an amazing thought to me.” WHO: The Go-Betweens WHAT: Quiet Heart (EMI) 20 • TIME OFF



Katchafire are one of New Zealand’s most successful reggae exports. Ahead of their much anticipated return to Australian shores, singer-guitarist Logan Bell speaks to Matt O’Neill about the band’s surprising success.

Guitarist and vocalist Grant Redgen explores the musical fantasy world of Brisbane’s The Oyster Murders with Tyler McLoughlan ahead of their debut album release.


ilm and literary influences have long had an impact on the musical style of many bands, and for The Oyster Murders, one need only look as far as Alice In Wonderland to gain a quick understanding of their cinematic dream-pop style.


ew Zealand has one of the most fertile reggae scenes in the world. Few of its representatives can lay claim to Katchafire’s success, however. Forming in 1997 as a Bob Marley tribute act, they’ve since gone on to share stages with The Wailers, Horace Andy, UB40 and Maxi Priest; performing extensively throughout New Zealand, Australia, America, South America and Europe. “Yeah, it got to the point where we weren’t even playing in New Zealand because we were so busy touring,” singer-guitarist Logan Bell laughs at their hectic schedule. “We managed to get back there just recently – and, even then, it was only eight dates or so. Pretty exclusive. Our focus lately has pretty much been about trying to take our music to the world – all four corners of it.” The band are very much a touring juggernaut. While boasting a less than wieldy line-up (seven musicians in total), Katchafire are one of the hardest-working bands of their genre. Their recent US tour saw them tackle 35 dates. Their upcoming Australian jaunt sprawls over 31 shows. It’s perhaps unsurprising they dubbed their fourth and most recent album On The Road Again back in 2010. “You know, we really do want to spread the net as far and as wide as possible,” Bell explains. “That’s the reason we haven’t spent a whole lot of time at home over the past five years. The focus has been the rest of the world. We actually kind of feel at home in places like America now – we’ve done it so often over the past several years.” It creates an interesting conundrum for the group. Katchafire, more so than most, are a band of community and family. Ignoring reggae’s inherent connection to such ideals, Katchafire were initially formed of brothers and cousins. Yet, as they bring their message to the world, they inevitably separate themselves from all that is most dear to them as a collective and as individuals. “Yeah, that’s definitely an issue. Most of the boys in the band have multiple kids. Family is very important to all of

us and being away from our loved ones is probably one of the hardest parts about being away on the road for so long,” Bell reflects sadly. “All we can do is try not to be gone for too long at a time, you know? Try not to be away for more than five or six weeks with each tour.” Still, there’s limited sympathy. Katchafire do it to themselves. If they weren’t so good at what they did, they wouldn’t be in such a predicament – and they are a genuinely exceptional ensemble. With five songwriters and seven musicians, Katchafire records have long been storehouses of both talent and eclecticism; strong reggae songcraft augmented by liberal lashings of funk, jazz, soul and pop. Their success is unsurprising. “Well, we pinch ourselves every day,” Bell laughs. “You know, we’ve always sought to keep our goals nice and realistic as a band. When we started, all we wanted to do was write and play the music that we liked to listen to as a band. When other people seemed to like it, we just wanted to see if we could release an album. It just kind of kept going. We all feel so lucky to be doing what we’re doing. “I mean, there’s demand for our music in Brazil, Indonesia, Bangladesh... Places we never thought would even hear our music,” the singer says incredulously. “And I just think that kind of following is the greatest compliment you could ever get as a musician.” WHO: Katchafire WHEN & WHERE: Friday 31 August, The Hi-Fi; Thursday 6 September, King’s Beach Tavern, Caloundra; Friday 7, Southport RSL; Sunday 9, Hotel Great Northern, Byron Bay

“That’s to do with the walrus and the carpenter story within the book. It’s actually like a poem within the book; the walrus and the carpenter, they lure these little oysters away from their mother and then they eat them. They kill the poor little oysters and that’s the oyster murders I guess,” vocalist/guitarist Grant Redgen explains, also citing the influence of the scifi genre and the works of Philip K. Dick. “It’s a very layered sort of music I suppose at times and a bit slower than the indie pop that’s happening a lot at the moment. We take a little bit of a slower approach to some stuff and [add] more atmosphere…” After honing their craft on the scene for a few years, The Oyster Murders are finally unleashing their first record proper, Winter Of The Electric Sun, in a release schedule that has thus far only featured a few slap-dash singles exposed via online channels. “We thought, ‘Let’s just make an album. Why goose around with a bunch of EPs and singles, lets just get to it!’” Redgen admits. “[We’re] in an age where it doesn’t seem like it’s the logical progression in some ways, but it’s more about what you want to do as well. “We spent on and off time over the last year or so at Applewood, going out there and tracking, and having sessions, then going back home and saving money, and going back and recording again. It’s still a very expensive process, recording an album, but it’s been worth it and it’s been great fun working with Magoo,” Redgen says, noting a special guitar effect unit that caught his attention. “It had these white stickers on it and I asked him, ‘What’s that from?’ and he said it was from when Radiohead came over for the Hail To The Thief tour and they hired the space echo off him and they used it, and when he got it back it still had

these little white stickers where they had their settings on it. And I was like, ‘Okay, we’re using that!’” The fantastical element also extends across many of the album’s lyrics, which are given further depth considering Redgen shares the vocalist role with his wife Wendy. In The Sleeper’s Heart, they tell the story of a couple whose house is burning down; one half of the pair is forced to labour over the decision of whether to wake the other to experience the horror of impending death, or let them sleep through the fire. “You can work off that… emotional dynamic being a husband and wife and have lots of fun with that kind of thing. I guess because we’re both influenced by David Bowie and the character sort of music…” With their sights set on New York’s CMJ Music Marathon in October, The Oyster Murders are firstly excited to be launching Winter Of The Electric Sun in Brisbane this week, giving away a free copy of the record to all who attend the performance. “Being a hometown [show] we wanted to share our record with everybody who comes and celebrate it because it’s such a journey and a lot of people within the local scene have helped us along the way. It’s just fun to share your music; it’s fun to have people listen to it and hear it and I think that’s the goal, to try and get it out there as much as possible.” WHO: The Oyster Murders WHAT: Winter Of The Electric Sun (Independent) WHEN & WHERE: Thursday 30 August, Black Bear Lodge

AUDIO THERAPY In a long and successful career as DJ and producer, Dave Seaman tells Cylcone that the key to longevity is avoiding trends – “it’s all still acid house to me.”


rit DJ/producer Dave Seaman was reinventing pop stars long before David Guetta’s chart takeover. As Brothers In Rhythm with Steve Anderson he created Kylie Minogue’s best – and most cred – song in 1994’s post-SAW Confide In Me. “It all happened very quickly,” Seaman recalls. “I gave Steve a rough idea of a starting point and left the room for a few minutes to take a phone call. By the time I came back, he’d got the groove working together with the bassline. I think at that point we already knew we had something special. We immediately added the string hook. Then I grabbed my folder full of bits of lyrics I had written on hundreds of scraps of paper. “One of the phrases I’d written down was ‘Confide in me’. Steve said, ‘That’s your title’. I went home that night [and] wrote the rest of the lyrics. Kylie came in and did a demo vocal a couple of days later. We had the luxury of finishing it off in Trevor Horn’s Sarm West

Studios, adding a 32-piece orchestra, which was truly a goosebumps moment I will remember forever. It’s still the thing I’m most proud to have been involved in.” In 2012 a solo Seaman, returning to Australia for three club dates, is committed to underground dance music – and, like his contemporaries Sasha and John Digweed, identified with the progressive house movement. “I try not to get too bogged down with what’s ‘in’ and what’s ‘out’,” he says. “I’ve seen trends come and go and entire genres morph into something completely different. I know genres are a necessary evil, but I try to stay clear of them as much as possible. It’s all still acid house to me.” And Seaman, who hosts the monthly Radio Therapy on friskyRadio, is inspired by today’s music. He rattles off an extensive list of digable producers (Electric Rescue, Butch, Hot Since 82...) and labels (Kompakt, Systematic, Herzblut). Seaman pioneered the mix compilation – and he’s assembled over 25 for such brands as Renaissance,

Global Underground (including a Melbourne edition), and Back To Mine. He’s currently promoting a volume in the Toolroom Records Selector Series, raiding the UK house imprint’s back catalogue. “I think it’s a bit different to what people have come to expect from me. It’s very housey – [and] a bit tribal in places, with quite a few techy electronic synths, too.” In late September Seaman will release Pixelated, a track he recorded with hard trance stalwart John “00” Fleming, through Dutchman Eelke Kleijn’s Outside The Box. Seaman no longer has his own label in Audio Therapy, but is “in talks” to start afresh. “I laid Audio Therapy to rest last year – or put it out of its misery, depending on which way you look at it,” he quips. Audio Therapy had “run its course.” Seaman would “love to” produce more (countercultural) pop. (His favourite single this year so far is Major Lazer’s Get Free.) “It’s more to do with time constraints that I haven’t done so already, rather than a need to ‘keep it real’. There’s actually loads of great pop music being made at the moment, which is very inspiring.”

WHO: Dave Seaman WHEN & WHERE: Sunday 2 September, Sky Room



NIGHTS WITH SYDONIA Paying their way as they go along, Sydonia are back on the road with a new EP. Nic Toupee chats to guitarist/vocalist Dana Roskvist to see how they’re faring.

What some initially perceived to be a joke has spawned a nearly two decade-long career for Finnish cello rock/metallers Apocalyptica, drummer Mikko Sirén explains. Brendan Crabb is the master of puppets pulling the strings.


pocalyptica’s debt to metal’s most successful outfit Metallica is hardly hidden. The Finnish cello crew began life as a tribute band via 1996’s Plays Metallica By Four Cellos, featuring reinterpretations of favourites from James Hetfield and company. However, being invited to be part of Metallica’s 30th anniversary celebrations last December was a surreal moment for them. Besides their own set, Apocalyptica were invited to join Metallica on-stage for a few songs. Despite having previously played several support slots with the metal titans (the first being in Helsinki in 1996) this was the first time the two bands actually played on-stage together. Drummer Mikko Sirén (aka the only fully-fledged member of the band who doesn’t play the cello) sounds like he’s still stunned by the star-studded company they kept when opening the week-long residency at the famous Fillmore in San Francisco. The guest list featured a staggering collection of performers, from Black Sabbath, Glenn Danzig, Marianne Faithfull and Lou Reed to long since departed band alumni. “Yeah, the backstage there is like the tiniest room next to the stage. You do your own stuff, warm up and check that everything is alright,” Sirén explains. “Then there are people who are walking in and out of the room, these famous people. All of a sudden you realise, and it’s like, ‘Oh my God, that’s him, and that’s him, and they are here as well’,” he chuckles. “It was absurd. We tour on all of these festivals and you get to meet all your biggest idols, and somehow you still are seeing yourself like a little boy when you get to meet your idols. I think that’s good though, because when you become cynical and you don’t feel that way anymore, then I think it’s time to call it a day.” Although initially dismissed as a novelty by many, they’ve forged a sizeable career. The band have since expanded into predominantly original material spanning

classical, traditional folk and world music alongside heavy metal. Recent albums featured an array of guest musicians and vocalists too, including Corey Taylor, Dave Lombardo, Cristina Scabbia, Till Lindemann and more. Despite all this high-profile peer approval and several million records sold, we ask the tub-thumper whether he feels there is still a perception among some punters that they’re merely a classic metal covers act. “I think people have kinda accepted us now as we are,” he suggests. “There are always people that have opinions about what you should do and what you should not do. Especially when the band started because the original band, it was an instrumental band playing covers. But now I think the main thing is to be inspired by our own music, to be excited about it. For us it means that we can’t have rules, we can’t repeat ourselves and that’s been the way from the very early days on. Of course when the band started writing original material, there were some people who said they should not to do it.” Anticipating some much-needed respite when their upcoming Asian tour finishes, they’ll begin the process of following up latest record, 7th Symphony. “We will just take a break because the band has been existing for like seventeen years and in that time there has not been a proper break where we have not been doing’s important to stay excited about the stuff we are doing. We need to be inspired and excited about everything we do.” Said tour will include their debut Australian visit. “Some moron books our tours and they don’t have a clue what it should be like, so unfortunately we don’t have any days off in Australia, so it will be in and out. But we’ll be lucky enough to spend at least a few days there, so it will be great fun.” WHO: Apocalyptica WHEN & WHERE: Thursday 30 August, The Hi-Fi


e’ve just been busy,” Dana Roskvist admits with candid good humour, when we ask the obvious question – what on earth have Sydonia been doing for the last couple of years? “We’d done a lot of stuff, all the touring we did a few years back, and then we did the Korn tour as well...“ Not to mention their ‘Colin Richardson period’, where the English producer famed for his work with, well, pretty much everyone who’s anyone in hard rock history, including The Exploited, Machine Head, Napalm Death and even Slipknot, worked with them in 2010, resulting in the single Ocean Of Storms. As a result of that single – which as Roskvist explains, “Colin did for us gratis, and I don’t know what he usually charges. I wrote to his manager, because he had done a whole lot of bands we really liked, and she fell head over heels in love with our music. She became our mentor for a while. Unfortunately she had a heart condition and passed away eight months ogo” he recalls soberly, “and all that went by the wayside. So we decided to do the album on our own, with an indie budget. So we’ve been playing a gig, then with the money from that we’d record a song.” He admits that they’ve probably taken a little longer than most bands between albums, with their previous (first), released in 2006. “We’ve been trying to save to do the recording and producing. We’ve got an EPs worth now, which we’re putting out, and doing a show for that at the Evelyn. But the album is now on its way, we have two songs completed already and two more being mixed now. Then, after the tour we’re about to do, we’ll get another two mixed, hopefully. It will be finished before the end of the year, anyway.” Sydonia have been on the pay-as-you-go system, which has meant they’ve been touring and playing shows relatively regularly over the last couple of years. So why do they seem to have disappeared out of the public eye? “Maybe because we get no radio play in Australia,” Roskvist says with droll resignation. “After we toured with these great bands, it really helped us get a leg-up in the industry, but at the same

time lots of people assumed we were a metal band. But there’s a lot more to us, I think. But because they think we’re metal, we get no radio play.“ Still, as your mum probably said once, time heals all wounds – and does wonders for your songwriting. “I think we’ve learned a lot more about songwriting in the last six years,” Roskvist says optimistically. “I think we’ve learned to cut the fat when it comes to songs, learned to emphasise hooks – not that we’re trying to learn pop songs – and the lyrics are a lot more thought out. We’ve learned to compress our sound down a little, ask ourselves what part of this song is the cream of what we‘ve come up with. As a result our arrangements are a bit simpler but the guitars are still intricate.” He reassures frightened fans who may worry that they’ve lost their heavy mojo, that “there’s still definitely a meeting of brutal and pretty in this album, although there’s a bit more of an obvious rock-pop sensibility thrown into it.” That should guarantee there’s no sudden dent in their gratifyingly loyal fanbase, who have waited the six patient years for album number two. “I think loyalty from our fans is getting stronger,” he says. “Recently, we’ve been getting the most exuberant shows we have ever had - and our last shows in Melbourne were really great. We already get requests for a bunch of the songs which we’ll have on the album - there are only three or four songs we haven’t really played live, although we always play a different set list every night.” WHO: Sydonia WHAT: Words That Don’t Exist (Independent) WHEN & WHERE: Saturday 1 September, Crow Bar; Sunday 2, Peregian Originals, Sunshine Coast












Getting creative through the winter months to let it all hang out in the summertime, Jackson Dunn is eager to start soundtracking the coming season. To tie in with his EP release, he chats with Benny Doyle.

Atlanta’s Cartel has had a fluctuating career yet they still hold strong. Brendan Telford talks to ringleader Will Pugh about keeping their eyes on the prize.



he whole EP is just about my life and my life on the Gold Coast – my last single was called Down In The GC. And the actual name [of the record] Relax And Let It Roll is about surfing on the Gold Coast and being smashed on a wave and then rolling underwater; just relax and let it roll – it will pass.” Born songwriters find inspiration in life’s simplest moments, and Dunn keeps that mantra burning bright with his new release. The record is a colourful snapshot of his hometown on the Gold Coast, and even pays homage to his former days keeping the sunshine strip skyline fabulous on first single Highriser. “I don’t do high-rise painting anymore but it’s been a big part of my life so I decided to write a song about it as an ode to all the high-rise painters on the Goldy that keep the city looking beautiful,” he reveals. “I’ve always wanted to write a song about life as a high-rise painter, or a highriser as I call it, but I’d never written any riffs that would suit it. But I recently went to a Lenny Kravitz concert and loved the way he rocked out, so I decided to try and rock out a little more and that’s what did it.” Experiencing new romance has also helped put Dunn in a good place personally. “It’s about how it [love] makes me feel,” he says. “My headspace when I come into writing an album, most of the time I’ll write sad songs. But this time around I wasn’t sad or heartbroken; I was in a happy place and seeing a really cool chick, and that just showed in my writing. The release is everything that is about me – that’s why I live and breathe, which is for writing [songs] and playing the guitar. And to be able to put my emotions, feelings and the way I live my life down on a track – it’s everything.”

putting heads through subwoofers, all the while using his arms and feet to strum and keep the beat. “It’s all trial and error,” Dunn admits. “But playing songs with John Butler and Ash Grunwald, I try and watch and take pieces from their shows and mould it into something that I can use – you learn something new every time you play. It’s very humbling when you’re playing a show and you’re supporting someone like Dallas Frasca and she just comes out and shows you how it’s done.” With the sun coming up and the temperature rising, the musician is primed for the months ahead. “Coming from the Gold Coast,” Dunn explains, “it’s sort of the same routine every year y’know, winter comes along and everyone is waiting for summer. Then as soon as it starts warming up everybody has got that vibe that they want to go to Billy’s Beach House and drink Coronas, and I sort of pride myself on creating the soundtrack for the summer. I spend the whole winter getting songs together so that people can remember summer, and when they remember summer they remember ‘Oh, that song!’ That’s what I love.” WHO: Jackson Dunn WHAT: Relax And Let It Roll (Pricewar Music) WHEN & WHERE: Saturday 1 September, Red Deer Festival @ Mt Samson; Friday 21, Brisbane Festival @ Redacliff Place (4.30 pm); Friday 21, The Spotted Cow, Toowoomba; Saturday 22, Room 60; Sunday 23, Nobby’s Beach SLSC, Gold Coast; Monday 24, The Cave, Gold Coast

Incredibly, he brings his layered, tuneful odes to life as a one-man show. Keeping his eyes and ears open to new ideas whenever on tour, the songwriter has built a formidable sonic motherboard, looping guitars,

artel bounced forth on the pop-punk zeitgeist of the early 2000s on the strength of debut, Chroma, in 2005. They’ve since garnered a devout following through their stint in MTV’s Band In A Bubble (a concept championed here by Regurgitator) and their energetic performances, especially on the Soundwave circuit of 2008. The band is coming back under their own banner, a situation that four years ago mightn’t have seemed possible. They’ve since left their label, Epic Records, whilst also dealing with the departure of bassist Jeff Lett, which has led to Nic Hudson taking up the instrument and Will Pugh taking on rhythm guitar duties. Out of these seismic shifts arose the EP, In Colour, which displayed the most cohesive sound Cartel have put to tape. “We’ve been friends since we were in high school, so the solidarity of being friends and having a common purpose for so long really helped us stay afloat and keep a hold on everything,” Pugh offers. “At the end of the day we had to look at whether it was ridiculous for us to keep playing, and it was that simplicity that has allowed us to overcome these little things that have popped up. Everyone we had in the band had always been a friend first, so we didn’t want to potentially wreck everything by getting someone we didn’t know in, that may not fit the way we always have done in the past. We’ve always had a clear idea of who we are and what we want to accomplish, so trying to tie ourselves to a label or indeed anyone outside of the band has proven tough to get everyone on the same page. (Leaving Epic and declining to get another member) ensured we made a concerted effort to know what we want, and now that we do, it doesn’t feel so hard to achieve it; the steps no longer seem impossible.” In Stereo has some of the polish and bluster rubbed off compared to its forebears, yet it thrives because of it, showing a band that is being true to itself possibly for the first time.

“Because we knew we wouldn’t have as much money going into recording it, we knew it was up to us. I felt learned in recording techniques – we all did. If you can’t learn things after three albums, you won’t ever learn anything. We put all our eggs in the one basket in saying that we could do it ourselves, so In Stereo really is a product of four guys having their shit together, which is an eye-opening and refreshing thing.” It marks Pugh’s first time as a full-time guitarist in the band, or indeed any band, but he admits that despite initial misgivings it’s given Cartel a new lease on life, something they’ve extended into their upcoming recordings. “I’ve been playing guitar since I was twelve, so almost fifteen years, but never really in the band other than on a few tracks for Chroma,” he concedes. “But we’ve always essentially been a four-piece anyway – just with me at the front. So it was a little weird at first, but then we just got so engrossed with it all. The major fear was whether I could play and sing at the same time, plus I’d never conceptualised how we would play things live, I would just write it and we would work it out later. Now that I had this extra job, this restriction, it just pushed me harder to make it not so. There’s an emphasis now on the vocals being part of the music, a total soundscape rather than just a song with a catchy melody.” WHO: Cartel WHEN & WHERE: Wednesday 5 September, Crowbar; Thursday 6, Surfers Paradise Beergarden

SEGUE OF LIFE Dean Hamilton, skinsman for local trio DarkLab, talks to Benny Doyle about creating weird music within traditional parameters and generally marking your turf.


umping behind a duo, even a pair of friends, which have been playing music together for a decade, would sound like a daunting prospect for most. For Dean Hamilton, however, he knew he’d made the right decision from the outset. “It’s a pretty serendipitous story, the way I got involved with DarkLab,” Hamilton explains. ““Andy [Edwards – guitar] was at a pub one day when I happened to walk by and he ran outside and said, ‘Oh man, we just lost our drummer for this gig; can you come in and help us out – just play one gig?’ And I was like, ‘Ummm, yeah okay’, because I’d just come off the back of a few failed projects so I was bit wary; I was a bit sick of everything really. But I thought Andy was a good guy so I’d do him a favour. So we did this gig at the Beetle Bar about eighteen months ago, and I just loved it so much and loved the music so much that I just decided this is where it’s at for me, and it’s just gone from strength to strength.”


Since that chance encounter, Brissie three-piece DarkLab have indeed been going from strength to strength, putting “cosmic spice” on their songs to get them into a form where they are now finally ready to be heard, the band on the cusp of releasing their new EP, Number One. Their sound is a tricky one to pin down – it touches on hard rock, prog, dub and jazz, just to name a few. “The way that I hear it is that it’s more influenced by almost like a pop structure,” Hamilton reasons. “A lot of what I notice is that when we play live, people who haven’t necessarily heard our material before find themselves singing along by our second chorus. Like one of our tracks Valvoline in the chorus has ‘So good, so good – Valvoline’ and it does that a couple of times. By the end of the track you look out into the audience and people are whacking their arms up in the air singing along.


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Hamilton explains that when the trio, completed with bass player Juan Hamchez, lock horns in the studio or on stage, that no musical ground is off limits. But even though they are experimenting with every song, the band still manage to leave their signature on their sound. “We throw anything at anything,” Hamilton says. “But everything we do we put that DarkLab stamp on it; it’s this sort of pseudo-psychedelic far out interpretation of a fixed genre like country. We have a reggae song that we do, we have the straight ahead rock’n’roll stuff and we’ve got ballsto-the-wall punk tracks that you couldn’t necessarily call punk because they just have this weird, cosmic paint over them. But even though we cross genres, there is definitely this DarkLab fingerprint that shows up on everything.”

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“We twist the songs up, put them down, do all kinds of things,” he continues. “Another thing we like to do during our live acts is to go through these little segues from one song to another. We’ve got the DarkLab Draco descending weird segue, then we’ve got the Dirty Harry segue that sounds like the theme from Shaft and it’s a really fun way of playing live.”

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WHO: DarkLab WHEN & WHERE: Thursday 30 August, Crowbar

Tel: 02 9516 1975 Shop online: Tues to Fri 10AM-6PM Sat 10AM-5PM 27 Parramatta Rd Annandale NSW 2018 Far out!


Debut EP Available Friday August 24th

EPWithLaunch Guests The Arachnids

+ Blackjack and Architect + ZIGGY ALBERTS

SAT SEPT 1ST Also Appearing

Sunday Sept 2nd TEMPO HOTEL 4PM + Guests

ChinaTown Carpark Jarrod Mahon

FRIDAY SEPT 29TH Kings beach tavern festival of music Sunday nov 18th GOLDEN DAYS FESTIVAL COOLUM “why the hell aren’t you listening to it?” -

Co-produced by Dan Auerbach (The Black Keys)




BONG IDLE Night Of The Living Blunt Independent

There’s nothing more depressing than generic British indie. Especially when it’s this kind of anti-hero anthem where the singer is desperately trying to authenticate his ‘realness’ by saying that he’s not a teenage hero up there with the likes of, um, Frankie Avalon. He then tries to tell us all that despite all his intended avoidance of being an icon, he is still a genuine rebel and kept things real the hard way. The familiar three chords of the pop song chorus should be a guarantee of catchiness, and it is in the same way as that fucking Lube-Mobile jingle, without the hilarious overtones.

CHILDISH GAMBINO Fire Fly Liberator It’s hard to take Childish Gambino seriously, but that’s a good thing because he’s a master of comedy. He’s a writer on 30 Rock and star of the underrated Community and contributes to the writing of his character for that as well. Not surprising then that he can throw a rap together, and he does it just seriously enough that he’s not strictly taking the piss, but with lines like “You’se a fake fuck like a flesh light” it’s still pretty funny. Plus he can pick a decent beat and he’s a total nerd with the video for this referencing the cult Joss Whedon show, Firefly.



Divine Fits will invariably be tagged an “indie supergroup” because all three members come from bands with moderate mainstream success (see: Mister Heavenly and Monsters Of Folk for recent examples). Such connotations will either buoy expectations to incredibly (and unfairly) high levels, or elicit a hatred for the trio before a chord has been played. Both reactions are detrimental, because A Thing Called Divine Fits is the truest amalgamation of three iconic musicians to come out for some time.

It’s a given that Centipede Hz won’t meet the expectations that have been lathered over its inception ever since Animal Collective hit paydirt with 2008’s Merriweather Post Pavilion. But it’s doubtful that they’re particularly concerned. The childhood friends have spent over a decade creating weirdo sounds for themselves, intent on never making the same record twice, and Centipede Hz faithfully sticks to this notion. Many recent converts will want more MPP and not get it. The rest are bound to be in genre-defying heaven.

If the cover art of Oh Mercy’s third record doesn’t jump out at you, then the tracks that make up the LIVE album certainly will. Alexander Gow hasn’t gone all samba on us; however, the Melburnian and his cohorts have returned to the fold with their most colourful and dynamic record to date.

It’ll help if you’re familiar with Britt Daniel (Spoon), Dan Boeckner (Wolf Parade/Handsome Furs) and Sam Brown (New Bomb Turks), yet it’s not necessary, as A Thing Called Divine Fits is a great rock album in its own right. Slinky electro opener, My Love Is Real, is a nice touchstone to influences outside of the band, but the album truly opens up when Daniel and Boeckner open their own book of tricks. The urgency of What Gets You Alone, the reverbed swagger of Would That Not Be Nice, the haunting staccato of Salton Sea – every track is infused with indelible character and surprising warmth. Daniel’s vocals are filled with spark and verve, an instantly recognisable delight, like seeing an old friend after a long absence. Boeckner is brilliant, lighting up the angular warble of Baby Gets Worse, yet it’s their cover of Boys Next Door’s Shivers that’s the proverbial cherry on top – done with reverence yet never perfunctory, it’s a stirring rendition.

Centipede Hz is, first and foremost, a fun record in the most feverish, sweat-drenched, acid trip sense. The record kicks off with Moonjock, a desperate purge of intent, all static and abrasive percussion, before the candy explosion of Todays Supernatural blows the cobwebs out in spectacular fashion. Wide Eyed offers the psychedelic stomp mantra conventions that Animal Collective embodies so well, whilst the skittering wooziness of New Town Burnout is infused with uncharacteristic melancholy. Each song is incredibly busy, layered with so much off-kilter and frenetic instrumentation that the blissful nature of MPP is but a distant memory. Tare’s warped, yelping vocal delivery dominates throughout, bouncing from euphoria (Todays Supernatural) to frantic (Monkey Riches) and the return of Deakin’s guitar to the fold is an incessant highlight.

The album ticks over with meticulous pace, yet is eloquent by degrees – there’s nary a note or vocal out of place. An excellent document of two incredible songwriters revelling in each other’s company. ★★★★½

Brendan Telford

The groovy Deep Heat gets things moving before the dark and moody My Man cuts in, the track aching with real soul and feeling. A vocal grab of Paul Kelly and Gow in the studio following the tune D V drives home what this album’s about – third person tales, fiction, storytelling – the same sort of fare that Kelly, the great man of Australian song, dabbles in himself. Fever takes that pout a step further, with killer verses such as “Some people said I was good, other people said I was great/I met the Governor of California and called him mate,” leaving the track dripping in cool. Drums Of Love, meanwhile, sees some cowbell, bongos and other apt percussion come to the party, and when Gow pushes high in his register the track becomes as sexy as anything Oh Mercy have written. Even when the dubby Still Making Me Pay starts to tread the middle ground, Burke Reid’s thoughtful production manages to get it over the line.




Deep Heat

Centipede Hz is ablaze with noise and aggression, confusion and bluster, yet it’s indelibly an Animal Collective album, infused with starry-eyed wonder. They sign off with Amanita, an otherworldly mantra that promises more unearthly delights to come as Avey Tare chants “I’m gonna come back and things will be different/I’m gonna bring back some stories again” before they melt away into the ether. ★★★★





Centipede Hz


Teenage Icon


A Thing Called Divine Fits





Three self-confessed lazy slackers from StokeOn-Trent in merry England have overcome their lack of interest in doing anything to record a three-track EP that defies any kind of simple explanation. Instead, we’ll just try to paint a picture of what happens with some creative imagery and stupidity, so, like, imagine if a group of Mexican wrestlers learnt how to play garage punk and then became zombies and then made a record. Despite the dexterity they lost becoming zombies, their passion for rock is undiminished and they manage to smash out three songs of high energy slacker rage with titles like Paranoia and Umbongo.

Gow has dumped a load of ideas on this disc but it never once comes across as overwrought or congested. Like a sonic amalgamation of Oh Mercy’s first two records, the Melbourne songwriter has taken the layers of Privledged Woes, integrated it with the stark, tight nature of Great Barrier Grief and twisted it into ten intriguingly charming musical nuggets. ★★★½

Benny Doyle

Brendan Telford

PUBLIC ENEMY I Shall Not Be Moved Enemy Records Earth/SPITDigital Although sitting on top of a very minimal live drum kit and a simple funk guitar loop and bass line, Public Enemy’s I Shall Not Be Moved still invokes the spirit of their classic era albeit with a little less aggression and fire than you would really hope for. Flav’s contributions are confined to a couple of vocal samples which you can probably buy on any sample CD of classic hip hop, but that hardly matters. Chuck’s raps may be self-referential, but why should he be the only rapper NOT allowed to bite from his past??

KING GIZARD AND THE LIZARD WIZARD Elbow Flightless/Fuse At the heart of Elbow is a pretty straightforward punk garage band tearing through the track in under three minutes with chanting and pretty much one chord doing all the work. There are signs early on in the number, but things get seriously fucking warped and exciting around the two-minute mark where an electric guitar that sounds like an electronic buzzsaw kicks in and things get brilliant. It’s backed with the excellently-titled Garage Liddiard, which has a harmonica solo and the singer barking like a dog over the Kinks on speed chorus. It’s pretty hard not to like these guys, I can’t think of any reasons not to.


Molecular Genetics From The Gold Standard Labs

Popboomerang/MGM Penny Hewson’s journey in and out of the Australian music industry over the past two decades has been an interesting one indeed. As an integral member of late-’80s Melbourne indie-folk outfit Sea Stories, she makes a welcome comeback following time in the US and curiously as the manager of sorely-missed sample-lovers The Avalanches. Lyrically, It’s An Endless Desire is a treasure. Hewson has no fear tackling subjects close to home, treating honesty and acceptance as part of the sad world of relationships in album opener, This One’s For You. It’s really lovely to hear a well-travelled woman singing unadulterated love songs, harking back to the grace and naiveté of artists like Carole King and Carly Simon, without the sass and martyrdom pomp of those living in the contemporary adult pop realm. My Lover’s Touch is a highlight, her breathy but controlled vocal skipping over sparse acoustic guitar noodling. Ironically, the more sombre lyric content is found in the more upbeat tracks like No Regrets, a sweet juxtaposition that makes the album all the more interesting. A blessing, because elsewhere there just isn’t enough variation in pace, structure or approach to warrant a replay. Granted, it’s transfixing lyric-wise but seems far too relied upon Hewson’s haunting piano underlining and bereft of much interesting accompaniment. By the time mid-album track Most Of All rolls around with its achingly desperate plea, we’ve been treated to half an album’s worth of tracks without marked differentiation. It’s a shame; It’s An Endless Desire has tangibly precious moments and is a satisfying return to Hewson’s womanchild vocals, but her return to the fold it isn’t just yet. ★★½



It’s An Endless Desire

Carley Hall

Anti-/Warner When San Diego collective The Locust burst forth on the scene in a deluge of bile and duct tape back in 1994, adorned in body costumes and deliberately long and obtuse song titles, it threatened to be an unhinged indulgent mess. Yet the brutality and aggression they display, mixed with frenetic dexterity and off-kilter interplay, means their back catalogue is littered with grindcore gems that soar due to their propensity for aural assaults without the baggage of pomposity or pretension. As far as entry points go, it’s bizarre that a 44-track collection of odds and sods would be a good start. But as intimated, The Locust is anything but conventional. Molecular Genetics From The Gold Standard Labs is a compendium of their early years that encompasses their EPs, soundtrack spots on John Waters film, Cecil B. Demented, and split releases, with the occasional unreleased track and the entire 1998 self-titled LP thrown in for good measure. It’s a brutally extended listen, yet one that never lingers for too long (only one track breaches two minutes). Underneath the insanity and weirdness though is a clear focus on crafting short, sharp yet inventive slabs of noise, so that tracks such as Moth Eaten Deer Head and Hairspray Suppository stand the test of time, easily digested by the uninitiated. Even the weirder moments, such as Flight Of The Wounded Locust, with its synthesised sounds emulating insects, make sense here, thus proving Molecular Genetics… is a biography, the growth of a band presented as a journey in which the listener is invited to partake. An incredibly bitter and twisted pill, but well worth the trip. ★★★★

Brendan Telford


TSOL Recording It’s downright ludicrous that Brisbane four-piece The Stress Of Leisure aren’t on the tips of everyone’s tongues right now, especially given the indie-popsters have been gracing us with their presence for eight years, albeit with a rotating line-up. Even more mindboggling is that Cassowary is their fourth album to date. Hooking in early to a vibrant and playful sound tinged with post-punk attitude shows that these two guys and two girls have that knack for staying one step ahead of a pack of peers who’ve only cottoned on recently. Sure, there are some clear influences imbibed here but there’s also much to love, and love you will. Inherent in all tracks is Ian Powne’s huffy, exasperated delivery, drawling somewhere in a realm housing Robert Smith and Kevin Rowland. Opener, Tropical And Ice, ensures we’re in for a sultry ride and good loose times, with twangy guitar lines, shimmering effects and a sparse, laidback beat. Even with that carefree pace continuing throughout, Powne still manages to up the ante to deadpan a bit of attitude into the upbeat tracks, sounding like he’s just tipping the balance into manic mode in Hot Fire! and Tropic Of Capricorn. Elsewhere, lush distorted guitars stalk hazy then clear-cut synth bursts, all underlined by a sweet high octave bass, particularly fine on the dancefloor-flavoured Work It Out. Ultimately, there’s just too much fun to be had by the time the clock stops ticking over. Sex Time and Sex On The Beach provide a glimpse into the humour running rife in this troupe, plus their ability to write a catchy tune. Brisbane, jump on board with your brethren. ★★★★

Carley Hall


Northside Records/Shock

Poison City Records

Cooking Vinyl/Shock

The opening track of Saskwatch’s debut LP, Leave It All Behind, has to be one of the coolest to be heard in a long time. The Delinquent instantly brings to mind a James Bond-esque montage, complete with armed tuxedoed men flying through the air over cars and bedding women like there’s no tomorrow. The following tracks swap the action-packed guitars for a soul-drenched feel and the powerful voice of Nkechi Anele, providing a beat for the Bond girls to swill their martinis and avoid misogynists to.

This second outing for young Melbourne five-piece The Smith Street Band is a knowing and intelligent howl of socio-political polemic and suburban angst, frontman Wil Wagner bellowing in the opening title track Sunshine & Technology, “and we deal with first world problems with aplomb,” railing against a raft of issues while completely acknowledging that we live in a country where things can never get that out of hand.

Fans of heavily accented indie-rock rejoice, for The View and their latest release, Cheeky For A Reason, will be your northern wet dream. Hailing from the land of the Loch Ness monster and the mucklecoo, these guys like are a more cheerful Glasvegas. It might be unfair to instantly connect them to other bands purely because of geography, but these guys sing so proudly and thickly that it’s impossible to ignore.

Leave It All Behind

Anele’s vocals are a welcome change to the whispery female tones that have been the trend of late, the only potential fault being that her voice may be too powerful, as there isn’t a whole lot of light and shade on the album. The instrumental component rescues this almost non-existent flaw, with keyboards and brass making Saskwatch as supreme as The Supremes themselves. There’s even an instrumental cover of the Robbie and Kylie’s ‘90s gem Kids, and it’s testament to their talents that the track sounds 100% more kickass than the original. These guys are retro in the best way possible, and not in the terrible cultural-cringe way that’s given nostalgia a bad name. Saskwatch have even received praise from Hypnotic Brass Ensemble, and are quite the hypnotic brass ensemble themselves. The phrases ‘the next big thing’ or ‘the ones to watch’ are over-used to the point of nausea, but in this case this Melbourne nine-piece couldn’t be more deserving of such accolades. There’s surely some potential wordplay about Saskwatch and ‘sass’ and the ones to ‘watch’ but you get the idea without that train-wreck coming to life. ★★★★½

Eleanor Houghton

Sunshine & Technology

That’s not to suggest that the power and the passion of Wagner’s outpourings are in any way phlegmatic. Indeed, his shouty, distinctly Aussie everyman delivery masks some fantastic lyricism; despite his at times bleak worldview he has a canny grasp of wordplay. Statements like “we get high because we’re scared of time” (I Can’t Feel My Face) or “if everything we fought for is now a fucking joke at least I’m not the punchline” (Stay Young) would be fascinating in any context, but they’re deftly dropped against a background of poverty and denial – all drugs, commission flats and suicide attempts – making them both relevant and riveting. When Wagner rails against modern malaise in the catchy I Want Friends and angrily concludes that, “it’s all so fucking meaningless!” he’s seemingly trying to subvert apathy instead of defend nihilism, an important distinction. Of course despite the strength of these lyric-driven narratives it wouldn’t work without good music behind them, and the album delivers this – nothing groundbreaking but solid and dynamic, enough to carry the dense diatribes. The songs’ power comes from a combination of their thought-provoking ideas and the conviction in their delivery, and this bunch of fist-pumping anthems pack a fairly hefty punch. ★★★★

Steve Bell

Cheeky For A Reason

The best part of it is the fact that they pull it off. In what could easily become a twee indie nightmare or an attempted Britpop-rock resurrection, this record comes across as endearingly genuine. They aren’t trying to be the Dexys Midnight Runners of the new millennia, they essentially are the Dexys Midnight Runners of the new millennia. The cheery singalong of How Long has the ability to make you happy to be alive, while Hold On Now will get even the most stiff-necked listener nodding along in time, and their lyrical offer of “let’s have a drink and a smoke” is one you wish you could accept in real life. It’s a nice change to find a band from northern-Britain that hasn’t been completely emotionally pummelled by the thick doona of cloud that covers their region. The View come with their own compensatory sunshine, so even if their songs start to sound a bit samey by the second half of the album, you forgive them and keep smiling. While it can be hard to listen beyond the kind-of adorable vocals of Kyle Falconer, the music itself is equally impressive, and sits just on the good side of the Coldplay divide. ★★★★

Eleanor Houghton

THE GO-BETWEENS Quiet Heart: The Best Of The Go-Betweens EMI

There have been a couple of prior compilations honouring the work of The Go-Betweens, but Quiet Heart is the first since they completed that wonderful second career phase, which added three albums to their canon and which was of course cut short by the tragic passing of founding member Grant McLennan in 2006. As such this becomes the definitive summary of this iconic Brisbane band, and it’s thrilling to hear classics from their early years such as Bachelor Kisses, Right Here and Dive For Your Memory rubbing shoulders with more recent fare such as The Clock and Here Comes A City, a progression on display despite the clear shared heritage and craftsmanship that binds them all together. The way that the distinct writing styles and delivery of McLennan and his friend and co-creator Robert Forster complement each other never fails to delight (and even sometimes confound), and that symbiotic relationship is perfectly captured here with deft song selection and sequencing. Throw in illuminating liner notes and a robust remastering regime and this is a brilliant career-spanning collection. But wait, that’s not all. Quiet Heart is accompanied by bonus disc Vienna Burns, which captures them onstage in the titular city in 1989 and allows them to add such staples as The House That Jack Kerouac Built, Man O’Sand To Girl O’Sea and Apology Accepted into the already heady mix, and showcase a different, slightly wilder side of this great band. The Go-Betweens are as much a national treasure as a Queensland one, and possession of this fantastic overview should be mandatory for discerning music lovers rather than merely recommended. Steve Bell









F R O N T R O W @ T I M E O F F. C O M . A U



the 43-year-old, Texan-born filmmaker explains. “I was hoping if we could make this relationship feel authentic, have these scenes feel like they were really happening, that maybe people would see something they haven’t seen in too many movies but that they recognise from their own lives. I was trying to see if I could recreate my own memories.” There’s more to this story

on the iPad


WEDNESDAY 29 The Harbinger – an old man hides away in a dusty old bookshop, forgotten and alone with only a handful of beautiful memories as comfort. An adult fairytale from Queensland’s Dead Puppet Society that melds live performance, puppetry, animation and stage trickery to create a richly magical world where the lines between reality and make-believe fall away. Written and directed by David Morton and Matthew Ryan. La Boite, until Saturday.

THURSDAY 30 Semi-Permanent – in its tenth year, this leading design conference, speaks directly to the individual. With a collection of forums from the likes of photographer Andrew Quilty, illustrator Bec Winnel and Beastman to advertising agency The Monkey. Brisbane Convention & Exhibition Centre, 9.30am.

FRIDAY 31 Bad Education – the tale of two reunited childhood friends (and subsequent lovers) involved in a film shoot where fiction and reality become grossly blurred is the 2004 film that turned director Pedro Almoldóvar back to the dark side. Screening as part of a retrospective of the Spanish director’s films. Part of Portrait Of Spain: Masterpieces From the Pradom. GOMA Cinema A, 8pm.

SATURDAY 1 HIStory – the world’s number one Michael Jackson impersonator from Vegas is here for the second time with his show. QPAC, 8pm.

Ecstasy Of Order: The Tetris Masters – curated by Ruari Elkington. This doco is about Tetris legend Thor Aackerlund’s domination at the 1990 Nintendo World Championships. It’s the stuff of legend – reaching the ‘impossible’ level 30. Brisbane PowerHouse, 3pm. Hello Kitty Flanagan – this Australian comedian is known for her role in Full Frontal (UK) and is returning with a new stand-up show that asks the tough questions. What’s wrong with teenagers? Why are babies so angry? And what snack foods should be avoided when dating? Extra show added, Brisbane Powerhouse, 5pm


Always a personal filmmaker, Wes Anderson’s Moonrise Kingdom may be his most intimate film yet. He chats to Anthony Carew ahead of its release. Wes Anderson’s Moonrise Kingdom is the singular stylist’s greatest film, a portrait of star-cross’d pre-teen runaways, fleeing into a shared romantic fantasy in which their imaginary world stands as a perfect symbol for Anderson’s aesthetic. It also plays as his most

SUNDAY 2 Ovo – Cirque du Soleil’s new show about a mysterious egg that shows up in the ecosystem of an insect colony. There’s also a love story between a gawky insect and a show-stopping ladybug and international cast of 54. Closing day, Under the Big Top at the Northshore Hamilton 1pm & 5pm.

personal picture, dedicated to his girlfriend, the writer Juman Malouf. “I wanted to make a movie that was from the point-of-view of children – but not necessarily a children’s film – about two twelve-year-olds who fall in love and take it very seriously,”

MONDAY 3 Everything Is Illuminated – Jonathan Safran Foer’s novel that follows a young American-Jew to the Ukraine in search of the woman who saved his grandfather. Featuring quirky characters like Alex, a translator whose English sounds straight out of a thesaurus and his deranged dog Sammy Davis Jr Jr, it’s the feature book of the TEXTA Book Club this month. Lively literary discussion and morning tea are on the agenda. QUT Art Museum, 10.30am.


Kenny Wizz is known ass the world’s son impersonator foremost Michael Jackson impersonator, coming straight from Las Vegas to the stages of Australia. Baz McAlister explores what MJ meant to Wizz.

Bad Education

He’s no criminal, but they don’t come any smoother than Kenny Wizz. The Los Angeles native started performing with street dance posses in the city of angels when he was just 14 – and when Michael Jackson dropped the Thriller album in 1982, the 20-yearold Wizz’s life changed forever. He knew he’d be a lifelong fan.

so the Jackson Five had always been very popular there,” Wizz says. “Breakdancing was the big craze then, but Michael became known for incorporating different dance styles into his routines. That’s where the Moonwalk came from, it was a street dance that everybody did. And he just took that to the world stage.”

“I grew up in LA, and the Jacksons had moved to LA from Gary, Indiana,

People started to remark on Wizz’s resemblance to Jackson, and he


3367 1954


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devoted himself to copying Jackson’s style. Over the years, as he honed his act act, his costumes and make-up have matched Jackson’s in elaborateness as the famous singer constantly reinvented his image. “I’ve never had any surgery done, though,” he says. “I’ve always been able to recreate the look with make-up and costume. Whatever changes Michael made, I always embraced, because it was a challenge for me to recreate with makeup. It took me about five years to learn the makeup; I do it myself. It takes me a couple of hours to get ready before each show but it’s very detailed. It has to be – people today look at me with a lot more scrutiny than they did before [Michael’s death] so everything has to be spot-on.”





Anderson has specific memories from when he was 12: his obsession with Supertramp’s Breakfast In America LP; the hugely-influential spell cast by Susan Cooper’s young-adult book series, The Dark Is Rising, and the Mardi Gras beads he caught, on a family holiday to New Orleans, that he thought had talismanic, magical powers. He also remembers an ‘atmosphere’, an enveloping env fantasy life that tinged his existence, ex and how he felt desperately lovelorn lo for the idea of love. “The idea ide of a romantic fantasy seemed almost almo magical,” he recalls. “I remember rememb how much I wanted these fantasies fantas to be real.” That sense of desperation desper is carried over into his two main ma characters, who want their runaw runaway fantasies to be real so intently that they think little of the repercussions repercuss of their actions and how it will w affect the adults charged with their care. “The children in this story, they know what they want, and they don’t think beyond it. They don’t think past the next step, of the consequences of their actions, but they are very clear about what they want to happen right now. And the adults really aren’t; they’re clouded by their own failures and problems. So the children have a much clearer experience.” When the would-be lovers retreat to an isolated cove that they dub Moonrise Kingdom and haul record


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9.15PM TOTAL RECALL (M) SAT/SUN 10.30, 3.10, 5.15, (NO FREE TICKETS) 7.15, 9.15PM THU/TUE 1.15, 3.45, 9.15PM WED 11.15, 1.30, 7.00, 8.15PM FRI/MON/WED 1.15, 3.45, HOPE SPRINGS (M) (NO 9.25PM FREE TICKETS) SAT/SUN 10.10, 12.45, 9.25PM THU/FRI/MON-WED 10.00, BERNIE (M) 2.15, 7.00, 9.10PM THU/MON-WED 10.15, 2.20, SAT/SUN 12.10, 4.20, 7.00, 9.15PM 9.10PM THE BOURNE LEGACY (M) FRI-SUN 10.15, 2.20, 6.45PM THU/FRI/MON-WED 10.30, 3.40, 6.45PM SAT/SUN 12.45, 3.30, 6.45PM


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players, pet cats and assorted trinkets along with them, it totally suggests Anderson’s own art-design-centric approach to movie-making, the way he uses the same typefaces throughout (“I love that typeface!” he gleams, when I mention Futura), and ensures everything is styled just so. “I like to try and create a world for the story to take place in that’s not quite reality,” he explains. “It’s a place that I hope the audience has not been to before. And all those little details, to me, they’re the ingredients of what this world is made of.” Anderson claims his singularity of style is decided not just in months of pre-production planning, but during the shoot itself, on a “moment to moment basis”. “I’m constantly faced with these decisions where there’s two ways to go about it: I can do it the way I want to do it, or I can do it the way everyone else seems to think is going to work better. It’d probably be smarter to listen to all my collaborators and advisors, but I have a general rule to always do my movies the way I want to do them. If I make the ‘wrong’ decision, I’d rather see my attempt fail, rather than concede failure before ever even attempting [it].” While Anderson’s singular style has made for a run of remarkable, memorable movies – including Rushmore, The Royal Tenenbaums, The Darjeeling Limited and Fantastic Mr. Fox – and granted him sainted status with a rabid cult following, he also has plenty of detractors. “To engage too much with what people are saying about your films, or about you, or about their idea of you, is to take you away from your own ideas.” WHAT: Moonrise Kingdom WHEN & WHERE: Opens nationally Thursday 30 August

Wizz’s act incorporates just enough of his own innovative street dance style to keep it fresh, but the bulk of it is devoted to recreating Jackson’s well-known dance moves. He does it all, too – the soft-spoken Wizz has painstakingly taught himself to sing like the master. “The The singin singing was more of a challenge than the th dancing,” he says, “but it goes beyond all that – I have to learn the mannerisms. No one will ever m match him completely; we’re closer in some songs than in others. But it took me years to be able to be precise en enough to sing and dance at the same ttime.” The makeup, costumes, dance moves, singing, live band, video displays and lighting displays all combine to make Wizz’s HIStory II a show that afforded him a Vega Vegas residency for 11 years years. But there there’s something Wizz can add to the experience that the King of Pop never could. “I try to do things he never had the opportunity to do, such as during the show I’ll come out through the audience,” Wizz says, “or after the show I’ll sit and sign autographs and take pictures one-on-one. That was something Michael probably wanted to do but you have to understand, he often performed to arenas of 60,000 people, so he couldn’t.” WHAT: HIStory II WHEN & WHERE: Saturday 1 September, QPAC Concert Hall



07 3852 4488





ROOM 514 (MA15+)


SUN 6.00PM

WED 8.45PM

SUN 8.00PM


SAT 2.15PM

THU 6.45PM

SAT 4.30PM

THU 8.45PM

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MON 6.45PM MON 8.30PM




FRI/ SAT 11.00, 4.20, 6.20PM SUN 10.20, 4.20, 6.20PM


THU 11.00 (BABES), 1.10, 3.15, 7.00, 9.00PM FRI 10.30, 12.30, 2.30, 4.40, 7.00, 9.00PM SAT- TUE 12.30, 2.30, 4.40, 7.00, 9.00PM

F R O N T R O W @ T I M E O F F. C O M . A U



NOEL FIELDING’S LUXURY COMEDY DVD Universal In the behind-the-scenes documentary extra on this DVD release, Noel Fielding (dressed as one of the show’s characters, Dondylion) describes his …Luxury Comedy as “a children’s show for adults”. It sure is as colourful and creative as Willy Wonka & The Chocolate Factory and even weirder than The Mighty Boosh – particularly the characters. Case in point: Sergeant Raymond Boombox, the cop with the mustard yellow complexion and springy perm, whose knife wound (aka The Gash) ‘helps’ him solve cases. Said Gash has a face, but no nose, and talks incessantly. Or what about Roy Circles: an anthropomorphic Chocky Fingerz biscuit that suffers from “the swingball blues”? Fielding has a wonderfully elastic face, plus the best hair in comedy, and his fellow cast members provide equally excellent performances throughout the seven episodes of this


to see Eva Mendes kidnapped by a finger-eating troll, then your prayers have been answered.

Holy Motors is French film director Leos Carax’s first release in 13 years. It was met with a standing ovation on its screening at the Cannes film festival, immediately setting the Twittersphere on fire. It is easy to see why. Starring the distinctively chiselled Denis Lavant (the lead actor in all but one of Lavant’s films), the movie follows ‘Mr Oscar’ as he is driven from ‘appointment’ to ‘appointment’ through the wanderlust-inducing streets of Paris. Each appointment finds him adopting a new character and situation. Sewer-rat ‘Merde’ from Carax’s 2007 film Tokyo! is a highlight. If you have ever wanted

Bizarre, captivating, thoughtprovoking and just downright confusing, Holy Motors is the perfect antidote to the slew of brain-numbing Hollywood blockbusters that normally hog the silver screen. The film captures a sense of cinema that is often lost – a purely sensory experience that suspends reality and transcends convention. A friendly word of advice: do not make any attempt whatsoever to understand this film. Just let yourself be immersed in it. Otherwise all the magical, cinematic fun will be lost.

series: bro Michael Fielding (Smooth the anteater butler), Tom Meeten (simply exquisite as Andy Warhol) and Dolly Wells (an irresistibly hip German Beatnik). A classic scene sees Tony Reason, a music producer who is actually a stingray living in a tank below Fielding’s treehouse, being given some sound advice by a hammerhead shark: “don’t use a ginger drummer” and “I don’t trust blonde bands”. Kasabian’s Sergio Pizzorno is responsible for the music, which is better than most of the shit you’ll hear on the radio. The set, costume and make-up team are award-worthy, with their meticulous attention to detail. Fantasy Man’s chosen form of transport, a toy unicorn, has a horn that’s actually an upturned ice-cream cone, complete with squished scoop of strawberry ice cream. You’ll feel stoned as you watch Noel Fielding’s Luxury Comedy, but is this a joke or a concept? Would love to sit in on one of their brainstorming compression sessions. Four and a half schizophrenic flags out of five. Bryget Chrisfield

Gone are the days of the garage tinkerer. Those warm Saturday afternoons where the neighbourhood air was filled with industrious husbands sawing and hammering their good ideas into reality. Well Will Eubank is bringing the art of craftsmanship back. At 28 and wearing all the major production hats, his debut feature film Love is wowing audiences globally with its luscious cinematic feel. The rub; Eubank handcrafted each complex set in his parent’s backyard in Southern California. “I wasn’t sort of making any money at the time,” reflects Eubank on the experience, “so I needed a place where I could relax and put all my energy into it but still eat mum’s cooking.

In cinemas now

“Originally we had tried to rent a space station but that was a little too expensive so, I was like, you know maybe I can build something like this. That just took a couple of years and before you know it, we were shooting a movie.”

the whole thing, and being like ‘Goddammit! What am I doing living at home doing this?’ The flipside of that anger was that I had a tonne of creative freedom to basically do whatever I wanted. “It was just very like ‘I think I might just go and get a coffee and then maybe a Snickers bar and I’m going to sit on this bucket and I’m going to think about how I’m going to build a cannon today.’” he says

with a laugh. “As I get deeper and deeper into bigger movies and things like that I’ll look back and be like ‘you know what, it was worth the headaches for that creative freedom that now just isn’t possible.” Simon Holland WHAT: Love WHEN & WHERE: In cinemas nationally

President’s purpose and vision having no resemblance to the product of its implementation. Perhaps this is on the minds of those grieving the passing of Neil Armstrong last Saturday. The landing of Curiosity on Mars is evidence there are still great thinkers at work in the world. The limited coverage and page six treatment of Curiosity, however, is evidence that the age of great thinking is over. It’s too much to put on one man’s shoulders that his passing should signify the point of no return into a bravado-filled new world of complacency, but one can’t help but feel with the loss of Armstrong that we are little by little losing a generation of explorers, thinkers, and fighters. It would be hard and not easy to resettle more and more refugees. It would be hard and not easy to establish a National Disability Insurance Scheme. It would be hard and not easy to confront Indigenous issues and associated bigotry. Among Armstrong’s famous quotes is this one: “Science has not yet mastered prophecy. We predict too much for the next year and yet far too little for the next ten.” The same could be said for our politicians. There’s much focus on the next federal election with many predicting an LNP win with Tony Abbott at the helm. I’m not here to say we must prevent it. I want to know what comes after that? Is anyone in it for the hard yards? Those are the ones worth gaining.


It’s no doubt axiomatic to say but people sure do like to partake in some crazy shit. Of course, to understand what constitutes “crazy shit” you have to accept that humanity’s collective insanity is a kind of societal personality disorder complete with its own behavioural spectrum.

Melissa Coci

A project of this scope and scale were not without their dark moments as Eubank looks back on the process. “It’s three in the morning and I’m pushing water off the top of the space station. It’s built outside and we’re like having the winter storms. And not just one night but for like nights after a row where I couldn’t do anything but sit outside in the space station all night, by myself, and push water off the top. So it’s crazy and I remember at that time feeling very angry about

On September 12 1962, John F Kennedy gave a speech at Rice University in Houston, Texas, outlining plans for America’s future in space exploration. He’s famously quoted as saying, “We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organise and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.” America did win the space race but for a generation the moon landing was a unifying moment when we went to the moon. At 82 years, Apollo 11 commander Neil Armstrong had what we call a good innings. Then again, being first to step foot on the moon makes your innings pretty darn spectacular anyway. History will remember him this way but it was his reclusiveness that has imbued Armstrong’s legend with a sense of dignity and fortitude. Since the moon landing the USA has committed its energies and skills to various causes that have proven to be hard where perhaps they thought it would be easy. The regime change of Iraq is the most famous recent example of a






ART Five minutes with


At the mild end of this craziness continuum is: “Let me check to see if these crumpets are ready by sticking this metal knife into that live toaster.” Midway through the spectrum, where the majority resides is the madness-induced willingness to listen to dubstep and without irony refer to Skrillex as a “musician”. But the real fun happens at the extreme and most dangerous end, demonstrated with: “Dear Mum, I’ve decided to drop out of med school to pursue a career as a conceptual/performance/ video artist and also attempt to diversify my portfolio by becoming an actor/director/poly-hyphenate. Please ensure I have a generous trust fund to facilitate my art and see to it that I am sartorially equipped for life amongst the avant-garde.” Photographer Clayton Cubitt, aka (of course) Siege, has started a little video project called Hysterical Literature which is a response, he’s said, to the artificiality of modern portraiture. With incessant self-portraits being slathered across the internet via Instagram and Facebook – almost all of which are tweaked to meet

self-aggrandising ends – portraiture is no longer revelatory but a process of sepia-toned, hipstamatic fakery. With social media the purpose of a portrait is no longer “this is who I am” but “this is who I want you to think I am”. Social media has turned all of us into minor narcissists who genuinely believe that our 1456 ‘friends’ are interested in what we consumed for dinner, who we consumed it with and what we were wearing while we did it. No one posts pictures of themselves dribbling microwave porridge down their chests, cramming 12 weeks of contract law into their knowledgeresistant brain while wearing a bib made out of toilet paper because they don’t have the spare four seconds required to co-ordinate moving the spoon from the bowl and to their mouths. That would not be cool. In order to make his honest portraits Cubitt has come up with the novel idea. It involves women enjoying a device known as “The Hitachi” while they read big ‘L’ literature, all filmed demurely in tasteful black and white with the not suitable for children part happening off-screen. You’ll be shocked to find out just how – ahem – exciting Walt Whitman turns out to be. Apparently this is not an excuse to film good-looking ladies in the throes of poetry-induced passion but a dissection of high and low art querying the very nature of taboo. But of course. Or maybe, and I’m just throwing this out there, it’s some seriously crazy shit.



Quirky Berserky the turkey from Turkey with legendary kid’s performer rmer

Peter Combe e Matine  

 am at 11 seum ld Mu .org O e h T eum m old us    17+bf or Tix: $  Family +bf $60

and the


     in a Pizza Band The Tempo Hotel 388 Brunswick St, Fortitude Valley Sunday 23 September, 18+ show Doors 5.30pm p

Bring along your toffee apples, newspaper hats and sing along with Mr Clicketty Cane, Newspaper Mama, Toffee Apple, Spaghetti Bolognaise, Juicy Juicy Green Grass, Chopsticks, Tadpole Blues, Jack & the Beanstalk, Baghdad, Saturday Night, Syntax ntax Error and... Quirky Berserky, The Song about Captain Cook, Rock Scissors Paper The songs that a million Australian kids grew up on... and some new ones

Tickets: $22 (+BF) Oztix Hotline 1300 762545


OCEANICS Member answering/role: Smack – guitar, backing vox

How long have you been together? This is mine, Elliot and Andy’s fifth year together. It’s Tom’s second year with us.

How did you all meet? Elliot and I met in Grade 8 in high school and became friends a year later when he didn’t hate me anymore. I made him laugh by quoting stupid Simpsons episodes and shit. Andy is one of my best mate’s younger brothers who I met one day while over at their house playing Halo. I first met Tom when the boys brought him to jam, I’m not sure how they knew him.

You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? Definitly Phoenix, The Strokes, Phil Collins or Paul Simon.

Would you rather be a busted brokebut-revered Hank Williams figure or some kind of Metallica monster? Elliot and Tom would definitely say the first, but I’m not ashamed to admit that I’d love to be fucking rich. Why not? I could live by the sea in a quiet little town like Caloundra in

a home studio and just play guitar all day then go sleep with my hot wife who is with me because I’m rich. Fuck working.

What reality TV show would you enter as a band and why?

Which Brisbane bands before you have been an inspiration (musically or otherwise)?

Big Brother, because Tom would be evicted first week for his flatulence, I would be kicked out second week for head-butting someone, and Andy would win because he’s the most loved little kid in Australia. I don’t think anyone has ever disliked him. This same formula could probably apply to Masterchef.

I personally love Ball Park Music even though we’re nothing like them musically. They were one of the first larger bands we ever got to support in Brisbane when the good old Troubadour still existed, and they were not only friendly and down to earth, but talented and incredibly entertaining. Their success is a massive credit to themselves.

What part do you think Brisbane plays in the music you make? Not a whole lot in terms of what we write, but certainly in terms of how we play live and interact with the scene. We’re friends with a lot of great Brisbane acts and we see them at our shows or their shows or unrelated shows. It’s a real community.

Is your band responsible for more make-outs or break-ups? Why? Definitely make-outs. At least two or three long-term relationships between friends of ours began after their met at one of our gigs. And our mate Harves just about always hooks up after our shows, probably more so than we do.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Probably soccer. Andy was a rep player, so he could be striker and score heaps of goals. I could be a surly/ overly aggressive goalie, snarling and yelling at any players who tried to get goals past me.

What’s in the pipeline for the band in the short term? Release the single that we recorded with Jean-Paul Fung and tour the hell out of it ‘til you’re sick of us. Then record an album. Oceanics play Red Deer Festival @ Mt Samson, Saturday 1 September; The Brewery, Byron Bay, Sunday 14 October; SolBar, Maroochydore, Friday 26 October; Clock Hotel, Gold Coast, Saturday 27 October; and Cobra Kai @ Oh Hello, Thursday 8 November. Photo by TERRY SOO.

record encompassing everything that was and still is great about the domestic scene. To mark the occasion, the Melbourne four-piece are delivering the album in its entirety, end to end, and from the first shred of opener, Sequel, it’s clear that the band are going to make every second count tonight. They fire through classics like Remote Controller, Fragile Happiness and You Say with passion and heart, and with every voice in the room behind frontman Cam Baines, their hook-riddled choruses soar. Bassist Grant Relf concludes No Touch Red with an animalistic take on Let ‘Em Loose and in a little over 30 minutes the record has been given its full dues, the tracks sounding as vital as they did almost two decades ago. The quartet still have plenty left in the tank, however, returning for a six-song ‘best of’ encore, with their biggest singles, Not The Same, Is It A Lie?, Underwater and One In A Million, sending the devoted into a complete spin, the evening an utter triumph. Benny Doyle


VALHALLA MUAY THAI STABLES: 25/06/12 It’s not every weekend that you get to see two of the country’s most interesting punk-at-heart bands playing in a boxing ring heavily sponsored by Converse sneakers. The only way in tonight was RSVPing by way of liking the Converse sneakers page to get on the exclusive door list and the line to get in snakes down the street. Inside, punching bags are already being kicked as the predominantly young audience are treated to free beer and Red Bull.

Tim Rogers @ Old Museum pic by Stephen Booth


A solid crowd has turned out early and found their way to the hidden enclave out the back of the Old Museum which is housing tonight’s proceedings, the beautiful back studio looking ornate even with all of the chairs removed to enable standing room. The sound is great as country chanteuse Catherine Britt kicks off proceedings, armed only with an acoustic guitar, her expressive voice and an album’s worth of new material. The title track from her new record Always Never Enough is a stinging attack on an ex-boyfriend, before her default country twang comes to the fore in hometown homage (Newcastle, in this case) Charlestown Road. She lambasts the music industry with Mind Your Own Business and offers heartbreak lament A Few Good Years before a tousled looking Tim Rogers joins for a duet of Troubled Man – which he also shares on her new album – and then the rest of his band (Gus Agars on drums, Shane O’Mara on guitar and Cameron Bruce on keys) enter and the pace picks up considerably, the solid set finishing with jagged new number Addicted To The Pain. Mr Rogers and his band leave the fray only to make a triumphant reappearance a short while later, the You Am I frontman rocking a light-coloured suit with his white shirt unbuttoned to the waist, beginning the set with All Or Nothing – the opening track from the new album Rogers Sing Rogerstein – which segues nicely into another newie Part Time Dads, a lush number which would have subsisted comfortably on Hourly Daily. He sticks to his solo catalogue throughout the set, older tracks such as Jimmy’s Delicate Condition and Goldfield Blues rubbing up nicely against newer numbers like the rocking Drivin At Night. Rogers’ voice is so familiar and comforting, wrapping around you like a shawl on a winter’s night, and it’s hard to believe that this solo domain is only an adjunct to his main project, especially when he’s offering up beautiful paeans like I Left My Heart All Over The Place and the hilarious new I Love You Just As You Are, Now Change. There’s a great bond amongst the players – for them to be more than just a token pick-up band, a strong rapport is imperative – and the crowd is lapping it up, the main set ending with the gorgeous older 32 • TIME OFF

pairing The Songs They Played As I Drove Away and You’ve Been So Good To Me So Far, and the Brittabetted If Yer Askin, I’m Dancin’. An encore ensues – which includes a rendition of Dylan’s Boots Of Spanish Leather – and then it’s all over: one of our finest ever singer/songwriters chalks up yet another notch on the bedpost of his fascinating career. Seb Ross


Australian punk nostalgia doesn’t come thicker than tonight’s bill, and Sydney’s hardcore-leaning Irrelevant set the bar high from the outset. Delivering a clutch of fast, crisp tracks, the band don’t miss a beat and are simply unstoppable. Melburnians For Amusement Only hit the stage soon after, their brand of pop-tinged skate punk more closely aligned with the musical fare to follow. The boys seem to be enjoying the set as much as the crowd, and with synchronised jumps, bouncy choruses and a one-in-all-in vocal mentality, there’s always some onstage action to get involved with. A cover breakdown of U2’s With Or Without You slips in seamlessly with fan favourites 22 and Believe, and by the end of the slot the room is well and truly warmed up for the business end of the evening. Sometimes punk works out for people – sometimes it doesn’t. One Dollar Short vocalist Scott E. Woods unfortunately falls into the latter category, his heavily-tattooed bulk looking haggard, his presence genuinely lethargic. The start of the set seems laboured – the rest of the lads are pushing through admirably but it looks like a chore for Woods. However, when he does pull his hand out of his hoody pocket the band step up a gear with him, and by the time the Central Coast quintet are jamming on Robot, Is This The Part? and Satellite, the whole performance level has come full circle, the pit in full voice with the band. Released 15 years ago, Bodyjar’s seminal album, No Touch Red, has since become a landmark pinnacle of ‘90s Aussie punk, the sharp, punchy and melodic

With the band taking up the electric incarnation only a handful of times this year, Kitchen’s Floor are the perfect choice for tonight’s bill. The production is loud and the performance matches it, with frontman Matthew Kennedy drowning out the mix with tense monotone vocal screaming. 116 makes an early appearance and its fast-paced lo-fi pop gets a notable response from the crowd. New track Down and classic Graves are notable highlights and contribute to an all-’round perfect set, with only a couple of ‘acts of disruption’ being a broken bass string and the rather disrespectful move by the bar staff refusing to serve alcohol during the set. Whilst an odd billing, the mostly Converse sneaker-wearing band holds their own and from a musical perspective do their job ten-fold. The large bar crowd barely depreciates, despite the free beers running out. A stupid hour-and-a-bit wait between bands so people can absorb the Converse logo and listen to the DJ spin completely irrelevant music largely irritates. When Royal Headache finally do take the stage, it is clear that since last time they were in Brisbane, shit’s changed. The crowd are going ballistic to every song, knowing every word and crowd surfing off the turnbuckles in punk WWE fashion. Girls appears early and is a highlight, with ring-side seats becoming platforms to try and see the band. Vocalist Shogun seems born for this type of environment, as he works the ring almost like a competitor. The whole set is sharp, concise, cohesive and faultless with Really In Love, Down The Lane and the spastic energy of Psychotic Episode working so well that at the end of the set swarms of police and chaplains ascend into the venue to deal with the masses. Musically, it’s undeniable that tonight is simply unbeatable – with only two bands on the bill they manage to pull off one of the highlight shows of the year. However, the blatant commercialism is overbearing and when looking at the bands you begin to wonder if Mr Converse knew the definition of irony whilst naming this gig Acts Of Disruption. Bradley Armstrong


With static, minimal beats and an apocryphal drone bleeding out of the speakers, Pale Earth opens the night via confusion, in that his set evokes a dream-state where the realms of fantasy and reality are blurred. When the beats become more insistent, his heavily reverbed vocals come into play, floating over the mix in a sun-bleached haze. These scorched, dubbed-out dreamscapes are augmented by Luke McCallum on trumpet and Cam Smith on drums, offering improvised lashings of colour that haunt as well as flourish. Keeping the loose meandering as a common thread, instrumental duo The Scrapes have freed up their schizophrenic guitar/violin duelling match for something more akin to a krautrock mind-bender.

After their first couple of tracks, they incorporate Brock on drums, an animated skinsman who serves to push the music into another realm and energise the others. Adam is intent on killing his strings, each loop created becoming more jagged, whilst Ryan on the bass swings from metronomic to destructive. This is the most fun that can be had from killing the music – an absolute gem. Melbourne trio faspeedelay are an interesting prospect in that their bare-bones instrumental approach belies the post-rock connotations that could be pushed in their direction, focusing instead on creating heftier, intricate variations of tradition pop rhythms and standards. The rhythm section is key here, allowing the guitarist to court distortion and feedback with wilful abandon. At times the sound suffers from said noise disappearing into the mix, but the band overall is tight, offering more frenetic rock than many would have expected without embracing psych overdrives or quiet/loud dynamics. A year from its airing and finally Ghost Notes have their excellent debut record, By Cover By Night, out on beautiful vinyl, and are celebrating this milestone with an all-too-rare full live set. The band are a remarkable beast to see in full swing, so intricate and busy without losing focus. McCallum’s trumpet is the focal point, but all members take charge at some point – Owen Dengate’s commanding presence on guitar, Jamie Curran’s stately keys and the off-kilter rhythms of Cam Smith and Simon James all impress. There are some new songs aired (they have two new albums almost in the can) and the lack of a setlist (“this show is like a microcosm of our rehearsals,” Smith quips) only adds to the immediacy. The elegant Last Call and the enigmatic Man Takes A Walk In The Desert are highlights in what is a fantastic live performance by one of Brisbane’s most unheralded acts. Brendan Telford


Local four-piece The Arcolas aren’t exactly a household name but they have a heap of familiar faces – no doubt because their line-up features members of Brisbane luminaries past and present such as Vegas Kings, SixFtHick, Bantha Fodder and El Borracho – and the brand of blistering oldschool rock’n’roll that they peddle is chocked full of hooks and attitude, all pumping melodies and cool dumb riffs. A solid cover of Radio Birdman’s Do The Pop gives some idea of their angle, but it’s originals like Thing For You and White Tiger which signal a cool new band in our midst. Local punk luminaries Undead Apes are up next and their performance is just as you’d expect these days; fast, furious and fun in equal measure. They might enjoy dressing in uniform, but it’s the differences that the members bring to the table as much as the similarities which makes them such an appealing proposition: the distinct songwriting styles of Messrs Graydon, Scott and Mercer are clearly miles removed yet complement each other perfectly and melt into a unique single feel, while the whole thing is anchored by the fine drumming of Renae Collette. Tracks like Eat Yr Brain, Taxes, Radioactive, Ampersand’s Turd and Brain Drain are immediate and infectious, and one day more people will ruefully realise how great this band are that they’d been previously ignoring. It’s a Sunday night crowd of rock stalwarts who’ve gathered by the time that New York four-piece Obits take the stage, and those who made the effort are rewarded in spades as soon as the unassuming rock powerhouse kick into gear. Fat bass grooves are augmented by weaving guitar lines courtesy of Rick Froberg – he of Drive Like Jehu and Hot Snakes – and his partner-in-crime Sohrab Habinion, the former summoning a manic intensity from his lithe frame as be belts out the lyrics to tracks such as Let Me Dream If I Want To with zero pretence or artifice, like this music is their lot in life rather than some aesthetic quest or serious art form. Obits on stage are a sinuous beast, emitting an ominous and brooding sound with no apparent room for frivolity, favouring thrift over embellishment and leaving plenty of space amidst the brutality. Habinion offers the slightly sludgier Standards before Froberg throws in new song Suez Canal, which is relatively refined but still sounds brilliant. The stabbing riffs of Talking To The Dog fire up the room before the quartet wander off stage and return almost immediately, making light of the modest turnout before offering those discerning rock dogs present three more blistering numbers to dwell on, even as the new week hovers hazily on the communal horizon. Jack Newnes


GREENTHIEF Mr Number 1 Independent

THE JUDITH WRIGHT CENTRE: 23/08/12 Tujiko Noriko is a frequent commuter to Brisbane these days, playing here several times in recent years – most recently in collaboration with Lawrence English and John Chantler. This time she’s here for the opening event of Room40’s Open Frame festival with her new musical partner Tyme, a member of jazz-electronic group MAS, and together they’ve created something quite different to their recent works. There’s a sheen of pop-sensibility overlaying the pieces tonight, and an upbeat sense of positivity that stands in contrast to the more ethereal, avant-garde nature of previous releases.


MAKE MORE Less Deaths

Perched delicately behind her microphone Noriko is a bashful but entrancing figure, shooting out occasional excited smiles as she sings. Meanwhile Tyme hides behind an impressive array of electronics, improvising around a compositional core and occasionally effecting and looping the live vocals – even joining in for one song. The pieces tonight never quite reach the level of transcendent beauty that the last tour possessed, the compositions feel a touch constrained, but it’s a beautiful set and one that represents a fascinating example of what pop can mean when its proponents are prepared to experiment. Pete Swanson has moved towards techno in his recent work, and away from the noise that typified his old band Yellow Swans. Tonight’s performance harks back to his earlier work, as harsh rumbling bass fills the room and sharp high-pitched tones burst above the static. There was always a rhythmic aspect to the Yellow Swans’ work though and the move to techno has further enhanced that, with his set here more rhythmic noise than wall of sound. It’s interesting, but this feels like the wrong environment; the 4/4 beat, compressed and distant though it is at times, calls for a dancefloor and the sharp high tones emulate the whistles of a rave. In an environment dedicated to close listening, rather than dancing, it lacks the variation – the subtle, gradual shifts –that typifies truly exceptional noise. As the beats drop away though, the music begins to take on those intricate qualities and becomes perfectly

Tujiko Noriko @ The Judith Wright Centre pic by Sky Kirkham


WE THE GHOSTS Little Bit Crazy

Exceptional Sydney-based label Tenzenmen have a new album release coming up soon for Brisbane band Make More, and Less Deaths serves as a teaser for the record. Make More use jangly guitars to create a nicer-than-nice, ‘90s-sounding indie rock vibe, with the vocals present enough to create a meandering melody that lodges into your brain without effort. B-side Immense Breeze is a shorter burst of pop with more space for the vocals and Monumental Suspense is even more sprawling and dramatic than Less Deaths. The single sets up the album beautifully, and creates a real level of heightened expectations that on the strength of these tracks they will have no trouble delivering.


Performing straight-up country rock in a very pure sense, We The Ghosts don’t tread into indie or rock territory except for some very small indulgences in the production, mostly happy just to wallow in the country pop that they’re obviously very passionate about. It’s interesting hearing a young band get so into this style, and while they do take steer it off into the direction of the modern style of American country, there’s some genuinely good melodies and songwriting making up the track. If they could get a bit more in touch with the roots of country, instead of the more modern end, then it would provide some even more revealing results.


THE CLUES Occupied

The third self-titled Golden Bats EP sees the Brisbanebased one-man band indulge in more fine offerings of heavy, blissed out distortion rock. Beginning with Nine Bloody Steps, its clean intro doesn’t give any hints at the massive double-tracked (triple-tracked?) harmonic rock riffs that are bursting at the seams, ready and waiting to explode. Death Ship sees the Golden Bats take on the Aussie rock of the Hoodoo Gurus, turning the garage rock singalong into a monstrous terrifying droning dirge. It’s an inspired reworking, and an ambitious undertaking to take steering this boat into such uncharted waters.

While they openly reference themselves as sounding a bit like The Smiths, at first it’s a little bit confronting just how much the lead singer is modelling his vocals on those of Morrissey, but it’s more in the delivery of his vocals than in being a pure soundalike. After a few listens, the Australian quirks of his vocals are apparent and it seems that his own voice is finding a way past his influences. The song is also informed by the general bounce of upbeat party Britpop while still maintaining some introspection and complexity in its parts, and then the ending is borrowed from This Charming Man, bringing the whole Smiths thing full circle.

Independent suited: music as motion, rather than to inspire it. A swirling maelstrom of sound whips through the speakers, buffeting the room and throwing the listener off-balance – music as synaesthesia. Slowly the maelstrom fades to rain, still threatening, but much calmer, and as blasts of air and rumbling bass fill the room, the listener is brought back to the ground with sounds recalling railways and industry. This is the joy of noise: its ability to remind us of both the extremes and the mundane in our environment and, as Swanson’s performance tonight exemplifies, to remind us that beauty can be found in the most unlikely sources.

Big tribal tom tom hits and a swirl of guitars hark the intro of Greenthief’s Mr Number 1, but things quickly get more layered. Sometime around the halfway mark, a guitar that sounds like a synthesiser (or maybe the other way around) signals the next section of the track like a siren. The bassline becomes menacing and the guitars start growling before a drum attack kicks in like a brief solo. The outro then sounds like a whole different third section, before it slowly ebbs away to just the chattering of guitars. Epic in the very real definition of the word.


Sky Kirkham









Hat Fitz & Cara Robinson Okay, I promised a couple of weeks ago that I’d get back to you once I’d had a chance to smash through Wiley Ways, the new record from Hat Fitz & Cara Robinson a few times and this week seems as good a time as any to air my thoughts on the release. Well, firstly, it’s very good. I will admit, sheepishly, that I wasn’t exactly excited when I heard a few years back that Fitz was now performing with an Irish woman whose predominant musical input was going to be playing the tin whistle. Don’t get me wrong, the tin whistle is a great instrument, but alongside Fitzy’s gruff voice and gutsy guitar work, it seemed like it might be a little too incongruent. Or, more frankly, it sounded like maybe Hat Fitz was going to be settling down. Now, most people who have seen the duo know that this is a fear that can be dispelled, and Wiley Ways proves it further. Fitz sounds exactly like he always has; his songs are slightly better and his guitar playing a little more pronounced, but the most striking thing now is how well Robinson complements Fitz; the sweetness in her voice isn’t too at odds with the harshness in Fitz’s, her blazing tin whistle has its place but doesn’t outstay its welcome and she just seems to lift these songs. The work of Jeff Lang in the producer’s chair mustn’t be glossed over either, he’s made these songs shine beautifully in the most natural of ways. Hat Fitz has always been just about as good as Aussie blues gets for mine, and Wiley Ways seems like another leap forward for the inveterate performer and his missus after their first foray together a couple of years back. Great stuff. Also, Fitz and Robinson have announced extensive tour dates in support of the record’s release and rest assured a couple of them are happening in and around the greater Brisbane and Northern New South Wales region. Catch them at The Joynt in South Brisbane on Thursday October 4 and the Byron Bay Brewery Friday 5. The biggest sell-outs in the history of boogie rock are coming back to Australia, thanks to a large supermarket chain who are presenting their tour and using it as a platform to advertise their low, low prices. Look, Status Quo probably totally suck now anyway (I’ve never seen them), despite the fact that they were once a pretty fucking great band, and I just don’t think I can support a tour backed by a supermarket chain; it just feels wrong. But if you’re willing to take the risk, you can see Status Quo at the Brisbane Convention & Exhibition Centre Thursday 28 March, a date that is suspiciously close to Bluesfest 2013… I will say no more on that, though. I have early details of another Folk Uke tour that ought to be coming through Australia early in the New Year, following on from a pretty successful showing over here around a year ago. If you’re not familiar with them, this act is the duo that is made up of Cathy Guthrie (daughter of Arlo, granddaughter of Woody) and Amy Nelson (daughter of Willie) who perform irreverent tunes like Motherfucker Got Fucked Up, Shit Makes The Flowers Grow and I Miss My Boyfriend (look it up). The only date I can confirm at the moment sees the ladies playing The Basement in Sydney on Friday 4 January, but I’m sure there are plenty more to come. Jen Cloher has been pretty quiet of late, but she’s back in action with a national tour set for this November. She has a new record in the works – this tour will be in celebration of the first single from it – but more details on that when they come to hand. You can catch her with support from Courtney Barnett at the Black Bear Lodge Thursday 22 November. 34 • TIME OFF

Canada’s multicultural urban scene, centred on Toronto, is so hot right now with Drake, who initially experienced fame as a kid actor in Degrassi: The Next Generation, and The Weeknd. For a big star, Drake – signed to Lil Wayne’s Young Money Entertainment – is awesomely avant-garde, even collaborating with The xx’s Jamie Smith. Admittedly The Weeknd, who unleashed a superb trilogy of mixtapes last year, has been quiet recently – or touring. But then there are the illwave producers in Drake’s clique, chief among them his bestie Noah “40” Shebib. One of Shebib’s illest songs? Jamie Foxx’s chilly Drake-featuring ballad, Fall For Your Type. Also in Drake’s crew are Boi-1da and T-Minus, both similarly making their mark independently. Now Canadian R&B superstar (and one-time folkstress) Nelly Furtado is mounting a comeback six years after her trailblazing Loose, which encompassed some of Timbaland’s finest work. Let’s hope she can, because the lead single, Big Hoops (Bigger The Better), didn’t exactly ignite. For The Spirit Indestructible, out next month, Furtado hired Rodney “Darkchild” Jerkins and Salaam Remi (Nas cameos on his Something). Indeed, though Furtado is affiliated with Canadian rappers like k-os, she’s shunned the T Dot’s happening studio talent. Canada’s urban acts have struggled to find success in the US. Drake beat the odds. The ‘90s rapper/singer/producer Saukrates (it’s a play on Socrates) floundered – despite an alliance with Redman - being signed and dropped by labels. Yet Canadian urban types are versatile. The SomalianCanadian MC/singer/muso/activist K’naan has a role as a corpse in David Cronenberg’s extraordinary film adaptation of Don DeLillo’s 2003 novel, Cosmopolis,

which presaged the GFC and Occupy movement. Robert Pattinson compellingly portrays Eric Packer, a swaggerin’ billionaire asset manager (or capitalist bloodsucker) who’s unravelling. Packer spends a day travelling across a congested NYC to his old barber in a stretch limo. He belatedly learns that his favourite rapper, the Sufi Brother Fez (K’naan), has died suddenly from a genetic heart condition, the funeral procession partially causing that traffic snarl. Packer is asked sardonically if he’s disappointed that Fez wasn’t shot. The rapper’s record company sees the event as a marketing opp. It’s a symbolic twist to a film about a powerful man disconnected from reality; one who abstracts, and speculates, but doesn’t feel. Packer can’t ‘keep it real’, only surreal. Drake, that King Of Existentialist Rap, would get it. The dude has celebrity, and money, but he’s miserable. Meanwhile, the underrated K’naan, best known for his hit, Wavin’ Flag (and appearing on Distant Relatives alongside Nas and Damian Marley), is due to shortly deliver Country, God Or The Girl. Guests include Nas, Bono and The Rolling Stones’ Keith Richards. There’s input, too, from Ryan Tedder. Ironically, Drake is co-producing a posthumous Aaliyah album for her manager/uncle Barry Hankerson’s Blackground Records. The emo MC has identified the Detroit soulstress, who perished in an air crash over a decade ago, as a major influence on his melodic rap-singing style, admiring her ‘gangsta’ edge. He has sampled her, and has Aaliyah tattoos. Drake raps on the newly-circulated Aaliyah number, Enough Said, helmed by Shebib, from the LP. Controversially, Drake opportunistically disses Chris Brown, with whom he allegedly brawled in a NY nightclub over Rihanna, mocking the relatively low sales of Brown’s Fortune. It is unfeeling, and Aaliyah’s fans think it’s in poor taste. The singer’s immediate family, as well as her seminal producers Timbaland and Missy Elliott, have distanced themselves from Blackground’s enterprise – and it does all sound suspiciously 2Pac-y, considering it’s about recycling, or contemporising, old demos. Entrepreneurialism gone wrong.


No Zu Side by side, the new albums from Cat Power and Melbourne’s NO ZU appear as a countertop display in some trinket shop tucked into the NSW coastline. On a toilet stop off the highway, you’d browse glittered fairy statues and books on accessing tranquillity before coming to the pastel pink and purple records. Cat Power’s Sun, out this Friday through Matador/Remote Control, features a pixelated image of Chan Marshall transposed over a rainbow through a lavender sky. The cover of NO ZU’s Life, also out this Friday through Sensory Projects, is a gaudy collage, its marbled peach and pink backdrop resembling a sample of kitchen laminate, on top of which sits a square of pool-water pattern, the midsection of a bikini-clad body, a plastic bag, a sliver of an upside-down globe. Sun and Life: each is surely promising a metaphysical purpose and a whole lot of pan flute. The albums, however, do not come from a ribbon-flanked tourist stop but from metropolitan record labels dealing in the subcultural in Australia and America. That one of the promises above is made good (guess which) by each album, then, could come as some surprise. Both acts have an interest in exploring something outside of the physical and the individual, in looking for some collective peace or understanding. The real surprise is that, despite the surface similarities of their records, they are able to come to this search by opposing methods. NO ZU’s Life is the work of percussionist Nicolaas Oogjes along with a now core band drawn from Melbourne’s Rat Vs Possum, Oogjes’ former TTT bandmate Adrian Vecino, and additional collaborators. Anyone familiar with TTT and Rat Vs Possum can draw lines between the members and the record’s use of post-punk and no-wave percussion, shuddering and yelped vocals, funk rhythms and a ritualistic approach to

song structure. It’s a bombardment of the senses: music that is so much about the body but has so many parts – interweaving melodies, hyper-detailed percussion, the sheer volume of instruments including synths and sax – that it’s tempting to constantly be deciphering what’s taking place. The challenge here is to let that go. With repeated listens it becomes apparent the intention of Life is to explore what is universally shared. By grabbing often disparate sounds and images from recent history and throwing them together, melding them, turning them into a rhythmic meditation, the music transcends its many individual parts. Even listening to the record alone it’s impossible not to imagine yourself in a moving mass. The suburban images on the cover arranged as a ‘new-age’ collage is to imagine the same possibility for everything to transcend its origin. Marshall’s Sun is very much about the individual. She recorded and produced the album herself and played all instruments. Though the recordings are dense, built with piano and acoustic guitar and electronic beats, the songs are centred on Marshall as a singer and a lyricist, a focus that has not been maintained through the Atlanta-born performer’s career. In promotional material for the record, She even describes it as a “rebirth” and about “personal power and fulfilment”. Yet by concentrating on the self, Marshall comes to some place where the self means the universe. She views her life always through a prism of natural things outside herself: time and earthly things and “people just like you, people just like me”. Through the record Marshall layers her voice to the point where there is often no apparent base vocal track; she is not centred but everywhere. She interrupts herself, most notably on Always On My Own, when in its final moments she sings, “I want to live my way of living,” over herself multiple times. The album’s cover then, depicting a transparent Marshall gazing outwards – at both the rainbow and the world beyond the physical album – is also about transcendence. And so we’re back to the point where both albums are on the counter of a hippie stop-off, nestled amongst the dolphin posters and hemp purses. Then again, what was ever so funny ‘bout peace, love and understanding? Other than the pan flute.

Holy moley – Refused are actually touring Australia. The Swedish hardcore reinventionists, who announced their reformation for some shows across the world in early 2012, will be here for the first (and presumably last) time in November. Catch them out at The Eaton’s Hill Hotel on November 11 for a licensed/all ages show - tickets on sale this Friday thanks to Soundwave. Parkway Drive’s new album is called Atlas as is coming before the year’s end through Resist Records. While details on this release are as yet scant, the band will embark on a launch tour throughout December with I Killed The Prom Queen, Northlane and Survival in tow. The epic lineup will hit Brisbane Riverstage on 14 December – tickets are on sale now. Progressive metal visionaries Between The Buried And Me are set to embark on their second ever Australian tour this November – the five-piece American group will be out in support of their brand new 12-track album The Parallax II: Future Sequence, and they’re bringing djenty three-piece Animals As Leaders with them. They’ll play The Zoo on 15 November, and tickets are on sale this Thursday. Sunshine coast brutal death metallers Limb From Limb have a new album on the way – it’s titled (E)met and we’re due for a taste in early September. It follows on from their Obsidian Records released 2007 debut album, Rip Him From His Fucking Throne. The debut album from Melbourne prog/rock/ metal group Twelve Foot Ninja is on its way – and it’s coming bit by bit, week by week. Silent Machine will be officially released on 2 November, but until then, a new track and an accompanying comic book will be made available each week from Divination, the debut album from Byron Bay metalcore group In Hearts Wake, is released this Friday through UNFD. Vile Eye is the name of a new Brisbane band brandishing some solid metallic hardcore. Featuring ex-members of Time Has Come, you can check out their demo for free over at Melbourne’s rising punk stars The Smith Street Band have released their new album Sunshine And Technology – it is available on CD, vinyl and digital formats now through Poison City Records, and you can check them launching it at X&Y Bar on Thursday 6 September. Former Nevermore guitarist Jeff Loomis is headed down under for some guitar workshop action. He’ll be shredding up a storm at Allans Billy Hydes in Fortitude Valley on 27 September – you can buy a ticket in store or online now and go in the running to win a Schecter SGR C7 guitar. Australian metal and hardcore operations just got a little bit more American – Artery Recordings has expanded into the territory, taking on board the Taperjean Records roster in the process. Local acts The Mission In Motion, For All Eternity, We Rob Banks and Storm The Sky now join a management banner that includes such US groups as Chelsea Grin, Vanna and For The Fallen Dreams. Shock Records will handle distribution. Melbourne thrash metal group 4Arm are headed back to the UK for the second time next year. The band will perform at Hammerfest V alongside Napalm Death, Candlemass, Enslaved and plenty.


Thursday: Apocalyptica (FIN), Awaken Solace – The Hi-Fi. Dream On Dreamer, Like Moths To Flames (USA), Hand Of Mercy, In Hearts Wake – The Tempo Hotel. Signal The Firing Squad, Deceiver, The Construct, Vile Eye – X&Y Bar. Friday: Ghost Town, Shackles, Shields, Ritual Harm – Crowbar. Dream On Dreamer, Like Moths To Flames, Hand of Mercy, In Hearts Wake – Kurilpa Hall. Saturday: Battleaxe, Thrashed, Skulldragg, Kablammo!, Kingsmoor – The Barra Bar. Wish For Wings, Deadlights, This City Ignites, The Endless Pandemic – X&Y Bar. Sydonia, Beggar’s Orchestra, Perspektio, Davy Dillinger – Crowbar. Sunday: The Dangermen, Monkey Island, Sick People, Mad Macka – The Mustang Bar.



Clare Bowditch / Ball Park Music / The Aston Shuffle / Closure in Moscow / Hungry Kids Of Hungary / Oliver Tank / Owl Eyes / Heroes For Hire / The Beards / Strange Talk / David Bridie / Rüfüs / Henry Wagons / Loon Lake / Violent Soho / Dallas Frasca / All The Young (UK) / The Darcys (CAN) / The Jungle Giants / Boy In A Box / Catherine Britt / King Cannons / The Paper Kites / James Walsh (Starsailor/UK) / The Delta Riggs / Cairo Knife Fight (NZ) / Emperors / Kira Puru & The Bruise / The Snowdroppers / King Gizzard & The Lizard Wizard / Millions / Mosman Alder / New Navy / The Trouble With Templeton / Kingswood / Northeast Party House / Saskwatch / Step–Panther / Velociraptor / The Cairos / The Good Ship / The Preatures / Electric Empire / Flume / Kingfisha / Seth Sentry / Set Sail / Winter People / Awaken I Am / Clairy Browne & The Bangin’ Rackettes / Art Of Sleeping / Sons Of Rico / Jenn Grant (CAN) / Voltaire Twins / Straight Arrows / Jasmine Rae / Grey Ghost / Split Seconds / Tin Sparrow / Elizabeth Rose / The Brow Horn Orchestra / Battleships / Hey Geronimo / Young Men Dead / Underlights / Founds / Transistors (NZ) / Pigeon / Sola Rosa (NZ) / Gung Ho / The Growl / Super Wild Horses / Tigertown / Twelve Foot Ninja / The McMenamins / Jeremy Neale / Royston Vasie / Tuka / Bearhug / Geoffrey O’Connor / The Falls / Teeth & Tongue / Cub Scouts / Argentina / Tom Lark (NZ) / Strangers / Caitlin Park / Bankrupt Billionaires / Ben Wells and The Middle Names / YesYou / The Hello Morning / Current Swell (CAN) / Ellesquire / Sincerely, Grizzly / Fantine / Courtney Barnett / Adele & Glenn / Fishing / Hayden Calnin / All the Colours / The Belligerents / Traveller & Fortune / Runforyourlife / Shady Lane / We All Want To / I, A Man / Phebe Starr / Harmony James / The Slips / Kirin J Callinan / The DC3 / Drunk Mums / Eden Mulholland (NZ) / Brad Butcher / The Gooch Palms / 44th Sunset / Money For Rope / Mia Dyson

TICKETS ON SALE THROUGH OZTIX / * Buy tickets for BIGSOUND Live and go into the draw to win a return flight for 2 persons to LA with Virgin Australia. Valid for pre-purchased tickets only. Subject to Terms and Conditions.

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APOLLO & THE SUN With a new EP, video clips and a slot on Balcony TV banged out recently, it’s all happening for the Sunshine Coast quartet right now. Drawing on a sharp mix of modern rock, indie and pop-punk melody, the boys fuse their influences into a snappy sound that works as well plugged in as it does stripped right back.

like love, anger and betrayal, and take them to extremes. Hopefully no one can directly relate to the story exactly, but it revolves around feelings we all have every day.” Not surprisingly, the Sydney band are itching to take the record on the road. “This is our first tour together, so excitement levels are extremely high. We’ve all known each other for years now, so we all get along really well with no real tension so far, despite being crammed in cars together for hours on end.”

Jarvis Tetch, guitarist with theatrical prog rock outfit Beggars Orchestra, tells Tony McMahon all about his band’s new album, And Then The Crows Will Come, as well as their Queensland homecoming. “And Then The Crows Will Come is a concept album. It tells the story of a man who wakes up in a mental institution with no memory whatsoever, and through the ‘treatment’ in the institution regains the best and worst memories of his life. The best being his wife and the happiest moments they had together, and the worst being his life as a serial killer and his insatiable desire to kill. The story then follows his escape and the inner battle between his blood lust, and his desire to do good and reunite with his wife. This reuniting does not go exactly to plan. We’ve tried to take everyday emotions

“The EP is a gravy mixture with plenty of happy dancy songs and one or two more personal tunes,” Linwood explains. “The lyrical content covers many themes like the beach and the delightful misunderstandings that happen there, the death of a friend, the sharper side of us all and girls who won’t let ya have ’em. But our song Tanning In The Nude is the one that will have a film clip with lots of crazy beach-themed moments, costume changes and minimal nudity.”

And it seems that Beggars Orchestra are particularly looking forward to the Brisbane leg of the tour. “Crowbar will be the first time that the whole band has been back to south east Queensland since recording the album at Griffith University on the Gold Coast, with the amazing Queensland based producer, Brendan Anthony. We’re incredibly excited about this show. For us and the album, it’s a coming home of sorts. Almost like bringing your child back to its town of birth for the first time to meet the family. We all can’t wait.” WHAT: And Then The Crows Will Come (Independent) WHEN & WHERE: Saturday 1 September, Crowbar; Sunday 2, Peregian Originals, Sunshine Coast


With their debut EP just released, Apollo & The Sun frontman Jarryd Linwood fills Benny Doyle in on what’s to be expected from the recording. “The vibe is amazing,” Linwood spills, “we’re all super buzzed about what’s been happening these last few months. It’s all happened so fast and our attitude towards the band has matured a lot so we’re taking things a lot more seriously, but it’s a totally new experience for all of us and we’re having so much fun; I think it’s exactly what we wanted to be doing from day one which makes it so much more rewarding.”

“It’s been a pretty up and down period for me – professionally but mostly personally – and I’m lucky enough to have an outlet to overcome the shit times, but also it makes you appreciate the good times even more,” he reasons. “So there are a lot of stories about travel, dreams, heartache and all the shit that goes with that. I’m jumping into the studio really soon, which I couldn’t be more excited about. I’m in pre-production mode at the moment – it’s always hard choosing which songs make the cut! It’s going to be a very different experience and sound for me. There’ll definitely be some form of release by the end of the year. It makes me all giddy.” WHO: Dave Di Marco WHEN & WHERE: Thursday 30 August, Burger Urge UQ (1pm)


Canberra electro-acoustic outfit Pollen Trio are making their first trip north to promote their new EP, Roll Slow. Drummer Evan Dorrian fills Tony McMahon In on the capital’s strange architecture. “I’d say Roll Slow fits into the trajectory that the band has taken since changing our name to Pollen Trio,” says Dorrian, talking about the approach his band took to the record. “How we play has become a lot freer and more open-ended. The record was made in a day of just going into a studio and playing all day and then editing down the good bits. This is part of trying to make sure the music exists outside of our technical playing, as in we play for

“Yeah, for sure. We spent a lot of time on this EP, working the songs in our little home studio. We really wanted everything to sound like it was coming from the same place.” Red Ink recently played the huge Great Escape Festival, and the question kind of asks itself concerning what that was like.

“The Queensland leg is particularly exciting because we get to play two great spaces with wicked bands. Our projections tell us the most likely outcome is some will like us and some won’t. But I think people who follow the great experimental scene up in Brisbane could get in to us and/or at least have a good time across the two nights. I think Pollen Trio and Queensland are ready for each other.” So, does being from Canberra effect the kind of music Pollen Trio make? It appears that Dorrian thinks it does, in a very Canberra kind of way. And his answer also reveals something of his attitude to music more generally. “Maybe the circular roads for sure. We do tend to work ourselves around and around and get tangled up, but never lost – that’s the beautiful thing about having so many roundabouts in Canberra, you end up going somewhere no matter what.” WHAT: Roll Slow (Hellosquare Records) WHEN & WHERE: Friday 31 August, Alchemix Studios; Saturday 1 September, The Waiting Room

SCHOOLFIGHT “We have never been afraid to mix it up and I think fans of the Fight respect and like that about us,” Whitey reasons. “From reggae influences to more beat-driven, sparse hip hop, keys popping off left right, guitar chuggin’ away behind some funk bass dope form, you know we got it covered like [an] umbrella in a rain storm.”

Interestingly, Euphoria was an early song that the band reworked recently. What was that process like? Sim indicates that it was both unusual and not.

Euphoria is the first single off Red Ink’s Forthcoming EP, The Colour Age, and Sim says it offers a good insight into what the rest of the record will be like.

WHEN & WHERE: Saturday 1 September, Kings Beach Tavern, Caloundra

How excited are Pollen Trio to be visiting Queensland for the first time? It seems Dorrian thinks it might be a match made in heaven.

“It was amazing! It was a bit daunting at first, when there’s over 300 bands playing, trying to showcase their material. That’s a lot of competition. But it was sweet sticks, there was rad vibes everywhere.”

Melbourne dream poppers Red Ink have the sexiest bass player in the business, drummer Aaron Sim tells Tony McMahon. There’s also a new single, Euphoria, and what should be a terrific Queensland show.

WHAT: Apollo & The Sun (Independent)

long periods so we can lose our control over what’s happening a bit, and be as removed as possible.”

Punters can get a taste for the young songwriter’s new direction at Burger Urge’s UQ outlet, as part of their city-wide live music drive – Urgeapolooza. Di Marco admits that you might hear songs about burgers and his urges for said burgers. But what you’ll probably hear is some hauntingly beautiful, deeply confessional acoustic tales, the perfect soundtrack to an afternoon study break snack.

“It was a very tough call. I invested everything into the band from day one and was there from the very beginning, so it was extremely hard to let go. However, over time the band as a unit grew and matured, but we all did as individuals, as well. Our tastes and interests varied over that time [and] it became apparent that my personal taste in music and the music I wanted to create was vastly different to

“The Animal Song for sure – it’s very happy to listen to but has lyrics that most folks can relate to which is what we like to do with our music, to give the listener solace in understanding, but they can also have a great dance too.”

POLLEN TRIO where the band was heading. It wasn’t a bad or messy break, as it wasn’t about the personalities and it was for the right reasons, but it was still very hard.”

Former Charlie Mayfair frontman Dave Di Marco has made the difficult call to go it alone, and as he tells Benny Doyle, “it’s like breaking up with a partner, but four times.”

For those getting along to their home town EP launch, Linwood recommends listening out for one track in particular, a song he feels captures what the band is all about.

“I don’t think any of us really knew what was happening with that. The music was completely different in that old track. We just lucked out and found things that worked together. I guess it wasn’t all that different to how we usually write.” For Queensland punters who may have heard Red Ink’s recorded work but never seen them live, Sim suggests that they are two quite different experiences. “There is a whole lot of energy live. Our new EP may be a bit more relaxed, but it doesn’t translate that way live. We definitely like to party on stage.” In closing, Sim decided that it’s important he show a serious bit of rhythm section man love. “Our bass player is a babe. A babe on the mega scale. Like Miranda Kerr scale… just a man, not a beautiful woman. He is a beautiful man.” WHAT: Euphoria (Independent) WHEN & WHERE: Thursday 6 September, Oh Hello

The record also has a bit of heritage for the frontman.

Whitey from local party starters Schoolfight entertains Benny Doyle with tales from the studio while offering tips on how to class it up during any circumstance. “Saddle up piss ants – Schoolfight’s back.” And indeed they are, with the quintet having just put down their second LP. “Curse Of Work was recorded at Psi-fi Studios in the dirty Valley, with help from our friend and solid producer Peet G,” Whitey informs. “The experience was polite at first, familiar by day two and by the third day it was all bulk piss sinking, in-depth sports-like commentary laced with high fives and swift, almost surgical sound booth switchovers. Seamless...” When asked about the tracks we can expect with already established singles Robots and Cold Devine, the MC fronts.

“My granddad carried a trumpet around with him everywhere,” he recalls. “He couldn’t play, but felt it added a touch of class; he said it went well with his ruby-stained tobacco fingers and eight longneck a day drinking habit. I thought of granddad while recording this album – this one’s for you pee-paa. Tribute.” Delivering the energy of hip hop as a live band makes for one hell of a party, and at their album launch Whitey speaks of expected Schoolfight looseness. “We love to play live,” he says. “We run big mucks, sink bulk and carry on like swimmers in a gun shop all [the] while delivering that fatter than Gina Reinhart trademark sound that generations of real live music supporters have come to know and love.” WHAT: Curse Of Work (Independent) WHEN & WHERE: Friday 31 August, The Joynt TIME OFF • 37


and ‘the other two’. We have three guitars, one bass, drums and a singer. The music we play has been described as garage pop a few times. Come and listen and describe it how you want.

The BIGSOUND Live component of the annual industry showcase has been taken to a whole new level in 2012, expanding to cover 12 different venues in the Fortitude Valley entertainment precinct, which in turn means that 120 different bands from around Australia (with a handful of overseas bands thrown in for good measure) will be showcasing in Brisbane over the two nights of Wednesday 12 September and Thursday 13 September. You can purchase a pass for both nights (or a single night pass for either) which gets you into all of the venues, meaning that you have the pick of the country’s up-and-coming bands at your disposal (with some already established names also throwing their weight behind the event), which is pretty freaking exciting no matter which way you spin it. We spoke to just a few of the many great bands converging on Brisbane for BIGSOUND next month, trying to find out just why we should catch them amidst the craziness and what they’re looking forward to the most from the experience: before us). Plus, we haven’t played any of these new songs live before, so it’ll be a nice test. Why should people come and see you from amongst the myriad bands at BIGSOUND? Because we’re good.

Member/role: Steve – metallituar and vocals; José – bass and card tricks; D-Rad – drums and groupie slayer.

Hometown: Perth Short description of your band and your music: We play a pretty eclectic indie mix. 44th Sunset have evolved a lot over the past two and a half years. We have had a pretty big year starting out with Southbound and the Big Day Out. BIGSOUND is our first foray out to the world of showcasing and a chance to cross the desert...

Why should people come and see you from amongst the myriad bands at BIGSOUND? We are probably the least known band... It’s the unknown factor. By the end of BIGSOUND this will not be the case (hopefully!) and you will be kicking yourself that you have missed the best gig of the two nights (although Velociraptor are pretty good and fellow Perthians Brow Horn aren’t too bad either).

Hometown: Sydney

What are you hoping to achieve from showcasing at BIGSOUND? World domination and/or maybe a free sandwich.

Member/role: Nik – lead singer, songwriter, guitarist; Jess – backing vocals, keys; Joe – drums; Jack – guitar; Michael – bass

KING CANNONS Member/role:

Luke Yeoward - lead Singer, guitarist, songwriter. Hometown: Melbourne Short description of your band and your music: Roots-influenced rock and pop music. What are you hoping to achieve from showcasing at BIGSOUND? We want to reach people we have yet to reach in the music community. We want to let them know that soulful handcrafted music performed with conviction is STILL here, and it is still important to people.

MILLIONS Member/role: Ted – guitar

Why should people come and see you from amongst the myriad bands at BIGSOUND? You will have more of a chance of feeling excited and energised after watching King Cannons then you will watching anyone else on the bill.

Hometown: Brisbane Short description of your band and your music: We play pop and we like to have a good time whilst doing so. What are you hoping to achieve from showcasing at BIGSOUND? A good time, also maybe some international interest would be nice from agents/labels/ whoever else can pimp us out.

Hometown: Sydney

Hometown: Melbourne (via Wellington) Short description of your band and your music: Daggy, new-school drum machines, lots of strangled guitar sounds, quite a lot of singing, dramatic choruses and songs about my parents. Also the odd Laurie Anderson-esque repetitive vocal sample. What are you hoping to achieve from showcasing at BIGSOUND? An escape from freezing Melbourne, and the chance to hang out with Kirin J Callahan (he’s playing just 38 • TIME OFF

Member/role: Aaron – Keyboardist Hometown: Brisbane

Short description of your band and your music: We are one big family – we’re all related in different ways. We love music that tells stories and takes you somewhere else. What are you hoping to achieve from showcasing at BIGSOUND? There’s such a good lineup, we’re looking forward to seeing lots of great music and are excited about the opportunity to play to so many new people. Big Sound has such a buzz about it, and for people to hear our music in that environment will be wicked. Why should people come and see you from amongst the myriad bands at BIGSOUND? Because we’re trying to write really good songs and we have so much fun playing them. Also, Charlie bought new boots.


Member/role: Josh Moriarty- vocals/guitar/keys Hometown: Melbourne Short description of your band and your music: Citing themselves as progressive vintage, All The Colours have the ambition of making great music and girls dance. With influences such as the failsafe classics off a Tarantino soundtrack, it’s little wonder this band is quickly and surely making a name for itself. Think ‘60s Motown dress sense akin to the Four Tops but with the swagger of Elvis and the guitar solos of Zeppelin.’ What are you hoping to achieve from showcasing at BIGSOUND? Having someone like Franky Sharp in Wayne’s World smoking a cigar come up to us after our show and say, ‘You kids have got what it takes, I think you are gonna go far in this business. How would you like a record deal?’ Why should people come and see you from amongst the myriad bands at BIGSOUND? Come see us and find out…

Short description of your band and your music: We are a five-piece electronic group containing a mixture of electronic pop with influential strains coming from jazz, indie, rock and dance. It includes dynamic sections all infused with a fun, dance-orientated vibe. We have a mix of electronic instruments (samplers, synths, keys), live drums, bass and guitar with an injection of saxophone and trumpet, which gives it a unique kind of energy. An all-round fun time!

Why should people come and see you from amongst the myriad bands at BIGSOUND? Our time slot is a tough one, but our unique spin on electronic music fused with saxophone and trumpet offers a live performance unlike any other. Our on-stage energy gives audiences a real sense of connection. If you’ve already seen Ball Park Music, come on down to Magic City at 10.30pm Wednesday to see what the fuss is all about and witness the fitness... See you there!

Member/role: Charlene Collins – vocals, guitar; Chris Collins – vocals, guitar

Member/role: Jessica Cornelius - singing, instruments and fake drums.


What are you hoping to achieve from showcasing at BIGSOUND? Our aim for BIGSOUND lies mainly in performing our best/honest show to a crowd that we’ve previously never had a chance to play to. We are excited to be performing in front of the industry delegates and festival punters and to see what opportunities may stem from it.



Why should people come and see you from amongst the myriad bands at BIGSOUND? I guess if you are into Charlie And The Chocolate Factory you might be interested in watching us, as our lead singer bears a striking resemblance to a young Gene Wilder. Has a heap of golden tickets too. Come along, Brissie, we would love to see you there.

What are you hoping to achieve from showcasing at BIGSOUND? Getting those contracts signed!! Coming from Perth, it can be hard to get the industry out to see us play so getting over to BIGSOUND gives us the chance to get the job done! Finalising label, agent and management so a pretty big half-hour set... Launching our single which is being mixed by JP Fung.


Short description of your band and your music: Three farmers wielding axes – but with no wood to chop – writing love songs for each other.


What are you hoping to achieve from showcasing at BIGSOUND? Most importantly we are trying to put on an entertaining and tight show for all that are involved. Personally I want to watch a lot of bands and talk to a lot of people. There are some great bands playing up there this year. In terms of what we are trying to achieve as a band, I’m not too sure, maybe our manager has more in store on that side of things. All we can worry about is playing well, and the rest will follow.


Member/role: Sime – guitar, backing vocals Hometown: Tarrawingee originally (Country Vic). Now living in the big smoke of Melbourne. Short description of your band and your music: We are five blokes, which include three brothers


Member/role: Dean Foran – drummer Hometown: Brisbane Short description of your band and your music: We are four tall friends that share a love of dance music, synthesizers, tribal drums and epic harmonies. The rest of the Young Men Dead story wrote itself. What are you hoping to achieve from showcasing at BIGSOUND? BIGSOUND is an exciting opportunity for us to reach new audiences and hopefully have our music burn the ears off people we respect within the industry. Why should people come and see you from amongst the myriad bands at BIGSOUND? We’ve just come off the back of our first interstate shows and we are keen as mustard to show off to everyone. We’ll be releasing a single any day now and our EP will not be far behind. It’s like we’ve created some sort of rabid sound animal and it won’t stay caged for much longer. Come along, poke a stick between the bars and experience YMD for yourself. BIGSOUND Live takes place in Fortitude Valley on Wednesday 12 September and Thursday 13 September: for more information on BIGSOUND LIVE and the bands playing, head to, and for ticketing and program information head to




Shifting Sands is a new side project for Geoff Corbett (SixFtHick, The Tremors) and Dylan McCormack (Gentle Ben & His Sensitive Side, Polaroids) that navigates the gutters of unrequited love, anonymous toilet sex, clinical depression and self-medication and the dark recesses in between. Shifting Sands bring their diverted prescription of flawed vocals and sexually inappropriate acoustic guitar to the Powerhouse’s Turbine Room this Sunday 2 September (4pm) for a very special Fathers Day performance. With a slew of guest backing vocalists along for the ride it is guaranteed to get... um... messy.

HOMETOWN HEROES How did you get together? Jake Ziegler (bass): “Four of us were all in a band named Honour Roll, and were just starting to discover what our real ‘sound’ was. Then when our great friend Liam (guitar), who was in another band named Reset Life, decided that he wanted to come and have a jam with us something just clicked. With our first ever EP Out With The Old being dropped and having an EP launch tour around the East Coast, things are looking up for us.”

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? “It would have to be The Upsides by The Wonder Years. They’ve been our favourite band for a very long time. I’m sure we would all survive if we could listen to Logan Circle over and over again! Very excited to see them at 2013’s Soundwave Festival.” Greatest rock’n’roll moment of your career to date? “Our greatest moment of our careers so far would have to be the release of our debut EP Out With The Old. Just putting our music out there on iTunes and our online merchandise store, it was a great feeling letting it loose into the world. The response from all of our fans was just remarkable!” Why should people come and see your band? “If you like bands that run around in the crowd, jump on anything or anyone they see, or just like to have fun while they play some catchy music, our band is for you!” Hometown Heroes launch Out With The Old EP (Independent) at The Hive on Saturday 1 September (all ages), Surfers Paradise Beer Garden on Thursday 20 and Byron Bay YAC on Friday 21 (all ages).

Gold Coast surfer boy Jackson Dunn has arisen from the depths of winter with the release of his new single Highriser, which comes out at the end of this month. Inspired by the Gold Coast’s skyline, Jackson Dunn (painter by day) has crafted an “infectious Australian pub rock style” riff to accompany his reflections of being on top of the many skyscrapers. Highriser is the first offering from his forthcoming EP Relax & Let It Roll, which promises to be his “most vibrant, thumping and emotionally mature set of songs to date.” He will be playing a string of shows, which will get your feet tapping along: Saturday 1 September at Red Deer Festival, Mt Samson (sold out); Thursday 20 at Cafe Le Monde, Noosa (free); Friday 21 at The Spotted Cow, Toowoomba; Saturday 22 at Room 60; Sunday 23 at Nobby’s Beach SLSC, Gold Coast (free); and Monday 24 at The Cave, Gold Coast (free).


Sum up your musical sound in four words. “Catchy, Fast, Melodic and Fun.” If you could support any band in the world – past or present – who would it be? “There are so many great bands out there! But nothing could beat Blink182 – they’ve been an inspiration to our creative writing with their fast, catchy and rhythmic guitar riffs and very ‘out-there’ stage presence. There’s nothing better!”



One More Time – A Blues Explosion will celebrate a legend of Australian music in Mick Hadley while raising funds for prostate cancer research. Mick has recently been diagnosed with inoperable cancer, but still wants to get up on stage where he feels most at home for a rockin’ night of blues goodness in what will probably be his last live show. Hadley is an icon of the Brisbane/Australian rhythm’n’blues scene, first appearing in the ‘60s with legendary bands including The Purple Hearts and The Coloured Balls, and since then he’s never stopped touring or singing – it’s in his soul. Mick has left an immeasurable mark on the Aus’ music landscape. You can celebrate his life and musical career, along with helping him raise funds for the PA Research Institute, on Sunday 16 September at The Tempo Hotel from 2 til 8pm. Joining Mick and The Atomic Boogie Band are special guests Tim Gaze, Mojo Webb, Bridget O’Donoghue, Karen Anderson and Kelly Breuer. Tickets $20 at the door.

Brisbane electro band Oh Ye Denver Birds have been rather busy of late, with all their hard work being rewarded with a new album Good Ivy. Instead of having a promotional tour however, the four-piece have decided to release a 7” single, Buffalo Grass, and play an extended one-off show. The very limited 7” will also include b-side Neon Rainbow, which contradicts the up-tempo Buffalo Grass with its more chilled-out vibes. You can catch Oh Ye Denver Birds at their part album, part single launch party on Thursday 6 September at Black Bear Lodge with support acts Young Men Dead, Moses Gunn Collective and Feet Teeth. Tickets cost $12, available through

Sydney folk songstress, Sam Buckingham, will be heading up our way for a one-off show promoting her forthcoming EP Fragile Heart, which is set to be released in October. The first single, Hit Me With Your Heart, will have been released by the time she has made her way up to sunny Brisbane – this broken love song is a trouble-stirring tale, dubiously dealing with a breakup. The rest of the EP follows a similar theme of love’s fragility and heartbreak. You can catch Buckingham when she plays at the Brisbane Powerhouse on Sunday 23 September as part of their Live Spark showcase. It’s free and all ages as well, so you’ve got nothing to lose.

Web Design & Development





Member/role: Dominic Stephens – vocals, electronics Name Of Single: Buffalo Grass Stand-alone release or precursor to something more substantial? Buffalo Grass is one of the singles from forthcoming album Good Ivy. How does the single differ from previous work? The track is more upbeat and tribal than previous releases. What do you have planned for the launch? Our friend Dan Denton who did the album art for Good Ivy is going to set up a light installation of the creatures from the album cover. Should look amazing! Where to from here? In December/January we plan to record a new EP and tour it early 2013. Oh Ye Denver Birds launch Buffalo Grass (Independent) at Black Bear Lodge on Thursday 6 September.

Brisbane band We All Want To have announced they will be launching a new album, Come Up Invisible, and hitting the road for a national tour. Their live shows are also something to behold, conjuring up a “primal collision of poppy punk, sweet folk, gritty blues and grandiose soundscapes”, resulting in some pretty sweet indie-pop. You can catch We All Want To as they hit the road, where they’ll be stopping at The Zoo for the Plus One Records Showcase on Tuesday 11 September, at Black Bear Lodge for their BigSound Live showcase on Thursday 13 and back at the Lodge on Sunday 30. They will be returning home in a couple of months, playing at Alhambra Lounge on Friday 2 November.

Live Sound Production | Electronic Music Production

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Band Name: Oh Ye Denver Birds


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Threds, the freshest Brisbane-based online store to hit the worldwide web, is throwing a party! Threds offers the latest lines from both local and interanational streetwear labels including De Collective, Rook, Dta Rogue Status and many more. The Threds launch at X&Y Bar on Friday 14 September will see The Medics, The Sweet Apes, Hands Down, Troy Brady (The Amity Affliction), Milestones and Fundamental Elements perform along with loads of giveaways on the night. Check out for more.


MEL TICKLE FROM LITTLE SCOUT Best record you stole from your folks’ collection? The Kinks – The Ultimate Collection. Mum and Dad knew I had it but I denied it for about 18 months. I know every single word to this sucker and can always predict which song comes next.

Local singer/songwriter TJ Quinton has spent the last year collaborating with renowned Brisbane producer James North and local artists to produce his latest release, Sorry Business. No longer performing with band The Deckchairs, TJ’s debut solo offering has already seen him invited to open for Ladyhawke in New Zealand and perform at Adelaide’s prestigious International Guitar Festival. Sunday 16 September at Black Bear Lodge sees the official release of the album – a story of loss, understanding and growth, brought to life with the backing of a full eight-piece band. Supporting TJ will be Jamie McDowell with Tom Thum and Brisbane’s Avaberee. Doors open at 6.30pm, tickets avalible at or $15 on the door.

Things are about to get loud over in West End. Melbourne punk outfit Useless Children will be launching their latest album Post Ending//Pre Completion. Recorded by Brent Punshon and mixed by Alex Newport, you can be ensured it will fast, loud and well, a little scary. Useless Children will be joined by an army of our very own punk and hardcore outfits – Undead Apes, Last Chaos and Golden Bats – to ensure you will come away with at least some hearing damage. Catch this unruly bunch at The Waiting Room (all ages) on Saturday 6 September. Tickets cost $12, but there is a limited venue capacity, so get in quick.

Record you put on when you’re really miserable? Ryan Adams’ Heartbreaker or Bill Callahan’s Sometimes I Wish We Were An Eagle. I prefer my wallowing to be gentle. Record you put on when you bring someone home? Caribou – Swim. I can’t get enough of this album.

Last thing you bought/downloaded? Dirty Projectors – Swing Lo Magellan. Dirty Projectors blow my mind, they’re all geniuses and creating some seriously interesting pop music. Have you heard Amber Coffman’s guest vocals on Get Free by Major Lazer? HOLY SHIT BALLS. It’s amazing. Little Scout launch new single Go Quietly (Independent) at Alhambra Lounge on Friday.

Sick of winter? With spring just around the corner, Adelaide up-and-comers Rin & The Reckless are welcoming in the warmth and excitement of a brand new season. Earlier this year the band released their debut self-titled EP, with feature single In Your Mind breaking into triple j’s Unearthed Top 100 chart in the first week of its release. Now Rin & The Reckless are on their way to our soil – teaming up for an intimate night at West End’s The End on Saturday 8 September, Rin is joined on stage by Sydney’s Jack Carty and Brisbane’s triple j Unearthed feature artist, Thelma Plum. Doors open at 8pm, tickets are $10+BF from Oztix.


First record you bought? I honestly can’t remember. So let’s say Captain Geech & The Shrimp Shack Shooters by Captain Geech & The Shrimp Shack Shooters.

Most surprising record in your collection? Ry Cooder – The UFO Has Landed. This album really freaked Miro (Little Scout drummer) out while we were on a long drive from Brisbane to Cairns on a regional Queensland tour. It’s really strange and brilliant and I think Ry must have a really bizarre sense of humour.



SMOKESTACK CAR-STRUCK Smokestack Orchestra have been left devastated after their drummer, Skritch – who’s a staple of the Brisbane scene, having played in numerous bands for years and engineered many more – was struck by a car whilst cycling, leaving him with a broken hip and unable to play any time soon. So to help their drummer-in-need the three-piece have announced they will be playing a fundraising gig to help with his bills and recovery. Playing on the night will be the Smokestack Orchestra (Reserve Team), New Jack Rubys, Golden Bats, Obliterati and more secret special guests. So head along to Beetle Bar on Friday 7 September for a show “decidedly far better than anything else happening” and do your good deed.

Boogie! Australian Blues, R&B And Heavy Rock From The ‘70s VARIOUS I Know What Love Isn’t JENS LEKMAN Hadean FOUNDS Breakup Song DEERHOOF Sun CAT POWER In Limbo TEEN Old No 1 GUY CLARK The Mollusk WEEN Wiley Ways HAT FITZ & CARA ROBINSON The World Warriors VELOCIRAPTOR

GIN WIGMORE Name Of Act: Gin Wigmore Role: Musician – singer/songwriter/guitar Home ground: Sydney Describe your live music/ performance style as succinctly as possible: Rock’n’roll with a dash of pop and a touch of cowboy country. Is this your first foray to Brisbane? If not how many times have you performed in our midst? Nope it will be my fourth or fifth time. Please relate your impressions of performing in our fair city: Splendid. Gutsy TIME OFF • 44 audiences with no inhibitions, my favourite. What can we expect different this time around? Hmm, not sure. Guess we shall see what happens on the night.. I’m not really one for premeditated experiences. Has anything exciting been happening in your world of late? Bought a house with my lover and had a motorbike accident in Sri Lanka. Gin Wigmore plays Old Museum on Saturday.


















Thu 6 Sep @ Racehorse Hotel Fri 7 Sep @ Miami Tavern Shark Bar Thu 6 Sep @ Surfers Paradise Beergarden Tickets from Ticketmaster Fri 7 Sep @ Racehorse Hotel Tickets from Ticketmaster Sat 8 Sep @ Hinterland Hotel Tickets from Ticketmaster Sat 15 Sep @ Stones Corner Hotel Sun 30 Sep @ Miami Tavern Shark Bar Thu 4 Oct @ Racehorse Hotel Fri 5 Oct @ Coolum Beach Hotel Sat 15 Sep @ Springwood Hotel Sat 22 Sep @ Miami Tavern Shark Bar Tickets from Oztix Fri 21 Sep @ Hamilton Hotel Tickets from Ticketmaster



THURSTON MOORE: Saturday 27 October, The Hi-Fi

XAVIER RUDD: Rumours Aug 29, The Tivoli Aug 30, LKCC Aug 31, Coolangatta Hotel Sep 1, Byron YAC Sep 2 RED DEER FESTIVAL 2012: Samford Sep 1

TZU: SolBar Sep 21, The Zoo Sep 22 MYSTERY JETS: The Hi-Fi Sep 25 CHARLIE MAYFAIR: Alhambra Lounge Sep 27, Great Northern Sep 28 THE BEARDS: Beach Hotel Sep 28, Spotted Cow Oct 4, Coolangatta Hotel Oct 5, The Hi-Fi Oct 6 BLACKCHORDS: Ric’s Sep 29 TIM & ERIC AWESOME SHOW: The Tivoli Oct 4 WINTER PEOPLE: Black Bear Lodge Oct 4, The Loft Oct 6, Brisbane Powerhouse Oct 7 THE MEDICS: The Northern Oct 5 DAPPLED CITIES: The Zoo Oct 6 VELOCIRAPTOR: Coolangatta Hotel Oct 11, Alhambra Oct 12, Buddha Bar Oct 14, The Hive Oct 27 CLARE BOWDITCH: Old Museum Oct 11 GROUPER: Brisbane Powerhouse Oct 11 BASTARDFEST: The Hi-Fi Oct 13 LAST DINOSAURS: Alhambra Oct 13, The Hi-Fi Oct 19 MUMFORD & SONS: Brisbane Riverstage Oct 17, Gold Coast Convention Centre Oct 31 BILLY BRAGG: QPAC Oct 25 THURSTON MOORE: The Hi-Fi Oct 27 CHERRY POPPIN’ DADDIES: Tempo Hotel Nov 1 BRITISH INDIA: king’s Beach Tavern Nov 9, The Zoo Nov 10 XIU XIU: Brisbane Powerhouse Nov 18 GOLDEN DAYS FESTIVAL: Coolum Beach Nov 17-18 FESTIVAL OF THE SUN: Port Macquarie Dec 14-15

WED 29

XAVIER RUDD: Rumours Aug 29, The Tivoli Aug 30, Lake Kawana Community Centre Aug 31, Coolangatta Hotel Sep 1, YAC, Byron Bay Sep 2 DREAM ON DREAMER: Tempo Aug 30, Paddington Community Hall Aug 31 LANIE LANE: The Spotted Cow Aug 30, SoundLounge Aug 31, Bangalow A&I Hall Sep 1, Spiegeltent Sep 27 1927: The Tivoli Sep 1 SYDONIA: Crowbar Sep 1 SEEKAE: The Zoo Sep 1 SARAH MCLEOD: Titanium Bar Sep 1, The Joynt Sep 2 PAUL GREENE: Dowse Bar Sep 6, Woombye Pub Sep 7 PSEUDO ECHO: Eatons Hill Hotel Sep 7, Coolangatta Hotel Sep 8 RICKI-LEE: Family Sep 9 WINTER PEOPLE: The Zoo Sep 12 SLEEPMAKESWAVES: Crowbar Sep 14, Miami Shark Bar Sep 15 CHET FAKER: GoMA Sep 15 JULIA STONE: Spiegeltent Sep 19, 20, Byron Bay Community Centre Sep 21 SETH SENTRY: The Zoo Sep 20, The Northern Nov 8 OH MERCY: The Zoo Sep 21, Joe’s Waterhole Sep 22 TZU: SolBar Sep 21, The Zoo Sep 22 THE CITY LIGHTS, THE SLOW PUSH: Beetle Bar Sep 22 PETER COMBE: Tempo Hotel Sep 23 REGURGITATOR: The Northern Sep 26, The Hi-Fi Sep 27, 28 THE AMITY AFFLICTION: The Tivoli Sep 24 – 27

Thin White Lines, Question Everything, Set The Record The Zoo

Lanie Lane The Spotted Cow, Toowoomba Next Doors Playground, The Bumbacluts, Barrellfish, The Good Drops, Chris Palmer The Music Kafe Nick Trovas Chalk Hotel Signal The Firing Squad, Deceiver, ConstrUct, Vile Eye X & Y Bar The Bedroom Philosopher, Candy B, The Melotonins The Loft, Chevron Island The Delta Riggs, Money For Rope Bar Soma The Oyster Murders, Jeremy Neale, Hello Vera Black Bear Lodge The Side Tracked Fiasco The Beergarden, Surfers Paradise Woody Elephant & Wheelbarrow Xavier Rudd The Tivoli

Xavier Rudd Rumours

OH MERCY: The Zoo Sep 21, Joe’s Waterhole Sep 22


Kitty Flanagan Brisbane Powerhouse Visy

GANGSTER’S BALL: The Tivoli Sep 15

EVERMORE: The Zoo Sep 19

PITBULL, TAIO CRUZ: BEC Aug 29 APOCOLYPTICA: The Hi-Fi Aug 30 DIE! DIE! DIE!: The Zoo Aug 30, Elsewhere Aug 31 KATCHAFIRE: The Hi-Fi Aug 31, Kings Beach Tavern Sep 6, Caloundra RSL Sep 7 DAVE SEAMAN: Sky Room Sep 2 CARTEL: Crowbar Sep 5, Surfers Paradise Beer Garden Sep 6 THE BRAND NEW HEAVIES: The Hi-Fi Sep 6 PATRICK WOLF: The Tivoli Sep 7 EARTH: The Zoo Sep 9 RUFUS WAINWRIGHT: QPAC Sep 12 INGRID MICHAELSON: Spiegeltent Sep 12 BODYROX: The Exxhange Sep 13 SUBHUMANS: Prince Of Wales Sep 13 MARCO FUSINATO: IMA Sep 13 SIX60: The Tivoli Sep 13 RIVAL SCHOOLS: The Zoo Sep 14 JONAH MATRANGA’S ONELINEDARWING: Crowbar Sep 15 AMERICA: Twin Towns Sep 15 BARRY ADAMSON: Beetle Bar Sep 16 MACY GRAY: Jupiters Casino Sep 19, QPAC Sep 20 EVERMORE: The Zoo Sep 19 HANSON: The Hi-Fi Sep 20 ENTER SHIKARI: Eatons Hill Hotel Sep 20 JIMMY BUFFETT: Mt Coot-tha Gardens Sep 21 EIFFEL 65, N-TRANCE: The Hi-Fi Sep 21 FUTURE ISLANDS: GoMA Sep 21 WHEATUS: The Hi-Fi Sep 23 MUSIQ SOULCHILD: Mystique Sep 15 FAR EAST MOVEMENT: Eatons Hill Hotel Sep 19 SCISSOR SISTERS: Arena Sep 25 MARIANA’S TRENCH: The Zoo Sep 25 MYSTERY JETS: The Hi-Fi Sep 25 FEAR FACTORY: The Hi-Fi Sep 26 MC LARS: Snitch Sep 27 FERRY CORSTEN: Family Sep 28 FUNKAGENDA: The Met Sep 28 JAMES MORRISON: Eatons Hill Hotel Sep 28 ULCERATE: Beetle Bar Sep 30 HIGH ON FIRE: The Zoo Sep 30 DEFEATER, BLACKLISTED: Mount Gravatt PCYC Sep 30, Byron Bay YAC Oct 1, The Zoo Oct 2 JOE BONAMASSA: QPAC Oct 3 STEEL PANTHER: Eatons Hill Hotel Oct 4 TIM & ERIC: The Tivoli Oct 4 NEKROMANTIX: The Hi-Fi Oct 4 RUSSIAN CIRCLES, EAGLE TWIN: The Zoo Oct 5 GRANDMASTER MELLE MEL: Coniston Lane Oct 6 CANNIBAL CORPSE: The Hi-Fi Oct 8 MARTIKA: The Hi-Fi Oct 10 EVERCLEAR: Coolangatta Htl Oct 10, The Hi-Fi Oct 11 GROUPER: Brisbane Powerhouse Oct 11 STEVE AOKI: The Met Oct 11 TORTOISE: The Zoo Oct 12 GOMEZ: Coolangatta Hotel Oct 13, The Tivoli Oct 14 LANGE: Barsoma Oct 14 RUDIMENTAL: Oh Hello Oct 14 GRAILS: The Zoo Oct 17 MUMFORD & SONS: Brisbane Riverstage Oct 17, Gold Coast Convention Centre Oct 31 XIU XIU: Brisbane Powerhouse Oct 18 THE SWELLERS: Thriller Oct 20, Elements Collective Oct 21 LEE RANALDO BAND: The Zoo Oct 21 SMASH MOUTH: Jupiter’s Oct 21 SHELLAC: The Zoo Oct 23 HOT CHELLE RAE: BCEC Oct 23 SUNN O))), PELICAN: The Tivoli Oct 24 WEDNESDAY 13: The Zoo Oct 25 MADLIB, J ROCC, EGON: Coniston Lane Oct 25

The Fabulous Sounds Of The Sixties Show Caloundra Rsl

BIGSOUND 2012: Fortitude Valley Sep 12-14 JULIA STONE: Spiegeltent Sep 19 and 20, Byron Community Centre Sep 21


Joss Fairbrother, Moses Gunn The Joynt, Brisbane

Tralala Blip Judith Wright Centre Of Performing Arts


BILLY BRAGG: QPAC Oct 25, The Hi-Fi Oct 26 THE BLACK KEYS: BEC Oct 26 THURSTON MOORE: The Hi-Fi Oct 27 MATCHBOX TWENTY: BEC Oct 27 AT THE GATES: The Hi-Fi Oct 31 TOUCH AMORE, MAKE DO & MEND: The Zoo Oct 31, Sun Distortion Nov 1 CHERRY POPPIN’ DADDIES: Tempo Hotel Nov 1 CHELSEA WOLFE: The Zoo Nov 7 RADIOHEAD: BEC Nov 9 BEN HARPER: BCEC Nov 9 REFUSED: Eatons Hill Hotel Nov 11 BETWEEN THE BURIED AND ME: The Zoo Nov 15RICK ASTLEY: Twin Towns Nov 16, Ipswich Civic Hall Nov 17, The Tivoli Nov 18 RON POPE: Old Museum Nov 18 COLDPLAY: Suncorp Stadium Nov 21 IWRESTLEDABEARONCE: The Zoo Nov 22 NICKELBACK: BEC Nov 22 DARK FUNERAL: The Hi-Fi Nov 23 GEORGE MICHAEL: BEC Nov 27 LAGWAGON: The Hi-Fi Nov 28, Coolangatta Hotel Nov 29 THE SELECTER: The Zoo Nov 29 NICKI MINAJ: BEC Dec 3 SPIRITUALIZED: The Hi-Fi Dec 4 REGINA SPEKTOR: BCEC Dec 6 POUR HABIT: Crowbar Dec 6, Miami Shark Bar Dec 7 GRIMES: The Zoo Dec 8 SIMPLE MINDS, DEVO: Sirromet Wines Dec 9 EVAN DANDO & JULIANA HATFIELD: The Zoo Dec 16 JENNIFER LOPEZ: BEC Dec 18 65DAYSOFSTATIC: The Hi-Fi Jan 3 NIGHTWISH: Arena Jan 4 WEEZER: BEC Jan 13 DAVID HASSELHOFF: The Hi-Fi Feb 16 ED SHEERAN: Brisbane Riverstage Mar 2

The Bowery Hot Five With Mal Wood The Bowery

Locky Irish Murphy’s, Brisbane

Amy Janson, Elbury, Duncan Elephant & Wheelbarrow

Mark Sheils Bank Lounge Bar

David Helfgott Qpac, Concert Hall Desh Sit Down Comedy Club, Paddington Jayne Whiteman, The Deep End, Georgia Rose, Sally Anne Chalk Hotel Kings Band, Who Is John?, Kings Djs Tempo Hotel

Akmal Saleh Brisbane Powerhouse Theatre Apocalyptica, Awaken Solace The Hi-Fi Ballad Boy Loving Hut Built From Sticks, Bremen TowN Musician, Dempefka The Waiting Room Chris Franklin Sit Down Comedy Club, Paddington Darklab, Dave’s Pawn Shop, Dirty Liars, The Halls Crow Bar, Brisbane Darren Scott Fibber Magee’s, Toowoomba Dave Di Marco Burger Urge Uq Die! Die! Die!, Royal Blood, The Grand Scheme The Zoo Dream On Dreamer, Like Moths To Flames, Hand Of Mercy, In Hearts Wake, Awaken I Am Tempo Hotel Dream On Dreamer, Like Moths To Flames, Hand Of Mercy, In Hearts Wake The Tempo Hotel Gcrnb Allstars, Masta K, Mike D Shooters NighTclub Geoff Rayner Logan Diggers Club

FRI 31 Akmal Saleh Brisbane Powerhouse Theatre Alla Spina, Belligerent Goat The Zoo Anonymeye, Pollen Trio, Erik Griswold, Richie Daniels, Sam Pankhurst, + Guests Alchemix Studios Blind Dog DoNnie, Slide Winder, Commercially Sound The Music Kafe

REGURITATOR: Saturday 1 September, Red Deer Festival

Kitty Flanagan Brisbane Powerhouse Visy

Akmal Saleh Brisbane Powerhouse Theatre

Buzz & The Bros Nambour Rsl

THU 30

Masta K, Mike D Shooters Nightclub Open Mic The Loft, Chevron Island Open Mic The Music Kafe Pitbull, Timomatic, Havana Brown Brisbane Entertainment Centre The Bedroom Philosopher, Benjamin Law, Candy B Black Bear Lodge

Heavensent, Jfree, That Swedish Guy, Azza Exchange Hotel I Can’t Believe It’s Not The Satellites The Bowery Jabba Irish Murphy’s, Brisbane Jeff Usher Trio Turnaround Jazz Club

B-Rad, Berst Irish Murphy’s, Brisbane Cheap Fakes, The Midnight Antics, Dogtags, Dougal Shaw The Loft, Chevron Island Chris Franklin Sit Down Comedy Club, Paddington



Scum Acoustics, Sheep, Sam, Jodie Flangipani, Ferris Rocker The Music Kafe (Afternoon) Seekae, Kangaroo Skull, Thomas Willam The Zoo Soul Reference, Soul Simple, Donnelle Brooks, Josh Whitney The Loft, Chevron Island Soulman Ogaia, Mattie Barker Tallebudgera Valley Community Centre Sydonia, Beggars Orchestra Crow Bar, Brisbane That Swedish Guy, Krushel, Jfree, Azza Exchange Hotel The Black Lullaby Byron Bay Brewery The Db3 Trio Brisbane Jazz Club


Brisbane indie ensemble The Stress Of Leisure this week drop their fourth album Cassowary into the world, and are celebrating by throwing a launch party for all of their nearest and dearest this Friday night at the Beetle Bar. It’s a completely Queensland album from a distinctly Queensland band – where else in the world could song titles like Sex On The Beach, Shark Killer, Tropic Of Capricorn and Scuba Dive Honeymoon Hell all make perfect sense? – and they’re getting a couple of other fine local bands to help out: they’re joined for the festivities by The Bell Divers and Primitive Motion. So if you have state pride, are worried about the trickier components of your downtime or just like cool indie rock then head into the Beetle Bar and celebrate Cassowary, the baddest of the big birds!

Chris Palmer, Mark Chomyn, Kel Harper, Hammo, Oli, Harry Woodward Chalk Hotel

Little Scout Alhambra Lounge

Claire Walters, Ryan Livings, Capitol Groove Press Club

Nick & Sal Gazebo Restaurant, Hotel Urban

David Bentley Duo Ecco Bar And Bistro Die! Die! Die!, Lancelot Elsewhere Bar, Surfers Paradise Dream On Dreamer, Like Moths To Flames, Hand Of Mercy, In Hearts Wake Paddington Community Hall Electric Horse Elephant & Wheelbarrow Greg Gottlieb Sextet Brisbane Jazz Club Guy Turk Coolangatta Sands Hotel, Front Bar Jae Laffer (The Panics) Qld Art Gallery Katchafire, Paua The Hi-Fi Kitty Flanagan Brisbane Powerhouse Visy Laneway Brisbane Powerhouse Turbine Platform

Mace Fibber Magee’s, Toowoomba

Oh-J, Nate Ryan, Elevate, Maxwell Hot Gossip (Club 299) Pigeon Great Northern Hotel, Byron Bay School Fight, Broken Word, Dj Paul Watson The Joynt, Brisbane Scott Martin Judith Wright Centre Of Performing Arts Ska And Soul Djs The Hideaway Strings For Ammo, Apollo Street, District Of East, Interim, Black As Blue, Unsought Duke Tempo Hotel Texas Tea Queen Street Mall That Swedish Guy, Krushel, Han Yolo, Emgee, Azza Exchange Hotel The Delta Riggs, Money For Rope Miami Tavern

Lanie Lane Soundlounge, Currumbin

THe Side Tracked Fiasco University Bar, Lismore

Lauren Grace Cato’s Restaurant

The Stress Of Leisure, The Bell Divers, Primitive Motion Beetle Bar

Lissy Stanton Band Bilambil Sports Club


Trashbags Bowler Bar

Tredman, Masta K, Gcrnb Allstars, Mister P Shooters Nightclub

Die! Die! Die!, Royal Blood The Spotted Cow, Toowoomba

Viva Las Vegas Spectacular The Tivoli

Father’s Rave With The Bbjs Bowler Bar

Xavier Rudd Lake Kawana Community Centre

Get Carter, Plagirhythm Tempo Hotel

1927, Spy Vs Spy The Tivoli Akmal Saleh Brisbane Powerhouse Theatre Alpine Fault, Dead Wolves, Half A Million Skitzoz, The Scorcher Fest Story Tribal Theatre Apollo And The Sun KingS Beach Tavern Big Bang Theory Logan Diggers Club Biggy P, Wasabi, Oli, Reecy Boi, After Glow Chalk Hotel

Gin Wigmore Old Museum, Brisbane Grigoryan Brothers CivIc Theatre, Townsville Kitty Flanagan Brisbane Powerhouse Visy Plastic Wood, Dan Rolls, Monkiblood Alloneword Ramjet, Brad Garnett Elephant & Wheelbarrow Red Deer Festival Feat., Regurgitator, Clare Bowditch, Evil Eddie, Darky Roots, + More Mt Samson Reggaetown World Music Festival Kuranda Amphitheatre

Bullhorn Black Bear Lodge

Rock Revolution Mackay Entertainment Centre

Callum Taylor Narangba Valley Tavern

Sarah Mcleod, Lucas Stone Titanium Bar

Chris Franklin Sit Down Comedy Club, Paddington

Sativa Sun, Royal Blood The Joynt, Brisbane

Crooked Grin, Brizband, Cruise Control The Music Kafe

Jantina & The Jaguars, Daisie May Beetle Bar Jay Hoad The Music Kafe Katchafire, Blue King Brown The Venue, Townsville Kitty Flanagan Brisbane Powerhouse Visy Masta K Shooters Nightclub Sarah Mcleod, Bec Plaith The Joynt, Brisbane Scramjet, Martin Party Elephant & Wheelbarrow Shifting Sands Brisbane Powerhouse Turbine Platform

The Side Tracked Fiasco Ric’s

Sydonia, Beggars Orchestra, Asa Peregian Originals

The Smart, Prefontaine, ShAnnon Watkins, Scattered Vision, Black Side Down, Night Time Fiona The Hi-Fi

Tom Foolery Breakfast Creek Hotel

The Well Swung Daddies Brisbane Jazz Club

DIE! DIE! DIE!: Thursday 30 August, The Zoo

Dave Ritter Band Fibber Magee’s, Toowoomba

Treva Scobie Horse & Jockey Warwick

SAT 01

Grigoryan Brothers Empire Church Theatre, Toowoomba

Scrapes, Pollen Trio, Bremen Town Musician, Feet Teeth Waiting Room

Tredman, Masta K, Gcrnb Allstars, Mister P Shooters Nightclub Vaginabillies, Ironside, Cannon, + More Beetle Bar Wish For Wings, The Dead Lights, This City Ignites, The Endless Pandemic X & Y Bar Xavier Rudd Coolangatta Hotel

SUN 02 Akmal Saleh Brisbane Powerhouse Theatre Apollo & The Sun Tempo Hotel Dangermen, Sick People, Monkey Island, Mad Macka Mustang Bar (Afternoon) Dave Seaman Sky Room Diesel Kings Beach Tavern DiRty Habbit, Jack This, Ajar, Hammo, Oliver $, Beau, Br.B Chalk Hotel

Xavier Rudd Yac, Byron Bay

MON 03 Funkey Monkey Jam The Music Kafe Mark Sheils Elephant & Wheelbarrow Matt Kitshon, Azza, That Swedish Guy, Jfree Exchange Hotel Rockaoke Tempo Hotel

TUE 04 Ammunitions, Sue Fong, Mr B-Syde, + More Tempo Hotel Blind Dog Donnie, Poncho Pilot, Lost Wonderers, The Vanguard The Music Kafe Don Jarmey, Karen Anderson, Ewan Mackenzie The Bug Gold Coast Comedy Club The Loft, ChevrOn Island

TOUR GUIDE REGULAR JOHN: Alhambra Sep 28, The Northern Sep 29 THE BEARDS: Beach Hotel Sep 29, Spotted Cow Oct 4, Coolangatta Hotel Oct 5, The Hi-Fi Oct 6 BLACKCHORDS: Ric’s Bar Sep 29 DAPPLED CITIES: The Zoo Oct 6 ASH GRUNWALD: Redland Bay Hotel Oct 6, Racehorse Hotel Oct 6, SoundLounge Oct 19, Star Court Theatre Oct 20 THE RUBENS: Coolangatta Hotel Oct 11, The Hi-Fi Oct 12, The Northern Oct 13 CLARE BOWDITCH: Old Museum Oct 11, A&I Hall Bangalow Oct 12 LAST DINOSAURS: Alhambra Lounge Oct 13, The Hi-Fi Oct 19 SOMETHING FOR KATE: The Zoo Oct 13 HUSKY: Old Museum Oct 18 FRENZAL RHOMB: Spotted Cow Oct 19, The Hi-Fi Oct 20 KARISE EDEN: St John’s Cathedral Oct 23 – 24 KNIEVEL: The Hideaway Oct 26 ICEHOUSE: Alexandra Hills Hotel Oct 26, Eatons Hill Hotel Oct 27 DELTA GOODREM: BCEC Oct 27 TUMBLEWEED: Kings Beach Tavern Nov 1, The Zoo Nov 2, Spotted Cow Nov 3 HOODOO GURUS, THE ANGELS, BABY ANIMALS, JAMES REYNE, BOOM CRASH OPERA: Sirromet Wines Nov 4 ANGUS STONE: The Northern Nov 7, The Hi-Fi Nov 9, Coolangatta Hotel Nov 10, Lake Kawana Community Centre Nov 11 BRITISH INDIA: Kings Beach Tavern Dec 9, The Zoo Dec 10 DEEP SEA ARCADE: The Zoo Nov 16 KASEY CHAMBERS, SHANE NICHOLSON, JOHN WILLIAMSON, TROY CASSARDALEY, CATHERINE BRITT, FELICITY URQUHART: Sirromet Wines Nov 18 THE LIVING END: The Zoo Dec 1 – 7 MISSY HIGGINS: BCEC Dec 1 PARKWAY DRIVE: Byron Bay High School Dec 12, Brisbane Riverstage Dec 14

FESTIVALS PRADA UPLATE: Queensland Art Gallery Aug 31 – Nov 2 RED DEER FESTIVAL: Mt Samson Sep 1 BIGSOUND: Fortitude Valley Sep 12 - 14 PARKLIFE: Botanic Gardens Sep 29 BASTARDFEST: The Hi-Fi Oct 13 WHIPLASH: The Hi-Fi Oct 21 VALLEY FIESTA: Foritude Valley Oct 26 – 28 ISLAND VIBE: Point Lookout Oct 26 – 28 QUEENSLAND FESTIVAL OF BLUES: The Hi-Fi Nov 3 SPRUNG HIP HOP FESTIVAL: RNA Showgrounds Nov 10 GOLDEN DAYS: Coolum Nov 17 – 18 HARVEST: Botanic Gardens Nov 18 MULLUM MUSIC FESTIVAL: Mullumbimby Nov 22 - 25 STEREOSONIC: RNA Showgrounds Dec 2 FESTIVAL OF THE SUN: Sundowner Breakwall Tourist Park Dec 14-15 BIG DAY OUT: Gold Coast Parklands Jan 20 SOUNDWAVE: RNA Showgrounds Feb 23

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Circumstances have necessitated the placing of the 100-year-old converted church 40 minutes west of Brisbane that has been the recording retreat, Applewood Lane, set up by ARIA Award-winning producer/engineer Lachlan “Magoo” Goold (Tex Perkins & The Dark Horses, Art Vs Science, Regurgitator, Renee Geyer, An Horse), up for auction on Sunday 14 October, through Jonathon McMahon of Ray White, Ipswich. Earlier this year, Magoo and his family relocated to Brisbane, entrusting the studio to producer and former Yves Klein Blue bass player Sean Cook, who has been recording Steve Lane & The Autocrats and The Stillsons among others there, while Magoo has been producing and mixing releases for Texas Tea, The Jungle Giants, Tin Can Radio and Oyster Murders among others. Magoo has released a formal statement that in part reads, “Applewood Lane represents everything beautiful and special about making music and we are very sad to let the property go. We know whomever takes on Applewood will love it as much as we have.” To view what’s on offer, check the Applewood Lane Facebook page, or phone 0400 012 139 for details.


To commemorate the 30th anniversary of the 6100 Marshall heads that were synonymous with the playing of Joe Satriani through the 1990s, Marshall has produced a limited number of the Satriani-modified JVM410HJS amps clad in the same striking blue vinyl, with an accompanying 300-watt mono/stereo blue vinyl 1960BJSB (angled) and/or 1960DJSB (straight) cab.


Chicago-born record producer Carl Davis, whose ears were behind number one US hit Duke Of Earl for Gene Chandler in 1962, and went on to produce records for Jackie Wilson, including (Your Love Keeps Lifting Me) Higher And Higher, Mary Wells’ postMotown records and The Chi-Lites, among many, as well as setting up Chi Sound Records, passed away from Pulmonary Fibrosis at his home in Summerville, South Carolina on Thursday 9 August, aged 77.


The bulk of the new album, Panic Of Girls, by this year’s international Homebake guests, Blondie, was recorded at Applehead Recording in Woodstock, New York State, with producer Jeff Saltzman (The Killers, The Black Keys), one track also being recorded at Henson Studios in LA, while two further tracks were recorded at Super Buddah Studio in Brooklyn with producer Kato Khandwala (My Chemical Romance, Paramore, Papa Roach). The album was then mixed by Mark Needham at The Ballroom in LA and mastered by Stephen Marcusson in Hollywood. While we’re on the subject of Blondie, well worth chasing up is a cracking new biography, Parallel Lives: Blondie, written by Dick Porter & Kris Needs, published by Omnibus Press. Still very much a going concern 40-odd years into their career, veteran Southern Californian country rock pioneers Poco, whose only remaining original member pedal steel guitarist Rusty Young, have been recording a new album in 16 Ton Studios in Nashville, their first studio effort in a decade.


Shock! Horror!!! Well, not really, but for anyone who has followed the career of Canada’s Great Lake Swimmers, the fact that they recorded their new album New Wild Everywhere in a proper studio will set alarm bells ringing. Bandleader Tony Dekker tells Michael Smith about it.


t was all down to long-time Great Lake Swimmers producer Andy Magoffin, as Dekker explains: “He really wanted to hear how we would sound recorded in a so-called proper studio and I really wanted to give him more control in terms of the production side of things. So I basically put it to him – I said, ‘What do you think? How would you like to see this go down?’ And he said they’re opening this new studio – I think we were one of the first bands in there even – and so we talked about a bit and decided to give it a try.” A singer, songwriter and musician himself, playing in the bands Two-Minute Miracles and Raised By Swans, Magoffin has been dubbed by one magazine as “the Timbaland of southern Ontario alt-country”, and his extensive production credits include records for By Divine Right, The Weekend and The Constantines as well as Great Lake Swimmers. While he has his own studio, House of Miracles, in Cambridge, Ontario, he chose to record New Wild Everywhere at Revolution Studio in Toronto, the big room, Studio A, where the band recorded, featuring a custom 80 series Neve with 40 channels and 32-track monitors, with Fred Hill & Associates custom master and mix electronics, an Ampex ATR 102 wit half-inch and quarter-inch heads and a Studer A820 two-inch 24-track with remote. On the digital side, it boasts ProTools Lynx Aurora 16 Converters times three, ProTools HD9, Mac Pro and 48 I/O ProTools system. But before looking at the band’s ‘proper studio’ experience, Dekker reminds us that until this record, his propensity was for recording “in the field” or, as he describes it, location recording. “Recording in a real studio would be a pretty obvious thing but for us, we’ve been recording on location for the course of four records or so and just being at this point it was kind of a new challenge. There were a couple of tracks on the new album that were [recorded] on location, but there’s just, to me, there’s like a pretty special performance that comes out of recording in a unique space, especially, like, churches and special buildings and stuff.” The unique space Dekker chose to record the song, The Great Exhale, for this latest album turned out to be an abandoned Toronto subway station three levels underground. “I’ve always wanted to do that actually, and it was only now that we were kind of able to set it all up and do three nights of recording there.

The acoustics were really great and we recorded overnight, as a pretty nocturnal thing, when all the subway cars had stopped for the evening, at around 1.30am. So that kind of added to the sort of ethereal quality of it. I kind of see the song as like my ‘little black train’ song, you know, like the little black train that’s coming for everybody and only goes one way [chuckles], that kind of thing. So there was a little bit of a confluence of ideas for that song and the space. “[Setting up to record] we had to bring everything from monitoring speakers to, essentially we were able to come up with a portable rig but you still need things like compressors and things to run the microphones through to really optimise the sound. I mean we were basically using a ProTools rig so it was somewhat portable, but there was really a lot of gear that we had to bring down there. So that was a feat unto itself really,” Dekker chuckles again. So what does Dekker feel finally recording in a proper studio brought to the recording of the new album? “It was a pretty good space in and of itself and I think that we really were trying to make a really natural and organic-sounding record. I mean I think that if you put it in the context of our previous album, it makes a lot of sense. It was actually just really nice to have, like, a closed environment and really be able to just focus on the songs and the musicianship instead of kind of like wondering if it was even going to work out at all. In the location recordings, if for example someone forgot a power cable, we’re basically done for the day. I mean there’s something very thrilling and very challenging about working in a location too and I love it, but it was a really nice thing to just focus on very nice, kind of clean-sounding tracks. “I think it was a nice way to showcase the band that we have right now. I mean our line-up has

been pretty fluid in terms of members of the band but this one has been playing together for about two and a half years, and we toured a lot on the last record, 2009’s Lost Channels, so I really felt there was this really great chemistry happening and what better way to kind of document that than going into this really great studio. There’s just amazing vintage analogue gear they’ve been collected from around the world for years and it was a real treat to use some of that stuff. Not that I’m a big gear nerd or anything but I think [producer] Andy was, you know, like a kid in a candy store for sure. “I think sticking with Andy was like a pretty important thing and we did really talk about it and having him on board and knowing the band really well, like he’s been working with us for eight years now – he’s been on ever since the second record [2005’s Bodies And Minds] we started recording in 2004 – so I think having him on board really helped that continuity.” New Wild Everywhere is out now through Shock.

Time Off Issue 1592  
Time Off Issue 1592  

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